Posts Tagged ‘Providence’

David Blue was born on 18th February 1941. He wasn’t born David Blue, of course, but Stuart David Cohen and he came from Providence, Rhode Island.  At age 17, Blue left home, and joined the Navy, but was soon thrown out for his “Inability to adjust to a military way of life.” He moved to Greenwich Village in the early ‘60s and one day saw Bob Dylan writing the song that would become the great folk anthem ‘Blowin’ In The Wind’.  Bob asked David to play the chords while he would create the verses.  It was performed that night at Gerde’s Folk City.

Once Bob Dylan made it, record companies came looking around Greenwich Village for potential artists. However, there was already a Dave Cohen performing in the village, who later joined Country Joe and the Fish. Our Dave Cohen told folk singer Eric Andersen that he would have to change his name and Eric said, “You’ve got such blue eyes. You should be David Blue”. When Dylan heard of his new name, he started laughing and sang “It’s all over now, David Blue”.

“At the beginning, no one in the “in” crowd liked David, except for Phil Ochs. Phil thought he was a tremendous performer and songwriter. Later on, people started coming around to his music. David’s music was all romantic. Phil’s was all political. In fact, David. Phil and Dylan were an interesting threesome when it came to writing about women. David would write about women who most people didn’t know – the exotics; Dylan wrote about the universals; and Phil didn’t write about them at all …David’s first appearance on record was on the Elektra LP “The Singer / Songwriter Project” where he performed three songs under the name David Cohen. Around the same time he appeared as one of the Broadside Singers on “Broadside Ballads, Vol.3”

When Bob Dylan had his motor cycle accident in 1966, David Blue sent him a note “It’s been done already” – a reference to James Dean. While Bob was recovering, he was recording with the band and David can be seen on the cover of The Basement Tapes – he is sitting to the right of Mrs Henry. Blue joined Dylan’s Rolling Thunder Revue in 1975 and appeared in Renaldo and Clara, the 1978 movie that was filmed during that tour.

The Reprise album, “These 23 Days In September” was released in 1968. It was produced by Gabriel Mekler who was producing Steppenwolf. Gabriel played piano and Bob Rafkin, guitar.

His first album for the newly-formed Asylum label – “Stories” (1972) – had a self-portrait on its cover. The album featured some magical slide guitar from Ry Cooder. The musicians on the album include Rita Coolidge, Chris Ethridge, Milt Holland and Russ Kunkel, which is pretty much an A-Team.

In the album’s ballads, particularly “Grand Hotel,” but also “Midnight Through Morning” and “The Street,” he revealed a more lyrical style that was warmer and sadder than anything in Dylan’s repertoire. Those songs would point a direction for him to find more of his own sound on subsequent albums.

Graham Nash, then a superstar with Crosby, Stills and Nash, produced the album “Nice Baby And The Angel” in 1973. Background vocals included Graham Nash, Dave Mason, Glenn Frey and Jennifer Warren. Glenn Frey was so taken with the track ‘Outlaw Man’ that he took it to The Eagles and it was featured on their album “Desperado”.

“Cupid’s Arrow” released in 1976 was produced by Barry Goldberg and featured Jesse Ed Davis and the Liverpool musician Jackie Lomax. The title track was written about protest singer Phil Ochs and it was sung at his memorial concert.

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Rhode Island’s Deer Tick have held the ‘most distinctive vocalist’ title for years thanks to their singer John J. McCauley’s raw and unruly voicebox. But now the band’s guitarist and drummer, Ian O’Neil and Dennis Ryan, are giving him a run for his money on this newly released track. Find it on Deer Tick’s upcoming compilation album, Mayonnaise, out February 1st via Partisan Records.

Deer Tick: undercutting expectations since 2004.

“I think a lot of my favorite artists have always done stuff like that,” Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band’s love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick’s perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), the previous two albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol. 2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

McCauley, who is married to Vanessa Carlton and became a dad. The couple’s little girl is now two years old. For the first time ever, Deer Tick––are an all-consuming band known for constant touring and steady artistic output.

When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another. “Playing that week with the guys made me really want to do it––it made everyone want to do it,” McCauley says. “So we started making some plans to go in the studio to reord agan.


“Strange, Awful Feeling” is from Deer Tick’s forthcoming album ‘Mayonnaise’, available February 1, 2019.

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By titling their fourth full-length You Won’t Get What You Want, Daughters send a crystal-clear message. The quartet once again follow the same internal compass that guided them to blur the lines of fickle heavy music sub-genres in the first place and quietly ignite a cult fervor typically reserved for grindhouse phenomena. In fact, the best way to describe the philosophy and the sound of the quartet is simply: rock ‘n’ roll.

