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The Rock Island Line Is the Road To Ride

7 Sep

Well, here’s the story about the Rock Island Line. You see, the Rock Island Line is a good road, but you need to pay a toll unless you have certain goods, like livestock. So, if you can just trick the man at the toll gate that you have livestock, you can go on through without paying a cent.

That’s the premise of a timeless set of lyrics that have adapted, evolved and survived for over 80 years. Yes, the Rock Island Line is a mighty good road. The Rock Island Line is the road to ride. The Rock Island Line is a mighty good road so da da da da da da da da da da da gosh this lyric is fast.

If you are a fan of American blues/folk music you definitely know “Rock Island Line,” a traditional piece recorded by the likes of Johnny Cash, Pete Seeger and the blues man himself, Huddie Ledbetter (more famously known as Lead Belly). And, like is the case for most traditional songs, people often attribute song credits to the artist they first heard perform it. For the longest time, I thought Johnny Cash created the famous ditty. But I was educated. “Rock Island Line” has a history rooted in the prison gangs of Arkansas. Journey with me to find the first known versions of the song about the mighty good road.

Lead Belly’s 12-string guitar and extensive list of folk songs have made him one of the most revered early 20th century blues performers. He is also one of the first people to ever record “Rock Island Line.” There is controversy over the true foundations of this classic. What we do know is that folk/blues historians and preservers Alan and John Lomax heard the song at an Arkansas prison and recorded it. One version of the story has Alan and John Lomax hearing the song performed by convict composer Kelly Pace in 1934 at Cumins State Prison farm, Gould, Arkansas. It then states that Lead Belly heard and rearranged the piece and released his own version in 1937.

But while that version is cited in Alan Lomax‘s book The Penguin Book of American Folk Songs, published in 1964, an analysis of Lomax’s old recordings at the Library of Congress proves that the song was actually recorded earlier at another prison in Little Rock, Arkansas. This time, Lead Belly is actually with the Lomax’s when they hear the song being sung a cappella by a prison work gang. Lead Belly wrote down the lyrics, rearranged it and recorded this:

Do note the laid-back folk style of the recording. Keep in mind the initial narration also (because this changes). First off, Lead Belly gives an explanation of how the train stops and says that the man does not want to stop the train.  This does not appear elsewhere. Lead Belly also describes more animals than other versions. Also, notice how Lead Belly makes no mention of the train speeding up prior to the song speeding up. But we do get the trickery of pig iron and this stays consistent. For those who have listened to newer versions, the lyric is certainly a bit different. The part that does stay constant is the hook:

The Rock Island Line is a mighty good road – The Rock Island Line is the road to ride – The Rock Island Line is a mighty good road – If you want to ride, you gotta ride it like you find it – Get your ticket at the station of the Rock Island Line.

Before every chorus repetition, Lead Belly sings something religious. For example, in this version he says, Jesus died to save our sins Glory to God I’m gonna see Him again. This is important, because it changes. Let’s move now to perhaps the most famous recording of the song (no not Johnny Cash).

Lonnie Donegan pretty much started the mid-late 50’s British skiffle craze with his sped-up, slightly changed recording of Lead Belly’s version of the  “Rock Island Line.” Skiffle, a blend of blues, jazz, folk music usually played with homemade instruments like washboards and tea-chest bass, became incredibly popular in this span of time. The Beatles emerged out of John Lennon’s skiffle band The Quarrymen. Mick Jagger, Van Morrison, Alexis Korner, Roger Daltrey, Robin Trower, David Gilmour all played skiffle music before forming rock bands and creating some of the greatest music ever in the 60s. Yes, skiffle had quite the influence despite its humorous name. Anyway, back to Donegan.

I have one problem with Donegan. He received considerable music publishing royalties from “Rock Island Line” by claiming the British copyright on the unregistered song which was considered to be in the public domain. I understand that this was obviously a “good” move, but he did nothing to credit Lead Belly and, come on, give some credit to the guy! But besides that, Donegan’s version did inspire most of the other versions of the song because he really sped it up and gave it the fun swing we all know.

Donegan actually tells it like a story. He reads it like it was from a book. His narration is a little different from Lead Belly’s, but it keeps the same concept. And, like in Lead Belly’s song, we are in New Orleans. Donegan lists off less livestock than Lead Belly and he spells out the story a little more. He then speeds the train up, unlike Lead Belly. Then we are all tricked again because he has pig iron. You know, I have to stop trusting people who say they have livestock when they clearly have pig iron.

