Music on the Couch This Monday

MUSIC ON THE COUCH 

MONDAY, February 28, 2011
10pm Eastern; 9pm Central; 8pm Mountain; 7pm Pacific
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This week:
IBC Finalist 
STEVIE J
and
GREG SUSORENY
SIT ON
THE COUCH

Stevie J began his musical career in his father's church and soon after he began playing with great gospel groups such as The Five Blind Boys of Alabama, Shirley Caesar, Mighty Clouds of Joy, Slim and His Supreme Angels, and Sugar Hightower. He blissfully toured with The Williams Brothers.

In 2001 he sat in with the great Bobby Rush and his career took a turn. He fell in love with the "Devil's Music" and since then he has combined his love of gospel and soul, learned in his daddy's church with blues and funk, learned in juke joints and stages around the country.

Things have jelled for Stevie after years of studio work, he hit upon his style and since 2008 he has been on the fast track.

Sit with Stevie and I as we discuss the years before his finding the blues and the years since. We will also discuss the double album Stevie released in August 2010, entitled The Diversity Project. One album, Standin' At The Station is full of blues and the other, Soul Sessions, is just that fine soul music, the Stevie J way.

Then Greg Susoreny will take a seat on The Couch to discuss his journey to recording his debut album, Ramblin' Man.

After years of non-musical jobs and then booking bands for his establishment and producing music, Greg found his mojo and the songs flowed from his soul.

I will play music from Ramblin' Man and Greg and I will delve deeper into his history.

We will take your calls and questions for both guests at 1.347.633.9400. 

The live interactive chat room opens 20 minutes before show time. Follow this link HERE and click on the Chat Now icon. Come hang with the fans and musicians who visit each week.

Remember, unless you take the two minutes to register, you will not be able to participate in the chat room or send me questions to ask our guests, but you will still hear the show.

So tune in on Monday evening or remember, you can always listen anytime after the show ends from the player HERE or check out Music On The Couch for additional artist information, and show recaps.

You can download to your iTunes and even subscribe to the show for weekly automatic downloads, from my iTunes page.
Thanks -
Vinny "Bond" Marini

---

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Song of the Day

"Hangman" from Cadillac Sky's Letters In The Deep is our Song for Today.

