ROCK THE VOTE!

 

 

We're getting ready for our final "MUSIC ON THE MENU LIVE" show of 2013,

and you can help us pick the songs!

 

  

Hello everyone,

On Sunday, December 22, I’ll be doing my annual “Music On The Menu Live Holiday Special.”  I’ve been doing this show on the Sunday before Christmas for about seven years now, and it’s always one of my favorite programs of the year. Throughout the entire hour, I’ll be playing Christmas music being performed by our own NEPA artists. Some of the songs will be from local artists offering their renditions of holiday classics while others will be original compositions. And, like last year, I’ll have a few special guests in the studio. Hope you can tune in. It’s always a fun show.

On Sunday, December 29, I’ll be doing my last show of 2013. It’s been a great year for “Music On The Menu Live,” as the show found a new home at 105 The River. I’ve now been at The River since early October and I couldn’t be happier with how things are going. The show is on a great station, right in the middle of your FM dial, and you can also listen online. We’re commercial free each week and we podcast the show  each week, so if you miss it on Sunday night, you can listen to it whenever it’s most convenient for you. We’re broadcasting right from Mohegan Sun at Pocono Downs, one of the hottest spots in town, we're still sponsored by The Weekedner, and I’m working with a great producer, Lobo, who brings both fun and professionalism to each show. It’s been all good, and since Lobo and I want to end 2013 on a fun note and thank you for listening, we’ve decided to let you program the final “Music On The Menu Live” show of the year. Below you will find the playlist of every show we’ve done since the show moved to 105 The River on October 6. For those shows, I picked the songs. For our final show of 2013, you'll pick the songs. To vote, just look through each playlist and then send me a message of five of your favorite songs that we played on the show since October. The 12 songs that get the most votes will get played on the December 29 edition of "Music On The Menu Live."

Again, just take a look at all of the playlists below and send your favorite five songs to musiconthemenu@comcast.net or send me a message at www.facebook.com/musiconthemenu 

Please send your list of five songs to me by 4 p.m. on Monday, December 23. 

Here are the playlists:

 October 6 show:

1. Who’s To Blame – Tim Husty

2. Pieces of You – k8
3. Wink – Miz
4. Dance All Night – Farley
5. When We Fall – Stardog Champion  
6. Unreal – Mere Mortals
7. Love Like That – Asiz
8. The Tower – Cabinet
9. Throw Your Love To The Wind – Iron Cowboy
10. Do What You Like – George Wesley
11. Timothy – The Buoys  
12. World In A Way – The Badlees

 October 13 show:

1. Memory (Goodbye) – Nowhere Slow

2. Submission – Shannon Marsyada  
3.The Best That I Could Do – Rick Manwiller
4. Dedicated – Mighty Fine Wine  
5. When Eagles Fly – Kevin Campion
6. Break Me Down – Jeanne Zano
7. Always The Victim – Graces Downfall
8. Walk Alone – The Five Percent
9. Still Cry – Ed Randazzo
10. The Diary of Jane – Breaking Benjamin
11. Nothing Like The Real Thing – Badlees

 October 20 show (Badlees special):

1. World In The Way – The Badlees

2. Nothing Like The Real Thing – The Badlees
3. Wanderlust – The Badlees
4. Waiting On A Memory – The Badlees
5. Vigilante For The Golden Rule – The Badlees
6. All At One Time – The Badlees
7. Appalachian Blues – The Badlees
8. The Man Who Went Away (John Galt’s Blues.) – The Badlees
9. A Place To Call Home – The Badlees

October 27 show:

1 . Stick in The Mud – Shannon Marsyada

2. Rest Out – Jared Campbell
3. Too Soon - Iron Cowboy
4. Ritual – Crush
5. Once – Fall of Empire
6. Bury Yesterday – Jackson Vee
7. The Naked Sea – Days Before Tomorrow
8. Boogie On – Lemongelli
9. Miss You – Melissa Krahnke
10. Truth Is On The Way – I Am Buffalo
11. The Secret (Jamie) – The SilenTreatment
12. The Bleed – Silhouette Lies
13. Waiting on A Memory -  Badlees

November 3 show:

1. Boogie On – Lemongelli

2. Beat Down – Dashboard Mary
3. Between The Lines – Jakesway
4. We’re Gonna Get There – Eva Katherine  
5. On The Radio – Main Offender
6. Love Like That – Asiz  
7. Evangeline – Tony Halchak  
8. Day After Day – Monster Truck Supergroup
9. New Morning Sky – Miz
10. Meteors – Plus 3
11. Better Off – Ronnie Williams
12. Nothing Like The Real Thing – Badlees

 November 10 show:

1. Small Town Waltz – Bob Lewis

2. Waiting On Me – Farley
3. Everybody Here – Angelbeth
4. My Kid Smokin’ – And The Moneynotes
5. Wine & Shine – Cabinet
6. Anthem – Clove
7. Two For The Road – Eddie Appnel  
8. Next Town – The Invisible Swordsmen
9. The Way Life’s Supposed To Be – International Pete
10. Solid Gold – The Great Party
11. Push The Pill – OurAfter
12. The Man Who Went Away – Badlees

November 17 show:

