This Pulse tune is featured tonight in the first episode of the AMC series Lucky Hank. The track is all Peter, with the exception of the high harmony, which is me. It was originally recorded for the second Pulse album.
Tag Archives: Music
The Best of ’60s Blues-Rock
Rough Edges for a Smooth Acoustic Guitarist
Peter Neri is a storyteller. He tells his tales with his acoustic guitar.
He’s an impressionist. His music evokes emotions and thoughts that are indicated by the mood of each of his solo guitar pieces. The mood is tied to the titles of each of the nine tracks on Neri’s latest album release Rough Edges, his first since 2002.
On Rough Edges, Neri takes the listener on short journeys through places that conjure every thing from a drippy faucet to the expanse of a cruise down the Amazon to a hot rod running on moonshine that is probably running moonshine in the dark hills and valleys of West Virginia. It’s achieved by virtuoso performances that put all of Neri’s talents on display from single string, partial chording and finger-style to Neri’s own self-described slam-punk finger-style.
He continually shows his adeptness at establishing a main theme and then interjecting adjacent passages that enhance the piece and carry the listener to the further reaches of his imagination.
Neri says he is more interested in “capturing the energy needed to express the nature of the song rather than trying for technically pristine takes.” Don’t worry there is abundant technique on display and the emotionally charged performances never sacrifice virtuoso ability for spontaneity. It’s all here.
The title track isn’t exactly chicken pickin’ but more like chicken pluckin’, as Neri describes it. The pluckin’ moves the tune along at a nice pace as you picture yourself strutting in the barnyard. He then segues to a delicate reverie that suspends time before coming back to the theme. Neri slips in an alternative playing of the main theme and another quiet diversion before bringing the tune to an end. All in 2:07.
The Sad, Sad Demise of the Underwood 5 refers to the long-gone and lamented typewriter. Neri uses the sound effect of the mechanical typewriter in the intro (and outro) of the track and then sets a hurried yet even tempo as he plays through the short, packed sections of this concise composition.
Perhaps the most elegant and lovely melody, adorned with jungle sound effects, is Journey up the Amazon, during which you can easily envision lightly gliding down the expansive river, taking in its myriad delights and majestic dark shadings. The aforementioned track with the leaky faucet, Faucet Still Dripping, moves at the pace of a plip-plop, drip-drop of that stubborn fixture and Celtic Vision lets you imagine dancers running through their steps to a lilting Irish-flavored melody.
The Question?, with its Latin leanings, and The Answer!, finger-picking balladry, seem perfectly fitted for two parts of a whole but each stands on its own as an individual statement, and Sneaky Pete illustrates Neri’s penchant for interjecting various quiet passages to his main themes.
The CD ends with Moonshine in the Gas Tank, a high powered slide guitar workout that envelops the listener in blues-oriented phrases and an adeptly executed country blues-rock feel.
In all, Neri returns with another volume of impressionist musical stories, along with previous releases Night Visions and Dreaming of Home, that carry you along on another glorious trip through the workings of a singular talent.
It’s available on CD at CDBaby or www.peterneriguitar.com/contact. Streaming versions of the album are on CDBaby, Spotify, Apple iTunes, Amazon, Deezer and many others streaming services.
Peter hosts a radio program, One Guitar, on WFVR 96.5 FM from Royalton, Vermont, where you can stream it (https://www.royaltonradio.org/) Tuesdays at 2 p.m. He spins some of the world’s best solo acoustic guitar music. The show will also begin airing on Blues and Roots radio (https://www.bluesandrootsradio.com/homepage) on Tuesday, July 30 at 8 p.m.
N.O.S. Back In Time
N.O.S. Back In Time is my latest album, available on all streaming services, CDBaby, Spotify, Apple Music, Amazon and many others. It’s a collection of songs I’ve written and sung lead on (save one) with several groups I’ve played with and solo. Tracks included were recorded with the groups Napi Browne, Island and Pulse. There are two solo tracks on which I play everything (except for Drum Drops, remember those) and a Napi Browne rehearsal tape, which although is a cut below the rest in sound quality is a smokin’ track with a live feel. Recorded with a JVC Binaural cassette deck, with no reverb or delay, the quality is actually quite good.
The track I don’t sing lead on is from my first album with the band Pulse, Another Woman, which is sung by the great Carl Donnell (Augusto). Another Woman is one of the first songs I had written for the band and was recorded at Syncron Sound in Wallingford, CT, now Trod Nossel. The Napi Browne tapes come from two sessions, one in Woodstock at Bearsville Studios, and one in Bridgeport at Paul Leka’s studio. One Napi track was recorded in a home studio. The Island material was recorded at the now defunct studio Blue Rock in Soho, New York City.
A more complete list of credits can be found on the album’s page at CDBaby
The best way to find the album on any of the above listed services is by simply searching on my name Paul Rosano. The player below gives a sample of all the tracks.
