credit: The Chronicle 2010

A recent story in the Washington Post brought to light that Bruce Springsteen was using a teleprompter on stage during his recent tour as well as his last one (read it HERE.) While the article didn’t flat-out deride him for using it, it did lament that an artist of Springsteen’s stature, who comes across as engaged and prepared onstage, would need the help in remembering the words … to, say, “Born to Run.”

In fairness to the Post reporter, he wasn’t so much passing judgment, as reporting on what he saw and asking why. But the news, which apparently was a surprise to many and blasphemy to some, spread widely across the country by other newspapers, blogs and social media, with their own, sometimes more sensational spin.

Springsteen, it turns out, is not alone. In fact, many of the biggest names in rock – from Paul McCartney to Dave Matthews to Phil Lesh and Bob Weir of the Grateful Dead – are using them. Other artists, such as Lucinda Williams and Margo Timmins of the Cowboy Junkies keep a lyric book close at hand to help them out.

It’s easy to understand why: Pick any of the above musicians. They have hundreds of songs in their catalog, some going back more than 40 years. Some fans go to multiple shows during a tour, and nobody wants to hear the same songs every night. Heck, the musicians don’t want to play the same songs every night. Is it a realistic expectation for them to know every lyric to all their songs?

For the most part, musicians claim the helper is only there for emergencies. “I have an electronic cheat sheet,” said Matthews, when asked about the onstage teleprompter. “But I rarely look at it. The other thing I do is make up words. Or mumble.”

Nils Lofgren, of Springsteen’s E Street Band, wrote a published response to the Washington Post article articulating the band’s use of the devise: “Last E Street tour, we played 192 different songs on that tour alone. Dozens of those songs were from audience-request. … Many songs were covers we had never performed live. With our collective musical memory, hand signals and teleprompter, it allows for those ambitious, ad lib moments and an inspired, musical recklessness I believe is unique to our shows.”

I don’t think the monitors or books bother audience members if they are well-placed and are discreetly used. Viewing photographs of recent Springsteen shows, I could not even tell there was a prompter on stage. Check out photos of Lesh or Weir and their bands (who like to dig deep into the Dead catalog as well as play covers ranging from Traffic to the Allman Brothers and more), each band member has one in front of them. It just looks like another piece of equipment on stage.

However when I saw Lucinda Williams, she overtly flipped the pages of her book between songs and even eyed it while she was singing. It was a bit distracting to me, but maybe not for others.

I believe most fans don’t mind a goofed lyric in a song. A musician who muffs a line is not new to anyone who goes to shows. It can even be an endearing moment when there’s a gaff and it’s acknowledged on stage with a chuckle or a look of “Oh, no,” from an artist. No one is perfect. But if it becomes a recurring problem in the course of a night, well, the mood can start to change. It may come off as an act not being prepared or focused.

In the end, most musicians just don’t want the crutch. Whether they feel it’s cheating or distracting or just against the rules, it’s just not an option.
Josh Ritter is an artist one might think would benefit from some help onstage – not because he forgets lyrics often, but because his ever-growing catalog is filled with songs that are multi-versed, literate and packed with imagery and wordplay. So what does he think about using a teleprompter? “I can easily understand the use of teleprompters in music,“ he replied in an email. “You get a lot of songs, you have a catalog you regularly plumb the depths of, you have a revolving cast of band members not as familiar with the songs as you are yourself; all these could be made a little easier with a teleprompter. I can’t imagine myself using them, but I readily understand their usefulness.”

FAVORITE ALBUMS / SURPRISE ALBUMS

“The King Is Dead,” the Decemberists and “The Harrow & the Harvest,” Gillian Welch
In a surprising return to their roots the Decemberists stripped down their sound, mixing a ’70s Neil Young vibe with some R.E.M. guitars and became one of the finest Americana bands of the year. The 10-song set still featured Colin Meloy’s trademark literate lyrics, but the almost-woody sound offered a more intimate feel. Every song makes you want to sing along.

