I had this EP all mapped out in my head when I heard former Ten Cent Redemption guitarist Johnny Waggoner was starting his own project. Having heard his work in Three Miles West, Ten Cent, and as a guest player from notables from Angie Stevens to Badpenny I predicted his soaring guitar style, and visits to his heavy nineties influence. would deliver some sort of Silversun Pickups vibe. I thought i could pull out every influence in the projects mix of influences, from riff to verse. From hook to arrangement. I could not have been more wrong.
Carmelita's Lovers "Haunted" is marked by Waggoners guitar style, but his influences are more mature and meld into something less predictable. It is rare an EP shows such diversity. The most notable asset is J.T Nething covering punctuated pop rock and soaring ballads with effortless reach. Most listeners will be struck by the number of directions this band could navigate successfully. Heavy on guitar and progression choice is "Ride You Down", a curious mix of melodies reminiscent of Sixteen Horsepower layered onto traditional stoner rock or heroine rock. Bottom line is it really works. Equally adept at the rowdy trash pop,
"What's Behind the Door?" hooks, moves quickly to chorus and sucks you in. Damn pop songs. But from the same band? Yes, and Yes.
What i arrived at is - this is a band that reflects its founder quite well. Waggoner is known for attacking a song from many style and influence angles to preserve creative input. Now that he has the call on what a song will ultimately look like in its whole, it feels like an album from a band yet to get its feedback from the essential source: its fans and its track sales. Time will dictate what ultimately arises. What is rare here is the band has little to worry about in terms of pulling it off. A blessing and a curse scenario, but an enviable spot by most standards. Whether it was Nethings vocals or some other less evident voice in my head, I kept coming back to what Pearl Jam must have sounded like a year before we all knew who Pearl Jam was.
There are several undeniable moments created by the reuniting of Tony Burke and John Waggoner...the atypical intros to Haunted and Not the One provide tension, buildup, and resolution between bass and guitars before the songs even lift off. It seems there are few limits for these two working together. And Mark Kosta has shown he has the drum skills necessary to put his own signature on their work in the future. It is a nice addition to his more traditional role in New Ben Franklins, a noteworthy project he still calls home.
Word has it there is more material. It's Johnny- There is and always will be good material as solid and diverse as the current offering in a giant notebook in his head. But Carmelita's Lovers is not aiming at good and solid, and have hurdled that in their first effort. Great may just be around the corner.
I love this EP, even after it caught me off guard intially. But the real dose is onstage with this outfit. December 3rd at Three Kings...with even more material and some of his west coast band on stage as well. See you there.
-russ
9.3.11
Ryan Chrys: Journeyman steps to the forefront
If you somehow managed to not notice Ryan Chrys as he has made his way around the country and chewed up the front range, you simply were blinded by the company he has kept. But for many musicians on the front range, you mention his stage presence and charisma, or the sylish guitar sounds he crafts and you get it. You get the head nod. The one that says, "Yeah, that boy can play".
I began to notice a common denominator in bands I was running to see, and it wasn't a trademark sound. It was Ryan Chrys was in the band. It was a mark of rock and roll credibility. You see, if you are gonna have a guitaris or bass player in the band like that, and want the band not to be about THAT guitar player, you have to have it goin on. And so Ryan has found his place with standouts from Aubrey Collins, to Chris Barber of SPIV, US Pipe, to his most recent work with Angie Stevens, because they can tap into that energy and make it a part of their own. That's what makes them noteworthy and powerful performance bands in their own right.
Don't get me wrong. He is not a steal the spotlight kind of guy by some 'look at me' needy nature. Nope. Just the opposite. He was often called to lay back and make music the song calls for, the band needs, make it about the song- and he does that brilliantly. But soon, you just begin to gravitate your attention to Ryan. He can't help that. Just ask the gal or guy next to you at a show. Another head nod moment. "Dude's a rock star". Yep. And that's comin from guys who can play a lick or two themselves. Luckily for those in the audience, he does not tap into his guitar in some restrained music conservatory posture- with his guitar hiked up to his armpits, eyes fixed on the fretboard. It's prowess wrapped in low slung familiarity, punctuated by flying jump kicks in the middle of a nice string bend. Just writing it reminds me of being five years old listening to KISS records and mauling a tennis racket as I catapulted off of the clothes hamper...nevermind. I may or may not have done such things.
