THANK YOU, FOR A REAL GOOD TIME...
Garcia/Hunter
Friday, October 19th is my last day at WBOS. It's been a great ride, 7+ years and some incredible experiences. My professional education, tremendous personal growth...I'm taking all of that and so much more with me as I move on to the next chapter. I was a kid off the streets who started as a Promotion Assistant making 20 grand a year and leave as Program Director, making...well, I ain't rich in money, but I have a wealth of stories to tell...
My only regret upon leaving is that we didn't achieve the ratings success with WBOS that we thought we could. I'm the 5th Program Director in the 7 years I've been here, and each time we thought "this is it...this is the person who will make WBOS the overarching success we all think it can be." Lord knows we tried. Not the royal we, the "we" that makes up the team here. That's what I'll miss most. The people. The team. Dana Marshall, our Music Director and my right-hand. My friend. Crystal Margolis, our Promotion Director and a girl who's become like a sister to me. We've been through so much together. Not seeing you everyday is going to be tough.
The WBOS Sales team, starting with my friend David Strauss, General Sales Manager extraordinaire. Forget the job; David is just a great human being. James Friedman and Carol Zurblis, the two senior AE's who I've worked with on a daily basis for years, developed a lot of business with them and more importantly, two fantastic friends. Same w/Kate Sturk, Brian Samborski, and Jeff Messerman in National. Rachel Willard, Josh Gold, Mike Bloch, Stephanie Monticone...I'll miss you all. Same with the rest of the Greater Media Sales Staff...it's been fun.
The WBOS Airstaff....the hardest people to leave behind. We were friends long before I became your boss, and we'll still be friends in my return to civilian life. George Knight, John Laurenti, Dominick Lewis...so many great memories, EarthFests, Copleys, John & me meeting The Stones together, meeting Pete Townshend together....Dominick & me at various Dead-related shows over the years, traipsing around New England to catch a show...George was a single dude when I started here, and is now the married father of three little boys. If they only knew what Daddy talked about off the air with me...and a special mention to my friend Amy Brooks, who made me laugh every day I worked with her and shared my freakish passion for Pearl Jam...I miss ya Amy.
Holly Harris, keeping the blues alive on Boston radio almost singlehandedly. Paul Jarvis (not his real name) becoming an invaluable help in production and programming, as well as a friend. Joanne Doody, Kevin Redding, Chris Kennedy, Albert O...I'll miss you all. Mink Rockmoore...the most unique individual I've ever met. The younger kids on the staff, like Kristen Kissinger...Kristen was a sophomore at Emerson when she started here; now she's a college graduate with a million-dollar voice and a big future in this business. Jason Rossi, Matt Shearer, Mark Foley...you guys are on your way. Stay focused, keep the passion, and maybe I'll be working for you someday.
Bob Malatesta, the creative genius behind all of the imaging pieces you hear on WBOS and another good friend. Nobody makes me laugh harder at sillier shit than you do. And thanks to Nik Carter and Jo Maeder, the voices you hear between all the songs. Both friends, both good people. Yes, you too Nik!
Thank you Buzz Knight...you taught me more about this business, more about programming, than anyone else. I appreciate it all.
So many other people who've been big influences on my career, so my thanks to you all, in no particular order...Adam Klein (who originally hired me w/Jill Clapp), Leslie Cipolla, Frank Murtagh, Paula O'Connor, Matt Mills, Alan Chartrand, Caroline Murtagh, Ken West, Annie MacGuire, Chris Herrmann, Brian Interland, Dave Douglas, Michele Williams, Mike Brophey, Ginny Rogers, Don Kelley, Neal Robert, Tony Baglio, Bob Spicer, Phil Redo...
Lastly, although the music industry is so fucked up right now, there are still some great people working their asses off out of genuine passion for the music; as one of the remaining true believers in the power of music, I want to thank the following people for being so good to me, and to WBOS, all these years: Lisa Sonkin, Art Phillips, Danny Buch, Ray Gmeiner, James Evans, Crissy Zagami, Steve Nice, Brian Corona, Lorraine Caruso, Nick Attaway, Sean O'Connell, Julie Muncy, Bill Millman, Lou Rizzo, DeeDee Kearney, Karen Durkot, Kurt Biersmith, Dave Watson, Beth Simione, Kara Montelione, Risa Matsuki, Michelle Munz, James MacDonald, Paul Langton, Andrew Govatsos, Rod Stevens, Paul Nelson, Nick Bedding, John Rosenfelder, Lori Kampa, Ray DiPietro, Alex Coronfly, Trina Tombrink, Dan Connelly, Gregg Latterman, Scott Burton, Patty Morris, Rick Brewer, Jesse Barnett, William Marion, Richard Wolod, Harry Levy, Dave Morrell, Mike Nazzaro, Jenni Sperendeo, Jill Weindorf, Howard P., and Jason Flom. Keep fighting the good fight.
Our paths will all cross again. My very best to you all. I know, it's only rock & roll, but I like it...
DG
Wednesday, October 17, 2007
Monday, September 17, 2007
The Future of Music?
A couple of weeks ago, the New York Times Sunday Magazine had a feature-length profile of uber-producer Rick Rubin. Rubin is a young legend in the music business for his work with Beastie Boys, Johnny Cash, U2, Tom Petty, and others, and is now the co-head of Columbia Records. The crux of the article is that Sony (parent company of Columbia and numerous other labels) is counting on Rubin to save the record business. Can he?
Probably not. The major labels dug their own grave 10 years ago when they pulled out at the last minute on a deal with Napster that was on the table (the labels caved to pressure from big-box retailers who threatened not to carry CD product if they made a digital distribution deal...their brilliant belief was that this whole internet thing was just a fad). CD sales have declined precipitously ever since; they are dropping 15% annually by conservative estimates. The future is digital, be it iTunes, Rhapsody, Spiralfrog (just launched today), MySpace, Facebook, or any of the myriad other social-networking sites that have been proliferating in the last couple of years. The major labels-now down to four-spent years fighting digital piracy rather than trying to capitalize on a paradigm shift in an industry that until then ruled from the top down. Now it's a bottom-up business, and the labels are scrambling to monetize this new world. iTunes primarily benefits Apple. Ringtones, although a big business, have yet to bring the financial rewards that CD sales did in their heyday. CD sales which, by the way, were artificially inflated for years...remember paying $18.99 for a disc with two good songs on it?
Anyway, the article profiles Rubin in all his wonderful California weirdness, the guru of the studio doing as he damn well pleases professionally-meaning, he can still produce artists that aren't on the Columbia roster. If you worked for a restaurant, how would you feel about your head chef creating appetizers for the restaurant next door?
