Tuesday, July 31, 2012

Jack White To Play Radio City Music Hall 9/29/12!

Thanks to Ceez for the heads up, it is exciting to hear that Jack White is booked to play Radio City Music Hall on Saturday September 29th. Tickets go on-sale to the general public on Friday.
love this scene in the video below...classic
This has been a half year already filled with great shows, but so far none has topped Jack's performance at the Roseland Ballroom.  His new album has only gotten better and better the more we listen to it, unfolding new lyrics and musicality with each listen. 

Here's hoping we all score some primo seats...and if anyone has presale info don't be shy, slap it in the comments....This just made our Tuesday, thanks again Ed, Boosh!

Monday, July 30, 2012

Primus Fall Tour in 3D!

Very Exciting news today from Primusville, Primus will be touring this Fall/Winter in 3D!
The trio are RtBE favorites and a few months back we posted a full Primus concert, now you can see them live and in 3D (wait isn't live 3D, I am confused by dimensions).  Anyway you can grab tickets today with the password: Squirrel press release and dates are below, we will be at the Hammerstein Show, so see you NYC peeps there:


Primus is excited to announce a unique 3D tour this fall, featuring two sets per evening. Being that this is the first-ever traveling 3D enhanced live musical performance, this groundbreaking tour is sure to provide a one-of-a-kind psychedelic experience, further enhanced by the fact that every show will also feature Quad Surround Sound.

Presale starts at 10AM PST. Password is Squirrel.
datecityvenueinfo / withtix

Fri-Oct-12Poughkeepsie, NYMid Hudson Civic Center 3D tourBuy

Sat-Oct-13Burlington, VTMemorial Auditorium 3D tourBuy

Mon-Oct-15Washington, DCThe Fillmore3D tourBuy

Tue-Oct-16Wilkes Barre, PAKirby Center 3D tourBuy

Wed-Oct-17Philadelphia, PATower Theater3D tourBuy

Fri-Oct-19New York NYHammerstein3D tourBuy

Sat-Oct-20Boston, MAOrpheum Theater3D tourBuy

Sun-Oct-21Providence, RIVeterans Memorial Aud3D tourBuy

Tue-Oct-23Niagra Falls, NYRapids Theater3D tourBuy

Wed-Oct-24Detroit, MIFillmore3D tourBuy

Fri-Oct-26Asheville, NCMoogfest 3D tourComing soon

Sat-Oct-27Indianapolis, INMurat Theater3D tourBuy

Sun-Oct-28St Louis, MOPeabody Opera House3D tourBuy

Tue-Oct-30Cincinnati, OHTaft Theater3D tourBuy

Wed-Oct-31Atlanta, GAThe Tabernacle3D tourBuy

Fri-Nov-02Kansas City, MOUptown3D tourBuy

Sat-Nov-03Denver, COThe Fillmore3D tourBuy

Sun-Nov-04Wichita, KS Cotillion Ballroom3D tourBuy

Mon-Nov-05 Dallas, TXMcFarlin3D tourBuy

Wed-Nov-07Austin, TXBass Hall 3D tourBuy

Fri-Nov-09Orlando, FL The Hard Rock3D tourBuy

Sat-Nov-10Miami, FLFillmore 3D tourBuy

Dylan Cover #52 Elkie Brooks "The Groom's Still Waiting At The Alter"

In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a live cover by Elkie Brooks playing "The Groom's Still Waiting At The Alter"

Thoughts on Original:
Kept off the original Shot Of Love for reasons only Dylan knows it was included later on CD releases of the album and stands as one of Dylan's most interesting and strongest songs from this period.  Using religious imagery Dylan pants a vibrant picture of a division between narrator and "Claudette" singing incredibly powerfully over some fantastic musicianship.  Having a ringing chorus adds to the joy as does one of the coolest couplets Dylan composed in the 80's: "What can I say about Claudette?/Ain't seen her since January,/She could be respectably married/or running a whorehouse in Buenos Aires."   

Thoughts on Cover Artist:
I had never heard of Elkie Brooks until I heard this cover.  Coming into it fresh it is obvious she has a great blues voice and the English singer seems to have had a long and fruitful career.   
Thoughts on Cover:
It being summer and weddings all around this song has been stuck in my head so I figured I would look for a cover of it and this one is a winner.  A rollicking blues take that lets the focus stay on Brooks' voice and doesn't take away from the original in the gender switching of the lyrics (minus the title line of course) from Claudette to Ornette.  That is always something that interests me, here Elkie sings it from a women's point of view, but I love to see artists decisions on changing genders with lyrics.  Musically the chops displayed are tight, fun guitars pianos and sax's all around.  Worth a listen.