So, why go on about Ryan? Because he is puting his stamp on a project in a way he has never done before. He is owning it by name. Crafting the tunes, holding down the show and claiming it as what he wants to bring and announce- this is what i am about. I've seen a musician or two do this because being in the band was not enough, and the results were usually catastrophic. No chance of that happening here. Ryan has the songcraft and the performace to carry it. This time he can let go of all the conflict involved with the compromises, good and bad, that comes with that team group dynamic thing. This time, it's his. And by my first listen to opening tracks, he should be proud to stamp his name on it. And deserves to.
Just go back to the list of folks he has shared the stage, and the spotlight with. They would be the first to say the same. I'll say it for them...You own every stage you are on, Ryan. And have played all the roles well. There's plenty of stars in their own right ready to back you up, on stage or on the sidelines.
See what I mean. April 7. Walnut Room. Denver.
his pals in SUG, Angie Stevens, and the host of folks he always helps to shine will be pushing the spotlight even brighter.
Then Ryan Chrys will release his solo album. Word.
PS- oh, and some folksy songwriter dude will awkwardly take stage too. Be nice to him
Don't miss it.
-russ
I began to notice a common denominator in bands I was running to see, and it wasn't a trademark sound. It was Ryan Chrys was in the band. It was a mark of rock and roll credibility. You see, if you are gonna have a guitaris or bass player in the band like that, and want the band not to be about THAT guitar player, you have to have it goin on. And so Ryan has found his place with standouts from Aubrey Collins, to Chris Barber of SPIV, US Pipe, to his most recent work with Angie Stevens, because they can tap into that energy and make it a part of their own. That's what makes them noteworthy and powerful performance bands in their own right.
Don't get me wrong. He is not a steal the spotlight kind of guy by some 'look at me' needy nature. Nope. Just the opposite. He was often called to lay back and make music the song calls for, the band needs, make it about the song- and he does that brilliantly. But soon, you just begin to gravitate your attention to Ryan. He can't help that. Just ask the gal or guy next to you at a show. Another head nod moment. "Dude's a rock star". Yep. And that's comin from guys who can play a lick or two themselves. Luckily for those in the audience, he does not tap into his guitar in some restrained music conservatory posture- with his guitar hiked up to his armpits, eyes fixed on the fretboard. It's prowess wrapped in low slung familiarity, punctuated by flying jump kicks in the middle of a nice string bend. Just writing it reminds me of being five years old listening to KISS records and mauling a tennis racket as I catapulted off of the clothes hamper...nevermind. I may or may not have done such things.
So, why go on about Ryan? Because he is puting his stamp on a project in a way he has never done before. He is owning it by name. Crafting the tunes, holding down the show and claiming it as what he wants to bring and announce- this is what i am about. I've seen a musician or two do this because being in the band was not enough, and the results were usually catastrophic. No chance of that happening here. Ryan has the songcraft and the performace to carry it. This time he can let go of all the conflict involved with the compromises, good and bad, that comes with that team group dynamic thing. This time, it's his. And by my first listen to opening tracks, he should be proud to stamp his name on it. And deserves to.
Just go back to the list of folks he has shared the stage, and the spotlight with. They would be the first to say the same. I'll say it for them...You own every stage you are on, Ryan. And have played all the roles well. There's plenty of stars in their own right ready to back you up, on stage or on the sidelines.
See what I mean. April 7. Walnut Room. Denver.
his pals in SUG, Angie Stevens, and the host of folks he always helps to shine will be pushing the spotlight even brighter.
Then Ryan Chrys will release his solo album. Word.
PS- oh, and some folksy songwriter dude will awkwardly take stage too. Be nice to him
Don't miss it.
