Crosby, Stills, Nash and Young didn’t do a lot of forward-looking work after 1970’s Deja Vu, but their travails sure inspired Neil Young to write some great songs. The most devastating could be 1979’s “Thrasher,” where he makes it quite clear why he walked away from the supergroup. “So I got bored and left them there,” he sings. “They were just dead weight to me/Better down the road without that load.” Ouch. Broadly speaking, it’s a song about moving forward, even when it’s painful and difficult, to avoid becoming a fossil. He also recalls watching “that great Grand Canyon rescue episode” of a TV show. Some people thought he was talking about The Brady Bunch, but it ran when he was a child so it’s probably a 1950s western.

Up until last year, Young hadn’t played the song since the 1978 Rust Never Sleeps tour, but then out of nowhere he busted it out at a Los Angeles theater show. “I haven’t done it that much in my life,” he said. “Because at a very vulnerable moment I read something about it. Just like the worst fucking review I’ve ever read. So, for all you reviewers, if you feel like your words don’t mean anything, you’re probably right. In that case, they were damaging.” Well, maybe the fact it won this poll will reassure him that “Thrasher” is indeed a beloved song.

from the film “Rust Never Sleeps” (1979)

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You can find plenty of other live recordings on the band’s streaming catalogue, but among the most potent was one cut, Live At Winterland 1973, which captures a special night. Cipollina left the band back in 1970 but he reunited with them for this show (as well as some later incarnations). It’s a very different sound for Quicksilver by this point, a fatter, harder style, which the two star guitarists made the most of. Some of their toughest, and tightest, work can be found on this live recording.

Quicksilver’s distinctive guitar player, John Cipollina, had left three years earlier to form Copperhead. But since that band was to open for Quicksilver on this bill, Cipollina agreed to play with the mother group as well. Quicksilver’s original bassist and singer, David Freiberg, also came back for the ride.

The lineup re-created the band’s best, and initial, configuration, with the addition of Dino Valenti. He was supposed to be the band’s singer from the start, but a drug bust put that off for four years. The Winterland show went so well, it led to a formal studio reunion for the band on the 1975 album “Solid Silver.”

The opening track Losing Hand  gives both axe men plenty of room to blow. With an added Latin percussionist and a surging organ, Quicksilver inches closer to the style of another great psych-San Francisco band, Santana. Their near nine-minute run at the classic Bo Diddley “Who Do You Love”  featured more dense and frantic solos from the two guitarists than the ’69 take, reproving, along the way, the equal power of the players.

The show highlights a band that never got its due, performing in a configuration that allowed it to sound better than it did on any other recording. It’s an air-guitar player’s dream come true, as well as a reminder of what a live band can sound like when everyone’s in ideal sync.

Hope y’all are getting through what feels like the longest January ever. I along with House of Nod have made a new music video for “Carnations” that I’m really proud of and super happy to share with y’all. I’m usually really nervous/uncomfortable on camera but between House of Nod and the AMAZING dancers I was too busy having my mind blown to be nervous 🙂  I hope y’all like the video

Palehound is the lo-fi indie rock project of Boston-based singer/songwriter and guitarist Ellen Kempner. Kempner came to music early, writing her first songs at the age of ten. Citing influences like Elliott Smith, Angel Olsen, and Kim Deal, her songs are confessional and often caustic with a wry, offbeat edge. While studying music at New York’s Sarah Lawrence College, she released her debut EP, Bent Nail, on Exploding in Sound Records.

A quirky mix of grunge-folk and ’90s-influenced indie, the release garnered some buzz and Kempner eventually dropped out of school to focus her efforts on songwriting and recording Palehound’s first full-length. Working with producer Gabe Wax (Wye Oak, Speedy Ortiz) and a newly minted rhythm section of drummer Jesse Weiss and bassist Nick Koechel, Kempner recorded her first LP, Dry Food, which was released in the summer of 2015 by Heavenly Records. After switching over to Polyvinyl in early 2017, Palehound have followed up with A Place I’ll Always Go, a reflective album about love and loss.

