With November’s upcoming arrival, some soulful sonic nourishment is needed to weather and withstand the remainder of 2020.
Fortifying morsels of lo-fi folk, shiny indie pop, fiery classic rock, breezy dance, garage-filled indie rock, heartfelt acoustic ballads and groovy, emotive hip-hop strengthen the mind and spirit for the unknown road ahead.
The Tecumseh singer-songwriter and drummer joins forces with an all-star local lineup – John Lowe (guitar, vocals), Mike Hintz (bass, vocals), Chris Broski (guitar, vocals), Michael Rozich (guitar, bass, vocals) and David Roof (guitar, keys, vocals) – for a bluesy, rock-infused live album, Bark & the Pack, now available on all streaming platforms.
“The lineup was based on my current band, The Mighty Rhythm Bandits, as the core, and David Roof, who played all of the instruments on the studio recordings. Chris Broski and I did a set as the opener in which we performed Barker & Broski’s The Ballad of Billy Bob and Other Generic American Folklore in its entirety. I thought it would be fun to have him play on a majority of the other tracks as well,” Snyder-Barker said.
“‘Godsparrow’ was a song we had written and recorded with the group Soylent Green/Edgar Allen’s Toe in the ‘90s, and I wanted this to be somewhat of a retrospective. I had written and recorded some music with Michael Rozich and wanted to highlight those originals as well.”
Throughout Bark & the Pack, Snyder-Barker spotlights life-changing musical stories about internal growth, personal loss, rowdy adventures, stolen moments, long-lasting friendships, renewal and the fleeting passage of time. For his second live album, Snyder-Barker decided to drop Bark & the Pack after recording a prior CD release party for Bark’s Wagon Tales at Cotton in 2017.
As the live album’s ‘70s hard rock-inspired opening track, “Sea of Sand (He’s a Lost Boy)” features crunchy metal guitars, pounding drums, crashing cymbals and calm bass as Snyder-Barker chronicles a man’s eternal soul-searching journey for self-acceptance.
He reflects, “You see a young boy screamin’/Across the desert plains/Runnin’ for his life/He never found his peace/Jealous men never revealin’/What they hide away/For diamonds and silver.”
While the world turns to chaos outside, it’s time to search for solace inside.
Throw work, school and virtual commitments aside for some long overdue relaxation. With headphones in hand, adjust the volume and press play to start a new musical journey into uncharted local and regional waters.
The latest edition of The Stratton Playlist serves as a refreshing sonic escape from politics, pandemics and people. Visit country-filled skies, fuzzy lo-fi jams, jazzy hip-hop points, psych rock bangers, vibrant piano pop anthems and other new terrain.
Strong flavors of folk, country and rock will fill the autumn air at Lake Orion’s Canterbury Village this weekend.
Those aromatic sounds will come from a talented roster of metro Detroit singer-songwriters performing intimate outdoor acoustic sets at Open Air Markets Saturday and Sunday.
This weekend’s lineup will feature James Wailin, Sean Blackman, Al Carmichael, Tom Butwin, Johnny Rhodes and Jon Rice, said Mark Reitenga, a Royal Oak folk rock singer-songwriter who curates live music for Open Air Markets.
“This is a pure energy boost because many of the musicians have been laying low since March and many of the patrons as well. It’s like two happy colliding forces,” he said.
“The music is the tonal center of the market in that the musicians keep the spirit happy as market goers walk around the vast campus looking for goodies, donuts, cider, clothing and specialty items. The musicians play in the outside dining area to folks on picnic benches and also walking by.”
Outdoor market and live music aficionados can expect masked, socially-distanced crowds at Canterbury Village through Oct. 4. The markets also will showcase the work of local artists, crafters, cooks and jewelers and spotlight a different theme for vendors spaced throughout the village.
“They have been fantastic for the pretty strong socially-distanced crowds and also for the safe-distance and mask-wearing aspect. The musical acts have been superb – with many selling their original CDs and making great tip money from the family-oriented crowd accompanied by dogs,” Reitenga said.
For Monte Pride, Michigan’s placid sights, sounds and scents invigorate and soothe the soul.
The Lansing folk singer-songwriter and fingerstyle guitarist beautifully encapsulates the state’s sonic sense of tranquility on his latest album, Even in Absence. With magical, pastoral references to the Grand River, Lake Superior, Pictured Rocks and other Great Lakes gems, Pride paints a seasonal, insightful canvas filled with introspective themes of loss, resilience, growth and change.
“I grew up spending a lot of time outdoors, and I’m still big into camping, fly-fishing, hiking and all that. Northern Michigan has always been a really special place for me, so it just kind of naturally makes its way in. Whether I know it or not, I process these experiences in nature and in different parts of Michigan. I think they just all kind of fall into place, and they relate to each other somehow,” he said.