-russ
30.7.10
Songs of Necessity
I recently overheard some musicians and songwriters musing over the musical genius that would ensue if they could simply drop everything and retreat to a prominent studio for a few weeks to develop and record an album. Several thoughts came to my mind. Among them- If you truly believed this, you would make it happen. Then, I began to smirk as I reflected on a host of friends with unfinished opus “rock operas” that were twenty years in the making. And lastly, I settled on the thought that if everyone could embrace where their music, their personal lives, and their artistic economic realities meet – they just might create something as poignant, congruent, beautiful and honest as “ a little weird” the latest recording effort from Lnz Kayd and Chris Newton’s project -a Melodic Daydream.
Kayd and Newton have been on this writer’s, and a host of front range music tastemakers’ radar screens for several years now. A simple listen to LnZ’s voice will tell you why. An appreciative ear for Newton’s guitar craft and arrangement skill will add the necessary exclamation point. News of some charting success, work with a prominent producer offering pro bono help, or an artist development deal- I thought had simply eluded me. But, it simply didn’t happen. Predictably, a few curmudgeons in the business lined up and offered to tell them why. I can hear some frustration in Newton’s voice as he patiently answers my questions, but I appreciate and admire the confidence he has held onto in the face of the adversity. Kayd, meanwhile, seemingly saves it all for the music. She has the still waters look, but sings and paddles like there is something altogether different going on inside.
If these challenges and high expectations ever crossed the line into some resentment or overwhelming disappointment, it seems the duo has come to terms with it now and helped LnZ channeled it into song’s like “When do you give up?” I would challenge any songwriter to manufacture a fictional image of such a question in the studio and have it pack the punch this track does. Knowing that the band has pieced together sessions for this album over a couple years by negotiating odd and un-booked studio block fragments was the band living out the reply. Harsh economics, raising their son Jaxon, finding stray session musicians to add to the arrangement in their spare time, were among the constant caveats struggling to be stamped as reasons why the project should be a debacle. I know when a few of us might have given up.
Enter the music. Art in its pure state is about transcendence and transformation. What is most evident in this recording: a Melodic Daydream has bonds and a resource of spirit deeper than the task of recording music, which allows them to emerge from melancholy and celebrate what they wake up to each day. Listen to the track “Shine” and you too will want to watch your loved one fall asleep that nite, and the rest of life evaporate into “just stuff that is going on”.
Hear Kayd’s alter ego and Newtons’s darker half step minors in “Disposable” and you will realized perhaps it is this same unconditional and enduring light that kills a dusty skeleton or two.
So, as I sit and listen to “a little weird” for the umpteenth time and appreciate its effortless visits to Motown, R&B, and Americana I am struck that most bands could not have made this album during this time. Fortunately, a Melodic Daydream is not most bands. They wrote it for one another, out of necessity – but its message of survival and celebration- could not have possibly been more directed at you and me.
Kayd and Newton have been on this writer’s, and a host of front range music tastemakers’ radar screens for several years now. A simple listen to LnZ’s voice will tell you why. An appreciative ear for Newton’s guitar craft and arrangement skill will add the necessary exclamation point. News of some charting success, work with a prominent producer offering pro bono help, or an artist development deal- I thought had simply eluded me. But, it simply didn’t happen. Predictably, a few curmudgeons in the business lined up and offered to tell them why. I can hear some frustration in Newton’s voice as he patiently answers my questions, but I appreciate and admire the confidence he has held onto in the face of the adversity. Kayd, meanwhile, seemingly saves it all for the music. She has the still waters look, but sings and paddles like there is something altogether different going on inside.
If these challenges and high expectations ever crossed the line into some resentment or overwhelming disappointment, it seems the duo has come to terms with it now and helped LnZ channeled it into song’s like “When do you give up?” I would challenge any songwriter to manufacture a fictional image of such a question in the studio and have it pack the punch this track does. Knowing that the band has pieced together sessions for this album over a couple years by negotiating odd and un-booked studio block fragments was the band living out the reply. Harsh economics, raising their son Jaxon, finding stray session musicians to add to the arrangement in their spare time, were among the constant caveats struggling to be stamped as reasons why the project should be a debacle. I know when a few of us might have given up.