Not to be outdone, Gillian Welch also stunned the music world, by actually putting out a new album, her first in eight years. And, of course, it was totally worth the wait. She and David Rawlings – accompanied only by acoustic guitars, banjo and harmonica – set their characters out on that dusty road looking for redemption. Just one listen to “Tennessee,’’ with its lyrics, “I had no desire to be a child of sin / Then you went and pressed your whiskers to my cheek’’ and you’ll understand that no matter how many other pairs try (the Civil Wars, etc.), Welch and Rawlings continue to be the true one and only. Read the full reviews HERE and HERE

FAVORITE CONCERT

Barnstar! at Club Passim It’s a given that the most fun you have at shows comes at the ones you almost don’t attend. The early show sold out before I could buy tickets, and it was only by the grace of God (and Passim booker Matt Smith) that a second show was added. The night was bluegrass heaven with a large dose of hellish fun. A band of local superstars (pictured from left) Zack Hickman, Mark Erelli, and Taylor and Jake Armerding (and Charlie Rose on banjo, who I couldn’t fit in this shot). These guys blazed a trail through country originals and rock standards (Paul Simon’s “Boy in the Bubble,” Neil Young’s “Cowgirl in the Sand” were standouts), all with incredible musicianship and good-time humor. See more pics HERE

BEST TIME AT A SHOW

Newport Folk Festival I’ve said it before, there is very little that beats perfect weather, a good friend, and lots of great music. If you hit the trifecta, Newport is the best there is. It’s a music festival where the fans really care to listen. And you get to see bands you might never have chosen to see. Read our concert review HERE

MEMORABLE CONCERT MOMENT

Being a roadie for a pair of shows for Josh Ritter and the Royal City Band I was lucky enough to spend three days on tour with one of the nicest group of guys around. The fact that I was nearly twice their age and had no real knowledge of how to “roadie” didn’t stop them from trusting me. And, what I thought was a hazing incident the first night on the bus with me having to sleep with Josh’s luggage turned out to be just a minor miscommunication (!). Oh, and by the way, the shows in Philadelphia and Boston were amazing. But you knew that. Read our review HERE

FAVORITE CONCERT PHOTO

Hadestown, Me & Thee Coffeehouse This was my second chance to see Anais Mitchell’s Hades-town performed, and it was truly special. What made this version stand out was that all of the musicians performing (including Tim Gearan, Jefferson Hamer, Amy Correia, and Dinty Child) had sung the roles before. What I love about this photo is the expressions on the performers’ faces. They were all totally into the performance. Read our review HERE

FAVORITE VENUE

Paradise Rock Club There’s something special about a venue that still feels like a rock ’n’ roll club. I don’t need comfy seats or craft ales. I need a place where the sound system can handle both loud and quiet music, the beers are fairly priced and you can immerse yourself in the moment. Now that’s Paradise.

FAVORITE SONGS

The Way It Goes,” from “The Harrow & the Harvest,” by Gillian Welch.
Becky Johnson bought the farm/Put a needle in her arm/That’s the way that it goes/That’s the way… Any question of what kind of songs fill Gillian Welch’s new album are answered in these lyrics. Yet somehow she and David Rawlings manage to find redemption amidst the pain. Rawlings’ acoustic guitar work is superb, filling the in-betweens with intricate runs while Gillian diligently strums her way through one of the few uptempo songs on the album.

“The Least I Can Do,” from “Everything Is Saved,” by David Wax Museum. The lyrics of this song are captivating, but it is the beautiful harmonies of David Wax and Suz Slezak that make me want to listen to this song over and over. The hearbroken guy lost his love and can’t figure out why she left him. He reels off excuses why he’s become a recluse: “I’m not trying to get away, from anything, or anyone/I’m not trying to get away from you/At least thats what I tell myself/It’s the least I can do.” It’s tragically delicious!

“The Boy in the Bubble,” from “C’mon,” by Barnstar! Sometimes it’s hard to imagine a popular song any other way but in its original version. One of Paul Simon’s classic tunes gets reworked with mandolins, banjo, guitar and bass courtesy of Barnstar! (see favorite concert on preceding page). The great thing about this version is that it retains the tension in the lyrics while the woody sound of mandolins, banjo, guitar and bass chug along replacing the electric sound that Simon provided.

