Showing posts with label GERDE'S FOLK CITY AT 60. Show all posts
Showing posts with label GERDE'S FOLK CITY AT 60. Show all posts

Sunday, January 24, 2021

It was 60 years ago 1961-2021

IT WAS 60 YEARS AGO





What if…


What if Bob Dylan arrived in New York this date 60 years ago and turned in for good night’s sleep? Lucky for his fans, Bobby had no where to go. So he went to the Wha? (Not a question. Café Wha? Has a question mark. Gerde’s has an apostrophe. We carry on.)


What if Bob Dylan arrived in New York City on a different date from 60 years ago today?


What if he pioneered his sound on the West coast instead? I frame it that way because decisions had to be made by many people in Dylan’s bio. His mother, his father and Dylan, of course. Then, many others in New York and East Orange helped him with future decisions. 


What if he traveled South from Minnesota and took a right instead of a left? He talks of having already decided before packing up to go to New York instead of the other way. He had heard about Gerde’s. 





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Gerde’s Restaurant was up and running with music since late 1959. It became Folk City in May of 1960 right after Izzy Young and Mike Porco dissolved their handshake deal to originally run folk shows at Gerde’s. The Folk revival became a national sensation.


Dylan, like many others, got wind of opportunity and eventually hitched his way to NYC via Chicago. 


Izzy and Mike had many other things to do on their respective paths than to wait around for other people. 


~~~~~~~~~~~~~~~~~~





Later that year, The Beatnik Riot


What if Izzy Young never saved free speech in 1961?


All those writers and poets that came would have to wait decades for Facebook to be invented to express themselves.


Civilization is predicated on what was once known as free speech. 


The first amendment in America includes free press, assembly and worship.


It has been noted by historians that anyone with a printing press has a right to print and express ideas protected by the 1st Amendment. Debate and discourse within the public arena or even within the mind of the individual would decide an idea’s acceptance.


The ‘idea’ itself had no box drawn around it by the Government as stated in the bill of Rights. It’s a personal interpretation. Create your own interpretation.


Later ‘yelling fire in a crowd’ was rightly declared unprotected and harmful speech.


Church, Temples, Mosques are all protected.


Copy machines, Facebook posts and open letters are covered.


Now that millions of people have cameras in their pockets, video ‘reports’ of events anywhere in the world are protected making the owner of that camera a citizen journalist. Publishing their experience is covered under freedom of press.


Singing is an extension of speaking, said Izzy on April 9th, 1961.


Fast forward to

2021:

Singing in a crowd is a super spreader event, says the team of experts in now.


How much more fucked can we be?


I hope we never find out. Yet we wait until…..



~~~~~~~~~~~~~~~


SUNDAY is an astounding document on the events of April 9th 1961. It’s offered by Drasin to the public here on Youtube.


Dan Drasin

SUNDAY




https://www.youtube.com/watch?v=sxAZXuDaO84




This is journalism of its day. Captured then edited perfectly (listen closely) after the fact and released at the time to inform the viewer of the seriousness of the event. It’s become a museum piece. The parks Commissioner at the time- Morris- had declared free assembly and singing in the Square to be off limits on Sundays. Too noisy. Too much congregation. Too free.


The Square was Izzy’s for a day. He was the only real ‘grown up’ and adopted daddy.


They sang a ‘little folk tune’ called the Star Spangled Banner in unison because it was all about being able to sing in the first place. 


If you gather musicians outdoors they are going to play and sing just as if you took beavers into your living room they will chew your furniture.


After some court visits, Israel G. Young and pro bono legal ‘experts’ helped Izzy get legal permits to sing once again. Izzy told me that the City of NY just got tired of sending their own attorneys to appear over the matter. It took a reported 5 months worth of appearances.


In the end, Izzy saved the expressive RIGHTS for all Greenwich Village artists. That’s fact. Those fukkers with the chalk drawings for the last 60 years? Yeah them, as well. That includes the professional musicians who were just hanging out with the crowd. That includes the professional and would-be pro musicians who were creating in the clubs. That includes the message(s) that eventually spawned out of the clubs and onto the radio and into the streets. 