In the recording you can hear the washboard and tea-chest bass and this just adds to the song’s awesomeness. Also, quite importantly, the hint of religion that Lead Belly put in the song was shifted slightly by Donegan. He does mention the Lord seeing him again, but instead of two other pre-chorus religious statements, Donegan has one and he says, “ABC WXYZ, The cats on the cover but he don’t see me.”

All the religion is out of the song when Cash gets his hand on it.

Johnny Cash recorded “Rock Island Line” in 1957, probably because the Rock Island Line is really a mighty good road. Cash tells a similar story. And, guess what, he fooled you. He had pig iron. All pig iron. Damn, three times!

Here’s where things change. After the usual chorus Cash sings two pre-chorus’ that are completely different than the other versions. They are:

Looked cloudy in the west and it looked like rain
Round the curve came a passenger train
North bound train on the southbound track
he’s alright a leavin’ but he won’t be back

Oh I may be right and I may be wrong
But you gonna miss me when I’m gone
Well the engineer said before he died
There were two more drinks that he’d like to try
The conductor said what could they be
A hot cup of coffee and a cold glass of tea

Pretty cool touch if you ask me. So, that’s the story of the Rock Island Line. And to think, if the toll gate man wasn’t so gullible, the song would have never existed…and our sly conductor would be out some money for the toll.

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Albums after Labor Day – A Fall 2011 Preview

6 Sep

It’s almost time to reap Fall’s musical harvest and hunker down for winter. Okay, not really. We are still in early September and summer hasn’t even officially ended. But the coolness of Fall is beginning to wash over NYC and I thought this would be a good time to provide the seasonal album preview post. There are several albums that will be released to the public during the Fall, including high-profile releases from band’s like Coldplay and Florence & The Machine. Below is a short list of album’s you should look out for this Fall, 2011.

 

The Beach Boys
The SMiLE Sessions –  November 1

 

 

 

 

 

 

 

 

 

For those unfamiliar with the story of Smile let me quickly review the tale of this gigantic release that never was. Intended as the follow-up to the massively succesful Pet Sounds, Smile fell apart because of Brian Wilson’s increasingly fragile mental state and erratic behavior, as well as impending business and legal issues for the entire family band. And, despite various attempts to release the album, the project was abandoned and Wilson fell deeper and deeper into the wormhole of drug-induced psychoticism. A dark, dark time.

But we are in the new century now and efforts to release the album have resulted in success, creating now one of the most exciting releases of the Fall and, hell, the last 50 years. While Brian Wilson did release elements of Smile as a solo album in 2004 (which ended up winning him some Grammy Awards), it was not the original recordings of the songs.

Well, come November 1, the recordings will finally be available for the world to hear. The album is scheduled to be released in a 2-CD package under the title The Smile Sessions. A limited edition box set will comprise 5 CDs, 2 LPs, 2 45rpm singles and a 60 page booklet; there will also be a digital download version. Going to be A-W-E-S-O-M-E.

Blink-182
Neighborhoods – September 27

 

 

 

 

 

 

 

Here is something I don’t think many people thought they would see in the year 2011. A new Blink 182 CD? Their first album of new material in eight years. And, in between those years there has been a band hiatus, drummer Travis Barker’s near-death experience in a plane accident, and Jerry Finn’s death. Finn was a staple on  Blink 182 albums as a constant producer. But after the three-piece band got back together in 2009, they all came in with song ideas and they immediately began recording new material. The album, self produced because of Finn’s death, is sure to have a massive amount of emotion in its tracks, and, according to the band, it is weird and expansive, covering the music tastes of each individual member. Consider this. Mark Hoppus is almost 40. They have come a long way since “All the Small Things.”

 

Coldplay
Mylo Xyloto – October 25

 

 

 

 

 

 

 

 

 

The album name is gibberish and we are still waiting for the band to tell us what the hell it means. Or, perhaps, the name has no meaning, but is just a string of letters picked out of a scrabble pouch. Who knows? It is Coldplay we are talking about. Coldplay is well on their way to releasing this album in October. They released the first single, “Every Teardrop is a Waterfall” on May 31 and will release #2, “Paradise” on Sept. 12. Prepare yourself for a more intimate album than Viva La Vida.