Napi Browne’s Love You Everyday on cdbaby
The single Love You Everyday by Napi Browne has been released over at CDBaby.com The track is a funk-rock, pop-oriented tune with jazz and Latin influences. Written and sung by bassist Paul Rosano, the track features two outstanding guitar solos, the first by Nick Bagnasco, the second Dan Gulino, a trio of stellar background singers, Jayne Olderman and Peggy and Sarah Heath and some very funky drumming and congas by George Wilson.
Kala Farnham, Anahata: Wake Up Your Heart
Kala Farnham sets the tone of her first full-length studio album with its opening track Naked Honest.
A rolling piano figure opens up into her familiar classically-tinged playing that underpins an arresting melody. It’s all propelled by Farnham’s impassioned and proficient voice that carries through to a soaring chorus.
The tune is one Farnham released on a live EP from 2009 but this arrangement is fleshed out with a small but full-sounding ensemble as opposed to a solo outing. The track as well as all of the album’s tracks are treated this way and they all benefit from what is really a new production approach from the Connecticut singer-songwriter. The arrangement even includes some tasty guitar playing leading into the bridge, somewhat of a departure compared with her previous recordings.
The group includes: Duke Levine (guitar/mandola); Daisy Castro (fiddle/cello), Richard Gates (bass), and Marty Wirt (percussion/drums).
Anahata: Wake Up Your Heart is filled with new and older inspiring compositions by Farnham like that opening track. One of the most ambitious Niantic Bay has an almost epic feel to it similar to some of her past songs, but again is fully developed with background vocals, creative percussion and a wonderful sense of dynamics that runs throughout.
Her voice so easily transitions from full-bodied to delicate falsetto with a sparkling top end on this tune and others such as the staccato-driven, pop-oriented title track.
Farnham treads much new ground here in her approach even to her older tunes. Songbird, which first appeared on the Naked Honest Live EP has a contemporary jazz-waltz feel, straight from the ’60s. The jaunty Singin’ Along’s (Sparrow’s Song) dance hall feel in 2/4 further shows off Farnham’s versatility. Complemented by fiddle, the track illustrates a lighter and refreshing side to her compositions.
But one of the most surprising and pleasing tracks is her take on the classic traditional song House Of The Rising Son, the only cover on the album. She shows she’s fully capable of interpreting the blues though her own song styling and presents one of the most impressive recent versions of this well-worn staple that came to the public’s attention back in the early ’60s via Dylan and the powerhouse arrangement of The Animals.
The track also shows off Farnham’s voice perhaps better than any other with her soaring interpretation of the familiar lyrics. Never harsh always heartfelt, smooth and riding on top of the melody Farnham’s vocals throughout the album are in many ways the main attraction, holding the listener fixed by the music and lyrical content.
All her songs are infused with poignant and penetrating word play. The rushing Pencil and Ink weaves a story of love and love lost through the writing of a song. All this adorning a beautifully conceived arrangement with perfectly complementing drums and violin.
The spiritually inflected Anam Caram and Maitri, a song of unconditional friendship and love, speak to the center of the album’s focus while bringing the work to its satisfying conclusion. Both are arranged in 3/4 and carry an enlightened perspective through Farnham’s singular talents as singer and piano player.
Other surprises and delights within range from the infectious chorus of By Your Side to Mon Cher and La Coupe’s French-English lyrical content to the powerful and impetuous Ruthless, again featuring guitar.
In all, a complete and accomplished first full-album for Farnham that shows so many more sides to her talents than previous live and EP collections. She has the songs, she has the voice and she has a perfectly conceived piano approach that helps meld all the elements of her talents together into style and substance truly her own.
Kala Farnham’s web site: www.kalafarnham.com
Anahata: Wake Up Your Heart at CD Baby: http://www.cdbaby.com/cd/kalafarnham3
Best of 2012
There’s so much good new music out there. The best music of 2012:
1. Radio Music Society, Esperanza Spalding: Invigorating blend of R&B, funk and jazz infused with top-shelf musicianship and an enticing lyrical quality. This is perhaps her best yet. Spalding sports a fluid, proficient and pleasing voice that delivers her poignant lyricism over the engaging compositions. Get the Deluxe Edition with a Making of DVD.
2. Locked Down, Dr. John: Black Keys guitarist Dan Auerbach gets an inspiration to record with the N’Awlins legend and they whip up a spooky, funky, voodoo dose of swamp funk mixed with hard rock sensibilities. Some of the best from recent vintage of the good Doctor.
3. Tramp, Sharon Van Etten: One of the truly remarkable and original sounding records from a singer/songwriter whose dense, penetrating lyrics are revealed through inventive arrangements that complement her songwriting.
4. Sunken Condos, Donald Fagen: At his wry, funky, satirical and stinging best. Glossed with a Steely Dan sheen but it still swings like mad.
5. Everybody’s Talkin’, Tedeschi-Trucks Band: Live outing from one of the best ensembles around today. A beautiful combination of blues, rock and pop whipped together with Derek Trucks’ slide lacing through it and the marvelous Susan Tedeschi’s soulful, blazing voice on top. Not to be missed live.