Izzy saved everyone’s ass. Said ‘everyone’ wrote songs to save America’s collective ass. Dr. King joined forces with the words of the musicians to create legislative change for the entire country. Again, that’s my interpretation of what happened before I was born. Make of it what you will. Blowin' in the wind had to be written by somebody. It wasn't going around the world on its own.


~~~~~~~~~~~~~~~~~~~~~~~


What if Izzy never saved free speech in 1961?


Perhaps it was only a delay. Perhaps it was only a 60 year long speed bump in the progression to where we are today.


Only later that day on the 9th of April 1961, Bob Dylan was probably doing a rehearsal for his first ever pro event. Quite possibly, he was with Mike Porco at the Local Union hall paying his dues and getting his NYC Cabaret card to perform professionally. Only Bob knows, now. Mike Porco signed as his legal guardian that day, fronted Zimmerman the dues and most certainly fed him for the next two weeks as Bobby (not yet legally Dylan) opened up for John Lee Hooker at Gerde’s.


It was a tiny room, Folk City was, but it was Hooker and Dylan’s for a week. Because of the packed house shows, they were held over for another week. Mike never charged musicians for meals. Dylan’s union dues and Cabaret fee is another story. Usually, musicians were welcome to eat dinners with the staff before showtime and expenses were trimmed off the top of the musician’s $90 weekly payday. My estimation, a $25 yearly Union fee and $8 for a Cabaret license was Dylan's haircut. This is not including the $3 given to Dylan by Mike to get a haircut for the picture. The 3 bucks was a gift. Haircut result…?…unknown.





If Izzy was busy doing all that Union set up with Dylan, he wouldn’t have been able to be at Washington Square Park on April 9th when he saved Free Speech.


It was saved once. Can it survive in 2021?


~~~~~~~~~~~~~~~


Exactly one year ago today, I had the privilege of hosting the Gerde’s Folk City 60th Anniversary Concert. We honored Dylan and Ochs and every musician that ever played Grampa’s Italian restaurant. 


Here’s my lot of footage from that evening:


Gerde’s Folk City at 60

1.24.20




https://www.youtube.com/watch?v=UaUOiP4q05g


Yes indeed! You see that right. The date of the show was 2020. Just look at all those super spreaders. Something positive came out of 2020, at least. It was a few days after the pandemic was declared globally. 


Notice the musicians were joking around during soundcheck about ‘this corona thing in China.’ Not to be dismayed we gathered anyway. Packed like sardines, singing out loud, spitting on the first two rows and their wives and dinner…it was GLORIOUS.





~~~~~~~~~~~~~~


How far have we come since then? How far have we come since 1961?


How far has songwriting and public concerts come since Dylan arrived?


1.24.61 to 1.24.21


What would a time traveler do on West 4th and Mercer today?

There would hardly be anyone at Gerde’s. Mike was a carpenter by trade and would have, as many fine establishments do, outdoor shacks/yurts built for customers out on the sidewalk. Ya know, the sidewalks in the freezing cold of January serving one or two tables if at all. Today, Folk City indoors would be able to hold about 35 people, spread out, no music. Including kitchen staff and Mike, 42 persons would be legal. If caught with 43, he could be shuttered. 





The kitchen staff would be unable to social distance as they worked.No one really needs to see everything that goes on in a basement kitchen. No one is supposed to know what goes on down there as long as the food is 180 degrees. 


Need I remind you, there would be no singing indoors. It’s not illegal yet but it is deemed selfish, inconsiderate and dangerous to spread droplets around the room. 


That’s where we are as I type. Music can only happen if it’s incidental, if at all. Which is to say, the club may not advertise events but if the musician is able to alert 35 people to hear him play an incidental concert out around the corner by the fire hydrant on Mercer, the show may go on. 


That’s where we are until…until…until…


~~~~~~~~~~~~~~~~~~~


What if Izzy Young never saved free speech in 1961?


One tiny park in the whole country once tried to ban people congregating and singing on Sundays. Israel G. Young and 3000 Beatniks were’t having any of it.


IZZY- Well we’ve assembled for 70 years without a problem.

IZZY- We think the police are derelict in their actions. Commissioner Morris says that Folk Music brings degenerate people and it’s not so.