1. Dance All Night – Farley  

2. Old Lion – George Wesley  
3. No Looking Back – Graces Downfall  
4. Bleeding Ears – Chris Hludzik 
5. Dipsomnia - Jerry Sapphire
6. Orion – k8
7. Side of The Mountain – Maruce Project
8. Heaven’s Love – Maybe Someday
9. Black Riders – Zamani
10.Minimum – Wally & The Paupacks
11. If I Only Knew – Tom Flannery
12. Vigilante For The Golden Rule – Badlees

November 24 show:

1. We The Broken - Panacea

2. The 1 Who Got Away – Rick Manwiller
3. Keep Me Turning On – Bent Blue
4. Blow Me Away – Breaking Benjamin
5. I Just Might – Charles Havira
6. The Futch – Doug Mackie
7. Ring Them Bells – Ed Randazzo
8. History – Jay Morgans
9. Last Call For Alcohol – Kermit Alphonso Project
10. Walking On A Fine Line – Mere Mortals    
11. Rugged Rebel – Suze
12. Don’t Let Me Hide – Badlees

 December 1 show (“Snow Tracks” special):

1. You Don’t Know - Cabinet 
2. Renaissance Man ­- Cherokee Red   
3. Claws - Kid Icarus
4. Hecho En Mexico - The Great Party
5. Biting At The Rose - Needle Points
6. Insomnia Hold You - Cold Coffee
7.  The Show - Abstract Peoples
8. Critical Mass- Roug Chimp
9.  Louisa - Okay Paddy    

December 8 show:

1. Still In Love – The Five Percent

2. Throw Your Love To The Wind – Iron Cowboy  
3. Joke’s On You – Dani-elle
4. Ashes On The Sea – Mere Mortals  
5. It’s All Up To You – Dani-elle
6. Rubberoom – Strawberry Jam
7. Junk – Mighty Fine Wine
8. Battle Call – Three Imaginary Boys
9. When We Fall – Stardog Champion
10. Stick In The Mud – Shannon Marsyada
11. Missed It By A Minute – Woody Browns Project
12. The Man Who Went Away – Badlees

December 14 show:

1. Orion – k8

2. Toothpullin’ – Cider
3. Heels Of The Day – Miz
4. Lovely Please – Kriki
5. Fallen – No Vacancy
6. Letter – Nowhere Slow
7. Come Into My House – Robert Reilly
8. 1-9-6 - 40-Lb. Head
9. Draw Me In – Kids On Bikes
10. Life As A Dime – Moonbagg
11. Sara Jean – The Swims
12. Too Many Changes – Badlees

Again, send your five favorite songs to musiconthemenu@comcast.net or send a message to me at www.facebook.com/musiconthemenu. And remember, I'll need your lists by 4 p.m. on Monday, Dec. 23. Thank you! Looking forward to playing your favorite tunes on the show on December 29! 

 Alan

 

 CONCERT REVIEW:

Lisa Marie Presley cuts her own creative path

Lisa Marie Presley concert review published November 20, 2013 

By Alan K. Stout
Weekender Music Correspondent
November 20, 2013

SELLERSVILLE, PA - When Lisa Marie Presley initially decided to pursue a career in music, she could have gone in any direction she chose, and – if it was really what she wanted – she could have easily become a pop star. With her sultry singing voice, her good looks, and her last name, it’s very easy to imagine back in the ‘90s any major record label welcoming the opportunity to work with her. Get her some great pop songs written by professional hit-makers, teach her some choreographed dance moves, put her in a sexy music video, and the rest would have taken care of itself. A glitzy stint in Vegas – a town that her father owned – was also there for the taking. And in addition to the pop world, the country music community also certainly would have welcomed the opportunity to mold her into the next Shania.

Presley, however, would have none of it. She didn’t even release her first album until she was in her mid-30s, and when she did, she was the primary songwriter. And her music was neither pure pop nor country. Throughout the past decade, her career has moved forward on her own terms and at her own pace, and with her most recent effort, “Storm & Grace,” she appears to have found her best voice.

On Saturday, when her “Storm & Grace” tour made a stop at the sold-out Sellersville Theater, she continued to hit her stride.

Presley, supported by a superb five-piece band, opened the show with a stirring performance of “So Long,” one of the best tracks from the critically acclaimed “Storm & Grace.” Her music, particularly her new music, is thoughtful, textured, and rootsy and is anchored by raw emotion. If it was released 15 years ago at the time of the Lilith Fair – a golden era for female singer/songwriters – it’s easy to imagine Presley being invited to be a part of such a mega-tour. Instead, in 2013, she is out in mid-sized theaters reminding music fans that listening to someone truly expressing themselves through good songs is a fine way to spend an evening.

“It’s nice to be here in Pennsylvania,” said Presley before introducing “Over Me,” another catchy number from the new album, which was spiced by some thumpy stand-up bass and mandolin. A slinky rendition of “Storm of Nails” followed.

Though Presley’s musical style is greatly different from that of her late father, there was a period in his life, particularly in 1973 following his divorce and while recording at Stax , when he fully embraced soft and thoughtful ballads. And with the beautiful “Weary,” his daughter has written a song that it’s easy to imagine him not only loving, but recording. It was one of the show’s highlights.

