Monday

Cold River: Review

Coldriver is a variation of the band Astrograss, one of the tightest and most unique Bluegrass bands in New York City, based out of Brooklyn, the new, unlikely, independent music epicenter of NYC, these two bands have the responsibility of educating the city slickers, metrosexuals and hipsters to a thing called bluegrass. The members of Cold River have criss-crossed paths while traveling the world over the past 15 years. Singer Jennifer Milch is a cheerful songbird that can go toe to toe with the likes of Amy Lou Harris or Alison Krauss, other members of the band are musical scholars, veterans and assorted virtuosos.

Having moved home to New York City “Hallelujah I'm a bum” is a ballad that strikes a chord with me. There is certain freedom, in some “bums” eyes in the summer, something that is not seen in normal working stiffs. Of course there is an immense amount of pain that is apparent as well, the line from G Love and Special Sauces' song “This Ain’t Living” says it best, “though I sleep on the street I have a feeling I'm free, from societies, handpicked hypocrisies, mercy mercy.” The slide guitar in this song is a great touch, as all songs, especially bluegrass and newgrass could benefit from more slide.

The song title “Money is a World Wide Web,” is attention grabbing and quirky, the lyrics are the same, with wit, “you think your made of star dust, but stars are made in my machine,” the song touches on the ironies and idiosyncrasies of today’s techno-consumer culture.

“Up on the Roof,” is a great cover of the soul classic. Though the original can not be replaced, this is a different take on an old classic, which creates something new and unique. Adding some complexities in the rhythm variations, great organ and guitar turn this from soul into soulful rock. This song hits that sweet spot inside, similar to the way the original does, or another soul classic “Sitting on the Dock of the Bay.” The yearning, melodic, rock guitar and organ play in the fashion of these 60's classics, ending in an epic style jam. This is a unique cover that will resonate with anyone living in a major metropolis.

It really is a shame how young novices flood the stereos and earphones of Americans, while seasoned veterans get less attention. Luckily the Internet has somewhat leveled the playing field and opened up possibilities in pop music, presenting fans with options and expanding musical horizons.

Saturday

RAQ Live Volume 1 & 2 Review

Read the rest at Jambase.com

There is new-ish Vermont band that's hitting folk's radar lately, a guitar-led quartet with keys, bass and drums. Yes, the Phish comparisons abound. People out there are just waiting for that special band to come along and fill the void in their souls, and some believe RAQ could be this band.

It's far too easy for a truly great band like this to get overlooked in a sea of touring acts and behemoth festivals. Though relying on traditionally structured jams, RAQ breathes new life into the scene, while at the same time carrying the torch of tradition for bands that came before them. RAQ brings back the energy of just a few years ago, when there was less of a reliance on "crossover acts" to bring in huge crowds, when Trey Anastasio and Widespread Panic were the biggest headliners in the game.

listen
Donkey Show


click here for info on camp bisco

The Waybacks: Loaded, Album Review



This first appeared on Jambase.com

Since 2006 the Waybacks could not go without a mention of their stellar performance at Merlefest with legend Bob Weir. Moving past that, their new album album Loaded (Compass) , contains a creative mix of Celtic, bluegrass, folk and roots. The Velvet Underground record by the same name, was created by Lou Reed in response to his record Label's demands for an album “loaded” with hits. There is something similar going on with this record, given the variety and polished, shiny appeal of each track. Loaded expands beyond the realm of bluegrass mixing in heavy doses of genre mishmash.


“Black Cat” is quite possibly my favorite track on the album, the song appeals to my Eastern European blood, heating it up like a shot of vodka. A violin solo that rises and falls, inching faster toward a climax, conjures images of Gypsy musicians captured in black and white photos. Distinct Gypsy style guitar with hints of jazz, round this song out as one of the most unique tracks on the album and gets my Russian grandmas seal of approval.


Adding to the eclectic stew of genre mishmash, is a a lounge-jazz inspired tune called “Savannah,” reminiscent of a 60's jazz vocalist backed by a walking bass. “Nice to be Alone” is a classic pop song without any hints that the band playing might have been a called a bluegrass band. “Beyond the Northwest Passage” is a sea shanty Celtic tune, which critiques environmental degradation in a salty, sea-faring history lesson.




Read the rest at Jambase.com

listen
Black Cat: the Waybacks


http://www.nelsoninc.com

Wednesday

The Jungle




to be publshed somewhere else, here for my readers, early. Thanks for the Feedback!

