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sometimesalwaysmusic · 7 years

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SLACK BRIDGES

Slack Bridges (SB) has been making waves in the capital, having played many of the major and up-and-coming festivals in the region in their (relatively) short lifespan. In advance of their debut LP release show at the Rainbow Bistro, we caught up with bassist Garrett Bass for an in-depth conversation on influences, guests in their live show and maintaining their serious momentum moving into 2018.

VITALS

Facebook: https://www.facebook.com/slackbridges/

Web: http://www.slackbridges.com/

Instagram: https://www.instagram.com/slackbridges/

Twitter: https://twitter.com/slackbridges

Upcoming Release: Joy of Joys (LP, Nov 2017)

Upcoming shows: Saturday, November 11 - Slack Bridges LP Release, with Mushy Gushy & Zattar. The Rainbow, Ottawa, ON. 9PM.

SA: How did Slack Bridges come to be? SB: In 2014, Chris (guitar) and myself had just started rehearsing with a local soul group and we realized we’d rather just work with each other. We started meeting up semi-regularly and putting some song skeletons together, but a combination of us having trouble finding a singer and both pretty busy meant that the songs just sat there for about a year and a half. In late 2015, I heard an album by an old pal Matt Gilmour under his alias “Gold Bonds” and really loved the sound of his voice. I showed Chris and we decided to reach out and see if Matt liked any of the tracks. The rest happened pretty quickly - Matt joined, he recommended our drummer Paul, I tracked down our keyboardist Marcus and things started coming together. Now as we release our first full length (we put out an EP last May), we have Zac Sedlar on alto sax and a few musicians who play off and on with us.

SA: What bands, musicians or artists would you cite as the biggest influences on your sound? SB: As a group of people, our tastes in soulful and funky music are pretty diverse, but we all speak the same language. So, half of the time we’re referencing the vintage stuff, from Chicago style soul like Curtis Mayfield, southern soul like Don Bryant, Anne Peebles, etc. and jazz fusion pioneers like Herbie Hancock… and then the other half of the time we’re referencing classic hip-hop and modern R&B guys like Anderson .Paak, Kendrick, etc. I think it’s pretty cool that you can be so varied but still under the same umbrella. When we’re writing we’re referencing across the map.. “hey can you try some Chicago soul strings at that part?” “Can we get some of that Saturday Night Live sax ripping in the background here?” “How can we get a big Kendrick-style Moog bass on this one?” It’s cool! This type of diversity really shows through on our new record. We really do yield influence from the history of soulful music throughout the ages.

SA: Thus far in the band’s lifetime, what has been your biggest success? SB: We played Bluesfest this summer, which was pretty great. We also played Ottawa’s first soul music fest this year which some of us played a big role in putting on. It was really cool to see this kind of music as a community-builder, and a way of bringing people together. I’d say the biggest success has been getting a grant from the Ontario Arts Council though. It was really cool to have a big agency like that believe in what we’re up to! Plus it allowed us to take the album we’d been picking away at and get some guest musicians on it, get it professionally mixed, mastered, pressed on vinyl… we would be dropping a very different product right now without that cash. It's safe to say that we are proud of our record and earning that grant.

SA: On the other hand, what is the biggest challenge you have faced, and how have you dealt with it? SB: We’re mainly 9-5ers and being in a band can be a big time management piece compared to how it used to be when we were kids. We’ve got 6 schedules to work around and we’re always trying to find a fine balance between being fun, efficient and reducing burn-out. For example, I’m a teacher and Matt is a grad student, so we work hard all year and then have summer off. Right at that point, Chris starts working 10-12 hour days at all the festivals. It’s a lot of juggling to get people together and gett’er done. Fortunately, when we all get in the jam space and play music together it’s a blast and definitely cathartic.

SA: How do you approach the song-writing process? SB: I actually had a friend read the back of the album and say “oh come on, you guys don’t actually all write the songs together. Who brings in the song?” To which my response was… yeah, actually, we do, and it’s crazy. Haha! Usually someone busts out an idea and we just jam the hell out of until we have a song. I’ll record what we have and dump it onto the net, Matt will brainstorm and revise some lyrics for the following week and we’ll keep at it for about 4-5 weeks until it’s a done deal. Sometimes, we improvise or revise for fun, but crafting a song is one of the funnest parts of being in a band for all of us, and we compose democratically. I think that our new record is definitely a reflection of this democratic and diverse approach too.

SA: What are your thoughts on the Ottawa music scene? SB: I’ve been here for about 12 years and it’s better now that it ever was. There’s a ton of variety! I feel like you could see a wide array of music any night of the week if you’re not too picky about genre. I can name a few artists worth watching in just about any portion of the scene… soul/funk, jazz, punk, rock n’ roll, garage, reggae/ska, indie, songwriter, folk, celtic, gypsy. We feel lucky to be part of Ottawa's music infrastructure, and are excited to grow with it as it becomes more accessible to others. It's always sweet to see new people come out, new bands, labels, venues, and organizations dedicated to improving our creative community.

