Cover photo: The Riot Before's bassist Cory Manning. Photo by Megan Wagner. Cover design by Heather Dance.
Cover!
Local Music Rocks!
Cover photo: The Riot Before's bassist Cory Manning. Photo by Megan Wagner. Cover design by Heather Dance.
Featured
Carlos I'm Pregnant Does it For the Kids
On March 20th, at Eyeclops Studios in downtown Fredericksburg, dozens of local teens gathered for the monthly Fredericksburg All Ages show. The evening was a showcase for four of the best young local acts in Fredericksburg. First to take the stage was In Bocca al Lupo, a moniker for a solo acoustic act from Fredericksburg who lays low, monotone vocals reminiscent of Stevin Merrit over light acoustic strumming. With lyrics invoking images in nature, In Bocca al Lupo follows in the veins of singer songwriters like Nick Drake or Elliot Smith. His soft strumming created a beautiful sparse sound that echoed throughout Eyeclops. Lyrically In Bocca al Lupo set off the tone for what was going to be a night of youthful anxiety, juxtapositioned gracefully over sparse guitar. “Smile like you mean it, that grin is not deceiving” cooed In Bocca al Lupo, repeating the phrase with an earnestness that was undeniable.
Next up was Dilemma Uncovered, a three piece band from Orange, VA. With ambitious orchestration, the group reached beyond typical power pop rock, and showed hints of more atmospheric rock bands, like Explosions in the Sky. The powerful orchestration was accentuated with back and forth vocals from guitarist Chris Manns and bassist Ben Highlander. The bands earnest angsty lyrics of love and teenage frustration easily connected with their young peers at Eyeclops. Some songs were works in process, forcing Chris to read lyrics scrawled up his arm, but the band pulled off the transitions smoothly. One of the nights highlights was the drumming of Dom Manns. With a sound that varied from stomping rock ballads, to complicated rockabilly like breakdowns, to some pretty serious technical drumming.
The band also said that this was their first time using prerecorded piano parts in their live show, an ambitious move that they pulled off flawlessly, showing how full and epic their sound has the potential to be. It was nice to see a band striving for an epic, anathematic sound so early in their time playing together, showing promise for future shows. During the end of their set a second guitarist joined them onstage, and delivered a few soaring riffs that accentuated the bands technical prowess. With so many bands attempting to be understated or overly nonchalant with their music, it was refreshing to see young musicians attempting to make soaring rock anthems.
Jaguar Shark was up next, a four piece punk band from Fredericksburg. Janus C, lead guitarist and vocalist was donned with what seemed to be blue face paint and a sleeveless Cure muscle tee shirt. Like most young punk bands, what they lacked in technical prowess, they made up for with a ruckus live act. The set was littered distorted guitars and guttural angst ridden lyrics. As the band played the crowd passed around a large inflatable shark painted in jaguar spots, while other members of the audience blew bubbles that floated up past the stage. Throughout their set Jaguar Shark, did what young punks do best, in being loud and unapologetic with their racing, riotous short songs. They showed variance with typical punk styling’s by littering their songs with stomping breakdowns, and rolling rockabilly guitar licks that combined punk styling’s of Social Distortion with the southern instrumentation of a band like ZZ Top. Halfway through the seat front man Janus C told the crowd “This is all going to end….very, very badly”, and while the set was great, it just shows how volatile, exciting, and unexpected a young punk band can be.
Headlining the evening was Carlos I’m Pregnant, a four piece band from Fredericksburg that have been kicking around the local scene for over three years now. The set began with a fog machine filling the small venue, completely engulfing the band, leading to a dramatic start as the band begun to play. Carlos I’m Pregnant has been one of the most prominent alternative bands in Fredericksburg over the last few years, perfecting their understated yet powerful sound. Reminiscent of bands like Nightmare of You, and other post ironic bands influenced by mid 90’s alternative, Carlos brought a fresh professional sound to Eyeclpos, and the audience responded immediately to the bands sound.
