O'DEATH re-release show at Luna Lounge

The Luna Lounge is a nice square venue with high ceilings and a wide stage. It was the perfect venue for the celebration of o’death’s album “Head Home,” re-released on Ernest Jenning Records, a NY label. Joining them for the festivities was the opener Reverend Peyton’s Big Damn Band from Indiana. This was the Reverend Peyton’s Big Damn Band’s first venture to New York, and they said they were a little apprehensive. Well, they were welcomed with open arms, cheers, laughter, and a very heartfelt and enthusiastic encore. The band performed a rip-roaring set of Mississippi Delta blues, catapulting that genre to exemplary levels.

The Reverend Peyton bought three beautiful vintage acoustics for the stage. He fingerpicks and slides simultaneously and uses unusual strumming patterns to create melody and bass drive while singing joyously. He is a guitar virtuoso. It was a joy to watch him smile as he played the guitar as close to his face and ears as possible to hear the beauty of his favorite friend.

Reverend Peyton is a big burly, bearded man with a broad voice. Joining him on the stage was his wife, Washboard Breezy Peyton. Wearing special gloves to hold her metal picks to strum. The washboard provided wonderful zing to the percussion. She is buxom, and her stage presence is refreshingly different. Let's just say her formidable chest size moves with each strum of the washboard, and her facial expressions are animated. Jayme Peyton, the Reverend’s brother, kept the forceful high tin beat with just a snare drum.

The stories in-between song selection was a hoot. Introducing the song “My Cousin’s On Cops” was a great story and a true one. The song got the attention of the Jerry Springer show, and the Big Damn Band was asked to perform it on the show. They, unfortunately, couldn't play that song on air because “Cops” was on a competing network in that time slot. But we heard it in all its glory. Taking out a new guitar, he stated, “I got to warm up the guitar,” which he did immediately. We were also treated to a song about his drunken father, “My Old Man Boogie,” the awesome “Train Song,” a gospel number, and ending, “We Shall Not Be Moved,” a cover protest song Fantastic.

O’death took the stage and the band played through an exhilarating, dynamic sixteen-song set. Leaving the audience in a state of euphoria and then exhaustion. During the set, the audience became enthralled in a ritualistic dance, their bodies limber and letting go completely to the rollicking, kick-ass, and thunderous bluegrass and velocity-driven Appalachian mountain music.

This band is not genre specific. To expand their music, they explore various distinct genres, then edit to synthesize. It has familiar qualities. There are distinct connections to folk roots from eastern European cultures and classic connections like The Band and Neil Young. The recognizable sounds, mixed with the unexpected, create a discourse between the music, past to present. They combine the guitar, bass, banjo, drum, fiddle, and French horn by Dan Sagar, along with the unique vocal styling of Gregory Jamie.

The sound was not deafening and not overbearing like punk or rock that, sometimes sacrifices the voices and instruments for effect. o'death’s sound was loud, but I could still hear the subtlety of the instruments. The drummer David Rogers-Berry is beyond animated. Driving the rhythms to levels of velocity that ebb and flow unexpectedly. The fiddle player Bob Pycior is also the driving force of sound and percussion. His playing is uniquely varied from classical sweeping vignettes to countrified fiddling, with fast and furious bowing that breaks mock speed. The set started with “Down To Rest,” with a banjo intro by Gabe Darling. The entire audience participated in singing / OH BABY / down to rest /. During the song “O Lee O” Gregory Jamie rose from his seat to speak in tongues, making strange garbled sounds. “Only Daughter” was spectacular live. “Adelita,” featuring fiddle, was aided by the audience singing /head home / head home /. Their voices rose like a chanting chorus. Jamie Gregory’s voice is always upfront, but the unison of all the voices added depth and intensity to the live performance.

