Langhorne Slim Unplugged at The Rock Star Bar

Langhorne Slim and the War Eagles at the Rock Star Bar

Langhorne Slim and the War Eagles tear it up unplugged at the Rock Star Bar. After performing “I Love To Dance,” technical sound difficulties ensued. Langhorne Slim, Malachi Delorenzo, and Paul Defiglia made a decision to unplug the defunct PA system and go ahead with the show. And so they did…

The supportive crowd quickly took their places on the stage platform and closely packed the surrounding areas. Being close to the band, the crowd assumed the responsibilities of a supporting cast of veteran “War Eagles.”

Together they did a fifteen-song set of old and new material, including encores that didn’t take much prompting. In the song “Checking Out,” the audience weighed in with / I’m going home, I’m coming home / that’s where I’m going / building momentum. During “Restless,” the crowd/ band did their best. Langhorne, as a band leader, reprimanded us like a loving parent. Smiling, he said, “You got to learn the song.”

Crammed together and in it together, Mr. Slim still found space for his convoluted antics. He strutted with his guitar in the confined space, made priceless facial expressions, and sang on a drum set to maximize his voice level. Malachi subdued his usual drumming intensity and picked it up only for effect. Paul lent support on bass, playing some fine solo interludes. With little room to breathe, they never missed a beat.

Tonight sealed my belief in this band’s ability to connect with an audience. They have heart, authenticity, talent, and a love for music performance that sets them apart from other bands. Whether they are opening for the Pogues at Irving Plaza or playing acoustically at the Rockstar Bar, Langhorne Slim knows how to deliver.

This curated night of music at the Rock Star Bar rarely happens in the music scene today. The night's mix of eclectic music styles created an atmosphere that celebrates the diversity of the genre. In between acts, music tracks set a mood with songs by Hank Williams III, Musical Youth, Mongo Joy, and a few awesome recordings of the one-man band Abner Jay.

The night started colorfully with a cover band that did a fine job channeling Janis Joplin. Janis appeared in the form of a man extravagantly dressed to replicate. This was the only band not part of the original lineup but was a fun opening.

Jazz duo Tyler Miller, vocalist, guitar player, and trumpeter Dan Blanketchip played jazz standards. We were treated to tunes like “Saint James Infirmary,” "Dinah," and "Honeysuckle Rose." They exchanged duties throughout the set. The trumpet playing was pristine, while Tyler played guitar with ease and dexterity. His vocals were perfect.

The mood switched gears as the stylish Honne Wells stepped onto the platform and slowly sat with the guitar in hand. He steps, picks, slides, whistles, and sings with a voice that has never seen the light of day. He brings reverence and humor, channeling a slice of Americana with a refreshing new twist.

The time was right for the upbeat original folk styling of Hop Along Queen Ansleis. Her fans gravitated towards her as she began her set with “Spinach Water,” holding a small touring guitar. She glowed and emanated joy as her powerful voice reached a range of high octaves with ease and veracity. Her set was a mix of favorites from her 2005 debut, “Freshman Year,” and new tunes soon to be recorded. She sang an outstanding cover of Hank William's “I’m So Lonesome I Could Cry.” It rang with originality and was so beautifully arranged I almost didn’t recognize it. She is a captivating performer ready for a wider audience.

The crowd was unprepared for the Charm City Drug Band but thoroughly embraced their NY debut performance. This Baltimore collective assembled its instruments on-site. Finding anything that can be banged, rubbed, or hammered at the bar. The night’s set up was a plastic bin, metal piping, wooden dowels, a metal urn, and discarded refrigerated shelving propped up against the back wall of the platform. The improvisational clatter beat and surged organically, creating a beguiling sound. The audience was perked with interest. As the players went into overdrive, so did the PA.

The PA failure led to a delightful accident that propelled Langhorne Slim's impromptu acoustic session. The melding of great musicians was no accident. They were a sampling of one person’s eclectic and passionate taste and, in my opinion, a masterful night of music.

04 /19 / 07 Rock Star Bar lineup curated by: Marlon Ziello
Related articles by Obsession Collection: Langhorne Slim
Hop Along Queen Ansleis
Honne Wells

Rock Star Bar 04 /19/ 2007

Click on picture for Album Link / pictures by Artifact.