FAVORITE QUOTE

‘When David and I really get down to work, it’s like we’re in a lifeboat, like we’re the only two people in the world, and it’s very quiet.’
Gillian Welch, about her musical relationship with partner David Rawlings

BONUS! Favorite quote (from a publicist)

‘Imagine Ray LaMontagne coming home after a long day at work to a candlelit dinner cooked by John Mayer. That’s Mark Alexander’s music.’

Why is it you who claims to be the biggest fan never stops talking while your band is performing onstage? Am I the only one who always finds himself trapped by you, who instead of listening to your FAVORITE BAND EVER, jabber on (loudly) as if you’re in the school hallway between classes?

Recently, I went to see Dawes at Royale. I positioned myself within the first quarter of the room, up fairly close to the stage. My reasoning (after years of thoughtful research) being if I stand any further back I become surrounded by those who really aren’t “true fans” – yes, those who get distracted by drinking and, yes, chatting. So here I am, behind you two guys, BIG FANS of Dawes. You spout things about the band’s brothers Taylor and Griffin Goldsmith, you think the keyboardist is a cool dude, you know ALL the songs.

When the band starts playing, I’d think you’d shut up and listen, right? NO! Instead you just keep on with your conversation. You continually move your heads close together sharing insights and then separating: It’s like standing behind an opening and closing door. Not only are you talking over the music, but you are also blocking my view. I want to pull a Three Stooges and knock your heads together. You hear a guitar solo and instinctively thrust your fists in the air in support, then when it’s over, you go right back to the jabbering.

Maybe I’m just old, maybe this is what the concert experience is now: get a group of friends together to go to a show and talk all night with the band as background; pull out your cellphone to take pictures and watch the entire concert through a 4-inch screen; call your friends who couldn’t make it , tell them all about how great the concert is, and have them listen to the show over your phone; invite more people into your chatty group, even though others have been standing in that same spot all night.

I went to see Jenny Lewis at the House of Blues a few years ago and actually told you large gaggle of girls to shut your yaps… OK, I was friendlier than that. But seriously, when I pay to hear someone perform, I don’t want to hear giggles and laughter. I’ll go to see a comedy show for that. How is it possible that no matter how loud the music, your voices are STILL audible?

You have to wonder what the performers must think. The babble is especially egregious for quieter bands.

You’d think you fans who love Josh Ritter, Gillian Welch or the Swell Season know what you’re in for and would listen intently, but NO! I’ve been to the Paradise in Boston for shows by Shelby Lynne, Kathleen Edwards, the Low Anthem… No matter who is on stage, you chuckleheads are out there, mostly at the back of the rooms, yakking away.

And pity the poor opening acts – they get no respect at all. I’ve seen you at the front of the stage blabbing on while Your Favorite Group is performing. At least have the decency to away from the stage.

There are few venues where people get it: Club Passim in Cambridge and, surprise, the Newport Folk Festival. Now, maybe this is because the age of the crowds skews older. Passim has a coffeehouse atmosphere and you would be really conspicuous if you chattered on during a show. As for Newport, Colin Meloy of the Decemberists commented this summer that they’d “never played to a more attentive audience.”
But this is not the norm. It all comes down to respect for others, which seems to be in short supply these days.

So, I’m asking you, the Biggest Fan Ever of the Band Onstage, to please lead by example. You love the band, you care about the band, you paid money to go see them play. So pay ATTENTION. Tell your friends you want to actually hear the band play. You can talk all you want before and after they hit the stage. Don’t do it for others, don’t even do it for the band. Do it for yourselves. Listen to the show. I mean REALLY listen to the show. If you do it, others will do it too.

And then you can call your friends who couldn’t make it and tell them about how great it was.

It’s been a good year for Dawes, David Wax Museum and Amy Black. Each had critical success – either nationally or locally – this year and appear to ready to take the new year by storm. We asked them to give us their Top 5 highlights of their great 2011.

