Posts Tagged ‘ nashville ’

Nicole Atkins: September 9, 2017 Mercury Lounge

September 25, 2017

[photos by Will Oliver and We All Want Someone To Shout For blog]

Its hard to believe that the last time we checked in with Nicole Atkins, it was three years ago. Our extended review of her album Slow Phaser and the Bowery Ballroom show that we recorded concentrated mostly on the record’s clear 1970s AM radio influences. For that album, Nicole put her stamp on the diverse styles prevalent in that decade’s pop. Three years later, several major events in Nicole’s life have guided her approach to the new album Goodnight Rhonda Lee, including her move to Nashville, dedication to sobriety, and marriage.

Goodnight Rhonda Lee is clearly an album faithful to its surroundings — both in the existence of multiple regional session players, and in the distinct sound of the record. Similarly to Slow Phaser, Goodnight Rhonda Lee is clearly influenced by the 1970s, perhaps not AM radio but more from that unique time in Nashville when the permissiveness of the 60s finally seeped into the old music town and brought a freedom to the country music capital that it had never experienced before. For about three or four years, the long hairs finally reached the mainstream — perhaps personified best through the career of Kris Kristofferson. When legend Johnny Cash recorded Kristofferson’s “Sunday Mornin’ Comin’ Down” in 1970 and took the song to Number 1, it represented the triumph of the new. And on the other side of Tennessee, Elvis welcomed new bloods Eddie Rabbit and Ronnie Milsap in the recording of his 1970 hit “Kentucky Rain”. Both songs communicate a drop-out melancholy that seemed to permeate the best of the new country during this time frame. But the melancholy also represented a distinctively different feel to the sound in the studio itself. The newly available technologies offered greater multi-tracking and effects not standard to country music that permitted the use of rock-styled guitars, reverbed piano, horns, and strings. Its that identifiable early 70s new Nashville sound that Nicole Atkins captured with stunning authenticity on Goodnight Rhonda Lee. Sure, there’s the album opener co-penned with Chris Isaak that could have been written for Patsy Cline or the neo-soul of “Listen Up” that would sound great covered by Aretha. But for the most part, the album really feels like a Nashville record and the songs themselves — struggles with alcohol, love, and a life in the music world feel at home in the country capital. And ultimately though its remarkable that the album itself wasn’t even recorded in Nashville, but rather at Niles City Sound in Fort Worth Texas.

The tour in support of Goodnight Rhonda Lee finds Nicole Atkins fronting a five piece band performing stripped down versions of the album material. There are no horns or strings but the album’s piano is present and guitarist Steven Cooper fills up the rest of the sound with tremendous tone and technique. Cooper is a young Nashville guitar wiz who seems destined for a long and productive career. At a packed Mercury Lounge last week, Nicole and the band performed a 75-minute set with much of the Rhonda Lee material and a few surprises. The set opened with a nice tribute to the recently passed Holger Czukay as Nicole brought back her cover of Can’s “Vitamin C”. Another major moment came when guest Tommy Stinson joined the band to perform a world premiere of his duet with Nicole called “Too Late”. The song was actually released this week. And the Slow Phaser track “Who Killed The Moonlight” took a detour through the Rolling Stones “Miss You” (remember that 70s pop influence). But the focus of this show was the fantastic material from the new album and it was clear that not only the massive talent of the singer but also a crack band were able to pull off the songs live. This show was that good.

Nicole Atkins has one more show on this tour, Friday night in Virgina. But she’ll be back with a bunch of shows in November, all dates [here].

I recorded this set with the Schoeps cards mounted at the soundboard and mixed with a perfect feed from house FOH Alex. This recording is absolutely superb. Enjoy!

