DOCSLIB.ORG

GRAMMY U Presents SOUL SCENE REVIVAL: INTERVIEW with ELI “PAPERBOY” REED by JENNIFER BOYER CONTINUED from MAIN PAGE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
GRAMMY U Presents SOUL SCENE REVIVAL: INTERVIEW with ELI “PAPERBOY” REED by JENNIFER BOYER CONTINUED from MAIN PAGE GRAMMY U Presents SOUL SCENE REVIVAL: INTERVIEW WITH ELI “PAPERBOY” REED BY JENNIFER BOYER CONTINUED FROM MAIN PAGE How did Mike Elizondo end up as your album’s producer (the bassist-turned-producer whose credits include, among others, Eminem, Pink, Gwen Stefani and Fiona Apple)? It was my decision. Mike was a fan of mine and he wanted to work with me. What did you learn (if anything) from Mike while he produced your major label debut album Come and Get It? He is easy to work with and very good at coaxing the best performance out of everybody, which is something that many producers do not do anymore. Your latest record is a mostly self-penned 12-song set. What was the writing process like for you? Hard or easy? Lyrics or music first? It all comes together. I do not like to write if I do not have ideas. My guitarist Ryan Spraker and I hang out together and write if we have an idea for a song. What do you focus on more when composing: writing stimulating lyrics or creating catchy melodies and killer hooks that listeners can immediately sing back? It has to be a combination of both. The lyrics inform the way you write the melody. The lyrics and the melody have to relate in an emotional context. You have to know what the song is about in order to create the right melody to go with the story. I can craft a melody around what the song is about. How did you learn to play the guitar, keyboards, organ, and tenor sax? Are you classically trained or do you play by ear? [Laughing] I am not classically trained. I learned how to play the harmonica when I was 12 or 13 years old. I played the tenor saxophone in high school, but was never any good at it. My dad played the guitar and I picked it up from him. You mentioned that when you and Mike were cutting the string section he’d have the score laid out on the board, following along and say, ‘measure 76, second violin, that note is flat.’ Were you able to follow along with each song’s score? Can you read and write sheet music? At this point I can follow along. I cannot write sheet music, but I can identify the melody in a score and follow along from there. How did you meet your guitarist and co-writer Ryan Spraker? It was so long ago that I do not even remember how I met him. We were both playing around Boston. It must have been about seven years ago, around when I was 20 years old. Do you find it harder to get your ideas and point across when co-writing? No. It is symbiotic when Ryan and I write together. There is give and take. We have a mutual understanding of what the songs are about. What other subject matter would you like to explore besides what you favor on Come and Get It (finding, seeking and holding onto love)? There are so many ways to write love songs. Love is not a limiting topic. I will continue to write about the situations I end up in and where I am in life. Writing about what I have not experienced would be dishonest. How much of the music business did you understand before establishing a publishing company (Make It Real Publishing / BMI) and a recording contract with Capitol Records (EMI)? Make It Real Publishing is my publishing company. I have not signed a publishing deal, but I do have an administration deal with Chrysalis Music. The world of publishing is a learning curve. I want to keep my own publishing for as long as possible. That is very important to me. Signing a recording contract is a long and tedious process. I had good management to rely on. I wanted to sign with a major label like Capitol Records that can help me sell records in different countries and support me. What did you contribute to the organization of the Brooklyn Soul Festival? The first Brooklyn Soul Festival was in August 2009. The second BSF was this past weekend, so October 2010. I serve as the promoter along with two other guys who run a nightclub in Brooklyn. My band backs up the featured artists on the first night and a different band from Brooklyn backs up the performing artists on the second night. I know where the nickname “Paperboy” came from, but how did the name Eli Samuel Husock evolve into Eli Reed? I made it up. Nothing to do with the reed of a woodwind instrument? Nope. Where did find your bandmates The True Loves? Did you audition them? I do not like the idea of auditioning people to be in my band. If I need a trumpet player, I will find a trumpet player in town that I know. The True Loves has been a revolving door of musicians. It was first comprised of my friends from high school. We have had a pretty stable lineup for awhile now. I understand if somebody needs to leave for another gig. I can find another musician to step in. You were accepted into the University of Chicago. What drew you to that school and what did you study during the year you attended? It is a very good school and I liked the core curriculum. I was studying sociology while there, but did not end up declaring a major because I left after my freshman year. How did you end up hosting a well-regarded Southern Soul show on the UofC college radio station? I just asked. No disc jockey or on air experience needed? Nope. Which song on Come and Get It are you most proud of and why? “Time Will Tell” because the lyrics are very evocative. It is a record I would really enjoy if I heard it as a listener. Who would you like to collaborate with in the future? I love RZA and Questlove. Dr. Dog and The Black Keys are two of my favorite artists. I want to work with country music artists such as Alan Jackson, Brad Paisley, and Taylor Swift. What question about your music and/or yourself has become a pet peeve? It is annoying when I am asked about my nickname. Really? I knew where the “Paperboy” nickname came from before speaking with you. The story behind it is easily accessible on the Internet and in your biography. You are preaching to the choir. Jennifer Boyer is a longtime GRAMMY U member who recently graduated from Columbia College Chicago with a degree in Arts & Entertainment Management. .