Grade: B

 Wilson's Take:

Janasie's Take:

Wednesday, July 25, 2012

Full Pearl Jam Concert! & Download

Every month we will search the murky back waters of youtube to find full concerts posted to the channel.  They may not be here for long so enjoy them while you can...As always, please support the artist every way you can but especially by seeing them live...This month...Pearl Jam!!!!

This month we head back in time to Pearl Jam's intensely awesome Pinkpop Set from 1992.  Strap in for the ride....

What a moment...the boys were young, excited and ripping through a killer setlist (See below).  Some of the standout highlights are the Black Sabbath riffs at the end of "Alive", all the amazing riffs Mike McCready shoots off during "Leash", the all-time great version of Porch and the encore covering of Neil Young.  Woof this 43 minute part of the festival set will have to make up for Pearl Jam not touring the US summer...you can also grab the bootleg here.

I have been a PJ fan for a while now and I never knew they covered 2 of our long time favorite bands, Talking Heads & Fugazi until I heard this, granted they aren't full band covers but even the snippets are enjoyable.  Enjoy this rocker.

Pearl Jam Pinkpop Set 6-8-92
Even Flow
Why Go

Suggestion (Fugazi Cover)
Pulled Up (Talking Heads Cover)
Rockin' In The Free World (Neil Young Cover)

Friday, July 20, 2012

Friday Funday: New Band of Horses Song!

RtBE favorites Band of Horses are back this fall with their 4th full length release, Mirage Rock.  The band released the first track from the album and it is called "Knock Knock" check it out here with it's cool nature video:

I dig it with it's simple yet hypnotic guitar and of course fantastic vocals the track is shiny but has a good groove at its root. We have hoped that the group gets a bit more distorted/noisy for this album, but it is safe to say we have high expectations for this disk.
Here is some older live BoH in case you aren't already a fan:
"Monsters" from 4/14/2010:

"The Funeral" from 6/11/2011

Nogo out and get some sun, you look like you need it....

Thursday, July 19, 2012

Album Review: River City Tanlines- Coast To Coast

Hey All,

Got a new review up on Glide

You can read it right c'here!!!

It is of the River City Tanlines newest release called Coast to Coast.

Alicja Trout is the front woman in charge of this pop/punk outfit and flashes her style all around this album with pretty solid results.  As I mentioned in the review, not earth shattering but solid.

Below you can find a few older live videos to realize their style, make sure you support this artist anyway you can.
"Black Knight"

Just Alicja performing "Stop My Heart" from the new album:

And here is an interview/chat with the band:

Wednesday, July 18, 2012

RtBE Interview: The Wait Part 2

Here is RtBE's second part of our interview with The Wait's front-man Brendan Pendergast.
 You can read part 1 right here, also a reminder you can catch The Wait at their reunion show on Saturday July 21st at The Putnam Den in Saratoga.  

 RtBE: As far as your releases go, your sound especially on Dear Soul feels like indie-rock but seems to hinting at something larger lurking behind the curtain, what where you guys going for at the time?
Brendan Pendergast: I think there was an indie quality to what we were doing, probably because we lacked the polish of more professional or experienced bands.  And, we didn't have the budget of a major label act.  But, as I mentioned before, we really thought we had the makings of a good band and tried to use our connections to exploit our talents, grow an audience, and possibly secure a major label record deal.

There were never any delusions of grandeur, and writing and performing good songs was the top priority.  But, I think we all felt let down by a lot of the "popular" music we were hearing on the radio at the time.  Between the angry whiteboy rap-rock and the fluffy pop shit, we sensed a real lack of integrity in what was reaching the masses.  I think - and maybe this is just my impression - we were trying to make music that was both honest and accessible.  Seemed like a tough sell on commercial rock radio during those days.
RtBE: Along those lines looking back to 1999 Wilco was putting out Summerteeth and I see a lot of similarities to what they were doing and you guys, were they an influence? Any others you want to mention?