“If there’s anybody here tonight that’s not here for the purpose of the show, but for some other creepy reason, this one goes out to you,” said Presley with a half laugh when introducing “You Ain’t Seen Nothin’ Yet,” a song that she also unapologetically admitted caused some trouble upon its initial release. Several tracks on “Storm & Grace” were apparently inspired by Presley’s separation from a certain church sometimes associated with Hollywood, and the experience apparently not only provided her with a fiery muse, but also inspired some of her best work. “You Ain’t Seen Nothin’ Yet” is a fine song and will now always likely be seen as one of Presley’s signature numbers.

The mid-point of the show featured a slightly stripped down acoustic set. Presley, seated on a stool, joked that her songs were mostly “mean, sad or angry” and added that the rhythmic “Soften the Blows” was written at a time when she was “particularly vulnerable.” And while that number seemed to have come from a sad time in her life, clearly “Idiot,” which she also performed, came from a time of anger. Somehow, it all made for an engaging set, and throughout it all, Michael Lockwood, her guitarist, husband, and musical director, spiced each number with just the right touch.

“Lights Out,” a notable track from her debut album from a decade ago, references the Presley family gravesite in the backyard at Graceland and the uneasy feeling that the empty plot sometimes gives her, while “Un-Break,” another gem from “Storm & Grace,” featured Presley on percussion. The set ended with “Sticks and Stones,” to which Presley was met with a standing ovation. Encores included “I’ll Figure It Out” and a cover of Tom Petty’s “I Need to Know.”

“Thank you so much,” said Presley to another ovation. “Thank you, Pennsylvania.”

Lisa Marie Presley is not a pop star. Nor is she a country star. She’s not a jumping jack on stage, nor does she banter as easily with her audience as a certain other Presley that always looked as if he were born for the stage. But she is talented artist who has grown into a style that can be both elegant and edgy. Her music has both soul and purpose, and her concert revealed someone that, musically, seems to have found her footing while also walking in some rather daunting footsteps. Her fans should be happy about that, and her father’s fans should be proud. And when you listen to marvelous and moving songs such as “How Do You Fly This Plane?” and “Forgiving” from her new album, it’s nice to think that somewhere, he is proud, too.

She has chosen her own musical path. It is completely her own. And it’s perfect for her.

(Alan K. Stout has written about rock and pop music in Northeastern Pennsylvania since 1992. His weekly radio show, "Music On The Menu," airs every Sunday from 9-10 p.m. on 105 The River in Wilkes-Barre, Scranton, Hazleton, Bloomsburg.)

 

Lisa Marie Presley offers ‘Grace’ after the ‘Storm’

Music’s favorite daughter will perform in Sellersville Nov. 16

 

By ALAN K. STOUT
Weekender Music Correspondent
November 12, 2013

 

Lisa Marie Presley carries with her the most famous last name in pop music history. She has been world famous since the day she was born. And though one might assume that with her personal history and her DNA she’d have all the makings of an extrovert, that’s not really the case when discussing her life. With some topics, she remains guarded, while with others, she speaks freely. Her latest critically-acclaimed album, “Storm & Grace,” falls into the category of the latter. And it’s worth talking about.

 

In a recent interview with The Weekender, Presley talked about “Storm & Grace,” its accompanying tour, and some of her other recent musical endeavors in her native hometown of Memphis, where she not only recorded at the legendary Sun Studios, but also performed live on the same stage where a young and upcoming artist named Elvis Presley performed in 1954. She also recently did a home recording, so to speak. But in her case, “home” just happened to be the Jungle Room in a place called Graceland.

 

Presley’s debut album, “To Whom It May Concern,” was released in 2003 and was followed by 2005’s “Now What.” Seven years passed before she reemerged with “Storm & Grace,” but with it, she presented some of her most inspired work. She says the songs began to take shape in 2010, not long after relocating to England. Her muse was her own life.

 

“It always just comes from what’s going on in my life,” says Presley, 45. “Every one of my records is the same – whatever’s happening. It’s just a way for me to sort of purge whatever experience I’ve gone through.”

 

Interviewer Alan K. Stout & Lisa Marie Presley 

For the songs on “Storm and Grace," Presley says quite a bit of purging was necessary. And though she offers no specifics when it comes to discussing their inspiration, she is very open about the fact that it was a frustrating time in her life.

 

 “When I did this record, I was just writing to get myself through a certain period,” she says. “I didn’t have a deal, or a label, or anything in mind. I was just writing for myself as I was processing a lot of things. I had to completely get rid of everything I once knew in my life – it was like an awakening. I was realizing that things around me weren’t as they seemed and people around me weren’t what I thought.”

 

Because, from the outside, it appeared everything was stable in her personal life; some speculated some of Presley’s “awakening” may have been reflective of changes in her religious views. Like many artists, however, she prefers to leave her music open to interpretation.

 

“Things were kind of falling apart, and I wasn’t sure what was going on, and it started a whole domino effect,” she says. “I sort of deconstructed everything and went from ground zero. I got rid of everyone and everything that I knew and started over again. I left the country.”