Download the Complete Show [MP3] / [FLAC]

Stream the Complete Show:

Nicole Atkins
Mercury Lounge
New York NY

Digital Master Recording
Soundboard + Audience Matrix

Soundboard [engineer Alex] + Schoeps CCM4u Cardioids > Sound Devices 744t > 2 x 24bit 48kHz wav files > Soundforge (post-production) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced by nyctaper

[Total Time 1:10:16]
01 Vitamin C [Can]
02 Darkness Falls so Quiet
03 Brokedown Luck
04 [banter – sinkhole]
05 A Little Crazy
06 Listen Up
07 Maybe Tonight
08 Cry Cry Cry
09 [banter – Louise Goffin]
10 If I Could
11 Goodnight Rhonda Lee
12 Who Killed The Moonlight/Miss You
13 [banter – Tommy intro]
14 Too Late [with Tommy Stinson]
15 [banter – so horny]
16 Sleepwalking
17 A Night Of Serious Drinking
18 A Dream Without Pain
19 [encore break]
20 The Way It Is

PLEASE SUPPORT Nicole Atkins: Website | Pledge Music | Single Lock Records

Lambchop: September 8, 2016 Hopscotch Music Festival (Raleigh, NC)

November 14, 2016


By now, Lambchop fans have had a chance to hear the band’s daring new record, FLOTUS, a critically-acclaimed shot across the bow to anyone who would dare claim a classic artist can’t reinvent themselves. But back in September, at the Hopscotch Music Festival, fans were probably more ready for a show like the one we witnessed there in 2012, or any number of the band’s lauded full-band shows whose cast can stretch to over a dozen people.  So when Kurt Wagner sang the first Vocoder-enhanced lines of “NIV” — a song nobody there had heard before — a fan might have been forgiven for being freaked out. When the entire show, including pre-FLOTUS material, continued in that vein, you have to imagine more than a few WTFs were exchanged. But that would have been a serious mistake, as not only are these new songs compelling in their own right, but the very fact of their existence says something special, too. Artists in the third decade of their career don’t often make these kinds of stylistic moves, and when they do, they often ring hollow. Wagner had already experimented with an electronic sound with his side project HeCTA in 2015, but for that to migrate to his main act represents an additional leap.

Wagner, on the other hand, has made a stripped-down, gorgeous album whose songwriting, pacing and structure (bookended by two epic-length tracks) are as equally of note as the dedication to the vocoder. The new sound echoes something essential about our era, taking a style once so resolutely organic and making it largely electronic. You feel both excited by the new possibility, yet threatened by the loss of something more natural, more human.

Here, in Raleigh’s comfortable Fletcher Opera Theater, those electronic tones were warmed up by not only the band’s physical presence, but Wagner and his bandmates’ banter, which alone was worth the price of admission. If he gets tired of music, pianist Tony Crow might well have a career in front of him as a comic sideman, as he traded jokes with Wagner throughout the night. Though this was the first time that many of these songs saw the light of day, it turns out that these versions are faithful to the album versions. Equally interesting were the FLOTUS-fied versions of earlier material like the standout Mr. M track “If Not I’ll Just Die” and several of its fellow Mr. M tracks. Stripped of that album’s lush arrangements, we’re left with arctic tone of Wagner’s altered words. The effect was unsettling but lovely, adding focus to Wagner’s words.

If you haven’t heard FLOTUS yet, I’d encourage you to give it a shot. Whether you knew Lambchop before or not, the album, and the quality of its songs, stands on its own as an of-the-moment document by an artist who has followed his own muse for decades. Also, I’d like to thank our friends at Merge Records for letting us post this recording. As eager as we were to share it with the world, both Merge and we thought the best thing was to hold back this live show of a large chunk of the new album until fans have gotten to hear it for themselves. Now, you can compare the two side by side.

I recorded this set with a soundboard feed and Schoeps MK4V microphones. The sound quality is outstanding. Enjoy!

Download the complete show: [MP3/FLAC/Apple Lossless]

Stream the complete show:

Hopscotch Music Festival
Fletcher Opera Theater
Raleigh, NC USA

Exclusive download hosted at
Recorded and produced by acidjack

Soundboard + Schoeps MK4V (ROC, at SBD)>KC5>CMC6>Zoom F8>2x24bit/48kHz WAV>Adobe Audition CS 5.5 (compression, fades)>Izotope Ozone 5 (EQ, effects)>Audacity 2.0.3 (track, amplify, downsample, dither)>FLAC ( level 8 )

