We just passed the 25th Anniversary of the release of 'This Year's Model' from Elvis Costello on August 5th and celebrated what would have been Andy Warhol's 80th birthday on Wednesday (August 6th) with some music tributes on-air.

There are quite a few Musical Milestones coming up in the next few months. Here are a few

Sept 7th 15th Anniversary of the release of John Hiatt's 'Perfectly Good Guitar'

Sept 11th 35th Anniversary of the release of Bruce Springsteen's 'The Wild, The Innocent, and the E Street Shuffle'

Sept 25th 40th Anniversary of the release of 'Astral Weeks' by Van Morrison

November is a big month
Nov 3rd is the 30th Anniversary on the Jam's 'All Mod Cons'

Beck, R.E.M., and the Beatles also have some significant anniversaries that I'm sure we'll be touching on with on-air programming.

Kyle

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This is Edwin signing a CD and a program for me after the show...

This is Edwin signing a CD & program for me after the show ....

The Edwin McCain Acoustic Trio is comprised of:  Edwin McCain (vocals, guitar) and long time band members Larry Chaney (lead guitar) and Craig Shields (keys, sax).

Greenville, South Carolina’s Edwin McCain came to Greensburg to play his blend of folk, rock and soul for a small, but enthusiastic crowd.  In the intimate theater setting, for 90-minutes Mr. McCain told stories and even played some requests.  After years with long hair, the 38-year old has cut his hair, donating the locks to charity.

Edwin shined vocally when he held the long notes, which the audience graciously acknowledged each time with applause.  With 10 albums to his credit, Edwin ironically could not remember all the lyrics to “Write Me A Song”.  Edwin is a wonderful story teller, often adding humor to the history behind a lyric.

It was a relatively laid-back and mellow show, for this artist who made his independent recording debut back in 1991.  Edwin of course sang a few of his more memorable hits like “I Could Not Ask For More” and “I’ll Be”.  Highlights also included “Gramercy Park Hotel”, “Ghosts of Jackson Square”, “White Crosses”, “Let It Slide” and a very touching song he wrote about being adopted and never having the chance to meet his birth mother “Letter to My Mother”.

For the encore, Edwin did the tune “Let Them In” (Prayer to St. Peter) which was a WW II era poem that John Gorka set to music.

Pittsburgh singer-songwriter Christopher Laughrey opened the show with a 40 minute set of original and Irish tunes.

P.S.  Apparently Edwin had a good time in Greensburg - his comments can be found under the On The Bus section of his website (http://www.edwin.com/onthebus.html)

Barb S. - Sunday Mix Host

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Good Night, States represents all the best qualities of Pittsburgh. They are innovative but humble, intelligent and hardworking, ambitious and independent. And also like the city of Pittsburgh, the rest of the world has yet to recognize all that they to offer. Recently though, with their debut album Short Films on Self-Control and a string of local shows, they’ve been making the turn from underground secret to source of local pride.

Trevor, Megan, Steve, Dan and Joe

(left to right: Trevor, Megan, Steve, Dan and Joe)

Their music rings in your head for days after listening; it is aggressively melodic and includes influences of Glam, Americana, Rock and Pop. Even the melancholy songs somehow manage to shine.

The band certainly shown bright while opening this past WYEP Summer Music Festival in Schenley Park. I recently broke bread with the local contingent (Singer/Guitarist Steve Gretz and Guitarist Joe Tanner live in New Jersey) and discussed their Internet Singles Series, the reception of their work as a “Pittsburgh” band, and plans for the near future that may or may not include an accordion.

-Dave, host of WYEP Afterhours: Monday

WYEP: Megan said this is your “study hall.” What do you guys usually do during study hall? It seems like a fun idea.

Megan: [laughs] When it’s going well, we’re all working on our various spheres of influence. Trevor is our web guy, and Dan books and I do press and PR. The idea is that we forget to do things unless we keep each other accountable. Every Wednesday night, we do it together.

WYEP: Speaking of the website – the inspiration obviously came from a keyboard, but was there a light bulb moment where you figured it out?