 

The songs Presley penned caught the attention of T-Bone Burnett, the accomplished Grammy-winning and Academy Award-winning producer whose work includes projects with Bob Dylan, Roy Orbison, John Mellencamp, Counting Crows, Elton John, Elvis Costello, Natalie Merchant, The Wallflowers, and Alison Krauss and Robert Plant. Burnett loved the material and easily agreed to produce the songs.

Published version of this interview signed by Lisa Marie Presley

 

“It meant everything to me at the time,” says Presley. “After going through what I went through, I didn’t come out with a whole lot of confidence about anything. Everything that I had known, or felt was true or good – aside from my children and your normal stuff – wasn’t. I didn’t have a whole lot of confidence at that time. I didn’t have any kind of fire. My furnace was very dimly lit. So when he believed in me and wanted to do the project, it really breathed some life into me and gave me some confidence that I desperately needed at the time. It was welcomed.”

 

The result is widely regarded as her best work. Rolling Stone called it “the album she was born to make – a raw, powerful country, folk, and blues collection that finds her embracing her Southern roots and family name.” Spinner.com wrote that “Presley has made the strongest album of her career. It’s a moody masterpiece, exploring the demons and angels of her life to the tune of country-spiced downbeat pop.” Presley says she was greatly flattered by the praise, but adds that if it didn’t happen, it wouldn’t have mattered.

 

“It’s not that I’m not appreciative – everyone likes acknowledgment,” she says. “But it was so raw and so honest and so real that I didn’t honestly care, because it was so much from my soul. There’s no bells. There’s no whistles. There’s no smoke screens. It’s all very authentic. The people that I care about, I knew it would reach. It was more of a labor of love, and if somebody didn’t like it, I was too raw to even care. It was coming right from my soul.”

 

Though Presley’s writing is inspired by her own life, she says one of the reasons she chooses to channel her emotions into music is so that listeners may also see themselves in the songs.

 

“I try to formulate songs for myself, but also for other people, so that they can relate, and it can help other people,” she says. “I try to transform whatever I’ve gone through into a song so that it can help others. That’s what I care about. If it reaches other people and helps somebody else get through something – even if it’s dark, even if it’s not always lollipops – that’s what I care about.”

 

Despite a life that has included two celebrity marriages (Michael Jackson and Nicolas Cage) and being the only child of the King of Rock and Roll, Presley has done a remarkable job of forging her own identity as an artist. She rarely treads into the world of Elvis in her songs, and her music is distinct from that of her father. And perhaps that’s why, over the past 18 months, she seems to have become more comfortable in walking in some of his footsteps. In May of 2012, she and her band – which includes her husband, guitarist Michael Lockwood – recorded at Sun Studio in Memphis in the same room where her father, in 1954, recorded a little number called “That’s All Right” that helped launch a musical revolution. The performance was later aired on PBS television.

 

“I loved it,” says Presley. “It was very exciting for all of us. We spent the whole day there at a CD signing and a recording. Everybody had a big smile on their face. It was great.” 

Elvis's airplane, "The Lisa Marie," is on display near Graceland

Another historical moment came just two months ago, when Presley performed at the Levitt Shell in Memphis. The outdoor pavilion, formerly known as the Overton Park Bandshell, is the same place where a young Elvis Presley – while building a regional following but still two years away from national fame – performed in 1954.

  

“That was emotional,” she says. “I was really nervous. It was a free concert, and we had no idea what was going to happen, and it ended up that 6,500 people came. It felt like a homecoming for me. My family was there. My kids were there. My mom flew in. It was a big deal. It was pressure, but fun. I had to really kind of focus on what I was doing. It was very emotional and very intense, but I had to focus on the technicalities of what I normally think about when I’m doing a show. Otherwise, it would just be overwhelming.”

 

The very next day, she performed several songs at Graceland in the famous Jungle Room. In 1976, her father recorded there and much of the material was featured on his final two albums: “From Elvis Presley Boulevard, Memphis, Tennessee” and “Moody Blue.” Presley recalls watching those sessions as a child. For her sessions, she says she found herself in two roles: recording artist and concerned housekeeper.

“It was very strange, because I’m very protective of it,” says Presley. “All of these people ended up being there that day. It was closed session, and we waited until the tours stopped, and all of a sudden everybody had invited their entire families to come. I was like, ‘It was supposed to be really low key. Where are all of these people coming from?’ And then furniture was getting moved and things were getting moved around, and I was getting upset and sort of antsy. I am very protective of it, so on that front, it was kind of stressful for me. Otherwise, I was very comfortable. It was my home. That’s where I grew up. I was more worried about the carpet.”

 

Presley’s sessions recorded in the Jungle Room will be shown on Yahoo Music’s “Ram Country” on Nov. 13.

 

Prior to such recent musical projects, Presley’s most notable work, which had such a direct link to her father, came from several duets on his songs, which through the magic of audio production, were done à la Natalie Cole/Nat King Cole. In 1997, to coincide with the 20th anniversary of his passing, she recorded “Don’t Cry Daddy,” and in 2007, to note the 30th anniversary, she recorded “In the Ghetto.” In 2012, for the 35th anniversary, she recorded “I Love You Because.” She says the duets are mostly done as a gesture of appreciation to his fans and that when it comes to picking the songs, she simply goes with what feels right.