BP:  It's tough to pin down influences when we're asked.  I think we like sounds, certain instruments, writing and recording styles, and integrity more than a list of bands.  That sounds a little snooty, and maybe it is.  But, I think we each got off on bands and songs for different reasons.  I always loved lyrics (which you would never have guessed based on some of the utter crap I was writing back then).  Art always seemed like somebody who enjoyed the feel or vibe of a band or songs more than the technical side of things.  Scott had a way of recognizing and appreciating the style of rock music and bands, both in their appearance and their songs, more than any of us could.  There were some important bands for us though.  We loved the classics - The Who, The Beatles, The Clash, etc.  They were all great teachers.  But, we also loved stuff like Radiohead, Oasis, and REM, too.  Each of us had our favorites, which I think we borrowed from in order to create something unique.
RtBE: How have things been over the last few years with The Wait on hold?

BP: Things have been great for The Wait, both as friends and musicians.  The thing I'm most happy about when it comes to this band is that we've all remained friends, and in some ways have become closer.  It's a matter of growing up and putting things in perspective.  Ryan, Art, and Mark all live in or around Raleigh, NC.  They recorded an album together a few years back, and still perform occasionally as a band called Strange Faces.
Mark, in particular, has become a real all-star.  He plays in several bands, including a kick-ass metal band called Grohg.  Head rattling stuff.  Keith lives in Chicago, played in a band called V Sparks, and has joined Strange Faces on occasion for some performances.  I played in a really fun band called The Charlie Watts Riots for a few years before relocating to northern Virginia.  And Scott is knee-deep in being a great father, husband, graphic artist, interweb genius, and damn nice guy.

We're all doing well, and so look forward to getting together again on the 21st of July.

Thanks to Brendan for taking the time for this interview, and everyone should check out the show on this Saturday Night. 

Tuesday, July 17, 2012

Album Review: Anders Osborne- Black Eye Galaxy

Anders Osborne
Black Eye Galaxy
*** out of *****
The Grammy award winning songwriter returns to forefront with his most recent release Black Eye Galaxy.  Where Osborne's last album American Patchwork, seemed to be stitched together from all over the musical landscape this newest release sticks close to his beloved loud electric blues.  The songs burn slowly through the speakers accentuated by smoking guitar solo's and consistent thudding low-end. 

First two tracks ache to be played live, "Send Me a Friend" and "Mind Of A Junkie" both seem like they could go on indefinitely as one addresses loneliness and the other the clich├ęs of drug use straight forwardly which Osborne is more than familiar with. 

There is a more delicate touch displayed on "Lean On Me/Believe In You" and "Black Eye Galaxy" with a mellow mood floating through both, but the New Orleans songster can't resist ripping into each with a solo for good measure. The first is pretty standard but on the title track Osborne goes a for a spacey Grateful Dead feel, spreading his cosmic wings and flying for over 10 minutes.  It stands out from the rest of the disk, but succeeds on it's own terms with a daring sense of adventure.    

The are added flourishes like backing vocals that float in and out throughout the album, the harmonica usage during the folksie "Tracking My Roots" or the distorted fuzzes in "Black Tar" where Anders once again faces his addiction demons head on.  

There is nothing earth shattering but with it's solid songs and dynamic guitar work fans of heavy blues rock would benefit from a listen.  If nothing else, Black Eye Galaxy gives Osborne a host of new tunes to rip into via the live setting, a galaxy in which he shines. 
Support this fantastic artist by buying the album here and make sure you keep up to date with his tour and catch him live when you can.  Below are a few videos from Osborne:

"Black Tar"

"Send Me A Friend" Live 6/20/12

Covering "Ohio" from the same show 6/20/12 with Special Guest John Gros on Key's

Monday, July 16, 2012

Dylan Cover #51 Rick Nelson "She Belongs To Me"

In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Rick Nelson playing "She Belongs To Me"

Thoughts on Original:
The first song in this series was a different cover of this track, here is what I wrote about it then and still feel the same way:
This is a gem of a song, a twisted tale that entwines beauty and deceit, darkness and sparkling Egyptian Red Rings.  One of his best in it's mystery, elusiveness and bitter biting undertones; really pure Dylan and one of his all time classics.  Loved it when I first heard it, still love it today, the fact that it hasn't been played over the last 3 years is a shame.