Where have we gone in 60 years, I wonder?


Free Speech not only refers to free expression of verbal ideas but written ideas, freedom to assemble, freedom to worship any god and freedom to report to others as in Press.


Free flow of data, emails, texts and phone calls. Free information. Free social calls, shopping etc. Free assembly is/was my favorite. We all remember a lifetime of not having to ask some unseen authority to visit our loved ones on Easter, Passover, funerals, Thanksgiving, Christmas, purim, New Year’s, Valentine’s day, birthdays, Easter, Passover, Yom Kippur, Christmas, New Year’s, Birth, death, birth, death. 


Singing outside of one’s own home. That was another favorite memory of mine. How they used to sing, and sing and sing… list, oh, list!


Now I sing to myself at home and watch too many others sing at home to their computers, also. I wish we could just begin again or go back in time and encourage the lysol and the vitamin D ahead of time on this one. There would be singing in the club and theaters by now if we did that. 


The general uncertainty of timeline and lack of reopening schedule are going to continue to hurt those without. I made a YouTube vid in March using Dylan’s lyrics to describe the troops on the streets and walls between us created by 2020. He wrote the words in the 80s but I heard 2020 in the description. The only passage missing is ‘they’re killing nuns and soldiers on the border.’ It’s the only thing missing, but the moment they start killing nuns on the border, I’ll consider myself correct! For now, the headlines write them selves. { ONE YEAR ANNIVERSARY OF 15 DAYS TO STOP THE SPREAD FAST APPROACHING}


Dylan does talk about having to ‘take my temperature, baby’ and ‘climbing the walls’ and ‘uttering idle words’ all day long. This sort of dystopia was brought to life by the film Masked and Anonymous. Graffiti, gulags and Mad Max-ville towns fill the view of a nondescript country ruling its people through fear. Technology and advanced prosperity were absent in that film.


Today, our experience can be described 7 billion different ways. The shared witnessing of a global shutdown is unspeakably difficult to fully explain to a space alien. Can’t even make a good sentence out of it. 


Poems, maybe. That’s for the poets and writers to do. I’m only a witness.


~~~~~~~~~~~~~~~~


Izzy Young, founder of music at Gerde’s, saved free speech. 


Since then…

Wha happened?


As sure as I sit here I can state that Izzy Young almost single handedly saved free speech and the right to assemble for all New Yorkers later that year on April 9, 1961. 


What if he didn’t?


Luckily for Dylan and every other songwriter, their ability to get their message out in song was protected. Their words could reach the radio and eventually reach around the world. Izzy saved Phil Ochs and Tom Paxton and every musician you can think of.


Imagine if Izzy and the Beatniks failed?


Imagine if carousing and singing out loud (without masks) was outlawed in 1961? Imagine if Phil Ochs never got his chance like he did in 1962?


What if he never had a chance to open his mouth and sing his song? Imagine his anti-war rants and raves and messages were never expressed. Imagine if he had lived til today and had spent 2020 writing songs about not being able to sing in public for fear of germs. Imagine if germs stopped Bob Dylan, Phil Ochs and Joan Baez from gathering groups to sing and stamp out oppression and March for peace. Imagine Phil in 2021.


Imagine Phil Ochs. Imagine his anti-establishment phrases. Imagine his ideas not flowing from his mind into peoples ears. Imagine Phil never having a platform.


No Phil Ochs YouTube channel. No Phil Ochs Twitter handle. No Phil Ochs antiwar marches. No Phil Ochs Pentagon levitation. No playful digs by name to the sitting president. No political banter between his songs at Carnegie Hall. No statements at all. No concerts at all.


Luckily for Phil, he came around when he did in 1962. He began at Folk City with bluesman John Hammond doing two weeks at Gerde’s. He knew how many artists were being discovered there on West 4th and Mercer and he, too, had to go south out of college and hang a left and keep going until he became noticed at the Folk City Hoots.


The open mic/American idol model was invented by Mike Porco. That's a statement for the record. Once Dylan sprang into the spotlight, Mike Porco had zero problems getting talented song writers to play his club for free on Monday. All of them were bucking for an opening act time slot in the future.


For my money I’ll bet that Mike never lost Folk City’s magnetic field when it came to attracting musicians for 20 straight years. He relied on a continuous stream of musicians to pay the bills. Dylan arrived here (I write this in New York City) this date in 1961 exactly sixty years ago today. Phil Ochs and countless others followed. The rest is history.