I loved the unreleased song they played toward the middle of the set. It started with slow polka timing emphasizing the bass playing of Jessie Newman and highlighting the classical rendering of the fiddle. Without warning, the band played so fast. Beyond fast. It was at that point I lost it. When the song was over, I had to hold on to the edge of the stage to regain my equilibrium. By the thirteenth song, the audience negotiated a three-song encore ending with Rise UP, a big friendly finale. The band stood clapping, chanting, and basically thanking the audience and well-wishers for coming to their CD release show.

This is the kind of band that can go beyond the song. I feel the musicianship could be taken to a level of improvisation, o'death could handle this challenge successfully. I don’t mean a jam band experience, but more of an artistic expression. They could explore live their avant-garde wanderings, almost like an outsider artist whose vision has to be realized. 
Ernest Jenning Records(US)

free daytrotter sessions of o'deat

Two Gallants The Scerery of Farewell / Review

The Two Gallants new EP release entitled “The Scenery Of Farewell” is an outstanding acoustic offering. The five tracks exemplify folk music with a hard edge and a soulful timbre. They’ve successfully woven lyrical ballads with a sound that has weight and resonance.

Adam Stephens raspy worn vocals and astute harmonica playing, cries and bends to reach emotional heights. He boldly finger picks the guitar, while Tyson Vogel lends percussion elements and sings in a softer and higher vocal range. Adding to the mix are the violin, cello, stand up bass and piano passages that fill the memorable melodies.

I love the strong acoustic quality of these recordings. The songs were produced and recorded on tape by Alex Newport. This required several live takes to arrive at the right feel, rather than piecing together and editing parts. The end result is a very organic minimal sound.

The writing style is indicative of oral histories written in the first person. The song structure opens up avenues for the listener, using poetic lyrical phrasing and a variety of reference points.

The first track “Seems Like Home To Me” is a tour de force, capitalizing on the vocals of the two members. The song starts off with the Two Gallants singing in unison. Then in just one passage Stephens’ sings alone deriving an affecting rendering of the lyrics. This song about longing to be set free, proclaims / baby let your light shine on me / when I’m lost on the road / you know you can set me free / you can ease my love /. As the song builds the forceful steady beat of the bass drum is added leading to the songs crescendo, a rich and glorious chorus declaring / I’ve been gone so long / it seems like home to me /.

“Lady” starts out slowly with guitar strumming, as an aging man struggles over being / too busy running out of time /. He thinks about his regrets and worries over his personal troubles while comparing them to others. Thus the weaving of contrasts… / something reeks of heaven beneath the highway where the hobos sleep / where the hobos sleep / and I laugh about the pains I keep /.

The emotional description of despair in “Up the Country” works because the heartbreaking words are perceived through the instruments. Blending the harmonica, violin and cello to hauntingly pause, as if to sob. He proclaims / now there are criminals in my head that lead me to disgrace / so lost I best not be found /. The sadness seeps in and he laments / my tongue no longer tastes / and states / not sure how long I’ll stick around /.

The soulful harmonica plays in “All Your Faithless Loyalties” as the song starts with the opening phrase / let this be are last goodbye /. Describing the tentative nature of breaking up, / I’ve known lonesome things you can’t come back from /. Realizing that the inevitable result will be… / I know we’ll be strangers in the end /. The choral segments sung beautifully by Vogel, reflects the weariness of in-decision as time goes by singing / oh oh oh oh oooh.

Ending the collection with “Linger On” The piano, violin and harmonica intertwine and swell to present the essence of lingering thoughts about the end of a long and complicated relationship. Stephens' sings / I know I never meant you any harm / the suffocating shelter of your arms / if I did you wrong / It wasn’t me, but you who wrote this song / linger on / linger on /… PLEASE….

This evolved collection of songs is a welcome addition to the growing discography of this young band. It does linger. Their follow up will be a full-length release due out in September of this year. It is an electric session recorded again with the help of Alex Newport. I look forward to their next offering.

Recorded on tape by Alex Newport at Hyde Street Studios in San Francisco.
Featured: Jackie Perez Gratz on cello, Anton Patzner on the violin and Chico Tunney on the upright bass. Artwork was laid out by: Mr. Maust of the cold war kids. The Front photo by: Wignall and back photo by Mr. Jakie Peanuts Snavely.