DAWES

The LA-based rock group had an amazing year. Not only did they put out a soaring second album, “Nothing Is Wrong,” but they also backed up legendary Band guitarist Robbie Robertson on some high-profile gigs and played alongside Jackson Browne, M. Ward, and many others. Constant touring and the group’s accessiblity has afforded them a large, passionate following.

Here are lead singer/guitarist Taylor Goldsmith’s highlights (“in no particular order, cause I’m not sure what I would put above what if I had to”).

1. Getting invited onstage in Philadelphia to sing “Road to Joy” with Bright Eyes when we were on tour with them. [Conor Oberst is] one of the greatest songwriters I’ve ever heard, and I’ve always loved that song, so to share his mike and sing a few lines with him was truly an honor.

2. Seeing Spain for the first time with Jackson Browne and Jonathan Wilson. We all played three shows out there and played each other’s songs all night.

3. The Middle Brother set at the Newport Folk festival. Dawes was more or less the band for the set. John [McCauley] and Matt [Vasquez] and I hadn’t played together in a few months so it was definitely a little scrappy but the audience was really special and the energy was really good. Afterward we played a quick Dawes set and jumped back up on stage to back up M. Ward for a few of his songs.

4. Playing “Time Spent in Los Angeles” on “The Late Show With David Letterman.” Right before we were supposed to start, Tay’s organ wasn’t working and we were told by the stage manager he was going to have to just fake it. At that point it was time to start playing so there was no time to argue. After going through it like that in front of an audience, we were allowed to cut it again once the audience left and they fixed the organ. I feel like you can still see how freaked out we were and that we hadn’t quite calmed down in that second performance, which is the one that was aired.

5. Our biggest hometown show we’ve ever had was Nov. 17 at the Music Box on Hollywood Blvd. We had several friends come play with us and the place was packed and there had never been a show I was more excited about. But the day before I had gotten sick and felt like I had 20% of my voice. I had never been that nervous and had to sing every song very softly or else my shredded voice wouldn’t be able to hit the note. It ended up working out fine and the audience was very supportive and encouraging but I hope I’ll never deal with that again even though I’m sure that I’ll have to at some point.

DAVID WAX MUSEUM

It was a stellar 2011 for this Mexican folk/indie rock Boston band, which started the year with a hugely fun CD release party for its critcally acclaimed “Everything Is Saved,” and ended it with song of the year honors at the Boston Music Awards – oh, and smack-dab in the middle was a mainstage spot at Newport. Drummer Greg Glassman offers up DWM’s top moments of the year.

1) Having Andrew Bird sit in with us on “Yes, Maria Yes” at City Winery in New York City. He immediately knew what to do between Mexican violin vibrato shrills, and carpenter bird whistling. Incredible. Just perfect in every way.

2) Opening up for Del McCoury with the Preservation Jazz Hall Band at the Winnipeg Folk Festival. First time we played in front of 10,000 people, and to do so with those afformentioned musicians in the wings was very satisfying.

3) Bela Fleck joining us on Mountain Stage in West Virginia. Like playing with Andrew Bird, when you play with a musician of that caliber, you can only lay back, smile and say “Wow.”

4) Newport Folk Festival mainstage. Need I say more?

5) Having a lady sheep farmer in Ireby, England, on the Scottish border, trade us a whole leg of lamb for some CDs. That was the finest tour dinner we’ve ever had.

AMY BLACK

The Boston-based singer seemingly came out of nowhere with her surprising mix of country and rock on the album “One Time.” She quickly gained fans both near and far with her stellar performances around town and down in Nashville.

1. Selling out Club Passim the first time I played there. There was so much energy in the room during and after the show. I want people to walk away feeling like they were a part of something really exciting. I want them to have an amazing time. That’s what happened that day.

2. Opening for Chris Isaak, the Courtyard Hounds, Rodney Crowell, Suzy Boggus and Joe Ely this summer and fall. I have had a blast opening for these incredible musicians. I got to hang out with Rodney for a bit. He was so kind and really took an interest in me. I hate to pick favorites, but I love Rodney.

3. Finding my music was well received by appreciative audiences down south during my first Southeastern mini tour. What a great opportunity to tour around the South. We got a great response.