01 NIV
02 The Hustle
03 [banter]
04 Poor Bastard
05 Old Masters
06 If Not I’ll Just Die
07 [banter2]
08 Gone Tomorrow
09 In Care of 8675309
10 [banter3]
11 Nice Without Mercy
12 [banter4]
13 Directions To the Can
14 [encore break]
15 When You Were Mine

PLEASE SUPPORT Lambchop: Website | Merge Records

Pujol: May 23, 2014 Death By Audio – Flac/MP3/Streaming

May 26, 2014

Pujol DBA
[photo by nyctaper]

The last time we checked in with Pujol, it was more than two years ago at an impressive introduction to the band at the Impose SXSW show. At that point, Daniel and the band were previewing songs from the upcoming album UNITED STATES OF BEING, which was released a couple of months after SXSW. On Friday night at Death By Audio, Pujol returned to NYC to support the new album KLUDGE which was released a week ago. The album stretches the boundaries of Pujol’s punk/garage sound and adds a number of new ideas and influences. But the live set is a straightforward and energetic run through his catalog. At DBA, we heard about half the new album (“Circles” is streaming below), a democratic selection of older material, and even a few deep cuts. The takeaway from this show however is that Pujol continues to impress and given the evolution of his music we expect greater things for our next visit, which we hope doesn’t take another two years. The band’s tour continues into the Midwest and West coast throughout May and June, dates here.

I recorded this set with the Sennheiser cards on a stand at the front and center of the stage and mixed it with a fine board feed mixed by Edan. The sound is superb, enjoy!

Stream “Circles”:

Download the Complete Show [MP3] / [FLAC]

Note: All of the material on this site is offered with artist permission, free to fans, at our expense. The only thing we ask is that you download the material directly from this site, rather than re-posting the direct download links or the files on other sites without our permission. Feel free to re-post the Soundcloud link. Please respect our request.

Death By Audio
Brooklyn NY

Digital Master Recording
Soundboard + Upfront Audience

Soundboard + Sennheiser MKH-8040s > Edirol R-44 (Oade Concert Mod) > 2 x 24bit 48kHz wav files > Soundforge (level adjustments, mixdown, set fades) > CDWave 1.95 (tracking) > TLH > flac (320 MP3 and tagging via Foobar)

Recorded and Produced
by nyctaper

[Total Time 47:07]
01 Too Safe
02 Manufactured Crisis Control
03 Mayday
04 Post Grad
05 Psychic Pain
06 Circles
07 [banter – Ithaca]
08 Point of View
09 Pitch Black
10 Dark Haired Suitor
11 Chuggin Love
12 [tuning – thanks]
13 No Words
14 Black Rabbit
15 Youniverse
16 [encore break]
17 Angelbaby

If you download this recording from NYCTaper PLEASE SUPPORT Pujol, visit their website, and purchase Kludge from the Saddle Creek Records website [HERE].

Wild Cub: October 18, 2013 Terminal 5 – FLAC/MP3/Streaming

January 24, 2014

[photo by acidjack]

Some people can’t stand music that isn’t ironic, or witty, or whatever quality it is that keeps half of the 90s indie canon coming back for reunions these days. Odd, then, the pairing of Nashville up-and-comers Wild Cub with 90s stalwarts The Dismemberment Plan, playing the overlarge room at Terminal 5. If a clearer delineation between musical generations could be made in one lineup, I can’t think of one. The D-Plan are a great band — they’re ironic and often witty, sure, and they have some killer tunes. Listening to them makes you feel like an insider — like some people just don’t get it.

Wild Cub make straight up synth pop, relentlessly upbeat and big-tent inclusive. This show was during CMJ, where almost everyone is networking and ignoring the bands anyway, and worse yet, most of them are playing for free. But nobody seemed to have bummed out Wild Cub; they thanked us over and over for our generosity. Even a not-yet-full Terminal 5 couldn’t contain their enthusiasm. It made me feel like a jerk, to be so blown away that these guys were so nice, to wonder, really, what they had to be so effing happy about.