SA: You are set to release your debut full length album, Joy of Joys, at the Rainbow Bistro on November 11. Social media tells us that you've been rehearsing with Olexandra from the Peptides. Can you tell us how that rehearsals have been going, and what can fans expect from your upcoming release show? SB: Our set is feeling great! After festival season it’s nice to be able to add some new material. We have some really fantastic people joining us on the 11th. Olexandra has been a huge supporter of this band and does such a great job with the Peptides, so it’s awesome to have her come up for a bunch of songs. We’ll also have Nick Dyson crushing it on trumpet and a couple other surprises up our sleeves. Expect a fun, intense, energetic, dynamic, and powerful set. We will be be playing songs off of our new record, as well as some brand new material. There will be lots of opportunities to dance and wild out. Our friends DJ Zattar and Mushy Gushy will also be playing some killer tunes as well. It's going to be a really great party.

SA: Given each band members' history with bands of a variety of genres, what made you want to follow this style with this band, and how has your song-writing approach compared or contrasted with past projects? SB: For most of us, we’ve just really always wanted to play in this kind of group but it wasn’t a possibility a few years ago. In terms of songwriting, half of us come from a punk rock background where you jam out a song until it sounds good, and the other come from a jazz or blues background where you improvise and really explore an arrangement. Put the two together and it makes for some really fun songwriting. That being said, we all have a fascination with complex, impressive, and tastefully executed music from the heart. That remains consistent in our songwriting, but our new record shows an honesty and maturity in how we have evolved as people and songwriters alike. That growth is something we all go through.

SA: Ottawa Jazz Festival, Ottawa Bluesfest, House of Paint, and the list goes on. You guys have hit a lot of the major festivals coming through Ottawa thus far. Though this is quite the enviable position, how do you keep this kind of momentum building, given all the tremendous successes that 2017 had for the band? SB: We managed to do a lot without an official LP out, which was pretty amazing! A lot of what got us into those festivals was word-of-mouth, which we’re super grateful for, but we’re really excited to be able to push a unique record that we put a lot of work into and give new listeners a clearer idea of what we do. I think now the goal is to keep building momentum, enjoy writing and releasing even more material, and see if we can take our momentum to some of the bigger festivals in Montreal, Toronto and Halifax, etc.

SA: What comes next for Slack Bridges post album release, and moving into 2018? We wish you guys the best, and good luck! SB: We’ll just be trying to get the record out there for the next little bit, hopefully collaborating with some more great Ottawa talent in the process. Otherwise, we’re just going to keep experimenting and writing soulful music and try to represent Ottawa one funky track at a time!

#slackbridges #ottawa #newmusic #funk #soul #joyofjoys #albumrelease #houseofpaint #ottawabluesfest #ottawajazzfestival #rainbowbistro #thepeptides #ontario #canada

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thotyssey · 7 years

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On Point With: DJ Johnny Dynell

[Photo by Alex Colby]

It’s impossible to discuss the history of NYC Nightlife without considerable mention of this prolific musician, whose recordings have cemented themselves into the foundation of all dance music. As a club DJ, he has spun in basically every legendary spot the city has boasted since the 1980s, and he’s partied with luminaries ranging from his Ball family House of Xtravaganza to superstars Elton John and Debbie Harry. To this day, he remains one of the most in-demand stars of the scene, spinning such huge events as Night of 1000 Stevies and the Black Party. And hell, he put out a big Vogue record a whole year before Madonna. It’s DJ Johnny Dynell!

Thotyssey: Johnny, thanks so much for taking the time to answer these questions! As I'm writing this, I'm listen to your classic 1983 single "Jam Hot," which sounds like it influenced so many dance songs over the decades. Do you feel like you hear pieces of the song in a lot of other stuff? I know Fatboy Slim officially sampled it. Johnny Dynell: “Jam Hot” gets sampled, remixed and covered constantly. I went on iTunes recently to buy it (It was easier for me to pay the 99 cents than to look for it), and I saw that there were like a hundred versions of it. I was shocked.

A lot of people know the 2010 remix that Tensnake did, but my absolute favorite is a cover version that this great Hip Hop group from Australia called Koolism did. I like it better than mine. It’s so funky.

But the best is this big fat hairy construction worker in England who sings it in on YouTube. It’s genius! “Jam Hot” is now a term in the Urban Dictionary. That’s pretty cool.

