Levon Helm

Helm, inducted into the Rock and Roll Hall of Fame in 1994 as a part of The Band, performed live since 1957. Born in Elaine, Ark., Helm started his storied career as a member of the rockabilly band The Hawks who backed up singer/songwriter Ronnie Hawkins. The Hawks moved from Arkansas to Toronto, CA in 1959 after signing to Roulette Records.

The Hawks, which included guitarist Robbie Robertson, bassist Rick Danko, pianist Richard Manuel and organist Garth Hudson, toured the world, backing up Bob Dylan. The group would write songs with the great Dylan, recording an album in Woodstock, NY in 1967 called The Basement Tapes.

Helm, disheartened by the negative reaction to Dylan going electric, didn’t participate in the 1965-66 tour, working on an oil rig in Arkansas instead. Helm returned in 1967. From then on, The Hawks would be referred to as The Band.

Although Helm has recorded over two dozen albums, Music from Big Pink (1968) turned Helm and The Band into world renowned superstars. Hits like “The Weight” and “I Shall Be Released” gave The Band their own identity. No longer were they Dylan’s background, they were five tufted men that combined the sounds of country, rock and blues into their own glorious wall of sound.

Music from Big Pink starts with the Dylan tune “Tears of Rage,” an organ-filled tune that features tight harmonies and crooning tenor vocals. This is one of the greatest lead songs of all time. Written by Bob Dylan and first recorded during the Basement Tapes sessions, the organ compliments the piano with uplifting major chords. Soprano saxophone wails out, matching the timbre of Richard Manuel’s lead vocals.

“Tears of rage, tears of grief
why must I always be the thief?
Come to me now, you know we’re so low
and life is brief”
- Chorus of “Tears of Rage”

“Tears of Rage” demonstrates the passion these five musicians have about their music, displaying emotion-filled vocals, voice-like instrumentals and a steady groove courtesy of Helm and Danko on the bass. The song makes you want t listen to the rest of the album then listen to the entire thing over again.

Bookending the first side of the album, “The Weight” became a staple of 1960’s and 1970’s rock music. Despite its popularity in music culture, the song only reached 63 on the US pop charts, being outperformed by three cover versions.

“Catch a cannon ball now to take me down the line
My bag is sinkin’ low and I do believe it’s time
To get back to Miss Fanny, you know she’s the only one
Who sent me here with her regards for everyone”
- The Weight

The song features the twang-like voice of Helm telling the story of the traveler who meets a cast of characters in Nazareth, PA, home of the Martin Guitar Company. This single made The Band, and Helm, legendary icons.

Side two features the Lefty Frizzle tune “Long Black Veil.” Helm’s heavy sticks pound the drum beat into the listener’s mind as the listener sits back and relaxes to soothing organ riffs.

The album ends with a pair of Dylan songs. The first, “This Wheel’s On Fire,” became the title to Helms autobiography. This song, like “Tears of Rage” and the following track “I Shall Be Released,” were originally recorded for the Basement Tapes.

The eleventh and final song of the album, “I Shall Be Released,” features Manuel using falsetto and head voice tones, singing at the top of his vocal range. Helm, a solid and simple drummer, performs backing vocals as he pounds away on his set. The vocals harmonize beautifully, creating swirling images. The song, filled to the brim with passion, ends the album with an uplifting, relaxing tone.

“I see my light come shinin’
From the west unto the east
Any day now, any day now
I shall be released”

This legendary album became the jumping point for Levon Helm and the Band. Because of Music from Big Pink we got to hear his later works and experience his “Midnight Rambles.” We were lucky to hear the Levon Helm Band and see him perform with Ringo Starr. Elton John wrote a song about him. He meant that much to the music world.

It’s been an honor to listen to his music. His live performances will be remembered by all that saw him play. It’s sad to see an icon go. Luckily for us, he will live on through his music. Thank you, Levon. Thank you.

Photo Credit: Harry Scull Jr.

The crowd shouted a chant of five “ohs” amongst itself, breaking out in a drunken, off-pitch harmony. Many had been waiting all day outside HSBC Arena (now known as the First Niagara Center) to get their chance to see Bruce Springsteen.

It was a cold Nov, night but the biting winds of Perry Street wouldn’t put a damper on the crowd’s evening.

Two months before, Springsteen and the E Street Band had not thought of going to Buffalo. HSBC Arena became the last addition to the band’s Working on a Dream tour.

No one knew how Buffalo received this honor, but the near half-million inhabitants had no reason to complain. This would be a night of many firsts for the E Street Band and one unfortunate last.

April 13, 2012, Bruce returned to that very arena to once again dazzle western New York with a night of blue collar, patriotic, passionate and powerful music. Only these clichés can describe what the crowd heard. Sadly, this show had to be played without the band’s saxophone player and world music icon Clarence Clemons.

Photo Credit: ABC News

Back to that night, Nov. 22, 2009, Springsteen scheduled his show to start at 7:30. Now 8:00, the crowd, still chanting, stood outside waiting for the venue to open its doors. I stood in that line, spending my last $50 to make sure I would see my hero play live.

Despite the ruckus, I could hear the band sound-checking their 1973 track “Mary Queen of Arkansas.” At about 8:10, security opened the doors and the crowd frenzied into the 21,000-capacity arena.

The atmosphere felt like something out of a movie. We climbed the three stories worth of stairs to get to our section. 50 bucks could only get me a seat against the back wall in the furthest section from the stage in the 300 level. Luckily, my three best friends and Bruce aficionados happened to get the seats next to me.

