This week I am listening to some tracks by The Big Drops, a New Jersey-based act who seem to have beamed here direct from a hazy, psychedelic recreation of the 1960s, which is an entirely Good Thing as far as I am concerned.
This week, ‘Spillin’ The Beans is having a quick round-up of odds and ends that have been hanging around and really need to get an airing.
Abahachi introduced us to doom jazz – well, this is – sort of – doom folk, and very good it is too. The Ghosts of Johnson City are a dark Americana group from Portland, ME USA and they are gearing up to release their second album, The Devil’s Gold, on February 7th. They have very kindly shared a Soundcloud stream with us, prior to release.
Based in Maine with musical roots in Appalachia and the Deep South, The Ghosts of Johnson City “aim to take listeners on a journey through the annals of the past, giving voice to those who can no longer speak. Their debut album, Am I Born to Die? was released to wide critical acclaim in 2015. The Devil’s Gold finds the group exploring new territory while adhering to their trademark themes of love, loss, meaning and mortality.”
You’ll find links to everything you’ll need to get to know about The Devil’s Gold below.
Here is a shameless plug for the second Holywell Community Music Festival near Elland, in West Yorkshire. It is scheduled over three evenings, Friday July 1st, Saturday 2nd and Sunday 3rd. There’s a great line-up including Chris Leslie from Fairport Convention (headlining on Friday night); Ducie, who mix traditional and contemporary styles from across the world; Maia, a “psychedelic sci-fi folk-rock band” and Emily Lee, a dynamic London-based singer-songwriter. The ticket price includes a simple supper, with vegetarian option available. Here’s a link to the web site, which tells you more about it; how to buy tickets; location; accommodation; etc., and profiles some of the acts: http://www.holywell-music-fest.uk/
A NYC judge is being asked to declare the iconic We Shall Overcome is in the public domain. A non-profit group that works with orphans and the poor, the We Shall Overcome Foundation, wants to use it in a documentary.
The group complains the publishing company asserting rights only ever held protection for one specific pre-60’s arrangement
The NY Times explains in today’s paper.
That time of year again. Work is slow, lots of tedious photoshopping to do, needed a new mellowish playlist i could work to. Mostly folkish, some old, some new, some blue. More females than usual, twee alert for some strings, bit of jangle, bit of gentle groovy psychy and soulish surf pop, and a familiar stonker to wrap it up. Because at some point it’s going to be spring and i’m going to have to get out of the house.
Q: How do you see the guitar solo fitting into the song? Does every song need a guitar solo? Does the solo need to have an emotional connection to the song?
A: Does every song need a guitar solo? Absolutely. Without question. What’s my purpose on Earth if I’m not playing solos?