Hey fans of intimate, non-violent evenings of song, mark those calendars. We’ll be celebrating our second birthday at Freddy’s Bar Saturday, April 12th, starting at 7PM.
An intimate, non-violent evening of song with four songwriters in short sets. Please note the new location of this show: Two Moon Art House and Café, 314 4th Ave, Brooklyn, NY. ($5 Cover).
“Not to be missed” - South Slope News
“A Win-Win Concept” - Paperblog
“A fantastic display of talented songwriting” - Madame Ostritch
Dave Keener, your affably roguish host, plays “instantly lovable guitar pop with infectious melodies and a cool overall vibe.” - LMNOP, Babysue.com).
Mark Humble’s music is visceral and soulful. His performances range from delicately plaintive to nearly frantic, sometimes in the same song
Dave Foster led his own critically lauded band Bubble (now in their 20th year) and has been a frequent performer in The Losers Lounge tribute series.
Tony Asaro: Raised in Queens and now in Cape Cod, Asaro’s smart, passionate songs recall the Replacements and early REM.
(Remixes and originals appear below this post.)
I have always wanted to collaborate with Mitch Wells. I’m a folk-rocky singer-songwriter. He’s an electronic dance composer. When we first met, I was playing Irish music, and he was producing electronic Death Metal. I played him a toe-tapping reel on the banjo. Then, I put on headphones to listen to one of his tunes. All I could hear was my own fear. A year later, he was producing and writing for a Korean dance pop singer, K-Bot. It was sweet. It was danceable. It made me feel dirty.
I was intrigued.
When I started to plot out my most recent album, “Slugger,” I hoped Mitch could pump up a few songs with some current-sounding beats, maybe something from his trove of vintage drum machines, synths and un-nameable gizmos. We got together at his place in the East Village. Sitting on the couch under his painting of the three fathers of the analog synthesizer, we listened to my demos and picked a few songs to record. I put down vocals and guitar. He started creating drum, bass and keyboard tracks in Logic. But, there wasn’t much for me to do after that. I mostly stared at his back and listened. Sometimes I looked at his fish tank. There were few fish. Many had died during the electrical outage caused by the Hurricane Sandy.
As I listened to Mitch work, I realized he was effectively re-writing the songs.
Mitch and I went to the coffee shop around the corner and talked about it. We had it backwards. What he normally does is remix the song after it’s fully recorded. So, we stopped getting together on Sundays. I started working in the studio. But I encouraged him to remix any songs he wanted—however he wanted—afterward. That way, we could collaborate, while each of us did exactly what he wanted with no compromise. It was beautiful.
When I was done recording, I simply gave Mitch three song files, each with individual tracks he could remix as he saw fit. Those songs were “Mama Had a Bongo,” “When” and “Second-Rate Rainbow.” A couple of months later, we went out to dinner and I listened to the remixes below. These tracks are funky, complex and beautiful and I’m very happy with them.
Now, here’s what Mitch Wells has to say about them … .
Here’s a link to a good review of “Slugger” from Tris McCall at the Star-Ledger. Read the review here.
I love the first line,” Just from the cover of his latest album, you can tell that Dave Keener has both a good sense of humor and a fair bit of barely suppressed aggression.” That Bill Wadman cover always gets a reaction,