The piece also illustrates some of the other conundrums facing the major-label business. They've lost much of their access to radio, which is fractured by format and no longer just plays whatever is handed to them by the record companies. MTV is no longer a tastemaker; hell, they hardly ever play any videos. Wasn't MTV2 supposed to fill that niche? Seems like all they show are reruns of Laguna Beach. Record stores, like Tower, are gone. iTunes rules the universe, meaning that the business has become singles-driven rather than that archaic old concept known as "the album."
What's Rubin's solution? A subscription-based service in which the four major label groups all put their catalogs online together, and the consumer pays a monthly fee, around $19.99, to download as much as they want. Will it work? Who knows. What they haven't determined is how that money is split. How do the percentages work? If artist A has 400,000 downloads that month and artist B had 400, how do you compensate them?
Labels are also trying to force artists, who've been victimized by shady accounting and outright theft since the beginning of recorded music, to sign away pieces of their touring and merchandizing revenues-which make up the bulk of their income. The labels are simply making a grab for cash, to make up for all that lost CD revenue that is never coming back. What do the artists' get in return for giving up this income? Your guess is as good as mine. An advance from the label? For what? Will the label get them on the radio? Maybe. Get them in stores? What stores-the BUSINESS IS ALL ONLINE!
Rubin's other recipe for success is a word-of-mouth team, college kids who will be paid by the label to tell their friends about this band that "they just have to hear!" The problem with that model is that the very kids they are going after SEE RIGHT THROUGH THAT OVERHYPED BULLSHIT! They smell corporate sellout instantly. True word-of-mouth happens organically, not because of a strategic marketing campaign, regardless of how cleverly disguised the pig may be. That only works in politics...right, President Bush?
Anyway-it's an interesting time for this business. Rick Rubin is a brilliant producer and an innovater in many ways. But taking the Columbia job-and remember, Columbia was once the coolest label in the world, bringing us the likes of Bob Dylan and Bruce Springsteen-will be the biggest test of his career. Maybe he can reinvent the wheel from the inside. More likely, he's getting a giant pile of cash in order to perform a miracle before the whole business collapses in on itself and some kid in an MIT dorm room buys it for 10 cents on the dollar and truly does reinvent it. THAT will be the revolution.
Probably not. The major labels dug their own grave 10 years ago when they pulled out at the last minute on a deal with Napster that was on the table (the labels caved to pressure from big-box retailers who threatened not to carry CD product if they made a digital distribution deal...their brilliant belief was that this whole internet thing was just a fad). CD sales have declined precipitously ever since; they are dropping 15% annually by conservative estimates. The future is digital, be it iTunes, Rhapsody, Spiralfrog (just launched today), MySpace, Facebook, or any of the myriad other social-networking sites that have been proliferating in the last couple of years. The major labels-now down to four-spent years fighting digital piracy rather than trying to capitalize on a paradigm shift in an industry that until then ruled from the top down. Now it's a bottom-up business, and the labels are scrambling to monetize this new world. iTunes primarily benefits Apple. Ringtones, although a big business, have yet to bring the financial rewards that CD sales did in their heyday. CD sales which, by the way, were artificially inflated for years...remember paying $18.99 for a disc with two good songs on it?
Anyway, the article profiles Rubin in all his wonderful California weirdness, the guru of the studio doing as he damn well pleases professionally-meaning, he can still produce artists that aren't on the Columbia roster. If you worked for a restaurant, how would you feel about your head chef creating appetizers for the restaurant next door?
The piece also illustrates some of the other conundrums facing the major-label business. They've lost much of their access to radio, which is fractured by format and no longer just plays whatever is handed to them by the record companies. MTV is no longer a tastemaker; hell, they hardly ever play any videos. Wasn't MTV2 supposed to fill that niche? Seems like all they show are reruns of Laguna Beach. Record stores, like Tower, are gone. iTunes rules the universe, meaning that the business has become singles-driven rather than that archaic old concept known as "the album."
What's Rubin's solution? A subscription-based service in which the four major label groups all put their catalogs online together, and the consumer pays a monthly fee, around $19.99, to download as much as they want. Will it work? Who knows. What they haven't determined is how that money is split. How do the percentages work? If artist A has 400,000 downloads that month and artist B had 400, how do you compensate them?
Labels are also trying to force artists, who've been victimized by shady accounting and outright theft since the beginning of recorded music, to sign away pieces of their touring and merchandizing revenues-which make up the bulk of their income. The labels are simply making a grab for cash, to make up for all that lost CD revenue that is never coming back. What do the artists' get in return for giving up this income? Your guess is as good as mine. An advance from the label? For what? Will the label get them on the radio? Maybe. Get them in stores? What stores-the BUSINESS IS ALL ONLINE!
Rubin's other recipe for success is a word-of-mouth team, college kids who will be paid by the label to tell their friends about this band that "they just have to hear!" The problem with that model is that the very kids they are going after SEE RIGHT THROUGH THAT OVERHYPED BULLSHIT! They smell corporate sellout instantly. True word-of-mouth happens organically, not because of a strategic marketing campaign, regardless of how cleverly disguised the pig may be. That only works in politics...right, President Bush?
Anyway-it's an interesting time for this business. Rick Rubin is a brilliant producer and an innovater in many ways. But taking the Columbia job-and remember, Columbia was once the coolest label in the world, bringing us the likes of Bob Dylan and Bruce Springsteen-will be the biggest test of his career. Maybe he can reinvent the wheel from the inside. More likely, he's getting a giant pile of cash in order to perform a miracle before the whole business collapses in on itself and some kid in an MIT dorm room buys it for 10 cents on the dollar and truly does reinvent it. THAT will be the revolution.
Friday, August 17, 2007
It's been a busy few weeks for me, behind the scenes at WBOS and gallivanting around the country to indulge my music jones...
Had an interesting trip to Colorado for an industry convention, in which radio programmers in our format (AAA) from across the country schmooze, compare notes & strategies, and spend some time with various record company types who are there to showcase new artists and upcoming music releases for the fourth quarter and early part of next year. Boulder is a beautiful city, clean and cosmopolitan, and a wonderful place to spend a few days. Saw some interesting artists perform, although nothing that really blew me away. The best part of the trip, for me, was to pick the programming brains of some other PD's on how they continue to run successful AAA radio stations.These are people who've been doing this much longer than I, so any opportunity to learn from their experiences is well worth taking.
From there, I went to Chicago for the Lollapalooza Festival. What an incredible event! 12 stages, well over a hundred thousand people, and dozens of bands of all stripes & styles. Saturday's highlights included Yeah Yeah Yeah's and Muse, followed by a few hours spent exploring Chicago (never been before). Great city, full of friendly people and some beautiful architecture. We ended the night at the House of Blues, where Ryan Shaw did a post-midnight set that brought the house down.