 

Florence and the Machine
tbd November – November 7

 

 

 

 

 

 

Just to clarify for any literalists, the name of the album is not TBD. But it is Florence and the Machine’s new project and it will be released in early November. This much anticipated release will be more soul-influenced than Lungs. The band has revealed that one track is called “Strangeness and Charm”, which Florence Welch describes as “about seven minutes long and pretty relentless.” And, the first single, “What the Water Gave Me” was released in June. What’s with all the Fall water motifs? Will The Machine, well mainly Florence, fall into the Sophomore release trap, or will they succeed. I have faith in them. But Lungs set the bar high, so we will see.

 

Other Interesting Releases:

Metallica & Lou Reed | TBD
Date: Nov. 1 Twitter: @Metallica,

SuperHeavy | “SuperHeavy”
Date: Sept. 20 Twitter: @SuperHeavy

Evanescence
Evanescence October 11

Feist
Metals October 4

Matt Kiefer’s Musical Craft

4 Sep

Matt Kiefer cares about music’s honesty. What is musical honesty? Artists are quick to go into studio and process songs like a frozen McDonald’s hamburger. It is easy. There are little mistakes. But musical honesty occurs when an artist refuses to let the “studio” do work for them. Kiefer, a musician and recording engineer from Pittsburgh, does find himself in an interesting situation because he is a recording engineer. If anyone knows a screw up, he does. He explained to me that he once would record several versions of each piece in meticulous fashion. But now, he thinks authenticity is most important.

“Of course I want the songs to sound perfect for the listener and capture the best possible performances but I also think those live takes and occasional mistakes sometimes add to the beauty or naturalness of the song,” Kiefer explained in an interview with The Music Court. “I used to stress over little things and take 5, 6, 7 or even 10 takes of a track to assure that the performance was spot on..But now I only take 2 or 3 takes at most and just keep the best ones. On the EP you’ll hear some occasional string smudges and stuff like that, but I think it feels more real to the listener…Like im sitting there playing it right in front of you. I’d rather give people something honest and that will translate perfectly live rather than “studio magic” up some polished manufactured piece that falls apart or doesnt translate the same way live. I like my recordings to say:  “I’m not the best musician, I screw up like everyone does…But I mean well!” I really just want to seem human.”

Kiefer’s worldly pieces do feel human and one can feel the love that Kiefer has for melody and quality. In the instrumental “Lucky Vegas,” Kiefer’s fluffy guitar transforms into a more pleading sound with the culmination of the creative drum beat that changes throughout the piece. It is fresh and original. “New York Puppy” provides a similar, but deeper feel. The song moves with the guitar’s efficiency. Kiefer will be releasing a free EP soon, but before that release check out his Reverbnation for songs. Follow Matt on Twitter: http://twitter.com/#!/realmattkiefer

Like I wrote earlier, I had a chance to do some Q+A with Kiefer. Here are Kiefer’s insightful answers.

1.) When did you first start recording and writing songs?
I first started writing songs when I was about 12 years old when i started playing guitar and really started listening to punk rock. Bands like The Ramones, Rancid, and The Smiths were all I was listening to at the time and all of their songs were just a few chords and really easy to play so I dabbled with their songs a bit and eventually started learning how to pick the chords up by ear and pretty soon I was figuring out and jamming along with all my favorite records and albums. As far as recording music goes, I worked my ass off cutting grass and selling it when I was about 15 and bought a little four track tape recorder from the pawn shop (that I probably paid way too much for, come to think of it now) and started making demo tapes in my bedroom with a crappy pawn shop mic and crappy old cassette tapes I’d find in my dads dirty dank basement. I remember I would sit on my bed all day and record hundreds of ideas that I’d come up with and just listen back to them thinking I had hundreds of songs…when all i actually had were just the same riffs and chord progressions in different keys! (laughs)
2.) What were your big music influences when you were growing up and how did this shape you into the artist you are now?
Growing up I listened to a lot of punk rock and a lot of 80’s soul and RnB. The punk bands were introduced to me by kids Id cut school to skateboard and get stoned with and new bands I’d find out about going to shows around the city. My dad used to play a lot of Journey, Alabama, Prince, The Jacksons, 80s Pop, & Jimi Hendrix records throughout the house so I think naturally I ended up being influenced by the old school stuff hearing it all the time. The focus with all those classic groups was strong melodies, so i think my sense of, or intent of wanting to be super melodic with anything I do probably stems from them.
3.) Okay, give me the rundown of what you have been recording. Just solo tracks? Have an album in the works?
Well, right now im recording an EP that will be for download absolutely FREE in the next couple of weeks on various music sites on the net. Im calling it “The FREE-P” and expecting to have it up for download by the end of September.. So far its just me and a bunch of acoustic tracks layered on top of each other… but I’ve got some great friends who are layering keys and strings on the EP as well as playing drums and various other instruments for me. But the majority of the work is just me in my home studio. So look out for that! After that I’ll be right back in the studio working on a full album slated for release around the end of this year. The album will be a mix of chill melodic acoustic tracks and also a full band feel at times ala Red House Painters/Sun Kil Moon. I really want to release a very strong collection of music this year.