We sat in our sub-par seats just happy to be there. We waited, listening to a dull roar of ‘70s pop over the loudspeakers. For 15 minutes we sat in anticipation, shivering with excitement.

The lights dimmed and the crowd roared. Thousands of small flickers suddenly appeared across the entire arena creating the unmistakable odor that comes with the concert experience.

The crowd screamed “Bruce” in unison as the band took the stage. With a quick jog, Bruce went to the mic and said, “Good evening, Buffalo.”

In black jeans, a black button-up shirt, a black vest and boots to match, the New Jersey native quickly strummed his iconic Fender Telecaster. Max Weinberg, who has played with Bruce since 1974, clicked his sticks against the high hat.

“I was raised out of steel in the swamps of Jersey,” sang Springsteen. The song was “Wrecking Ball,” the title track of the album he would not release until March 6, 2012. After the first verse of just Bruce and Max, who led a band for the old Late Night with Conan O’Brien show, the band followed in with near-perfect intonation and powerful volume.

This band had been built to put on a show and from the start you could tell this had the potential to be a historical concert.

The band followed the unreleased single with 1980’s The River opener “The Ties That Bind.” I remember feeling my cheeks stretch as my grin couldn’t be controlled.

Bruce quieted down and the band started playing the instrumentals for “Hungry Heart,” a hit single that’s also from The River.

Bruce held out the mic to the crowd as the 21,000 people screamed out the opening lines. Bruce sang out “Come on” as the crowd sang the first verse.

I could already feel my voice start to roughen as I screamed as loud as I could only match the volume of my three friends.

The band went on to play the title track of his 2009 album Working on a Dream. The crowd had a mixed reaction as the song had only been around for a few months and the album had mixed reviews.

For the first and only time in history, the band played the entirety of its first album, Greetings from Asbury Park, NJ.

He started with the opening track “Blinded by the Light.” Bruce would joke this was his only number one hit because Manfred Mann covered the song, taking it to number one on the Billboard charts.

The song’s laid-back groove put the crowd in a comfortable mood as we all sang along to the chorus.

“Growin’ Up” followed with its unmistakable piano riff. Two minutes into the song the band played as quietly as they could while Bruce began to tell the story of the band.

“There I was. It was a stormy, stormy night in Asbury Park, NJ. Me and [Seven Van Zandt} were in a little club in the south end of town when suddenly the door lifted open and blew off down the street and a large shadow of a man stepped into the back room. King Curtis? King Curtis has come out of my dream and came here to central Jersey. He walked to the stage and said, ‘I want to play with you.’ What could I say? I said sure. He put the saxophone to his lips and I heard . . . (Clemons plays a soulful saxophone solo). I heard a force of nature coming at me. At the end of the night we just looked at each other and went. So we got into the car and drove through the woods on the outskirts of town. We got very sleepy and fell into this long dream. And when we woke up, we were in fucking Buffalo, NY.” – Bruce Springsteen

Without missing a beat, the band built back up and finished the song, heightening the atmosphere to a level I thought couldn’t be possible.

They played the whole album, highlighting hit songs like “Spirit in the Night” and “Lost in the Flood,” where Bruce played one of the better guitar solos I have ever heard live.

After wowing the crowd with an over- 50-minute rendition of Greetings, the band transitioned into “Waiting on a Sunny Day.”

The final chorus of the song, Bruce pulled an eight-year-old girl on stage handed her the microphone and let her sing. Her high-pitched voice brought smiles to the face of many as she sang A cappella.

Steven Van Zandt, the long-time guitarist for the band, happened to be playing in Buffalo on is birthday. The band played the song “Restless Nights” in honor of Van Zandt and eventually goes into the crowd singing happy birthday.

Now 96 minutes into the concert, the band starts to play the Booker T and the MGs hit “Green Onions.” Bruce jumps into the crowd picking signs with song titles on them. He brings them on stage and reads them.

He walks to the mic and in a growl says, “We’re going to play some of your requests here.” Bruce rifles through the signs. The first one he picks would be very appropriate. Jingle bells start ringing from Max’s drum kit.

“Merry Christmas, baby,” sings Bruce as the band plays the three-chord holiday hit. The band immediately transitions into their timeless classic of a cover, “Santa Claus is Coming to Town.”

Bruce goes back to his pile and picks out a sign for John Cafferty and the Beaver Brown Band hit “Hang up my Rock N’ Roll Shoes.” The band plays it like they have had it in their set for years. Bruce, however, struggles through the lyrics.

Back at the pile of signs, Bruce picks out the last request of the night. “Boom boom boom boom,” screams out Bruce as the band joins in on the John Lee Hooker staple.

Now over two hours into the show, Bruce has yet to take a break or leave the stage. Five more songs would happen to complete the set. The final three being classics that even Boss haters all of the world know the lyrics.

The final three songs started with “The Rising,” a song written for the Sept. 11 attacks. The crowd joined in the gospel of the E Street Band’s message, singing along like a congregation.

Weinberg began to hit his snare in a fast roll as pianist Roy Bittan plays the piano riff to “Born to Run,’ arguably Bruce’s most famous hit.”

The crowd sang every word with Springsteen. The church of Springsteen that had been alive since before he took the stage had its roof blown off at that moment. But the party wasn’t over.

At the end of the song Bruce screams “I want to tell you the story of a band.” The band went directly into “Tenth Avenue Freezeout,” the second track on his 1975 hit album “Born to Run.” The crowd began chanting the “ohs” once again as the band played an extended intro.

Suddenly Clemons pierced the “ohs” with a thunderous sound from his saxophone. The band played the groovy hit for five minutes as the crowd sang every word.

The band stopped and walked off the stage. The crowd who hadn’t sat down the whole show, applauded, screaming Bruce at the top of their lungs.

After a minute, the band came back out for their encore. Bruce introduced the next song by making a PSA for a local charity leading into the inspirational song, “I’ll Work For Your Love.”

With perfect transitioning, Bruce played the most famous harmonica part in his arsenal, the intro to “Thunder Road,” the opening track to Born to Run.

The crowd knew all the words, singing in unison once again with the Boss.

This concert took place after Tim Russert’s June 2008 death. Russert, the former lead anchor of Meet the Press and Buffalo native loved Bruce. On his written out set list, “Thunder Road” had “For Tim Russert” written next to it.

Clemons ended the song with a beautiful saxophone solo. The band would go into another song that would make it to the new album Wrecking Ball, “This American Land,” which Bruce used to introduce the band.

Born in the USA hit “Dancing in the Dark” followed the new song. I remember imitating the music video with my friends and doing the famous “Clarence Clemons clap.”

“Rosalita (Come Out Tonight) came after, blowing away the crowd once again. The walls had collapsed on the church of Bruce because the party could not be contained. The The Wild, The Innocent and the E Street Shuffle hit lasted eight minutes.

I remember thinking to myself, “how is he not exhausted right now? He’s 60!”

It didn’t end there. The band sang the Jackie Wilson tune “Your Love Keeps Lifting Me Higher and Higher,” showcasing the back-up singers and instrumental skills of bass player Gary Talent and Roy Bittan.

The song went for nine minutes and led directly into the cover of a John Fogarty song, “Rocking All Over the World.” This would be the final song of the show, lasting about four minutes.

Bruce spent the next four minutes thanking every single crew member at the show, naming dozens of names of wardrobe workers, stage techs, sound techs, management, caterers and all the workers of the arena and of his tour.

Bruce Springsteen and the E Street Band played over three-and-a-half hours that night, concluding an eight month, 84 show tour.

This 84th show would be the last show Clarence Clemons ever played with the E Street Band. Clemons died of stroke complications June 18, 2011.

We didn’t know it at the time, but this show would be a once and a lifetime opportunity and one I’m glad I didn’t pass up. I can proudly say I am one of the lucky 21,000 that witnessed greatness in Buffalo, NY.

If you heard them you would write the same thing.

These sirens, curvy and passion-filled, pioneered the sounds of today’s guitar music.

In 1954, Leo Fender sat down to create the next great solid-body electric guitar.

A think-tank of George Fullerton and Freddie Tavares sat down with Fender in the Fullerton, Calif. office with the idea to create a guitar that would be light, easy to play and allow musicians to reach higher notes on the fingerboard.

They did not want to electrify a piece of wood like other electric guitars. They wanted style, gloss and, most of all, playability.

Fender had experimented with this idea before. In 1950, the company created the Broadcaster. Now known as the Telecaster, the guitar’s body was cut away on its right side, allowing access to the eardrum-piercing notes. The guitar’s single pickup created a bright twang similar to throwing stones at the side of a steel shed.

The ungraceful tones from the Broadcaster made it unpopular.

Fender had a remedy. The company would create a double-cutaway, making an asymmetrical shape that would allow for less weight, balance and comfort while playing. Instead of a single pickup, the company would add two more, warming the tone and allowing musicians to play whatever genre of music they could want.

To make it short and sweet, Fender streamlined it. The body became sexy, with contours matching the human body. The sound had the warmth of a brass oil lamp with all the brightness of the buffeting flame.

Fender added a switch that would switch between the three pickups, allowing one to brighten or warm the tone to ones liking.

After months of development, musicians stormed Fender to get this new guitar, the Stratocaster.

Buddy Holly became the first to make the guitar popular. “Peggy Sue” and “That’ll be the Day” made listeners want to play, as well as wear thick-rimmed glasses. The sunset-inspired paint job shined brilliantly as the tobacco-colored center faded to black on the outer edge.

The guitar became as beautiful as the sound it produced.

Over the years, the “Strat” evolved just like the music it played. Fender added a bridge that only connected to the body by a hinge and a trio of springs. The bridge would be pulled off the body by the pressure of the nickel-wound strings, allowing the bridge to float. To coincide, Fender added a bar that could screw into the bridge. This bar, known as the tremolo bar or whammy bar, could be pushed or pulled to change the strings’ pitches.

Dick Dale started the trend, playing songs with trembling sounds. John Travolta and Uma Thurman would tremble themselves to his hit “Misirlou” in the movie Pulp Fiction.

In the 1960s, a pair of British teens would fall in love with the Strat’s tone. Eric Clapton and Jeff Beck, ranked numbers two and five on Rolling Stone’s greatest guitarist list, would create musical masterpieces with Leo’s brilliant creation.

Now icons of the blues, Clapton’s Blackie and Brownie helped create an identity for Strats. It would become the premier blues guitar. Along with Fender’s line of amplifiers, the Strat would tickle the tear ducts of any and all who listened to the blues.

Many followed in Clapton’s footsteps.

Jimi Hendrix

I try to forget that Hendrix lit one of these gorgeous items on fire in Monterey, C.A. the same night that Pete Townshend slammed his own Strat against the stage, turning it to kindling.

Townshend sits at ten on Rolling Stone’s list while Jimi reigns at number one.

In the 1970s, music became heavier. Again, the Strat evolved.

Buyers could now replace the bridge pickup to one that would increase the guitar’s volume, gain and power. The humbucker, as it came to be known, allowed the Strat to be a part of the metal and hard rock movements.

The brass lamp became a fiery inferno, fueled by the musical passion of its wielders.

The 1980s saw the guitar return to its roots. A Texan by the name of Stevie Ray Vaughan took the Buddy Holly signature, crafting it into a flood of blue notes. Stevie made the guitar as iconic as it ever had been. His Strat, named Number One, brought the blues back into the homes of listeners everywhere.

Stevie ranks number 12 according to Rolling Stone.

The Strat’s journey continued. In 2007, the 16-year-old version of me walked into a music shop in Tonawanda, N.Y.

On the wall hung a brand new Strat with a glossy, wine colored body that called out. I grabbed the guitar and asked the clerk to give me a cable. I plugged it into a Fender Twin Reverb amp and started to play.

The bright tone sent chills up my spine. I switched to the humbucker and heard a growl rivaling the Nemean Lion’s. Right then I knew I found the right guitar.

I had only been playing since 2002 and never received instruction. I sucked. But the Strat, now known as Donna, helped define me musically.

Donna has been there with me through every breakup, success and failure. She inspired me and remains my guitar for every show I play. I couldn’t play a show without the warm caress of her voice on my ears and the ears of those who hear me.

The Strat has been the favorite of many of the greats as well as unknowns like me.

In 1954, Leo Fender created something that would shape lives, especially mine.

Photocredit: Emptyskeleton.blogspot.com

Today’s fans of the genre should be thankful he restrained. Without electrification, the music world would be sans Bob Dylan, Neil Young, Neutral Milk Hotel, Fleet Foxes and many more.

Modern folk band, Bowerbirds, continue the folk genre.

Two schools of folk exist in today’s music. Much like the rap war between California and New York, east again battles west. In folk, the Pacific northwest, based out of Seattle, holds a majority of the genre.

Fleet Foxes, The Decemberists and The Head and the Heart reign as the champions of the Pacific wilderness, creating innovative and unique varieties of folk.

The east’s Mecca of folk lies in the south. Bowerbirds, from Raleigh, N.C., Iron and Wine, from South Carolina, and many others top the east coast list of folk musicians.

The latest release from any of these bands came on March 6, 2012. Bowerbirds, who just made the move to Dead Oceans Records, released their third LP, The Clearing.

The band started the album off with their best track, “Tuck the Darkness In.” A bass-heavy, warm sounding electric guitar combines with the deep twang of a dreadnought (deep-bodied acoustic guitar), creating an inspirational tone.

Combine those sultry sounds with a present piano and a gorgeous orchestral track and you have an amazing instrumental. However, the song’s best feature comes as the harmonies between the three band members, Philip Moore, Beth Tacular and Matt Damron.

The lyrics stand out with beautiful poetic license, matching the eloquence of the instrumentals in both creativity and melodic performance.

“Tucked the darkness in, dragged the harrow across the land, found my fresh start, sowed my wildest dreams.” – Tuck the Darkness In

“In The Yard” follows. This track, headed by a strong vocal performance from Tacular, can be considered the second best track on the album.

The song consists of lo-fi, minimalist sounds create a relaxing ambience. Murmurs of electrified violins and synthesizers create a glowing backdrop to the song as well as many others.

“Brave World” stands out in the middle of the album. An electronic drum beat combined with a pulsating, staccato-filled violin section mix with a vibrato filled vocal part by the two males.

“Oh, brave world, how have you changed? I’m still unsure. Your hat is hung in the very same place your shoes are scuffed, your shirt is untucked. Just more and more impatient.” – Brave World

“Overcome with Light,” the shortest song on the album at three minutes and nine seconds, uses minimalist ideals. To be good, the song only needed one guitar and a three part harmony. Later on the violin comes in for a short moment, but in the background only.

The album ends on the six minute and 49 second track “Now We Hurry On.” An all-string orchestra creates a gorgeous introduction to coincide with a melancholy piano accompaniment. The strong tenor voices deliver spot on melodic solemnity.

At the two-minute-mark, the song takes a new breath of levity. The song’s veins pump with joyful tones and a more up-tempo rhythm. At the four minute mark, somberness returns, adding sternness to the tone.

The album fades out with a minute-long, gingerly played instrumental, a perfect conclusion to a strong folk album.

Anyone who loves lo-fi music needs to check out Bowerbirds. I think Seeger himself would enjoy this album.

Rating 3.7 of 5

Courtesy: The Improper

This iconic image has defined Bruce “The Boss” Springsteen and the E Street Band since 1975. Tracks like “Thunder Road” and
“Born to Run” make even today’s youth sing at the top of their lungs.

Justin Townes Earle, a nationally recognized independent folk singer-songwriter, once said, “If you don’t like Bruce Springsteen then you don’t like Woody Guthrie meaning you don’t like music,” as he prepared to cover the Boss’s Nebraska hit “Atlantic City.”

Springsteen took motifs and styles from the folk/rock legends of the ‘50s, crafted them from his perspective and added brilliant musicians such as Roy Bittan and Clarence Clemons. The result: 42 years of breathtaking albums, catchy hits and a rock-and-roll-hall-of-fame-worthy career.

In 2006, Springsteen paid homage to his hero Pete Seeger and assembled a masterful group to record many of Seeger’s iconic songs. We Shall Overcome: The Seeger Sessions connected the gap to Bruce’s listeners where his inspirations came from.

Boss released Working on a Dream in 2009. This album, consisting of Golden Globe winning track “The Wrestler,” sparked a promotional tour that would lead to incredible things.

For the first time in history, The E Street Band would perform entire albums live for to-capacity arenas. Two months before the end of the tour, Bruce wrote the song ‘Wrecking Ball” to pay respect to Giant Stadium and its inevitable demolition to make room for a new stadium.

The E Street Band played five dates at its hometown stadium, selling out the near 80,000 person stadium every night. Bruce played the entirety of Born to Run, that same album with Bruce leaning against Clemons, all five nights.

The tour ended on November 22, 2009 in Buffalo, NY. This author had the chance to see this show, amazed throughout the three-and-a-half-hour-long show.

Unfortunately for The E Street Band, this would end up being the last show with Clarence Clemons who died of stroke complications on June 18, 2011. He was 69.

Many thought that the band couldn’t go on without “The Big Man” as Clemons became known.

On March 6, 2012, Bruce and the band defied all odds and released his latest album, Wrecking Ball.

Springsteen drew from all his inspirations, including Seeger and his home state of New Jersey. His voice, deeper and rougher than the leather-clad ’75 version, still sings the same inspirational tones as has throughout his storied career.

The album starts with “We Take Care of Our Own,” an up-tempo ballad about the economic struggles of America. The song has the same design you would expect from Springsteen, adding flourishes of style like fellow New Jersey musicians The Gaslight Anthem.

Bookending side one of the record, “Shackled and Drawn” continues the message that we have a lot of work to do to free ourselves of our burden. The ensemble plays expertly on this track, creating a contrast between the beautiful, flowing instrumentals and the raspy, realistic voice of Springsteen.

Side two starts with “Jack of All Trades” and ends with “This Depression.” These tunes follow suit with side one, telling the stories of the man who’ll do anything to start a new world and survive what God has thrown at him.

“Now sometimes tomorrow comes soaked in treasure and blood. Here we stood the drought. Now we’ll stand the flood. There’s a new world coming. I can see the light. I’m a Jack of all trades. We’ll be alright.” – Jack of All Trades

Side three contains the title track and anthem from 2009, “Wrecking Ball.” The song sounds wonderful with beautiful orchestral tracks that crescendo with Bruce’s heartfelt and inspirational lyrics. You can hear the love Bruce has for his home state in his voice, which has sang love for his home for over 42 years.

Clemons has a sax part featured on “Wrecking Ball.”

The side ends with “Rocky Ground,” a track that features hip-hop beats and rapping in between Springsteen’s powerful vocals. When one thinks of The Boss rap does not come to mind. The lyrics flowed tastefully and the message of overcoming adversity rang clear. Stylistically, the track became a speed bump on the album, stopping the flow of that rough pop-rock people expected.

The final side starts with the powerful track “The Land of Hope and Dreams,” a song written in 1999. Clemons’s horn can be heard all over this track. The entire ensemble takes part in this track, making a sound similar to the Born to Run days. The song shines grandeur and passion.

“Big Wheels rolling through fields where sunlight streams, meet me in a land of hope and dreams.”
– The chorus of “Land of Hope and Dreams”

The original release ends with a Seeger-inspired tune, “We Are Alive.” A banjo twangs throughout the song, adding to the folk-like sound. Bruce sings short and simple lyrics, bookending the album with a song that comes straight from his roots.

“We are alive, and though our bodies lie alone here in the dark, our spirits rise to carry the fire and light the spark to stand shoulder to shoulder and heart to heart”
– The chorus to “We Are Alive”

The bonus version includes two tracks, “Swallowed Up (In the Belly of the Whale)” and “American Land.”
Springsteen played “American Land” near the end of most of his sets on the 2009 Working on a Dream tour. The Irish jig/rock song inspires patriotism and hope for the future of America.

Springsteen has once again taken the hearts of his listeners. Wrecking Ball may not be remembered like a Born to Run but certainly has the same lyrical and musical weight as all his albums. Despite losing the iconic Clemons, The E Street Band will hopefully continue to play and be a part of Springsteen’s career for as long as the two play.

Bird’s previous releases dealt in observations regarding our natural surroundings, science and human behavior. His 2003 release, Weather Systems, dealt in this theme throughout the album.

Photo Credit: dcist.com

Sidenote: Righteous Babe Records, owned and operated by Ani DiFranco in Buffalo, NY, released Weather Systems.

With his previous five studio albums, Bird has defined a genre known as chamber pop. His music takes motifs from pop music and combines them with chamber instruments like the violin and mandolin. The instruments ring with the sounds of Mozart and Tchaikovsky, proving they have been handled by a classically trained expert.

Since his 2009 release Noble Beast, Bird has made many changes. He left Fat Possum records and signed with Mom+pop Records. He started writing film scores, releasing a soundtrack for the film Norman. He played a 165-date tour in 2009 all the while in heartache from a relationship change. He suffered a heel injury on tour and dug himself deep into his work.

“I think he just ran himself ragged,” said Bird’s bassist Mark Lewis in an interview with Rolling Stone. “Being out and busy can be a false escape,” added Lewis.

Bird left the tour, wounded both in body and spirit, and began to write.

In his reclusive attempt to recover, Bird wrote 14 songs that flow together masterfully.

The album starts with the track “Desperation Breeds,” a fitting opener for an album that arose from despair. Bird layered multiple instrumental tracks, recording the individual tracks himself. The violin instrumental shows Bird’s expertise with use of trills and legato to amplify the solo’s meaning.

Danse Carribe demonstrates musical expertise as well as Bird’s utility. With a country feel, the track starts off with a sultry, relaxing feel. The chorus shows passion as Bird emphatically belts out, “There you go mistaking clouds for mountains.”

At the two minute mark, the song turns up-tempo as Bird uses another expertly wielded instrument, whistling. Each whistle has perfect pitch and vibrations, giving the high-pitch noise a voice. Immediately following the whistle solo, Bird plays a fiddle-style solo that slowly evolves into a sophisticated into a baroque-sounding classical melody.

“Give it Away” follows, starting with an intro similar to the folk-rock band My Morning Jacket. Instead of guitar though, the intro is a plucked and electrified violin. The rest of the song flows naturally with a swinging beat that emphasizes Bird’s beautiful vocal melody.

The next track, “Eyeoneye,” has the most single potential. It starts with another MMJ-style intro, only this time from a fuzzy guitar with intense reverb. The song ripples from the simple drum rhythm and staccato strumming of the guitar. The tempo picks up, making the song upbeat near the end. All of this matches the profound lyrics.

“All this time it took to realize that you could use some help,” sang Bird right before the final chorus.

“Lazy Projector” follows with its slow beat and emotional music. Minor inflictions on voice and instruments start the song off with a sad feel. Whistling and violin trade back and forth, showing melodies that inspire hope, emotion and beauty.

“They say all good things must come to an end, every day the night must fall. How it all came to this I simply can’t recall. Too many cooks in the kitchen; how the mighty must fall and I can’t see the sense in us breaking up at all,” sang Bird. These sad lyrics help tell the story of Bird’s emotions as he wrote.

Bird played a version this song on his 2009 tour, starting a few days after his relationship change.

“Near Death Experience Experience” follows with a quirky, sliding melody. The song finishes the middle section of the album.

The next section begins with an instrumental track entitled “Things Behind the Barn.” Bird’s violin sings in this song with fast-paced fingerings, creating a repeating melody that demonstrates his alacrity.

“Lusitania” comes immediately after the instrumental. This song, a duet with Annie Clark of the band St. Vincent, sound gorgeous with the combination of Bird’s whistling and 1960’s-folk-sounding vocals. Cymbal splashes add a brilliant texture to the mix, sounding like waves crashing on the hull of a metal ship. Clark adds a verse and harmonies that rival Bird’s musical beauty.

The song screams proficiency. The lyrics have great impact as well, singing about love and blame through the metaphor of the 1914 tragedy.

“If you loosen libel lips you keep sinking all my ships. Oh and you’re the one who sank my Lusitania.”

The next song, “Orpheo Looks Back,” has incredibly played fiddle parts with a scratchy sounding beat in the background of the folk-country style track. Bird sings a melody similar to Irish folk musician Damien Rice, completing the song with an Irish-jig-like solo violin solo to end the song.

The album comes to conclusion with three long songs, highlighted by the eight-minute-long “Hole in the Ocean Floor,” and culminates with a 2:30 instrumental Belles. The song describes Bird’s feelings without saying a word. Space fills this serene song, making the listener close their eyes and wander through thought.

“Belles” slowly brings the album to an end, finishing the 14-track LP and leaving listeners wanting more.

Out of all his albums, Break it Yourself shows more passion, expertise and musical prowess than his others. You can tell in his music he has become more experienced. With experience comes skill and inspiration.

I don’t believe Andrew Bird could top this album in quality and meaning. This album should go down in history as his masterpiece.

Photo Credit: http://www.antilabelblog.com

In previous albums, Dr. Dog has followed the route of other indie-rock bands, bringing in vintage equipment, nerdy motifs and whiny lead vocals.

Be the Void ignores most of those stereotypes, creating a sound all their own.

The Philadelphia-based sextet’s previous release, Shame, Shame, used many themes from emotional music. Dark/whiny lyrics, such as “Where’d all the time go?” and “I do believe there are no more tricks up my sleeve,” filled most of the 11-track LP. Songs on that album, as well as its predecessor Fate, blitz the listener with dark minor chords and emotionally striking lyrics, influence the listener to have sad feelings.

Be the Void inspires hope all the while demonstrating a new sound based on the principles of the last albums. Void, the band’s sixth LP since 2002, consists of similar notions but the band has focused more on the music than the words.

“I walk with you everywhere I go. But it don’t seem like you know. I sang your praise like an old songbird. But I don’t suppose you heard.” – How Long Must I Wait

Much like Crosby, Stills and Nash or The Band, Dr. Dog’s six male members belt out gospel-style, four part harmonies. The dual guitars play on each other like Dickey Betts and Duane Allman from the Allman Brothers or Eric Clapton and Jeff Beck of the Yardbirds – two bands that experimented with dual lead guitars.

The drums and piano parts stay simple in each song, but still provide a groove that makes you tap your feet.

Void starts off with “Lonesome,” a track with strong, delayed beats laying foundation under a strong spring-sounding slide guitar. The bass sticks on a pattern consisting of only two notes. The song makes you groove while telling you the message that belong alone can be easily accomplished since the responsibility to be with people lands on your shoulders.

“That Old Black Hole” follows, showing off psychedelic styles such as spring-like synthetic noises and high-pitch harmonics. “Black Hole” proved to be one of the bands favorites as it became listed as a prerelease single for the album.

“These Days” consists of pulsating bass lines of only single notes, pounding into the head of the listener. The dual guitars harmonize on a fast-moving lick, creating senses of wonder and curiosity in the listener’s mind.

“How Long Must I Wait” changes up the mood with an R&B style rhythm and church choir vocals instead of one lead singer. The piano pounds block chords, making the sound simple with certain notes just repeating in drone-like fashion over a few measures.

Other highlights of the album include “Vampire,” which acts as a commentary on the popularity of vampire culture in this Twilight loving society. “Warrior Man,” the penultimate track on the album, keeps with the fun attitude of previous tracks as well as adding choral ahs, bright harmonics and a rhythm that can cause laid-back swaying.

Photo Credit: Stereo Gum

Dr. Dog has kept a great fan base for the past 10 years with their CSN style harmonies and retrospective take on modern rock. Many enjoyed their previous albums, including this reviewer, because of their analog, archaic style and instrumentation. Their songs get caught in listeners’ heads for days their live show, which I saw in Oct. 2010, bleeds high energy and good times.

Be the Void takes some indie-rock clichés out of their sound, adding in more artistic and musicianship to a foundation of emotionally hard-hitting tracks.

This album follows in the footsteps of the Grateful Dead and The Band all the while staying true to the sounds of the new millennium. Give it a listen; the music will prove it all.

Two men, an American and a Frenchman, walk along a cobblestone path, kicking up an ankle-high cloud of Parisian dust as they go.

The American, dark-haired, five o’clock shadow bearing, 6-foot-tall and wearing a checkered blazer atop a maroon, zip-up hoodie and white, button-up shirt, carries a violin. The Frenchman, a shorter man with darker hair and a goatee carries a high definition video camera slung over his right shoulder.

With perfect posture and stature, the American lifts his violin into position, raises the bow in his right hand and swiftly slides it across the strings, creating a small puff of off-white rosin near his mouth. Like wind rippling the surface of a lily-pad-covered pond, he plays, showing he can give the instrument its own voice.

Without missing a beat, the Frenchman focuses the camera on the first, recording every staccato blip, vibrato sustain and pizzicato pluck of the strings.

Photo Credit: Music Babel

He lowers his violin, holds it like a guitar and begins to strum. Overtop the harmonic accompaniment he whistles like a nightingale and sings about the weather.

People walking down the sidewalk stop and watch the spectacle in amusement. They don’t know that the musician has recorded 16 original albums, played on 53 LPs and has sat in with musicians such as Yo Yo Ma. The other man knows; he did invite him after all.

These men are renowned independent musician Andrew Bird and filmmaker Vincent Moon.

Moon claims to have always had an eye for artistic talent. With brilliant natural scenery and secret locations, each one of his videos show the same qualities of grace and natural wonder that Bird portrays through music.

This scene can be viewed along with 118 more on Moon’s website, http://www.blogotheque.net. This site, created in 2006, has become the site for independent music lovers with a taste for unique live performances.

For the complete collection of videos check out this link:
http://www.blogotheque.net/toutes-les-videos/

All the videos in La Blogotheque have been filmed in random public places, creating a new kind of atmosphere for live music. In one of his finer videos, Moon crams the 10 members of the Grammy award winning Arcade Fire, their instruments – including a viola, violin, acoustic guitar, bass clarinet and a tuba – and two cameramen into an elevator.

These impromptu concerts have been coined as take-away shows. Moon has recorded some of the industry’s best, including classic rock superstars R.E.M, multiple Grammy Award winner Cee Lo Green, Best New Artist winner Bon Iver and Grammy nominated Mumford and Sons to name a few.

Moon continues to videograph the music world like no one else. Each video has a unique distinction. Some show single musicians with an acoustic guitar in a park, barn or dank basement. Others show full bands and all of their equipment performing on top of double-decker buses, in cabins and in warehouses. You never know where the next video will be set.

It would be incredible to witness one of these take-away shows. Moon has filmed all over Europe, South America, Southeast Asia and the United States. Onlookers will never know when or where they could see a mega band being filmed in their local park.

Next time a man follows a violinist with a camera walking down the street watching would be the wisest action.

A man, aged by years of manual labor and a lifetime of stress, smiles while holding an acoustic guitar. He shuffles to the beat of his pinky and ring fingers on his right hand strumming against the lower strings. One look at this just-over-five-foot-tall man wouldn’t show you how deep he has been scarred.

Many musicians draw creativity from emotion. The human experience has inspired works by Bob Dylan, Paul Simon, John Lennon and even local musicians you hear at bars, restaurants and parks.

Vetted Album Art

Inspired by a series of hard times and injustices, Vetted proves to be a social commentary of the struggles of both the many and the few.

“It’s just an album that had to be made,” said Psathas humbly. Death by cancer, failed relationships and even suicide fueled the flaming crusade of lyrics and harmonies.

Psathas attended St. Bonaventure University in 1969 with a music scholarship. His family owned a steak house on Route 417 where a funeral home now sits. This restaurant, formerly known as Paul’s Steak House, saw greats like The Glenn Miller Orchestra and Buddy Rich grace its stage.

Needless to say, Psathas grew up listening to and meeting some of the world’s greatest musicians.

“I once told Buddy Rich to his face that I thought Ringo was a better drummer than he was and all he did was laugh,” said Psathas.

Vetted combines a lifetime of music experience, tough love from critics and horrific events to become musical gold.

The opening track, “Shithole,” calls for a change of venue for more than just physical location. Psathas asks all to be cool, exit our bubble and live in harmony all over the trickling of a beautifully-strummed guitar.

“The Black Dress” follows as a sad reminder of unrequited love, reciting many clichés of living alone.

At this point in the album you can hear the Dylan-style inflictions in his voice and guitar work. Of course many of the tracks include electrified instruments, following suit with Dylan from post-1965 Newport where Bob forced legendary folk musician Pete Seeger into a tirade all because he added electricity to his sound.

Track three on the album separates the folk with a rock-style rumble. When listening to “The Missing Link Rumble” images of a barn dance or old rock juke joint come to mind. The song provokes the feeling to get up and dance or at least sway.

The next highlight, “War of Words” combines modern studio techniques such as reverb and overdubbing with the raw sound of an untouched acoustic guitar. Psathas’s raw voice rips through the graceful rhythm parts, showing us all his idea of injustice in America.

“Gutted” follows, continuing the theme of injustice. This time the track reflects a more personal look, following the idea that you can make your little corner of the world a little better. Psathas says he feels gutted throughout the song but that he has been healed and scarred, showing the listener he can still make a difference.

The album reaches an intermission with a jazz piano track that breaks up the album. “Mose and Monk on French TV” feels like it doesn’t belong despite cool and intricate chord progressions.

Psathas follows the break by adding a string section to the best track on the album. “Remidios the beauty . . . dialog” includes John and Kim Whitney, the director and first chair the Southern Tier Symphony Orchestra. With the two classically trained violinists, the song floats gracefully into the subconscious of the listener, leaving message after message to dwell on.

With the sudden tug of the wheel, Psathas drives the album a different direction with “The Greek Thinker.” The song shows an apparent fun truth but hides a deeper, darker one. “Every time I think I’m right I’ve been wrong.”

The 16-track album finally concludes with “Truth, Justice and the American Way.” This track follows suit with Levon Helm and The Band, keeping a steady rhythm part with the howling “The Night They Drove Old Dixie Down” vocals and feeling.

Vetted could hold itself on its own merits. Psathas combines the darkness with the hope, making this album powerfully convincing. It makes you think of the injustices and relates all to someone they have lost.

Companies looking for passionate and powerful folk music should give this a try, as well as local consumers.

Rating:
Vetted – 4 out of 5 stars.

Patrick Carney finally said what many music lovers and critics have been thinking for decades. Pop music sucks.

Image courtesy of americanrockscene.com

In an interview with Rolling Stone magazine, the drummer of the popular blues-rock duo, The Black Keys, gave his opinion on why rock n’ roll may be reaching its end.

“Rock ‘n’ roll is dying because people became OK with Nickelback being the biggest band in the world. They became OK with the idea that the biggest rock band in the world is always going to be shit (and) therefore you should never try to be the biggest rock band in the world,” said Carney.

The comments were sparked by many comparing the Keys to Nickelback and other popular rock bands.

“Rock ‘n’ roll is the music I feel the most passionately about, and I don’t like to see it fucking ruined and spoon-fed down our throats in this watered-down, post-grunge crap, horrendous shit. When people start lumping us into that kind of shit, it’s like, ‘Fuck you,’ honestly,” added Carney

Nickelback, who charted singles in nine of the last 12 years of Billboard top 200 charts, only responded with a “thanks” to Carney for naming them the biggest band in the world.
In 2010, The Black Keys made it big with their album Brothers. ITunes labeled the album its top of the year and music critics across the world praised the album.

December, 2011 The Black Keys followed up their success with the album El Camino. To many, the album didn’t hit as hard as its predecessor but remained just as popular. Rolling Stone, Spin and many other music mediums couldn’t get enough of the Akron, OH rockers. They became a sensation. But, did people get their music? Carney believes they didn’t.

Along with front man and guitarist Dan Auerbach, the duo has become one of the biggest bands in the country. Auerbach and Carney like the popularity but feel their messages have been misinterpreted.
They don’t want to be the next Nickelback, a band that many say just go through the motions to make money. Many would agree with Carney’s sentiments. No one wants them to be in the same position as Chad Kroeger and friends.

According to many professional musicians, the industry has seen this scenario decade after decade.
Eric Clapton, hall-of-fame rock guitarist, said in his autobiography, “The music scene as I look at it today is little different from when I was growing up. The percentages are roughly the same, 95 percent rubbish, 5 percent pure.”

Many would agree with ol’ slowhand. That search for finding the music that matters makes loving music so much fun.

I would much rather listen to a band with their heart in the music than hear empty sounds that somehow generate millions of dollars. I would hope other music lovers follow suit.

Black Keys Interview -
http://www.rollingstone.com/music/news/cover-story-excerpt-the-black-keys-20120104
Nickelback’s rebuttal
http://www.rollingstone.com/music/news/nickelback-thanks-black-keys-after-insult-in-rolling-stone-20120105