Trevor: That was kind of the keyboard that was the centerpiece for Short Films on Self Control, so we were trying to brainstorm ideas on what the website would look like –

Megan: - I drew it out in the middle of our – I do a lot of doodling when I’m supposed to be paying attention – I doodled it out in a musical staff in one of our books. But then I think we didn’t remember for a long time, and then all of a sudden Tim [who helped set up the website] was like ‘We can do that! I can wing it!’

WYEP: I think it works, and it’s totally in keeping with the sound of the band too.

Dan: It’s where the sound’s coming from.

WYEP: And it’s also where the sound’s going with the Internet Singles Series. What was the idea behind that?

Dan: We were brainstorming about anything we could do that was slightly different than what we had done before. The regular 'creating of a crowd out of nothing' by booking shows in a town where you don’t know anybody, and you don’t know bands, and you don’t know venues, and making a record and trying to sell it at that place – just a grassroots thing – hasn’t seemed to be our way yet. And maybe it will some day, but it seemed like we were in need of newer music because Short Films was released only this January [ed. note - official release date: December 11, 2007), and we recorded it last March, meaning that we were recording it throughout [2007]. It’s new music to the public but it’s very old to us. You always have to have the ball rolling, so we wanted to figure out a way to make new music but at the same time not have to do the standard ‘Let’s save up some money, let’s go to a studio. It’s going to take probably nine or twelve months before this is released.’

Trevor: In addition to all that, in all our talking about the band, we wanted music to be the primary thing, not image or not –

Megan: - Or merch! [laughs]

Trevor: We aren’t very good at marketing ourselves, image-wise, so I really think that the music is the primary thing that people will latch onto. So we are trying to build a listenership through the website – to use that as a vehicle to get music to people.

WYEP: You guys do have a really high quantity and quality of electronic interaction with your audience through weblogs, photo albums, Internet Singles Series, Youtube videos. Do you think that’s what you kind of have to do now as a band, or did you grow up knowing you wanted to know more about bands and you saw these things as really good resources [for your fans]?

Trevor: I think the thing that people really grab onto is when they feel they can be a part of something, and that was one of the goals of having a blog-style website and lots of things for people to interact with.

Megan: I guess the more you can know about people you don’t actually know, the more interesting they are. In that sense, I think we are all nerds to the extent that we pore over the websites of bands that we really like.

WYEP: You’ve played out of town – do you get a reaction from other bands when they hear you’re from Pittsburgh?

Trevor: I would say it depends where you are. In Philadelphia, we definitely got the strongest negative reaction – not from bands but from people at the show.

Dan: I think it’s just sentiment. It’s ‘Philly vs. Pittsburgh’ and I think that’s all it is.

Trevor: Yeah, and everyone assumes we’re like huge Steelers fans. That’s the universal thing, I’d say.

Dan: I think at least on the blogs Megan has gotten us written up in recently, people have exclaimed, if [the blogger is] from Pittsburgh, ‘I can’t believe this band is from Pittsburgh!’ And if the [the blogger is] not from Pittsburgh, they’re saying ‘I can’t believe this band is from Pittsburgh!’ So, good no matter which way you slice it. I think people are usually more intrigued by the New Jersey-Pittsburgh difference – ‘Why is it like that? How do you pull it off? You guys are crazy!’ I think that usually illicits some sort of reaction.

Steve was the impetus for moving out [to New Jersey], but all along he’s always chosen to say that we’re from Pittsburgh, and I don’t really know why. To make it seem like we’re not this crazy two-headed beast I guess, telling people we’re from fourteen different locations? And it sounds weird but in the long run of being in a band, the more I realize that lots of other bands don’t live in the same city. Lots of them.

WYEP: The Walkmen, Clap Your Hands Say Yeah –

Dan: - Yeah, Matt Pond PA live all over the East Coast. And of course, insanely huge bands on insanely huge record labels certainly don’t need to all be in the same city. The Damnwells, at one point, were all in Brooklyn and the one guy moved out to L.A. and they continued to be a band. I guess if you find a way to do it you find a way to do it.

WYEP: Going back to what you were saying about the reaction people have – both from Pittsburgh and not Pittsburgh – of being amazed that you guys are from Pittsburgh, do you think it’s a nurturing town for young bands?