6. Sun, Cat Power: Return of the elusive, mercurial and magnetic singer/songwriter. Her best since The Greatest.
7. Election Special, Ry Cooder: Venerable American music stylist gives his biting political take on the present state of affairs with his usual entertaining, insightful views served with a helping of exquisite string playing.
8. Driving Towards The Daylight, Joe Bonamassa: Another edition in the evolving style and development of one of our best modern-day blues guitarists, who happens to have a soulful voice as well.
9. The Lion, The Beast, The Beat, Grace Potter & The Nocturnals: From the opening strains of the remarkable title track through another set of inspired rock and pop, a step forward and upward from this New England-based group. Their roots are firmly planted in the fertile ground of the 1960s and early ’70s. All framing Potter’s gloriously wild and unrestrained voice.
10. Blues Funeral, Mark Lanegan: Love him for his various collaborations over the years, not the least with Isobel Campbell, but there is something dark and compelling about this bluesy and funereal outing that is addicting. Continue reading Best of 2012
Robben Ford at the Infinity Music Hall
Robben Ford played at the Infinity Music Hall in Norfolk Friday night. It was the second time we had seen him in three years at the venue and he was on fire, playing a variety of blues and jazz inflected solos over traditional blues material and some of his own tunes.
From Robert Johnson (Travelin’ Riverside Blues) to Paul Butterfield (Lovin’ Cup) to Elmore James and Jimmy Reed (Please Set A Date/You Don’t Have To Go) as well as some of his own compositions, including two instrumentals, Indianola, a tribute to B.B. King, and a nod to the Texas Cannonball, Freddie King (Cannonball Express), Ford displayed his creative and eclectic approach on each of the songs in his setlist.
We saw him last in August of 2009. You can view a post on that show here. Continue reading Robben Ford at the Infinity Music Hall
Best of 2011 and early 2012
Finally a list of favorite albums from 2011. I’ve included the best albums of early 2012 as well. Here are the top albums from 2011:
1. El Camino, The Black Keys: No they haven’t lost their way. No, this isn’t a step back or a step to the side. This is infectious, rocking and raw, though not as raw as their early releases, tuneful and driving. They keep moving forward.
2. The Harrow & The Harvest, Gillian Welch and Let England Shake, P.J. Harvey: It’s a tie. Second choices each. Can’t separate them. Welch and her partner David Rowlings have produced an extraordinary duet album underpinned with roots guitar and banjo and enchanting vocals. The songs are spare country-folk pieces beautifully executed. As for Harvey, I’ve already mentioned this one in an early 2011 best-of list. It continues to grow on me if that’s possible. Highly thoughtful, enveloping musical statement featuring Harvey’s and her friends’ expert muscianship and musicality. There, I’ve used a form of music three times in that sentence.
4. I’m With You, The Red Hot Chili Peppers: Talk about an overlooked album. Oh, I’m sure it sold well. The only problem with this album is that it had to follow Stadium Arcadium, which was a career effort in creativity and popularity. Still, it’s more of the Peppers and the Peppers are quite something.
5. Hard Bargain, Emmylou Harris: This was my top choice for the early list. It’s dropped a few places, not because it isn’t worthy, because the later releases were just that good.
6. Tedeschi Trucks Band, Revelator: Another early choice that stood up. Blues, soul, R&B mix with Tedeschi’s heartfelt, soulful vocals on top and Trucks’ dynamic, penetrating slide running through it all. Continue reading Best of 2011 and early 2012
Concerts Vol. 14: Led Zeppelin
In early August, 1969, there was quite a buzz about Woodstock. I don’t believe anyone, even at that late date, anticipated how big it was going to be. At least not among my friends.
Most of us were not planning on a trip to upstate New York though. On Sunday the 17th during the festival weekend, a concert was scheduled at the original Oakdale Music Theatre, with its theatre-in-the-round stage, in Wallingford, Conn., that was not to be missed, Led Zeppelin.
We’d seen Cream there the previous summer and myriad other mid-to-late ’60s acts: The Paul Butterfield Blues Band, Lovin’ Spoonful, Ray Charles. Shows I didn’t get to see included The Who, The Doors and Chicago. One of my bands, The Bram Rigg Set opened for The Dave Clark Five in late summer, 1967. It was an almost-perfect venue to get an up-close look at performers. Seating was perhaps no more than about 2,000, the closest within about 15 to 20 feet of the musicians, sometimes even closer when they came to the edge of stage, which was only a few feet off the ground.
Zeppelin’s first album was released in early 1969 and it made quite an impact. Surprising really. Jimmy Page was well known and I’d seen him with the last version of The Yardbirds in 1967 at the Village Theater in New York. But Robert Plant, John Paul Jones, John Bonham, where did they come from? Continue reading Concerts Vol. 14: Led Zeppelin