5.) I’ve noticed that you put a lot of effort into melody. “Lucky Vegas” is an instrumental and “Be Honest” has a melodious long folk opening. The melodies are fantastic. Talk with me about them?
Thank you! I’m glad people appreciate the melody! I definitely put a lot of focus on making sure the melodies are strong but still accessible to the ears of everyone. I can respect great musicians like Steve Vai and Joe Satriani, who are very melodic in their playing, but I cant force myself listen to their music for more than 5 minutes without feeling like their songs are just completely ‘masterbatory!’ (Laughs)
Instrumental music is something that I’ve listened to for many years and is really all I listen to these days besides classic Oldies and 80’s pop. When writing Lucky Vegas I was sitting in my hotel room on the Vegas strip at the Monte Carlo Hotel on the 43rd floor just staring out the window at 3 a.m. trying to write a melody that captured how I felt looking at all the lights and the people and the experiences I had in the city that week and the plane ride there. That song kind of wrote itself actually. That’s usually what happens. I start with a simple melody and it takes off from there and then two hours later I have a 3 or 4 minute piece of music that im in love with and describes a feeling or emotion or memory for me.
Be Honest was kind of the same process. It is a song I wrote a few years back about a failed relationship and the bitterness that comes along with the ending of it. Whenever I use lyrics in a song I always want the melodies of the instruments to be just as strong, if not stand out more. I kind of put my lyrics and voice second to the instruments. In this particular song I layered a bunch of guitars on top of the main guitar in an attempt to really add an atmospheric feel without turning on 15 pedals and making it sound like a My Bloody Valentine tune. I think it worked out the way I wanted it too, doesnt feel too cluttered! (laughs) Originally the intro was about two bars long then the vocals dropped in, but I really was digging the feel of the harmonies & the visuals I got in my head from of all the guitars after I wrote them so I decided to just let it ride a little longer and really build up something in the listeners head to the point where you feel like “Whats coming after all this?” Really wanted an epic intro to the lyrics, especially for first time listeners hearing my music for the first time.
6.) What is your favorite part of recording songs?
I can’t say there is a part of recording songs that i would call my favorite… To me the whole experience is absolutely enjoyable. I like the engineering aspect of miking instruments up, getting good tones, playing around in Pro Tools, breaking the recording “rules,” getting cool sounds and so forth. I also really enjoy the experimentation that comes along after I get the bed or main guitar track and vocal track recorded. Adding harmonies, taking them away, extending and building off of parts, adding new instruments… I also really enjoy listening back to the finished product & figuring out what I could do to change the song and make it better or breathe a little more. The way a song sounds once its recorded, mixed, and mastered usually sounds way different than when I originally wrote it. What I like about that though, is at the heart or core of all those layered melodies and different instruments is really just a very simple song I can play on the acoustic guitar and sing along with all by myself and still have them same impact.
7.) I always ask this, so bear with me, if you had a chance to have record a session with three musicians (alive or dead) who would they be and why?
Hmmmm…thats a tough one! There’s so many great musicians that I would love to collaborate with! I think I’d definitely like to get Prince in the room with me because I know he is gonna write some real crazy sh*t and probably bring the funkiest vibe with him.
Jeff Tweedy from Wilco would be pretty cool too. He seems like he lost his mind long ago and had it replaced with lots of insight and also knows how to make 50 incredible and timeless songs out of the same 6 chords over and over. Last, we would need someone who can throw down on the rhythm section so I’d probably ask Jeff to call his drummer Glenn Kotche. Dude is absolutely nuts on the skins and extremely innovative with some of the different rhythmic instruments he’s invented! I definitely reccommend Googling or youtub’ing him and watching his videos. Im always humbled anytime I get the chance to accompany musicians who are better than I am. Whether they are famous (never), strangers, or just my friends who are great at what they do. I think no matter how good we may believe we are, theres always something big or small we can learn from someone else.
8.) Future plans and aspirations?
Future plans are definitely focused around getting this EP out this month, and getting an Album out before the years end. From then on its gonna be back to touring either solo or with a full band. Whichever makes more financial sense! (laughs)
As we speak, I’m auditioning new members for a full ensemble to play out. We are gonna really bring something diverse to the live shows. Id like to have a set that incorporates a lot of loud, wet, atmospheric and distorted full band sounds and then we switch it up and pick up the acoustics and pianos a few songs later. Lots of ups and downs and something that really takes the audience for a ride for 45-60 minutes. Bring out some crazy lights, Projector screens and visuals and really talented musicians to really help bring these songs to life. The biggest and most attainable goal of it all though is just to keep writing songs that speak to me and keep me inspired and just hope other people can relate as well.