Track listing: 1. Seems like home to me 2. Lady 3. Up the country 4. All your faithless loyalties 5. Linger on

Label: Saddle Creek Records purchase CD

Two Gallants myspace

"Seems Like Home To Me" mp3

Benjamin Verdery performs at The Monkey

The Monkey is a new Manhattan showcase venue that exemplifies sound quality and presents music the way it should be heard.

On Thursday night May 17th , a world-acclaimed classical guitarist and composer Benjamin Verdery performed an engrossing hour-long set. Benjamin donated his time to raise funds for a non-profit called “Arts in Action a Visual Art Program”, an after school art enrichment program. Adorning the space was the children’s beautiful artwork that spoke volumes for the program and its director Angela Tripi-Weiss.

Last year I saw Benjamin perform at Carnegie Hall with Andy Summers of “The Police”. They played a commissioned work by Igram Marshall composed specifically for classical and electric guitar and backed by the American Symphony Orchestra. Andy and Ben continue their collaboration and have recorded a new instrumental album, "At First You Build a Cloud," soon to be released.

Verdery is always spectacular to hear but tonight was a special treat. In this venue the sound was so exceptional that the nuance of every guitar sound, like the bending of a string, harmonics and chopsticks slides on nylon was heard with clarity and subtlety. To hear an instrument the way a performer intends it to be heard is a tremendous opportunity for the listener.

His first selection for the evening was an original arrangement of Jimmy Hendrix classics; Ezy Rider, Little Wing and Purple Haze performed in three movements. Verdery reworked each signature song starting with key identifiable lead in grooves and extending, repeating, layering and reconstructing those components. This selective dialogue was a mark of respect that honors the music of Hendrix.

The original composition “Be Kind All The Time” featured an amplified classical guitar that corresponded with a digital delay system. A digital sound expert did the programming in real time. This created a surround sound as the prior styling heard up front resonated in re verb from the back. Ben’s collaboration with himself became quite challenging, but heard with ease.

The Classic The Blue Danube by Johan Strauss was complex and familiar, and it sounded wonderful.

Benjamin Verdery has a close personal relationship with his guitar. For 40 years he has practiced four to five hours a day. At the Monkey that intimacy was shared with the audience.

Twelve flights up the elevator to the forty capacity room. The space has high ceilings equipped with acoustic ceiling tiles, a reasonably sized raised stage. A small loft area is set up for sound and video production. Behind the stage are large windows that frame two water towers in the foreground and the New York City skyline in the distance.

Dominick Frasco is responsible for creating The Monkey. He is also an accomplished classically trained guitarist. His mission is to create a showcase venue equipped with surround sound giving musicians an opportunity to have control of how their music is presented and heard. The musician can take charge of every aspect from the pricing, sound, promotion and visual effects.
The Monkey. What a concept
"Branches" buy new Benjamin Verdery LP
Web Album Link

I Found Art In Chelsea

Whenever I go to galleries in Chelsea to look at art, I am usually disappointed. Art, I mean good art, is hard to find. So on Sunday, May 5th, I surprisingly found art in Chelsea at the Perry Rubenstein Gallery.

The new work of South African artist Robin Rhode is in all three of the gallery's spaces. The works of video, photographic work, a 16-millimeter film, performance art, and sculptures using everyday materials are visually provocative and cerebrally stimulating.

While the work represents the artist's personal and autobiographical references, it effectively creates a dialogue about the broader culture of ideas.

He expands two-dimensional space by drawing elements into a background with which he or others interact. He then documents those interactions in photographs and film. By doing so, he creates a fourth dimension in the mind. It is a clever illusion further developed by the work's title.