[Performing “Jam Hot” at Danceteria in 1983. Photo by Chris Savas]

You've had such a prolific run as a recording artist and club DJ, going back decades. Had you always suspected you'd have a lifelong career in music? Hell no. I came to New York to go to art school in the late ‘70s. At the time, downtown was a very creative scene. Art, music, fashion, film--everything was connected, and anything was possible. I started playing in No Wave art rock bands, even though I had no musical training whatsoever. That led to DJ’ing and recording. But music was never my original goal. Where's your hometown? I’m from a very small town on the Canadian border.

What were your earliest musical influences?

Growing up there was always music playing in our house. My mother especially loved R&B like James Brown, Tina Turner, Aretha Franklin. There was always a radio playing. What was it like in your early days of exploring NYC nightlife? What were you seeing? New York was very creative and very exciting in the ‘70s and’ 80s. Originality was crucial. Today, people freely appropriate things from the past and pass them off as their own. When I go on a music site like Beatport, I find it virtually impossible to find a song that is not blatantly stealing from another song. I’m sorry, but putting a new kick drum under “September” by Earth Wind & Fire is not writing a new song! Then I get sick as it goes to number one on Beatport.

Some people defend this by saying “there’s nothing new under the sun,” but that’s bullshit. Disco was new. Punk was new. Hip Hop, Scratching, Rap, Break Dancing, Voguing… they may have had their roots in something older, but they were all brand new.

In 1979, I saw Grandmaster Flash in this church basement and I lost my mind. It was totally new! That’s what I’ll always remember about my early days in New York. How fresh and original everything was. Today for example, it’s all about deep house, acid house, etc., and I love it. I loved it 20 years ago.

How did you join the House of Xtravaganza, one of nightlife’s largest and greatest ball house families? I was first exposed to the Ball House scene at the Paradise Garage and hanging out at The Piers, but I officially became an Xtravaganza in the 80s through my DJ friend David DePino. Angie was my mother, and David Ebony was my father.

[Mother Angie Xtravaganza at Nell's] Were you a dancer as well? I am definitely NOT a voguer. In fact, David Ian and Danni Xtravaganza used to make me vogue at TRAX, and everyone would just roll on the floor laughing. Some of my Old School Ganza sisters will STILL try and get me to vogue at parties like Battle Hymn. They just want a good laugh, the bitches. The Madonna Effect dictates that gays raised from the early ‘90s to today know "Vogue" primarily from her single, even though you and Xtravaganza basically invented the dance and the scene--your "Elements of Vogue" was the original anthem! In the mid ‘80s, I worked with Nick Egan & Malcolm McLaren a bit. I loved the way Malcolm would throw different cultures together, and come up with crazy new hybrids like mixing hip hop with square dancing or opera. After his success with the Duck Rock and Fans albums, he was in LA looking for something new. I called him up and told him to get back to New York and check out the Ball House scene. It was so him!

At the time, I was trying to help Jennie Livingston get money for her film Paris Is Burning, so I stupidly sent Malcolm some of Jennie’s video footage. Of course, Malcolm immediately sampled it and “Deep In Vogue” was the result. [My wife] Chi Chi wrote the famous lines in the song: Sometimes on a legendary night. Like the closing of the Garage. When the crowd is calling down the spirits. Listen, and you will hear all the houses that walked there before.”

Around that time, the House Of Field was born. (I actually have duel citizenship. Mother Angie and Father Pat Field allowed me to be a “Field-Xtravaganza” because the two houses were more like sisters than competitors).

At the very first downtown crossover ball, the now legendary House of Field Ball, Chi Chi and I met London designer Kitty Boots. We talked about doing a Voguing record. Two weeks later David Ian, David DePino, Chi Chi and I were in London recording “Elements Of Vogue”. I wrote the music on the plane and gave Ian a rhyming dictionary to write some lines. He wrote like ten pages, and I just took the best as verses. I will always love the lyrics to “Elements Of Vogue,” they’re so funny. David Ian was an absolute genius.

"Elements Of Vogue” came out a year before Madonna’s “Vogue”. It’s not as commercial or has sold as well as hers obviously, has but I’ll always love it.

I noticed that you are credited in the cast of Liquid Sky, one of my all time favorite crazy cult “scene” films from the early ‘80s!

Yeah. I was cut out of most of it (thank God!). Originally it was, like, twice as long. It was ridiculous. They cut out, like, an hour. It's so stupid.

How did your own DJing career begin?

I started DJing at the Mudd Club. I wasn’t trying to be a DJ; like a lot of things at the time, it was just random and crazy. Justin Strauss and I both started at The Mudd around the same time. Then we went on to DJ at AREA. I played Wednesdays and Fridays and Justin played Thursdays and Saturdays. It’s nice to see that he’s doing so well now, and it's fun to run into each other. We have such a long history.