Willy Mason at Webster Hall 4 /07 /2007

Willy Mason Webster Hall 4 / 07 / 2007

Willy Mason walked on the stage alone, bent over his guitar, as his signature picking moves and deeply soulful voice started to register. The song "Into Tomorrow" continued as band members Sam Mason on drums, Mike Macky on bass, and Nina Violet on viola and vocals emerged on queue.

Webster hall has a strong sound system but lacks the intimacy of the other venues I’ve seen Willy play. The best show was at the Housing Works Used Book Cafe in Soho, which seats two hundred people. What made that show so special was the three acts shared a common thread, not a common label. It was a curated show.

It is difficult being a support act, especially with the time constraints imposed. It was evident to me that Willy wanted to present as much of the new recording "If The Ocean Gets Rough" as he could. He, unfortunately, sacrificed his typical engaging personal connection with the audience. The music made up for his serious demeanor. Nina Violet stepped in with her lively, upbeat support. Sam Mason bore down, immersed in his drum set.

I watched the attentive and captivated young crowd gazing up at the stage. After the first song, I realized that most were unfamiliar with his music. That was clearly evident when they didn’t recognize "Our Town," a crowd-pleaser that his ravenous British and Irish audiences enjoy. Many were there to see Sondre Lerche, whose music is of another sensibility and genre.

Willy and Nina’s voices worked magic together, and the band presented the recording's diverse texture without all the effects the CD affords. The viola was used effectively in Simple Town, creating a sonic backdrop for the sad and impressive words. "Our Town" rocked as Willy sang my favorite line describing the food offerings during a short prison stay / I got some white bread/ some cheese spread / and some mayonnaise /

After the set, I spoke with two lovely young women who were there to see Sondre Lerche. They were impressed and moved by Willy Mason’s music. I left them as they clutched their freshly bought CDs close to their hearts. It’s nice to see that instant connection. Great music can have that kind of effect.

A must-see / Archived: A live set at KCRW with a short interview, it is very impressive.

Setlist: Into Tomorrow (Oxygen single), We Can Be Strong, When the River Moves On, Save Myself, Simple Town, Our Town (Where the Humans Eat), If The Ocean Gets Rough When The Leave Have Fallen. The other songs off the New CD "If the Ocean Gets Rough."

Album Web Link

Bright Eyes "Cassadaga" Review:

Bright Eyes: “Cassadaga” Review Conor Oberst The Crooner Can Turn a Phrase 

Conor Oberst’s voice, timing and phrasing is at their best in “Cassadaga,” Bright Eyes seventh Full-Length release. I have always felt that Conor Oberst’s phrasing style and lyric delivery could be compared to Frank Sinatra, but in “Cassadaga,” the connection is more evident. He artfully structures words in a frame without sacrificing the timing, while the acute measurement of empty space guides the listener to linger. The emotional weight of his poetic verse is highlighted by the subtle nuance of his singing style.  The songwriting blossoms with inference. It is uncanny how Oberst can attach imagery to thought, creating a pathway between the visual and cerebral cortex. Like: Standing on a doorstep full of nervous butterflies / or / vanish in a thick mist of change /. Utilizing this format, he accentuates the unpredictable nature of his song craft. 

Adding to Conor Oberst’s inspired vocal delivery is the inventive music mixing by Mike Mogis and orchestra arrangements by Nate Walcott. Together they rework the Bright Eyes discography into a polished combination of alt-country styling, digital effects, orchestral lushness, and gorgeous choral flourishes. With outstanding guest appearances throughout, including Dave Rawlings’ signature guitar, the vocals of Rachel Yamagatta, Gillian Welch, Sheri, and Stacy DuPree, Jason Boesel, and M Ward's contributions on “Soul Singer.” 