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Indie-pop powerhouse Melina Duterte, aka Jay Som, shared more new music this week via Pirouette, a 7-inch featuring outtakes from the “Everybody Works” sessions. She also released the b-side, a lovely jam titled “O.K., Meet Me Underwater.” It opens with a cascading Duterte guitar line that soon drops away, supplanted by her hushed vocals, steady bass and show-stealing percussion. The song transforms in unpredictable and exciting ways, rippling and changing like liquid. “If you’re feeling okay, meet me underwater,” Duterte urges, an invitation to immersion.

The A-side, “Pirouette,” an upbeat rock number with a great breakdown that rides on dreamy guitar arpeggios, has already been available . With the single’s official release Friday, the B-side, “O.K., Meet Me Underwater,” is now out too. The track features a similarly beautiful, but more characteristically laid-back groove, and works as a great compliment to “Pirouette.”

Listen to “O.K., Meet Me Underwater”

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Minnesota native Caitlyn Smith has been one of Nashville’s best-kept secrets for a couple of years now as co-writer of hits for everybody from Cassadee Pope to Meghan Trainor. But the secret will be out with her upcoming album (titled Starfire, due later this year), a deeply personal collection of songs that sound like she opened a vein. Of particular note: “This Town Is Killing Me,” a pensive ode to Music City’s darker side, and “Tacoma” which shows off Smith’s sonic boom of a voice to devastating effect.

She Says: “Every time I perform that song, I almost go into a trance where I’m just transported into the story,” Smith says of “Tacoma.” “I can’t not sing that one at 100 percent, it’s all emotional. ‘This Town Is Killing Me’ is emotional, too, from a very real and honest place. This industry is not for the faint of heart. There are days I just face-plant on the couch and don’t want to get up.”

The yearning “Tacoma,” captured live here, is the best example of Smith’s full-on howl. Caitlyn Smith live at Paste Studio NYC!

Songs:

1. Starfire 0:45 2. Before You Called Me Baby 8:49 3. Tacoma 17:20

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Acid Dad first appeared in the New York scene in 2016. After spending the year self-releasing demos recorded at their studio in upstate New York, the band garnered local praise from the likes of Oh My Rockness, Consequence of Sound, BrooklynVegan, Stereogum and more. At the outset of 2017, the band began writing, demoing and recording with the intention of creating their debut full length. Now part of the Greenway Records family, their debut LP is slated for a March 2018 release followed by a world-wide tour. NYC’s Acid Dad are following 2016’s Let’s Plan A Robbery EP with their self-titled debut album on March 9th via Greenway Records . As their name hints, Acid Dad are a psychedelic rock band, but they don’t get too trippy. Lead single “2Ci” is just a catchy dose of guitar pop, and you can check that one out now.

The Self Titled Debut LP from NYC freaks Acid Dad 
Out March 9th, 2018 via Greenway Records

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Self-proclaimed “dark-pop” band Corey Flood, named for a Say Anything character, tackle disappointment and disillusionment with a sarcastic wink on their debut EP, Wish You Hadn’t. Led by Ivy Gray-Klein, who plays bass in the Philly band Littler, Corey Flood cite influences from Liz Phair and Helium, but add more wistful melodies, methodical rhythms and faint, whispery vocals to achieve a misty elegance. The EP’s latest offering, “Soft,” is balmy and delicate, but cutthroat in sentiment. Gray-Klein is deadpan in her vocal delivery as she skewers the hypocrisies that lie at the center of a very modern male archetype: the “Soft Boy.”

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em – guitar, vocals
ivy – bass, vocals
juliette – drums, vocals
noah – guitar

Debut single from Philadelphia based Corey Flood. “Wish You Hadn’t” EP is out 23rd February on Fire Talk.