Spotlight: The Funky Fritters

Music Promotion via MusicSubmit.com

Webpage: http://www.thefunkyfritters.com
Location: New York, NY, United States
Description: An 11 piece powerhouse serving up a Bowl of Funky Gumbo & A Hearty Helpin' of Deep Fried New Orleans R&B, Blues, Brass, Jazz & Funk.
Biography: Marvin Joshua - vocals Maggie Kus - vocals Celeste Fleurival - vocals Danny Drexler - guitar Jay Gracin- guitar Towner Galaher - drums Roy Shimmyo - bass Toby "Fingers" DelRey - Keyboards Marshall Nichols - trumpet Brad Madsen - Trombone Tim Veeder - Tenor Sax Formerly known as Ma Skillet & The Funky Fritters the band was founded by guitarist Danny Drexler (Whooz Blues, Whisky River, Catfish John) in 2003 when he met original lead vocalist Margaux Laskey at a piano bar and decided they would form a band. With a line up that included Bill Malchow on keys & vocals, Roy Shimmyo from Benicio and the Del Toros on bass and a platoon of Philip Mann and sometime Jessica Simpson drummer Joe Abbatantuono. The original horn section included Travis Sullivan from Bjorkestra (who still makes an occasional guest appearance) and Sean Nowell on sax, Andrew Gold on trombone and Alecia Rau on Trumpet. Back then we were Saturday night regulars at the C-Note, Baggot Inn and Jazz at Detour. Several key members left the band in ‘05 so the band took a 6 month hiatus before coming back with a retooled line-up. Danny Drexler was joined again by Whooz Blues member Jay Gracin on guitar and Isaac-Davy Aronson on lead vocals. And The Funky Frittatas Shira Silberg & Chey Picardo were added on back up vocals. Robert Gingery (Visible From Space w/Judd Harris American Idol Finalist, Lou Volpe, Matthew Puckett) soon joined on bass with Craig Stewart on Drums and Dan Nachimson on boards . Our Horn section at that time includes Ryan resky on Trumpet, Bradley Madsen on Trombone and the incomparable Dave Mullen on Sax, who, in addition to his own band Butta, has played with such notables as John Hicks, G Love & Special Sauce, Delfeayo Marsalis, P-Funk, The Brand New Heavies, Roy Ayers, Nile Rogers, The True fellowship Gospel Choir and the Groove Collective. The Sax position has been a bit of a revolving door since the departure of Mullen in ‘06, with Jessee Sheehan making a short stint and being replaced with our present sax player Tim Veeder who has solidified the spot and has been with us over 2 years. Our present horn section is led by Marshall Nichols on trumpet & Mugwumps, New Groove Orchestra, New York Minute, Jazz Pollution and PsychoTropical Orchestra’s trombonist extraordinaire Nadav Nirenberg joins in a platoon role with Madsen. Summer of 2008 sees more changes to the Fritters line up with the departure of Isaac-Davy Aronson & Shira Silberg. We are joined by highly acclaimed Alligator recording artist Michael Hill and very beautiful Cindy Lamar on vocals! In spring of 2010 Michael Hill departs to focus in on his solo projects. Cindy Lamar departs and a host of female vocalists join in on the fun. Notables are Carrie Furman and Maggie Kuz. Marvin Joshua takes over the male lead vocal duties and Towner Gallaher replaces Rob Mitzner on drums and Toby "Fingers" DelRey, who toured with Wilson Picket joins on the Keyboards. In Fall of 2010 original Fritter, Roy Shimmyo joins again and replaces Bob Gingery on bass. And amazing young talent Naiika Alfred and Kirby Long joins on vocals.
Press Release: THE FUNKY FRITTERS They started out as Ma Skillet & The Funky Fritters. They’ve had many group members come, go and return over the years, right up until 2010. Now known as The Funky Fritters, this class act knew how to deliver from their inception right up to their latest single release, the Robby Robertson tune “The Weight”. “The Weight” is on their newest CD “Deep Fried Live”. It is about a traveler who encounters various characters in the town of Nazareth, Pennsylvania. Originally recorded by Robby Robertson, The Funky Fritters made it their own by adding that fritter flavor to it. This song has a genuine New Orleans old time jazz style to it with plenty of great singing and harmonies, horns playing, guitars crying and the sweet sound of those ivories makes you feel like laying back and grabbing a mint julep and just taking in the atmosphere. What a feeling they leave you with. Better than any medicine out there. This song, as are all their songs, was arranged, recorded and delivered to create maximum effect. With a great line up of blues, jazz and New Orleans artists, The Funky Fritters set a new standard in this music category. They are at the top of their game and should be required listening in my book. “Deep Fried Live” is the apex of the great music, ‘fritterized’ for your entertainment. The Funky Fritters plan to work on their own original material and have visions of documenting that process on video as well. Their next adventure is Mardi Gra on Fat Tuesday, so if you’re in the New Orleans area during that time, you need to grab their act. Keep up with the band and learn about their history by logging onto the following websites: www.thefunkyfritters.com www.myspace.com/thefunkyfritters www.twitter.com/funkyfritters www.youtube.com/thefunkyfritters www.reverbnation.com/thefunkyfritters www.promofm.com (Search: The Funky Fritters) Other websites for music, history, show schedules, contact information are: http://www.watersideplaza.com/roller/blog/entry/meet_danny_drexler_whose_funky www.murphguide.blogspot.com/2010/08/spotlight-artist-funky-fritters.html The Funky Fritters are currently working with A & R Select based in West Hollywood, Ca. for licensing, publishing, a record deal and/or placement opportunities. For additional information, please contact them at: 323-924-5897 www.arselect.com

Song of the Day

Carrie Rodriquez graces us with the song today.  "She Ain't Me" from her album of the same name.

Spotlight: Tarun 'Tspoon' Naya

You may know Tarun 'Tspoon' Nayar from his much in demand band Delhi 2 Dublin, but what you may not know is that Tarun is also a Vancouver based DJ/producer who is about to turn Asian-fused electronica on its ear. After travelling the four corners of the globe, Tarun has compiled 10 years of material for his latest solo effort, 22º of Beatitude (Chaiwalla's Boombox; March 01, 2011) which he describes as his most personal work to date.

Recording sessions with artists worldwide, 22º of Beatitude brings us to temples in Bhutan, to street corners in Tokyo and even to an intimate conversation between the artist and his grandmother. Breaking out of the dancefloor-driven format, Tarun’s aim was to record as many of the sounds as possible, live, without the use of sample libraries. Each of these songs tells a story, and each story is a chapter in the artist’s life. They are a decade-long evolution of sounds that blend culture, beats and bass. With influences ranging from Talvin Singh to Bassnectar, Tarun’s music aims to break boundaries and bring people together.

As a part of Delhi 2 Dublin, Tarun has toured the globe and played some of North America’s biggest festivals. He produced their two full length albums that went to the Top 3 on the Canadian world music charts and settled into the top 10 on iTunes Canada world music charts. Tarun is also a founding member of Vancouver's Beats Without Borders collective and has shared the stage with everyone from De La Soul to Cheb i Sabbah. His tracks and mashups get play on the CBC, BBC and college stations worldwide. In May 2010 he blended Akon's 'Beautiful' with UK producer Swami's 'Sugarless' in a mashup that received heavy airplay in the UK. He also recently scored 'BAS! Beyond The Red Light', a documentary on the lives of women in one of Mumbai's red light districts. Together with partner Umar Akbar he also runs the cutting edge global electronica label and blog Chaiwalla's Boombox.

22º of Beatitude will be released March 1, 2011 and will be complete with archival photos andvideos that will accompany each track on the album and enhance the music into a dynamic visualexperience. These visuals will be projected as part of the live show, set to hit Canada this spring.