Many of their songs are good, too, full of big hooks and exuding big-hearted earnestness like middle period U2. Just listen to “Thunder Clatter” or the new “Blacktide” — you’ll get the picture. You might even smile, or at least, feel a feeling other than self-indulgent disdain for your fellow man. The band just re-released their debut album, Youth, to the world with two new tracks, and it’s a well-crafted dose of sunshine and songcraft that, in the manner popular these days, drags the guitars onto the dance floor. Up front, they even got some of these D-Plan veterans moving.

Wild Cub aren’t a band for cynics, and maybe that’s a good thing. Maybe your music ought to be happy, no matter how much the real world sucks. Isn’t that what inspires the future to happen, after all?

I recorded this set with Schoeps MK41 microphones and a Sound Devices preamp. The sound quality is limited by being at the back of the floor of Terminal 5, with there being additional echo as the room filled up during the set. Nonetheless, it is a quality capture. Enjoy!

Thanks to Wild Cub’s team for inviting us to record their set.

Stream “Thunder Clatter”

Download the complete show [MP3] | [FLAC]

Note: All of the material on this site is offered with artist permission, free to fans, at our expense. The only thing we ask is that you download the material directly from this site, rather than re-posting the direct links or the files on other sites without our permission. Please respect our request.

Wild Cub
Terminal 5
New York, NY USA

Hosted at
Recorded and produced by acidjack

Schoeps MK41 (BOB, DFC, PAS)>KC5>CMC6>Sound Devices USBPre2>Sony PCM-D50>24bit/48kHz WAV>Izotope Ozone 5 (EQ, exciter)>Audacity 2.0.3 (fades, tracking, amplify, balance, downsample)>FLAC ( level 8 )

01 Shapeless
02 Colour
03 Jonti
04 Wild Light
05 Hidden In the Night
06 Blacktide
07 Wishing Well
08 Thunder Clatter
09 Summer Fires / Hidden Spells

If you enjoyed this recording, PLEASE SUPPORT Wild Cub, visit their website, and buy signed LPs and digital versions of Youth there.

Lambchop: September 8, 2012 Hopscotch Festival, Fletcher Opera Theater (Raleigh, NC) – FLAC/MP3/Streaming

September 21, 2012

[Photo courtesy of Kevin Norris at Triangle Music Blog.  Many other Hopscotch Festival photos can be found there]

While Sunn O))) were blowing minds and eardrums next door in Raleigh’s Memorial Auditorium, the Nashville band Lambchop gave this year’s Hopscotch Music Festival a more quiet but no less satisfying valedictory. Responsible for what is widely hailed as a career-defining record this year (Mr. M) Lambchop have little left to prove after a 20-year career, but clearly much left to give. Frontman Kurt Wagner and the band kept the volume in this moderately-sized opera house low for almost their entire set, and a rapt and respectful crowd set the tone for a performance that leaned heavily on Mr. M.  Subtlety and grace are Lambchop’s calling cards, and that was no different on this night, as Wagner and the band gave a classic performance. Having missed their NYC show at the Bell House this spring, I for one am thrilled to have this document as an introduction to the new material in the live setting.

This set was recorded by the North Carolina taper “bryonsos” with 3 Zigma CHI custom American-made microphones. While the low volume in the house and a low-end-heavy mix presented some challenges, after careful editing, this is an excellent recording. Enjoy!

Stream “2B2”

Direct download of MP3 files [HERE] | Direct download of FLAC files [HERE]
If the FLAC link is no longer working, email nyctaper for the FLAC files

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Check out all of NYCTaper’s Hopscotch Festival recordings

Note: All of the material on this site is offered with artist permission, free to fans, at our expense. The only thing we ask is that you download the material directly from this site, rather than re-posting the direct links or the files on other sites without our permission. Please respect our request.