 

“It’s whatever seems appropriate at the time,” she says. “‘Don’t Cry Daddy’ seemed appropriate for the first one. I loved ‘In the Ghetto,’ which raised money for housing projects, so that seemed appropriate. And T-Bone actually picked ‘I Love You Because,’ but I loved it and thought it was appropriate. Each one kind of has a different vibe and a different energy.”

 

A different vibe and a different energy is also how Presley describes the nightly stops on her current “Storm & Grace” tour. And that is something she enjoys. Touring, she says, comes naturally to her.

 

“I love being on the road,” she says. “It’s my favorite thing in the world. We’re in the middle of a 46-show tour and we have 19 left, and I’m getting sad that we have only have 19 left. I just love it. I love the energy of it. It’s different every day. The audience is different every night. We were in Chicago, and the people were so enthusiastic they were on their chairs. Every night is different. I don’t know what I’m going to walk into. I don’t know how they’re going to be. I don’t know how I’m going to be. There are no tracks running here. There’s no bells or whistles. There’s not a big production. It’s just the record. It’s a very intimate record, so it’s a very intimate show. And I love doing it. It’s my favorite part of all of this.”

(Alan K. Stout has written about rock and pop music in Northeastern Pennsylvania since 1992. His weekly radio show, "Music On The Menu," airs every Sunday from 9-10 p.m. on 105 The River in Wilkes-Barre, Scranton, Hazleton, Bloomsburg.)

The full audio recording of this interview can be heard here: https://youtu.be/j2At07nM0rs 

A PINK RIBBON FOR SORAYA

By ALAN K. STOUT

MUSIC ON THE MENU 

It was February of 1996, and as the music columnist at The Times Leader at the time, I was off to cover another event. At that point in my career, I'd already been reviewing shows for about four years, and even prior to that, going back to my early teens, I'd been to a lot of concerts. I enjoyed it, but it seemed pretty rare at that point to experience something at a show that really surprised me.

This night, however, would not be typical. On tap on this particular winter evening was Natalie Merchant at the F.M. Kirby Center in Wilkes-Barre. I showed up, as always, with a notebook and pen and a deadline to file my story. And it was to be one of those special nights when the unexpected happened.

It was one of those nights when the opening act - an artist that I had never heard of before - left me awestruck.

Her name was Soraya. She was on Island Records. And obviously by landing a spot on the Natalie Merchant tour, things were starting to go her way. Her songs were captivating. Her voice was beautiful. She was charismatic, yet in a subtle way, and her entire performance was completely engaging.

The next day, I was on the phone with Island Records, asking that they send me a copy of her CD, "On Nights Like This," and her bio. I wanted to write about the record and, hopefully, turn some more people on to an up and coming artist that I felt deserved to be heard. And that's exactly what I did.

The album, like her set at The Kirby, was fabulous. I gave it one of the most positive reviews I'd ever written. I thought, for sure, that she would soon become a star, especially considering this was around the time of the "Lilith Fair" and what was really a golden era of music for female singer/songwriters.

From my review:

"A dazzling-yet-grounded performer with a smile that could stop rush-hour traffic, Soraya's performance was refreshing, inspiring and utterly captivating ... The album is a breezy collection of romantic, acoustic-based ballads that celebrate life's joys, questions its dilemmas and mourns it sorrows .... Her stirring music deserves even more attention."  

Though she did later have some commercial success, most of you have probably never heard of Soraya. Adding to her many talents, she was also a bilingual artist, and thus most of her success came on the Latin charts. She also later won a Latin Grammy for "Best Album by a Singer-Songwriter."

I admit I didn't know any of that until recently. Back in '96, I simply loved her show at The Kirby, loved her album, told the readers of the newspaper that I wrote for about her music and - like people often do when they think they've found something special - I played it for some friends. I also remember talking to a colleague who was the program director of an adult contemporary radio station, and him telling me how he too was pretty blown away by her performance in Wilkes-Barre, and that he too thought we'd be hearing a lot more from her in years to come.

Again, however, that never really happened. And, believe it or not, that doesn't surprise me. Big record labels often seem to have a knack for signing great artists, but then never really helping them break through to a wider audience. She was also signed around the time of the Polygram/Seagrams sale, when what is now Universal Music gobbled up most of the music industry and, unfortunately, didn't properly develop some of their best talent. But again, in fairness, she did later go on to do very well in other parts of the world.

As the years went by, I lost track of Soraya. But I always kept that wonderful CD of hers, and one day recently, I decided to Google her to see what she was up to. And I was stunned at what I learned.

Soraya died in 2006 of breast cancer. She was 37 years old.

The same illness had also claimed her mother, grandmother and aunt.

Being that this is national "Breast Cancer Awareness Month," I thought I would honor her memory by sharing her story and posting my favorite song from that fine album that I wrote about 16 years ago. Breast cancer has also touched my family, and it has touched the lives of my friends and co-workers. Some have survived it. Some have not.

This blog is my pink ribbon for all of them, and to Soraya. Please listen to this piece of music that I've posted here and know that the artist that wrote it and sang it - like so many of the people that you may have known in your own lives - should still be with us. Please support agencies that fund breast cancer research, and please remind the women in your lives to go for their yearly exams.

