Forever Young gets you singing and dancing! Puts those Neil Young songs in your head to linger long after the show! The talent of FIVE AWARD WINNING SINGER-SONGWRITERS and an AWARD WINNING BAND channeling the harmonies of CSNY and the instrumentation of Neil Young’s band’s: Crazy Horse, Buffalo Springfield, the Stray Gators and the International Harvesters performing their interpretations of Neil Young’s classic hits and rare gems. Forever Young is: John Amitrano, Amy Bedard, Becky Chace, Mark Cutler, Leo Dumas, John Fuzek, Dan Lilley, and Pete Vendettuoli.
Last night LW3 graced the Narrows stage with an astonishing display of storytelling genius that painted a series of complex lyrical portraits spanning modern day America, sketched by the passionate soul of an ever evolving man in a never static world. His raw vitality and candid honesty was humorous, sad, contemplative, and, in the end, hopeful that “his demographic” (and those who will so be), can be wistful, reflective and still walk down that uncertain road of adventures toward an ever nearer end. Do not miss this show when it comes to a town near you. [Received via email from an appreciative attendee]
Take cover: there’s a storm coming. With its lyrical thunderbolts, lightning-flash fretwork and ground-shaking grooves, Black Wind Howlin’ is a record to blow your roof off – and Samantha Fish has stood at the eye of the hurricane. ‘It has a rebellious streak,’ says the bandleader of her game-changing new album, ‘and a prevalent theme is, ‘I’m not gonna take your sh*t anymore.” Released in September 2013 on Ruf Records, Black Wind Howlin’ flips a finger at the clich?? of the ‘difficult second album’, firing off 12 classic tracks that chart Samantha’s evolution as songwriter, gunslinger and lyricist. ‘Since completing Runaway back in 2011,’ she reflects of her solo debut, ‘I’ve been on tour pretty much non-stop. I’ve spent a lot of time writing, playing and listening to music. I feel like the themes and the sound of my music have matured. To me, it’s about the human experience from my perspective, as well as people I’ve come into contact with over the last few years.’ While lesser artists work to a template or settle into a pigeonhole, Samantha shifts her shape across the Black Wind Howlin’ tracklisting. She can be brutally rocking on cuts like the tour bus snapshot of ‘Miles To Go’ (‘Twelve hours to Reno/ten hours til the next show’), the swaggering ‘Sucker Born’ (‘Vegas left me weary, LA bled me dry/skating on fumes as I crossed the Nevada line.’) and the venomous ‘Go To Hell’ (‘Oh, this ain’t my first rodeo/You hit yourself a dead end/Your voodoo eyes, ain’t gonna cast a spell/So you can go to hell!’). ‘I’ve become tougher,’ she notes of these head-banging moments, ‘and I think that was reflected in the sound we went for.’
Breaking every cliche associated with the blues while producing some of the most powerful music of the 21st century comes natural to Albert Cummings. The Massachusetts native learned the requisite three chords on the guitar from his father, but then switched to playing banjo at age 12 and became a fan of bluegrass music. Before graduating he heard the early recordings of Stevie Ray Vaughan, however, and was floored by the virtuosity. While in college he saw Vaughan perform and he returned to the guitar with a new outlook and resolve. Not until he was 27, an age when other musicians were either already established or had long ago put their dream aside for the realities of life, did Albert finally decide to go for it. An intense period of wood shedding resulted Albert sharing a bill with Double Trouble, the late Stevie Ray Vaughan’s rhythm section. So taken with Albert’s fire and passion were bassist Tommy Shannon and drummer Chris Layton that they volunteered to play on and produce his debut recording. In 2003 the aptly-titled From the Heart (Under the Radar), with the awesome power of a Nor’easter and the soul of a natural born artist. Tours and shows with blues legends B.B. King, Johnny Winter, Buddy Guy and others brought his music to an audience grateful for the opportunity to be rocked hard by a man possessed to play every song like his life depended on it. Albert Cummings is a man of his times and the man for the times. He has built his own musical edifice that expresses his thoughts and dreams. It is a vision that alternately excites and soothes while also clearly providing a glimpse of his unlimited future. The best is yet to come.