Thoughts on Cover Artist:
I am not really all that familiar with Ricky Nelson outside of the "Garden Party" song and story that goes together with it.  His early "rock" hits are fun like "Hello Mary Lou" and "Travelin' Man" but he never really stuck in my brain much, maybe this will get me to re-listen to him a bit.  His cover of "Bye Bye Love" is an all time classic though, can't argue with that one... 
Thoughts on Cover:
This west coast country-tinged take on the Dylan track is a really nice fit.  The steel guitar in particular sounds right at home on this track.  Some of the cutting mystery has been replaced with an easy going charm, but it doesn't damage the track at all.  The backing vocals actually improve things as they come on perfectly and sooth, a nice little way to start off the week.      

Grade: B

Wilson's Take:

Janasie's Take:

Friday, July 13, 2012

Friday Funday- Tom Waits and David Letterman

So we missed this earlier in the week, but Tom Waits appeared on David Letterman.  While Late Night TV ain't really for RtBE, Tom Waits certainly is.
He actually topped our list of last years best albums right here.  He played a cut off that album, Bad As Me, titled "Chicago".  You can view it right here:

He also sat down with Dave for a bit and discussed this curious object...

The interwebs are great in that we can find some old stuff between the two as David and Tom seem to have a good relationship, so let's go back in time a bit. 

Waits played in 2006 on the show, as he did "Lie To Me" from the fantastic Orphans:

Here is an interview from 2004 between the same duo:

and Waits performing "Make It Rain" from Real Gone from the same show:

An Interview from 2002:

Here they are in 1988 with promotion for Big Time, he plays "Straight To The Top":

How about a clip of the 2 from 1986 Rain Dog era Waits when he was at his coolest??  Yup, got two of those too...

And finally the best clip of the two men from back in 1983 as Waits performs "Frank Wild Years" and sits down to chat before going to the piano to play a fantastic version of one of his classic tracks, "On The Nickel":

Happy Weekend All!

Thursday, July 12, 2012

RtBE Interview: The Wait Part 1

It is our pleasure to have had the recent opportunity to connect with a band who we saw years ago and who are strapping it on again for a reunion show this summer, The Wait

A "must catch live" in the Capital District music scene while they were active, The Wait bring an earthy sense of groove to rock and roll but are never afraid to experiment with electronics or get loud and noisy when the mood calls for it.
Frontman Brendan Pendergast was kind enough to give us some time and partake in a RTBE Interview which we have broken into 2 parts, part 1 is below...and don't forget to check out The Wait, July 21st at Putnam Den in Saratoga Springs for their reunion show.  

Rock The Body Electric: For those unfamiliar with The Wait can you tell us about the bands history?
Brendan Pendergast, Lead Singer: The band formed (sort of unofficially) back in the early 90's during Junior High School. Art (drums) and Scott (guitar) were close friends and lived across the street from each other. They were messing around with the idea of forming a band, when a friend recommended they give me a shot at being the singer. We got together in Art's parents basement and rehearsed a handful of Top 40 Alternative type covers. Almost immediately we embraced the idea of writing and recording our own music - pretty ambitious for a bunch kids, but we really liked playing together and sensed a lot of potential. Within a year or two we were playing high school talent shows and dances, and after a few lineup changes, we entered the club scene in Albany, NY.

RTBE: What prompted this summers show?

Brendan Pendergast: The Wait have only played together one time since we called it quits back in 2005. There was a reunion gig planned a couple years ago, but the plans fell through. When Keith (guitar) approached us a few months ago about opening a show for another one of his bands this summer, I think we all pretty much jumped at the opportunity. It's an added bonus that we're on a bill with our friends, Five Alpha Beatdown, and that we get to play in Saratoga Springs during the opening weekend of the harness track. There should be a lot of friendly, familiar faces in the crowd.

RTBE: You developed a respectable fanbase while active, and were known as a Capitol Area "must see", what is it that draws fans and you guys to the live playing experience?

BP: In my estimation, there were a few factors to our "success". First, we rehearsed a ton. In the end, I think excessive rehearsal drove us all a little crazy. But, we were a very tight band and could play the shit out of our songs. We weren't exactly reinventing the wheel with any of our music, but what we did we did well and took pride in it.

Secondly, we were supported and championed by some important people in Albany's music scene. Dominick Campana, our friend and producer, had run an indie label prior to recording our debut album. He'd made a lot of connections and knew what it took to get recognized. He pitched the album to the program director of 102.7 WEQX and talked us up amongst his musician friends.
As a result, we received some heavy radio rotation and landed the opening slot on a few great bills with local favorites and national bands stopping to gig in Albany. Thirdly, we had the support of great friends and family who always turned out for shows. There's a line from a Soul Asylum song that goes, "Nothing attracts a crow like a crowd." I personally think that was true in our case. There was a small, devoted, core following of folks who would drag their friends to our shows and encourage people to listen to our music. Their passion and patience made us seem cooler and more legitimate than we probably were. As a result, I think people got behind us and maybe rooted for us more than they typically would have for an unsigned band. Just a theory, though - I could be completely wrong. Ask the other guys and they'll probably tell you a different story.