Dan: Whew, that’s a question we’ve always wrestled with. I certainly have a ton of people who say to me: ‘You need to be in Austin’ or Nashville or L.A. or New York City. We always ask ourselves that question and we all ask other people we think have an opinion about that, but really, nobody has a good answer.

Trevor: We’ve fallen in with a fairly nurturing bunch of people, in the past year and a half or so.

Dan: Yeah.

Trevor: The circle of bands we run in right now is pretty supportive of each other. Even beyond bands, there’s a group of people that sort of surround those bands that is very supportive. It’s very good to be around each other.

WYEP: What are those bands for you? Lohio –

Trevor: Lohio, Briar Fox, Cindy [Howes], Blindsider -

Megan: - Triggers.

Trevor: Yeah. I think there’s a bunch of us that have sort of been around for five years or so, and we sort of know each other.

Megan: I think having a home base is kind of important, but even because [Steve and Joe] live in New Jersey, we have kind of a home base and a half. Steve grew up there – that’s why he’s there now – and he’ll pull from all his family and friends. We can have a sort of small, guaranteed crowd there, and a slightly larger crowd here. I think we’re just hoping that at some point, it will all just congeal.

Trevor: It’s been really interesting to try to transition over from a “friend” fan base to a “people who just like music” fan base. I would say that – and I don’t mean this as any kind of slight to our friends – our friends aren’t the music-lover types. They come out to see us because they’re friends with us.

WYEP: Because you’re you.

Trevor: Yeah, and trying to build the music-lover fan base is a long process.

WYEP: Do you think there’s anything that would make the city better for younger bands?

Trevor: I think the venues, I would say –

Megan: - A mid-sized venue.

Trevor: - Yeah, it’s weird. Club Café is a pretty good size for us.

Megan: It’s hard because if you’re a little larger than the Brillobox but you can’t pack Mr. Small’s, what do you do? I feel like there are enough incredible old buildings around town that surely someone wants sweep in and renovate something and make a mid-sized room.

WYEP: You recently played two shows at Club Café – you played an acoustic set and an electric set and you played an acoustic set opening for Men Women and Children. Obviously that’s a different experience for the listener. Does knowing you have those acoustic sets to play change how you write or prepare songs at all?

Megan: It’s a lot of preparation.

Trevor: I don’t know if we always end up changing parts - sometimes we do – but it definitely takes a lot of effort for us. I don’t just play acoustic bass and Dan plays with brushes and everyone else plays acoustic guitar. We definitely add some – I would say - interesting instruments into it. Like Megan playing accordion this time around; Megan had some synths onstage at the Club Café stage. I’ve played two-octave synth bass for acoustic shows before - quiet, not acoustic. The “Quiet” Show. That’s what it is.

Dan: The alternative set.

Trevor: Right, and I think that since we’re only together on the weekends, there’s a lot of effort that goes into the arrangement and rehearsal. We know the electric songs cold, so we don’t have to rehearse those as much. The effort that goes into acoustic shows is significantly larger.

Dan: We need to stop!

Megan: Yeah, they’re hard.

WYEP: Did you play accordion growing up?

Megan: No… [laughs]

WYEP: I was hoping there were pictures of you –

Megan: Oh that’d be awesome! There’s a photo of me, probably three or four years old with pigtails playing my dad’s trumpet. I’ll have to see if my parents have it.

The accordion was fun for that show, but one song in particular was not well suited to it. But it’s really fun to experiment with different instruments. From things that Steve has said, I think we may be pulling more instruments and more sounds into future songs, into either the next album or an EP or something.

WYEP: Are you working on a second album?

Dan: The plan, at this moment, is we’re taking two months off from the Internet Singles Series releases.

WYEP: Did you record those songs yourselves?

Dan: Yes, Steve engineered them all.

WYEP: Did you play those songs out before you recorded them? Or is the recording process also the songwriting and arranging process?

Dan: They’re being written as they’re being released. We didn’t start any of those songs until the one before it was finished.

Trevor: I find, in general, for my own personal “band” life, it’s so much more helpful to have a recorded version of the song because it just solidifies everything. You’re not goofing around playing different stuff during a live set. You know what you’re playing and it’s much easier to settle into that than try to figure out whether you like this part or don’t like this part.

Megan: I kind of forgot that other bands do it the other way – that they fit into their songs as they’re playing live and then record them.