4. Doing a sold-out member concert for WUMB-FM. I was a last-minute addition to the radio station’s summer festival and the room was packed with 300 people. WUMB decided to bring me back for a member concert and Comcast filmed it. They hired a makeup artist (that’s was a first) and set up five cameras to capture the show.

5. Performing at the Americana Music Association’s Conference and Festival in Nashville and getting to hang out with Buddy Miller. This year my high point, even more than performing, was meeting Buddy Miller. The first time I saw him I introduced myself and got to chat a bit. I did tell him that I hoped to work with him some day (just put it out there, right?). The following night I was at the famous Station Inn, and there came Buddy Miller again. I ended up talking to him again (I wasn’t stalking, I swear! Well, maybe a little) and asked him if it was okay if I gave him my CD. I sat with him and his friend, the amazing Greg Leisz. We discussed some of the folks that we all knew up in the Boston music scene. Good times!

It seems like ages ago, but it was actually only 11 or so months when the year began – with a bang.

January and February exploded with concerts and new albums like no other year we can remember. We spent time on the tour bus with Josh Ritter for a pair of shows, we caught concerts by the Decemberists, Lissie, the David Wax Museum, and more in those early months.
New albums rolled in as well – by Iron & Wine, the Submarines and Lori McKenna.

While that early torrid pace did not continue for the whole year (thank goodness, we wouldn’t have been able to keep up), the great music kept coming, including some surprises.

Gillian Welch released “The Harrow & the Harvest,” her first album in eight years and it was every bit worth the wait. The Decemberists morphed into a top-notch Americana act with “The King Is Dead,” which mixed ’70s Neil Young and R.E.M. influences. Iron & Wine churned out its most accessible album to date with “Kiss Each Other Clean,” Eilen Jewell followed up her critically acclaimed “Sea of Tears” with the stellar “Queen of the Minor Key” and Jeffrey Foucault offered up a dusty-trail pleasure in “Horse Latitudes.”
Concert halls, clubs and festivals were the place to be, and while we couldn’t make it to every show we wanted to, we did catch our share: Anais Mitchell’s fabulous Hadestown show at the Me & Thee Coffeehouse, Grace Potter & the Nocturnals (twice!), Zoe Muth and the Lost High Rollers, Lake Street Dive at the Lizard Lounge, and both the Green River and Newport Folk festivals. And then there was a band called Barnstar! – five ace local musicians playing bluegrass that blew the, well, barn doors off their gig at Passim.

In our cover feature, we highlight three acts we feel had breakout years: Dawes, an LA band that looks as if it’s on its way to national stardom; the exuberantly fun David Wax Museum, from Boston but making its mark nationally; and Amy Black, a Boston singer-songwriter who appears to be ready to take Nashville by storm.

These three deserve all the attention they’ve received this year and I’m sure next year will be just as fruitful for them.
Let’s hope it’s just as fruitful for us music fans. Happy New Year.

To download the full magazine, click HERE

Dawes seems to be doing everything the right way. They tour endlessly, they’ve played backup to the great Robbie Robertson, and they treat their fans like their friends.

Last night was my first chance to see Dawes live and it was everything I hoped. On album, the band sounds like a California version of the Avett Brothers — less punky and  more Jackson Browne-era harmonies. But live frontman Taylor Goldsmith not only delivers his heartfelt lyrics with feeling, he backs them up with some pretty searing guitar. In fact, the whole band rocks a whole lot harder in concert.

The show had a weird early start because Royale is primarily a dance club with a DJ after 10. The three-band event started at a ridiculous 6 p.m. The brother-sister act the Belle Brigade started things off with a fun set of folky-punky pop. Dawes was up next, and while they only had an hour and a half, they packed in 11 songs, including great versions of “Fire Away,” “When My Time Comes,” and “Time Spent in Los Angeles.” Taylor’s brother Griffin took the vocals on a pair of tunes, including a cover of Paul Simon’s “Kodachrome,” which was totally fun and sent the crowd into a frenzy.