[DJing at AREA, photo by Patrick McMullan]

The dancefloors in the era you came up in were mixed: gay and straight and everybody in-between. And you worked the legendary floors, as you’ve said: AM/PM, the Pyramid, the Roxy! It was all about the music and everybody coming together. It's so hard for queer kids today to understand the appeal of that, or how it worked. What would you say it was that made that scene great? Things are so compartmentalized now. Frat boys are in the East Village, hipsters are in Brooklyn, twinks are in Hell’s Kitchen, and they all have their own soundtrack. Back then people mixed more, and the music was more varied. When I look back at the songs that we played at, say, AREA or Danceteria, the variety is astounding. Everything from Talking Heads to First Choice. We played reggae, and songs by Fela. It was much more creative. Were you consistently recording and writing your own music while you were DJing? Yes. I’ve always had fun putting out quirky records. I’ve been really lucky to have worked with some incredibly talented people. Arthur Baker, Malcolm McLaren, Eric Kupper, Jocelyn Brown, Peter Rauhofer, David Morales and Danny Tenaglia, to name just a few.

For the past few years, I’ve been working with Pink Martini from Portland. I co-wrote “Una Notte A Napoli” with them. Carlos Santana recently did a cover of it, which is gorgeous. I also did a total ‘70s Disco remix of ABBA's “Fernando.” Pink Martini recorded this (in the original Swedish) with the Von Trapp great grand children. And last November, Pink Martini released their album Je Dis Oui. I co-wrote a song on that called “Segundo.” It’s a classic Cuban son montuno.

On March 31st, I have a song called “The World of Tomorrow” coming out on the TRAX album I <3 NY. This album was complied by Tyler Stone, and has songs by New York’s hottest House DJs. It benefits Youth Communications, a Chicago based non-profit group that helps teens.

Spinning vinyl is a skill most newer DJs have never even attempted. Music technology is obviously amazing today, but nothing can replicate that raw vinyl sound. Do you abide by the Old School, that "Real DJs" do vinyl and everybody else is just hitting “Play?” There is this really cool thing that happens sometimes on Monday nights at Bowery Electric in the East Village called Mobile Mondays. DJ legends like Nicky Siano, Tony Smith, Joey Carvello or Danny Krivitt spin vinyl 7-inch 45s. It’s truly amazing to watch these artists work songs that are, like, two minutes long! They asked me to do it, and I tried and tried and tried to put it off, explaining that I haven’t touched a record needle in 20 years and don't even own vinyl anymore... but finally I said I'd do it.

I borrowed a few 12-Inch records from Will (Carry Nation) Automagic, and played an hour set. There were all these people crowded around to watch me. But watch me what? I put the needle on the record, then mixed it into another record. That was it.

That’s when I realized how limiting vinyl is for me now. I’m not Grandmaster Flash, I don’t scratch or put on shows. I just play records. I couldn’t loop or do any of the things that are possible with digital music. Vinyl sounds a lot better, and I really admire the DJs that play it, but for me it’s too limiting.

Some kids today add “DJ” to their name on Facebook, hit play on their laptop and call themselves DJs. They are not DJs. Susan Morabito and I talked about this one night at Scissor Sundays. We agreed, you don’t have to spin vinyl to be a “Real DJ", you can play with a laptop. It's what you do with the technology that makes you a DJ. How many actual vinyl records do you still have? And what’s your favorite? I have about 30 records now. Records that are autographed, rare test pressing, or records that have sentimental value... but that’s it. I would say that “You Know How To Love Me” by Phyllis Hymen is my favorite record, but that might be because that’s what I’m listening to right now. You mentioned your wife Chi Chi Valenti, another NYC club legend. How's she doing? This time of year she is always swamped with her “Night Of 1000 Stevies” event at Irving Plaza. This year will be the 27th. She is also a board member of Howl Arts, which keeps her busy with the Howl Happening Gallery on East First Street and The Actors Fund East Village wing. She works too much.

[Chi Chi at Night Of 1000 Stevies. Photo by Jeremy Rocklin] You and Chi Chi are well-known for being co-founders of Jackie 60, the legendary early 90's party--and, later, club (that would eventually become Mother). Anybody who lived through 90′s nightlife have tales to tell about Jackie 60. How would you describe what made the scene so special to the uninitiated? Jackie 60 was a community. It was never “Johnny & Chi Chi present...” It was always “Jackie presents,” because, who is Jackie? "We’re all Jackie,” we would answer.

I think Jackie 60 was special because she was the culmination of a Downtown art/club scene that was quickly coming to an end. From our disco beginnings through punk and new wave, through house music, club kids, drag performance etc., the experiences were all churning around in our brains. Our combined history at The Pyramid, Boy Bar, AREA, Danceteria, The Mine Shaft, Esquelita... all came together every week in the different themes. There was “Phantom Of The Paradise Garage” and “Valley Of The Queens: Secrets Of The Pyramid.” There would be tributes to “The Trucks” or “Lee’s Mardi Gras.” What came out in the 500 themes we did over ten years was really just a reflection of our lives.