Trevor: I think that lends itself to a different type of album though. Songs that are written that way are less coherent as a whole. Songs that gelled in a live situation could tend to be more disparate across an album.

But, going back, we’re taking two months off and then in October, November, December we’re releasing internet singles again and then in 2009 we’ll be writing a new album.

WYEP: I look forward to hearing that, and I look forward to seeing you guys at Third Thursday in October. Do you guys have anything up your sleeves? Any pyro? Go-go dancers?

Megan: I hope so… [laughs]

Trevor: I think that was supposed to be a secret. [Dan and Megan laugh]

WYEP: Oh did I blow your cover?

Trevor: We’ll have to come up with a bigger and better idea.

Dan: Dancers holding the pyrotechnics?!?!!

http://goodnightstates.com/

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It's usually a very good sign when a concert starts on time.

Acts from Jamaica, the UK and the USA made a tour stop in a steamy shed in Philly.  A reggae legend, up-and-coming British singer-songwriter and long time American favorite singer-songwriter combined for a night of great music in the City of Brotherly Love.

Toots & the Maytals hold the current record of number one hit songs in Jamaica, with a total of 31.  They took the stage promptly at 7 pm.  A 4-piece band with 2-female back-up singers, including Toots’ daughter.  Frederick “Toots” Hibbert was dressed in a black and white leather outfit.  They played about 35 minutes.  Lights behind the stage illuminated the group at first in red, yellow and green and throughout the performance they changed colors.  Toots encouraged those in the crowd, still filing into the venue, to participate on almost every song.  At 63, you can tell Toots still loves performing reggae music from his home island and was pleased that Sheryl Crow invited them on tour.  The energetic set included:  “Take Me Home Country Roads” (yes the John Denver song) and “54-46 That’s My Number”.

James Blunt’s 4-piece band looked very Beatles-esque in black suits, white shirts and skinny ties.  Even their hair needed to be trimmed.  I’ve only seen James Blunt a few times on TV, in videos and on DVD.  I expected a mild mannered singer-songwriter who would share his songs in a simple intimate manner.  Instead, James came running out, wearing a grey suit with a short-sleeved white shirt underneath, guitar in hand, doing an up-tempo number.  The 11 song set was high energy for almost 60-minutes.  Touring seems to have helped build-up his confidence.  James, at 34, has passion for his music.  His face revealing a lot of emotion.  Going on before the headliner you sometimes have to win the crowd over.  James did that and more.  Despite the oppressive heat and humidity, during one song he actually ran into the audience to almost the top of the venue and came bounding back to the stage.  Of course James did his biggest hit “You’re Beautiful”, with only 2 studio albums to date, he made the most of his catalog of music.  At the end of his set, James, along with his band, were on stage facing the crowd which was on their feet applauding.  With a camera in hand, James asked us to wave our arms in the air, and took photos of us, perhaps a way for him to remember the evening.  That endeared me even more to this English singer-songwriter.  While not as well known here across the pond, a few people probably discovered him this evening.  I hope we will be hearing and seeing more of James Blunt in the future.

It was actually hard for me to imagine that Sheryl Crow could continue the energy James Blunt created from the stage.  Sheryl has a tight, well rehearsed 6-piece band and 2-female back-up singers.  She also has a lot of hits to draw from and many years of experience to draw upon.  The 46 year-old was dressed in blue jeans with an orange and green trimmed sleeveless cowboy shirt, and cowboy boots.  The humidity in the air didn’t seem to bother her, she still looked fresh throughout the 1-1/2 hours on stage.  Sheryl weaved her numerous hits with politics, personal reflections / beliefs and even the Summer Olympics while videos and lights were helping to create the different moods.  You can visit Sheryl’s tour diary on her website for a set list (http://www.sherylcrow.com/tour/tourdiary.aspx).  In general, the song selections favored her latest release “Detours”.  From which I think the stand out was “Gasoline”.  For the encore, Toots came out to join Sheryl on the Stevie Wonder song “Higher Ground”.

All in all a hot evening of music with three great performances!