Pride intricately stitches personal, transcendental moments through 10 serene Even in Absence tracks, including the calming title track. Twirling acoustic strums, glistening piano, peaceful violin and Pride’s warm vocals soothe listeners as they quietly reflect on a still September night, “Even in the ebb/The flow of going I pine/I strive to mend the losing/To know we won’t/Be parting then/Even in the changing/The fraying thread/In the almost lost/A sentiment sought/A golden friend.”
As Pride’s latest single and album title, “Even in Absence” establishes a timeless, acoustic-centered sonic quality that instantly appeals to folk music aficionados across all generations. Think hints of Simon & Garfunkel, The Tallest Man on Earth and Nick Drake fused with special musical seasonings from a Michigan-made singer-songwriter.
“When I wrote the songs and recorded them, I was only listening to old Simon & Garfunkel, Joni Mitchell and Nick Drake albums. I think their songwriting style and instrumentation came through in Even in Absence because I had been listening to them so much during that time,” Pride said.
Pride magically captures his vintage folk aesthetic through a contemplative, poignant “Even in Absence” video directed by Shaina Mahler, who also created the album’s artwork. The thoughtful video reflects Pride’s delicate performance as crystal sea-inspired ornaments and hand-held mirrors depict a quiet, dreamy world beyond the looking glass.
“She has an incredible, amazing eye and style. One day we were sitting outside in our backyard, and she decided to start taking some photos, and I just sang along to the song. She brought so much to the video and the album artwork and embroidered all of the writing on the album cover. It was really special that we were able to collaborate on both of those things,” he said.
Outfitted with a Fender Telecaster and a worn pick-axe, Nick Juno unearths a treasure trove of Detroit musical gems twice a month.
The Motor City folk singer-songwriter carefully excavates and shares priceless song lyrics from local artists through the newly discovered The Detroit Song Mine, which launched today via Facebook.
“For the last several months, we’ve had online access to such wonderful and varied music on all different levels. Oftentimes when hearing people play their songs, I think, ‘That was great live! What did they say?’ And I thought it would be great to see the lyrics to some of these because as a writer I’m always reading the lyrics,” he said.
“It’s all about ‘the song,’ and then I was thinking about how in the ‘60s Greenwich Village had the ‘Broadside,’ which became ‘Sing Out!’ magazine. I thought it would be great to have something like that on a very small, basic level here. I didn’t want to have a contest, review or critique; I just wanted to have the bare bones skeleton lyrics of people’s songs.”
“The first batch of writers in issue No. 1 were chosen randomly from the first handful of people who sent in songs. When I first envisioned doing this, I thought with hat in hand maybe a few people might want to do this monthly, but I got a terrific response. Now, I will be doing this twice a month to keep things moving,” Juno said.
Juno also sought inspiration for The Detroit Song Mine from the city’s historic salt deposits, which date back 400 million years and were left behind by the retreat of an ancient inland ocean. In a sense, he captures that timeless tradition and aesthetically transfers it to publishing song lyrics. Each online issue of The Detroit Song Mine invites artists to discuss and share each other’s songs.
“The idea of mining for rock salt or digging your way for songs out of thin air rang familiar, and I hope people would pick up on that. As writers, it’s often useful to play for other people and get feedback about what they think, what they heard or how things worked out,” Juno said.
“None of that’s happening right now with the ongoing shutdown, so I thought it might be good for people to have an outlet to put their songs out there good, bad or otherwise just for others to see them.”
With the next issue launching Aug. 14, Juno will announce and publish another six or seven songs from a different group of singer-songwriters. He’s interested in highlighting creative lyrics from a multitude of genres, including folk, rock and hip-hop.
“I want this to be like putting up show flyers on a kiosk or wall where you slap up your song with wheat paste and walk away. The people sending in songs are varied and different, so whatever we get I’m happy to put up. Ideally, I’d like to see this in printed form available for people to have in their hands, but I just wanted to get it started,” he said.
“Being online is a good thing because I’ve had people way outside of the Detroit area interested. My hope is that when we finally start up again playing live music readers might say at a show, ‘Oh, I know this song! I’ve seen these lyrics.”
Together, the trio’s nostalgic, heartfelt and upbeat rendition features dreamy, swift acoustic strums, pulsating bass, effervescent handclaps, jingling tambourine, glistening horns and whistling theremin as Guzman soulfully sings, “I remember you well in the Chelsea Hotel/You were famous, your heart was a legend/You told me again you preferred handsome men/But for me you would make an exception.”
“Old Main Records grouped the three of us together, and we went through a list of songs until we agreed upon ‘Chelsea Hotel No. 2.’ I was the one to throw it out there, as I had recently started covering it, and it’s an amazing tune,” Guzman said.
“I’ve enjoyed Cohen’s music since I was younger, and his songwriting has such a rich, dark charm to it. His emotions reach below the surface, and that’s what inspires me most about his writing,” Guzman said.
