Turn Out the Light – Ray Manzarek

23 May
Ray Manzarek

Ray Manzarek

I was shocked when I heard Ray Manzarek passed away earlier this week. Really shocked. Still sort-of shocked. As I was listening to some musicians reflect on the tremendous career of the former Doors’ keyboardist, I tried to understand why I was so surprised. He was 74. In 2013 that is young, but he did fight a long battle with cancer. I think my shock was a product of a Manzarek-Krieger concert I saw at the NYCB Theater at Westbury in 2011. I had seen them once before with my father and brother when Manzarek and Robby Krieger went by the moniker Riders on the Storm. Considering that Riders on the Storm sounds like a cheesy cover band, it is probably a good thing the formers Doors’ members chose a band name of their last names.

Not many people know (or can envision) that The Doors played Westbury Music Fair (the former name of the current NYCB Theater). The Doors, one of the most celebrated and influential rock bands to come out of the 1960s, played a small venue less than a 5k from my house. Manzarek and Krieger celebrated their grand return to Westbury by recreating the set list from their April, 1968 show. It was electric. At the conclusion of the effervescent concert, the band played “Light My Fire.” Here is what I wrote about it back in 2011.

“Think of everything you love about The Doors – the energy, sexiness, ruthlessness, originality, togetherness – and throw it into a pot of boiling liveliness and love. Let that boil for around a 20-minute epic performance of “Light My Fire” that neared mystical levels and you have a great performance. Manzarek stood up from his stool, kicked it over, and swiftly put his right foot on the keyboard! 72 years old, my ass.”

That’s why I am still so surprised. His vivaciousness was striking. His effusive passion for the music was alive and well. While Jim Morrison was the soul of The Doors, Ray Manzarek was the mad genius behind the scenes concocting keyboard riffs on his Vox Continental. But when he got out on stage, it was clear that Manzarek was in love with the music the band was creating. If you have been listening to any of the eulogies of Manzarek over the past few days, I am sure you have heard words like “genius” and “master.” Sometimes these words are thrown around loosely. In the case of Manzarek, though, it would be unwise to understate his musical ability and perspicacity. Every member of the Doors was supremely talented. That is one reason why the band created keen, genre-bending music that appealed to the masses and maintained its canny flavor. But, if it weren’t for Manzarek’s proficiency with the breathy and psychedelic Vox Continental combo organ, low-pitched keyboard bass, and other keys, we may not be speaking about the Doors.

I include “Light My Fire” not because it is my favorite Doors song (that title is reserved for “Roadhouse Blues” or “Waiting for the Sun”) but because of the renowned organ intro. It is arguably one of the best known keyboard riffs ever. It is a riff of pure afflatus. While this may sound overly simplistic, there is just something so introductory about it. Without the riff, the song would not have the same potency. Manzarek’s work on keys on “Light My Fire” was a microcosm for how much he meant to the The Doors. As the elder statesman of the band, Manzarek also acted as an intellectual and sagacious force.

In the wise words of the Doors (from “When The Music’s Over” off of Strange Days):

So when the music’s over 
When the music’s over, yeah 
When the music’s over 
Turn out the lights

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Painting a Diverse Choir

22 May

Of the Painted Choir

 

Invariably, all musicians are inspired by artists who came before them. Those who play any variation of rock will often cite bands like the Beatles, the Rolling Stones, and other 60s-70s acts that helped mold their respective sounds. Of the Painted Choir is no different. But, as evidenced by its eponymous debut EP, this Arizona-based rock quartet is able to do something that most new bands cannot. The band effectively taps into the 60s, pulls back elements, and blends these elements with modern electronic instruments and stylings.

Of the Painted Choir was founded by Frederick Huang, a musician who developed a love for song writing and producing in Tucson, Ariz., while working with Tucson-based artists and interning at Wavelab Studios. Huang recruited Darren Simoes, a former guitarist for The Bled, and then added Phillip Hanna (keyboard/synthesizer) and Wayne Jones (bass), formerly of popular Phoenix bands Kinch and Tugboat. The band is completely DIY, and it records, mixes and produces its own music.