Spotlight: Peter Sackaney

Music Promotion via MusicSubmit.com

Webpage: http://www.petersackaney.com
Location: Toronto, Ontario, Canada
Description: Peter has no problem expressing himself in his lyrics and he sings them with a moody, grainy delivery. This is a CD with an artistic feel or mood to it like Dylan or Neil Young.
Biography: Peter Sackaney, hometown Constance Lake, Northern Ontario, Canada has a style that is unique and all his own. He has been compared to Neil Young, Bob Dylan and Tom Petty. While he is honored to be compared to such high caliber artists he delivers unique vocals, and original lyrics/music that is based on years of experience as a singer,musician and songwriter. “The album has a deep and soulful meaning & feeling that is hypnotizing.” John David – Hart “Peter has no problem expressing himself in his lyrics and he sings them with a moody, grainy delivery.” Billy Herzig – Zig Productions Currently in the works is his next CD titled “Under A Different Day” Thank you to the Aboriginal Arts Council, for assisting with this endeavor. Also under development is a video for one of the new songs on the CD.

Simply Six: Glass Wave

Glass Wave are from California.


Responses from Christy Wampole, lead singer of Glass Wave

1. For many artists, they cite a defining moment for themselves when they knew they wanted to be a singer. For many it was the appearance of Elvis on the Ed Sullivan show, to another generation it was the Beatles' appearance on Sullivan half a decade later. Is there such a defining moment for you?

I became a singer completely by accident.  I was sitting in a coffee shop in Texas reading a book and I heard a French man speaking on his cell phone at the table next to mine.  I am a graduate student in French literature so I was happy to hear this language in a place that has historically not been so hospitable to the French.  He came and asked me about my book -- The Invisible Man by Ralph Ellison -- and I answered him in French.  He instantly asked, "Est-ce que vous chantez?" ("Do you sing?")  I answered that I sing only in my car and in the shower.  And badly in both instances.  He asked me to make a cassette singing something in French (I was familiar with basically all French pop music from 1950 to 1980) because he was looking for a French singer to accompany him in his jazz performances at bars and restaurants.  So I made the tape and the rest is history.


   2. When you're not creating music what are you listening to? Who are some of your favorites?

Lately, I've been listening obsessively to the Paul McCartney and Wings song "Jet" over and over.  For some reason, I find it completely empowering.  On any given day, I might be listening to death metal (Job for a Cowboy), French pop (Serge Gainsbourg), classic rock (The Kinks, Fleetwood Mac), random post-rock (Timonium) or nineties bands (The The).  My consistently favorite band is Led Zeppelin.


   3. What would you say is your greatest moment so far as an artist, either on record or live?

The greatest moment was when I sang with Glass Wave for the first time, even before we had our name.  I sang "Creature," and when the last chord of the song rang out, the composer Robert Harrison looked at me and said, "You're our new singer."


   4. Do you believe music can change the world or is just something to listen to? How much can music influence current events?

Of course.  I can name dozens of instances in which music actually influenced a major decision I was about to make.  This influence extends beyond the individual to the collective, I believe.


   5. How has technology affected the music industry? How has technology affected your career as a musician?

Without technology, I'm not sure anyone would know who Glass Wave is.  It is almost purely through digital media that we have found listeners around the world.  I've been so surprised to see who is listening to our music and where they live.  According to their own claim, our biggest fans are two brothers in the Ukraine.


   6. Now for my Barbara Walters question: If you were a pair of shoes what type of shoes would you be?

To speak for myself, I would probably be a pair of beat-up, brown leather boots with dust and salt from twenty countries folded in the creases.  As for the band, we're probably steel-toed stilettos.

Song of the Day

The song of day is "Wait So Long" by Trampled by Turtles from their album Palimno.

Song of the Day

Today we feature The Holy Ghost Tent Revival and their song "Northbound."

Video Wednesday

Today we feature Anders Osborne.

Spotlight: Ric Kirk

Music Promotion via MusicSubmit.com

Webpage: http://www.myspace.com/rickirkmusic
Location: nashville, tn, USA
Description: My sound is country pop americana with strong hook driven lyrics. "A grand old game" is all baseball original songs.
Biography: Ric Kirk is a Nashville TN resident originally from Indiana by way of Los Angeles. He writes and sings in a wide variety of styles from country to pop and cajun and reggae. In the late 80's he had his own showcase band in LA, the Sidewinders. While he plays the usual songwriter instruments, piano and guitar, his real forte is the accordion, having played since he was 9 years old. In Nashville, he often plays with the Les Kerr Bayou Band, doing blues, cajun, reggae and everything else for that situation. Ric is also an avid baseball fan and some years ago wrote a CD " A Grand Old Game" featuring 9 original baseball songs in various styles. It is for sale at CDbaby under cdbaby.com/rickirk At one time it was on sale at the Baseball Hall of Fame in Cooperstown, NY.