That’s why on the last Tuesday of 1999, even though Jackie was still packed every week, we closed it. At first I didn’t get it, but Chi Chi was very adamant about not bringing Jackie into the 21st century. She saw what the Meat Market was going to become, and wanted no part of it. She wisely knew that Jackie belonged with her legendary 20th century nightclub sisters that had gone on. What is your favorite memory from that period? That’s a tough one. Every week, there were supermodel catfights and scandalous couplings, as well as all the incredible shows on the stage. Performers took gigs at Jackie 60 very seriously, and we pushed them. Michael T in blackface was a rapping “Snoop Truthy Truth” in “Fiddler In Da Hood,” Sherry Vine was Jonbenet Ramsey in “Daddy’s Little Prostitute.”

We cast Amanda Lepore as Sid Vicious in our production of Sid & Nancy.” Amanda was amazing in drag as a man and gave an Oscar worthy performance. Amanda Lepore is a stunning beauty, but hiring her to just sit on a couch with a bottle of vodka is just a waste of her talents.

[Debbie Harry, Rob Roth and Paul Alexander in “Revenge Of The Geisha” at Jackie 60. Photo by Paul Brissman. Still from the upcoming movie “The Last Jackie.”]

The big clubs started going down in the 90's due to skyrocketing rents, impossible ordinances, drugs and crime and changing nightlife trends. It's more difficult than ever to keep them going today, as we've seen from the recent closing of XL and the upcoming end of Space Ibiza. Can we--should we--save the big clubs? I’m a firm believer in letting the marketplace decide. If a city is tuned into the Zeitgeist, as New York still is (for better or for worse), she will produce the clubs that she needs. As Michael Musto said, “Each generation gets the clubs that they deserve.”

I remember going to the opening of the Palladium; it was gigantic. Chi Chi just turned to me and said, “It’s all over.” And it was.

When I play in some smaller American cities, I notice that a lot of times there are just one or two clubs, and they have usually been there for, like, 40 years doing the same thing week after week. New York, on the other hand, is cutthroat: she is always changing, evolving, killing off the weak, thinning the herd. The small clubs of the 70s turned into the big clubs of the 80s, which turned into the small bottle bars of the 90s.

Getting it right is a crap shoot. We were involved with Crobar in the 2000s. It was such a beautiful club with an amazing sound system, and basically was perfect... but it couldn’t make it. Even though there were, like, 4,000 people every Friday and Saturday night, it just wasn’t enough. That’s crazy.

What are some of your favorite floors to play in today? I play for a lot of special events like the Elton John Oscar party in Hollywood, and the AMFAR party at the Cannes Film Festival. They are really fun, and they raise a lot of money for AIDS. But playing in clubs is really in my blood. That’s where I’m most at home.

As far as a favorite dance floor, I’d have to say playing at The Ice Palace on Fire Island is always special. I really get off on the club's history, and being a link in her chain. I think of all the legendary DJs that have played there, and of all the dancers that have passed on. Young gay boys today take it all for granted. They have no idea what it has taken to get to this place. I tell them to Google Michael Fesco, or read Love Saves The Day, by Tim Lawrence.

[Elton John Oscar Party. Hollywood, 2015.]

How do you think nightlifers have changed today, compared to how they were in the 90s? I know it’s a cliche and I know I sound like some Grumpy Granddad, but a lot of kids today don’t seem to be living in the here and now.

Last year, I was playing at this club. We had just opened the doors, and there were about ten guys standing at the bar, all of them on their iPhones of course. I’m sure they were all on Grindr or Scruff, and probably sexting the guy standing right next to them. It’s like, if Logan Hardcore was drowning in the Ice Palace pool after one of her afternoon shows, these kids would be Instagramming it with the hashtag #help! or #loganisdrowning! or #Someonecall911! Not one of them would think about reaching down and actually pulling poor Logan out of the water! Besides having mad skills, you've clearly lasted as long as you have because you're adaptable. And there's a variety of gigs that you're involved in:

1) FEMME at Drexler's in the East Village. You were just there on March 12th, and maybe you’ll return next month?

I [also] spun there for the opening [two months ago] with Matty Glitterati. It was amazing. The looks were off the hook! The boys were girls, the girls were boys… I gave up trying to figure out what was what and that is EXACTLY what needs to be done today. 2) Daniel Nardicio's Mr. Nude Orleans "pageant" and party in New Orleans on March 19th! New Orleans is a mad fun gay city. And naked people are always fun! New Orleans is such an amazing city. It’s like the last stop on the L train. Chi Chi and I have an 1880s Double Shotgun house there that we are fixing up. In fact, Daniel Nardicio and Jake Shears have places around the corner from us. It’s nice.