Liquid jungle now, “The Jungle”

The sweet sunny south is among other things, the birthplace of rock and roll, Atlanta is the cultural center and a symbol of southern progress. Atlanta and more recently Athens Georgia are where great southern rock bands go to to make a name for themselves, from the Allman Brothers to Sound Tribe Sector Nine to Perpetual Groove. Credit is due to a band known as the Jungle for undertaking the great challenge of performing the entirety of Radiohead's OK Computer, which went off without a hitch this past October. The band is anchored by Twin brothers Josh and Graham Yoder, who have each played out in the area since the age of sixteen. Formerly known as Liquid Jungle, the name has changed but the songs remains the same, continuing as a dynamic force, in the constantly evolving southern music scene.
Tiny Heaven (Self Released ), the Jungle's first studio album, was released Spring 2007 and at the time of this writing the band is already in the studio recording a new five song EP, which is much different then Tiny Heaven and in their words "a huge step beyond it" as well. The name Liquid Jungle, is reminiscent of Liquid Sky, the pioneering NYC drum and bass and jungle music record label. I think many people from up north might assume Liquid Jungle to be an electronic act, instead what they will get is a really good prog rock band with an urban appeal. Perhaps the drum and bass connection is the reason they dropped the “liquid” from their name, though one thing is for sure, the Atlanta rock scene is fertile ground for new bands and home to some movers and shakers in the business of live music; including the marketing masterminds of Shimon Presents who have taken such festivals such as Camp Bisco and Langerado to new heights.
The cover for Tiny Heaven by David Hale is one of the most beautiful pieces of album cover art I have seen in a while, reminiscent of an abstract-urban version of The Great Wave Off Kanagawa. The Jungle is also an abstract blend of influences, defining themselves as progressive rock, inspired by funk. The style can be compared to a more monochromatic Mars Volta with some hints of U2. The sound is hard edged with loud instrumentals and softer, pop vocals. The sound is characteristic of much of the indie and progressive rock popular today, appealing to urban hipster types with a penchant for vocal effects. Liquid Jungle has the mass appeal of the Killers, with something of a radio friendly sound, in keeping with their artistic integrity. Crunchy guitars feed the primal urge for distortion and an occasionally funky bass such as that on “Programmed,” keeps the music from becoming generic while adding variety to the album. Saxophones played by guitarist Zack Varner further mix things up on “Out Of The Dark.” Title track “Tiny Heaven,” is the most creative cut on the album, the sound of singing Himalayan yogis in the distance, chaotic instrumentals and drum symbols crashing like waves, make this a haunting and unique track.
Hot Lanta, is constantly innovating and will always be the location for southern musicians to follow their pursuit of the American Dream. Liquid Jungle taps into the heart of the current hipster craze. In the wake of bands like Radio Head, UNKLE and the Killers, a lot of bands are trying to bottle that same magic and Liquid Jungle has the potential of getting it just right.

"Listen"

Liquid Jungle: Tiny Heaven

Soviet erra Graphic Design





this is a movement known as construtivism, it was against the movement "art for arts sake" and felt arts should be utilitarian and with a purpose, it felt artsy fartsy stuff was frivolous. its funny because much of their technique is now popular today in graphic design.

Tuesday

Come on Kanye



The big babies response

http://www.kanyeuniversecity.com/blog/?em3106=196808_-1__0_~0_-1_6_2008_0_0&em3161=&em3281=