Load more

Recommended publications
  • COURSE CATALOG 2016-2017 Academic Calendar
    COURSE CATALOG 2016-2017 Academic Calendar . 4 Academic Programs . 46 About LACM . .. 6 Performance LACM Educational Programs . 8 Bass . 46 CONTENTS Administration . 10 Brass & Woodwind . .. 52 Admissions . 11 Drums . .. 58 Tuition & Fees . 13 Guitar . 64 Financial Aid . 18 Vocal. 70 Registrar . 22 Music Composition International Student Services . 26 Songwriting . 76 Academic Policies & Procedures . 27 Music Production Student Life . 30 Composing for Visual Media . 82 Career Services . .. 32 Music Producing & Recording . 88 Campus Facilities – Security. 33 Music Industry Rules of Conduct & Expectations . 35 Music Business . 94 Health Policies . 36 Course Descriptions . 100 Grievance Policy & Procedures . .. 39 Department Chairs & Faculty Biographies . 132 Change of Student Status Policies & Procedures . 41 Collegiate Articulation & Transfer Agreements . 44 FALL 2016 (OCTOBER 3 – DECEMBER 16) ACADEMIC DATES SPRING 2017 (APRIL 10 – JUNE 23) ACADEMIC DATES July 25 - 29: Registration Period for October 3 - October 7: Add/Drop January 30 - February 3: Registration Period for April 10 - April 14: Add/Drop Upcoming Quarter Upcoming Quarter October 10 - November 11: Drop with a “W” April 17 - May 19: Drop with a “W” August 22: Tuition Deadline for Continuing Students February 27: Tuition Deadline for November 14 - December 9: Receive a letter grade May 22 - June 16: Receive a letter grade October 3: Quarter Begins Continuing Students November 11: Veterans Day, Campus Closed April 10: Quarter Begins November 24: Thanksgiving, Campus Closed May 29: Memorial Day, Campus Closed November 25: Campus Open, No classes. June 19 - 23: Exams Week December 12-16: Exams Week June 23: Quarter Ends December 16: Quarter Ends December 24 - 25: Christmas, Campus Closed December 26: Campus Open, No classes.
    [Show full text]
  • Daft Punk Collectible Sales Skyrocket After Breakup: 'I Could've Made
    BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 25, 2021 Page 1 of 37 Leader; Travis Denning Makes History INSIDE Daft Punk Collectible Sales Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debutsSkyrocket at No. 1 on Billboard’s lion audience After impressions, Breakup: up 16%). Top Country• Spotify Albums Takes onchart dated April 18. In its first week (ending April 9), it earned$1.3B 46,000 in equivalentDebt album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cording• Taylor to Nielsen Swift Music/MRCFiles Data. ‘I Could’veand total Made Country Airplay No.$100,000’ 1 as “Catch” (Big Machine Label Group) ascends SouthsideHer Own marks Lawsuit Hunt’s in second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartEscalating and fourth Theme top 10. It follows freshman LP BY STEVE KNOPPER Young’s first of six chart entries, “Sleep With- MontevalloPark, which Battle arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You In the 24 hours following Daft Punk’s breakup Thomas, who figured out how to build the helmets Montevallo• Mumford has andearned Sons’ 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved millionBen in Lovettalbum sales.