Daniel has been doing cabaret shows there for a while now. He’s brought Alan Cumming, John Waters, Dina Martina, Lady Bunny, and in April is bringing Diamanda Galas to the Joy Theater. Daniel and I doing “Mr. Nude Orleans” is just a logical step.

In events like Mr. Nude Orleans, do nudity and general sexiness ever prove too distracting when you're Djing?

No, I’m really just about the music. However, I do love the sense of freedom and joy that these parties have. There’s something so primal and tribal about them. The Black Party and Daniel Nardicio’s Underwear Parties both have this fantastic feel of old New York. I think one big reason is that there are no cameras allowed, and people have to check their phones. There are no selfies, no Snapchats, no texting or sexting. People have to actually interact. It’s great!

[Daniel Nardicio’s UNDERWEAR PARTY at The Ice Palace, Fire Island. 2016. Photo by Koitz] 3) Speaking of which: THE BLACK PARTY on April 1st, location TBA! That one, of course, is infamous for being the source for Anything Goes. Have you ever DJ’ed that one before? I think I played in the Lounge a few years ago but no, the Black Party is not a regular gig for me. I was really, REALLY honored to be asked. The Black Party is so legendary; I’m very excited about it.

4) And then on May 5th: “Night of 1000 Stevies” at Irving Plaza! Chi Chi is the major creative/planning force behind this event, as you’ve mentioned. "Stevies” is a loooong running party/show that's evolved considerably from just a place where everyone dressed like Stevie Nicks. Can you even describe what it is today?

“Night of 1000 Stevies” has gotten so big, we do it with Live Nation now. People travel from all over the world to come to it. It has sold out Irving Plaza for the past four years, but somehow Chi Chi makes sure it still maintains its underground style and sense of humor.

And no, Stevie has never been. She loves the night and has supported it, but she is always on tour somewhere when we do it. However, she did say that one day she will come dressed “as Stevie” and no one will know who she is until she walks up on stage and sings “Edge Of Seventeen.” I just love the idea of the real Stevie Nicks dressing up as one of our 1000 Stevies. Life imitating art?

[Night of 1000 Stevies 2014, by Jeremy Rocklin]

And I'm sure there's a lot more coming up for you... Pride is already right around the corner! Besides Pride in New York, I might be doing Pride in New Orleans with Daniel Nardicio. I hope that works out. Finally: You mentioned fellow DJ legend Michael T earlier. I interviewed him recently, and he seemed rather pessimistic about the future of nightlife. What are your thoughts about what lies ahead? I’m a little more optimistic (and a lot prettier) than Michael T. The reason I’ve dropped so many names in this interview is because I'm hoping that kids will Google them. I’m hoping they read Love Saves The Day and Life & Death On The New York Dance Floor by Tim Lawrence. I'm hoping they put down their phones when Logan Hardcore is drowning in the Ice Palace pool and pull the bitch out. I’m hopeful about the future. I think the kids are alright.

[Hangin’ with the kids on Delancy Street. Photo by Sabrina Haley]

Check here for a list of DJ Johnny Dynell’s scheduled NYC gigs, or his website. He can also be followed on Facebook, Instagram, Twitter, YouTube, iTunes and Soundcloud.

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#onpointwith #johnnydynell #queerdjs #clubkids #oldschool #danielnardicio

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musicdish · 6 years

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Gar Francis Releases A New Album Titled: Gar Francis Songbook Volume One By Various Artists Doing Versions Of Songwriter Gar Francis Songs