Barb S. - Sunday Mix Host

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"Losing My Religion" is simply a great song. I haven't always thought so. I've liked R.E.M. since I was a kid, but I heard this song so much when it came out I couldn't listen to it for a long time. Also, to be honest, people talk about how great the video is, but I could do without it. R.E.M. has had lots of great videos, but in my book, this is not one of them. I would take the video for "Everybody Hurts" or "It's The End Of The World As We Know It" anyday over this one.

Anyway, I purposely didn't listen to this song for quite some time. About 6 or 7 years ago, I was listening to the release it is from, "Out Of Time", and I was going to skip over it but decided to give it a go. Oh, how wrong I had been. I could appreciate it now that there was some distance and time from when it came out. It's one of the best songs R.E.M. has ever written. Easily.

-Andy, Tuesday Evening Mix

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From my perspective, one of the best things about meeting new people has always been learning about new music. Growing up, my friends and I always had the common bond of music. We all loved it. Therefore, when I would be introduced to new people through friends, sooner or later that person would usually introduce me to an artist or band I had never heard of. I can pinpoint certain music with certain friends. With Justin, it was Modest Mouse.

I had met Justin in high school. I had noticed Clint, another friend, and Justin making comments for a few weeks about a band named Modest Mouse. It usually involved Clint making jokes about them being awful, and Justin defending them. Apparently, there was a line in one of their songs that mentioned something like, "God Damn / I hope I can pass high school". Clint thought this was awful, and to be honest when saying it out loud without heairng the song it does seem pretty bad. Also, there was supposedly another song about cockroachs that was bad, too.

A bunch of us were at a BBQ one day, when Justin mentioned he had to pick someone up to bring over. I said I would go along for the ride. Well, as Justin and I hopped in his car that day we began talking. He made some sort of comment involving this band Modest Mouse. I said, "Who or what is this Modest Mouse thing? You guys keep talking about it." Justin replied, "You haven't heard the Mouse?! Oh wow, you gotta hear it. This... this is good." Now please realize, looking back Justin was probably talking this up in hopes he could get me to agree with him about their quality, and therefore, have someone to back him when Clint made jokes. However, at the time I wasn't thinking about this. I was just intrigued. So then Justin put on a mix tape he had in the car, and found a Modest Mouse song on it. It was called "Doing The Cockroach".

From the moment it started, I liked it. It starts slowly with singer Issac Brock stating, "I was in heaven / I was in hell / Believe in neither / But fear 'em as well". On the word "fear" the drums kick in. As it builds the song chugs at an increasingly faster pace till Brock announces, "We're Doin The Cockroach, Yeah!!!". From there forward the song is pure rock n' roll. It's raw and primal. By the time the song ended, I was on board. Justin didn't have to sell it to me.

To this day, I have no idea how to "Do The Cockroach". I'm not even sure if it is suppose to be a dance of some kind. It's a great song, however. It's a sound that only a band as young and naive as they were could probably make. The trio had formed when they were teenagers, and when the song was released I don't think anyone was more than 21 or 22. They're clearly not doubting themselves or thinking too much about it. They're just going for it.

They have become a different band in recent years. I still enjoy it for the most part, but it's different. Issac Brock has learned how to craft a song. He's explored other areas and branched out. Early tunes, like "Doin The Cockroach", might not work on a more recent Modest Mouse record. That's okay, and probably good for him. I still love the cockroach, though.

Oh by the way, I believe within a year or so Clint had agreed that they were pretty good. Justin didn't need my help.

-Andy, Tuesday Evening Mix

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Personal Picks

Right now, we are asking listeners to tell us their list of the Best Songs of The 90's. As I have been putting together mine, I have noticed that it's pretty fun for me. Most of my listening habits were formed in that decade. It's a nice topic for my first entry in this blog.

I remember it pretty well actually. The actual details are hazy, but the feeling is very vivid in my mind. I came home from school one day in late 1991. I was 11 years old and usually I came home to an empty house for the first hour or two. My brother had band practice, and both parents worked, so I would grab some snacks and turn on the TV. I was watching MTV and this video came on with dreary colors and a janitor mopping a gym floor. Within seconds the song had really kicked in, and I became confused. "Why is this guys hair so greasy? He knew he had to shoot a video for his band, and he didn't wash his hair? Man, that bass player is REALLY tall." Even in the confusion I remember it was exciting. Axl didn't write stuff like this. It was obvious that this music was 100 times more dangerous and free than anything else on MTV. Yes, Nirvana's "Smells Like Teen Spirit" video was the game changer for me. It's an obvious choice, but it's pretty amazing to think that thousands of other people had a very similar experience with that video. Also, looking back now, the janitor and cheerleaders with Anarchy symbols on their chests isn't nearly as weird as those Guns N' Roses videos. They made no sense at all. Axl gets married, and then at the reception it starts raining so people start diving over cakes. In the process the bride is killed?!? I also seem to remember another video where he swims with dolphins? THAT'S weird stuff.

In interviews, Kurt Cobain, and also Eddie Vedder, would constantly mention their influences and peers. I know that they both were uncomfortable with the amount of fame that so quickly was thrust on them, so it almost seemed like they mentioned these names so they could push some of this attention off on people they felt truely deserved it. Names like The Ramones, Velvet Underground, The Minutemen, Sonic Youth, and Mudhoney would come up. I took these bands they would mention and researched them. This was not long ago, but the internet was still not a factor yet. I would go to the record store and look for cd's that were put out by the same record labels as other bands. Sub Pop, SST, Touch and Go, 4AD, and so forth. I can really say that most of my musically tastes to this day can somehow be linked back to those interviews.

Over the next week or so I'll write about a few of my favorites from that decade. Feel free to comment or name some of your favorites, too.

-Andy, Tuesday Evening Mix

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I’m a child of the 70s.  I grew up listening to AM Radio.

In case you haven’t noticed, I absolutely love singer-songwriters.  Especially MALE singer-songwriters.  There are a few female singer-songwriters, like Sheryl Crow, who you will find in my CD collection, but mainly it’s a lot of very talented guys.

Please don’t hold it against me that I’m a “fanilow”.  Back in March 1977 I watched the “1st Barry Manilow Special” on TV and I’ve never been the same since.  I can’t help it.  Barry Manilow’s music continues to move me over 30 years later.  I still think of him as a singer-songwriter.  His best work, to date, in my humble opinion is 2001’s “Here at the Mayflower”.  Barry was inducted into the Songwriters Hall of Fame in 2002.

In my formative years during the 70s decade I listened to people like John Denver, James Taylor, Billy Joel and Elton John.  I also liked the music of the Bee Gees and the Eagles.  I was probably too young to realize that many of these artists wrote the songs they sang.  I just knew I liked what I heard.  For me, their music still stands the test of time to this very day.  I really miss John Denver.  I think if John were still alive today, he would have a lot to say to us and I hope we would be listening to him.

Later in the 70s and into the 80s it was performers like Livingston Taylor, Tom Chapin, Daryl Hall and John Oates and Michael McDonald who caught my ear.

Fast forward to the 90s and I found Marc Cohn, Edwin McCain and Shawn Mullins.

In the new century I discovered John Mayer and James Blunt.  They and many others like them are still coming onto the music scene with their unique song-writing abilities.

Thanks to WYEP I’ve found some new (to me) singer-songwriters, like James McMurtry and John Hiatt.

I realize my taste in music and singer-songwriters leans toward Adult Contemporary.  But think about it, most of these acts are still around after 20 to 30+ years in the business.  They are actively recording, selling albums and placing albums on the charts.  They’re touring and filling up venues.  People apparently still want to hear their music and see them perform.  Perhaps it’s like comfort food for the ears.

I’m happy to say that the singer-songwriter music genre is alive and doing very well.  It seems like almost every artist we play on WYEP is a singer-songwriter.  I’m in awe of the talent that’s out there.  I hope to continue to discover new artists and expand my CD collection.

Barb S. - Sunday Mix Host

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It was perhaps the album that most influenced my musical tastes, the one that opened up a whole new world—new wave, pub rock, power pop and old-school punk. And it’s all on one soundtrack from an obscure movie that I doubt anyone—including myself—has ever seen.

The movie is That Summer, a 1979 British flick starring Ray Winstone and Tony London (who? Exactly). But the real star is the music. Take a listen with me.  

SIDE 1:

Track one: “Sex & Drugs and Rock & Roll” by Ian Dury and the Blockheads.  It was like nothing I had ever heard before. Distinctively British but with a very accessible rhythm section—already I knew something was up. 