I am sick of negative people who just sit around trying 2 plot my downfall... Why???? I understand if people don't like me because I like me or if people think tight clothes look gay or people say I run my mouth to much, But this Bonnaroo thing is the worst insult I've ever had in my life. This is the most offended I've ever been... this is the maddest I ever will be. I'm typing so fucking hard I might break my fucking Mac book Air!!!!!!!! Call me any name you want.... arrogant, conceited, narcissistic, racist, metro, fag whatever you can think of.... BUT NEVER SAY I DIDN'T GIVE MY ALL! NEVER SAY I DIDN'T GIVE MY ALL! THIS SHOWS NO MATTER HOW HARD YOU TRY TO BE GOOD AT SOMETHING THERE WILL BE PEOPLE THERE TO LIE ABOUT YOU AND BRING YOU DOWN! LIKE WAYNE SAYS PLEASE DON'T SHOOT ME DOWN CAUSE I'M FLYING! I'M FUCKING HURT BY THIS ONE. ALL I CARE ABOUT ARE THE FANS. JUST SAY THIS OUT LOUD IN A ROOM FULL OF PEOPLE, "KANYE DOESN'T CARE ABOUT GIVING A GOOD PERFORMANCE." CAN ANYONE HONESTLY SAY THAT ????????? HAS ANYONE EVEN TAKEN THE TIME TO AT LEAST DO THE MATH??? BONNAROO SHOULD HAVE RELEASED A STATEMENT IN MY DEFENSE BUT SINCE THEY HAVEN'T LET'S BREAK DOWN THE WALLS ON THIS TRUMAN SHOW AND LET YOU KNOW WHAT REALLY OCCURRED!!! FOR OVER A MONTH WE WENT BACK AND FORTH ON WETHER OR NOT WE COULD EVEN FIT MY STAGE AT THE FESTIVAL. ONE DAY THEY WOULD SAY YES... WE'D SEND THEM OUR SPECS THEN THEY THEY'D SAY OK... THEN THEY WOULD SEND SPECS BACK THAT DIDN'T FIT THE STAGE. WE WERE OBVIOUSLY DEALING WITH FUCKING IDIOTS WHO DIDN'T REALLY HAVE THE CAPACITY TO REALLY PUT ON THIS SHOW PROPERLY. THEY TRIED 2 GIVE ME A TIME SLOT WERE IT WAS STILL LIGHT OUTSIDE ... I HAVE A FUCKING LIGHT SHOW DUMB ASS, IT'S NOT CALLED GLOW IN THE DARK FOR NO REASON SQUID BRAINS! MY PEOPLE WORKED OUT A COMPROMISED STAGE PLOT AND A 3AM TIME SLOT AND I AGREED. FAST FOWARD TO THE DAY OF THE SHOW. MY PRODUCTION MANAGER TRIED TO LOAD IN FOR 24 HOURS BEFORE I WENT ON STAGE BUT THE FESTIVAL WOULDN'T ALLOW US TO DO ANYTHING UNTILL PEARL JAM LEFT THE STAGE. PEARL JAM ENDED ONE HOUR
LATE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! AT THAT POINT WE'RE RACING AGAINST THE SUN!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! AT 4:20AM DON COMES BACK 2 THE BUS AND TELLS ME, " IT WOULD TAKE 45 MORE MINUTES TO PUT ALL YOUR PYRO IN!" I SAY I HAVE TO GET OUT THERE AS SOON AS POSSIBLE . I HIT THE STAGE AND PEOPLE HAD BEEN THROWING SHIT ON THE STAGE AND HAD ACTUALLY HIT THE JANE SCREEN WITH, I GUESS BOTTLES OR SOMETHING AND HAD BROKEN MY FUCKING SCREEN. REMEMBER WHEN YOU WERE A SHORTY AND WATER WOULD HIT THE TV?????? WHEN I GOT 2 "THROUGH THE WIRE" I STEPPED ON THE FRONT PART OF MY STAGE AND THERE WAS SO MUCH LIQUID ON THE STAGE I COULDN'T MOVE WITHOUT SLIPPING. I HAD TO ADJUST MY WHOLE PERFORMANCE STYLE BECAUSE OF IT. A FEW MORE SONGS IN AND THE SONG WAS ON IT'S WAY UP.. I CUT A FEW SONGS FROM THE SET BECAUSE I WANTED PEOPLE 2 EXPERIENCE STRONGER WHILE THERE WAS STILL SOME DARKNESS TO PERFORM IT IN. I'VE STRUGGLED WITH STRONGER FROM IT'S CONCEPTION. REMEMBER LAST SUMMER WHEN I CANCELED SOME TV APPEARANCES. IT WAS BECAUSE I DIDN'T WANT TO PERFORM STRONGER IN THE DAYTIME. ANYONE WHO CAME TO THE GLOW TOUR CAN UNDERSTAND WHY I WANTED PEOPLE TO SEE IT PROPERLY. IT BROKE MY HEART THAT I COULDN'T GIVE THESE FANS STRONGER IN IT'S GREATEST FORM... BY THE TIME I GOT TO STRONGER IT WAS DAYTIME AND IT BROKE MY HEART. I'M SORRY TO EVERYONE THAT I DIDN'T HAVE THE ABILITY 2 GIVE THE PERFORMANCE I WANTED TO. I'M SORRY... SOMETIMES I GO 2, 3 DAYS W/O SLEEP WORKING ON MY PERFORMANCE... I HAVE TO ICE MY KNEES AFTER EVERY SHOW AND THEY HURT WHEN I WALK THROUGH THE AIRPORT... HAVING AN EXPENSIVE STAGE CUTS MY PAYDAY IN HALF... CALL ME WHAT YOU WANT BUT NEVER SAY I DIDN'T GIVE MY ALL!!!