    [Show full text]
  • 1 Song Title
    Music Video Pack Vol. 5 Song Title No. Popularized By Composer /Lyricist Billie Joe Armstrong, 21ST CENTURY BREAKDOWN 329 GREEN DAY Green Day 24 HOURS 337 CUESHE ACCORDING TO YOU 330 ORIANTHI Steve Diamond IKAW LANG TALAGA 338 YENG CONSTANTINO JUMP THEN FALL 333 TAYLOR SWIFT Taylor Swift LOVE STORY 334 TAYLOR SWIFT Taylor Swift Kevin Jonas, Sr., Nicholas LOVEBUG 332 JONAS BROTHERS Jonas, Joe Jonas, Kevin Jonas MAHAL PA RIN 339 SAM MILBY MOMENT OF TRUTH 335 FM STATIC FM Static PAIN IN MY HEART 340 ARNEL PINEDA PANAGINIP 341 MAYONNAISE PUTIK 342 SANDWICH Sandwich SUNDOT 343 AEGIS Celso Abenoja Matthew Followill, Jared Followill, USE SOMEBODY 336 KINGS OF LEON Nathan Followill, Caleb Followill HARTZLER JOSHUA, HODGES WHAT ABOUT NOW 331 WESTLIFE DAVID, MOODY BEN, www.wowvideoke.com 1 Music Video Pack Vol. 5 Song Title No. Popularized By Composer /Lyricist James Harris, Janet AGAIN 9046 JANET JACKSON Jackson, Terry Lewis Jimi Jamison, Todd EVER SINCE THE WORLD BEGUN 9048 SURVIVOR Smallwood, Frankie Sullivan Kara DioGuardi, Leona HAPPY 9049 LEONA LEWIS Lewis, Salaam Remi I HAVE FALLEN IN LOVE (WITH THE SAME WOMAN THREE TIMES) 9052 JOSE MARI CHAN Jose Mari Chan (lyrics) MY LOVE IS HERE 9053 ERIK SANTOS SMITH DANDRE LEMONT, MILLER PYRAMID 9047 CHARICE CALVIN JERMEL, FRANK LAWRENCE SA AKING PUSO 9054 ARIEL RIVERA Vehnee Saturno SANA KAHIT MINSAN 9055 ARIEL RIVERA Vehnee Saturno Glen Burtnik, Shelly WE COULD BE IN LOVE 9050 LEA SALONGA AND BRAD KANE Peiken Walter Afanasieff, WHENEVER YOU CALL 9051 MARIAH CAREY AND BRIAN MCKNIGHT Mariah Carey 2 www.wowvideoke.com Music Video Pack Vol.
    [Show full text]
  • Eminem Encore Mp3, Flac, Wma
    Eminem Encore mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Encore Country: Ukraine Released: 2004 MP3 version RAR size: 1158 mb FLAC version RAR size: 1355 mb WMA version RAR size: 1937 mb Rating: 4.5 Votes: 607 Other Formats: DMF DXD ADX RA MP1 MP3 AC3 Tracklist Hide Credits A1 Curtains Up (Skit) 0:46 Evil Deeds A2 4:19 Producer – Dr. Dre Never Enough A3 2:39 Featuring – 50 Cent, Nate DoggProducer – Dr. Dre, Mike Elizondo Yellow Brick Road A4 5:46 Co-producer – Luis RestoProducer – Eminem Like Toy Soldiers A5 4:56 Co-producer – Luis RestoProducer – Eminem Mosh B1 5:17 Producer – Dr. Dre, Mark Batson Puke B2 4:07 Co-producer – Luis RestoProducer – Eminem My 1st Single B3 5:02 Co-producer – Luis RestoProducer – Eminem B4 Paul (Skit) 0:31 Rain Man B5 5:13 Producer – Dr. Dre Big Weenie C1 4:26 Producer – Dr. Dre C2 Em Calls Paul (Skit) 1:11 Just Lose It C3 4:08 Producer – Dr. Dre, Mike Elizondo Ass Like That C4 4:25 Producer – Dr. Dre, Mike Elizondo Spend Some Time C5 5:10 Co-producer – Luis RestoFeaturing – 50 Cent, Obie Trice, Stat QuoProducer – Eminem Mockingbird D1 4:10 Co-producer – Luis RestoProducer – Eminem Crazy In Love D2 4:02 Co-producer – Luis RestoProducer – Eminem One Shot 2 Shot D3 4:26 Co-producer – Luis RestoFeaturing – D12Producer – Eminem D4 Final Thought (Skit) 0:30 Encore (Curtains) D5 5:48 Co-producer – Mark BatsonFeaturing – 50 Cent, Dr. DreProducer – Dr. Dre Credits Mixed By – Eminem, Steve King Producer – Dr.