I was not so taken, however, with the final band, Blitzen Trapper. I had heard great things and even heard a couple of tracks that I liked from their latest album, “American Goldwing.”  The band rocked well enough, but I guess after how personable the Dawes show was, Trapper seemed a little generic. I will someday give them another try though. As for Dawes, there is no doubt this band is in it for the long run and hopefully they’ll come around again when they are headlining.

For my pix, go HERE
Dawes setlist (courtesy of Maimed and Tamed blog)
The Way You Laugh
If I Wanted Someone
That Western Skyline
How Far We’ve Come
Fire Away
So Well
Peace In The Valley
Kodachrome (Paul Simon cover)
A Little Bit of Everything
When My Time Comes
Time Spent in Los Angeles

Video of “A Little Bit of Everything” at Royale

I recently came across a new posting on Wolfgang’s Vault of an old recording of a Miles Davis concert from 1970 at Fillmore West in San Francisco. The concert was one of a series of dates from April 9-12 where Miles and his electric band opened for the Grateful Dead. The recording (available at HERE) reminded me of some of my favorite quotes from the various musicians on stage for those shows.

The concerts are well-documented and historically relevant as Miles, already a jazz legend for pioneering modal music with “Kind of Blue” and much more, had just released the ground-breaking rock-fusion album “Bitches Brew” and was trying to capture some of the success of Jimi Hendrix by playing to larger and younger audiences in rock arenas.

So instead of the usual polite clap-after-solo crowds of the jazz clubs, Miles and his band – Steve Grossman on soprano sax, 
Chick Corea, electric piano, 
Dave Holland, electric bass
, Jack DeJohnette, drums, and Airto Moreira, percussion – took their crazy, electric jazz-rock to the drug-induced, dancing hippies known as Deadheads.

The Dead’s following was used to long and winding songs, with trippy guitar solos lasting as long as 20 minutes. But how would they respond to a wildly honking Miles Davis trumpet and the non-lyrical accompaniment of the “Bitches Brew” tunes?

Here’s Airto, from “The Miles Davis Radio Project” show, with his recollections: “The audience, they were rock ‘n’ rollers, they were totally crazy. Everybody was on acid. They would dance to anything. … We would play this very complex stuff, like rlrrlrlrlah, it was like a ramble kind of thing, and the people they were dancing, they were rolling on the floor.”

The members of the Grateful Dead couldn’t fathom having the great Miles Davis open shows for them.

In his autobiography, “Searching for the Sound,’’ Phil Lesh writes, “As I listened, leaning over the amps with my jaw hanging agape, trying to comprehend the forces that Miles was unleashing onstage, I was thinking ‘What’s the use. How can we possibly play after this? We should just go home and try to digest this unbelievable shit.’ ”

Later, Lesh would say he has never listened to the tapes of his band playing that night – too worried that they sounded terrible. To this day, he is still embarrassed that Miles Davis opened for the Dead.

If you’re a Miles Davis fan, I highly recommend The Miles Davis Radio Project. It’s a series of eight segments that documents the life of Miles, with interviews from everyone from jazz greats to Joni Mitchell. Check it out HERE.

Also visit Wolfgang’s Vault for a whole bunch of really cool, old recordings, from the Doors to the Allman Brothers to Steve Miller and a lot more. Click HERE

“All the music is from my home CD collection,” she says. “I bring in a pile of jazz, a pile of soul and a pile of blues. I always start with a jazz song. I know almost all the intros to the songs I’m playing, so I just see what would fit next. Ninety percent of the time it works.”

On a recent Sunday, the show opened with the Jean-Pierre Rampal-Claude Bolling jazzy flute and piano duet “Baroque and Blue,’’ followed by Solomon Burke’s soul-searching “None of Us Are Free.’’ Before the hour was up, Garvey had mixed in Timmy Thomas’ “Why Can’t We Live Together?,” a rare version of “Ain’t No Sunshine” by Sting and Jeff Beck, Miles Davis’ “My Funny Valentine,” and, to prove that the show’s not rooted only in the past, Bob Schneider’s “Big Blue Sea.” Other artists featured during the three-hour show included Robert Palmer, Jamie Cullum, the Wood Brothers and the Staples Singers.