Soraya left us with the gift of her songs. And though she's now gone, we can still, in a way, give her something back. We can still listen to those songs, and while doing so, remain dedicated to curing the illness that took her life.

What a voice she had. What a beautiful voice.

BADLEES UNVEIL A CRAFTY DOUBLE PUNCH

By ALAN K. STOUT

MUSIC ON THE MENU
October 9, 2013

 

Swagger. Sentimentality. Bravado. Thoughtfulness. Continued artistic growth. After more than 23 years of making records, that’s what you’ll find on “Epiphones & Empty Rooms,” the latest release from The Badlees. The reigning kings of Pennsylvania roots-rock are back with style and grace on this stirring 21-track, double disc-set, and as it has done with every album, it is a band that again shows an uncanny ability to remain true to its core sound yet also break new ground.

 
The first disc features songs sung by the band’s frontman, Pete Palladino. And while some of the tracks have a bit of the power-pop flair that Palladino loves, these tunes also have teeth. “World In The Way” is a melodic yet also forceful gem, while “Wanderlust” is a gritty roadhouse stomper that sounds as if it were written to be blasted in the car while speeding down the interstate.

(Has there ever been a greater car band than The Badlees?)
 
“Waiting On A Memory” also comes with plenty of hefty hooks and groove, with guitarist Dustin Drevitch adding to the bite. The chorus and the melody to “All At One Time” is so damn catchy you’ll likely find them running through your head all day after just a few listens, and disc one closes with one of the finest tracks on the album: “The Man Who Went Away (John Galt’s Blues.)” It’s a crafty and moody treasure that’s both breezy and thumpy, and with a pounding rhythm section, violinist Nyke Van Wyk’s tasteful touch and some blistering guitars helping bring the song to its conclusion, it’s the perfect way to end the Palladino side of the record, who has never sung better.
 
All of the songs on the album were written and produced by Bret Alexander, who also played seven instruments on the tracks. And when he steps up to the microphone to take lead vocals on disc two, he also delivers. “Vigilante For The Golden Rule” is an edgy, hell-raising, steamroller of a tune, while “Nothing Like The Real Thing” is one of the coolest tracks on the record yet also sounds unlike anything The Badlees have done before. Like “Vigilante,” it’s got tons of groove and bounce.

The band embraces its Pennsylvania roots with the soaring “Appalachian Blues,” and both “The Poet”and “Your Alamo” are perfectly simple yet also grand and poignant. The second disc closes with the masterful, “A Place To Call Home,” which ranks as one of the most beautiful songs the band has ever recorded. It begins with the story of an early 20^th century immigrant, then spans several generations, ranging from a World War II veteran to a man struggling to support his family in modern times. Here, there's also a bit of a regional feel, yet with its gorgeous melody and thought-provoking storyline, it should appeal to anyone who has ever tried to empathize with a challenging journey. Some may see their grandfathers in the song. Some may see their fathers. Some may see themselves.

 “Epiphones & Empty Rooms,” in theory, shouldn’t work. Double-disc sets usually have too much material for even the biggest of fans to easily digest, and the concept of having one vocalist on one disc on another on a second disc is highly unusual. But here, with the mighty Badlees, it not only works, but it makes perfect sense. All that it has done is allow more room for more creativity and more fine songs. All that it is has done is make way for an epic triumph. 

 

---------------------------------------------------------------------------------------------------------------------

 

This review also appears in the Oct. 9 issue of The Weekender:

http://www.theweekender.com/news/WK_Music/890740/ALBUM-REVIEW:-Badlees-double-their-staying-power

-----------------------------------------------------------------------------------------

 

MUSIC ON THE MENU – LIVE ON THE RIVER” airs every Sunday from 9-10 p.m. on 104.9-FM (105, The River). You can also listen online at: www.105theriver.net 

To follow my postings about music on Facebook, please visit and "like" my page at www.facebook.com/musiconthemenu

 

 

MUSIC ON THE MENU LIVE: WHERE GOOD IS GOOD

 AND GOOD WILL ALWAYS BE GOOD

By ALAN K. STOUT
MUSIC ON THE MENU

 Radio gives music life. It gives it an audience. It gives it a place where emotions and sentiments from both the past and the present can be heard. And that, more than anything, is why I enjoy presenting the “Music On The Menu Live” radio show every Sunday night.

There are songs – many, many songs – that are considered classics. And when we hear them on the radio, everything that went into making them comes to life. When you’re driving in your car and you hear “Layla,” from Eric Clapton, you hear more than just a great song. You revisit just how madly in love Clapton was with George Harrison's wife at that time. And in addition to hearing the guitar work of a man who would go on to become one of the most accomplished musicians of all-time, you also hear the playing of the late Duane Allman, a musical icon now frozen in time. When you hear John Lennon’s “Give Peace A Chance,” you are taken back to another era. Yet you can still feel the passion of the moment. When you hear Bruce Springsteen’s “Born To Run,” you can feel the energy of a young man looking to stake his claim in life – a young man looking for something better. Anything better. When you hear “Alive” from Pearl Jam, you can imagine a young Eddie Vedder out on a surfboard – which is where he was when he wrote the lyrics – feeling invigorated and inspired by the power and beauty of the ocean.