Lead vocalist Ben, sounding slightly like Gordon Gano, is quiet and understated, allowing the songs arrangements to take precedent. With intricate melodies that allow for ample buildups, leading to beautiful climaxes, the band creates a great atmosphere. With their great set at Eyeclops, Carlos I’m Pregnant cemented their status as one of Fredericksburg’s best indie rock bands around. Once again Fredericksburg All Ages and Eyeclops Studios put on a great show that allows local young talent to take the stage. As kids were filing out at the end of the show discussions and posters for next month’s show were everywhere, continuing the tradition of live music for everyone in downtown.
Featured
Remembering Jack Rose
Jack Rose's musical journey began in Fredericksburg in the mid eighties as a teenager. After playing with his first band Pelt, Jack went on to record a plethora of solo releases under no fewer than ten different labels. Jack was consistently regarded for not only his technical and proficient guitar picking skills, but for his ability to channel his soul so profoundly through his music. Cory Rayburn of Fakejazz.com writes “Over every bit of new music I've heard this year, regardless of the source, not one other album contains as much of the performer's soul as this LP.” regarding one of Jack's Solo Albums Red Horse, White Mule. Jack's life and music have touched many lives across the globe, as Jack spent many years touring the U.S. And Europe extensively, spreading his unique styles of ragtime, rock, blues, and American folk to as many ears as he could find.
Jack passed away on December 5th, 2009 in Philidelphia of a heart attack at 38 years old. His funeral took place there, where he and his wife lived. Jack's mother still lives in Fredericksburg, and wanted to have a celebration of his life, which took place at Eyeclopes Studio in downtown Fredericksburg. It was only fitting to celebrate in Fredericksburg, where he had a large influence on those who knew him, as well as those who were lucky enough to hear him express himself so profoundly. A slideshow played along with some of Jack's vinyl recordings, and on the Micromatic Turntable console rested a bottle of Fighting Cock Whiskey and a shot glass for those wishing to share a drink with Dr. Ragtime.
After a few hours of Jack's music, The Naked Lunch, a blues/60s psychadelia group originally comprised of Karl Steinbach on bass, Powell Sale III on drums, Lowell Sale on guitar/vocals and Jack Rose on guitar played some tunes with Jimbo Davies (formally of the band Fredvegas) filling in playing lap steel with the remaining 3 members. They all toasted Jack, and doused themselves in Hai Karate aftershave...a scent joke/tradition from years ago. Lowell recounted memories shared with Jack, and the band at one point showed off their matching green socks: another tradition from the good ol' days. Ugly Head, a former band of Jack's that had been based out of Richmond, followed up with a more hard rock edge than The Naked Lunch.
It's clear that Jack is missed, loved, and remembered. His music will continue to touch us all.
Jack Rose Celebration photogaphs by Missy Colombo.
Other photographs courtesy of Anchormoon.wordpress.com, Jack Rose on Myspace Music, and Simon Fernandez Music Photographer at http://flickr.com/photos/40550965@N05/4207772760.
Featured
Vinyl Epitaph: The Album Release Party
Enter the Downtown Fredericksburg nightlife scene, where local bands vie for power and glory. Vinyl Epitaph is certainly one of the scene’s most promising bands, debuting their first EP on Saturday, March 27th at Fatty J’s. It was a packed house, a night full of energy, excitement, and some good-old-fashioned heavy rock.
The bitter night chill of Downtown’s sepia-tinged, cigarette-butt-littered streets forced the nightlife’s thrill-seekers to find a refuge and an attraction. Fatty J’s was the refuge, Vinyl Epitaph the attraction.
A band only a year old (in their current form), Vinyl Epitaph has plenty of shows under its belt, playing some Downtown establishments such as Hard Times and Spirits, and in the process developing quite a formidable reputation.
Customized street-posters, homemade, cover the walls of the corridors that lead into Fatty J’s main lounge, where the guys are setting up for the gig. Up the stairs and through the sentinels checking IDs, preventing minors from enjoying the show, the view reveals Vinyl Epitaph, knee-deep in wires leading to the fortified depths of their ominous amps.