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A Review of Music in America’s Got Talent Top 10

1 Sep

Gosh, Matt, how many trashy reality shows do you watch. Three. Let’s get the record straight. I watch American Idol, America’s Got Talent (as of this season) and The Sing Off. Oh, wait. I watched The Voice. Damn. Yes, I admit it, I am a fan of music-related reality shows. What can I say? If you haven’t noticed from this blog, I love music. I love everything about it. I love melody and harmony – a simple acoustic guitar riff and a jazzy complicated bass piece. I’m a fan of good musica, musique, μουσική – music.

So, a show like America’s Got Talent appeals to me specifically because of the diverse music acts that tend to do well in the competition. Last night, after what seemed like an eternity (I am just figuring out that a season of America’s Got Talent lasts several months), the top 10 acts were revealed. And while judge Howie Mandel insists on calling season 6 the year of the dance, an equal amount of music acts are in the upper echelon of performers.

One cannot choose the “best” act of the bunch. I mean, how can one compare an old-fashioned, unexpected crooner with an opera singer? How about comparing a group of talented 12-16-year-olds who look like a 21’st century Jackson Five to an 11-year-old bluesy belter? It’s difficult. I do think that they are all quite talented and I am looking forward to seeing each of their performances on the top 10 show. But, before that happens, let’s take a look at each one and afterwards I will attempt to pick the act that I think will make it the furthest in the competition.


Performer: Landau Eugene Murphy Jr.  – 36 – West Virginia

Landau Eugene Murphy Jr. is a crooner. The purpose of America’s Got Talent is to find a potential Las Vegas act. It is difficult not seeing a man with his immense talent on a Las Vegas stage. I say this because there seems to always be a place for a 40’s/50’s throwback. I don’t think the crooner act is tired or antiquated. Murphy’s delightful voice can help restore the genre to Vegas. Murphy, a car washer from West Virginia, has blown away the judges week-after-week performing classics by crooners like Sinatra. And, on top of it all, he is so wonderfully humbled by the praise that it almost seems that he doesn’t realize the talent he has. You can’t help but root for the guy, and it is not difficult to because he is both genuinely talented and perfectly kind.

Lys Agnes – 27 – Colorado

Lys Agnes was a rising operatic voice until the sudden death of her fiance put her singing and vocal studies on hold for two years. Her touching story of triumph in the face of such personal tragedy immediately hooked the judges and audience during her audition. When she proved that she had a dulcet voice with exceptional range, she was pretty much propelled into the top 10. Talented opera singers with inspiring stories do well on talent shows. See Susan Boyle. Agnes deserves her spot.

Anna Graceman – 11 – Alaska

Anna Graceman is a prodigy in every sense of the word. The 4’11” singer is both mature in voice and prescense. Seriously. At 11, I was still having tantrums over not getting good baseball cards. Maybe I shouldn’t have admitted that. Anyway, Graceman has handled the stage with…well…grace, and her rocking voice and incredible piano skill make her a contestant to be reckon with on the show, even though, by the looks of her, you would never guess she was in a competition. She may be a little girl, but she kicks ass on stage.

POPLYFE – 12-16 – California

POPLYFE, the only band left in the competition, are a group of talented youngsters from Oakland. Here are the band members.

Dylan Wiggins, age 13 (Keys, Music Director/Producer)
Denzel Merrit, age 12 (Drummer, Co-Producer)
KehLani Parrish, age 13 (Lead Vocals, Writer)
Ranzel Merrit, age 15 (Sax)
Jaden Wiggins, age 11 (Bass)
Ali-Khan Lochin, age 15 (Dee-Jay)
Dillion Ingrem, age 13 (Guitar)

Now, don’t let their U.S.-wide anonymity fool you, POPLYFE is well-known in Oakland, where they are considered the next “big thing.” The band is being groomed by producers and, at such a young age, has performed at known venues. They are a gritty reboot of child-acts like the Jackson Five. They play serious rock n’ roll with flavor. It has been fun watching them perform and lead singer KehLani Parrish has one heck of a voice. They are all talented.