~~~~~~~~~~~~~~~~~~~


What if Phil Ochs saw no reason to come to New York from Ohio? What would have been the point had Izzy Young failed and singing was banned?


What if Commissioner Morris succeeded? What if Robert Moses succeeded and built a bridge over Washington Square? (That’s another story!)


What if Bob Dylan went to the Troubadour instead and Mike Porco was relegated to selling pasta dishes until the 1980s?


WHAT THEN?


~~~~~~~~~~~~~~~





Found this great footage on YouTube

A day in the life 1961




https://www.youtube.com/watch?v=SEa1OtFYeyQ

Thursday, April 9, 2020

GERDES FOLK CITY 60TH Anniversary Concert footage

Including the audience! Left to right we have James Maddock, Paul Metsa, Richard Barone, Drummer Konrad Meissner (out of view), Amy Blume, Willie Nile, Karla Blume, Carolyn Hester, Rob Stoner, Terre Roche, some random dude, Johnny Pisano

GERDE'S FOLK CITY 60TH ANNIVERSARY CONCERT- Full concert (almost)

Question: How much music have you listened to during the CRISIS?
Bob's answer: Some, not much. To drown out the news, I've played dozens of hours of 'cleansing' sound on YouTube. 
528Hz on Youtube. Michael Keaton might say ''529,530, whatever it takes.''

There has also been some looking back on the concert I hosted in January of THIS year. It’s hard to imagine that people used to just sit there and listen to music without masks on!!!!

Of course, I kid. I’m wearing a mask for a few more days then f%ck that. The virus is real but this panic is a manmade pothole. Let’s work and drink and be merry. Eat balls, Fauci and Cuomo. My work is ESSENTIAL.

Once my upload speed got out of the slow lane, I was finally able to post all of my personal footage to my YouTube channel. 

Question: Of what?
My answer: Of the GERDES FOLK CITY 60TH ANNIVERSARY CONCERT!

JANUARY 24, 2020

It's all I got. It's every second recorded that I was able to grab between Green room and main room travel. Doesn't look too bad. Sound is from the camera mic and turned down a bit for this video.




ENJOY IT!!!

(Apologies for not capturing much of James Maddock. But he captured the room and back hall.)

It’s quite a unique time here on Earth.

I’m in Manhattan. It’s quiet. Lots of masks. Lots of hope, too.

The park is full of people getting air and exercising. Don’t be a hermit! If you look back at my March 26 youtube video, you’ll see me suggesting getting quinine, sunshine, zinc and vitamin c. The suggestion stands today. It’s Springtime!!! Get OUT.

When the Lords of Flatbush declare us all alive enough to live life, I shall go back to work, get my wartime paperwork together and start frequenting MUSIC shows.

I mentioned above that I haven’t listened to a ton of music. (Murder most foul notwithstanding) 
I’ve tried to PLAY more since the vibration is what it’s all about. All the musicians I know already know this. They play everyday and that’s their therapy, coping mechanism, medicine, happy place, resonating way to live. In the East it’s called Tao. 

I’m not a good player but good enough to rattle through several songs. The G chord over and over is also good. Eleven days of G so far! Working on chiming along for the days ahead.

Stay safe, Peoples. Know that our Rights to work and assemble have been wrestled away only temporarily. Can you imagine the return to the real world? Very exciting.

Here you have some details on the oft advertised 60th Anniversary Show:

The 60th 2020 Hindsight Rear View Mirror Revue

The set list!

Thanks, Michael Perlin's FB post:
1. Terre Roche : Face Down at Folk City (The Roches)
2. Terre Roche & Richard Barone: When I’m Gone (Phil Ochs)
3. Paul Metsa (from the Iron Range in Minnesota, his home town 20 miles from Hibbing, and the only name I had not known before): Walking in a Woman’s World
4. Terre Roche & Richard Barone & Paul Metsa: Shoals of herring (Clancy Brothers, I think)
5. Rob Stoner (in Dylan’s band for years; listen to the bass guitar solo at the beginning of One More Cup of Coffee; that’s him): If I Can Dream (Elvis Presley)
6. Rob Stoner: Forever Young (BD, in the mode of Elvis)
7. Rob Stoner: It’s a Man’s World (James Brown)
8. Rob Stoner: You’re a Big Girl Now (BD)
9. Rob Stoner: Cryin’ (Roy Orbison)
10. Rob Stoner: Blowin’ in the Wind (BD, but in the mode of Frank Sinatra)
11. Rob Stoner: Been A Long Time (Led Zeppelin)
12. Carolyn Hester: Lonesome Tears (Buddy Holly, whom she said, used to live around the corner from her in the Village (!))
13. Carolyn Hester (with her daughters) on bass and piano: Summertime (Gershwin)
14. Carolyn Hester (with her daughters?) on bass and piano: Get Together (Jesse Colin Young)
15. James Maddock: I Can’t Settle (his)
16. James Maddock: Another Life (his)
17. James Maddock: Beautiful Now (his)
18. Willie Nile (with Johnny Pisano on bass, of course): Seeds of Revolution(his)
19. Willie Nile (with Pisano): American Ride (his)
20. Everyone: One Guitar (Willie Nile)
21. Everyone: The Times They Are A-Changin’ 