Monday

Curses-Hungry for Love

http://www.institubes.com/img/catalog/coverart/ins12013_front.png

Drop the Lime NYC's “Heavy Bass Champion” is one of three members of the Brooklyn based Trouble and Bass crew, which include Drop the Lime/Curses, Math Head/Passions Star Eyes and the
Captain.
Three driven and gifted DJs, with a knack for throwing huge parties that have become a staple in NYC. Curses debut 12" Hungry for Love, is an instant hit with electronic music fans and has him playing shows worldwide, as well as this year's Coachella Valley Music and Arts Festival. Drop the Lime is managed by the same company as Girl Talk and Prefuse 73 and has performed alongside the likes of Bassnectar and DJ Z-Trip. This three track 12" is inspired by early 90's dance music, but has all the trimmings of the new sound that has made T&B so popular. “This the Way” starts with a catchy hook of female vocals, which becomes distorted and mashed up throughout the song, Trouble and Bass counterpart Passions/Math Head does something similar on the popular single “Emergency”. The Trouble and Bass crew certainly have a distinct sound that sets them apart in the dance music genre, creating extremely raw and energetic, unpretentious dance music. Staying afloat in a sea of copy cats, ostentatious performances and cut throat music executives, Drop the Lime/Curses and T&B continue to make unique, danceable music, challenging the status quo while simultaneously being a lot of fun.


A Trouble and Bass show is not just a concert, its an initiation. Hipsters, punks, upscale club goers all dressed to the heith of fashion, thrown together to create a highly volatile solution inside NYC venue, Love in Manhattan. To quote Jay-Z “Bass blaring out my system is how I detox” would be a good way to describe the pumped up crowd here, though one need only step inside the door to get high on the wild energy that Drop the Lime and the other T&B members bring as their signature. Hungry for Love uses live sounding drums and electro-synths to create a melting pot of styles; mixing dubstep, heavy bass and grime, unbound by any specific genre, this is music that could only be born out of the dark skyline of Gotham NYC.



..

Pete Rock 914




here in L Mont this song is a legend. the only song i know that shouts out this area code, GENIUS beat, slightly violent lyrics, but think of it like punching your pillow. BIG UP 914! +shift=(!$

Irving Plaza (Fillmore East) Moonalice, John Popper and Chan Kinchla, Spin Doctors, Dark Star Orchestra

Jim Cunningham
5/27/08
Irving Plaza (Fillmore East)
Moonalice, John Popper and Chan Kinchla, Spin Doctors, Dark Star Orchestra