We started at Lolla on Sunday around noon, with the temperature already in the mid-90's with equal humidity. Caught sets from some great up & coming bands like The Cribs, Heartless Bastards, Peter Bjorn & John (until their amps blew mid-set) and veterans alike, most notably Iggy & The Stooges. Iggy, in all his 60-year-old punk rock glory, was a sight to behold. The band was in prime form, ripping thru classics from "No Fun" and their new CD "The Weirdness" with equal aplomb. Iggy is a madman; stage-diving, exhorting the crowd ever further...truly a special moment in my rock & roll life.
The day ended with the reason I went in the first place: Pearl Jam. I'm one of the Pearl Jam freaks that have quietly mushroomed into an army over the past 17 years or so; been a fan since first hearing them at UMass in 1991 and have seen them many times. Anyway, this one was special for a number of reasons. First, it was their only U.S. show this year; secondly, lead singer Eddie Vedder is originally from Chicago and was clearly stoked to be performing for the city of his youth, especially in the gorgeous Grant Park in front of an absolutely massive crowd that was so intensely involved with every note of the show. The band, fresh from a European tour, was in fighting form and lit it up for two hours of fury. "Why Go," "Not for You," "State of Love & Trust," "Alive," "Evenflow," "Crazy Mary" and "Elderly Woman" were all standouts, as well as a new protest song about BPAmoco and a couple of adapted verses from "Another Brick in the Wall" that Eddie turned into an admonishment of the Bush administration. The end-of-show highlight was a young, wheelchair-bound Iraq War veteran who came out with Eddie and Ben Harper to mention a couple of protest organizations before Eddie & Ben performed a new duet together, followed by an all-hands-on-deck blast thru Neil Young's "Rockin' In The Free World," with a stage full of audience members joining on tambourine.
Separately, we had a fantastic Copley Free Summer Concert Series this year, and I want to thank everyone who attended each week. I think Matt Nathanson is STILL signing autographs!
Until next time...
Had an interesting trip to Colorado for an industry convention, in which radio programmers in our format (AAA) from across the country schmooze, compare notes & strategies, and spend some time with various record company types who are there to showcase new artists and upcoming music releases for the fourth quarter and early part of next year. Boulder is a beautiful city, clean and cosmopolitan, and a wonderful place to spend a few days. Saw some interesting artists perform, although nothing that really blew me away. The best part of the trip, for me, was to pick the programming brains of some other PD's on how they continue to run successful AAA radio stations.These are people who've been doing this much longer than I, so any opportunity to learn from their experiences is well worth taking.
From there, I went to Chicago for the Lollapalooza Festival. What an incredible event! 12 stages, well over a hundred thousand people, and dozens of bands of all stripes & styles. Saturday's highlights included Yeah Yeah Yeah's and Muse, followed by a few hours spent exploring Chicago (never been before). Great city, full of friendly people and some beautiful architecture. We ended the night at the House of Blues, where Ryan Shaw did a post-midnight set that brought the house down.
We started at Lolla on Sunday around noon, with the temperature already in the mid-90's with equal humidity. Caught sets from some great up & coming bands like The Cribs, Heartless Bastards, Peter Bjorn & John (until their amps blew mid-set) and veterans alike, most notably Iggy & The Stooges. Iggy, in all his 60-year-old punk rock glory, was a sight to behold. The band was in prime form, ripping thru classics from "No Fun" and their new CD "The Weirdness" with equal aplomb. Iggy is a madman; stage-diving, exhorting the crowd ever further...truly a special moment in my rock & roll life.
The day ended with the reason I went in the first place: Pearl Jam. I'm one of the Pearl Jam freaks that have quietly mushroomed into an army over the past 17 years or so; been a fan since first hearing them at UMass in 1991 and have seen them many times. Anyway, this one was special for a number of reasons. First, it was their only U.S. show this year; secondly, lead singer Eddie Vedder is originally from Chicago and was clearly stoked to be performing for the city of his youth, especially in the gorgeous Grant Park in front of an absolutely massive crowd that was so intensely involved with every note of the show. The band, fresh from a European tour, was in fighting form and lit it up for two hours of fury. "Why Go," "Not for You," "State of Love & Trust," "Alive," "Evenflow," "Crazy Mary" and "Elderly Woman" were all standouts, as well as a new protest song about BPAmoco and a couple of adapted verses from "Another Brick in the Wall" that Eddie turned into an admonishment of the Bush administration. The end-of-show highlight was a young, wheelchair-bound Iraq War veteran who came out with Eddie and Ben Harper to mention a couple of protest organizations before Eddie & Ben performed a new duet together, followed by an all-hands-on-deck blast thru Neil Young's "Rockin' In The Free World," with a stage full of audience members joining on tambourine.
Separately, we had a fantastic Copley Free Summer Concert Series this year, and I want to thank everyone who attended each week. I think Matt Nathanson is STILL signing autographs!
Until next time...
Tuesday, July 17, 2007
Why We Do What We Do
I mentioned in an earlier post that this job, this industry, can be very frustrating, sometimes disheartening. The battle for ratings, the cutthroat competition among stations in the marketplace, trying to keep the programming interesting and fresh, listening to the flood of new music we're always receiving and then, despite hearing a great song, for one reason or another not being able to play it (no space at the time, not a fit for the audience, etc.) all of it...it can wear a man down.
The upside, the rewarding part of the job, is just as significant. The experiences we have with artists, getting a great email or phone call from a listener, playing a local band and then hearing their enthusiasm at hearing themselves on the radio for the first time, seeing well over 100,000 people show up at EarthFest, just enjoying the people we work with on a daily basis and getting to wear jeans to work every day...it's a unique balance. Ultimately, for me, it still just comes down to the music.
Last week, we kicked off the 2007 Copley series with Brandi Carlile and The Dennis Brennan Band. I expected a large crowd, as Brandi is a major artist at this point and has a dedicated fanbase that will always show up. She didn't disappoint, either. Brandi and her band rocked the crowd, her Patsy Cline-esque voice carrying over the crowd in a banshee wail of rock & soul. This young woman, whom I had the pleasure of meeting for the first time several years ago, has blossomed into a star and yet remained herself; no airs, no drama, no bullshit. Just a girl who sings because her life depends on it, because it does. This is who she is, all she wants to be.
However, the true highlight for me was watching The Dennis Brennan Band kick things off and leave a large, unsuspecting crowd with mouths agape. There were several thousand people already at the park when Dennis took the stage, and he took them by storm. Playing mostly tunes off of his extraordinary new "Engagement" CD, Dennis & his ace band, whom he called "the best band in Boston" and is probably right, killed. From Stones-y rockers like "Sugar Falls" to the beautiful Americana soul of "Crying on the Avenue," it was just one of those perfect rock & roll moments, a time and a place and an artist and an audience all aligned at just the right angle. Kevin Barry's lap-steel solo wails, Duke Levine's guitar mastery, and Billy Beard's lockstep drumming just sounded so right, so true. Dennis had a look of bliss on his face, and he should. He's a local legend, been at it for what? 30 years? This is his time, and it's a damn shame that he's not on par nationally with his true contemporaries, people like Bob Dylan (yeah, I said it), Bruce Springsteen, hell, even the Stones themselves at this point. "Sugar Falls" would've been the best thing on their last record if they'd done it. If Dennis were 22, this would've been his coming out party. If there's any cosmic justice, it still will be.