What happens when an anti-social petty thief, a male hustler, and a delinquent runaway come together to join forces in the streets of NYC? One of two things, usually. Either the birth of a gang of misfit criminals, or a legendary rock and roll band. Luckily, for society’s sake, the latter has turned out to be true for Beechwood. Echoes of everything from Stiv Bators to the Electric Prunes to Velvet Underground to Johnny Thunders and with an obvious love of the Nuggets boxset.

They run a pretty wide gamut of scuzz from garage to glam to punk to indie that’s not that easy to date. – STEREOGUM . Brings the late ’60s into the ’00s. – GRUNGECAKE, 

Recalls the best moments of the Zombies and Beach Boys, adding elements of garage and light tinges of the psychedelic. – POPMATTERS

Piece together the best of rock throughout the ages, tying in temperate group harmonies, arcing melodies, meddling guitar lines, and concrete percussion to drive it all home. – BUFFALO BLOG

A sonic world not too distant from the ones inhabited by modern classics like Foxygen and Tame Impala. – THE DELI NYC.  The NYC pop-punk band has always had a talent for pulling back the curtain to reveal the dark underbelly of humanity. – PAPER MAGAZINE

Drummer and vocalist Isa Tineo and bassist Sydney Simons were arrested during an outdoor show for “reckless endangerment, criminal mischief, resisting arrest, obstructing government administration and disorderly conduct.” The whole thing was caught on social media and made its way to headlines in NY Daily News. Welcome to rock ‘n’ roll, boys.  – WHAT YOUTH

Tracks Taken from the album “Songs From the Land Of Nod” http://www.alive-records.com

At their most guitar-centric Fleetwood Mac, featured not two but three players on the guitar. In 1969, the group hired 18-year-old Danny Kirwan to add a new hue to the palate created by the original line-up featuring guitarist Jeremy Spencer and star player Peter Green. To Spencer’s rockabilly flair and Green’s hard blues power, Kirwan brought more melodicism and nuance. Their three-way frisson came to fruition on the band’s third album, ‘Then Play On’, especially in songs like “Oh Well” which presented a blues riff so tight, Mac kept it in their set through multiple personal changes for decades to come. Another song from that album, “Searching for Madge,” let Green and Kirwan spar in a ten-minute free jam. A particularly hot version of another song from that era “Rattlesnake Shake” , appeared on the band’s “Live In Boston” the guitars slashed and burned with a violence the band rarely achieved in the studio. On the other end of the spectrum, Kirwan and Green made their instruments sweetly entwine in “Coming Your Way” , a song the former wrote which opens ‘Then Play On’.

The whole set is more like a seamless `suite` of songs, with two instrumentals dedicated to a devoted Mac fan named Madge punctuating them. I bought the original LP and played it a lot. It sounded unlike anything else at the time, and it still has a unique feel to it. What is such a relief is to find how wonderful it still sounds, after so long.

The interplay between Spencer and Kirwan came to the fore on the 1970 studio next release “Kiln House”, cut after Green left. One year later, Kirwan found a new sparring partner in the American-born Bob Welch.

 

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The third full-length album from Wisconsin singer/songwriter S. Carey  finds him grounded comfortably in his skin, but still with one foot in the stream. More direct than ever, there is a wellspring of confidence in this new batch of songs that lays bare the intricacies of life while keeping its ideas uncomplicated.

Trained in jazz, Carey’s astute musicianship has never been in question nor taken for granted, and the execution of Hundred Acres‘ new ideas is seamless. He intentionally unburdened himself from a more complicated instrumentation palate for these ten songs, and, in effect, this modification to his approach brings the content of the work much closer to a living reality. By giving equal status to the indifference of nature and the concerns of a material world — while employing more pop-oriented structures a new balance is struck that creates something unique. This in turn provides equal status for the feeling that created each song, and the feeling each song creates. Almost impossibly, there is more air between the bars; Carey and his contributors sway like treetops in the wind, remaining flexible enough that they never threaten to break.

S. Carey – “More I See” taken from ‘Hundred Acres,’ out February 23rd, 2018 on Jagjaguwar Records