DJ Skruff is equally ensconced in arcane musical technology, apparatus whose sole purpose is to make you get down, rock out, lose yourself in sonic ecstasy. Opening up for the band and lacing his tracks throughout the night as the band momentarily paused, Scruff starts out by playing Pearl Jam’s “Even Flow,” remixed with a faster, harder, electronic beat. The crowd loves it, but none more than Nick Stephens, lead singer for Vinyl Epitaph. A deep Pearl Jam junky, Nick sips on his beer, totally elated as DJ Scruff unexpectedly scratches through one of his favorite songs. Throughout the night, the charismatic DJ proves himself to be a total crowd pleaser. He plays remixed versions of classic 80s pop and metal songs to incredible reception. Some highlights were Bon Jovi’s “Living on a Prayer,” Cindy Lauper’s “Manic Monday,” and Scandal’s “The Warrior” (personal favorite).
The band starts, and all are psyched. Chicks in skimpy outfits dance incessantly to Epitaph’s rockout tunes. Dudes flail their legs around as they dance with themselves, crashing into people. It’s madness. Eclecticism is not just imbued into the sonic DNA of Vinyl Epitaph, but also evident in the phenotypic, physical, visual manifestations that rock out in the flesh during their live shows.
Nick Stephens. Lead singer. His shoulder-length hair covers his eyes down to his nose as he screams into the mic. His super-charged growling vocals balance out the melodic sections of his lyrics. He takes us on a journey, a bittersweet sonic legend through space-time. The dude pours his heart out on stage. A true frontman; with one hand he preaches peace and with the other, the religion of ass-kicking rock.
Matt Wade. The drummer. Violently, and powerfully demolishes his drum set. His customized drum sticks on the verge of splintering at every thunderous beat. A total powerhouse drummer, his energy radiates from the stage. Through the driving, upbeat “Severed Head,” to the much faster-paced “Mohawk Blues,” to the uncontrollable “Crapshoot Rapture,” Matt’s demonic skill is clearly evident.
Mike Enzweiller. Guitarist. His flesh is a graphic novel. The normally-put-back dreads are unleashed during the second, heavier half of the show. The dreads flail about as he strums his guitar, unwittingly dispersing Matt’s shockwaves. Mike’s experimental alien solos totally chill you to the core, transporting you into a totally different place.
Hugh. Strong and steady, he thumps away, keeping the baseline. Unwavering, unfaltering. Hugh. What a fucking badass. These guys are on the edge.
The Oxygen Guide is a soundtrack to a road trip across America. Good old rock. People danced. It was loud. Our ears were still ringing two days after. They are local. They are Fredericksburg. This is their city. They are from here, they play here. They know rock, and they play it heavy. A definite attraction.
Vinyl Epitaph is saloon honky-tonk rock in a spaghetti western space opera. The EP an LSD spirit quest into inner space, into the soul of America, into the soul of rock. A cosmic journey of mythological proportions. Gritty cowboy rock, set in a cyberpunk dystopic near future. Runnin’. Vintage time capsule of a musical era eons long past, and light years away.
Vinyl Epitaph is a mix of everything rock. The more I listen to them, the more I love them. These dudes are killer. This band has a future in the annals of rock godhood. It’s strange how down to earth they are as well. Watching them live and listening to the songs they’ve created was truly surreal. Legendary.
Christian Hutt of Magazine 33 sat down with Nick and Matt, the vocalist and drummer of Vinyl Epitaph, a heavy rock band from Fredericksburg after an amazing performance celebrating the release of their debut EP, The Oxygen Guide, at Fatty J’s.
33: So Nick, what does the name your band, Vinyl Epitaph, mean?
Nick: That’s the first question?
33: Yea man, it’s a big one, but we just have to know. It’s just a really cool name, you know.
Nick: Well, first of all, it means different things to different people, you know. The origin of the name has a long story, but basically when I think of Vinyl Epitaph, our epitaph is our music, passing it down, have it inculcated and spread out amongst our listeners.
33: Like your legacy?
Nick: One could say that. I wouldn’t necessarily say my legacy, you know. But yea, where it came from is another story for another time.
33: How about you Matt, what does the name mean to you?
Matt: Well, I think, in the literal sense, “Vinyl,” as in a record, and “Epitaph,” as in quite literally what is on your gravestone. I think the connotation could mean, like, bringing rock back to life. That’s what it means to me. Keeping it fundamental, just keeping it rock. No synths, no crazy bullshit, just an acoustic drum set, a bass, guitar, and a singer, ready to take on the world ( grandiose, yet comedic, emphasis on “world”).