RTBE: You guys got together and played Lark Fest in 2005 which must have been a high point, were there any other shows that stand out?

BP:  Actually, that Lark Fest experience was bitter sweet. It was our last show together before splitting up. Prior to the festival, we had some unintentional friction with the radio station sponsoring the event, so we were given the very, um....dubious honor...of opening show at 10:30in the morning.  It was great to have both Ryan and Keith, who'd stepped for Ryan when he left the band a few years prior, on stage at the same time, but sad that we went out with such a whimper. In a way, that Lark Fest show was poetic or symbolic of our experience as a band - we played great, looked odd, and performed to fewer people than we would have liked. A fitting end, I suppose.

Other than that, there are a few great shows that come to mind. We once opened for Superdrag on Halloween in Albany. We dressed in drag, except Mark, who dressed up like our pimp. Halloween is Mark's birthday. Art had purchased him a bottle of JD to celebrate.  Before the show, John Davis of Superdrag, who hailed from Memphis, proudly announced, "back home [we] call this 'Tennessee tap water'", and proceeded to take a few huge swills off the bottle with no hesitation or pain. It was simultaneously so rock 'n roll cliche, astonishing, and kinda scary.  Not surprisingly, a few years later Mr. Davis hit up rehab and found Jesus.
John Davis and Superdrag
Another fun one was a battle of the bands type thing outside of Poughkeepsie back in 2000. Attached to the front of the stage was a giant, inflatable Budweiser bottle. We all were a bit put off by this massive obstruction fastened to the stage by a corporate sponsor, blocking the view of the bands from the crowd. During our set I started to get more and more annoyed by this massive blow-up bottle positioned directly in front of Scott. As you can imagine, it's hard enough to feel like a rock star at a battle of the bands in Poughkeepsie. Throw in a giant, distracting bottle of Bud in front of the band and it's even more soul crushing. Toward the end of the set we launched in to Iggy and The Stooges' "Search and Destroy".
In what I thought would be a really apropos fit of punk rage, I decided the bottle had to go, and jumped on it. Little did I know that the only thing keeping it inflated was a shitty little fan. Needless to say, it was not prepared to support the impact of an angry front man jumping on it. The thing instantly collapsed, as did the jackass atop it. I tumbled probably 10 feet to the ground and busted my elbow on impact. Whoops.  Silver lining: I learned a couple valuable lessons that day. First, I'm not even remotely punk. Second, it doesn't pay to take on a corporate titan, even in the form of an inflated bottle. And three, never agree to play a battle of the bands.  In case you're curious, a rap-metal band finished ahead of us in the voting, then got a mob of their genuinely irate and under-educated knuckle head fans to nearly start a riot when they didn't take home the trophy. Good times.
We opened for Fuel at the Palace Theater in Albany around Christmas one year. It should have been a thrill to play for a couple thousand people in a really cool old venue. Unfortunately someone told Fuel that they were important or something, and it went to their heads. First, they demanded absolutely no one outside of their crew be allowed in the theater during their sound check, because, you know, some rock 'n roll super sleuth may have been hanging around waiting for an ultimately forgettable band like Fuel to accidentally surrender the formula to becoming a modest commercial success.  Consequently, we stood outside in the freezing cold with all of our gear for a ridiculously long time. Later, they had one of their bodyguards (cousins?) threaten to break a friend's camera if he took pictures of the band without their permission. Finally, their lead singer took the stage in...I shit you not...a Brett Michaels inspired cowboy hat, leather trench coat, and pink boa. So, yeah, that happened. Surprisingly, the look never became as iconic as Bono's shades or the Beatles' mop tops.

Stay Tuned for Part 2 and remember to catch The Wait live on July 21st at Putnam Den in Saratoga Springs....