    [Show full text]
  • Genelec Mike Elizondo PR
    PRESS RELEASE Contact: Clyne Media, Inc. Tel: (615) 662-1616 Fax: (615) 662-1636 FOR IMMEDIATE RELEASE GRAMMY®-Winning Producer and Songwriter Mike Elizondo Chooses Genelec W371A Smart Active Woofer Systems and 8361A Smart Active Monitors™ for His New Studio Space Near Nashville NATICK, MA, September 21, 2020 — Mike Elizondo is among music’s most versatile talents, with credits ranging from 50 Cent, Eminem and Mary J. Blige to Carrie Underwood, Twenty One Pilots, Ry Cooder, Fiona Apple and beyond. He credits his versatility in part to his history as a bass player: “Being a bassist first, I think, gave me an advantage in my work. It trained my ears in a particular way, to hear the big picture, support the ensemble, listen to the drums and singer, and when to trim the fat, so to speak. And I think it also got me thinking in terms across genres, whether it’s jazz, rock, R&B, or something else. Not every producer is an instrumentalist first, but for me I think it’s shaped the way I approach this work, and it’s led to some great projects and successes in my career.” Recently his path led to a relocation from L.A. (where he was based for over 15 years) to Gallatin, TN – just north of Nashville, where he now lives and works in a 5000-square-foot state-of-the-art studio. And a key component of his new setup is his pair of W371A Smart Active Woofer Systems and 8361A Smart Active Monitors™ from Genelec, which he sourced through Vintage King in Nashville.
    [Show full text]
  • Metaphors of Love in 1946–2016 Billboard Year-End Number-One Songs
    Text&Talk 2021; 41(4): 469–491 Salvador Climent* and Marta Coll-Florit All you need is love: metaphors of love in 1946–2016 Billboard year-end number-one songs https://doi.org/10.1515/text-2019-0209 Received June 25, 2019; accepted September 19, 2020; published online October 26, 2020 Abstract: This study examines the use of metaphors, metonymies and meta- phorical similes for love in a corpus of 52 year-end number one hit songs in the USA from 1946 to 2016 according to Billboard charts. The analysis is performed within the framework of Conceptual Metaphor Theory and from quantitative and quali- tative perspectives. Our findings indicate that the theme of romantic love is prevalent in US mainstream pop music over the course of seven decades but shows evolutionary features. Metaphors of love evolve from conventional to novel with a notable increase in both heartbreak and erotic metaphors. Remarkably, the study finds that the two predominant conceptualizations of love in pop songs – which in a significant number of cases overlap – are the following: experiential, originating in the physical proximity of the lovers, and cultural, reflecting possession by one lover and showing a non-egalitarian type of love. Keywords: Conceptual Metaphor Theory; corpus linguistics; metaphor; pop music; romantic love 1 Introduction The central theme of a large number of pop songs is some facet of romantic love. Starr and Waterman (2003: 105–110, 199–200) noted this to be already the case in the Tin Pan Alley era in the USA of the 1920s and 1930s and the trend continued through the 1940s and 1950s, when the entertainment industry grew exponen- tially: “total annual record sales in the United States rose from $191 million in 1951 to $514 million in 1959” (Starr and Waterman 2003: 252).
    [Show full text]
  • The Justice in Policing Act of 2020 in the U.S
    June 23, 2020 Honorable Nancy Pelosi Speaker of the House 1236 Longworth House Office Building Washington, DC 20515 Honorable Kevin McCarthy Republican Leader 2468 Rayburn House Office Building Washington, DC 20515 Dear Speaker Pelosi and Leader McCarthy: Since the killing of George Floyd just one month ago, our country has seen protests grow, attitudes shift, and calls for change intensify. We in the music and entertainment communities believe that Black lives matter and have long decried the injustices endured by generations of Black citizens. We are more determined than ever to push for federal, state, and local law enforcement programs that truly serve their communities. Accordingly, we are grateful for movement of the Justice in Policing Act of 2020 in the U.S. House of Representatives and urge its quick passage. The Justice in Policing Act is not about marginal change; it takes bold steps that will make a real, positive difference for law enforcement and the communities they serve. We celebrate the long- overdue rejection of qualified immunity, emphasizing that law enforcement officers themselves are not above the law – that bad cops must be held accountable and victims must have recourse. We applaud the provisions to ban chokeholds and no-knock warrants, to establish a national police misconduct registry, to collect data and improve investigations into police misconduct, to promote de-escalation practices, to establish comprehensive training programs, and to update and enhance standards and practices. This legislation will not only promote justice; it will establish a culture of responsibility, fairness, and respect deserving of the badge. Our communities and nation look to you to take a stand in this extraordinary moment and we respectfully ask that you vote YES on the Justice in Policing Act of 2020.