Folk City was the epicenter of the Washington Square Folk and Blues Revival It was known for being the first paying gig for a constellation of Folk and Rock legends. Gerde’s became the premiere showcase for America's most critically acclaimed singer-songwriters, Bluesmen and traditional Folk artists from around the Country. Folk City ultimately hosted acts as far and wide as Gospel matinees on Sunday in 1960 to Sonic Youth in the ‘80s.  Hear songs from the vast music catalog of Greenwich Village come to life. Our All Star house band will pay tribute to the anthems of American music history. Solo performances by Texas Songbird Carolyn Hester- Folk City’s first ever Act! Multi dimensional song craftsman James Maddock Terre Roche of the Folk Rock pioneers, The Roches Worldwide Mod Rocker Willie Nile Bandleader extraordinaire, Rolling And Rockin’ Rob Stoner 

Paul Metsa is a legendary musician and songwriter from Minnesota. Born on the Iron Range, he has been based in Minneapolis since 1978. The drummer is class act Konrad Meissner  Your show’s Hosts:  Richard Barone of The Bongos Original proprietor, Mike Porco’s grandson, Bob Porco

Tuesday, January 14, 2020

NEW YORK'S CENTER OF FOLK MUSIC- 60TH YEAR CELEBRATION CONCERT DETAILS


Folk City's 1st Village Voice ad featuring Carolyn Hester









Bob Dylan called Gerde’s “the preeminent Folk club in America.”

West 4th and Mercer was where America’s timeless songs were born and bred. 

Folk. Rock. Blues. Roots. 

Come celebrate ‘New York’s Center of Folk Music’
FOLK CITY's 60th year celebration of being the launch pad for thousands of Songwriters.


Link for ticket sales:

The seminal club hosted the first professional gig for a constellation of American Folk and Blues acts during the Washington Square Revival of the 1960s.

At the center of the action was Mike Porco, the enigmatic restauranteur and champion of struggling talent.

Gerde's Restaurant was an Italian eatery situated ‘off the beaten path’ East of Washington Square and MacDougal Street yet it became the unlikely epicenter of a musical movement.

Suze Rotolo, said that Gerde's was where "the cross-fertilization of different styles and musical eras forged important links in the chain of American musical history."














PERFORMING at The Iridium
January 24, 2020

Carolyn Hester
Rob Stoner
Willie Nile
James Maddock
Terre Roche
Richard Barone
Paul Metsa

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CAROLYN HESTER





Carolyn Hester's first album was produced by Norman Petty in 1957. She made her second album for Tradition Records, run by the Clancy Brothers, in 1960. 

Hester was one of many young Greenwich Village singers who rode the crest of the 1960s folk music wave, helping launch Gerde's Folk City in 1960. 

According to Don Heckman of the Los Angeles Times, Hester was "one of the originals—one of the small but determined gang of ragtag, early-'60s folk singers who cruised the coffee shops and campuses, from Harvard Yard to Bleecker Street, convinced that their music could help change the world." Hester, dubbed "The Texas Songbird," was politically active, spearheading the controversial boycott of the television program Hootenanny when Pete Seeger was blacklisted from it.

John H. Hammond signed Hester to Columbia Records in 1960. In 1961, Hester met Bob Dylan and invited him to play on her third album, her first on the Columbia label. Hammond, her producer, quickly signed Dylan to the label. Hester turned down the opportunity to join a folk trio with Peter Yarrow and Paul Stookey. With Mary Travers, the trio found stardom as Peter, Paul, & Mary. Hester collaborated with Bill Lee and Bruce Langhorne, but she concentrated exclusively on traditional material.

In the 1980s she returned to recording and touring. She and Nanci Griffith performed Bob Dylan's "Boots of Spanish Leather" at Dylan's Thirtieth Anniversary Tribute Concert at Madison Square Garden in 1992.


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ROB STONER





Rob Stoner started his career backing up various artists in New York City. His work can be heard on Don McLean's classic "American Pie".
In 1973 he began a solo career that would eventually land him a contract with Epic Records in Nashville and later with MCA Records who released a critically acclaimed solo album, Patriotic Duty, in 1980. Stoner also recorded an album of his original songs for Sun Records in the early 1980s.


In the summer of 1975 he was hired as bandleader, opening act and bass player in Bob Dylan's band. He played with Dylan during the Rolling Thunder Revue tour and on the Far East leg of Dylan's 1978 World Tour. His singing and playing is featured on many Bob Dylan recordings.
After quitting touring life with Dylan, he resumed his solo career. He is still active and giving guitar lessons in Rockland County, New York. He has played with such diverse artists as Chris Spedding, Link Wray, Robert Gordon, Chuck Berry, and Joni Mitchell.