Wednesday, July 11, 2012

Live Review: Ryan Scully & The Rough Seven 5/3/12 Michalopulous Studio

Ryan Scully & The Rough Seven
Michalopulous Studio
New Orleans, LA

While each year RtBE has megafun on our annual Jazz Fest Trip, it seems things continually get better and better the more we explore the town.  Whether we meet new friends or get caught up in amazing nights, things have a way of growing each year, and 2012 was no exception.  The party held at Michalopulous Studio this year was our trip highlight as a Crawfish Boil under the night air with one of our all-time favorite bands providing the music pushed things over the top. 

Originally going to the wrong address (Thanks Google Maps!) we went to the artists gallery in the French Quarter and got to admire some of his work:
After reconnecting with the band (Thanks Rob!) I managed to find my way to the Studio as the sun settled in for it's slumber.  With darkness came the magnificent light work from the artist as the band was awash in an eerie glow.  The Studio was full with people who were sampling the fantastic food, and spicy Ginger Drinks that had an extra kick to them.   

You could peruse the Artists work and actually had to enter the Studio itself to use the restroom, giving you a glimpse behind the curtain, but the view from the outside was just as grand in the warm spring air:
The band on this night were just part of the overall mood and not a focal point which gave them an extra freedom to relax and spread out.  The majority of people in attendance were just along to mingle, catch up with old friends and partake in the amazing Crawfish Boil:
Playing as a 5-piece this night minus the two female back-up singers allowed Ryan Scully & The Rough Seven to be more free-form...perfect for an art show party. 

The group toyed with an extra long buildup to their powerful "Meltdown" accentuating the piano parts of Ratty Scurvics before ripping out the dueling guitar climax.  Slowing things down even more they waltzed along to the fantastic "St. Anthony" before Michael Anderpoint on drums and CJ Floyd on bass got funky with "Heli-cop-chop".

The Rough Seven played their fantastic blend of styles in a relaxed manner, but it didn't keep the noise rock away as it showed up on "Had A Home" with Scully and Rob Cambre trading 6-string assaults.  The melodic ringing of "Golden Parachute" rocked hard as well as the group urgently put fourth their demands to "Buy Me A City!".

The highlight of the night though was the psychedelic, elongated, intro into one of the groups best songs, "Not Insane".  The 5 piece wove through cosmic terrain under tripped out lights touching on different musical styles before settling into the songs structure while Scully achingly sang about mental health and those with "fear in their bones", haunting. 

After this highlight however the night was cut short as the New Orleans Police Department made a visit to the Studio putting a stop to the music.  Given the state of things it was a bit disappointing, but the band also went out on a high note and gave those gathered to eat drink and be merry a first exhibition in musicology.        

Tuesday, July 10, 2012

Album Review: Davidson Hart Kingsbery - 2 Horses

Davidson Hart Kingsbery
2 Horses
**and1/2 out of *****

After growing up in a strict religious family Davidson Hart Kingsbery has gone through some trials and tribulations but has found himself back in love with country music and the collection of tunes on 2 Horses prove DHK is the real deal.  With an easy going croon that paints pictures of heartbreak and back room honky-tonk's with ease the album is a warm breeze across the prairie.      

The album alternates between slowed down ballads and uptempo danceable boot shakers.  The title track, "Letter To You" and "How Long Will It Be" fall into the first category focusing on Kingsbery's vocals while the lyrics consisting of forlorn love take center stage.  The lyrics aren't earth shattering, and mostly pedestrian ("Eyes of Green" in particular) but the simple presentation works for these songs while Kingsbery's vocal work has great appeal.   

On the other side of things we have the quick, uptempo "Stay Out Of My Dreams", the piano driven "Oh Darlin'", the biographical double dip of "Stuck In Washington" and "Devil In His Heart".   The more high octane tracks showcase a solid backing band that has a deft touch matching the vocals with Dean Johnson on guitar, Eric Himes on bass, Ben Strehle on keys, and Bryan Crawford on drums.  The keyboard work throughout is especially noteworthy, moving to the forefront of songs and lifting the whole work.  The passionate "Devil In His Heart" is a standout track that seems to come from a personal place but will be identified with from people from all over the map. 

The groups first album has a rootsy appeal that shows potential appeasing fans of the genre while still being accessible to those who would never go near country...or western. 
A fairly solid roots/country album and while admittedly this isn't our normal focus 2 Horses has some solid songs.  If country is your thing give it a listen, you can grab the album here and preview some tracks below:

Davidson Hart Kingsbery - "2 Horses" from Fin Records on Vimeo.