So many great artists. Some many great songs. So many moments captured in time. And with just one spin on the radio, when you are least expecting it, that voice is again heard. The initial inspiration for the song. The crafting of the song. The hours spent in the studio recording the song. It was not all for naught. It mattered. With radio, those feelings and those moments live on.

With “Music On The Menu Live,” I am able to help make that happen for artists whose songs are not played on the radio hundreds of times per week on stations across the country. They don’t get that nice ASCAP royalty check in the mail a few times a year, nor are they in the Rock and Roll Hall of Fame. But the songs that I play from regional artists - and I mean this wholeheartedly – are often just as good. Some are even better. And the emotions that went into writing them were no different than those of anyone else that has ever sat on their couch with their guitar in their hands, or behind their piano, and wrote a song. They too were greatly inspired. They too put a lot of care into crafting their music. They too may have spent many hours in a recording studio. And when their songs are played on the radio – whether it is a song recorded 20 years ago or a song recorded 20 days ago - it is given life. It given it an audience. It is given a place where its emotions and sentiments can be heard.

 I’ve been writing about music for newspapers and magazines for more than two decades. I don’t do it as often as I used to, but when I do, I still enjoy it. I like talking to artists about their music. I enjoy talking with them about their influences and their inspirations, and for the reader, I have always enjoyed the challenge of describing sound on paper. But I really love radio. I love being able to just play the music for people.  My old newspaper column, which ran in The Times Leader and The Weekender for 17 years, was called “Music On The Menu.” When I started my radio show 10 years ago, I decided to call it “Music On The Menu Live.” And that was simply because I was taking the music that I had tried to describe on paper and was now putting it right in your ears.  It was, in some ways, coming alive on the radio. And I feel privileged to be able to do that not only for the artists, but for the listeners.  

“Music On The Menu Live” comes to 105 The River tonight, and that same approach will continue. All regional music – both old and new – will have a home. If we play Led Zeppelin and The Beatles and The Police all the time, why can’t I play an old Strawberry Jam or Mere Mortals or Mighty Fine Wine tune on Sunday night? Good is good. And good will always be good. And so if you are a band that did a good record 10, 15 or even 20 or 25 years ago, and it came my way at some point over the years, you just might hear it on some Sunday evening. That inspiration that you once felt, and that time that you put into your music, was not all for naught. It mattered. Not only did you get incredible creative fulfillment from writing that music, but that music will still be heard. And if you’re a new artist or a veteran artist that has recently recorded some new material, and you get it my way, it will be heard. It is always very exciting to premier some new songs on the show, and over the course of the year, it happens almost every single week.

That’s what “Music On The Menu Live” has always been all about and will always be about. That’s what we'll be doing every Sunday night from 9-10 p.m. on 105, The River.

Thanks for listening.

I really do think you'll like the songs.

 

------------------

“MUSIC ON THE MENU – LIVE ON THE RIVER” will air every Sunday from 9-10 p.m. on 104.9-FM (105, The River). You can also listen online at www.boldgoldradionepa.com. To download the station's phone app, search "radio bold." Artists interested in submitting material for the show can contact me at musiconthemenu@comcast.net

To follow my postings about regional music on Facebook, please visit and "like" my page at www.facebook.com/musiconthemenu

 

ROLLIN' ON THE RIVER: 'MUSIC ON THE MENU LIVE' IS SWITCHING CHANNELS

BY ALAN K. STOUT

MUSIC ON THE MENU

This Sunday, I’m switching channels. “MUSIC ON THE MENU LIVE,” my weekly radio show that features some of the most talented artists from NEPA, will move to 105 The River. The show, as some of you may know, has been heard every Sunday night for the past 10 years on 102.3-FM, The Mountain. And while I thoroughly enjoyed my time at The Mountain and greatly appreciate the opportunity that the station gave me, I am very excited about my move down the dial.

 A big reason for the change, quite frankly, is that The Mountain changed. In August, the station switched to an HD radio signal. And while it also still streams on the internet, and my show did continue on after the change, I missed being on the regular FM dial. I put a lot of time and care into “MUSIC ON THE MENU LIVE” each week, and I want people to be able to hear it in their cars and on their stereos and on that old radio that you keep out in the garage. And so when Paul Ciliberto of The River gave me the opportunity to get back on the FM band, I took it.  And I am grateful for the opportunity, not only for me, but for the artists that I play.

 The station is owned and operated by the Bold Gold Media Group and - as the thousands of people that visit there every week know - is located inside Mohegan Sun at Pocono Downs. And that is very exciting to me. There’s so much energy there and they’ve been doing some exciting things with music, so it’ll be nice to be in the middle of the action. 

In addition to hosting “Music On The Menu Live” for the past decade, some of my other radio endeavors have included organizing the former “Weekender/Mountaingrown Original Music Series” shows, plus 2005’s  “We All Shine On: A Tribute To John Lennon” radio special.  Held on the 25^th anniversary of Lennon’s death, the live broadcast featured dozens of local artists performing Lennon’s songs. I also put together the 2010 “ Weekender/Mountaingrown Holiday Special,” during which local artists, also live on the radio, performed their favorite Christmas songs. I worked with a great team of people on the former “Concert For A Cause” and was also involved with the recent “Music, Motors & More” event at Montage Mountain. Once I get settled in with the weekly radio show at The River, I am certainly open to working with the station and Mohegan Sun and doing other events featuring live bands. It is still something I love to do and the folks at The River tell me they feel the same. We will rock. This is certain.