Still, it’s Garvey’s intimate knowledge of the music that makes “Brunch By the River” more than just background music to your bacon and eggs. She’s well-versed in all things soul and blues, and what she doesn’t know about jazz, she has her dad, working jazz drummer Nat Mugavero, as backup. “He’s a great go-to guy when I need some information on a jazz song,” she says.

And Garvey lives for the details: Recently, following the song “Someone Loan Me a Dime” from “Brunch” playlist regular Boz Scaggs, she told listeners about the tune’s origins, saying it was from his first album and then dropped this juicy tidbit: the guitar player on the track is rock great Duane Allman. And after playing Jeff Beck’s ’70s instrumental hit “’Cause We Ended as Lovers,” she added this nugget: The song was written by Stevie Wonder. Who knew?

Garvey, that’s who.

“Whenever I get a new album, I always look at the credits,” she says, adding that those little facts are ways of catching listeners’ attention, and maybe sparking them to listen to a song they might not normally hear.  “If some 20-year-old was listening and I say this bass player is a favorite of [Red Hot Chili Peppers bassist] Flea, they may listen.”

While 20-year-olds are not the prime audience for the show, it’s no doubt that it has caught on – even with management.

At first it was a bit of a struggle convincing the program director (at the time) to change the format, she says. The fact that the show airs Sundays, a “kind of throwaway” day in radio, helped ease the transition.

The show has gathered a really strong, very active listener base, including that couple who found love during the show. Recently, William posted this note on WXRV’s Facebook page: “Ruth and I met on the show’s Facebook page four weeks ago … After I posted a question to the page she friend-ed me … So Lisa … You are a matchmaker as well.”

Click HERE to download the pdf of the issue

A feast for the ears

DJ LISA GARVEY’S ‘BRUNCH BY THE RIVER’ SERVES UP A MIX OF HAND-PICKED JAZZ, BLUES, ROCK AND, YES, SOUL MUSIC LIKE NO OTHER COMMERCIAL RADIO PROGRAM … MAYBE IN THE COUNTRY

It’s 9 a.m. on a Sunday. Your household of kids or pets or whoever is starting to stir. You fix yourself a strong cup of coffee and start to think about the day: eat breakfast, read the paper and then a move toward something fun or productive … maybe by noon. Wouldn’t it be nice to have a soundtrack to your morning, something that wakes you up nice and slow and then gets you on your feet and moving?

Lisa Garvey is there for you.

Garvey is the DJ of the radio show “Brunch By the River,” which plays a unique and expertly coordinated medley of jazz, soul, blues and rock – what she calls a “groove show” – perfect for your weekend wake-up call. 
The show airs in the Boston area and beyond Sundays from 9 a.m. to noon on WXRV-FM 92.5 The River and live on the Web at www.wxrv.com. [Ed. note: the logo above does not reflect the new hours.]

On any given Sunday, Miles Davis’ cool trumpet might segue into horn powerhouse Tower of Power then to B.B. King, Al Green or maybe Steely Dan.

It’s a mix of music no other commercial station in Boston – perhaps in the country – is playing. Jazz alone is pretty much a four-letter word meaning unmarketable in radio. Even the majority of college stations have abandoned it.

So how is it received by listeners on ’XRV?

“It’s been great,” says Garvey, truly ecstatic to talk about her show. “People really seem to like it. The Facebook page has become a chat room, not only to make requests, but to talk about the songs and to each other. One couple even ‘met’ there!” (More on this later.) Listeners from as far away as Brazil, St. Lucia, and Florida check in to let Garvey know they are listening. “Good Morning from rain laden Pensacola FL,’’ says one recent post. “I am sharing BBTR with my neighbors.”

The fact that the show exists at all is a testament to Garvey’s love for soul and jazz music. Her regular gig, 9 a.m.-2 p.m. during the week, is the standard adult contemporary WXRV format: Coldplay, Jack Johnson, Death Cab for Cutie, Bruce Springsteen, etc. Though the station gets a few bonus points for ranging a little wider and deeper than most, Garvey sticks to the computer-generated playlist during the week.