Saturday, July 7, 2012

Show Review: CBGB Fest 7-6-12 Complete with Stabbing

7-6-12 Webster Hall NYC
Sick Of It All, Cro-Mag's, V.O.D, Absolution, Si Nam

It started out like most hardcore shows, if a bit earlier to meet Webster Hall’s curfew, and ended in bizarre fashion.  CBGB Festival organizers are trying to bring back the spirit of a bygone era and club that combined all sorts of musical styles; well the hardcore musical style got in the spirit on Friday bringing back it’s dangerous roots.

Si Nam started off the evening with it’s mid tempo hardcore and Absolution was adequate if out of tune for their short outing, but the majority in attendance were there for the last few bands only 1 of which got to play.  Long Island's V.O.D put forth a low end drenched set with stomps and breakdowns behind lead singer Tim Williams caterwuling style, set closer “D.T.O” being the highlight.

Barring some technical difficulties with the guitar amps most in the crowd were pleased but saving their energy to see two legends of the scene due up next the Cro-Mag’s and Sick Of It All.

Harley Flanagan had other ideas. The ex-bass player and one of the founding members of the Cro-Mags has had a long running feud with lead singer John Joseph and anyone who happens to be playing in the band without him.  In 2010 Flanagan posted on his facebook page:
Fuck the fake cromags ill choke the hairplugs out of John anyday” and “5 minutes you coward ,just 5 minutes to settle our differences you chump, we used to be friends and you been lying about me for years and you know it”.

Harley had recently posted more threats on his page with a focus on tonight's show, when he arrived fans outside the venue noticed him acting irrational.  He proceeded to enter the show and busted through the VIP area into backstage.  Fans scattered and security intervened but before things were settled Flanagan’s leg was broken, he had slashed William Berario across his face and stabbed current Cro-Mag’s bass player Michael Couls (known as “The Gook” in the scene) in the chest.  There were other injuries as people were caught up in the melee, and the crowd on the floor level were confused as gear started to be packed up from the stage.
Harley Flanagan
With the house lights on police arrested Flanagan wheeling him out in handcuffs to a smattering of boos, he is charged with two counts of  2nd Degree Assault and a weapons charge.  Joseph took to the stage saying “Blame Harley, we have to cancel the show, real tough guy, but please respect the club as you leave, and the police...they have the guns”.
After promising to redo the show at a later date Joseph left the stage, and what was a potentially dangerous situation (95+ degree heat, drunk fans, cut short show that some had just paid to walk into) was handled professionally by all as hardcore kids mingled with club goers on 11th street.

Reactions varied as one attendee stated “This is why we can’t put on hardcore shows in this city anymore” but another took a difference stance stating, “About time Harley backed up his words”.  Catching up with John Joseph as he left he talked about being pissed off the bands couldn’t play and how charges would be pressed on Harley, adding just another chapter to the ongoing feud.
John Joseph
On this night with eyes looking back to past glory days of a defunct club chaos reigned, disappointment loomed large, but luckily no one was killed...Come to think of it, this did feel like old times at the dirty CBGB’s.   

Friday, July 6, 2012

Friday Funday- CBGB Fest

It started yesterday, but we couldn't get to it until today...it is the first annual CBGB Fest:
CBGB's has been all over the map since it closed it's famous doors...will it be a chain like House of Blues?  Will it flog itself to make money until no one cares?  Will it remain cool for eternity?  This is a pretty good start to staying cool...all though the promotion has been odd for this one and the fest itself seems a bit thrown together.   

We will be attending the hardcore show tonight at Webster Hall (excited to make it 2 summers in a row catching the Cro-Mags) and will be in Times Square tomorrow to catch RtBE favorite The Hold Steady which is sure to be an odd event.  Sunday we have lined up Fishbone at Brooklyn Bowl, so it is a full slate of music and adventure this weekend...do you have any fun plans?  Feel free to comment on them.  Enjoy your weekend and here are some live tunes from the Cro-Mag's, Hold Steady, and Fishbone to start the soundtrack off proper for you:

Cro-Mag's "We Gotta Know" Live:

Hold Steady Interview and "The Swish"

Fishbone "Everyday Sunshine" Live:

Thursday, July 5, 2012

Album Review: Deep Time -Deep Time

Deep Time
Deep Time
**and1/2 out of *****

The band formally known as Yellow Fever comes out with a new name and new (newly?) self titled album, Deep Time.  This Austin Texas duo consisting of  Jennifer Moore and Adam Jones take pop music and try to squeeze something new out of it in the same vein David Byrne did a few decades ago with the Talking Heads.  While not as expansive or engaging as the Heads, Deep Time do make you listen; were other pop bands would go for the simple they tend to verge on the odd side of things.