33: I mean, you guys are definitely a heavy rock band here. Matt, dude, you’re and incredible, energetic drummer. There comes a point in the set where you get so worked up that you just take it off, you take your shirt off and your power just exerts out there. Where does that energy come from, what are you guys fighting for?
Matt: It’s awesome actually. Like, the truest energy comes to you, to the point where you have no control over it, and there’s probably like nine out of ten times where I’ll start rocking out and I’m 15 seconds in and I realize that, “Oh shit! I’m acting like a retard!” But it doesn’t even matter, it’s just what moves me. Music moves me. Rocking out with these guys, it’s pretty cool.
33: Do you, as Nick said, want to push your energy into other people, kind of, like, change them, cause amazing events and inspire your listeners?
Matt: I think if you have a group of people that are kinda feeling you, who are feeling the music, at least they’re paying attention, they witness your energy, they feed off of it, and so, when we get pumped up, the audience gets pumped up, then we get more pumped up, it’s back and forth. It’s awesome. Probably the truest form of expression.
33: Nick, your power, when you do your vocals, do you feel that you really have to top Matt’s unruly drumming?
Nick: That’s a really good question, because, the way I see it is that most of the time I really feed off of Matt. I don’t want to speak for him, but I think he feels the same way. Sometimes I’ll catch him in a frenzy, and I’ll have to move to the other side of the stage so he doesn’t kill me. (Matt laughs.) The other half of me thinks, “Well, ok, I’m going to amp it up,” especially if he gets amped up with what I’m doing. It becomes a very symbiotic relationship. You know, when a few guys start rocking it out together, after a while, you can’t help but to develop close bonds. But yea, sometimes Matt gets really pumped up…
Matt: (Laughing) Beyond my control, beyond my control…
Nick: …I know, I know. Matt really upped the ante when we came together about a year ago, after being apart for a while. Matt really revitalized this entire band. He was like the steroids we needed, what really helped start this journey we’ve been on recently.
33: This is your first released CD right?
Nick: Yeah.
33: And you said you’ve been together for a year?
Nick: About a year now. Not too bad for a band doing it by themselves. No outside help, we do everything ourselves, fund everything ourselves, you know, even our electronic press kit, all that kind of stuff, you know. MySpace, all ourselves. Minimum Wage Recordings in Richmond. We recorded there. Self-funded.
33: What were some of the biggest struggles in writing and recording the songs?
Matt: Honestly, I would say one of my biggest struggles, it might sound lame, but just funding this whole thing, you know what I mean. Being in a rock band, before you actually feel in your own mind like you should be getting paid for it, this is more like therapy for us. If I couldn’t come here, on Tuesdays and Sundays and rock out and release with these guys, I might be the guy that pulls the fire alarm in a building and waits on the rooftop as people come out and picks them in the back of the head (laughs, jokingly.)
33: You can definitely notice that brewing intensity and energy in your drumming.
Matt: You gotta have an outlet. You gotta have an outlet or you’ll turn into Timothy McVeigh, and I’m really not trying to do that.
33: So what is the name of the album?
Nick: The EP is called The Oxygen Guide.
33: I wonder if what Matt just said, about the release of bottled up energy, is tied somehow to the name of the album and just what it’s about overall?
Nick: I’m glad you brought that up because Matt was actually the one that came up with the title.
Matt: It has a lot to do with, in the literal sense, how you breath, it’s The Oxygen Guide. How you breath in different situations. How you cope. How you carry yourself and just push through.
Nick: How you release yourself too. A lot of the lyrics in the album, all the songs on the EP, have a common theme. They all have to deal with getting away from something. Escaping from something. Grasping for air.
33: So what inspired Vinyl Epitaph? What kind of sounds out there do you guys dig?
Nick: As far as what, other bands, other artists?
33: Yea, like what really energized your style?