The Bright Eyes tradition of starting the first track with unusual sound effects like cassette recordings, children reading, keys turning on the car engine, or storytelling is continued in Cassadaga. “Clairaudients (Kill or Be Killed)” opens with a psychic reading, while supernatural orchestration leads into the atmospheric song. It explores the subject of destiny. A destiny is determined by individual choices or, in contrast, beyond the range of control, like in manmade and natural occurrences. This song sets the tonal direction for the entire collection of songs. “Four winds” is a rollicking fiddle-driven fare disseminating a tirade of social, religious, and political epithets and emphasizing the hypocrisies of destiny offerings. Your class, caste, country, sect, name, or tribe / There are people always dying trying to keep them alive /. Here he extols the state of civilization as it repeats history. “The Brakeman Turns My Way” emphasizes self-determination and the desire to search for answers. / It’s an infinite coincidence, but it doesn’t make a plan /. Some people are lucky to have the opportunity to change their fate and level out. The paradox is presented cleverly in the line / People snuffed out in the brutal rain /. The dichotomy is forcefully clear as the pulsating strumming and forceful rock/country styling take hold. The fateful direction unfolds with “Classic Cars” as memory awakens to recall a passing love affair / like two quaint ships in the night / She leaves him with these thoughtful words / everything is a cycle / you’ve got to let it come to you / And when it does you’ll know what to do /. The wise offering guides him and ultimately influences his life. In “Make a Plan To Love Me,” Conor’s crooning shines as sentimental strings pipe in on queue, and the lavish vocals of Rachel Yamagata are added to dress this romantic escapade. As they sing during the chorus / make a plan to love me / make a plan to love me sometime soon /. The saddest and most heart-wrenching song, “No One Would Riot For Less,” is circa Bright Eyes at its best. As he sings / So love me now / Hell is coming / Kiss my mouth Hell is here /. And / Little soldier / little insect / you know war it has no heart / it will kill you in the sunshine or happily in the dark /. This is where the forbidding future, impending doom, and love collide. The last song, “Lime Tree,” starts with simple guitar plucks and Conor’s voice.

At the end of the second verse, string arrangements exemplify the heartfelt words. Rachel Yamagata and Stacey Dupree's choral affectations are sublime, cascading the song to breathtaking levels. The song ends dramatically as he takes a major step into the world. Stepping gingerly into his destiny. / I took my shoes and walked into the woods / I felt lost and found with every step I took. Turning a phrase and dreaming big dreams, Bright Eyes has established their destiny with every track on this stunning recording. Label: Saddle Creek Records Artwork and design by Zack Nipper Utilizing the invention of a focal decoder, viewers can scan the art and see encrypted images and messages. Focal Decoder by www.3dimages.co.uk patent no.2315240 "Four Winds" Review / Artifact

Honne Wells with special guest Gregory Jamie At Tonic

Honne Wells with special guest Gregory Jamie from O’Death at Tonic.

Dolled up in suit and silk bowtie it is hard to look away, when Honne Wells steps on the stage. Then he speaks and takes the audience off guard, as they lean in to hear him speak. With an unusually deep range he intertwines tall tales that lead to song.

Joining Honne Wells on stage was Gregory Jamie lead singer and guitarist of the band O’Death. Honne Wells voice is a deep guttural baritone in contrast Gregory Jamie has a high intense nasal voice. While the disparity is startling and distinctive, their shared sensibilities about music is what makes the pairing so extraordinary.

They both embrace the roots of Americana and use that platform, as a vehicle to transform music. What evolves is inspiration, and collaboration meant to be fostered.

Donning two guitars, a banjo, some slides, tambourine and a metal sheet. The gentleman played, sang and two stepped in succession.” Holler At Da Holy” was very effective, because it capitalized on just the voices and the step. In-between Honne played a nice instrumental “Dram From A Dog”. The last song was a bonus “George P. Lennin Blvd.” about dirty water. Honne’s foot tapping, progressed into leg slammin, and the atmosphere became edgy and immediate as the pace thickened.

Witnessing this pairing was a highlight in my quest to find great music.

Set List
Oh-Literate Man Blues
The Seed That Ne're Got Sewn
Been Licken
Dram From a Dog Holler At Da Holy
George P. Lennin Blvd.