Spotlight: Eyes Turn Stone

Music Promotion via MusicSubmit.com

Webpage: http://www.reverbnation.com/eyesturnstone
Location: Pompton Plains, NJ, United States
Description: An all acoustic project full of catchy hooks, dark melodies, and great songwriting.
Biography: Chris and Joe started writing some acoustic jams a few years ago. There was never an intention of turning these "jams" into a serious project, but the songs started to take form. The project especially came to life when Chris' brother Jon added drum and percussion parts to the songs. The finished album titled "The Healing Process" was recorded and mixed by Chris at his home studio.

Simply Six: Erin Dickens

Erin is a founding member of The Manhattan Transfer and is currently from Maryland.

1. For many artists, they cite a defining moment for themselves when they knew they
wanted to be a singer. For many it was the appearance of Elvis on the Ed Sullivan
show, to another generation it was the Beatles’ appearance on Sullivan half a
decade later. Is there such a defining moment for you?

I knew from a very early age that I was crazy about music. I started singing and
playing music with my father at a very early age...maybe six years old. He was a
fabulous musician - he played piano, guitar and banjo by ear and was wonderful at jazz
improvisation. Passion just oozed from the core of his being. Thankfully, I inherited his
love for music, and on a good day, some of his talent!

The day that I knew that music would be my profession was the day that I packed my car
to leave college in Virginia and move to New York. This was no casual decision, and my
parents were horrified. I was in the middle of starting a new singing group with some
friends, and I was determined to make it work. A few weeks after my bold move, and
after much heated debate, we finally decided on a name: The Manhattan Transfer.

2. When you’re not creating music what are you listening to? Who are some of your
favorites?

There are so many artists that I love! Sting, Andreas Bocelli, Pink Martini, Chandler
Travis, Benyaro, Chris Gotti, Melody Gardot, Lambert Hendricks and Ross, Amos Lee,
Julie London, Tony Bennett, Gregg Allman, Leonard Cohen. Just a few. I love it all.

3. What would you say is your greatest moment so far as an artist, either on record or live?

I have had the good fortune to have been involved in creating amateur variety shows to
benefit a wonderful organization: Habitat for Humanity. I live in a small town, and I was
asked to co-write original comedic material, produce a show and act as musical director
for a live stage production we called “The Follies”. We mounted these productions over a
five-year period, and it was truly a high point in my life. Our last show gathered together
205 amateurs both on and off-stage. We put up an hilarious and well-produced variety
show, and the proceeds from our performances were great enough to build three homes
for needy families in my town. And I got to sing, too. How cool is that? I was juiced
beyond measure for months. I still am, actually.

4. Do you believe music can change the world or is just something to listen to? How much
can music influence current events?

Oh, don’t get me started here! J Music is transformational. Music is a divinely powerful
force in our lives and I believe that it is the responsibility of every artist to do his/her
share of healing, problem-solving, enlightening…whatever you want to call it. We have
the power to teach and bring to light things/situations/people that desperately need help.
We can discuss the obvious in regard to influencing current events – artists like Bono and
Sting’s Conspiracy of Hope – saving rainforests and working to end human suffering and
the like. Using our voices to raise money and create awareness on a giant scale is a given.

We must do that. But even more, artists like me can reach out to smaller crowds at every
concert. We can change minds; we can spread joy. We can lift spirits and heal our world
– one fan at a time.

5. How has technology affected the music industry? How has technology affected your
career as a musician?

I used to tell my sound engineer, “I don’t care what you do, just make me sound good.”
Boy, have times changed. Now my engineer says stuff like, “What ratio do you want that
compression at? Soft or hard knee? What frequencies do you want rolled-off on your
upper mids?”

But that is just the beginning….technology has made it possible for masses of music
lovers (only some are actually musicians) to create and record music at home. That is so
great. What a gift to have access to professional tools to learn and grow as an artist. To
be able to knock out a quick demo of a new composition at home (in the old days that
would cost thousands of dollars in a studio) is just awesome. This is better than kittens.

On the other hand, one no longer needs to be able to sing and play in time or, more
importantly, in tune. For the record, I do not need to correct my pitch. I sing in tune. And
I phrase in time. These days, that is really saying something.

6. Now for my Barbara Walters question: If you were a pair of shoes what type of shoes
would you be?

I am a Gemini. Seriously, do I have to pick?

Sunday: Fuzzy slippers
Monday: Running shoes
Tuesday: Ralph Lauren kidskin penny loafers
Wednesday: My red Justin cowboy boots
Thursday: maybe the loafers again or Uggs.
Friday: MJ Knoud Paddock boots. (Nothing kinky here – I actually ride horses)
Saturday: Something sexy…maybe a Jimmy Choo strappy sandal.

OK…OK…..If I had to pick, I’d be the loafer. J

A Rave on the Silk Road: Dance Music Icon Banco de Gaia’s Guided Tour of Electronica’s Eclectic Outlands

http://www.worldmusicwire.com

Persian strings and prog rock. Tibetan songs and ecstatic house. Welcome to the strange, wonderful world of DJ/remixer/dance music maestro Banco de Gaia (aka Toby Marks) whose work sprang from the hopeful exuberance of British house, the joys of sampling, and the advent of global music.