But “Brunch By the River” is all her.

The show existed before she took it over five years ago, but, she says, it lacked soul, literally: It played a lot less soul music, was heavy on world beat, and the jazz selections were what she calls “condo jazz” – no Miles, no Coltrane, no Charlie Parker.

But now “everything has a soulful groove,” she says proudly. “Jazz and soul go well together.” She might even mix in a well-placed pop song, maybe an Amos Lee tune, now and then.

To read the rest of the story, click HERE

Random playlists of radio stations across the country that we love to tune into.

WERS
88.9 FM (Emerson College, Boston)
www.wers.org
Bruise on the Sky – Nellie McKay
Written in Reverse – Spoon
Stage Fright – The Band
Calamity Song – The Decemberists
Wildflowers – Tom Petty
The Last Crusade – Sam Roberts Band
Natural Blues – Moby
Dragon’s Song – Blitzen Trapper
I Wanna Be Adored – Stone Roses
Velcro – Bell X1

WUMB
91.9 FM (UMass-Boston)
www.wumb.org
If I Had My Way – Patty Griffin
Dimming of the Day – Richard and Linda Thompson
Mary Anne – Girls Guns & Glory
Modern Art – Tom Russell
Ragged Company – Grace Potter & the Nocturnals
This Wheel’s on Fire – Guster
You Were Never There – Diego Garcia
Truth No. 2 – Dixie Chicks
Love Is the Reason – Bonnie Raitt
Sweetheart Like You – Guy Davis

WXPN
88.5 FM (University of Pennsylvania, Philadelphia)
www.xpn.org
Candy – Iggy Pop
Oh Atlanta – Little Feat
The Carpet Crawlers 1999 – Genesis
You Were Never There –
Diego Garcia
The Thrill Is Gone – B.B. King
Baby Can I Hold You – Pete Yorn
I Got Loaded – Los Lobos
Grace – Jeff Buckley
Always – Junip
Fragile Bird – City and Colour

WFUV
90.7 FM (New York City)
www.wfuv.org
Portland Oregon – Loretta Lynn (with Jack White)
Barton Hollow – The Civil Wars
Little Bit Is Better Than Nada – Texas Tornados
The Whole Enchilada – Keb’ Mo’
Fools – Diane Birch
I’ll Be Your Baby Tonight – Bob Dylan
Harlem River Blues – Justin Townes Earle
Man in Motion – Warren Haynes
Slow Turning – John Hiatt
You and I – Wilco/Feist

KINK
101.9 FM (Portland, Ore.)
www.kink.fm
What Are We Fighting For? – Tyrone Wells I and Love and You – The Avett Brothers
I Want a Little Sugar in My Bowl – Allison Moorer
I Know I’m Not Alone – Michael Franti & Spearhead
500 Miles – Tori Amos
Mr. Rock and Roll – Amy MacDonald Hanuman – Rodrigo y Gabriela
I’m so Gone – Jackie Greene
Surely – Black Dub
You Ain’t Thinkin’ About Me – Sonia Dada

KEXP
90.3 FM (University of Washington, Seattle)
www.kexp.org
Can’t Figure It Out – AM & Shawn Lee
Come to Mary – Jesse Sykes & the Sweet Hereafter
Can’t You Tell – Vetiver
Dark Turn of Mind – Gillian Welch
The Telephone Song – Charles Bradley
Take ’Em Up – Shit Robot
Shield & Sword – Active Child
Goshen – Beirut
Rabbit Heart – Florence + the Machine
Sometimes Always – Sleater-Kinney

KCRW
89.9 FM (Los Angeles)
www.kcrw.com
Marble Son – Jesse Sykes & the Sweet Hereafter
Sophia – Laura Marling
Moon on the Sea’s Gate – Milagres
King of Spain – Galaxie 500
Stick Figures in Love – Stephen Malkmus & the Jicks
Balance – Future Islands
Audience of One – Cold War Kids
How Come You Never Go There – Feist
Bad as Me – Tom Waits
Ain’t Nobody Here But Us Chickens – Louis Jordan (DJ Premier remix)