My favorite song off the EP is the third track, “The Shame,” which blends late Beatles-inspired folk, southwestern country, and modern indie. Take a listen:

The song begins with a neat acoustic riff that can best be described as Western. The vocals, though, are soft and provide a nice complement to the granular riff. The first minute of the song sounds like Spaghetti Western folk – almost like how it would have sounded if Rome by Danger Mouse and Daniele Luppi was recorded by a modernized Indie version of a 60s folk troupe. A saxophone creeps into the piece adding an even more eclectic element to it, which, after the initial Sax portion, shifts to a jungle of gritty acoustics and smooth sax sounds. It is an eccentric piece – one that clearly fits into today’s Indie scene.

“A Spanish Mountain” immediately features a different sound. Replacing the rough acoustic guitar is an effervescent, echoed guitar that spills into rapid percussion and a vibrating vocal. This song takes a more modern approach but still employs the classic “wall of sound” to pour sound on the listener.

 

Check out more from Of the Painted Choir: Facebook, Twitter, Website

 

 

Ritter and the Royal City Band Rock Terminal 5

20 May
Josh Ritter and the Royal City Band

Josh Ritter and the Royal City Band

In “Lights,” the concluding track of Josh Ritter’s new album The Beast In Its Tracks,” Ritter sings “Every heart on Earth is dark half the time,” an apt line that seems to sum up Ritter’s unique brand of potent folk/rock and poetic lyric. Ritter, a realistic romantic, paints extraordinary love songs with settings that range from an Egyptian tomb to a government controlled missile silo, but balances these resplendent short stories with tales of lost love and regret. The heart is dark half the time.

But…it’s ablaze the other half of the time, and this vivacious beating organ was on display at Terminal 5 this past weekend when Ritter and his dashing Royal City Band wholeheartedly rocked a packed crowd with a satiating 20-song set.

After The Felice Brothers, a local New York folk/rock band, set a passionate tone with a vivacious opening act fit with sultry Dylan-like folk pieces and perfervid blues-laden songs fit with white-hot accordion, fiddle, and even washboard, Ritter came out alone at around 9 p.m. and immediately sang the soft opening notes of “Idaho,” his tribute to his home state.

One of the most striking features of a Josh Ritter performance is how happy he is to be on stage performing to a crowd. As a listener, you get the sense that he would be beaming even if he was performing to a group of 20-or-so listeners. He has a clear love for music, poetry, stories, and performance. This warmth was echoed by the audience that sang along to most of the songs – even providing the much-needed background to the end of one of Ritter’s most serene and melodic songs, “Change of Time” (below).

Ritter displayed why he is a true troubadour in his between-song monologues where he talked about his life – including a candid expression of divorce and love.

Each song was tinged with a calm force that washed over the crowd like a breeze. But of all the songs I wanted to hear, I was most excited for “The Temptation of Adam,” which was the song (off of the 2007 album The Historical Conquests of Josh Ritter) that first attracted me to Ritter’s music. This uber-creative love song that links the transition between attraction to deep (but somewhat apprehensive) love with a “top secret location 300-feet under the ground” (a missile silo) is as eccentric and zany as it is wondrous and impassioned. Ritter demonstrates his remarkable ability to write witty and brilliant lyrics that flow perfectly with the song. While I do not have a recording of his performance from this past Saturday, I do have one (Youtube) from 2011, also in Terminal 5.

Excellent concert! If Ritter and the Royal City Band is performing near your town, I seriously suggest you go to see them!

 

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Paul Diello Doesn’t Lose

16 May

Paul Diello

We are traveling across the pond for today’s artist, Paul Diello. Diello was awarded the Best Solo Artist distinction at the Brighton Music Awards in 2010, and has since released his debut album The Last Green Bottle in October 2011 to positive reviews. He has toured the album extensively, playing across the UK, Ireland, Germany, France, Holland, and America, where he is currently. His burgeoning popularity is for good reason; Diello possesses a masterful, genre-bending voice.

That is, of course, one of the most important prerequisites of any solo artist. Stripped down to the purity of artist and song, Diello is able to take listeners on an emotional odyssey that turns on every nook of his vocal. By far, this is Diello’s most endearing quality. His vocal is one part Tim Rice-Oxley, one part Adam Lambert – a mixture of subtle, timorous falsetto and flamboyant, impassioned chops. To express Diello’s voice I am choosing to share a song without any window dressings. This is the piano (radio edit) of his song “You Lose.”