Web Album Link show pictures by Artifact

Cake Shop /Illinois,Trainwreck Riders and Peasant

Cake Shop March 26th, 2007
Illinois /Trainwreck Riders / Peasant, AKA Damien Derose

The Cake Shop is a venue on the lower east side. Entering at street level and then negotiating a steep stairway to a dark basement, it is hard to imagine the caliber of the music that unfolded during the evening.
I was thrilled to see Trainwreck Riders from San Francisco. The music can be described as hardcore cowboy punk with alt-country twang. Immediately I knew I was hearing an accomplished group of musicians. The crowd shook to the driving force of the engine that could. The music slowed down to capture the rooted vocals of Pete Fraudenfelder. It came back furiously kicking up dirt, descending on the audience, and leaving us coming up for air. The distant guitar passages by Andrew Kerwin sounded like echoes from a deserted town. The musicianship is apparent but does not sacrifice the essence of their raw live sound.

Illinois from Bucks County, Pennsylvania, makes a ruckus with their banjo-laden songs, great vocal harmonies, and exceptional drumming. Using other traditional rock instruments and the telephone distortion invention, they create a rock force in the higher order. Chris Archibald is quite the frontman, he has charisma. His verbal antics are natural, unrehearsed, and entertaining.

Standing up close and watching Illinois professionally handle the logistics of the small stage was eye-opening. They seamlessly dealt with the mic not working and becoming detached, tangled in the wiring and the low ceiling. Because of all these issues, the fantastic harmonies that usually accompany Chris Archibold's vocals were lost. The first few songs of the set were the strongest and the most receptive to the small setting. Their sound calls for a larger and better sound system. With all that aside, Illinois put on a great show to an appreciative audience in a packed room.

Closing the rollicking show, with guitar in hand, was Peasant. He describes his band on myspace as "just one lowly Peasant." This 

description rang true last night as he stepped onto the stage alone. We were treated to a six-song set of new materials. Adding a nice touch was the song he played with the harmonica. His echoing tenor voice captivated me and the others that gathered closely around him for his quiet, moving set. His voice has unique charms that capture the beauty and sincerity of his songwriting. The songs are thoughtful and sometimes sad about love lost and found. His set left me warm and smiling.

Web Album Link show pictures by Artifact

WILLY MASON: If The Ocean Gets Rough [A Voice With Dignity]

WILLY MASON
2007 Full-length “If The Ocean Gets Rough” review; a fan's perspective

Willy Mason sings strongly with clarity and purpose in his second release, “If the Ocean Gets Rough.” Following the well-received 2005 debut “Where the Humans Eat, “Willy has honed his writing skill and stepped up his melodic verse.

The music is two steps up from Low fi. Each instrument, including the guitar, is finely mixed as a backdrop to the vocals. Sloppy determined drumming marches on for the tired soldier and beats unsteadily for the uncertain future. The viola is subtly woven into the blend, while female harmonies are lovely but not clichéd. What is a standout are the stellar time changes and the delightful bonus of finding a song within a song.

Willy’s voice is clearly up front and strong, it is a voice with dignity, adding weight to his well-crafted songs. Slow and steady, his words provoke an intentioned platform. He doesn’t yell, the clarity of the message is heard as he quietly screams his potent lyrics.

He carefully weaves personal introspective conflict while emphasizing broader social, political, and world issues. Longing to be loved, he branches out into the world, leaving and remembering the familiar, the nest, the broken home. In “Save Myself,” he reaches out for help to save him from the / vultures that copyright the word free / and other evils awaiting. He longs for unconditional love from family, he asks his mother in the song “When the River Moves On” / Will you hold on to what is gone / Will you hold the rock / when the river moves on/ as he claims / I’ve got to leave home to be free /.  

Simple things aren’t as simple anymore / death is easy to ignore when its numbers are on a screen /. Stated so flawlessly in “Simple Town.” The Simple town is sonically lonely, with an echo-like quality. The rain comes down under the simple sky, and life goes on, but secrets, history, and the past linger. In the song “The End of the Race,” he desperately sings / I see the ocean rolling past / I see the grass / I see the grass / I see it swallow up the past /. The past leaves scars and imprints that even the ocean can’t wash away. It churns it up to face reality.

The nation that is broken, the broken home, the broken self. He asks can they be fixed? Maybe, if we can / set our demons free / and /cut our secrets free /. Maybe we pay less attention to things we don't need and more to non-material things we long for, like the love of a father. As the son cries after his father's death / daddy what was it you really wanted / in the song “Tomorrow”.