    [Show full text]
  • SHAKE YOUR FAITH Diamond Day Records Is Very Excited to Announce the Release of the Steepwater Band’S 6Th Full-Length Studio Album SHAKE YOUR FAITH
    THE STEEPWATER BAND : SHAKE YOUR FAITH Diamond Day Records is very excited to announce the release of The Steepwater Band’s 6th full-length studio album SHAKE YOUR FAITH. The LP features 11 brand new TSB tracks, and is slated for release on Friday, April 1st via Double 180 Gram Vinyl, Compact Disc and Digital Download. The album was recorded last winter at Crushtone Studios, in the shadows of the Rock & Roll Hall of Fame, in Cleveland, Ohio. Shake Your Faith was produced by the band along with seasoned rock studio veteran Jim Wirt, who has also worked with the likes of Fiona Apple, Incubus and the Buffalo Killers. As with most TSB albums, the sound and songwriting on Shake Your Faith has grown and expanded, yet retained the true nature of the band. It’s the first TSB studio record in over 4 years and the first to include “new” guitarist Eric Saylors. "SHAKE YOUR FAITH is a stomping, seductive cry that real rock 'n' roll is alive and well in a band with the swagger, justified confidence, and badass tunes of a modern classic, a collection with all the heart and hips of 70s Stones and serious competition to contemporaries like The Black Keys, Ben Harper, and Jack White." - Dennis Cook {Dirty Impound} • Their song “Dance Me a Number” from Revelation Sunday receives nearly 10,000 spins on Pandora daily, on such channels as The Black Keys, Alabama Shakes, White Stripes, Led Zeppelin, and more. • Their 2010 single The Stars Look Good Tonight reached # 109 on the Triple A radio charts and it was featured during the June 29, 2010, WGN-TV (nationally syndicated) broadcast of the Chicago Cubs Major League Baseball game.
    [Show full text]
  • By Fiona Apple)
    April 15, 2021 For Immediate Release Sharon Van Etten Reveals “Love More” (By Fiona Apple) epic Ten Out Tomorrow on Ba Da Bing; Anniversary Double Album Featuring Covers by Fiona Apple, Lucinda Williams, Big Red Machine (Aaron Dessner & Justin Vernon), Courtney Barnett . Vagabon, IDLES, Shamir, and St. Panther epic Ten: the documentary and concert Benefiting Zebulon Streaming April 16th & April 17th Sharon Van Etten live from Zebulon in LA / Photo Credit: still taken from the epic Ten documentary and concert Tomorrow, Sharon Van Etten will release epic Ten via Ba Da Bing (physical copies will be available June 11th). Today, she reveals its last cover, “Love More” (By Fiona Apple). epic Ten is a double LP of the original epic album from 2010 and a new album of epic covers by Fiona Apple, Lucinda Williams, Courtney Barnett . Vagabon, Big Red Machine (Aaron Dessner & Justin Vernon), IDLES, Shamir and St. Panther. Each Thursday leading up to its release, Van Etten has been sharing the album’s consecutive cover songs, culminating into today’s cover -- “Love More” (By Fiona Apple). Ahead of tomorrow’s epic Ten release, read Adrianne Lenker’s wonderful liner notes, included below. Listen to “Love More” (By Fiona Apple) epic Ten: the accompanying documentary and concert will stream starting tomorrow through April 17th (stream times are below). Van Etten and her band will perform epic in its entirety from Zebulon LA, the venue that played a crucial role in her early career, with profits benefiting Zebulon. A short documentary on the making of epic and the significance of Zebulon as a haven for Van Etten and many other musicians will be presented before the concert.
