Posts Tagged ‘Buffalo’


“The Midnight Broadcast” is the most unusual entry in Peter Case’s extensive and eminently admirable career. The sixteen tracks interweave music, sound effects, and spoken word segments to create a simulation of that quasi-mystical sensation that’s inspired so many music lovers and musicians since the invention of radio. It is ultimately an experience that is as thought-provoking as it is dream-like.

The Buffalo, New York native has done a record something like this before, specifically, the 2007 Grammy Award-nominated “Let Us Now Praise Sleepy John” Serving as a link to that deserved homage, it is thus appropriate folk-bluesman to Estes’ “Oh the Morning”/”President Kennedy” appears here. But it’s an illustration of Peter’s aptitude as a musicologist as well, as are numerous selections from the public domain: “Stewball” and “Captain Stormalong,” among others, are juxtaposed with a pair of astute recognitions of influence in the form of Mance Lipscomb’s “Charlie James” and Memphis Minnie’s “Bumble Bee.”

Two Bob Dylan tunes further reinforce Case’s grasp of history, musical and otherwise. Of a piece with their surroundings, the spare acoustic-based performances of both “Early Roman Kings” and “This Wheel’s On Fire”  are unfettered by effect in the singing or playing. In addition, these compositions of the Nobel Laureate’s are quite purposefully sequenced: the former, a cull from The Bard of Minnesota’s splendid “Tempest” album of 2012, appears just as the album is gaining momentum, while the latter, climax to the epochal Music From Big Pinkby The Band, also concludes this LP (and on a comparably ominous note).

Written by Bob with that iconic group’s bassist/vocalist Rick Danko during The Basement Tapes era, this secular fire-and-brimstone narrative gains even more foreboding in this context through its subdued rendition (and as it mirrors the dark grey clouds of this cover art). It’s an extension too of an almost subliminal link of continuity with Dylan’s entire oeuvre, a notion unavoidable before Case’s sole original concludes; on its very own terms, “Just Hanging On” is a sage and patient observation on our trying times, but it gains further significance via its circuitous but nonetheless recognizable echoes (intentional or not) of Dylan’s own “I’ll Keep It With Mine” from 1964.

Setting the tone in more ways than one for The Midnight Broadcast,  the deceptively lo-fi audio quality there mirrors the authentically rootsy range of songs including “Grey Funnel Live.” But the sonics are in line with Case’s voice, which, even as it’s retained its fundamentally boyish tone over the years, has gained a weathered quality that lends it even more character. As weighty as some of the performances can sound, like “Going Down Slow,” the musicianship itself is uplifting, deriving as it does from what is essentially a very personalized and intimate simplicity.

Other cuts here manifest those virtues too, and, in doing so help illustrate the evolution of modern folk music. When I Was A Cowboy,”  for instance, was often covered by the late great Irish bluesman Rory Gallagher and attributed to Leadbelly under the title of “Out On The Western Plain.” Peter and his various collaborators, including the versatile likes of Lee Fortier and Bert Deivert, clearly evoke the timeless (and durable) quality of such material, while producer and multi-instrumentalist Ron Franklin’s contributions achieve much the same end: brief as are the likes of the 1:07 duration “Jupiter Holler No. 4,” they become integrated with their surroundings because they sound complete unto themselves.

As does the austere remainder of  “The Midnight Broadcast”, with its skeletal arrangements adorned with harmonica, Vox organ, and maracas. But then Peter Case has never allowed extraneous ornamentation on any of his records, so this latest execution of his ‘less is more’ concept is not only wholly in line with the rest of his solo discography, but a distinctly memorable exercise in ambition on its own terms.

Bandaloop Records Released on: 12th March 2021.

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Buffalo three-piece The Tins have come far since their early days in an underground practice space at New York State’s Binghamton University. Praised by the New Musical Express, Magnet, and Paste Magazine and a staple of entrepreneur Sean Parker’s Hipster International Playlist on Spotify, the band melds flecks of art rock, new wave, and post-punk with massively catchy alternative rock foundations. While Modest Mouse producer Joe Blaney helmed their 2012 full-length album, Life’s a Gas, The Tins return to self-production for their latest EP, Young Blame. Young Blame explores themes of movement, says the band: “moving forward, moving on, moving into the unknown, regardless of the consequences.”

Describing the influences behind the song, The Tins suggest “Clearly Not Zen” is, “a song about not getting over the past.  It’s the “what if” apology that you’re too stubborn to make… yet as long as you keep it inside you’re kind of trapped in your thoughts… and you’re clearly not zen”. Featuring the vocal debut of drummer Dave Muntner, musically, “Clearly Not Zen” is a slinky beast, all reverberating bass and bright, meandering guitar flourishes. A fitting way to sign off a triumphant 2017 for the band, many years into their musical careers, The Tins have never sounded better.