~~~~~~~~~~~~~~~~~~~~~~~
TERRE ROCHE





The Roches (Maggie, Terre, and Suzzy Roche) were a vocal group of three songwriting Irish-American sisters from Park Ridge, New Jersey, United States, known for their "unusual" and "rich" harmonies, quirky lyrics, and casually comedic stage performances.
The Roches were active as performers and recording artists from the mid-1970s through 2017, at various times performing as a trio and in pairs.


In the late 1960s, eldest sister Maggie (October 26, 1951 – January 21, 2017) and middle sister Terre (pronounced "Terry", born April 10, 1953) dropped out of school to tour as a duo. Maggie wrote most of the songs, with Terre contributing to a few. The sisters got a break when Paul Simon brought them in as backup singers on his 1973 album There Goes Rhymin' Simon.They got his assistance (along with an appearance by The Oak Ridge Boys) on their only album as a duo, Seductive Reasoning (1975).

Reviewing Seductive Reasoning in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau said, "Female singing duos must function as mutual support groups; last time a women's sensibility this assured, relaxed, and reflective made it to vinyl was Joy of Cooking. These folkies manque are a little flat here, a little arch there, but in general the shoe fits; no ideological feminism, but plenty of consciousness."
Later in the 1970s youngest sister Suzzy (rhymes with "fuzzy", born September 29, 1956) joined the group to form The Roches trio.