Enter the music. Art in its pure state is about transcendence and transformation. What is most evident in this recording: a Melodic Daydream has bonds and a resource of spirit deeper than the task of recording music, which allows them to emerge from melancholy and celebrate what they wake up to each day. Listen to the track “Shine” and you too will want to watch your loved one fall asleep that nite, and the rest of life evaporate into “just stuff that is going on”.
Hear Kayd’s alter ego and Newtons’s darker half step minors in “Disposable” and you will realized perhaps it is this same unconditional and enduring light that kills a dusty skeleton or two.
So, as I sit and listen to “a little weird” for the umpteenth time and appreciate its effortless visits to Motown, R&B, and Americana I am struck that most bands could not have made this album during this time. Fortunately, a Melodic Daydream is not most bands. They wrote it for one another, out of necessity – but its message of survival and celebration- could not have possibly been more directed at you and me.
17.6.10
Welcome!
Fact and fiction filled accounts of encounters with americana music. Where it was heard. Where it was made. Where it takes us- be it thru maps of memory, journeys of the spirit, or the maze of roads we strike out on to simply press play and follow the ghosts of the highway.
This is an interactive experience. First task is to buy or listen to the music. Next, report where it takes you...existential thoughts of bliss, standing atop the san rafael swell spontaneously talking fluent Lakota to hawks, making sweet love to the gal who waited on you at the diner, bar room brawls, fights with your significant other that end in monastic contemplation, or raging at the artist for wasting your money (and theirs)as you purge your ears with q-tips...the idea is for me to plant the seed, give you the itinerary of soundscapes to explore. The rest is up to you.
My job is to sort thru the noise, find the voices and sounds that prick up your ears and take you on a ride. Can't promise what the journey will look like. Trust me. A few autumns ago I stood on the deftly named "knife's edge" in the Weminuche Wilderness Area once in a late afternoon thunderstorm. Not by choice, mind you. There really is no way down forwards or backwards. The graphite and aluminum frames on my pack were humming from the static in the air. I pondered for a moment if this was the hum one hears immediately preceding the blinding flash of doom, followed by guys with headlamps and helicopter flights. No flash came. But the next two miles along the ridge on apple sized decomposed granite chunks, intelligently designed to make quick trekking humbling at best. were pure adrenaline. Couldn't sleep for hours that nite, though exhausted. For me, it was a hell of a hair raising story to tell, despite the inconvenience of sweat provoking fear. For my partner at the time, it was grounds for a possible breakup...and a reason to verbally kick me more often than her kindergarden stomps at the damn rocks in her way. Music can be just like that. Same hour or so. Totally different vibe. Way different account years later. Perhaps destiny changing, these paths, this music.
Funny that backpacking memory came to me while writing this first blog. Maybe you will understand better after going on the little jaunt i am about to invite you on....then again, who knows.
Let's find out.
Itinerary Week One: Eric Shiveley | "Eden's Light" | Recorded in San Luis Valley, Colorado
Preview Song and Video (Video by Eric Shively as well - dude makes movies now..more on that later.)
I recommend listening to Mr. Shiveley, who produces and engineers all his own recordings, on headphones when you can...he understands the word "soundscape".
Beyond the atmosphere of the spacious dynamic in the music, Eric uses visual and auditory imagery in his lyrics, the scenes and sounds we can attach our memory to and recall our own senses in our own moments of note. And damn, he ain't afraid of getting personal, but not to the point we feel we are intrusive and lose our ability to relate and equate the experience.
When Shiveley changes subject matter in his songs and gets intense, the music suddenly retracts from spaciousness, getting claustrophobic and in your face. Its well thought out, this orchestration of mood. Whether it be in the timbre of his voice, the mix across the stereo panorama, or the instrumentation swelling from sparse to symphonic...it is seemless and fitting.
