Archive by Author

Seeping Through with Gavin Stewart

19 Jun

Before I begin writing this post (too late), I have a brief production note for all of you. If you are just here for Gavin please do skip down past the picture. Over the next week or so I am going to be doing three posts about my trip. The posts will be rich with photography and will certainly be melodic (supposing you are also under the belief that creative diction can be musical). Don’t worry, I will fit some music into the posts. You will see. We will start with London. Also, I am seeing the Beach Boys on Sunday. A review will certainly come of that! Now on to Mr. Stewart.

Folk music is diverse. This is not the first time I have written that and it will certainly not be the last time. That is one reason why I love the genre. It never gets old. The transformation of acoustic-driven songwriting has been molded into creative geometric shapes over time. This morphing is always done by musicians who are not afraid to change conventions. Do you see where I am going with this? Gavin Stewart is one of these musicians and his new full-length album Seep Through demonstrates a wide variety of indie-inspired tunes that shake the folk tree.

Stewart is a singer, songwriter, multi-instrumentalist, choreographer and dancer from Tulsa, OK, who fell in love with music at five and never turned back from there. The album began as a solo project, but after meeting producer Drew Mantia in Kansas City a collaboration was formed that resulted in this album.

The album is full with inventive progressions and clever arrangements. Each track is concentrated and different, and the album avoids falling into the trap of monotony. Stewart’s voice does carry most songs; a strong croon like that of Justin Nozuka with a little more grit.

Let’s listen to a few tracks.

I start with “What We’ve Lost” which features a duo with the quirky and passionate Haley Day. It is an exposed piece, quiet and vulnerable, and I particularly like the call and response twist in the verses. The piano riff stays dominant, but does give way to some ambient background noises that create an even more individual experience for the listener. It is deep and very listenable.

As you can immediately hear from the first note, “Golden Silence” is completely different. A disjointed piano and echoed electric guitar is set to the background of a washy tape delay. The song does take shape and how interesting. It is in the form of a polka. The song certainly moves and it does so in an oddly uncomfortable manner, but I say this in a good way. It evokes a similar feeling in the listener that I believe was intentional.

“Iron Wings” is more convention in the sense that it features a quiet Stewart in front of an acoustic guitar. But this song does have this wonderful choral arrangement that adds excellent harmony. Well done, indeed.

Check out the rest of the album by clicking here

The King of 20th Century Music – Happy Birthday Paul McCartney

18 Jun

Sir Paul McCartney performs at the Queen’s Jubilee Concert in front of Buckingham Palace, London, Monday, June 4, 2012. The concert is a part of four days of celebrations to mark the 60 year reign of Britain’s Queen Elizabeth II. (AP Photo/Joel Ryan)

Let’s go back in time a bit. Strip away the amassed fortune of around 475 million pounds, the 60 gold discs, the 100 million albums and singles sold, the co-written 32 billboard #1 hits. Forget about his knighthood and honorary degrees. Let’s go back to when Sir, sorry, just regular Paul McCartney was a 14-year-old chap growing up in Liverpool, England, the son of a Jazz musician and a mother, who in October of his 14th year died of an embolism. Regular young Paul McCartney before he changed the face of music with a little band called the Beatles. A

t 14, he wrote his first song, “I Lost My Little Girl,” a short ditty that sparked McCartney’s musical career. And, at 70 years old, he is showing no sign of stopping.

Here is “I Lost My Little Girl”:

Today, June 18 is Paul McCartney’s birthday. It’s always exciting to talk about Sir Paul. He is easily the most accomplished musician of all time and in my opinion (whatever that is worth) the absolute king of 20th century music. With his coterie of incredible musicians, McCartney and the Beatles flat-out pillaged the charts and exposed a listening public to a melodic proclivity and musical productivity that no one had ever heard before (or would hear again). John Lennon and Paul McCartney combined to form the greatest rock songwriting duo ever, and George Harrison and Ringo Starr completed the band that changed the face of modern music forever. Everyone has listened to the Beatles. Everyone knows the Beatles. Every pop/rock musician is in some way inspired by the Beatles.