The Guitar duo of JULIAN LAGE and CHRIS ELDRIDGE is a collaborative effort founded in the roots of acoustic music, exploring the worlds of improvisation and composition. Born on Christmas Day 1987, Lage was raised in the Bay Area, where he was recognized early on as child prodigy. He became interested in the guitar at the age of 4, which inspired his father to take up the instrument. The two began playing together, learning the ins and outs of improvisation and exploring various musical genres, beginning with the blues. Lage’s chops evolved quickly, and he became the subject of the documentary Jules at Eight, which was nominated for an Academy Award. At 8, Lage was also asked to sit in with Carlos Santana. He made his debut on record at age 11, on David Grisman’s album Dawg Duos. Chris Eldridge has been at the vanguard of acoustic music for much of the past decade. Although initially drawn to the electric guitar, by his mid-teens Chris Eldridge had developed a deep love for acoustic music, thanks in part to his father, a banjo player and founding member of the seminal bluegrass group The Seldom Scene. Eldridge has worked with a diverse cast of musical luminaries including Jon Brion, Fiona Apple, Paul Simon, John Paul Jones, Marcus Mumford, Justin Timberlake, T-Bone Burnett, Elvis Costello, Jerry Douglas, Sara Watkins, Del McCoury and others. With Lage’s background in modern jazz and new music, and Eldridge’s deep relationship with bluegrass as well as his being a member of the widely acclaimed band, Punch Brothers, this duo lives at the nexus of improvisation, spontaneous composition, and virtuosic refinement, all performed on their respective 1939 Martin guitars.
TJ’s Music presents their music students in a night of cool tunes from cool kids.
American Idol finalist in Season 9, Siobhan has a fierce independent streak and a big voice. She will be accompanied by local faves Elcodrive for a night of rocking tunes.
Bob’s latest record ingeniously called ‘Bob Kendall’ features smart thoughtful rock and roll. Kendall describes his songs as ‘telling tales of recrimination and self-deception.’ In March 2014 Kendall released recordings by producer Paul Kolderie (Radiohead, Pixies, Fort Apache). Bob is a talented musician with a great band that knows how to rock. Smith and Weeden are local upstarts who just released their self-titled CD.
Forty years into his storied career, Garland Jeffreys is enjoying the kind of creative second wind most artists can only hope for the first time around, earning a swarm of critical accolades and experiencing his most prolific stretch in decades. ‘Truth Serum,’ his second album in two years, is a cri de cour, a stripped-down tone poem from an artist taking his rightful and hard-earned place in the musical pantheon. More than a dozen years had passed without an American album from Jeffreys when he came roaring back into the spotlight with 2011’s ‘The King of In Between.’ Hailed by NPR as ‘as good a classic roots rock record as you’re going to hear from anybody,’ the record-which featured an appearance by old pal Lou Reed-earned raves from The New Yorker to USA Today and led to a performance on Letterman, as well as appearances onstage with everyone from Bruce Springsteen to Levon Helm. The experience fueled a creative revitalization for the rocker, whose ebullient, late-stage creative energy colors every note of ‘Truth Serum.’ ‘The record is a kind of Rorschach, the boiled down essence of where I am today at seventy,’ says Jeffreys. Sung with the most relaxed, assured delivery of his career, the lyrics express a seasoned, hard-won acceptance balanced with an unflagging sense of optimism, while the music merges blues, rock, reggae, and folk into an infectious concoction distinctly his own. The result is an album that stands among Jeffreys’ very finest, combining the wisdom and perspective that can only come from age and experience with the passion and grit that have made him ‘one of the city’s rock and roll treasures’ (New Yorker). The record is a call to arms, a reflection on the world we live in and a vision of the world we owe it to ourselves to pursue. It’s the unvarnished declaration of a man whose time has come.
In 2013 Grammy nominated, From the Ground Up, Fullbright traverses an emotional and musical terrain that is extremely broad, showing equal acuity with tender ballads and songs that make you want to drive faster with the windows rolled down. Fullbright’s earliest songwriting heroes, Townes Van Zandt and Mickey Newbury, infuse this record, but so do Jimmy Webb, Randy Newman, and many of Fullbright’s songwriting compatriots from Oklahoma and Texas. Firmly rooted in a variety of musical styles, he draws on what has come before, but without imitation. Forget labels when you listen to John Fullbright. He is not folk, not Americana and not pop, but possibly the best fusion of them all.