Perhaps my favorite aspect of Eric's songwriting is his ability to turn and create memorable phrases that move past sensory into philosophical musings. "One chorus written on devil's white linen". Damn. That's divine.
Pair it with the chorus of the song "you don't now me at all" and its clever and insightful. And honest. And the truth fucking hurts.
Sometimes i feel the art of songwriting is getting lost when i listen to mainstream music. Another music writer consoled me by suggesting it was "how" i listened to music compared to many. Perhaps the folks I listen to these days just take it one step further. But i like where they take me. I don't have a lot of guru's to look up to these days. But Eric Shiveley is one of them.
Looking forward to this one! Hope you are too.
Comments are your reprisal, your experience. Let this little experience begin.
-russ
This is an interactive experience. First task is to buy or listen to the music. Next, report where it takes you...existential thoughts of bliss, standing atop the san rafael swell spontaneously talking fluent Lakota to hawks, making sweet love to the gal who waited on you at the diner, bar room brawls, fights with your significant other that end in monastic contemplation, or raging at the artist for wasting your money (and theirs)as you purge your ears with q-tips...the idea is for me to plant the seed, give you the itinerary of soundscapes to explore. The rest is up to you.
My job is to sort thru the noise, find the voices and sounds that prick up your ears and take you on a ride. Can't promise what the journey will look like. Trust me. A few autumns ago I stood on the deftly named "knife's edge" in the Weminuche Wilderness Area once in a late afternoon thunderstorm. Not by choice, mind you. There really is no way down forwards or backwards. The graphite and aluminum frames on my pack were humming from the static in the air. I pondered for a moment if this was the hum one hears immediately preceding the blinding flash of doom, followed by guys with headlamps and helicopter flights. No flash came. But the next two miles along the ridge on apple sized decomposed granite chunks, intelligently designed to make quick trekking humbling at best. were pure adrenaline. Couldn't sleep for hours that nite, though exhausted. For me, it was a hell of a hair raising story to tell, despite the inconvenience of sweat provoking fear. For my partner at the time, it was grounds for a possible breakup...and a reason to verbally kick me more often than her kindergarden stomps at the damn rocks in her way. Music can be just like that. Same hour or so. Totally different vibe. Way different account years later. Perhaps destiny changing, these paths, this music.
Funny that backpacking memory came to me while writing this first blog. Maybe you will understand better after going on the little jaunt i am about to invite you on....then again, who knows.
Let's find out.
Itinerary Week One: Eric Shiveley | "Eden's Light" | Recorded in San Luis Valley, Colorado
Preview Song and Video (Video by Eric Shively as well - dude makes movies now..more on that later.)
I recommend listening to Mr. Shiveley, who produces and engineers all his own recordings, on headphones when you can...he understands the word "soundscape".
Beyond the atmosphere of the spacious dynamic in the music, Eric uses visual and auditory imagery in his lyrics, the scenes and sounds we can attach our memory to and recall our own senses in our own moments of note. And damn, he ain't afraid of getting personal, but not to the point we feel we are intrusive and lose our ability to relate and equate the experience.
When Shiveley changes subject matter in his songs and gets intense, the music suddenly retracts from spaciousness, getting claustrophobic and in your face. Its well thought out, this orchestration of mood. Whether it be in the timbre of his voice, the mix across the stereo panorama, or the instrumentation swelling from sparse to symphonic...it is seemless and fitting.
Perhaps my favorite aspect of Eric's songwriting is his ability to turn and create memorable phrases that move past sensory into philosophical musings. "One chorus written on devil's white linen". Damn. That's divine.
Pair it with the chorus of the song "you don't now me at all" and its clever and insightful. And honest. And the truth fucking hurts.
Sometimes i feel the art of songwriting is getting lost when i listen to mainstream music. Another music writer consoled me by suggesting it was "how" i listened to music compared to many. Perhaps the folks I listen to these days just take it one step further. But i like where they take me. I don't have a lot of guru's to look up to these days. But Eric Shiveley is one of them.
Looking forward to this one! Hope you are too.
Comments are your reprisal, your experience. Let this little experience begin.
-russ
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