SO WHERE WILL THEY STAND?

Like I said, it is impossible to predict what musical act will outlast the other three. Like I said, they are all talented and I can see any one of them getting far. But since I challenged myself to make a prediction here is my final music act standings from 4-1.

4 – POPLYFE

3 – Lys Agnes

2- Landau Eugene Murphy Jr.

1 – Anna Graceman

Good luck to all of the talented acts!

UPDATE – 4:39 on 9/8 – I was correct with one of my predictions. Landau is through. But Anna Gracemen has been eliminated as well as Lys Agnes. POPLYFE, the precocious youngsters have made it through. The top four has two musical acts and two dance troupes. I am pulling for a Landau win. Who do you think will win?

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Mind The Gap While Shopping for Groceries

31 Aug
Mind the Gap; Downtown Los Angeles, CA (Chinatown)
Quick update on my power situation…there is still no power in my house! We are going three days strong and the playful novelty of living like those during the pre-electricity days has started to wear thin. It is rapidly being replaced by vexation and anger. Okay, maybe not. I think everyone in my house is taking it well, but, there comes a point when enough is enough. This is that point. Anyway, before I do not have access to power or cable for the rest of the night, I must bring you needed content. And boy do I have a good post for you today folks. Not good because of my witty writing, but instead good because of the artist being featured. But, the writing, it isn’t too bad. Just kidding. Do not let my fake arrogance get in the way of the extreme humbleness and talent of Mind the Gap.
 
Mind the Gap may sound familiar to some readers. Back in July, I profiled the Los Angeles foursome and concluded that, “Mind The Gap stands true to their band objective. They are skillful mashers of acoustic instrumentation and electronic sounds. They are definitely a band to follow.” Click here if you want to read the original post.
 
On August 20, I put Mind the Gap up against the ultimate band test…a live show. This is where some bands shine and some fall off as uninspired imitators. Yes, you can learn a lot about a band through their studio releases, but true character can only be encountered in person. Think of it this way. Imagine you meet a guy/girl on Match.com. The person seems to be exactly your type. He/she shines with pulchritude. They like dogs. They listen to that music that you love. He/she is the one. Well, then you meet for dinner and he/she shares these interests, but is a total snob or bore. It happens. But I can assure you, Mind the Gap aced the test.
 
On the 20th, Rebecca, my girlfriend, and I journeyed to Arlene’s Grocery on the lower east side of Manhattan (Stanton Street), a funky, variegated former Puerto Rican bodega, turned bar in 1995. Since then, bands like Guster and R.E.M. have played at the venue. Mind The Gap took the stage at nine to a strong crowd of buzzed NYC hipsters, thirsty noctivagants and Mind the Gap fans (myself included). The 10-song set-list flew by so quickly it almost seemed that one could have missed the concert. And, I don’t mean this as a bad thing. This only happens if the band’s performance envelops listeners in such unbridled enjoyment.
 
The tight performance was fun for both the crowd and the performers. The band performed with an emotional urgency juxtaposed with, however seemingly contradictory, a laid-back Los Angeles summer afternoon at the beach coolness. The sultry vocals of Greg Cahn were spot on all night and it was refreshing to hear that his exciting album vocal range equalled his live chops. Ozzy Doniz effectively kept  rhythm with keeness. Ruwanga Samath infused modern beats into the band’s indie/pop melodies, something I enjoyed a lot in my initial review. And, Alex Yang’s lead guitar was spot-on throughout the night.
 
As for best performances, I was swayed by my favorites.
 
 
“Smile Back at You” can be an indie hit on mainstream radio stations today. I say this because it combines the popular lazy day rhythm with an exceptional catchy chorus, infectious harmonies and intriguing key work.
 
Though, I believe my favorite song was the concert’s sober conclusion “Remember When.” There is an innate beauty in this song’s picked rhythm and lyric. Cahn nailed the vocals. He sang the song like it was his last ever. And, this is so exceptionally important for any singer to do. Such passion can be emitted from one’s voice and Cahn is knowledgable of this information and he takes advantage of his voice. The song can be heard here:
 
 
Interested in seeing Mind the Gap? Check out their concert schedule by following this link. Currently, they have a show planned in Los Angeles in September and one back in NYC for CMJ in October.
 
Buy the album: http://mindthegapsound.bandcamp.com/
 
 
 

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