Track two: “Spanish Stroll” by Mink Deville. The ultimate expression of cool. 

Track three: “(I Don’t Want to Go to) Chelsea” by Elvis Costello. Literate rock and the best backing band in rock history. 

Track four: “She’s So Modern” by The Boomtown Rats. Sir Bob may be best known for trying to save the world and for “I Don’t Like Mondays,” but for me, this is the Rats’ finest moment. 

Track five: “New Life” by Zones. I’ve never heard another song by this band. But who needs to? It’s the perfect power pop song, filled with just the right amount of teenage angst. 

Track six: “Another Girl, Another Planet” by The Only Ones. The ultimate one-hit wonder band. My favorite line: “Space travel’s in my blood and there ain’t nothing I can do about it. Long journeys wear me out, but I can’t live without it.” Only later did I learn the song was an ode to heroin. 

Track seven: “Whole Wide World” by Wreckless Eric. One of my top 10 favorite songs ever. Great lyrics and an understated vocal performance. And he went on to marry Amy Rigby. The song also appears in another soundtrack, “Stranger Than Fiction.”

Track eight: “Because the Night” by The Patti Smith Group. I was never a huge Patti Smith fan, but this is one of the rare moments when someone out-Bruces Bruce.

 SIDE 2:

Track one: “Kicks” by The Boomtown Rats. You know it’s a good album when this is the weakest song.

Track two: “Rockaway Beach” by The Ramones. Gabba Gabba Hey. Who needs more than three chords? Sparse but perfect.

Track three: “Teenage Kicks” by The Undertones. Influential DJ John Peel calls this his favorite track of all time. It’s hard to argue with that assessment. Plus, who can dislike a band whose lead singer is named Feargal Sharkey? It’s one of rock’s great names and one of the best riffs of the punk era.

Track four: “Do Anything You Wanna Do” by Eddie & The Hot Rods. Great pub rock and a song that would be my personal anthem for my twenties. “Tired of doing day jobs with no thanks for what I do, I know I must be something, now I’m gonna find out who.”

Track five: “What a Waste” by Ian Drury and the Blockheads. More evidence that the cockney rebel was a great songwriter—even if he’s not a great singer.

Track six: “I Love the Sound of Breaking Glass” by Nick Lowe. I knew “Cruel to Be Kind” was a great song, but this track made me investigate the Jesus of Cool in greater depth. I never regretted that decision.

Track seven: “Watching the Detectives” By Elvis Costello. Hands-down my favorite Elvis song. Elements of reggae combined with one of the great writers of the rock/punk era. Again, The Attractions shine.

Track eight: “Blank Generation” by Richard Hell & The Voidoids. The song that introduced me to American punk. Richard Hell was a poet, who unfortunately never got attention from the mainstream. But then again, would he have been as cool had he reached a larger audience?

Taken together, the songs on this album paint a rich tapestry of late ‘70s/early ‘80s music. For me, it opened up possibilities and was the origin of many a mix tape—and Friday evening mixes. Maybe one day I’ll even see the movie.

-CF 

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During the first week of February this year, Mr. Barb and I embarked on a week long journey through song.  The chartered cruise was called Cayamo (pronounced kay-AH-mo).  I would describe this inaugural event as Woodstock on water.  Ok, I realize there can’t really be another Woodstock and those that were there or say there were there or think they were there in 1969 will probably argue the point with me; but trust me this was quite a unique experience.

It was six days of sailing through the Western Caribbean with the cream of the crop of singer songwriters on board.  A new community of fans developed, united by the music.  We’ve never seen so many smiling friendly happy faces all in one place before.  The ports were secondary to the music on the ship.

Lounges, decks, atriums, lobbies and theaters provided unique venues for some very talented people.  Every night there was a headliner show.  I must confess here, I slept through many (okay most) of the headliners.  The shows were at 9:30 pm, after dinner.  When you’re sitting in a comfortable chair in a theater, with a full stomach and tired from running around all day, one tends to fall asleep.  I tried my best to stay awake and applaud at the appropriate times.  I understand from Mr. Barb I missed a lot of good performances.  It was all about the pacing, which we vow to be better at doing next year. I wanted to be awake for the 11:30 pm (and later) shows, so napping during the headliners seemed to work for me.