    [Show full text]
  • Led Zeppelin R.E.M. Queen Feist the Cure Coldplay the Beatles The
    Jay-Z and Linkin Park System of a Down Guano Apes Godsmack 30 Seconds to Mars My Chemical Romance From First to Last Disturbed Chevelle Ra Fall Out Boy Three Days Grace Sick Puppies Clawfinger 10 Years Seether Breaking Benjamin Hoobastank Lostprophets Funeral for a Friend Staind Trapt Clutch Papa Roach Sevendust Eddie Vedder Limp Bizkit Primus Gavin Rossdale Chris Cornell Soundgarden Blind Melon Linkin Park P.O.D. Thousand Foot Krutch The Afters Casting Crowns The Offspring Serj Tankian Steven Curtis Chapman Michael W. Smith Rage Against the Machine Evanescence Deftones Hawk Nelson Rebecca St. James Faith No More Skunk Anansie In Flames As I Lay Dying Bullet for My Valentine Incubus The Mars Volta Theory of a Deadman Hypocrisy Mr. Bungle The Dillinger Escape Plan Meshuggah Dark Tranquillity Opeth Red Hot Chili Peppers Ohio Players Beastie Boys Cypress Hill Dr. Dre The Haunted Bad Brains Dead Kennedys The Exploited Eminem Pearl Jam Minor Threat Snoop Dogg Makaveli Ja Rule Tool Porcupine Tree Riverside Satyricon Ulver Burzum Darkthrone Monty Python Foo Fighters Tenacious D Flight of the Conchords Amon Amarth Audioslave Raffi Dimmu Borgir Immortal Nickelback Puddle of Mudd Bloodhound Gang Emperor Gamma Ray Demons & Wizards Apocalyptica Velvet Revolver Manowar Slayer Megadeth Avantasia Metallica Paradise Lost Dream Theater Temple of the Dog Nightwish Cradle of Filth Edguy Ayreon Trans-Siberian Orchestra After Forever Edenbridge The Cramps Napalm Death Epica Kamelot Firewind At Vance Misfits Within Temptation The Gathering Danzig Sepultura Kreator
    [Show full text]
  • On Fiona Apple's Tidal
    Heavy with Mood: On Fiona Apple’s Tidal Emery Ross The bedroom of a teenager is her entire world, or at least it was for me. When I think of my teenage years, I always come back to those rooms – first, the one in the small town where I grew up, where I hung tin foil over hideous blue-flowered wallpaper. Next comes the larger town with the room next to my parents’ and later the converted third garage bedroom. In those last two rooms, I pinned dozens of photographs of my friends, square Fiona Apple inserts from my favorite CDs, and one large poster. In those rooms, I discovered music Tidal and writing and used both to work through the torment of adolescence. 07/1996 Jim Morrison’s poetry/spoken word album An American Prayer made me a writer. I Work Group discovered him and his poetry accidentally, somehow stumbling over The Doors songs on the radio and into his brilliance. I hung his naked torso in black and white on my wall in the 90s. I wrote to the drums and his singing and poetry recitation, finding a cadence and a foundation of psychedelia and poetics that still bleeds through everything I write. In many ways, I think that album is my formative album, the one that defines me or led me to become. But I can’t think of it, or of any of my musical history, without returning to Fiona Apple’s debut, Tidal. As I had with An American Prayer, I wrote frequently to Tidal, late at night, by candlelight, letting the rhythm guide my hand.
    [Show full text]
  • DYLAN RYAN / SAND Title: CIRCA (Cuneiform Rune 397) Format: CD / DIGITAL
    Bio information: DYLAN RYAN / SAND Title: CIRCA (Cuneiform Rune 397) Format: CD / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: JAZZ / ELECTRIC JAZZ / ROCK Dylan Ryan’s LA Guitar Power Trio with Timothy Young and Devin Hoff, – Dylan Ryan / Sand – Returns with a New Album, Circa, A Musically and Emotionally Evocative, Guitar-Drenched Disc Born on the Road and in Moonlight, in Caves on Libyan Sea Shores Los Angeles, CA is home base for one of the most inventive and musically awesome guitar power trios on the current electric jazz and rock scenes: Dylan Ryan / Sand. Led by Dylan Ryan, a drummer/composer with feet firmly planted in both indie rock and jazz, the group features guitarist Timothy Young (David Sylvian, Reggie Watts, Wayne Horvitz) and Devin Hoff (Nels Cline Singers, Yoko Ono, Cibo Matto). Together on Circa, their second release on Cuneiform Records, the trio forge a wholly unique, emotionally-charged and stylistically omnivorous music that invokes elements of Rush, Fugazi, Fred Frith’s Massacre, James ‘Blood’ Ulmer, and more, and sonically ranges from fearlessly improvisational to tender; the abrasive to the understated. Indeed, this range of influences and openness to sonic possibilities is what initially drew Ryan to his bandmates. “I saw Tim Young play somewhat by chance in an old bar The Doors used to play in and I was so impressed that I wanted to be in a band with him immediately.
    [Show full text]