Now, new listeners unfamiliar with this funky founding father of eclectic electronica can savor nearly two decades of hits, rarities, and remixes onSongs From the Silk Road. An intro to the vibrant cross-pollination of house and world music, tracks shift from hard-hitting to playful, pulsing to ambient, all guided by a strong, omnivorous ear for powerful beats and delicate filigrees of sound.

Pensive modal harmonies (“Farewell Ferengistan”—named for an obscure Central Asian term for Europeans) alternate with hand drum-heavy dub grooves (“Amber”). Gentle digital pops and glitches (“Big Men Cry”) give way to driving rhythms, stirring vocals, and glittering keyboards (“Last Train to Lhasa”).

But back in the 80s, guitarist and trumpet player Marks hated drum machines. He loved prog rock, experimental jazz, classical, anything—just not synth pop. “But then house happened and changed everything. It opened up a whole new world for me, and I discovered this new machine-made way of making music,” Marks explains. “Combined with the new technology of sampling, I could suddenly have these big Pink Floyd-esque ideas that I could never have executed otherwise.”

But British house was more than a club craze, Marks recalls, and more than a cool new style of music. It was a scene that picked up where the seekers of ’69 left off, exuding a vibe of positivity and optimism in the social and political doldrums of ‘80s Britain. People talked of love, community, and the possibilities of living together in new, humane ways. They went to raves and, quite literally, embraced strangers.

Musically, this openness meant including a world of musics that were once beyond the pale of pop into dance tracks. Other cultures began sneaking into remixes, even of mainstream rap. “In ‘87, Coldcut remixed ‘Paid in Full’ by Eric B. & Rakim and featured a sample of Ofra Haza,” Marks remembers. “It was straight American hip hop with Israeli vocals, and that really inspired me. I was excited to hear someone combining elements that way outside of jazz and experimental classical music.”

Banco de Gaia was born. Marks took his penchant for the large-scale sonic landscapes of prog rock and began drawing on music from Tibet, Central Asia, and the Middle East to create dreamy, grooving tracks that felt distinctly different from other 90s dance music. Along the way, he realized that what seemed eclectic at first listen actually fit together perfectly. “I find it really stimulating working with Arabic rhythms and Asian string styles, for example,” Marks recounts. “When you start listening to music from other cultures, you soon hear that, below the surface, it’s not all that different. Often the fundamental principles are the same.”

Along with these universal qualities, Banco de Gaia was inspired by technology itself: the sonic spree of sampling, especially in its early days. Marks’s tracks from the early 1990s, such as “Sheesha,” reflect a happy-go-lucky approach to sound. “Back then, it was ‘What makes a noise? I’ll sample it!’” Marks laughs. “I would sample until the memory was full. Then I take some of the bits and mash them up into a tune,” which is how JFK and William S. Burroughs came to trade lines with Bach’s Brandenburg Concerto.

These early tracks made Banco de Gaia a club legend, as house expanded and splintered. Soon, Marks was inspiring a coterie of other electronic musicians fascinated by non-Western forms and sounds, groups like Afro Celt Soundsystem and Asian Dub Foundation. The Cure’s Robert Smith name-checked Banco de Gaia—“Banco de Gaia! Stolichnaya!”—in a song, sending droves of goths to Marks’s website and inspiring the title for “Big Men Cry” (a take on The Cure’s classic “Boys Don’t Cry”).

As word spread, Banco de Gaia climbed charts in the UK, into the album top 40, and won critical acclaim. Audiences were wildly enthusiastic, like the one at the live Glastonbury Festival set audible on “Last Train to Lhasa (Live at Glastonbury).” Marks found himself collaborating with everyone from Natacha Atlas to Pink Floyd sax player Dick Parry.

Recently, Banco de Gaia has paid homage to musicians like Parry and re-imagined the epic Pink Floyd track, “Echoes,” and cuts from King Crimson. To his delight, Marks found himself jamming with British prog rock icons Hawkwind, playing guitar for their 40th anniversary in London as Banco de Gaia celebrated twenty years of music making.

With two decades under his belt, Marks has seen a new generation of fans appear, kids who got turned onto Banco de Gaia thanks to savvy parents. Yet there’s still a gap in awareness, as what Marks calls “world music with a disco beat” seeps into the mainstream yet many know little about the scene and the musicians that started it all.

“I wanted to round up this body of work and create a portfolio for new listeners,” Marks notes. “The origins of this sound, a sound that’s now ubiquitous, are really interesting, and I want people to know more about it. Back then in early days, we were inventing this whole new thing. This album shows that, and how things have evolved since.”

Bonus Video: Grace Potter and the Nocturnals

Music On The Couch This Monday

MUSIC ON THE COUCH 

MONDAY, February 21, 2011
10pm Eastern; 9pm Central; 8pm Mountain; 7pm Pacific
Archived on Tuesday morning and forever HERE

Subscribe Via

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This week:
KEITH SYKES
and
JIM CHILSON
of The Ten Foot Polecats
SIT ON
THE COUCH

Keith Sykes does it all...singer, guitarist, songwriter, producer, record company executive.  Keith makes music and makes it extremely well.