Stripped down beats and upfront vocals dominate as chimes, guitar strums and organ get sprinkled throughout like on the disk opening "Bermuda Triangle" which rambles along on wobbly horseback.  "Coleman" has an electro whirring edge that straddles that delicate line between hypnotic and annoying while "Homebody" has a desperate vocal over marching drums. 

The disk isn't long but sometimes the ideas seem repeated as "Gilligan" feels like a rehash of their sound only halfway through Deep Time.  "Gold" gets things upbeat and inject a 80's new wave vibe back into the mix and the album closing "Horse" gets freaky with chicken scratching strings and mid song tempo uptick, ending the proceedings on a high note.             

The bands first single, "Clouds" is quick run through of their style; minimalist in approach but complex in delivery.  Deep Time (or whatever they will be called next album) are mining interesting territory and are worth keeping an eye on if you favor off kilter pop leanings.   
You can find more info on Deep Time here on their facebook page, below are a video and a link to stream the full album from the band, enjoy:

Full album preview:

Wednesday, July 4, 2012

Oh Happy 4th of July, New Dinosaur Jr. Song!

Happy July 4th, hope you spend it rockingly patriotic like this guy:
Great interview with Wayne Kramer here by the way...

Some exciting news, those creakers over at Rolling Stone got lucky and are previewing a new Dinosaur Jr. track called "Watch The Corners" from their upcoming release, I Bet On The Sky
While not as instantly catchy as their last single "Over It", things are classic Dinosaur all over.  The chug-a-lug intro going into mid tempo verses and ending with a soaring to the heavens solo run from J makes things even warmer and fuzzier on this fourth of July...so enjoy the tunes and the holiday, here's some classic Dino to keep things flowing:
"Freakscene" Live 1991:

"Just Like Heaven" Live 2008:

Tuesday, July 3, 2012

Album Review - Heavy Blanket

Hey all,

Got a new review up on Glide.

Check it out right c'here!!!

It is of Heavy Blanket's self titled first album.  I doubt there will be a second album from these guys but you never know.

Basically this is an excuse for J Mascis to cut loose and rock the fuck out...we couldn't be happier listening to it.  I am not even sure his bass player and drummer are real people or just fake names and J playing all the instruments himself, I just know it sounds good.

We have been longtime J fans and will pretty much love anything he lends his axe too, but this one hits home because of the free form flow it presents.  No songs or structures, just jams (and some dope album art!)

Give it a whirl, you can buy it here and check out some previews below: 

"Dr Marten Blues"


Monday, July 2, 2012

Dylan Cover #50 Betty LaVette "Most Of The Time"

In this ongoing Monday Series we will be exploring various artists versions of Bob Dylan song's. Today's tune is a cover by Betty LaVette playing "Most of The Time"

Thoughts on Original:
One of the best songs in Dylan's repertoire from any of his era's and also one of the most important, "Most Of The Time" proved Dylan was far from done as an artist.  Showing up on the return to form album Oh Mercy, "Most Of The Time" is a revelation with it's descending bass line and powerfully stark lyrics.  There is a palpable sense of desperation, longing,  sadness, a nervous sense of things are falling apart around me; this tune touches a nerve and makes you stand up and take notice. 
Rather then a video today, you get just the song...don't worry, its worth it:

Thoughts on Cover Artist:
An artist that I had never heard of until I stumbled upon this cover.  Betty LaVette has had a full but not superstar career.  The actress/singer has only recently jumped into the national scene and with a voice as powerful as this it is a shame it took this long.

Thoughts on Cover:
This is yet another example of an artist making Bob's song their own.  Betty's soulful version of this track is gorgeously pain filled and expressive touching an emotional area not approached on the original.  With Bob's amazing creation of the tune there was a sense of desperation and despair; LaVette injects passion, fire and more heart working up an inner beast as opposed to looking in from the outside.  Her addtion of calling the person in the song a "mother..." is inspired, this one is a keeper all around. 

Musically the track flows, ditching the classic descending bass line for a smoother roll-out which suites Betty perfectly.  If you needed another reason to purchase the fantastic Amnesty International Chimes of Freedom disk, here it is.   

Grade: A

Wilson's Take:

Janasie's Take: