Deer Tick Hometown Promotion

"hung with pride" Photo credit Deer Tick Twit Pic by fan/friend.

Providence is proud of Deer Tick and shows some hometown pride and love. I remember going to Deer Tick's Myspace site a couple of years ago, where John McCauley posted something like help Deer Tick sell out. Today similar sentiments are touted "Any consideration for your McDonalds or Chevy commercial will be greatly appreciated," Deer Tick. For many talented bands today without a national following, the commercial route can be one way to make some dough. Deer Tick has gotten a lucky break with Brian Williams's interview, and I'm happy for them. They deserve the attention and are capitalizing on the ride by utilizing social networks like Facebook and Twitter. I love their updates from the road. Favorite Deer Tick tweet so far: If you'd like to see us play in Reno tonight, please come pick us up in auburn, ca. Radiator exploded. We're the guys on the highway. More hometown love for Deer Tick: Providence rockers are ready for a national breakthrough with Born On Flag Day, as seen here on the cover of Providence Phoenix. Some cool shit from the road. I just love Hank Williams, and so does John McCauley!

Deer Tick, The Felice Brothers; Spiegleworld

Deer Tick won over the mostly Felice Brothers crowd with the first song. You would never think the assembled crowd wasn’t 100% behind them. I loved their CD War Elephant, which displays John McCauley’s incredible gift for songwriting and melody. It has been re-released on a new label. But seeing is believing, and Deer Tick delivers just as much and more live. Deer Tick musicianship is evident. They rocked strong and tight at Spiegleworld. John McCauley’s gritty, raw vocals contrasted with the clear, almost pristine musicianship. A polished rawness was the result, a weird but unexpected dichotomy. This band can shuffle it up acoustically, sing classic-style country tales and tear it up with rock n roll.

Deer Tick’s outstanding lead guitarist Andre Tobiassen, was unleashed at many points during the set. John also has great guitar skills. Chris Ryan on electric / double bass and Dennis Ryan on drums were the perfect accompaniment. Starting strong with “Ashamed” / what a crying shame / what we became /. John McCauley put his metal fingers to string on acoustic guitar and did nice shuffle drumming during “Art isn’t Real (City of Sin).” A killer song and heartfelt lament was “Song about a Man” / tugging at your lips to make you frown / that integrated harmonica and stand up with a bow. For “Little White Lies,” John abandoned his acoustic for a baby blue electric. Baltimore Blues # 1 lead guitar was amazing. Their 10-song set concluded with a fancy 50’s classic and an encore cover of La Bomba. Standing up front next to me were two enthusiastic, newly initiated fans. They were so smitten they asked Dennis Ryan for a drumstick souvenir, and he obliged.

I'm looking forward to a headlining Gig!

The Felice Brothers can wow. 19 songs and counting and counting. They feed off of each other and the audience. Their crazy, rambunctious, loose, sloppy barn stomp combining the guitar, bass, fiddle, accordion, washboard, and drums is unforgettable. The Felice Brothers are in constant motion and rotation. So their show is equally interesting to hear as it is to watch. There were tender moments as well, staged to provoke interest. Especially strong was James Felice on accordion singing “Mary Don’t You Cry” and “Ruby Mae” with the earthy, rough vocal of Ian Felice. Frankie’s Gun was a crowd-pleaser. They introduced two new songs from their upcoming March release. Run Chicken Run was great, and the accordion intro to Coney Island song / here comes the rain pounding on Coney Island /. Song 19 was the best audience participation chant directed by Simone Felice. He was perched on top of his drum kit, directing the crowd, saying, “You must repeat dying people, watch for the signal.” Longest encore... This was exciting. The band's staging area extended to the ledge where our coats and drinks were propped. Things revved up considerably when Deer Tick joined them for what I thought was a grand finale. Little did I know that the Felice batteries just don’t die. I put my camera and notes away, and they played an additional 45 minutes of unbridled music. Seeing The Felice Brothers is like having a hangover without even partaking in one drink. But I was drunk with excess and woke up in a haze singing I put some whiskey into my whiskey. Can’t get this shit out of my head. Flickr Set Spiegleworld

Felice Brothers new video tour Deer Tick

The Felice Brothers US headlining tour with Deer Tick. Now that's the kind of line-up I like! Gritty, homespun Ecstasy.

"FRANKIE'S GUN"

The Felice Brothers "Wonderful Life"mp3 The Felice Brothers Daytrotter live sessions free mp3's Weary Men Rejoice, And Drink (words; Sean Moeller) Deer Tick Daytrotter live sessions free mp3's A countryside Of The Gathered And Scattered And Splintered Wood People (words; Sean Moeller)

Langhorne Slim and The Felice Brothers @ McCarren Pool

The Rain was not going to deter me from seeing Langhorne Slim. Did some quick thinking and brought some garbage bags from the Brooklyn renovation site I was working at earlier in the day. Deertick canceled due to a flight delay, still have yet to see them live but a must-do! The expansive sound of Langhorne Slim and the War Eagles (Malachi DeLorenzo drums and Paul Defiglia Stand-up bass) in an outdoor space were welcome. Relentless touring has amplified Langhorne’s robust voice. His ease and charming manner are felt immediately. Rather than drenched in rain, I was soaked with affection. The soulful grip of his passionate timbre dripped over the wet receptive crowd. They performed an awesome two-for-one combo of “Mary” with “Cut It Down,” a hidden live track on Electric Love letter EP. Also playing “Restless,” “Hello Sunshine,” the great raucous “Set Em Up,” Hummingbird,” and “Diamonds and Gold” from their self-titled release, and the infectious unreleased “We Love the Animals.” "Hummingbird" was a highlight. Unaccompanied, Langhorne was not alone, he had everyone’s attention. Ending the set with “Diamonds and Gold,” the crowd smiled and swayed as the hazy sun peeked through the clouds that felt like a rainbow. Langhorne can charm, and the War Eagles can jump-start any crowd with their tight-quality performance.

I enjoyed The Felice Brothers opening for Bright Eyes at the big expansive Radio City Music Hall, but they are even more engaging close-up. Their homegrown street theater style is much rougher around the edges. I like the communal staging and switching of focus between all the players, including the theatrical antics of drummer Simone Felice. James Felice on accordion is a big presence not to be forgotten. Starting with “Roll on Arte,” Ian Felice’s rough and earthy voice was a gritty delight. “Whiskey in my Whiskey” and “Radio Song” was the warm-up! Craig Farley, fiddle and washboard player, adds jug-band gusto to the mix. Sadly I had to leave early, believe me, this was a necessity, but I can’t get the songs out of my head.

Deer Tick, War Elephant; hard to forget /review

Deer Tick’s debut release War Elephant on Feow Records, is hard to forget. The melodies are countrified confessionals reflecting the lineage of legendary folk, alt-country, grunge, and blues. War Elephant respectively pays homage to the styles and songwriting of yesteryear; Nirvana, Johnny Cash, Hank Williams, and in the vein of Tom Petty, Bright Eyes (alt-country) Two Gallants, to name a few.

The songs feature the stellar songwriting and vocals of John McCauley. With lyrics worth remembering concerning unreciprocated love, romantic notions, self-reflection, self-doubt, and religious reference that bridge a broader discourse. In the songs “Not So Dense,” / now the kids are making models of god in papier mache / and “Christ Jesus,” / its your face I don’t see / he opens the discussion.

McCauley’s worn weathered tobacco-laden voice blends in perfect tandem with his smart lyrical notations. The tone, rawness, and delivery are likened to Kurt Cobain. His words defy his age and are indicative of an old soul.

The quality of Deer Tick's musicianship gives the songs tang and a homespun sound of familiarity. Strongly melding melody-driven finger picking on acoustic guitar, throwback electric (John McCauley), drum brushed snare shuffle and clanging cymbals (Dennis Ryan), dramatic double bass (Chris Ryan), and the violin for romantic and aggressive treatments (Sine Jensen).

Opening with the beautiful “Ashamed,” a classic folk ballad that conjures social commentary; / the eternal testament to how your so animalistic / and / you should have seen how the arches tumbled / they are golden no more / the beguiling chorus rise in angelic contrast as they join McCauley singing / oh oh oh / oh oh oh / oh oh / what a crying shame / what we became /.

The full jug band glory and a two-step rhythm in the songs “Art Isn’t Real (City Of Sin)," “Diamond Rings 2007,” and “These Old Shoes” bring the melody to fruition. Making the upbeat tempo of songs about unrequited love a welcome dichotomy. He declares his lovelorn circumstances inventively… / I know of a city of sin / and that’s the place I want to see you in / romancing, go back to the beginning / and / I’ll stay the whole night through / and I’ll turn from black to blue / I’m choking after you /. “Standing in the threshold” comes on like a grunge storm, building intensity with the bass and electric guitar and plowing through the song's entirety. / you and me / created something special / oh you and me / oh we’re standing at the threshold /. The anguished screams and strained vocals provoke the finality / I fall apart from the inside out / and die…..

“Nevada” is a soft, bittersweet love declaration as violin heart strings accompany McCauley’s voice imploring his love to / stay here and wander beside me / and ending on a sour note. / I spill my gut / if I had your trust / oh, believe me but you leave me crushed /. The haunting “Christ Jesus” is forbidding. The bass, crashing cymbals, and McCauley’s impassioned voice are equally pronounced, creating a jolting resonance.

McCauley shows off his phrasing abilities in a campy cover of an old standard “What Kind Of Fool Am I.” Beginning with a clank snare and cymbal that leads into a Bossa Nova arrangement. It emphasizes the sad but comedic self-deprecating lyrics. / What kind of clown am I / what do I know of life /. The song ends on an optimistic note, cleverly kicking in piano and violins to bring home the ultimate sappy true romantic within. Appropriately closing War Elephant with a hoot.

With not one misstep, all 14 tracks on War Elephant display their influences proudly and lovingly. It is a music assemblage of caliber and a rewarding listening experience.