Back in the spring, Guzman, Ohly and McNitt each responded to an Old Main Records call for a special quarantine-inspired artist collaboration. The plan included stimulating local artist creativity and partnership amid a new, unfamiliar socially distanced world absent of live music.
After the artists responded, Old Main Records, a Wayne State University student-run record label and organization, realized these three were a magical force. In a sense, it was a dream collaboration for a trio of emerging, complementary singer-songwriters.
“We felt we could do something to help artists meet and collaborate at the same time. We had recording engineers and graphic artists as well as our own platform to help promote these artists. We first gathered the artists to meet all together on Zoom,” said Chris Simpson, Old Main Records president and a Wayne State University student.
“Once the artists got to know each other and their music, they had to meet online to come up with a song to record. The artists picked the track based on their own recommendations of pitching each other ideas. It was a very organic process.”
The Detroit Americana folk singer-songwriter marks the passage of time in month-long increments, especially while hunkering down in quarantine.
Last month, Ward tested his creative prowess by writing and recording 31 new acoustic-based tracks at home as part of 30 Songs in 30 Dayssongwriting challenge with New York City folk rock singer-songwriter Paul Weinfield.
“When Paul set out the challenge, he put it in a post and said, ‘OK, who’s up for this? You have to write at least a verse and a chorus, and you have to record it and post it.’ At the time, I thought, ‘Yeah, I’m up for that.’ The very first one was the most daunting, and it was like, ‘Well, where do I start?’” said Ward, who released his last album, We Wonder, in 2018.
“I keep a lot of notes on my phone that I use to record audio notes and melodies, and I also keep a lot of typed notes of starts of songs. I’ve kept them compiled for years, and this gave me a reason to go back to a lot of those notes. I also began exploring feelings of what’s happening, and the very first thing that was recorded was ‘The New Normal.’”
For Ward, “The New Normal” serves as a prevailing folk anthem for staying optimistic during increasing times of uncertainty and unpredictability. The 4.5-minute poignant track features thoughtful, churning acoustic strums as Ward reflectively sings, “Got my love, got my faith/Only hope it’s enough to get us through these days/No human contract, touch of a hand/Six feet of distance across the land/Open skies and open hearts/As we close our doors, do our part.”
“The New Normal” also opened Ward’s creative floodgates and pushed him deeper into the songwriting trenches. A refreshing series of lyrics, melodies and chords flowed from Ward each day.
“The one thing I was cognizant of, but I didn’t go back day to day and say, ‘Oh, did I use those chords in that song? Does this song sound too much like this one?’” said Ward, who submitted an acoustic video of “The New Normal” for this year’s NPR Tiny Desk Contest.
“I honestly didn’t do that much because I felt like otherwise I wouldn’t finish, and if there was something I liked about one particular song, I could always go back and rework it if I needed to. At the same time, I tried to do some different things from a playing standpoint.”
Nick Juno never imagined he’d collaborate with Bob Dylan.
The metro Detroit folk singer-songwriter took an unfinished, unreleased and unrecorded Dylan song, “Dope Fiend Robber,” from 1961 and added lyrics and original music to it. Juno learned about the song through Untold Dylan, an online curator of more than 600 Dylan songs.
“I tried to make it in the feel of the 1960s Bob Dylan kind of folky way as well as Woody Guthrie. I didn’t want to sing it like Dylan; I wanted sing it in my own way,” he said.
A tragic sonic tale, “Dope Fiend Robber” highlights a World War II vet who becomes addicted to morphine after recovering from a combat-related injury. His growing addiction escalates into robbery and murder as well as his eventual execution.
As a gifted storyteller, Juno eloquently honors Dylan on “Dope Fiend Robber” as down-home swift acoustic strums seamlessly glide alongside his nimble vocals, “They found me guilty at the trial/The Judge condemned me to die/Been on that morphine quite a while/But once I was somebody’s child.”
“It doesn’t really mean anything in the greater scheme, but it’s pretty amazing to see my name next to Bob Dylan,” said Juno, who grew up in Flushing.
Juno developed a deep appreciation for Dylan and folk music while serving in the U.S. Marine Corps in San Diego and Honolulu. By the early ‘80s, he was a high school graduate who casually learned guitar from his friends on base.
“The guys would show each other three cowboy chord songs, and the first guitar I had was this little old one. I had to take it to a buddy of mine to tune it every week or so because I didn’t know how to tune it. He said, ‘If you’re going to learn how to play this thing, at some point, you’re going to have to learn how to tune it,’” Juno said.
“I handled that, but that’s when I started playing, and my big love back then was Woody Guthrie, Bob Dylan, Phil Ochs, Jim Glover, Townes Van Zandt and Guy Clark. It was always a story first and then the music. I’m not terribly fancy; I’m a strummer, finger-picker folkie, but I know my role, and I want to tell a story, and I put the two together.”