You may not know it, but you have probably heard some of Keith's compositions from other artists; like Jimmy Buffett (co-wrote "Volcano"), Rosanna Cash (“Take Me, Take Me”, “Only Human” and “Raining In My Soul” ) and others.

Keith has just finished a new album, Country Morning Music, which he recorded on his COUCH, and we will get to discuss it with him and what plans he has for 2011 and beyond.

Then, Jim Chilson from 10 Ft Polecats will sit on The Couch and talk about this Boston based band who are making a name for themselves across the country.

The band is comprised of Jay Scheffler (vocals/harp); Jim Chilson (guitar) and Chad Rousseau (drums). The band plays North Mississippi Hill Country Blues in an aggressive style and their album "I Get Blamed For Everything I Do" was released on Hillgrass Bluebilly Records out of Austin, Texas last March.

What has the new record deal and album done for their credibility? What are their plans moving forward? All things we will talk about with Jim.

We will take your calls and questions for both guests at 1.347.633.9400. 

The live interactive chat room opens 20 minutes before show time. Follow this link HERE and click on the Chat Now icon. Come hang with the fans and musicians who visit each week.

Remember, unless you take the two minutes to register, you will not be able to participate in the chat room or send me questions to ask our guests, but you will still hear the show.

So tune in on Monday evening or remember, you can always listen anytime after the show ends from the player HERE or check out Music On The Couch for additional artist information, and show recaps. 

You can download to your iTunes and even subscribe to the show for weekly automatic downloads, from my iTunes page.

Thanks -
Vinny "Bond" Marini

 

Music On The Couch is offering sponsorships at this time. Each week our listening audience is growing.

Over 1,700 people listened in January and we are on track to meet or exceed that number in February.

Sponsorships can be had for as low as $10.00/spot and offer placement on the MOTC website. 

For more information, send an email to musiconthecouch@yahoo.com

The Body Ecstatic: Master Afro-Latin Percussionist and Ifa Priest Carlos “Go Go” Gomez’s Elevated Smooth Electronica

http://www.worldmusicwire.com

Smooth Electronica artist and Latin percussionist Carlos “Go Go” Gomez is three things: master musician, priest, and martial artist. Now after decades as a sought-after rock, pop, and Latin player and as a spiritual seeker, he has found a groove-heavy way to merge these three paths on New Paradigm Global Music, a richly layered, multi-faceted sonic journey designed to engage, inspire, and elevate.

“One of the reasons for creating this music was to integrate the various parts of my life into one,” Gomez explains. “I wanted to break down those barriers that exist between being a priest here and a musician there and a martial artist over there.”

Eloquent drones and elegant beats—punctuated by Gomez’s evocative and passionate percussion—reveal this newfound place of unity and an omnivorous musician at his best. Gomez has dug deep into his Afro-Latin heritage and played with Eartha Kitt, Tito Puente, Maxwell, Sade, and Mariah Carey, to name just a few. Yet this album reflects a new understanding, a new sense of unity and resonance after an amazing career and very full life.

Gomez, raised in the Bronx, grew up playing drums from the moment he could walk. Fascinated by both the Santeria saints/orishas of his Cuban mother and the revelatory Latin rock of Carlos Santana, Gomez became a professional musician and yogi in his teens, founding the groundbreaking group Seguida with several close friends. The band took Latin rock one step further—into soul, funk, and disco territory—and Gomez became an extremely versatile hard-gigging player.

And a powerful percussionist—so powerful it affected his health and nearly cost him his life. After doctors gave up on him, he turned to an Akan (West African) priest in Queens, who through herbs and prayer returned Gomez to both health and music. Gomez was so moved by the experience, he eventually traveled to Nigeria and became an Ifa priest himself. He continues to pursue both physical disciplines such as jeet kune do, tae kwon do, and yoga, and spiritual ones—reading and studying intensively about theosophy, the Kabbalah, and practicing meditation, Taoism, and Inner Alchemy.

This seemingly diverse experience converged one day a year and a half ago during a meditation workshop led by teacher Jim Self (whose voice graces “Law of Attraction”). During one meditation session, Gomez had a “transformative experience,” the kind of concrete, visceral spiritual experience he had craved for years. It changed the way he approached music.

No longer satisfied with simply “being someone else’s hands,” Gomez felt it was time to create music of his own. It was time to give expression to what he had gleaned from a complex and rich life behind the drums, in martial arts studios, and in temples. The resulting album traces an expanding spiral from slow and contained, to energetic and ecstatic, and finally to transcendent. “It’s an invitation to go inside, for listeners to reach the same state I found that day,” Gomez notes.

But this journey is not passive background music; its hypnotic quality is meant to spark movement and meaningful connection to the body. “Aremu Odudua” takes an age-old Santeria melody, as sung by Gomez’s late Afro-Cuban singing teacher Lazaro Ros, that tells of Odudua, the progenitor of the Yoruba. For Gomez, this Abraham-like figure resonates with Mantak Chia’s bone marrow cleansing qi gong—connecting with the bones, one’s very foundation.