Nick: It really runs the gamut. I can’t really speak for the band, I mean we all like similar artists, but if you were to take a look at the artists that we look up to and aspire to be like, you would notice an eclectic taste in our part, totally. Hip hop, rock and heavier, more metal bands, too, have been a huge inspiration in terms of the sound and the whole songwriting process. We all come from different places, separate corners of the Earth, and we have our own taste in different bands, and it’s just unique the way we have been able to conglomerate all our tastes. For example, I don’t think anything in my Top 10 would be anything like that of any other member in the band. There might be some similarities in between, but that’s what makes us great.
33: So Matt, what do you dig, as far as drumming goes, what kind of sounds just really pump you up?
Matt: Right now I’m actually really into, thanks to Ryan Barsanti, Them Crooked Vultures. Queens of the Stone Age obviously is one of my top five bands. I love Glassjaw so goddamn much. I love Thrice, pretty much everything Thrice has done. Every Time I Die, obviously. The Big Dirty is probably one of my favorite albums ever. I don’t know man. I love getting together with these guys, every single day is like a music lesson. I’ll hop in Nick’s car and something random will come on Nick’s iPod. Like, “What is this?” And then I’ll be into that band for a week, I’ll know everything about them. You know, I’ll just discover them (laughs). It’s cool, really cool.
33: What would you recommend to drummers out there that really want to make it like what you guys are doing?
Matt: I wouldn’t by any means say that what we’re doing is making it. But, I don’t know man, just keep playing, just do what you feel. Just do what you feel. That’s always what we’ve done. No matter what anybody thinks we are the most humble musicians ever. We don’t ever think that what we’re doing is good enough. Just play and pump people up and feed off of that. Just play man. Do what you feel.
33: How about you Nick, as far as vocalists go, want to shout out to all the guys out there in the Fredericksburg scene?
Nick: I pretty much agree with Matt there on that one. I mean, every person in this band has played with other people before, and you know, what it comes down top is just finding a niche that is just for you. And it’s one thing to keep playing if you’re having fun. That’s great. There’s nothing wrong with that. If you want to make something of yourself, just keep trying hard. Like I said, we’re a do-it-yourself band. We all carry ourselves, do everything ourselves. That can be a lot of work and sacrifice sometimes, but you’ve just got to stick with it, you know. A year today, or for the most part of a year today, we’ve been together doing this, and we’ve got an EP to show for it. We’ve got some pretty good shows under our belt. Just gotta keep moving on, that’s what I would suggest to anybody else that wants to start a band. You know, just start a band, create music. Just creating and creating, that whole creative process, that’s what’s important.
33: Your songs seem like they’re about your struggle.
Nick: Lyric wise?
33: Yeah.
Nick: Well, I don’t think it’s anything about a struggle. I actually learned a long time ago that every song doesn’t always have to be about something. It doesn’t necessarily have to have a deep, prophetic meaning. It can actually be a part of the moment, just having fun.
Matt: Goes back to do what you feel, man. If you’re living by that, “do what you feel,” you have no choice other than to let your songs depict what in essence is going on in your life.
Nick: Even if it’s just narration, like telling a story, or you really are speaking from something real, it doesn’t have to be brooding or about self-loathing or anything like that. I think one of the refreshing things about Strange Beast is that the chorus to the song is, “Sorrow, is no place to hide.”
Matt: Exactly.
33: Is that one of your favorite songs?
Nick: It is.
Matt: That’s one of my favorites. We tend to close a set with that guy. It’s one of my favorites, just because, it’s right there. If you’re using music as an outlet that’s definitely one of the songs that completely and fully describes using music as an outlet.
Nick: Absolutely.
33: Now I know music is very difficult to put into words, but putting things into words is what we’re doing right now, so how would you describe Strange Beast?
Nick: (Pause. Sighs. Laughs.) Well, a lot of our songs are kinda short and they tend to be on average from 2-3 minutes, and that song in particular is a very fast paced song. But what’s great about a lot of our songs is that the lyrics can sometimes be like, well someone like Neil Young can take those same lyrics and put them into a 5 minute song with a harmonica, and it can be a dull song or an upbeat song. But what we do is condense everything into a kind of fast paced, straightforward rock.