The bludgeoning Rhode Islanders have blown our ears and left us breathless, back from the dead to unleash their-highly-evolved grind on the world anew. maintaining and expanding on their intense trademark sound with an explosive sonic-takeover, their music is now a thing of calculated chaos. the record delves into some seriously haunting and neo-gothic John Carpenter stylings alongside its relentless industrial dirge-ing. its exhilarating and quite unlike anything else – like Swans got mangled with napalm death’s speed-death in a sonic world invented by nine inch nails. on acid. mad. “after an eight-year-long hiatus Daughters reach their peak” 9/10

The first new music in eight years from DAUGHTERS

Daughters new album, You Won’t Get What You Want, in stores October 26th By titling their 2018 fourth full-length and debut for Ipecac Records, You Won’t Get What You Want, Daughters send a crystal clear message. The quartet—Alexis Marshall [vocals], Nick Sadler [guitar], Jon Syverson [drums], and Sam Walker [bass]— follow the same internal compass that guided them to blur the lines of fickle heavy music sub-genres in the first place and quietly ignite a cult fervor typically reserved for grindhouse phenomena.

In fact, the best way to describe the philosophy and the sound of the quartet is simply: rock ‘n’ roll.

Band Members
Alexis Marshall
Jonathan Syverson
Nicholas Andrew Sadler
Samuel Moorehouse Walker

Kristin Hersh’s prolific career has seen her heralded queen of the alternative release. Her tenth studio album, ‘Possible Dust Clouds’ is a highly personalised sociopathic gem delivered as a futuristic rewriting of how music works, a melodious breeze with a tail wind of venomous din.

Enveloping the juxtaposition of the concept of ‘dark sunshine’, a brooding solo record created with friends to expand her off-kilter sonic vision; a squally, squeaky mix of discordant beauty.
Feedback and phasing gyrate from simply strummed normality, imagine Dinosaur Jr and My Bloody Valentine cranking up a Dylan couplet.

‘Possible Dust Clouds’ is a glorious return to form for one of alternative rock’s true innovators. “She’s still as powerful a presence as she ever was.” Pitchfork
“The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician.” The Quietus
Throwing Muses became a byword for college-rock feminism in the late 80s, largely because of Hersh’s uncompromising impressionist poetry of emotional anguish, subjugated womanhood and mental illness.” The Guardian


releases October 5, 2018

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Audiotree is a Chicago-based music discovery platform: In-studio sessions

Arc Iris is an indie art rock trio who write psychedelia infused, kaleidoscopic tunes. Their theatrical stage production includes glittery lycra body suits, sparkling bird wings and pig masks to add visual depth to their philosophical lyrical content.  Our full live session with Audiotree is up! Check it out if you enjoy keytar infused dance moves, scary pig masks, doomsday monologues and strobelights.


Arc Iris broke musical ground with the release of their acclaimed self-titled debut in 2014. The Providence, Rhode Island-based band quickly won over audiences in the US and Europe, supporting artists such as St. Vincent, Jeff Tweedy, and Clap Your Hands Say Yeah. The group performed at the London Palladium and festivals including Bonnaroo, End of the Road . Released on Bella Union in Europe and ANTI Records in the US and, Arc Iris drew admiration for its innovative style and distinctive sound. The Guardian talked of “a shape-shifting treat” while new music site The Line of Best Fit proclaimed, “Arc Iris is traditional music thrillingly positioned at the nexus of the old and new.”

Band Members
Zach Tenorio-Miller – Keyboards and Vocals
Jocie Adams – Vocals, Keys and Guitar
Ray Belli – Drums

Released June 19th, 2018

When Bruce Springsteen and the E Street Band began their tour in support of “Born to Run” on July 20th, 1975, at the Palace Concert Theatre in Providence, R.I., the album that would break his career had not yet been released. In fact, it had only been completed that morning.

Needing to deliver the record before hitting the road, the band entered New York’s Record Plant for a final mixing session the previous afternoon. They emerged at 10AM — 19 hours later — with the van waiting to take them to Providence, 180 miles northeast. At some point during the night, they set up in the studio’s rehearsal room and ran through the songs they’d perform. The first show of the Born To Run tour, the band worked on the Born To Run record right up to this first day of the tour, they practiced all day starting at 6 am, packed up the van with the equipment, Clarence finished his ‘Jungleland’ solo, jumped in the van and off they went and played this show.

The E Street Band had a much different look from the last time they had hit the city in April 1974. Pianist David Sancious and drummer Ernest “Boom” Carter had left in August to form a jazz fusion group called Tone and were replaced by Roy Bittan and Max Weinberg, respectively.

A second guitarist was also making his debut as a member of the group Steve Van Zandt, who had played with Springsteen in earlier bands, had provided invaluable assistance during the recording of “Born to Run”, notably the horn charts in “Tenth Avenue Freeze-Out” and the title track’s guitar lick. This line-up would remain intact until Van Zandt’s departure during the sessions for 1984’s “Born In The USA.