The foundation of Gomez’s tracks is drones, and these reflect his many perspectives and influences, as well as his ultimate message. “Metu Neter,” inspired by the divination techniques described by Pan-African spiritual teacher and writer Ra Un Nefer Amen, unfolds in a “non-traditional mantra,” layers of sounds from different philosophies and faiths resonating as one.

“If you listen carefully, there are three levels,” Gomez explains. “The classic OM is divided into five different sounds, as it was taught to me at the Satchidananda Center in New York almost forty years ago. The second layer is a Taoist mantra, and finally the third is an Arabic chant reminiscent of the call to prayer. This was designed to represent the essential unity of all religions, that they are all part of the Universal Truth.”

Though the tracks revolve around drones—the sounds of flowing, splashing water on “Water Dragon” or the bells of “Law of Attraction”—Gomez’s sixth sense for rhythm keeps them hypnotic yet never static. “On ‘Metu Neter,’ for example, I was trying to constantly change my conga playing in a subtle way; it’s a metaphysical part of the song,” Gomez reflects. “Pop music requires absolute precise repetition, and before digital recording, I had to do it physically. That’s how I got on so many records. But I’m breaking that mold, and instead, I’m trying to create constant subtle change so that you barely even notice it, much like life.”

These musical concepts serve a greater goal: Gomez’s message of spiritual unity, love, and connection to the inner self through the body. “I love movement, and that’s why I did yoga and martial arts. But many people think dance and movement is just about seduction and sex,” muses Gomez. “Yet there’s also dancing for your own personal joy and for your spirit. Dancing can lead to internalization, to a transformative state of ecstasy and bliss.”

Video Wednesday

This week we feature Cadillac Sky.

Video Wednesday

Larkin Poe, which is the Lovell Sisters.

Music On The Couch This Monday

MUSIC ON THE COUCH 

MONDAY, FEBRUARY 7, 2011
10pm Eastern; 9pm Central; 8pm Mountain; 7pm Pacific
Archived on Tuesday morning and forever HERE

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This week:
International Blues Challenge
2011 Band Category Winner
LIONEL YOUNG
sits on
THE COUCH

One Guest (maybe more!?!) this evening…It’s all you need!

(L-R) Jay Forrest - drums; Ricardo Pena - keys and guitar; Kim Stone - bass;
Andre Mali - trumpet; Dexter Payne - sax, clarinet and harp; Lionel Young - vocals, guitar, violin

I am thrilled Mr. Lionel Young accepted my invitation to sit on The Couch. He accepted Sunday morning prior to climbing in the van and heading back to Colorado. Though he will not arrive until sometime early Monday morning, he will stay awake long enough to call!

In 2008, Mr.Young won the IBC Solo/Duo Group Category.  This year he returned with his band and became the first ever two time winner of this prestigious honor in the blues world.

The singer, guitarist, violinist and his band turned in a blistering 20-minute set in the finals and had the entire Orpheum Theater crowd (myself included) on it's feet.  I am hopeful a couple of his band mates will also find the time to call.

I had some incredible help getting this booking (thanks Heidi and Honey!) and I hope you join us.

We will take your calls and questions for Lionel at 1.347.633.9400. 

The live interactive chat room opens 20 minutes before show time. Follow this link HERE and click on the Chat Now icon. Come hang with the fans and musicians who visit each week.

Remember, unless you take the two minutes to register, you will not be able to fully participate in the chat room or send me questions, but you will still hear the show.

So tune in on Monday evening or remember, you can always listen anytime after the show ends from the player HERE or check out Music On The Couch for additional artist information, and show recaps. 

You can download to your iTunes and even subscribe to the show for weekly automatic downloads, from my iTunes page. 

Simply Six: Janine Wilson

Janine Wilson is an artist from Washington D.C.

1. For many artists, they cite a defining moment for themselves when they knew they wanted to be a singer.  For many it was the appearance of Elvis on the Ed Sullivan show, to another generation it was theBeatles’ appearance on Sullivan half a decade later.  Is there such a defining moment for you?

I don’t remember one specific moment that made me want to be a musician but there seemed to be a lot of influences around me.  I heard Jazz and Dixieland from my Dad, and I loved watching musicals on television with my Mom.  My sister and I used to ride around in the car with Mom listening to the radio quite a bit.  I was in school plays and choir as well.  I suppose my love of music was instilled in me at an early age and I wanted to be involved in it somehow so eventually that came true.  Although I do believe that if I told my teenage self that I would have put out three albums, written songs, won awards and performed for a crowd, I wouldn’t have believed it!

2. When you’re not creating music what are you listening to?  Who are some of your favorites?

My favorites are Springsteen, The Black Crowes, Shelby Lynne, Astrid Gilberto, 70’s Bette Midler, Adele, Tom Jones, AC/DC, Liz Phair, Patsy Cline and so many others….

3. What would you say is your greatest moment so far as an artist, either on record or live?

My latest album has been the greatest experience so far because it’s my first of all original material.  The song, “It Should Be Me” has done really well (even winning a songwriting award) and it’s pretty amazing seeing an event in my past come to life in song and connect with so many people.