Matt: Basically we don’t want anything, any one facet of the song to take anything away from any other facet of the song. We don’t want the drums to be too intricate to the point of distracting from the lyrics. We don’t want the guitars to be too crazy and drown out the baseline, you know, just things like that, everything must coincide.
33: Balance?
Nick: Yea totally.
Matt: Exactly.
33: You guys each bring so much to the band, it must be tough to balance all your varying energies but you seem to pull it off rather well.
Matt: We all want to be lead singers in our own minds! (laughs).
Nick: And I really want to be a drummer.
Matt: It’s so funny: you want to be a drummer and I want to be a singer.
33: You guys have any final shoutouts?
Nick: I do want to say one thing, we’re very grateful for all the hard work and support our network of friends have given us along the way, from just coming out and watching the shows, to helping us move equipment in and out of our cars. We do it ourselves, we do all our own material. I used to say on the mike, like, “We do our own songs.” It got kind of old after a while, but it was something I really wanted to hammer down. Everything that we’re doing is by ourselves, you know. And this group of guys that I’m blessed to be in a band with, we’re actually working pretty hard at creating and creating, that’s a process in itself. It’s hard sometimes, and you work through these speed bumps every now and then, but you get through them. I would say to anyone else that is trying to start a band to just make sure you work through these things, if it’s something you really want to do, even if it is the mindless good times of playing a song. The inception of a song, you know. You created a song. There we go.
Matt: That being said, progression is a plus. It’s supercool to progress, but if we never went another step from where we’re at right now, I could play in this moment forever, and that would be awesome.
Nick: Let’s just stay here.
Matt: Let’s rock out. Let’s just rock out.
Nick: It’s what it’s all about.
Fun
Braid Blues
Apparently snow days = cabin fever = songs about braiding. Magazine33's Ryan Barsanti gets in close with Mike Enzweiler to inspire amazing compositions. Apparently Enzweiler not only touts the infamous tat featured in our February edition, but can simultaneously engage the guitar and drums creating beautiful ballads. A new sensation, "Braid Blues" is expeditiously rising to the top of the charts. You heard it here first...
LYRICS:
Real men know how to braid
Real men don't be afraid
Motherfuckers out there, they may try to hate
We ain't gay, we just know how to braid
Whenever you're feelin' blue
Just give your girlfriend a new hairdo
If you don't know, here's what you do
Just grab yourself three sets of two
Over, under, through and through
Give it a tug, see if your knot's true
Don't just stop at one or two
She'll get mad if you stop before the job's through
Please believe it...
Faith
What a Show
March 6, 2010 started a new trend of local singers and musicians having CD release programs. Raymond Silver released his new CD project in style with a packed house present to witness it.
Arm of the Lord Ministries allowed Raymond to use their facilities to make this event possible. They are located at 2100 Airport Ave. in Fredericksburg, Va. The dining hall seats about 150 to 200 people and there was standing room only!
The original emcee couldn’t make it but his standby emcee did a magnificent job. Raymond’s sister, Barbara Smith stepped up to the plate and kept the program rolling. Minister Jason Lewis kicked things off with a prayer and scripture. Jason then led the opening selection, “Let it Rise.” Great job!
Another one of our local artists, Minister Clinton ‘CD’ Porter continued with the praise and worship by singing two of my favorite songs, "It’s Amazing" and "How Great is Our God." Clinton will be featured in one our upcoming issues. He really has a smooth sound and allows God to use him to minister. Great job!
The program got better and better as time went on. Friends, family, and supporters were rolling in. The Haywood Family Mimes performed two selections that were powerful. The family worked really well together. They came all the way from Jacksonville, NC to help support Raymond and his project. What a sacrifice. You will be blessed. Great job!
Just before the second ha
lf started, there was a small intermission with hors divers. I'd like to the kitchen committee: Fonda, Teresa, Kimberly, Bondara, and Shareese. During the intermission, I had a chance to talk to the sound technician.