The Headliners (in the order I slept through them) were:

John Hiatt, Shawn Colvin, Lyle Lovett, Patty Griffin, Brandi Carlisle, and Emmylou Harris

Other singer songwriters on board included:

Adrianne, Ryan Bingham, Chuck Carrier, James David Carter, Clay Cook, Meghan Coffee, Patrick Davis, The Duhks, Danny Flowers, Gaelic Storm, Ernie Halter, David Ryan Harris, Ari Hest, Chris Janson, Keith Kane, Earl Klugh, Chrystina Lloree, Edwin McCain, Pat McGee, Buddy Miller, Miss Tess, Shawn Mullins, Oakhurst, Josh Rouse, Scarlet Kings, Holly Williams, Beth Wood, Clair Wyndham, and Brandon Young.

Did we get to see every performer? No, we had to sleep (or in my case nap) once in awhile.  We also had to eat and thus had to make a decision to bypass a few performances in the process.  Near the end of the cruise, we tried to at least see a couple of songs by the performers we hadn’t had the chance to experience yet.  So we would poke our heads inside venues or stand outside to at least say we heard them.  There was a merchandise store to purchase the artist's CD’s, but there’s nothing like a live performance.

As you might expect, the coolest moments were the unscripted and unexpected ones.  Like when a performer would join another performer up on stage, unplanned and just sing along or jam.  Brandi Carlisle joined Shawn Mullins, Edwin McCain and David Ryan Harris on The Band’s “The Weight” (which ended up being a popular song during the cruise).  The performers all seemed to be having a great time interacting with each other and enjoying the fan’s often enthusiastic responses.  The atmosphere was right for spontaneous collaborations.  And some of the performers brought family with them, so hopefully they were able to enjoy the cruise as a little vacation.

During one of Edwin McCain’s shows, he swapped places with Ari Hest (who was doing a performance in the lounge behind where Edwin was playing).  What fun being able to see Ari perform a song!

I was mainly enticed to sign up for the cruise due to Edwin McCain and Shawn Mullins being two of the performers.  I was in all my glory when they teamed up to do a concert in an intimate lounge on board.  Now we know they really are two different people.  Edwin and Shawn often get requests for each other’s songs during their concerts.

On the Lido Deck, Edwin McCain, Shawn Mullins and David Ryan Harris (who is in John Mayer’s band) performed in front of a huge crowd of people sitting in their beach chairs in bathing suits.  Mr. Barb took what ended up being my favorite photo from the cruise:  Shawn looking out into the crowd and you could see the reflection of the people in his mirrored sunglasses (check it out at the bottom of this post!).  The performers seemed to feed off the enthusiasm of the fans.

Performances were being added to the schedule as the cruise went along.  I got to see Edwin McCain and Shawn Mullins perform a total of four times (twice solo; twice together).  Trust me, they compliment each other very well on stage.

On the cruise we discovered acts like The Duhks, Gaelic Storm, Oakhurst, Scarlet Kings, Ryan Bingham, Ari Hest, Evan McHugh and others.  We came home with many CD’s to listen to, to re-live the musical journey.

I can’t really capture the full experience of being on a cruise ship in the middle of the Western Caribbean in February with all this music everywhere.  We had perfect sunny, hot weather and even got sun burned!  While we had an inside cabin, you really only spend time in your cabin to sleep a little bit, shower in a moving telephone booth and change clothing a few times a day.  Once you got your bearings on the boat, it was easy to get around and plan your strategy about which shows to see and when.  Each act usually performed a few times throughout the cruise and Mr. Barb and I would split up at times to hear someone again or someone we hadn’t seen before.  When you’re on vacation and not dealing with daily distractions you’re okay with festival seating at some venues and going early to get a good seat.

We had so much fun this year, we plan to take the journey into song again next year, during the first week of March.  Another night has been added, and this time we will be sailing through the Eastern Caribbean.  We are looking forward to hearing and discovering some more singer songwriters.  And, hopefully, if the technology gods are with us, I can maybe blog on a daily basis.  Our cabin will be on the same floor as the Internet café.

 

Barb S.- Sunday Mix Host

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