He is learning to walk and negotiate the world. Sometimes he stumbles as unexpected conflicts or decisions appear like hot coals underfoot, making walking difficult. Willy knows the world is a tough place filled with secrets and regrets. And he asks…..If the ocean gets rough / would you help me sing / would it help to sing……….. It always helps me to hear him sing, especially when the riptide’s got me down.

"If the Ocean Gets Rough" 2007 Astralwerks

Willy Mason MYSPACE

Bright Eyes "Four Winds" My Expectation Fulfilled

Bright Eyes
"Four Winds" single Saddle Creek Records

I heard Conor Oberst's voice 6 years ago, I was forty eight. A burned mix of Bright Eyes songs, ended up in my car CD player. It included the groups first recordings and tracks from"Fevers and Mirrors". The voice, the lyrics and the music had an overwhelming effect on me.
I just lost it. It was very emotional reaction. The music had awakened something in me. My passion for music was dormant until that moment. It changed my life and I am grateful.

Every year since that time, I have looked forward to Bright Eyes' new releases, with excitement and anticipation. This year is no exception. Buying the CD is part of the experience, opening it and looking at the artwork and lyric pages. I make sure I put time aside to listen and read. I will listen over and over. I never get tired of it. Oberst's words are always layered with multiple inference. This is never an easy listening experience. I like to work for art!

I am excited by the sound and direction of these recordings. The music is similar to the 2005 release "I'm Wide Awake It's Morning" continuing with it’s alt country and rollicking folk flair. There is a difference, the production and orchestration are as layered as the lyrical content, mixing experimental effects that add an unexpected texture to the genre.The recordings have exceptional instrumentals including spectacular guitar riffs, awesome vocal harmonies and digital niceties like the repetition of the walking boots in the song "Tourist Trap". There are outstanding guest appearances from Dave Rawlings, Ben kweller and M. Ward, to name a few.

The alt country, violin driven "Four Winds" is the first track. The determined vocals emphasize the volatile lyrics .... / The Bible is blind /the Torah is deaf /the Quar'an is mute / if you buried them all together / you'd get close to the truth /. Religion turns away from the poor, displaced and forgotten. As another abandoned soul is remembered on a graffiti laden wall in a /chemical swirl/.

"Cartoon Blues" describes the abyss of depression as / a tumor we could not remove / an old friend / a constant / the blues / The music intensifies swept up in depression as the piano hammers out the demons. The strange sound effects express the lonely world of the blues. Then it breaks / I sweep up my broken spell /

I marvel at the lyrics. Like in "Tourist Trap", how the concrete city is depicted..../ The traffic is like a pack of dogs /. The title "Stray Dog Freedom" is thought provoking. I like the way the juxtaposition of words and meaning are intertwined. Opening the song with.... /There is a skinny dog/in a dirty parking lot /, these personifications bring to mind a broader context.

From the slow moving eerie gem "Smoke Without Fire" with M. Ward, to the beautiful orchestration and chorus, draping "Reinvent The Wheel", this six song collection are the appetizers, before the arrival of the full length main course, "Cassadaga". "Four Winds" are a welcome addition to my cherished and growing Bright Eyes collection.

Joannna Newsom, Thank You, Will Oldham

Thank you, Will Oldham, for mentoring art "Ys" 2006 Full-Length Sophomore Release
When I first heard JOANNA NEWSOM, I really couldn't verbalize what it was about her voice and sound that pulled me in. It was very foreign to me, but I liked it. Will Herme an astute music reviewer on NPR expressed it so well. He made me think about it in a new way. He said; ”first things first, Joanna Newsom has a very strange singing voice, but this is understandable. When your instrument is a harp you need to create some contrast so that your music doesn’t sound like a made-for-TV movie about guardian angels.

In 2004 Joanna Newsom, just 22, released her freshman CD “The Milk-Eyed Mender” on the independent label Drag City with the help and encouragement of Will Oldham. He heard her play and decided to take her on tour with him as an opening act. I am grateful that he offered his support to a groundbreaking new talent.

The early success and critically acclaimed effort of her first release gave her the capital to collaborate with members of the music community that she could only dream of working with. Orchestration and arrangements by Van Dyke Park, production by Steve Albini (Nirvana “In Utero” ), and mixing by Jim O’Rourke (Wilco / “Yankee Hotel Foxtrot“). The "Ys" CD is the magnificent result of that endeavor.