Notice the fluffy airiness that is masterfully mixed with his ardent timbre. Diello’s controlled vibrato echoes over the keys with clean efficiency. It is simply a joy to listen to him sing. Then as the song reaches its climactic end, Diello pours emotion into the remaining notes but never loses his vocal discipline. It’s a wonderful example of firm flexibility. Great piece by an up-and-coming artist!

Keep track of Diello on his Website, Facebook, and Twitter

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Jones Beach Concerts 2013 – A Preview of the Top 5 Shows

14 May

Jones Beach Theater

Summer is creeping closer to the shores of Long Island and soon the lingering cold will be replaced by a moist warmth that will hover over the pencil-like island that juts out of New York for a few months. With an impending fresh Long Island summer comes the 2013 Jones Beach Theater concert schedule. So, to continue my preview of New York outdoor concert venues (a few weeks ago I previewed the Summerstage schedule), let’s delve into the always eclectic Jones Beach Theater line-up.

Jones Beach Theater is one of my favorite concert venues. On a toasty evening, the music takes on an etherial feel as it oscillates with the  cooling ocean breeze. The venue is spacious and comfortable, and, because of its openness, the music carries beyond the confines of the stage to a small patch of beach adjacent to the theater and to the parking lot where I have seen many individuals bring beach chairs to enjoy the music without a fee.

If you are planning to make your way out to the Theater this summer for a concert, here is a list of my top five concerts on the 2013 schedule.

Top 5 Shows:

5.) Fleetwood Mac – 6/22

Touring for the first time since 2009, Fleetwood Mac is celebrating the 35th anniversary of its album Rumours, which featured tracks like “The Chain” and “Don’t Stop.” The band will truck through the vast majority of its extensive hits collection, and I’m sure a crowd of eager Mac fans will be in attendance. The concert is one of the earlier shows on the schedule.

4.) Bob Dylan & His Band / Wilco / Ryan Bingham / Beck (Acoustic) – 7/27

Americanarama

The collection of sheer musicianship power here is tremendous. The collective makes sense, as each act plays with an Americana/Folk flair – some experimenting with more alternative sounds. The “AmericanaramA Festival,” as it is coined, will actually feature artists like Bob Weir and My Morning Jacket at other locations. The sweet concoction of artists is malleable. No My Morning Jacket at Jones Beach but instead a Beck acoustic set. The concert, like the name, will probably be a bit jumbled, but in a good way like a satisfying puzzle.

3.) Imagine Dragons – 7/25

Imagine Dragons is an Indie Rock band from Las Vegas that is touring its tremendously successful debut full length Night Visions. It’s a jam-packed album with around 5-6 memorable songs – an excellent haul for a first release. If you do not think you know of the band, you most likely have heard “It’s Time,” which hit mainstream success and went platinum in the U.S. (below). This is a show I’d be interested in scoring tickets to. The band still has some of the debut gold dust aura surrounding it and will most likely put on an exciting show.

2.) John Mayer / Phillip Phillips – 8/28

Phillip Phillips’s final song on American Idol (the song that was written for him and ultimately won him the competition) was “Home.” The song has ballooned. It fits Phillips’ folk croon perfectly, and it is germane in the current climate of Indie folk resurgence heralded by bands like Mumford and Sons. Phillips, though, has proven he is not a one-song pony. His debut album has a few memorable tracks on it aside from home. Pair him with guitar demigod John Mayer and you have quite a show.

1.) Allman Brothers Band / Grace Potter and the Nocturnals – 9/7

There is not much that needs to be said about this show. Anytime the Allman Brothers are playing anywhere you should see them. Add Grace Potter and the Nocturnals to the mix and you have one awesome show at the end of the season.

And…of course…how can I forget the King of Margaritaville, Jimmy Buffett, who will bring his Coral Reefers to Jones Beach to embrace the annual flock of parrotheads. To get you all thinking of summer here is Buffett’s classic.

 

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