I highly recommend seeing this show.
New York Times Article
Art Cal
May 5th to June 23rd

PA Bands Bus Trip To The Bitter End

PA bands Bus trip to The Bitter End
Line up: France on Fire, Downtown Harvest, Drink Up Buttercup

Booking a bus for three PA bands and their fans to a NY venue is a fun and creative idea. This was a love fest transplanted to The Bitter End.

I came to the Venue to see a young band from Bucks County PA called Drink Up Buttercup. I heard them play on The Indie Café, a small college radio station on the Internet. I was tuning in to hear my favorite Peasant and was taken off guard listening to Drink Up Buttercup's raw energy and experimental sound. It translated so well in virtual space.

France on Fire from Bucks County PA was first of the three to play. The band never missed a beat and seamlessly and joylessly played one song after another. They have great harmonies and catchy choruses. The crowd enthusiastically sang along. They add percussion, keyboards maracas, lots of clapping and use the Kazoo as a serious instrument. France On Fire are fun, full of love and infectious.


Downtown Harvest came on and the venue seemed to expand with patrons. This is not the kind of music I typically listen to or go out to see, but this is a very talented group of accomplished musicians. Fusing melodic rock, jazz, funk, hip hop and dance beats successfully. With The Beatles like harmonies, and connections to the music of Sly and The Family Stone, Beck, The Red Hot Chilli Peppers and The Meters they create a classic association. While these references can be found, It's the merging of all these styles that forge originality.


The drummer Christopher C, Wood is a savant. He can switch styles and beats dramatically and his vocal styling is low, raw and distinctive. The lead guitarist and vocalist Larry Thomas Moore has a higher register that is great for harmonies and vocals. Frank Ewing the saxophonist vocalist and keyboard player adds the unique funky zest that takes the band to a different level. Bobby Cahill plays the bass and switches gear as the tone changes from groove to harmony. Downtown Harvest is ready for success on a broader commercial scale. Their versatility is a tribute to their six years playing together.

The young musicians I came to see were attentively listening to The Downtown Harvest’s set. They looked a little anxious and so was I. It is hard to play, following such an accomplished group.

Drink Up Buttercup came on stage, bringing with them an assortment of strange instruments. One large metal garbage pan, stumpf fiddle, maracas, an acoustic guitar with duct tape over the hollow to create a muffled sound, tiny Casio keyboard, a tubular instrument called the melodica and distortion and delay pedal. Then there was the usual; drums, keyboard, bass.

Well in an instant the unbridled energy and fun-loving spirit of this young band came to life. James Harvey the steady vocalist and guitar player enthusiastically leads as Farzad Houshiarnejad and Ben Money play and change instruments as fast as a blink of an eye. Mike Cammarata keeps the beat up with drums and auxiliary percussion. Sing along, shaky percussion and bells, crazy beats, theatrical acrobatics with instruments in tow, shape their circus like commotion.

James Harvey’s voice is strong and authoritative but to my surprise he is an opera singer. He is classically trained and when he lets go it is a treasured delight. As his voice travels up and down the band picks up the pulse.

This is a newly formed band with James Harvey having the most experience formally of Playwright. They are just getting started and only have demos out. Playing to a supportive crowd in Doylestown PA gives them the opportunity to hone their craft with supportive fans. At some point they have to venture out to the cold hard world. I think they will get a warm welcome.

web Album link

One Man Band Obsessions / Bird Man in Roma & Abner Jay

Even better quality video here Bird Man

Abner Jay - Bring ...

Promoting Independent Music

Promoting Independent Music / Ten Suggestions

When I started this Blog in June of last year my intentions were to feature and write about music that “I Can’t Get Enough Of”. My original concept has not changed. What has occurred is my music palette has expanded. I continue to be passionate about the music I’ve written about. Fickle is not part of my vocabulary.

My quest to understand how the independent music market is promoted via the Internet continues. My goal has been to learn about how it is utilized to promote great music.

I listen to mostly independents and their situation is unique. A band can have good work ethic and talent, but that does not mean people will respond to their music or find them. As a serious career choice a bands survival depends on people listening, going to shows, buying CD's, purchasing merchandise and then spreading the music around in as many ways possible.