Karl Stienbach is the owner of Apple Guitars, a local business specializing in guitars. Karl told me he was probably only using about 1500 watts of power to run the entire system. Karl was assisted by Nathan Silver who is also a sound technician. If you need guitars or guitar supplies you may contact: appleguitars@yahoo.com
I can’t say enough about the performance after the intermission was over. My group Faithful Connection came out and set the stage for Raymond. They really got the crowd pumped up. Jonathan didn’t hold anything back and the rest of the fellas were right behind him. With songs like "Let’sGet Down," "Wave My Hand," "Tonight," and "Leave it in the Hands of the Lord," you can’t go wrong. Impressive! Great job!
And now ladies and gentlemen, boys and girls, without further a due, I present to you…Raymond Silver. What a Performance! Action packed from start to finish. Raymond did his thing and had the excited crowd on their feet. “Use Me,” featuring Raymond Silver II, started it off. The spirited crowd was clapping and grooving at the same time. Raymond moved on to “Heaven” and had everyone rocking their heads. “Count it all Joy," "Won’t let Go," and "I Won’t Turn Back" topped it off. A very nice selection of songs, backed by Clinton Porter and his choir and band, Raymond really performed. Great job, and I wish you much success!
I’m still proud of Raymond and all of the performers at the CD release. I will leave you with a few comments from the audience: “It was Awesome!” - Jonathan Mercer, Ray-Ray, and Kimberly Silver. “Awesome, everybody was professional. Raymond is a natural.” – Tracy Griffin. “Fantastic!” – Tyrone Adams. “They Rocked It!" – Brittany Silver. “It was Smooth!” – Tyshawnda Silver. “It was Absolutely Awesome! A great debut for a great artist!” – Clinton CD Porter. “I enjoyed quality music and musicians in a family atmosphere.” – Jason Lewis.
“It was really an honor to be able to share in this event and I pray for a huge success.” – Bondara Buckner. “This turned out to be more than I could have imagined. I thank God for the vision and for making it plain in order for us to carry out His will.” – Frankie Silver. “It was wonderful to see each group with their own individual styles perform with excellence. I enjoyed myself. It was great watching all ages grooving to the music." – Deborah Adams. “God Bless you and thanks for your support. I appreciate everyone for making it what it was supposed to be." – Raymond Silver
Other local artists in attendance: Purposed Destiny, Richard Davis Spirit in Truth, and Angie Pretlow. More from them in the next issue.
God Bless and stay tuned for more exciting news.
Faith
Faithful Connection First Anniversary Celebration
On March 13, 2010, the Fredericksburg Gospel group had put together a show at Essex High School in Tappahannock, Virginia to celebrate their one year anniversary of being together. If you haven’t read the introduction article on the group, they have already recorded one album and have done live shows around Fredericksburg praising and worshiping the Lord through their music.
The gymnasium was filled with their supporters waiting to see them play. Before Faithful Connection was to play, the show started with a prayer, scripture, and acts from Virginia to be showcased during the event. The acts included First Union Men’s Chorus, Acclaim, The Silver Brothers, and The Zion Knights. Each group’s performance got the audience off their feet and clapping their hands in worship.
What seemed to be the most impressive aspect of the show was that not only did Faithful Connection do their own set of songs, but they also helped out with the other performers as well. Many of the members of Faithful Connection played instruments for the groups who needed them. Not only can the group play wonderful Gospel music, but they also show how selfless they are which makes you adore them even more. Overall, their first anniversary celebration was a success and it looks like there will be more to come.
Reviews
Cleveland Cherry by: Red Satellites
Imagine pairing the Britpop influence of Suede with David Bowie’s epic showmanship. The outcome would be Cleveland Cherry, the new EP from Red Satellites. At only four tracks, the band manages to not only draw from the best of these vintage influences, but sew the pocket back on that thrift store overcoat and sell it as modern day rock n roll.
Drummer, Brenning Greenfield, counts in the measure as “Good Press” kicks off the EP with its positive charge. As the yeast rises, Drew Carroll’s guitar comes in quick and easy with classic rock ambition, almost Beatlesque to use the term loosely. The track lets Kevin Hivick’s vocals stand out amidst sudden halts in accompaniment and establishes the disc’s tone.