This CD appeals to my pleasure in taking in the gestalt of music. There are five separate movements, and each clock lasts ten minutes or longer. This dreamlike symphony of sound is not for the casual listener. Harp Interludes, sweeping orchestral sessions, and long lyrical dialogues. In track one, “Emily,” Joanna sings, “the meteorite is the source of the light, and the meteor is just what we see” as the orchestra and harp play in the background like stars twinkling in the celestial heavens. Her voice is so alive. It has an urgency and live feel, while the orchestration and production is lush and fine-tuned, again contrasts work here.

Her voice is prominent and the most notable instrument in all five pieces. Her voice shows a diverse quality and range. Sometimes squeaky and hoarse, frenzied and quiet, it can gently or violently roll to higher octaves and softly flutter like butterfly wings. The nature of her voice can create visual pictures that often coincide with the lyrics. Because she is playing a harp and singing, it sounds like she is plucking her voice. This tends to shorten vowels and consonants. Like in track two, “Monkey and Bear,” she says in a four-note pluck / Oh my darling / there’s a place for us./

Newsom writes captivating narratives referencing the natural world of physical science. Unlike nature writers who write about personal observations, Newsom uses her natural references to create allegoric passages. Every lyrical sequence awakens the imagination of the listener to pay attention. She combines words in a delightful and unexpected way, such as: like the water was kneading so neatly / or / the sky is gaping and yawning / and / here is my hand, where is your paw. This creative approach allows her to create broad and sweeping metaphors about love, pain, and passion.

I love every track, but the stand out for me is “Only Skin”. This is the longest movement and the most diverse. The music builds to an exhilarating frenzied pace and culminates with additional voice tracks of Bill Callahan’s (Smog) deep talking, woven into Joanna’s three-part harmonies. Again the contrast of the voices is so effective, unusual, and satisfying.

Yes, I have listened obsessively. Hearing “Ys,” I felt like the wind blew and brought a whirlwind of sound to my ears that I had never heard before. I am thankful for her music and ability to take chances so art can flourish and evolve. Thank you, Joanna, and thank you, Will Oldham.

"Ys" Joanna Newsom 2006 Full Length
29-page liner notes / beautiful painting by Benjamin A. Vierling

Wheatie Mattiasich, Folklore Goddess

Wheatie Mattiasich 
2006 Full-Length CD "Slothful Croonings."

In an old bluesy style akin to Americana, Wheatie references dirty water, old clothes, worn-out threads, hunger, begging, and poverty. The underbelly of the seventeen low-fi tracks portrays the disparity between the rich and poor.

Wheatie writes and sings insightful folk fables. Her verse is reminiscent of Mother Goose because the sad and tortured content of the stories is revealed within the rhymes. Phrasing like in the song "Kuna Kuna" Look sad in upper town / you know all the good spots darling / you know who’s got the heavy pockets / the only place in town you know where guilt is felt real hard. Or when she writes about simple things like..... shall we go to lunch? / Shall we eat our beans...... or Shall we climb up the trees / even if we skin our knees… Poverty limits choices but not imagination and the simplicity of play.

She sings softly, slowly. The sound of her voice is rich and full. Wheatie sings out her lines and lures the listener with her alluring voice and simple guitar picking. She adds welcoming da,da,da and backup vocals to many tracks.

Her fables provoke thoughtful social commentary and present moral dilemmas because she chooses words carefully. The ones with the pale threads will tell tell tell you where they've been / and / don't step foot in the dirty water, don't fall in the dirty water who knows what they all have seen /.... What should I do if the roof cave through / swim like a trout and take off your shoes /........ We often don't see poverty, we turn away, change the channel, ignore and walk by.

I love the song "Down In My Shoes," in which she describes all aspects of dirt and mud / That old dirt is good for washing fears /. "Break the Window" is a haunting five-minute track with provocative repetitive words that is very engaging.

Watching her live she is quiet, slow, and captivating. Her persona is in sharp contrast to our collective hyper-attention span. Quiet and thoughtful, and it is refreshingly different!

“Slothful Croonings” 2006 Full Length:
Included: Beautiful cover art by Artist Molly O’connell and a full sheet of liner notes