So let’s all give Sir Paul a big happy birthday and because it is his birthday, why, the Beatles have a song for him:

Before I wrap up this post, I just want to thank Okocim and Amanda for covering for me when I was away. My trip to London, Paris, and Berlin, was spectacular and Rebecca and I had a joyous time. But, alas, all things must come to an end, and I am back. But that does mean that I am back to posting so that is exciting. The summer is almost officially among us, and I hope that the blog continues providing you all with great new artists and interesting explorations of old bands. If you have any ideas or are interested in writing do not hesitate to e-mail me at musiccourt@gmail.com. Also, don’t forget to follow us on Twitter (@musiccourt) and like us on Facebook (www.facebook.com/musiccourt).

London Calling – Back in the Middle of June

30 May

In his song “Paris in the Morning,” Joe Purdy proudly sings that he will show you Paris in the morning and London afternoon. Close, Joe Purdy. Switch that around. I will be traveling abroad for two weeks on vacation with my girlfriend. London, Paris, and Berlin – a three-city European excursion, a present to ourselves for our first year out of University and employment. Also, a testament to minimal responsibilities (besides work) and the unbridled enthusiasm of our restless spirits.

But before I sign off for a few weeks, I want to assure you that you should not tune out of the Music Court for that time as well. Okocim and Amanda Grannis will be making their way back onto the blog, posting during the span of my trip. I’m excited to welcome them back and I hope you enjoy their posts.

Then, when I get back, summer posting (few days before summer officially begins) will commence on the blog. The band profiles will continue (at the pace of perhaps two a week), but more categories will sprout up or be revitalized. Remember, if you have any suggestions please do not hesitate e-mailing me at musiccourt@gmail.com. And, if you are a new band who is interested in maybe being profiled on the blog e-mail me at that address!

Since we discuss music on this blog, I am going to send myself off with three pieces that all feature the name of a city I will be visiting in the title.

London:

Paris:

Berlin:

See you all soon!

Tags: , , ,

Elijah Behar and Hollow Body

29 May

Elijah Behar

What happens when you combine influences like The Doors and the Velvet Underground with Radiohead, then stir the concoction with soulful singer-songwriter’s Jose Gonzalez and Leonard Cohen, and then top it off with a taste of modern electronica. Well you certainly get an intriguing blend of experimental folk, and Elijah Behar, a 22-year-old Californian musician now living in Los Angeles, has proven that such a blend of influences can not only work but also flourish.

Elijah released a solo EP entitled Hollow Body in April (which can be downloaded for free on his bandcamp page), and I do not hesitate in saying that this five-track release is fresh and exciting. His deep, lush voice invokes the engaging baritone of The National’s lead singer,  folk powerhorse Matt Berninger, and it also features a sensual quality like Jim Morrison himself. The voice suits the music perfectly as expressed in the first track on Hollow Body, “Black Sage.”

I had the opportunity to interview Elijah through e-mail where I asked him about his influences, music, and future. Before I post our conversation, I want to pull out one apt comment he made when asked about the creation of “Black Sage”

My aim for a track like Black Sage and the whole EP in general was to do only as much production as the song needed to deliver its full impact. I have been involved with projects that get produced and “perfected” to the point where the songs turn sterile and lifeless. On this EP I wanted to start with an acoustic guitar and a voice and build elements around those two instruments that simply compliment the original intention of the song.

Here is “Black Sage”

I would stress to Elijah that what he is doing here is what he should continue doing. The haunting piece features this dark acoustic riff that mixes with his slippery voice that is almost surreptitious and devilish. The song shifts at 1:30 into a Radiohead-like keyboard riff that purposefully lags with the percussion. The following echo is just a total mindscrew. The effects are well done. It is a treat to listen to Elijah manipulate the music and I think this has a shot to be the title track on full LP.

Here is the rest of the interview:

1) When did you first start writing and recording tunes?

 I started playing music at 14 and by the end of high school I was writing, recording and playing with a handful of bands in my hometown, Ojai, CA.

 2.) When you were growing up who were some of your biggest influences and how did those musicians shape you?

Growing up my biggest influences were The White Stripes, The Doors, and The Velvet Underground; pretty much the basic rock and roll package. Over the last few years I have become a diehard Radiohead fanatic (post OK computer), and have been loving more direct singer-songwriters like Jose Gonzalez, Johnny Cash, Leonard Cohen, and Elliot Smith. I also love electronic musicians like Modeselektor and Aphex Twin. These musicians continue to shape how I approach songwriting and performance.

3.) Is Hollow Body your first release? What were you trying to accomplish with the songs?