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On November 22nd, 2009 Bruce Springsteen & The E Street Band brought the memorable Working On A Dream Tour to a close at the HSBC Arena in Buffalo. The show would be the last saxophonist Clarence Clemons would play with the band before his 2011 death. Springsteen has opened the vault to release an official recording of the show via his official website.

The Boss played a number of his classic albums in their entirety over the course of the Working On A Dream Tour. In Buffalo the band treated fans to a complete performance of Greetings From Asbury Park, NJ. This led to a pair as bust outs as Bruce Springsteen & The E Street Band played “Mary Queen Of Arkansas” for the first time since 2002 and “The Angel” for the first time since 1996. “This was the miracle,” he said during the show. “This was the record that took us from way below zero to … one.” Springsteen dedicated the performance to his former manager Mike Appel, who was in attendance, for making his successful audition with Columbia Records happen. During “Growin’ Up,” Springsteen broke the song down and recalled the night in 1971 when he first performed with Clarence Clemons at the Student Prince in Asbury Park. Then he metaphorically described what happened next, a late-night drive through the woods in a Cadillac followed by a long dream. “And when we woke up,” he concluded, “we were in f—in’ Buffalo, New York.”

Clarence  died on June 18th, 2011 after having suffered a stroke a week earlier.
The concert also fell on guitarist Steve Van Zandt‘s birthday, and Springsteen indulged his friend by breaking out the world premiere of “Restless Nights,” a outtake from the “River” and one of Van Zandt’s favorite Springsteen songs. This was followed by “Happy Birthday” and Working on a Dream’s “Surprise, Surprise.”

Springsteen dug deep to close the tour with a 34-song performance that included holiday gems “Merry Christmas, Baby” and “Santa Claus Is Coming To Town.” The former was played for the first time since 2004. Bruce offered the live debut of The River outtake “Restless Night,” purportedly by request of guitarist Steve Van Zandt. The show ended with a lengthy encore that included a guest appearance from Willie Nile on “(Your Love Keeps Lifting Me) Higher & Higher.” has got one more from the archives: the tour-closer from the “Working On A Dream” Tour on November. 22nd, 2009 in Buffalo includes a complete performance of Greetings From Asbury Park, NJ and several rarities. This was Clarence Clemons’ last show with the E Street Band.

Head to to purchase the archival release in a variety of formats.

Buffalo-based indie rock act, Chevron Bloom’s released their debut EP earlier this month. The 4-track EP, aptly titled EP, was recorded in Geneseo, at Temperamental Recordings. In the band’s debut effort, the trio has crafted a tight set of tunes with psychedelic overtones.

Each song, though short in nature, still goes through several different shifts throughout its runtime. The EP varies between moments of straight ahead rock and spaced-out meandering. They meld together elements of psychedelic pop, heavy alt. rock and shoegaze, and every transition through styles is seamless. Throughout, the vocals are light and airy, floating overtop of the arrangements, at times like they are barely there. The snare drum is front and center for most of it, sitting comfortably right in the middle of the mix, a consistent and heavy presence through each dynamic shift.


In fact, it’s the snare drum that kicks off the record. Opener “Home?” begins with an almost New Orleans feel beat, before a reverb-laden guitar comes strumming in. “Inactive Minds are Personal Crimes” features two alternating sections rather opposed with each other; the verses are loose, drifting and almost mindless, giving way to distorted guitars and heavy drums on the more direct choruses. “You Got It All Wrong” is an upbeat rocker at first, until its outro winds down into half-time feel. The synthesizer that opens “Dying All Alone” is a slight surprise at first, but lends itself well to the spacier final track.

On their debut EP, Chevron Bloom makes good use of their arrangements as well as the studio space. The new EP is available now on bandcamp as a name-your-price download.

Chevron Bloom is Jay Sallese, John Miller, and Aaron Martin.

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A Ramones radio broadcast from Buffalo in early 1979 with Marky Ramone being quite new to the band!

This outstanding performance by The Ramones was taped for radio broadcast in Buffalo, New York, on February 8, 1979, shortly after Marky Ramone joined the band. It captures New York’s punk pioneers at the peak of their powers, tearing through many of their most renowned songs in typically energetic style. It’s presented here in superb fidelity, with background notes and rare photos. Digitally remastered.

1. Rockaway Beach
2. Teenage Lobotomy
3. Blitzkrieg Bop
4. I Don’t Want You
5. Gimme Gimme Shock Treatment
6. Rock n Roll High School
7. I Wanna Be Sedated
8. I Just Wanna Have Something to Do
9. Bad Brain
10. I’m Against It
11. Sheena Is a Punk Rocker
12. Havana Affair
13. Commando
14. Surfin’ Bird
15. Cretin Hop
16. Listen to My Heart
17. California Sun
18. I Don’t Wanna Walk Around with You
19. Today Your Love, Tomorrow the World
20. Pinhead
21. Do You Wanna Dance
22. Suzy Is a Headbanger
23. Let’s Dance