It's the music. It always is, always will be. That's why we do what we do. Have a good week.
The upside, the rewarding part of the job, is just as significant. The experiences we have with artists, getting a great email or phone call from a listener, playing a local band and then hearing their enthusiasm at hearing themselves on the radio for the first time, seeing well over 100,000 people show up at EarthFest, just enjoying the people we work with on a daily basis and getting to wear jeans to work every day...it's a unique balance. Ultimately, for me, it still just comes down to the music.
Last week, we kicked off the 2007 Copley series with Brandi Carlile and The Dennis Brennan Band. I expected a large crowd, as Brandi is a major artist at this point and has a dedicated fanbase that will always show up. She didn't disappoint, either. Brandi and her band rocked the crowd, her Patsy Cline-esque voice carrying over the crowd in a banshee wail of rock & soul. This young woman, whom I had the pleasure of meeting for the first time several years ago, has blossomed into a star and yet remained herself; no airs, no drama, no bullshit. Just a girl who sings because her life depends on it, because it does. This is who she is, all she wants to be.
However, the true highlight for me was watching The Dennis Brennan Band kick things off and leave a large, unsuspecting crowd with mouths agape. There were several thousand people already at the park when Dennis took the stage, and he took them by storm. Playing mostly tunes off of his extraordinary new "Engagement" CD, Dennis & his ace band, whom he called "the best band in Boston" and is probably right, killed. From Stones-y rockers like "Sugar Falls" to the beautiful Americana soul of "Crying on the Avenue," it was just one of those perfect rock & roll moments, a time and a place and an artist and an audience all aligned at just the right angle. Kevin Barry's lap-steel solo wails, Duke Levine's guitar mastery, and Billy Beard's lockstep drumming just sounded so right, so true. Dennis had a look of bliss on his face, and he should. He's a local legend, been at it for what? 30 years? This is his time, and it's a damn shame that he's not on par nationally with his true contemporaries, people like Bob Dylan (yeah, I said it), Bruce Springsteen, hell, even the Stones themselves at this point. "Sugar Falls" would've been the best thing on their last record if they'd done it. If Dennis were 22, this would've been his coming out party. If there's any cosmic justice, it still will be.
It's the music. It always is, always will be. That's why we do what we do. Have a good week.
Tuesday, July 10, 2007
A question from Uncle Tommy
I spent Sunday afternoon at my "Uncle" Tommy's house in Shrewsbury, enjoying a bbq with my mom & stepfather and Tom's family. Uncle Tommy isn't a blood relative; his wife and my mother were the best of friends for 25 years and always treated us like members of their immediate family. Wonderful people. Hope, his wife, passed away last year after a long battle with cancer. Tom, who is now in his late 70's, will never be the same, but he keeps on keeping on, living his life. In an incredibly sweet gesture, he got his first tattoo at the age of 77; "My Hope" in calligraphic script on his upper bicep.
Why do I bring this up? Because Tommy is someone I've always looked up to, respected for the man he is, the way he carries himself through life. So sitting by the pool, eating ribs and drinking cold beer, Tom asked how I was, how the new job was going. I filled him in as best I could-since I'm immersed in this world, it's hard to explain to someone who's never workd in radio-with the pertinent details. Tom interrupted me with one question: do you love what you do? Without hesitation, I answered yes. "That's all that matters," he said.
Uncle Tommy is right. That is all that matters. Regardless of the pressures, the fight for ratings, the endless piles of CD's to listen to, the myriad projects we're working on every day in trying to make WBOS the best it's ever been, the endless hours in the office, the nights and weekends and constant phone calls and emails...I wake up every morning and am excited to go to work. I love the action, the challenge of it all. I was a music guy long before I got a job in radio, and a fan of radio as a medium since I was a little kid, going on the road with my dad and listening to his collector's tapes of old radio shows like Jack Benny, Blondie, The Shadow, Dick Tracy, Burns & Allen. Loved the theatre of the mind radio created. Now I make my living by combining those two loves and and trying to share that enthusiasm with everyone within listening range. The music still matters most to me. I'm as passionate about music now as I was when I was 15 and skipping school to buy the new Cult tape (!) on the day of release, because I just had to have it.
Some days, I can't get past the fact that I get free records in the mail, get to hear the newest of the new before most everyone else. Some days, it's as simple as the knowledge that I can wear jeans to work every day. As a kid, I had no idea what I wanted to do with my life, but I knew I didn't want to wear a suit & tie and sell insurance (not that there's anything wrong with selling insurance). At the end of the day-and not in the cliched use of that phrase, but rather quite literally-I give thanks for being fortunate enough to have had the opportunity to work my ass off and reach this point, where my lifelong passions now provide my livelihood. Where I come to work every morning and enjoy the people I work with, who are a part of a great team, and where we are all supported by upper management in ways that are pretty rare these days, in this business.
Thanks, Uncle Tommy.
Why do I bring this up? Because Tommy is someone I've always looked up to, respected for the man he is, the way he carries himself through life. So sitting by the pool, eating ribs and drinking cold beer, Tom asked how I was, how the new job was going. I filled him in as best I could-since I'm immersed in this world, it's hard to explain to someone who's never workd in radio-with the pertinent details. Tom interrupted me with one question: do you love what you do? Without hesitation, I answered yes. "That's all that matters," he said.
Uncle Tommy is right. That is all that matters. Regardless of the pressures, the fight for ratings, the endless piles of CD's to listen to, the myriad projects we're working on every day in trying to make WBOS the best it's ever been, the endless hours in the office, the nights and weekends and constant phone calls and emails...I wake up every morning and am excited to go to work. I love the action, the challenge of it all. I was a music guy long before I got a job in radio, and a fan of radio as a medium since I was a little kid, going on the road with my dad and listening to his collector's tapes of old radio shows like Jack Benny, Blondie, The Shadow, Dick Tracy, Burns & Allen. Loved the theatre of the mind radio created. Now I make my living by combining those two loves and and trying to share that enthusiasm with everyone within listening range. The music still matters most to me. I'm as passionate about music now as I was when I was 15 and skipping school to buy the new Cult tape (!) on the day of release, because I just had to have it.
Some days, I can't get past the fact that I get free records in the mail, get to hear the newest of the new before most everyone else. Some days, it's as simple as the knowledge that I can wear jeans to work every day. As a kid, I had no idea what I wanted to do with my life, but I knew I didn't want to wear a suit & tie and sell insurance (not that there's anything wrong with selling insurance). At the end of the day-and not in the cliched use of that phrase, but rather quite literally-I give thanks for being fortunate enough to have had the opportunity to work my ass off and reach this point, where my lifelong passions now provide my livelihood. Where I come to work every morning and enjoy the people I work with, who are a part of a great team, and where we are all supported by upper management in ways that are pretty rare these days, in this business.