The 15-song show, which kicked off the tour, ran nearly two hours. It included only three songs from the new record: “Tenth Avenue Freeze-Out,” “Born to Run” and “Thunder Road.” All but one song from the previous album, The Wild the Innocent and the E.Street Shuffle,  was performed, with the rest of the concert was split between Greetings From Asbury Park N.J. material, “A Love So Fine” (which wouldn’t be released until 1998’s Tracks under the name “So Young and In Love”) and covers of Manfred Mann’s “Sha La La” and Gary “U.S.” Bonds’ “Quarter to Three.” . This tour was markedly different from the one he did with Suki only weeks earlier. He was much more animated and seemed to be having more fun. Steven added so much musically, while Clarence Clemons became an increasing visual focus. Furthermore the very real strain of recording “Born To Run” had been put to rest for Bruce and the rest of the band.

Springsteen and the E Street Band remained on the road for five months, with several of the dates turning out to be among the most important of his career, including the early show from New York’s Bottom Line on Aug. 15th, 1975, which was broadcast live on a local radio station, helped build steam for the album leading up to its release.

July 20th, 1975
Palace Theater, Providence, RI.

Incident On 57th street
Spirit in The Night
Tenth Avenue Freeze-Out
Growin’ Up
It’s Hard To be a saint in the city
E Street Shuffle
Born to Run
Thunder Road
New York City Serenade
Kitty’s back
Rosalita (Come out Tonight)
4th of July Asbury Park (Sandy)
A love so fine
Sha la la
Quarter to three


The Low Anthem return from an extraordinary five-year journey with “EYELAND”, a collection of multi-dimensional future folk crafted with uncommon vision and emotional depth. The Providence, RI-based band’s fifth full-length recording, “EYELAND” began as a “vague and rather abstract” short story by co-founder/singer/guitarist Ben Knox Miller, based around the “sonic mythology of a moth’s dreams.”The tall tale became real life as Low Anthem immersed themselves in the creation of their own Eyeland Studios, developing Providence’s once obsolete Columbus Theatre into an innovative and in-demand recording space and live concert venue. EYELAND proves a prism of the album’s inner themes, refracting Miller and co-founding drummer/multi-instrumentalist Jeff Prystowsky’s . Low Anthem’s lofty aspirations and creative capriciousness resonate throughout songs like “The Pepsi Moon” and “Behind The Airport Mirror,” their elegiac arrangements and lyrical frankness marked by shimmering ambience and a hauntingly defiant tension. Psychedelic in the truest sense of that overused word, “EYELAND” is a perspective-shifting musical experience at once elliptical and intangible yet still precise and powerfully personal.

The Low Anthem has always avoided “the predictive approach,” says Prystowsky, “following some textbook idea.” Miller and Prystowsky began making their idiosyncratic bedroom folk in 2007, best friends constructing something altogether new from old musical traditions. Troth was pledged to the spirit of DIY as the duo dumpster dove for cereal boxes which were then converted into art for that same year’s self-made first album, sold out of a suitcase while the nascent band mercilessly toured the Northeast.

The Low Anthem’s artistic range and ardent passion for exploration exploded as they grew into a full-fledged combo, coming to the fore with 2008’s breakthrough third album, OH MY GOD, CHARLIE DARWIN (reissued a year later to worldwide acclaim by the estimable Nonesuch label). SMART FLESH followed in 2011, earning further applause for Low Anthem’s ongoing adventurousness as both artists and producers. The band recorded the album in a derelict pasta sauce factory outside of Providence, setting up shop in a space where the environment was sure to affect the entirety of the project. Low Anthem supported SMART FLESH with nearly non-stop touring, including an epic 26-city support tour that saw them playing 1,000 capacity theatres across Canada.

The Low Anthem

ELDER – ” Lore “

Posted: December 30, 2015 in MUSIC
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Elder’s third album moves them on just a bit from traditional doom into another sound from that same era: the proggy hard rock of bands like UFO, Armageddon, Budgie, and at times a little Led Zeppelin. They filter that sound through just enough modern sludge to keep it from being a genre workout, but it’s also enough of a throwback that your cool uncle who saw Deep Purple on the In Rock tour might dig it too. The record is five songs that clock in just shy of an hour, and this thing has riffs for days. Any given song on Lore has more insta-classic riffage than some bands manage on an entire album. It’s the kind of record I could picture some kid hearing and wanting to learn to play the whole thing. Every generation needs records like that, and we’re lucky to have this one.

Lore is the third full-length album by Elder and a watershed moment in the band’s history. Joining the interplay of heaviness and melody which has become the hallmark Elder sound are a host of new meanderings through uncharted kosmische territory; krautrock, prog as well as classic heavy rock and doom can all be heard unfolding throughout the record’s five songs. By giving equal credence to riffs and atmosphere, Lore bypasses genre constraints, the group’s penchant for progressive songwriting and melody shining more brightly than ever


Elder is a three-piece heavy psych band hailing from Boston, USA. Their lengthy songs are told as stories, unfolding and undulating across genre boundaries