4.  Do you believe music can change the world or is just something to listen to?   How much can music influence current events?

I absolutely believe music can change the world!  Look at what happens when people go see a live concert.  The many times that I’ve seen Bruce Springsteen in concert I still get so excited the second the lights go down and there is a unified roar of happiness at what is about to take place.  Music soothes the soul, gives us a hug when we’re sad, gets us moving in the morning and can change the way a person thinks.  And all we have to do to see how music can reflect and influence current events look at the 1960s!

5. How has technology affected the music industry?  How has technology affected your career as a musician?

Technology has greatly affected the music industry in both good and bad ways.  The ease of accessing music these days is incredible but also has helped in the decline of CD sales.  It is much easier to connect with fans, and give them access in many ways that weren’t available before with Facebook and Twitter.  It also takes an incredible amount of time away from being creative, songwriting, etc, but it seems to be a necessary evil.  I long for the days of going into a record store and browsing around and discovering new music.  I loved readingliner notes – I discovered so many songwriters and musicians that way.  Now with downloading a song, you don’t have that information readily available.  In this fast paced world our attention spans are shorter and shorter and don’t allow us to stop and truly absorb the moment before we’re on to the next thing.

6.  Now for my Barbara Walters question:  If you were a pair of shoes what type of shoes would you be?

I would be silver glittered 4 inch platforms!  I would wear them every day with everything!

Spotlight: The Saw Doctors

The Saw Doctors are known in Ireland for ridiculously catchy songs and for rocking the road week after week from Galway to Melbourne—and, come March 2011, from New York to Las Vegas. They’ve hopped up countless crowds, including at two inaugurations of Maryland governor Martin O’Malley, with upbeat anthems to everyday people. 

A fun-loving reputation precedes the band thanks to their zany hit “I Useta Lover” or the recent sneak Irish radio chart-topper, “Red Cortina A Cappella.” But it belies a more reflective side with deep roots, a side sometimes forgotten even by the group’s biggest fans. 

“That one-sided perception of the band haunts us, even in our hometown here in Western Ireland,” chuckles Saw Doctors singer and guitarist Leo Moran.“A few months ago, in a pub here, I sang one of my favorite songs, 'Same Oul Town', the title track of our third album.  It's about a small town in winter, where everyone knows everyone else's business. Another local singer, who has known us forever, came up and told me, 'That's a lovely song; you should record that!'"

Bittersweet portraits of everyday people and the landscape that surrounds them are what the band does best. The Saw Doctors have a Springsteen-like ability to get at the poignant perspectives of ordinary folks: the lovesick pub regular, the guys on the corner, the wise old woman who greeted all comers with a slice of bread and butter. 

This ability flows from the roving group’s strong ties to Tuam—and to the lives and stories of the people in it. It’s a town of wits and eccentrics, folks like cartoon artist Squigley McHugh, who humorously sketched the Saw Doctors as superheroes for their stage backdrop. Tuam is known for its gregarious, sometimes overly curious conversationalists. It’s a place where people still pop down to the pub in the afternoon, looking for a pint and a good gossip. 

But don’t be surprised if you can’t make out a word: Tuam, explains Moran, has its own secret code, a slang and a love of peculiar turns of phrase incomprehensible to outsiders. “In Tuam, there’s a great interest in language and words. A lot of the Travellers, itinerant Irish traders and tin-smiths, settled around Tuam and had their own language they used while trading. We’ve adopted it as core citizens of the town.” 

Tuam’s citizens relish slang and constantly invent new words. Expressions like “Well-Byes,” the greeting of choice among young guys in jogging suits, speak volumes: “you know where you are and you’re from Tuam,” Moran says. Soccer players use local slang when playing against other towns to keep their next moves under wraps (as the band recounts in “All the Way from Tuam”). 

Yet words, like the band itself, have a far more winsome side, connecting people with their history and the land. In “Friday Town,” the Anglicized place-names in the chorus hint at a lost Irish past, as Moran sings of people long gone, either overseas to America or to their graves. “When you study the names in Irish, they carry meanings, some feature in the landscape or the memory of something that happened there,” Moran notes. “But all these lovely meanings have been lost. We’re trying to celebrate them, as well as the people who left forever for the States, on an epic, courageous journey.”

More introspective moments still ring with bright guitars, catchy melodies, and upbeat energy, which make The Saw Doctors shows fun, even at their deepest. Sometimes when playing live around Ireland, the exuberant singing from the audience has nearly drowned out the band. The group loves to drop their vocals out altogether, providing only instrumental accompaniment for the chorus of enthusiastic fans, who seem to know every song by heart.

The down-to-earth feel—and the Tuam wit—have universal appeal. “People sometimes say that a song about Tuam or Galway or Ireland won’t matter to people abroad. That’s like telling Bruce Springsteen that he is wasting his time writing about the Jersey Shore,” Moran reflects. “Songs are about sharing feelings and emotions and ideas. If you have ideas and emotions that people can relate to, then it works no matter where you play.”