Fresh off their much buzzed about sold out, two-night stand at MSG in New York, Montreal-based act the Arcade Fire have announced the details for their West Coast heavy fall
With a seemingly rotating door on music festivals over the last handful of years it’s assuring to know that you can continually count on the Newport Folk Festival to be there year in and year out, offering up a high quality and diverse lineup in one of the most serene settings imaginable. Returning once again to the historic Fort Adams State Park, the fest delivered an amazing swath of artists from folk to funk and everything in between.
Much like how there are those musicians that are referred to as a “singer-songwriter’s singer-songwriter,” well now after having attended Newport Folk the label of a “music fan’s music fest” might be the best way to describe it. With three stages and 30-plus acts to choose from, it seemed relatively easy to plant yourself in front of one stage for the day – like many did – and take in all the action. For the ambitious music lovers though, the close proximity of the Fort, Harbor and Quad stages made it a breeze to catch an impressive amount of music over the two-day span.
Saturday kicked off with one of the fest’s biggest success stories – The Low Anthem – who just three years prior were picking up trash as on-site volunteers and now found themselves with a main stage slot. The Providence-based band showcased their gorgeous folk music, which features an odd menagerie of instruments – crotales, harmonium and clarinet – along with the obvious guitar, bass and drums. Taking in just a handful of songs, which was highlighted by a sublime take on Apothecary, and their interpretation of Rev. Gary Davis’ Sally Where’d You Get The Liquor From?, I had to pulled myself away from really the one lone conflict of the weekend to see a full set from A.A. Bondy.
READ ON for more of Jeff’s recap of Newport Folk…
For most of the 1980s and ’90s, it wasn’t officially summer until the Grateful Dead came through town. The same can be said for a new generation of music fans
This year at Hidden Track, we concocted a little experiment for our year-end Best Albums of 2009 list. Instead of picking the old fashioned way – subjectively – we opted for something a little different: a collaborative, collective list that incorporates the opinions of everybody here at HT.
To begin, we devised an all-encompassing list of around 100 nominees and populated it in a Google spreadsheet – essentially anything that anybody who writes for Hidden Track liked at all, made the list. Then we invited our crew of writers to independently vote on the whole list (omitting anything unfamiliar) on a scale of 1 to 20 (20 = five stars). We ended up with 33 voters with varying degrees of familiarity with the nominees; some folks voted on just about everything, while some just a few. From there, we eliminated anything that did not receive at least three votes, calculated the average scores, and sorted it. We took the top 25 scores and presto: the Hidden Track 25 Best Albums of 2009. No bullshit, no big opinions; just the results.
Let’s kick things off with numbers 25 through 21…
Key Tracks: Stars Of Leo, Rave On, Never Had Nobody Like You
Sounds Like: An old antique photo
Skinny: In 2008 M. Ward seemed to take a backseat to doe-eyed actress Zooey Deschanel as the Him in vintage indie-pop act She & Him, but he was back in 2009 with his latest solo release, Hold Time. The album is full of everything we’ve come to expect from Matt over the years – modern indie-rock that is completely bathed in the patina of the last fifty-plus years of pop music. Combining his sepia-drenched vocals and open tuning guitar work with guest appearances from the aforementioned Deschanel, Lucinda Williams and Grandaddy’s Jason Lytle.
READ ON for the next four albums in our countdown…
A few months back we reported on the rather sad circumstance surrounding Simone Felice’s departure from HT faves The Felice Brothers (read his open letter for more details). The move
With the first six months of 2009 beginning to feel like a distant memory, figured it was time to continue with a tradition we started last year around this time, by taking a look at my favorite albums from the first half of the year with a little something we’ve dubbed Top 6 Of The First 6.
Maybe I’m getting old, but this list is dominated by mainly roots and Americana-tinged albums, so for those of you expecting Animal Collective somewhere here you may be sorely disappoint. So let’s get at it…
6. Conor Oberst & The Mystic Valley Band – Outer South
Outer South may technically be Conor Oberst’s second “solo” release in as many years, but it would be hard to call this record a true solo effort. While Oberst’s prolific songwriting tendencies may rival that of Mr. Mandy Moore, his latest effort with the Mystic Valley Band is a collaborative affair, with band members contributing and singing their own songs often making you forget you’re listening to a record that has the wordy, singer-songwriter’s name attached to it. The album itself is chocked full of breezy, ’70s influenced country and folk-rock, mixed with the aughts indie-sensibility making it hard to avoid giving them the tag of an updated version of the Traveling Wilburys.
READ ON for the rest of Jeff’s Top 6 Of The First 6…
Old Crow Medicine Show, Dave Rawlings Machine, The Felice Brothers and Justin Townes Earle team up for The Big Surprise Tour. READ ON for more info on what’s sure to be an amazing night of music…
Whether or not it gives you pause to consider why so many of this young band's songs contain recurring references to death (“St Stephen's End”), guns (“Hey Hey Revolver”) and alcohol (the two aforementioned), the fact of the matter is the quintet–even without brother Simone who's on a temporary leave from touring -perform in such a disarming fashion, Felice Brothers can charm you wholly and completely into their world.
READ ON for more on HT faves Felice Brothers’ new album and tour dates…
How startling it is to watch and listen to The Felice Brothers? Imagine if you will five characters that seem to have walked straight out of tunes from Bob Dylan and The Band’s Basement Tapes. Their connection with the rustic mythos suggests they heard that music as infants or perhaps even Music From Big Pink, from within the womb?