Thanks, Uncle Tommy.
Sunday, July 1, 2007
Wilco, Ryan, Jake & The Kids...
The last 8-10 days or so have been a blur, burning the candle at both ends. Work hard, play hard, whatever other appropriate cliches apply. This job, being a PD, can be frustrating, rewarding, satisfying and exhausting, simultaneously. But I wouldn't trade it for anything at this point...
Last Friday, (6/22), WBOS hosted a special private show with Boston Hardcore Folk revivalist Jake Brennan at First Act Guitar Studio on Boylston St., site of numerous private 'BOS shows over the past couple of years. The show was the culmination of Jake's "Pop-Ed" series on www.boston.com, in which he wrote a song a day, based on a story in that morning's Boston Globe. The song was recorded, a video shot & edited, and the entire thing posted on Boston.com by 4p same day. Quite a feat, and Jake nailed it for the 2 weeks it ran. WBOS was the radio partner, playing the day's song in George Knight's "After Dark" show. Anyway, the private show was the grand finale for this iteration of the concept.
First Act, which comfortably holds just over 100 people, was packed with WBOS listeners. Jake, a major talent who's suffered some career setbacks in the last few years but by all rights should be a nationally-recognized artist at this point, stepped up and delivered to an audience that only partially knew who he was or his style of music. Think Woody Guthrie meets The Clash, the sensibilities of indie/punk rock fused to traditional folk structures, synthesized into a completely unique solo style. His 30 minute set included songs from the Pop-Ed series, such as "Kiss Kiss Bang Bang" (a diatribe against the Hollywood summer blockbuster garbage that we get hit with annually) and "She's My Baby," Jake's take on the Anna Nicole Smith saga and perhaps his most Dylanesque song in it's melodic structure. Turning up the distortion on his acoustic, Jake ripped through "My Duct-Tape Prom Queen," a funny, wistfully romantic song based on the true story of a high school prom king & queen who made their outfits out of said all-purpose Home Depot staple. Closing the set with his incendiary "Do You Remember What Joe Strummer Said?" brought the guitar house down and sent an ecstatic crowd home to spread the gospel of Jake. I've been a big supporter of Jake's music for several years, and hope you'll become one too. Discover for yourself at www.myspace.com/jakebrennan.
On Thursday, WBOS joined our sister Greater Media stations in the first annual Camp Harborview Radiothon, which raised money for the camp of the same name. The camp, a nonprofit entity founded by the Connors Family Foundation in conjunction with the City of Boston, will take 600 kids off the streets of Boston for 4 weeks (300 kids per session, 2 4-week sessions). It's a great thing, giving a bunch of good kids who live in some of the city's worst neighborhoods, an opportunity to see the wider world, get three good meals per day, and learn leadership skills, team-building, and play sports. We are all very proud to support the cause, and to help the communities that we are a part of. However, the actual execution of the Radiothon, behind the scenes, was challenging. It's the first time 5 stations have done this, so despite the 5 weeks of preparation that went into it, we were all nonetheless flying a bit blind. Coordinating breaks, adjusting for guests running late, getting out of songs in time, etc.-it made for a stressful day for all involved, although in the end, we raised a lot of money and felt the experience was quite rewarding. Next year will be much smoother, for sure. But all of that stress & frustration melted away Thursday night when Wilco took the stage at the BOA Pavilion...
Wilco, one of those bands that people think they know & like but perhaps aren't as well versed in as they'd want you to believe, is the rare creature that lives up to the critical fawning they've had since their inception in the 90's. They've made great records, gone thru numerous lineup changes, endured record company battles (which they won!), and been the subject of a fascinating documentary, "I Am Trying To Break Your Heart." But through it all, they've remained a GREAT band, especially live. Their 2005 live CD "Kicking Television" belongs in the pantheon of seminal live albums like Live at Leeds and Get Yer Ya-Ya's Out (Lou Reed's Rock & Roll Animal belongs too). Wilco's most recent CD, "Sky Blue Sky" is my favorite record this year, and as such, I was looking forward to this show for months. And man, did they deliver...
I'm not sure exactly when it happened, but somewhere between "Hate It Here" and "Jesus, etc." I felt my world return to its proper balance. The stress of work, the constant worry about what's next, how to get the ratings up, all of it, just faded away in the midst of another Nels Cline guitar solo excursion. Nels is a jazz guitarist by trade, joined Wilco a few years back, and brought the whole thing to a new height. His playing reminds me greatly of Jerry Garcia, full of melody, no wasted notes, just beautiful sounds enveloping the shed, even into his fuzzed-out bursts with Tweedy. Jeff Tweedy, head Wilco, singer, songwriter, guitarist, was in fine voice all night, from the psychedelia of "Spiders (Kidsmoke)" thru the beautiful country of "California Stars," from their collaboration with Billy Bragg. This is a great American rock band, one with an indelible connection to their fans, and rewarding those fans by channeling their energy back into the show as it's happening. There's no lasers, no backdrops, no fancy staging, just a band at the peak of their abilities playing their collective asses off. It was being there, watching this concert, that reminded me (at a time I sorely needed it) that it's the music that moves me, that matters most, that drives me at all times and why I do what I do for a living. Thank you, Wilco. I owe ya one.
Friday morning, exhausted, overslept a little, but got to work excited anew. Still aglow from the Wilco show, and excited for Ryan Adams' visit to Studio 7. I've met Ryan a few times, several years ago, and I'm sure he doesn't remember. This is a new Ryan Adams, a clean &sober musician who just dropped another fantastic record, Easy Tiger. A true alt-country gem, "alt" being the definer in that this is really a traditional country record, made without the pop sheen of contemporary Nashville. That stuff is just pop with a twang. This is a record that stands comfortably next to its forebears, like Willie Nelson's Troublemaker and prime Waylon Jennings. Anyway, Ryan arrived, a bit late, but clear-eyed, friendly, and in good humor. His interview with Dana Marshall is an instant classic (we'll post the audio on www.wbos.com very soon), a free-association rant/ramble touching on everything from Fergie to The Ghost Whisperer to failures of the mainstream media. It all added up to deep anticipation for his show that night at the Somerville Theatre...and a standing offer to Ryan to come on & do a radio show anytime he wants...he's a natural and I'd put him on the air in a second.