Hollow Body is my first solo release but definitely not my first project. I put out an album with the rock band I fronted, Marquee (www.marquee.bandcamp.com) a year ago, and have released a few other projects before that.

With Hollow Body, my goal was to define myself as a musician who combined the raw intensity of rock with the emotional honesty and directness of a more stripped down form, like folk music. I would define my genre as Experimental Folk.

4.) What is your favorite part about recording music?

My favorite part of recording music is towards the end of mixing where I feel like I can finally let go of the material that has bouncing around my skull for months. It’s a relief to have the music exist outside of me.

5.) I always ask this and it is often the most difficult question. If you had a chance to have record a session with three musicians (alive or dead) who would they be and why?

If I could have a recording session with anyone live or dead it would be with any members of Radiohead and Nigel, their producer. Actually I would be happy just bringing them coffee and cooking for them while they recorded new material.

 6.) What is in the future for Elijah Behar?

 In the immediate future, I will continue playing shows in and around LA, make some music videos, and record some demos of new material I have written since Hollow Body was released. Beyond that, I hope to tour the west coast as soon as possible, and I have been meeting with some heavy hitters in the music industry (can’t mention names) who want to help me expand.

One more song for you and then I urge you to check out his Facebook for more details.

A pretty standard folk tune that accentuates Elijah’s killer voice. Good luck to him!

Tags: , , ,

Save The Starlite – Preserving English Rock History

25 May

What’s left of the Starlite Ballroom on Allendale Road in Greenford, UK

When you listen to the classics you tend to get a sweet spot in your heart for the venues that allowed for the “magic” to happen. I know there are many historical places like this in New York (Cafe Wha, Cafe Au Go Go, CBGB) and it is fun passing by them and realizing what rich musical history occurred within the auspices of that building. This is why whenever I hear of a classic rock venue that may be shut down, I shed a tear (like the “Keep America Beautiful” crying Native American). Well, the tear is dripping from my face. Here is the story of the Starlite Ballroom, which has been threatened with demolition.

Located in the United Kingdom (specifically on Allendale Road in Greenford – northwest of London), the Starlite Ballroom featured an incredible list of well-known 60s artists. Ready for the list?

Pinkerton’s Assorted Colours, the Small Faces, the Who, the Quiet 5, David Bowie, the Yardbirds, the Troggs, the Move, Zoot Money, the Midnights, the Action, the Mode, Julian Covay and the Machine, Steampacket, the Symbols, Cliff Bennett, Cream, the Gass, Fleur de Lys, the Bystanders, Eric Burdon and the Animals, the Creation, the Syn, Pink Floyd, Warm Sounds, The Jeff Beck Group, Human Instinct, Breakthru, Alan Bown, Chris Farlowe, the Marmalade, Legay, Honeybus, The Gods, Georgie Fame and the Blue Flames, the Knack, the Triads, the Easybeats

That is quite the list. Pink Floyd, The Easybeats, The Animals, Cream David Bowie, The Troggs – heck I’m just going to repeat the entire list above. Most of these bands were knee-deep in the musical explosion of the 60s and this venue saw them at the beginning. Notice the Quiet Five there? We did a post on this excellent underrated band back in February which you can view here.

After it was abandoned as a music venue, it became a snooker club and has now fallen into disrepair, which is unfortunate because you would hope classic venues, especially those that sat more than 1,000 people, would spark more historical society empathy.

Before the venue held concerts, it opened as a cinema on September 16, 1935 with a showing of “The Mighty Barnum” starring Wallace Beery. It remained a cinema until 1956, when it was gutted and turned into a concert hall.

Do you want to help with the efforts to save this little piece of music history? There is a Facebook page devoted to it which can be accessed right here. The about section includes a little more about the venue and some plans of how to mold it into something else without subjecting it to the wrecking ball.

From the individual leading the efforts to save the venue, “I’m now asking everyone to send polite letters/emails to Julian Bell, Leader of Ealing Council (http://www.ealing.gov.uk/councillors/10/julian_bell) asking him to take action to save the Starlite Ballroom site and save it for use by the community. A petition is also in the works.”

Help out if you’d like! Also, there is a theme that goes along with this post. You will have to wait until Memorial Day to find out what that is! Have a happy long weekend!

Tags: , , , , , ,

← Older Entries
Newer Entries →