“Dancing,” which could easily be the band’s first single, follows up with Daniel Hivick’s romantic scales on piano fondly reminiscent of Elton John circa 1973. The vocals mirror Brett Anderson of Suede -- at times it’s even difficult to differentiate between Hivick and Anderson himself. A catchy tune, the “Dancing” rhythm keeps dancing on without a break similar to the way Roxy Music’s “Both Ends Burning,” well, keeps on burning.
Rounding out the disc are “Wings” and “Saturday Night,” together a two-piece suit to go beneath that overcoat. “Wings” starts off gently; Kevin’s narrative illustrates with great imagery while Chris Ambler’s bass and Carroll’s guitar melodically snap together. As Kevin’s story climaxes, it plays catalyst to the gleeful chaos which transitions seamlessly into the amped “Saturday Night.” The suit’s pants, “Saturday Night” unzips its fly to expose mod rock n roll with a post-punk revival inseam. A clear shift from earlier in the disc, the band takes it up a notch and is as artistic and Bitpop as it can to be.
With only four songs, Red Satellites clearly demonstrate why they are the band that is currently being sought out by record labels for a deal. By taking a vintage sound and successfully making it their own, they create a brand of music that so many musicians overwork themselves to achieve -- Red Satellites just seems to inherit it. This quaint collection of tunes is just enough to leave you itching for a full-length album. It brings to mind the old saying, “It is better to have three songs that are well-recorded than ten songs that sound like they were recorded in someone's bathroom.” Well, with an outfit as chic as this, you don’t need to record in a bathroom.
Reviews
Tin Can Town by: Andy Hawk and the Train Wreck Endings
In anticipation of Andy Hawk’s newest release next month, revisiting last year’s Tin Can Town seems appropriate. Here, Andy Hawk and the Train Wreck Endings revive their euphonious Americana with ease and purpose, both characteristics often taken for granted in popular music today. With the classic no-nonsense approach sometimes referred to as, “Don’t bore us – get to the chorus,” Hawk and his boys always keep you at arm's length, stapling themselves to your attention span with a collection of songs that average around three minutes in length.
Commonly compared to Bob Dylan and Tom Petty, Hawk’s songs come catchy and melodious in classic songwriter style. There’s no flash or glamour to this record, just carefree Americana. In fact, the music is much like the man himself. Ask anyone who knows Andy and they’ll tell you he’s an easy-going, come as you are type fellow, and his tunes follow suit. Tracks like the jaunty “Think Too Much,” “Tin Can Town,” and “Real Gone Girl” provide easy rhythms to illustrate uneasy times. Hawk is clearly attracted to themes of longing, lost hope, and alcohol-induced therapy with this record. Many of his songs could easily become Raymond Carver stories.
“Break Free,” a ditty of lost love, slows the tempo with a melody reminiscent of one of those popular Eric Clapton ballads (think “Wonderful Tonight”). And speaking of white guys that play the blues, “Pitchy & Time-erratic Blues” shows that Andy and the Train Wreck Endings can pull their weight in that department as well. A highlight of the album, this flavorful track not only showcases the bold craftsmanship of Gary Rudinsky on lead guitar and Chuck Bordelon on bass, but it’s finely balanced with a humorous tale that’s worth a good listen. Other entertaining tales include “Tombstone,” a western ragtime inspired tune that begins, “Here lies Jimmy Parker, hanged by mistake in 1882.” Oh, that Mr. Parker, he had it coming! And of course, “The Last Two in the Bar,” another well-received account of last call love.
Steve DeVries is another Train Wrecker worth mentioning. The handyman of the group, DeVries picks up the slack wherever needed with his expertise on a variety of instruments including mandolin, banjo, and harmonica. Rudinsky’s romantic guitar work in harmony with DeVries’ banjo riff on “Music From Another Room” makes for a subtle serenity that adds another dimension to the album.
What makes a songwriter popular these days? Not usually his lyrics as much as his band. Tin Can Town becomes a marriage between the two; one consistently supplementing the other without ever feeling contrived or irrelevant. One of the greatest thrills of Bob Dylan’s live performance is that he always has an amazing band behind him. Well, like Dylan’s band, the Train Wreck Endings accentuate Hawk’s lyrics and allow him to shine. Check out Tin Can Town, available on Itunes and CDBaby, and keep your eyes open for his upcoming release.