The word on the show was that it would be 90 minutes, starting at 7:30 sharp, and Ryan won't be playing guitar (as he's recovering from a broken wrist suffered skateboarding a few months ago). In typical Ryan fashion (typical meaning "you never know what will happen"), the show started promtly at 8:20, with The Cardinals (his band, which he considers himself a part of rather than it being a backing band) sitting in a half-circle onstage, all sharply dressed in black sportcoats, ties, and crisp white shirts. It was a semi-acoustic affair, with an upright piano, acoustic guitars, electric bass, minimalist drum kit, and a pedal steel guitar...and Ryan on guitar too, for the first time on this tour. Opening with "Cold Roses," we were all struck by how well Ryan sang, how clear and strong his voice is, what a singer he's become. Flipping thru a pair of notebooks on a music stand in front of him, the band pulled out a variety of chestnuts to go along with nearly the entirety of the new record . "Let It Ride," "Carolina Rain," "Magnolia Mountain," "Two," "I Am Learning How To Grow Old," "Tears of Gold," and "Goodnight Rose" were all standouts...during his 2 & a 1/2 hour show. In between, he consistenly engaged the crowd, playing off repeated catcall song requests (the Ryan of old would've reacted far differently, one thinks), creating a warm, ingratiating vibe that was highlighted by a surprise birthday tribute to his pedal steel player, the aptly nicknamed "Slider." After a while, it felt like I was sitting in the intimate confines of the Ryman Auditorium in Nashville, watching a classic Country band completely in their element. It was a warm, wonderful night of music, a tremendous return to form of one of music's brightest talents, and hopefully a precursor to new heights for a career artist that follows the muse wherever it takes him-and us.
See ya soon.
Last Friday, (6/22), WBOS hosted a special private show with Boston Hardcore Folk revivalist Jake Brennan at First Act Guitar Studio on Boylston St., site of numerous private 'BOS shows over the past couple of years. The show was the culmination of Jake's "Pop-Ed" series on www.boston.com, in which he wrote a song a day, based on a story in that morning's Boston Globe. The song was recorded, a video shot & edited, and the entire thing posted on Boston.com by 4p same day. Quite a feat, and Jake nailed it for the 2 weeks it ran. WBOS was the radio partner, playing the day's song in George Knight's "After Dark" show. Anyway, the private show was the grand finale for this iteration of the concept.
First Act, which comfortably holds just over 100 people, was packed with WBOS listeners. Jake, a major talent who's suffered some career setbacks in the last few years but by all rights should be a nationally-recognized artist at this point, stepped up and delivered to an audience that only partially knew who he was or his style of music. Think Woody Guthrie meets The Clash, the sensibilities of indie/punk rock fused to traditional folk structures, synthesized into a completely unique solo style. His 30 minute set included songs from the Pop-Ed series, such as "Kiss Kiss Bang Bang" (a diatribe against the Hollywood summer blockbuster garbage that we get hit with annually) and "She's My Baby," Jake's take on the Anna Nicole Smith saga and perhaps his most Dylanesque song in it's melodic structure. Turning up the distortion on his acoustic, Jake ripped through "My Duct-Tape Prom Queen," a funny, wistfully romantic song based on the true story of a high school prom king & queen who made their outfits out of said all-purpose Home Depot staple. Closing the set with his incendiary "Do You Remember What Joe Strummer Said?" brought the guitar house down and sent an ecstatic crowd home to spread the gospel of Jake. I've been a big supporter of Jake's music for several years, and hope you'll become one too. Discover for yourself at www.myspace.com/jakebrennan.
On Thursday, WBOS joined our sister Greater Media stations in the first annual Camp Harborview Radiothon, which raised money for the camp of the same name. The camp, a nonprofit entity founded by the Connors Family Foundation in conjunction with the City of Boston, will take 600 kids off the streets of Boston for 4 weeks (300 kids per session, 2 4-week sessions). It's a great thing, giving a bunch of good kids who live in some of the city's worst neighborhoods, an opportunity to see the wider world, get three good meals per day, and learn leadership skills, team-building, and play sports. We are all very proud to support the cause, and to help the communities that we are a part of. However, the actual execution of the Radiothon, behind the scenes, was challenging. It's the first time 5 stations have done this, so despite the 5 weeks of preparation that went into it, we were all nonetheless flying a bit blind. Coordinating breaks, adjusting for guests running late, getting out of songs in time, etc.-it made for a stressful day for all involved, although in the end, we raised a lot of money and felt the experience was quite rewarding. Next year will be much smoother, for sure. But all of that stress & frustration melted away Thursday night when Wilco took the stage at the BOA Pavilion...
Wilco, one of those bands that people think they know & like but perhaps aren't as well versed in as they'd want you to believe, is the rare creature that lives up to the critical fawning they've had since their inception in the 90's. They've made great records, gone thru numerous lineup changes, endured record company battles (which they won!), and been the subject of a fascinating documentary, "I Am Trying To Break Your Heart." But through it all, they've remained a GREAT band, especially live. Their 2005 live CD "Kicking Television" belongs in the pantheon of seminal live albums like Live at Leeds and Get Yer Ya-Ya's Out (Lou Reed's Rock & Roll Animal belongs too). Wilco's most recent CD, "Sky Blue Sky" is my favorite record this year, and as such, I was looking forward to this show for months. And man, did they deliver...
I'm not sure exactly when it happened, but somewhere between "Hate It Here" and "Jesus, etc." I felt my world return to its proper balance. The stress of work, the constant worry about what's next, how to get the ratings up, all of it, just faded away in the midst of another Nels Cline guitar solo excursion. Nels is a jazz guitarist by trade, joined Wilco a few years back, and brought the whole thing to a new height. His playing reminds me greatly of Jerry Garcia, full of melody, no wasted notes, just beautiful sounds enveloping the shed, even into his fuzzed-out bursts with Tweedy. Jeff Tweedy, head Wilco, singer, songwriter, guitarist, was in fine voice all night, from the psychedelia of "Spiders (Kidsmoke)" thru the beautiful country of "California Stars," from their collaboration with Billy Bragg. This is a great American rock band, one with an indelible connection to their fans, and rewarding those fans by channeling their energy back into the show as it's happening. There's no lasers, no backdrops, no fancy staging, just a band at the peak of their abilities playing their collective asses off. It was being there, watching this concert, that reminded me (at a time I sorely needed it) that it's the music that moves me, that matters most, that drives me at all times and why I do what I do for a living. Thank you, Wilco. I owe ya one.
Friday morning, exhausted, overslept a little, but got to work excited anew. Still aglow from the Wilco show, and excited for Ryan Adams' visit to Studio 7. I've met Ryan a few times, several years ago, and I'm sure he doesn't remember. This is a new Ryan Adams, a clean &sober musician who just dropped another fantastic record, Easy Tiger. A true alt-country gem, "alt" being the definer in that this is really a traditional country record, made without the pop sheen of contemporary Nashville. That stuff is just pop with a twang. This is a record that stands comfortably next to its forebears, like Willie Nelson's Troublemaker and prime Waylon Jennings. Anyway, Ryan arrived, a bit late, but clear-eyed, friendly, and in good humor. His interview with Dana Marshall is an instant classic (we'll post the audio on www.wbos.com very soon), a free-association rant/ramble touching on everything from Fergie to The Ghost Whisperer to failures of the mainstream media. It all added up to deep anticipation for his show that night at the Somerville Theatre...and a standing offer to Ryan to come on & do a radio show anytime he wants...he's a natural and I'd put him on the air in a second.