 I realize some folks might be familiar with my show and my work in music, while others might not know anything about me at all. Some quick background: I did some work in college radio back around 1985-87 and co-produced a few specials featuring national acts. From 1992-2011, I covered music for The Times Leader and The Weekender and still occasionally contribute stories about music to The Weekender. I did a weekly radio spot about local music on 97.9-X from 1995-2004, and had been with 102.3-FM for the past 10 years. Some quick math tells me that's more than 20 years in music journalism and 20 years in radio. And the only reason I share that is because it directly relates to “MUSIC ON THE MENU LIVE” …

 In getting ready for my move to The River, I recently had the chance to go through my collection of CDs that I’ve accumulated over the years from local bands. And let me tell you: I HAVE A LOT OF STUFF. I’m talking two decades worth of stuff. In fact, this past weekend, sifting through it all was pretty much all I did. There were hundreds of CDs, and today I visited The River studio and dropped off several hundred songs from NEPA artists. It’s a good start.

 We’re going to have fun on The River. Looking through all of those great records this past weekend was incredibly energizing. I’ll be playing some stuff I haven’t played in a long time, as well as some tunes I’ve never played before. And it’s all good.  I’ve already met with my producer, Lobo, who I’ve worked with before at “Concert For A Cause,” and she shares my love and appreciation for local music. And Paul, by reaching out to me and asking me to join the station, clearly feels the same. And so, on Sunday at 9 p.m., I am back on the FM dial and The Weekender will continue to serve as a co-sponsor of the show. As always, I’ll be spinning the very best of NEPA’s music. As always, the show will include current music, plus the occasional blast from the past. As always, it will run the gamut, from The Buoys, to The Badlees, to Breaking Benjamin, to artists such as Miz, Cabinet, k8 and George Wesley.

 As always, I’ll be putting plenty music on your menu.

-------------------------------
Listed below are some of the artists whose CDs I sifted through this past weekend. They’re all coming with me to The River:

And The Moneynotes

Alien Red
Angelbeth
Asiz
The Badlees
Bent Blue
Billy Spanton
Black Dog
Blue Sugar Riot
Bob Lewis
Bob Aluni
Breaking Benjamin
Brendan Quinn
Bret Alexander
The Band Brown
The Buoys
Cabinet
Cathedra
Cathy Donnelly
The Cellarbirds
Charles Havira
Chasin’ The Dog
Chris Hludzik
Cider
Clove
The Collective
Crush
Dakota
Dashboard Mary
Days Before Tomorrow
Doug Mackie
The Drama Club
Drew Kelly
Ed Randazzo
Eddie Appnel
Effect of The Letter
Eric Klein
Eva Katherine
Farley
Fighting Zero
The Five Percent
Full Circle
George Wesley
The Godinez Brothers
Graces Downfall
Gypsum Choi
The Great Party
Groove Train
International Pete
The Invisible Swordsmen
Iron Cowboy
Jackson Vee
Jakesway
Janet Raines/Aaron Fink
Jared Campbell
Jay Morgans
Jeanne Zano
Jimmy Harnen
Joe Dombroski
John Canjar
Jugdish
k8
Katie Kelly
Kermit Alphonso
Kate and CJ
Kevin Campion
Kids On Bikes
Kriki
Lemongelli
Lifer
Lessen One
The Lo-Fives
Main Offender
The Maruce Project
Maybe Someday
Melissa Krahnke
Mere Mortals
Might Fine Wine
MiZ
Monster Truck Supergroup
Moonbagg
Mother Nature’s Sons
Morning Pride
Music For Models
Mystery Fire
Neil Nicastro
Newpastlife
No Vacancy
The NonRefundables
Nowhere Slow
OK Paddy
OurAfter
Panacea
Pappy
Pete Palladino
Phyllis Hopkins
Plus 3
Rich Jenkins
Rick Jones
Rick Manwiller
Riley Oremus
Robert Reilly
Ronnie Williams
Shannon Marsyada
Shawn Z.
The SilenTreatment
Six Second Yellow
Stardog Champion
Skin-N-Bones
Stoney Creek
Strawberry Jam
Sucker
Suze
The Swims
Terrence Hemp Cummings
Three Imaginary Boys
Tim Sheenan
Tom Flannery & The Shillelaghs
Tom Graham
Tony Halchak
Tyrants Temple
Underground Saints
Unshackled
Wally & The Paupacks
White and Gray
Woody Browns Project
40-Lb. Head
78 West
------------------------------------------
“MUSIC ON THE MENU – LIVE ON THE RIVER” will air every Sunday from 9-10 p.m. on 104.9-FM (105, The River). You can also listen online at www.boldgoldradionepa.com. To download the station's phone app, search "radio bold." Artists interested in submitting material for the show can contact me at musiconthemenu@comcast.net

To follow my postings about regional music on Facebook, please visit and "like" my page at www.facebook.com/musiconthemenu