Gar Francis Songbook Volume One by Various Artists Album Presale: 3.9.18 Official Release Date: 3.16.18 Featuring the following Songs and Artists: 01. Baby Let's Go - Tom Vicario 2:42 02. Come On Come On - The Easy Outs 3:10 03. I Won't Cry Anymore - Genya Ravan 4:35 (Ten Wheel Drive) 04. Satisfied - Tyce Green 4:17 05. Born Dainty - Kelly Caruso 3:44 (American Idol) 06. Meet Me - Ricky Persaud Jr 4:12 07. Sweet Sunshine - The Satisfactors 3:38 08. Rush On You - Mark Lindsay 2:40 (former Lead Singer of Paul Revere & the Raiders) 09. A Spy For Love - Mia Moravis 2:32 10. A Special Girl - Jim McCarty 4:45 (The Yardbirds) 11. Ballerina Of The Bowery - Jana Peri 4:10 12. Break It Down - Anthony Krizan 4:29 (The Spin Doctors) 13. Fool For Your Love - Crab Bubbles Band 2:47 14. Make Up Your Mind - Inches From Sin 3:24 15. Shine Your Love - Kathryn Shipley 3:53 16. The Hand Of Fate We Hold - The Corridors 3:30 Album Review by The Grouch | In The Rockies Hej America! Today is a bit of a special day here in Grouchland. Why you ask? Well, today’s review is of an album of songs, most of which were composed solely by one of my favorite musicians, Gar Francis. For those who do not know, Gar is a wizard of musical creativity. Over the years I have heard many songs from Gar’s colossal body of work and I can honestly say I have not heard anything by Gar that I disliked. This is an album of songs composed either solely by Gar or in collaboration with other talented musicians. This album. at least in my opinion, further solidifies Gar’s position among other behind-the-scene greats such as Bob Ezrin and Mutt Lang. Track 1 - Baby Let's Go - Tom Vicario 2:42 - This is classic Country Gar and Tom delivers a great rendition. I am a sucker for that twangy guitar. Tom’s voice fits well with this style of music. When the solo kicks in the listener is reminded that Rock and Roll is basically a fusion of African inspired soul and Country. This track reminds me of old Roy Orbison or anyone one of the first-generation rockers. All in all, this is a good song that is played flawlessly by Tom Vicario. Track 2 - Come On Come On - The Easy Outs 3:10 - The raunchy 60s sound is alive and well in this track performed by the Easy Outs. The music grinds and the old-school licks blister as the organ adds some groove around the edges. This is a dancer’s track for sure. The vocals are spot on as the old time Rock and Roll vibe fills the air. What’s not to love, with wicked guitar licks, a funky bass, a rock-solid drummer and lyrics that state “You make a monkey crazy! Come on come on!” I really like this band! Track 3 - I Won't Cry Anymore - Genya Ravan (of Ten Wheel Drive) - 4:35 - This is a massive blues jam that I can’t get enough of. Listen to this song and tell me you can’t feel the soul. Genya has a great voice and the backup singers just add to the magic. There is a massive amount of Motown goodness in this track. I want to give a special nod to Genya’s drummer, Bobby Chen. Amazingly, he stands out despite being behind a truly wicked guitar player and some of the most soulful vocals I have ever heard. This is without a doubt a great song. Track 4 - Satisfied - Tyce Green 4:17 - This track is from the 80s influenced Pop-Metal Gar. The track is performed by Tyce Green and reminds me of the stuff that was popular back in the day. I am thinking of April Wine or even Billy Squire. There is enough rock here for guys to dig it and enough sensitivity in the vocals for their girlfriends to get them to come to the show. In short, this is a good song reminiscent of 1982 which, at least for me, was a very good year. This song is well executed, radio-friendly hard-pop. Track 5 - Born Dainty - Kelly Caruso (of American Idol) - 3:44 - First things first, I dig the music. It's got an old Charlie Daniels - Skynyrd feel. As an old drummer, I have to say I really like what Keith Reil is doing. I also dig the leads Gar pulls out at the tail end of the song, and some people say Country doesn't jam! When done right, it jams indeed. Kelly has a strong voice that gets better on the chorus. She can sing and seems to have the kind of gutsy attitude that I dig. Think of a kind of Country Gore Gore Girls and you are on the right track. This is a good song from a young woman with a strong voice and some really good players. Track 6 - Meet Me - Ricky Persaud Jr 4:12 - It really doesn’t get much better than this. Gar is a fantastic songwriter and there are not many people who can jam as much as Ricky Persaud Jr. I have been a big fan of Ricky’s since I first heard him quite a while back. Simply put the man can do wonders on any instrument he chooses to use, including his voice. The Reggae vibe is strong, and I am brought back to a conversation I had a long time ago with a cat I knew who was playing drums in a Reggae band. He said to me “Once you go Reggae there is no going back.” Listen to this song. When I do I have to admit I have percussion envy. Track 7 - Sweet Sunshine - The Satisfactors 3:38 - I first heard about the Satisfactors a few years ago. I dig what they do! This is a band made up of a bunch of guys who are bursting with in-your-face soul. The singer sings well. The rhythm section is rock solid, and the guitars are on fire. I dare anyone to listen to this track and not be in a better mood by the end of the song. A long time ago, when the Walkman first came out, I had a friend who would say "Here, have a little Alice. You'll feel better." Then he would give you the headphones and Billion Dollar Babies would blast through your brain. Well, here, have a little Satisfactors. You'll feel better. Track 