Tuesday, May 27, 2008 a concert was held at the great Fillmore East (Irving Plaza) in honor of the greatest concert promoter of all time, Bill Graham. The entire night was a spent in honor of the man and as a fundraiser for the Bill Graham Memorial Foundation. The foundation was created to give underprivileged persons grants in various areas such as music and other arts as well as good spirited projects in local communitys. The lineup consisted of Moonlace, John Popper and Chan Kinchla, Spin Doctors and the headliner Dark Star Orchestra.
The first act up was Moonlace, a very talented band with a few all-stars hidden under the radar. Most people have never heard of this band and it’s a shame. They have a great rock and roll sound yet jam out thanks to the help of G.E. Smith (former guitarist and band leader of the Saturday Night Live house band) and Barry Sless, who himself has toured with Phil Lesh. G.E. did some singing while Barry moved between playing an amazing pedal steel, as well as shredding a mean 6 string guitar. The highlight of this set was their closer, “Stella Blue.” It was very soft and melodic and was put together nicely.
Up next to perform were John Popper and Chan Kinchla. Since only the two of them were announced, no one was really sure who was going to play with them. As it turns out, the answer was no one. They performed a wonderful acoustic set with Popper singing and wailing on the harmonica with enough energy to excite the entire floor. They drove through a short but sweet set playing classics such as “Hook” and “But Anyway” which featured a great harp solo. It was very interesting to hear Blues Traveler’s material performed acoustically but the audience loved it so it was a well made decision
The Spin Doctors have been around since the late 80’s and were always. considered a fun band to see live, this night was no different. The amount of passion these guys played with was no surprise. Lead singer Chris Barron was full of energy, at moments kicking his leg up in the air so high he cleared the microphone stand. Their two big hits, “Two Princes” and “Little Miss Can’t Be Wrong” really got the crowd excited. It’s funny though because they got their best response from the crowd when they covered the Grateful Dead classic, “Ripple.” It appeared as though this was the first time the band had ever performed it live, due to the fact that Barron kept looking down at a sheet of lyrics to make sure he didn’t mess up. A huge ovation was given after they had finished their set at around 11:15 pm. As good as the Spin Doctors were, 90% of the crowd came for one reason and one reason only, Dark Star Orchestra.
For those of you who are not familiar with DSO, they are a Grateful Dead cover band and are considered the best of the best. They are famous for picking out a classic Dead show and playing it in it’s entirety, song for song, even going so far as to purposely miss notes just like the Dead had at that particular show. The band also includes original set lists (still all Dead songs) every once in a while to mix things up. When I talked to current DSO and former Zen Trickster’s and Phil Lesh keyboardist Rob Barraco about how they decide what show they are going to play, he told me that they make sure they never play an old Dead set from a show that took place in that particular city. They do their best to mix it up between coasts and time zones. After I asked him about the original set lists, he told me with a chuckle that he prefers them because sometimes playing scripted shows can get “boring.”
On Tuesday, at 11:45 pm, DSO came on stage and proceeded to play one of their original set lists. Dead favorites such as “Mr. Charlie” and “I Need a Miracle” got the crowd’s juices flowing early. They also played a great version of Wilson Pickett’s “Midnight Hour,” a song the Dead covered frequently. A real treat was to hear “Lazy River Road,” a song you can’t find on any studio album. This is one of those rare gems that was only played live, and it a deeply soulful ballad with a chorus that the entire crowd can sing to. True to form, DSO played the first few verses to “Dark Star,” the song from which the band got their name. The tightest part of their set was without a doubt “Terrapin Station.” Lead guitarist and singer John Kadlecik is well known for sounding hauntingly like Jerry Garcia and here he did not disappoint. A tremendous jam followed that never let up, keeping the Fillmore rockin’ for over 15 min. Rob Eaton, who plays rhythm guitar and sings all of Bob Weir’s songs kicked into Sugar Magnolia quite literally, as he is well known not only for sounding like Bobby when he sings but for having the same mannerisms while playing the guitar. He really takes each song to that extra level, always looking like he’s having a great time onstage.
Overall the concert was a success. Each band sounded great and recruited some new fans as a direct result. Money from the tickets as well as a silent auction for a signed Grateful Dead poster was raised for the Bill Graham Memorial Foundation and his two sons were on hand to thank the audience before and after the show. It was a great night for music and charity and we can all hope that this was the first of many annual Bill Graham Memorial concerts.

Wednesday

Papa Grows Funk with Rubblebucket Orchestra Sullivan Hall

Papa Grows Funk with Rubblebucket Orchestra
Friday, June 5th/ Doors 8:30/ Show 9:30
Tickets: $18advance, $20 day of show Ticketweb.com
Papa Grows Funk's tight grooves re-define the funk-jam band. Tethered by the slinky Hammond B3 and gravel pit vocals of bandleader John "Papa" Gros," the band is a "who's-who" of New Orleans' best musicians. Influenced by The Meters, Dr. John and The Neville Brothers, Papa Grows Funk parcels it out New Orleans-style, paying homage to the tradition through Gros' sparse but rhythmic style offset by Yamagishi's blazing guitar. One is treated to a booty shaking set of Mardi Gras funk, original material, improvised jams and fresh interpretations of New Orleans classics

Bonerama with Brother Joscephus and the Love Revival Revolution Orchestra
Friday, June 19th - 8:30 pm
Tickets: $20advanced, $25 day of show Ticketweb.com

Bonerama
When Bonerama struts onstage with its four-trombone frontline, you can guess it's not quite like any rock 'n' roll band you've seen. When they tear into some vintage New Orleans funk, there's no questioning from which city these guys hail. And when those 'bones start ripping into Hendrix and Led Zeppelin licks, all stylistic bets are off. They can evoke vintage funk, classic rock and free improvisation in the same set; maybe even the same song. Bonerama has been repeatedly recognized by Rolling Stone, hailed as "the ultimate in brass balls" (2005) and praised for their "...crushing ensemble riffing, human-feedback shrieks and wah-wah growls"

Brother Joscephus and the Love Revival Revolution Orchestra
Brother Joscephus offers the best gospel-style music without the bothersome "subservience to Jesus" part. Throw in a liberal amount of Ray Charles/Al Green/Otis Redding soul and some good ol' roots rock and you've got a perfect stew simmered to porchswing perfection.

Tuesday

tatted up NYC







These video's are from my roomate hector he's a polymath and his video editing is amazing. I have some funny friends.
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