The word on the show was that it would be 90 minutes, starting at 7:30 sharp, and Ryan won't be playing guitar (as he's recovering from a broken wrist suffered skateboarding a few months ago). In typical Ryan fashion (typical meaning "you never know what will happen"), the show started promtly at 8:20, with The Cardinals (his band, which he considers himself a part of rather than it being a backing band) sitting in a half-circle onstage, all sharply dressed in black sportcoats, ties, and crisp white shirts. It was a semi-acoustic affair, with an upright piano, acoustic guitars, electric bass, minimalist drum kit, and a pedal steel guitar...and Ryan on guitar too, for the first time on this tour. Opening with "Cold Roses," we were all struck by how well Ryan sang, how clear and strong his voice is, what a singer he's become. Flipping thru a pair of notebooks on a music stand in front of him, the band pulled out a variety of chestnuts to go along with nearly the entirety of the new record . "Let It Ride," "Carolina Rain," "Magnolia Mountain," "Two," "I Am Learning How To Grow Old," "Tears of Gold," and "Goodnight Rose" were all standouts...during his 2 & a 1/2 hour show. In between, he consistenly engaged the crowd, playing off repeated catcall song requests (the Ryan of old would've reacted far differently, one thinks), creating a warm, ingratiating vibe that was highlighted by a surprise birthday tribute to his pedal steel player, the aptly nicknamed "Slider." After a while, it felt like I was sitting in the intimate confines of the Ryman Auditorium in Nashville, watching a classic Country band completely in their element. It was a warm, wonderful night of music, a tremendous return to form of one of music's brightest talents, and hopefully a precursor to new heights for a career artist that follows the muse wherever it takes him-and us.
See ya soon.
Tuesday, June 19, 2007
More CD picks, recent shows, and more...
Well, hello again and thanks for reading! I've got a couple more CD's to mention-some artists you should be listening to, 'cause they've made great albums, as well as some recent shows I've seen and a brief glimpse behind the scenes here at WBOS...
Chandler Travis Philharmonic, Tarnation & Alastair Sim: First things first...Chandler is f***ing nuts. That's a good thing. Chandler is a local institution, with his band The Incredible Casuals performing every Sunday at the Beachcomber in Wellfleet from Memorial Day thru Labor Day for the past 27 years. The Chandler Travis Philharmonic made this 48-track opus in a lightning-quick 5 years (take notes, Axl), and it's worth the wait. Sure, many of the tracks aren't really songs at all, just random oddities such as answering machine messages, silence, strange noises and the like, but the songs themselves-killer. We've been featuring the tracks "Wireless" and "Money Won't Buy You Happiness" on Boston Music Sundays, but there's so much more here. Straight jazz, rave-up rockers, Princelike funk, the entire gamut, all rooted in Chandler's witty, smart lyrics. Get this record (BUY it...he needs the money), put it on at your next houseparty, and watch the smiles light up the room. "Dance Goddamit" might be my favorite song for the summer. Get more info, listen to song clips, and read some of Chandler's insanity here: http://www.sonictrout.com/bands/chandler/tarnation/tarnation.html
Sarah Borges & The Broken Singles, Diamonds in the Dark: One of the brightest lights on the Boston music scene comes into their own on their Sugar Hill Records debut, a brilliant follow up to 2005's Silver City. Sarah combines elements of trad-country luminaries like Wanda Jackson and Tammy Wynette with the swagger of Lucinda Williams and an undercurrent of punk rock/indie vibes into a package all her own. Day We Met has a twang and a hook that'll stick with you for days. Stop and Think It Over has a girl-group sunshiney energy that gets better with every listen. The standout, for me, is Around 9, a heartbreaker of a ballad that features an achingly beautiful slide solo from guitarist extraordinaire Mike Castellana. This record announces the arrival of a MAJOR talent...trust me. But if you have trust issues, go to www.sarahborges.com and discover for yourself.
Saw some good shows recently too...if you were there, let me know your thoughts (dginsburg@wbos.com). Last Monday, Joss Stone & Ryan Shaw at Avalon brought neo-soul sounds to life before a packed crowd. Ryan Shaw kicked it off with his vintage Al Green/Otis Redding/Muscle Shoals sound & energy. We've been fans of this guy (all of 26 years old) for a year now, having seen him at a radio convention last summer at 1 in the morning, when he absolutely brought the house down. His self-titled debut is available now (you're hearing Nobody on WBOS these days), but it's his live show that showcases his extraordinary talent. Great voice, tremendous charisma, and a backing band that delivers the soul goods. Come see him at Copley on August 2, you won't be disappointed. And he's a helluva nice guy too.
Joss Stone has a tremendous voice, and touring behind her 3rd record at the tender age of 20. While she has stage polish and the voice is the real deal, I found the show somewhat lacking in energy. Too many mid-tempo numbers strung together didn't make for the right ebb-&-flow dynamic I wanted to hear. She was feeling under the weather that day, so we'll chalk it up to her not being 100% for the show and give her a pass until next time.
Mika at Avalon on Wednesday was remarkable in its own way. First, opener Sara Bareilles delivered a stunning solo set that won her a legion of new fans. We'll be hearing more from her in the near future. Mika though...wow. This was a show. His falsetto in top form, Mika hit the stage before a jam-packed throng of adoring fans and delivered his unique combination of Bee Gees meets Queen flavored uptempo danceable soul in a lightning-quick 60 minutes. But oh, what an hour it was. Big Girls featured...well, a couple of larger ladies in lingerie as backup dancers. Love Today was the smash singalong, with Mika pogoing gleefully like a giddy child after too many pixie sticks. Grace Kelly brought the house down before the full band returned to the stage for an encore dressed in animal costumes, with balloons dropping from the ceiling. For a minute, it felt like I was suddenly at Elton John's bachelor party...which of course I wasn't, since I don't know Elton and not sure he had a bachelor party before he got married last summer. But I digress...
On Saturday night (I'm a busy boy!), I went to the Sarah Borges & The Broken Singles CD release show at Johnny D's in Somerville. Another packed room, sweaty and blissful, as SB & BS delivered the goods, again. Sarah is a true frontwoman, charismatic and in complete control, resplendent down to her white cowboy boots. The band was tight, the room rocked, many beers were drunk, and a little bit of Nashville honkytonk was right here in our little slice of the world. Castellana tore it up on various guitars, bassist Binky was yet again a showman par excellence (and Bink, dig the new Johnny Thunders-esque tattoo)...I'm tellin' ya, see this band.
Finally, we had our first-annual Father's Day Over Easy this past Sunday. A live audience of 'BOS listeners came in to see George Knight in action, enjoy breakfast, and see a pair of local legends perform up close & personal, Jake Brennan and his dad Dennis. (I mentioned Dennis' excellent new CD Engagement in my last posting, but I'm plugging it again-it's that good. Pick it up today. Discover for yourself at www.dennisbrennan.com.) WBOS has been very supportive of Jake Brennan for a couple of years now, and deservedly so-this kid is a huge talent waiting to be discovered by the masses (www.myspace.com/jakebrennan or www.jakebrennan.org). Anyway, Jake & Dennis came in on Sunday and wowed the crowd...they don't play together very often, so this really was a treat. The songs are posted on www.wbos.com now, under the "Sights & Sounds" tab. Check it out, enjoy, and remember-support your local musicians. There's a great scene in Boston these days.
That's all for now...I've been in the office for 12 hours and need to go to that place where my stuff is kept...right, home. Back soon, y'all. In the meantime, feel free to post a comment or send me a message directly: dginsburg@wbos.com. Thanks again for reading...and thanks for listening to WBOS!
Chandler Travis Philharmonic, Tarnation & Alastair Sim: First things first...Chandler is f***ing nuts. That's a good thing. Chandler is a local institution, with his band The Incredible Casuals performing every Sunday at the Beachcomber in Wellfleet from Memorial Day thru Labor Day for the past 27 years. The Chandler Travis Philharmonic made this 48-track opus in a lightning-quick 5 years (take notes, Axl), and it's worth the wait. Sure, many of the tracks aren't really songs at all, just random oddities such as answering machine messages, silence, strange noises and the like, but the songs themselves-killer. We've been featuring the tracks "Wireless" and "Money Won't Buy You Happiness" on Boston Music Sundays, but there's so much more here. Straight jazz, rave-up rockers, Princelike funk, the entire gamut, all rooted in Chandler's witty, smart lyrics. Get this record (BUY it...he needs the money), put it on at your next houseparty, and watch the smiles light up the room. "Dance Goddamit" might be my favorite song for the summer. Get more info, listen to song clips, and read some of Chandler's insanity here: http://www.sonictrout.com/bands/chandler/tarnation/tarnation.html
Sarah Borges & The Broken Singles, Diamonds in the Dark: One of the brightest lights on the Boston music scene comes into their own on their Sugar Hill Records debut, a brilliant follow up to 2005's Silver City. Sarah combines elements of trad-country luminaries like Wanda Jackson and Tammy Wynette with the swagger of Lucinda Williams and an undercurrent of punk rock/indie vibes into a package all her own. Day We Met has a twang and a hook that'll stick with you for days. Stop and Think It Over has a girl-group sunshiney energy that gets better with every listen. The standout, for me, is Around 9, a heartbreaker of a ballad that features an achingly beautiful slide solo from guitarist extraordinaire Mike Castellana. This record announces the arrival of a MAJOR talent...trust me. But if you have trust issues, go to www.sarahborges.com and discover for yourself.
Saw some good shows recently too...if you were there, let me know your thoughts (dginsburg@wbos.com). Last Monday, Joss Stone & Ryan Shaw at Avalon brought neo-soul sounds to life before a packed crowd. Ryan Shaw kicked it off with his vintage Al Green/Otis Redding/Muscle Shoals sound & energy. We've been fans of this guy (all of 26 years old) for a year now, having seen him at a radio convention last summer at 1 in the morning, when he absolutely brought the house down. His self-titled debut is available now (you're hearing Nobody on WBOS these days), but it's his live show that showcases his extraordinary talent. Great voice, tremendous charisma, and a backing band that delivers the soul goods. Come see him at Copley on August 2, you won't be disappointed. And he's a helluva nice guy too.
Joss Stone has a tremendous voice, and touring behind her 3rd record at the tender age of 20. While she has stage polish and the voice is the real deal, I found the show somewhat lacking in energy. Too many mid-tempo numbers strung together didn't make for the right ebb-&-flow dynamic I wanted to hear. She was feeling under the weather that day, so we'll chalk it up to her not being 100% for the show and give her a pass until next time.
Mika at Avalon on Wednesday was remarkable in its own way. First, opener Sara Bareilles delivered a stunning solo set that won her a legion of new fans. We'll be hearing more from her in the near future. Mika though...wow. This was a show. His falsetto in top form, Mika hit the stage before a jam-packed throng of adoring fans and delivered his unique combination of Bee Gees meets Queen flavored uptempo danceable soul in a lightning-quick 60 minutes. But oh, what an hour it was. Big Girls featured...well, a couple of larger ladies in lingerie as backup dancers. Love Today was the smash singalong, with Mika pogoing gleefully like a giddy child after too many pixie sticks. Grace Kelly brought the house down before the full band returned to the stage for an encore dressed in animal costumes, with balloons dropping from the ceiling. For a minute, it felt like I was suddenly at Elton John's bachelor party...which of course I wasn't, since I don't know Elton and not sure he had a bachelor party before he got married last summer. But I digress...
On Saturday night (I'm a busy boy!), I went to the Sarah Borges & The Broken Singles CD release show at Johnny D's in Somerville. Another packed room, sweaty and blissful, as SB & BS delivered the goods, again. Sarah is a true frontwoman, charismatic and in complete control, resplendent down to her white cowboy boots. The band was tight, the room rocked, many beers were drunk, and a little bit of Nashville honkytonk was right here in our little slice of the world. Castellana tore it up on various guitars, bassist Binky was yet again a showman par excellence (and Bink, dig the new Johnny Thunders-esque tattoo)...I'm tellin' ya, see this band.
Finally, we had our first-annual Father's Day Over Easy this past Sunday. A live audience of 'BOS listeners came in to see George Knight in action, enjoy breakfast, and see a pair of local legends perform up close & personal, Jake Brennan and his dad Dennis. (I mentioned Dennis' excellent new CD Engagement in my last posting, but I'm plugging it again-it's that good. Pick it up today. Discover for yourself at www.dennisbrennan.com.) WBOS has been very supportive of Jake Brennan for a couple of years now, and deservedly so-this kid is a huge talent waiting to be discovered by the masses (www.myspace.com/jakebrennan or www.jakebrennan.org). Anyway, Jake & Dennis came in on Sunday and wowed the crowd...they don't play together very often, so this really was a treat. The songs are posted on www.wbos.com now, under the "Sights & Sounds" tab. Check it out, enjoy, and remember-support your local musicians. There's a great scene in Boston these days.
That's all for now...I've been in the office for 12 hours and need to go to that place where my stuff is kept...right, home. Back soon, y'all. In the meantime, feel free to post a comment or send me a message directly: dginsburg@wbos.com. Thanks again for reading...and thanks for listening to WBOS!
Subscribe to:
Posts (Atom)