8 - Rush On You - Mark Lindsay (former lead singer of Paul Revere & the Raiders) - 2:40 - One word: JAM! This reminds me of something our band instructor back in Jr. High school would say. If we had managed to make some particularly soulful noise Mr. Case would look at us, grin and say in his cigarette damaged voice: Sometimes you cats can wail. Well folks, this track wails! Track 9 - A Spy For Love - Mia Moravis 2:32 - I had no idea they were making a new James Bond film. They must be because this track is absolutely meant to be the theme song for a James Bond flick. The camp factor is over the top as Mia sultrily sings that she is a Spy For Love. The thing is that despite the intentional campiness and the omnipresent musical kitsch, the music on this track is really well played. Mia has a very good voice and the band actually makes the song groove. (I do have to wonder how many times they had to do a retake because the band was cracking up?) Track 10 - A Special Girl - Jim McCarty (of the Yardbirds) - 4:45 - The first thing the listener notices is the melodic groove that could easily fit in the background of a cocktail party or with a bunch of young neo-hippies hanging in the park. I actually mean that as a compliment. The music does have some Adult Contemporary overtones that would make a dentist smile, but if you really listen to the track you will hear a subtle, yet smoking guitar. That guitar behind the easy-on-the-ears voice really works together to create something special that just may take a couple of listens to fully appreciate. When all is said and done, I find myself speechless and thinking “now that is one cool way to rock and roll.” Track 11 - Ballerina Of The Bowery - Jana Peri 4:10 - I dig this song. The Bo Diddley vibe is just too cool. Man, the drummer, Kurt Reil, is laying it down! When you combine those drums with the ultra-raunchy guitar (Gar Francis) the song is mind-bending. Add in the vocals and the track goes from mind-bending to absolutely mind-blowing. This song has anthem written all over it. I dare anyone to listen to this track and not start to groove along. Track 12 - Break It Down - Anthony Krizan (of the Spin Doctors) - 4:29 - WICKED! Good God I love well-used feedback! The blues simply does not get any raunchier or grittier than this. The cool thing about this track is that while the music is head-splitting level loud and confrontation the vocals are, believe it or not, melodic. The background vocals only add to the contrast of the out of control, fire-breathing dragon on lead guitar. Out of all of the truly fine tracks on this album, this could very well be my favorite. Track 13 - Fool For Your Love - Crab Bubbles Band 2:47 - The heavy groove continues. There is no doubt that the Crab Bubbles Band can make some noise. The melodic verse is almost a relief from the intensity of the chorus. (Who am I kidding? It can never be too intense!) This song is so good I find myself wishing I was in this band. Excellent work! Track 14 - Make Up Your Mind - Inches From Sin 3:24 - This song is interesting. On the one hand, it sounds so cheery, but there is a menacing machine-like sound grinding just underneath the pleasant keyboards. I am really curious, given the name of the band, is this a simple love song or do the singers have some darker nefarious purpose in mind for the person they are en-couraged to make up their mind? Track 15 - Shine Your Love - Kathryn Shipley 3:53 - Kathryn starts out with some really nice soulful keys. I really am feeling a Band groove here. Then the vocals come in. Man, she has a great voice! The background singers definitely add to the soulful vibe. Then it dawns on me this is the stuff all the great Motown singers grew up singing. This song could be from a church service, albeit not the kind I attended as a kid. This song would fit into a church service where the people rock out. You have to listen to the piano (Eric Barfield) runs in this track. The pi-ano, with the organ in the background, the wicked guitar on the edge, the backup singers all provide an outstanding platform for Kathryn to absolutely wail! I dig it. Track 16 - The Hand Of Fate We Hold - The Corridors 3:30 - The Corridors are a band I quite like. The prowess of their keyboard player is not to be denied. Just when the listener feels immersed in a sea of keyboard produced sound the guitar opens up with a tsunami of laser-guided precession sonic blasts that leaves the listener, well at least this listener, speechless. Over the top of this massively intense yet oddly melodic jam is a voice that is simply awe-inspiring. The man (Adi Mosko) can sing! This is a fantastic track that deserves to be listened to, frequently. I should mention, as the name of the album is The Gar Francis Songbook Volume One by Various Artists that all of the songs with the exceptions listed below, were written by Gar Francis. Sweet Sunshine by Gar Francis, Bruce Ferguson & Kurt Reil A Special Girl by Gar Francis & Jim McCarty Bread It Down by Gar Francis & Anthony Krizan Make Up Your Mind by Gar Francis, Robert Brewer & Karen Holloway Brewer The Hand of Fate We Hold by Gar Francis & Richard X Heyman The bottom line is this is a fantastic album that I am sure will be enjoyable to listen to for years to come. - The Grouch | in the Rockies Made possible by all artists presented and Bongo Boy Records. Produced by Gar Francis and Monique Grimme for Bongo Boy Records. Album Design and Photography: Monique Grimme http://bongoboyrecords.com/garfrancissongbookseries/ http://www.mi2n.com/press.php3?press_nb=202408

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