Suggestions for bands and singer/songwriters to think about:

1. Creating a band name that can be easily found on the Internet. If you have already established a non-researchable name, explore alternatives to help people find you. Be creative.

2. Support the Bloggers, Podcasters, Vloggers and On-line Communities that you respect by linking them to your site. They are and will be an important part of your future.
3. Align yourself with the artistic community: illustrators, graphic designers, photographers, filmmakers, video artists and writers. Everybody needs an opportunity to start somewhere. You are all at the beginnings of your careers, so exposure for all is good. The art of bartering and sharing benefits everybody.

4. Create your own culture. Working outside the mainstream can develop into something that benefits many and broadens opportunities.

5. Thank people that help you along the way. This should not be awkward. The relationships you foster will be there for you in the future. As you develop so do they. Don’t make the assumption that they are not important or not necessary, fans included.

6. Arrange that someone video tape your shows and take pictures that you can share. This naturally occurs for many bands, but for newcomers just getting to the venue and booking shows is hard enough. This detail is important. It is self-promotion but can be done without appearing self-congratulatory.

7. Create your own band philosophy will help you focus and be the focal point of how you want to present yourself.

8. Elicit fans and friends to work for free. They will make buttons, fan sites, websites, silkscreen tee shirts, put out flyers, sponsor shows, write copy, design promotional material, and do a creative video. Make sure the people you work with share your sensibilities and philosophy.

9. Collaborate with other musicians. This will broaden your world and audience.

10. It never hurts to ask.

Comment and Add your own suggestions to the list.

The Problem With Music Steve Albini

Ramona Cordova "The Boy Who Floated Freely" review

Ramóna Córdova
"The Boy Who Floated Freely"

After following Ramón Córdova’s music virtual style for most of this year, I was thrilled to purchase the CD "The Boy Who Floated Freely". I had a few brief conversations via myspace, watched his touring on youtube and enjoyed his escapades with The Big Purple Van Club. Ramón has been playing in Europe for most of the year, had a brief US winter tour and is currently in Asia. He gets around.

This CD took my breath away. I was deeply moved. Each glorious low fi track is rich with sincerity and tenderness. Ramón's soft tenor reaches high androgynous octaves. Playing skillfully a nylon string guitar in most of the recordings, he weaves clapping, walking feet, tambourine, organ, cello, accordion and birds chirping. All of these elements create a charming, quirky and imaginative component.

The CD presents a lyrical narrative that portrays life’s hardships, disappointments and joy. Revealing a philosophical openness to life that welcomes happiness despite recollecting the residual affect of pain.

Every song has a lead-in that invites the listener to linger. The melodious journey unfolds beginning with a chirping bird on the first introductory track. The Song “The Givers Reply” proceeds with an organ and two verses. Suddenly the unexpected sound of an antique twister noisemaker leads the rinky-dink orchestra of pots and pans to create a joyous ruckus. / I will shout out to the sky / and I'll sing along my little songs / to help me move the day along /

“Heavy On My Head” is a confessional song with poignant words / what I couldn’t ask with my mouth / and sadly / I was raised with hands / I pushed through some pad lock doors / the lyrics and delivery are penetrating.

The saddest most revealing song is “Brother” where he forgives his brother who shares the painful memory of their father’s neglect and abandonment. His brother chooses a different path that creates distance between them / you decided to fight like our father/ you decided to leave like our father. But he tells his brother of his regrets that / Underneath the lies I breathe / I know I mean the most lovely thing /.

Ramon expresses the beauty of the sunlight on the trees, a simple walk with a friend, paper airplanes and love. He gently paints a magical picture of a music landscape of unexpected animated sounds that capture the imagination and move the heart.

ECA (US) Clapping Music (FR) Sleeping Star (IT)
Buy: The Boy Who Floated Freely
"The Givers Reply" Video premiered on MTV Europe
Spectacular Cover Art: John Heron

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.