Hopscotch Festival
Fletcher Opera Theater
Raleigh, NC USA

Exclusive download hosted at
Recorded by bryonsos
Produced by acidjack

3 Zigma CHI microphones (cardiod, DFC, DIN)>Sound Devices MixPre>Sony PCM-M10>24bit/44.1kHz WAV>Izotope Ozone 5 (EQ, tube effects)>Audacity 3.0 (set fades, envelope crowd noise, light DR compression, adjust volume, downsample to 16bit)>FLAC ( level 8 )

Tracks [Total Time 1:17:29]
01 Betty’s Overture
02 Gone Tomorrow
03 Sharing A Gibson With Martin Luther King
04 If Not I’ll Just Die
05 The New Cobweb
06 Mr. Met
07 Nashville Parent
08 [banter]
09 The Book I Haven’t Read (Fearless)
10 Prepared
11 The Good Life (Is Wasted)
12 Women Help to Create the Kind of Men They Despise
13 [banter]
14 Nice Without Mercy
15 New Cobweb Summer
16 [banter]
17 2B2
18 Never My Love

If you enjoyed this recording, PLEASE SUPPORT Lambchop, visit their website, and buy their official releases directly from Merge Records [HERE]

William Tyler: November 16, 2011 Glasslands – FLAC and MP3 Downloads + Streaming Song

November 25, 2011

Tyler Glass
[Photo by acidjack]

It seems about right to refer to William Tyler as an indie rock prodigy. Back when most guys his age were gawky college freshmen, the Nashville native was already playing with Lambchop. By age 21, he’d appeared on a Silver Jews record; two years later, he was laying down tracks with Will Oldham and Bonnie “Prince” Billy. Today he plays solo, as well as gigs with Lambchop, and he also has his own record label, Sebastian Speaks. In the somewhat rarified world of solo guitar players, Tyler is one of the most gifted and most recognizable for both his relative youth and his intense, uncharacteristic style. In giving his 2010 release, Behold the Spirit a “Best New Music”-worthy rating, Pitchfork’s Grayson Currin described Tyler’s style thus:

“Lambchop’s oeuvre should give you some hint as to what makes Tyler special. Just as Lambchop’s pan-American indie incorporates soul, rock, country and outsider music into one weirdly warped mold, Tyler integrates a dozen different approaches. He’s as comfortable with an electric as an acoustic, as accomplished conducting a long, coruscated drone as he is gliding through fingerpicked hymns. The English folk of Pentangle and the American hum of Tom Carter are clear references, as are Indian ragas and Appalachian ballads. Unlike the work of fellow polyglot Sir Richard Bishop, though, Tyler engages all of those muses at once, consistently folding them into surprising revelations.”

This PopGun Booking-sponsored show at Glasslands found Tyler dazed from coming straight from his flight but nonetheless ready to play and share new songs. The set featured only two Behold the Spirit numbers – “Missionary Ridge” and “Tears and Saints” – interspersed with new songs, classics and some hilarious storytelling (if you’re ever planning to play in Schwarzenburg, Germany, you might want to listen to Track 5 of this recording first). After playing the first three songs acoustic, Tyler switched to the electric for the final two numbers, including a 12-minute number from his 2008 record Deseret Canyon entitled “Crystal Palace, Sea of Glass”. Behold the Spirit is a lovely offering, even for those who may not be into many solo guitar albums, but seeing Tyler live is an entirely more elevated experience, a chance to grasp not just the what but the how of a great player like him.

I recorded this set with a soundboard feed provided by Josh, the house engineer of Glasslands, with some room ambiance from Schoeps MK22 “open cardiod” microphones. The sound quality is excellent. Enjoy!

Stream “Tears and Saints”

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Direct download of MP3 files [HERE] | Direct download of the FLAC files [HERE].

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William Tyler
Brooklyn, NY USA

An acidjack master recording
Recorded and produced by acidjack for

Soundboard + Schoeps MK22>CMC6>littlebox >> Edirol R-44 [Oade Concert Mod]>2x24bit/48kHz WAV>Audition (mix down, effects, limiting, levels)>Audacity (set fades, tracking, amplify and balance)>FLAC ( level 8 )

01 Missionary Ridge
02 Waltz of the Circassian Beauties
03 [banter]
04 Terrace of the Leper King
05 [banter]
06 Tears and Saints
07 [banter]
08 Crystal Palace, Sea of Glass

If you enjoyed this recording, PLEASE SUPPORT William Tyler, visit his website, and purchase Behold the Spirit from Amazon or your favorite retailer.

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