Around this time, they parlayed bartending jobs at famous Greenwich Village folk venue Gerde's Folk City into stage appearances, an experience they commemorated in their song, "Face Down at Folk City" (from Another World, 1985). It was here that they met many of their future singing and songwriting collaborators. Terre was now writing songs as well, and by the time of their first album as a trio, The Roches (1979), Suzzy had also begun writing. Robert Fripp produced the album. Maggie's "The Married Men" from this album was eventually to become the biggest hit of the songwriting trio — not for them, but for Phoebe Snow. After Snow and Linda Ronstadt performed the song in a duet on Saturday Night Live, the Roches were invited themselves to perform on the show a few months later in 1979 at the behest of Paul Simon. They did two songs, both unreleased at the time, "Bobby's Song" and "The Hallelujah Chorus".


~~~~~~~~~~~~~~~~~~~~~~~~~
WILLIE NILE

Nile established residency at Kenny's Castaways, a Greenwich Village club, where he was discovered by New York Times music critic Robert Palmer who described Nile as "the most gifted songwriter to emerge from the New York folk scene in some while". This led to a meeting with Clive Davis and a record deal with Arista Records. He went into the studio with a band that included Jay Dee Daugherty from the Patti Smith Group.
Following the release of his debut album, Willie Nile, he joined The Who's 1980 summer tour.

Nile was inducted into the Buffalo Music Hall of Fame in 2005.

In the fall of 2003, Nile was invited to share the stage at three concerts with the E Street Band, including the two final Giants Stadium shows as well as the two last shows of that particular tour at Shea Stadium.
In 2006, Nile released Streets of New York, which some may consider to be his best work to date, due to its production and songwriting. Former Time magazine music critic and Academy Award-winning screenwriter Jay Cocks writes of Streets of New York, "The tunes he writes and plays with such blowtorch vibrancy get the myth and magic and danger and sadness and love in this town--of this town--truer, and righter, than anything I've heard since Dion. This record is a head-twister and heart-wrencher. It's rock and roll at its best. It's New York at its best. And there's nothing better than that."

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JAMES MADDOCK




James Maddock, though British, is largely associated with the Americana music style and has performed with Bruce Springsteen. Maddock has since become a solo artist with several albums, including Sunrise on Avenue C (2009) which won the 2010/11 NY Music Award for 'Best Americana Album', and is currently a resident artist at Rockwood Music Hall in New York City.

A Rock and Roll lifer, James Maddock has been carving his unique path since the 1980s, when the British-born singer/songwriter kicked off his career with a raw, soulful voice, a storyteller's sense of narrative and the ability to blur the lines between folk, classic pop, and rock. 
Since those early days in London, he's ridden the wave of a music industry that's ebbed, flowed, peaked, and crashed. Maddock has stayed afloat throughout the entire ride, enjoying a brush with commercial success during the late 1990s before transforming himself into an independent solo artist during the decades that followed. Bruce Springsteen is a fan. So is David Letterman. Listening to Maddock's newest record, Insanity vs Humanity, it's easy to see the appeal.

Insanity vs Humanity returns Maddock to his politically-charged roots, bringing him full circle after a three-decade career. Recorded in the wake of the American election that sent Donald Trump to the White House, the new album finds Maddock — a New York City resident since the early 2000s — rallying against capitalism, dictators, and the suppression of equal rights. His songs have a soulful brand of rock & roll that nods to Neil Young, Sam Cooke, Roy Orbison, Bruce Hornsby, and Bill Withers. Maddock's lyrics have plenty of guitar firepower and piano punch. Gluing the mix together is his voice: a stunning instrument that's grown warm and weathered since his days in the U.K., without losing its poignancy.


~~~~~~~~~~~~~~~~
PAUL METSA




Paul Metsa is a legendary musician and songwriter from Minnesota. Born on the Iron Range, he has been based in Minneapolis since 1978.

He has received seven Minnesota Music Awards and has played more than five thousand gigs, including forays to Iceland and Siberia.



~~~~~~~~~~~~~~~~~~~~
RICHARD BARONE

Richard Barone is an American rock musician who first gained attention as frontman for the Bongos. He works as a songwriter, arranger, author, director, and record producer, releases albums as a solo artist, tours, and has created concert events at Carnegie Hall, Hollywood Bowl, SXSW, and New York's Central Park. He serves on the Board of Governors for The Recording Academy (Grammys), the Board of Advisors for Anthology Film Archives, and is affiliated with the Clive Davis Institute of Recorded Music at New York University and The New School for Jazz and Contemporary Music.

In March 2018, he began a monthly Village Nights salon series at the historic Washington Square Hotel in New York City. In April it was announced that Barone would host and curate Music + Revolution: Greenwich Village in the 1960s at City Parks Foundation's SummerStage in Central Park on August 12, 2018. Performers included Jesse Colin Young, Melanie, José Feliciano, Maria Muldaur, John Sebastian, and a diverse roster of artists. 






Link for ticket sales:

Facebook event page: