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Women of Substance Radio has been on the air for 4 years. We broadcast 24/7 on the Live365 Network and iTunes Radio garnering fans from all over the world. WOSRadio plays the BEST female artists, both label and Indie, in all genres. We hand-pick all of our music starting with icons of the past like Carole King, Joni Mitchell, Carly Simon, Fleetwood Mac, Heart, Tracy Chapman, Mariah Carey, No Doubt, Tori Amos, Sarah McLachlan, Jewel, Michelle Branch, Kelly Clarkson, Sara Bareilles, Colbie Caillat, Adele, Carrie Underwood, Amy Winehouse, Feist, Christina Perri and so many more. Women of Substance take submissions from Indies and our review board selects only the best quality artists and songs that can stand up next to the forementioned superstars. Indie artists we have chosen early in their career have gone on to be Top 24 on American Idol, win second place on the Bravo show Platinum Hit, and one artist is currently a chosen contestant on NBC’s The Voice.

Women Of Substance Radio Top 20 Tracks

Aeona is a singer-songwriter, musician and music producer from Sweden. Her interest in music began at the age of four when she discovered her first “drumset” in the kitchen. In her mid teens she played the guitar, composed her own music and competed in local talent shows. As her passion for music grew she began playing the piano by ear. Today she has her own studio and is working on her first album. She sings every vocal, and plays most of the instruments in her songs. Inspired by artists such as Pink, Madonna, Linda Perry and many more, she is looking to make a name for herself in the pop genre.

1. I Still Feel You

2. !Break Me
Tivoli Skye

3. Promise
Tivoli Skye

4. I Wanna Love Tonight

5. Our Hearts Are One
Tivoli Skye

6. Go On

7. Sweet Release

8. Drunk on Hate
Madeline Bayda

9. Life Is Good
Jessica Brant

10. Waiting for the River to Run
Alison Reynolds

11. Second to Last
Gretchen’s Wheel

12. Don’t Let Me Break Your Heart
Deborah Wargnier

13. Nowhere to be Found
Kaity Floyd

14. Love Crime
Maureen Russell (writers Tracey Graham & Maureen Russell)

15. Walmart Killed Main Street
Voodoo Highway

16. Be Who You Are

17. Nothing But Sunshine
Nevada Projects

18. Beautiful Again
Bree Noble

19. Before The Light Of Day
Kristin Chambers

20. Amnesia
Savannah Stewart

Wet & Wild

Wet & Wild

Reposted from

by Andy Hermann

Wet & Reckless, Wyatt Blair harvard & STone “No one is expecting me at home/No one’s calling hospitals or waiting by the phone,” Emily Wilder sings on “Suicide Mission,” one of eight tartly delivered garage-pop gems on Wet & Reckless’ debut full-length album, out this month on Lolipop Records. Singer-guitarist Wilder, bassist Jessica Gelt and drummer Jalise Woodward probably draw a lot of comparisons to Best Coast for their hazy, jangly sound, but they’re closer in spirit to veteran L.A. guitar-pop outfits Irving and The Little Ones. Wilder wraps her loneliness and vulnerability in sardonic humor and layers of reverb, especially on the drunken confessional “Walk Me Home” and the deceptively rousing “Machinery.” With Lolipop mastermind Wyatt Blair opening, this final night of Wet & Reckless’ month-long residency at Harvard & Stone should be loaded with whip-smart songwriting and earworm choruses.

March 5, 2015

Reposted from

by Michael Hixon

With singing, acting and voice-over work, there’s little in the entertainment industry that Manhattan Beach resident Chantelle Barry hasn’t tackled. Currently, she’s in the process of recording her newest EP, which is set to be released this spring.

Barry’s next single, “One Step Closer,” and its video will be released at the end of March. Barry will perform some of her new material on Friday, March 6, on the Hermosa Beach-based Internet radio station, Static Beach (

With the new EP, Barry puts on another hat: producing.

“I learned how to produce out of necessity, just having to make my own demos and having to get the songs out of my head. I’m very prolific. There are songs every day in my head,” Barry said.

“One Step Closer” is a song about relationships.

“It’s about being so close, but so far to that idealistic notion of love, where a loving relationship should be … it came from how I was feeling in the moment,” Barry said.

The video was shot by videographer Aaron Nickels.

“We shot it pretty much on the spot,” Barry said. “It was the least prepared video I’ve ever done. I think because of that it turned out pretty cool. There wasn’t any preconceived notion of how it would be. It was a very honest performance.”

Barry said she has an album worth of music, including a song she wrote last weekend, but she said it has been a challenge to narrow the song selection down to four or five for the new EP.

“Being independent is really great because you have so much creative freedom,” she said. “But at the same time, sometimes I would like people to come along and go, ‘These are the four songs that are the best’ … how can you be objective? At the same time, it forces me to step up to the plate and make better business decisions.”

Musical childhood

Barry is a first generation Australian. Her mother was born in Italy and her father is from Burma, now known as Myanmar, a small country between Thailand and India.

“My dad was a musician so (my sisters and) I grew up in a very creative household, always doing music, always having band rehearsals and putting together cover bands,” she said. “My sisters and I performed in a group called The Barry Sisters for a long time. My parents had us perform at any event there was. It was really fun. Performing and entertaining and singing is always something known and always loved. I feel very comfortable doing it.”

She attended a performing arts high school on scholarship and spent one year at the West Australian Academy of Performing Arts. She moved to Sydney where she attended the Actors Centre Australia. But in 1999, her life changed when she auditioned for Australia’s first reality show, “Popstars,” which was an early inspiration for “American Idol.”

She “breezed” through the audition process of “Popstars.”

“I was very used to showing off and being in the spotlight at that point, very confident in what I was doing. I was 18, it was all I knew,” she said.

The show’s producers put her into a group named Bardot as its lead singer and forced the band members to live together.

“It was something no one had any expectation of and I certainly didn’t,” she said. “For me, it was doing what I love. It was this weird process. I remember the camera guys asking me the second morning in, ‘Can you just re-wake up?’ I was like, ‘What do you mean?’ (They said), ‘We need to get that coverage.’ It was a lot of staged types of things. Now I’m fully aware that reality TV is not reality.”

The full season of “Popstars” aired in early 2000.

By that time, she was already estranged from the group after a seemingly controversial departure. Bardot won that first season, but it wasn’t a live audience vote like “American Idol” or “The Voice.”

“It was a learning curve for me,” she said. “I had no way of being prepared for the media whirlwind and the paparazzi and weirdness and having my name in tabloid magazines.”

After Barry had left the group, she had already signed a solo deal at the end of 1999 with the creators of “Popstars.” She toured Australia and started writing her own songs. She lived shortly in London in late 2000, but the “morbid” weather didn’t bode well with her, so she decided to pack her suitcase and head to Los Angeles in early 2001. She bounced back between Australia, London and L.A. before making her home in California in 2003.

Film career

Barry worked at the clothing store Cosmo and Nathalia on Melrose Avenue to pay the bills while focusing on her career, which got a lift when she landed a role in the indie film, “The Company You Keep,” starring Corbin Bernsen, Maria Concita Alonso, Linden Ashby and Brett Haley.

“I was the newbie and we were in South Africa,” Barry recalled. “We got to shoot in Johannesburg for two months and it was an amazing time. I try to learn something from everything. Most of the time I don’t need to try, the lessons are there. I felt really enriched when I came back, just seeing how people in South Africa lived and what they put value on as opposed to a lot of places (such as) Australia (and) America where there’s more emphasis on material things here. It was an enlightening experience.”

She also suffered her first injury on a set while filming “The Company You Keep,” when she got hit in the head with a gun, causing a laceration that required stitches. But on an indie film with a low budget, the show must go on.

“I cleaned the blood out of my hair and went back to set like a trooper,” she said.

Since then, she’s landed more roles in small films and parts in hit TV shows like “How I Met Your Mother,” “Entourage” and a recurring role in “90210” in 2008 and 2009.

“Things like that pay the bills, get you residual checks and it makes for a sustainable career,” said Barry of her high-profile roles.

Last year she shot the Eric Chambers directed short film, “First Timers,” where she plays an ex-con, with two accomplices, who kidnaps the son in a wealthy family. The problem is, it’s the wrong person they kidnapped. She’s also been busy with voice-over work on video games, commercials and animation.

“It’s my way of staying young and being a kid and experiencing these different emotions I haven’t necessarily experienced in my life, but other people do. These characters definitely give me a chance to do that,” said Barry of her acting career.

Other endeavors

Besides her busy entertainment career, Barry has created her own jewelry line called White Elephant Designs, which features bracelets and necklaces that promote “health, courage, love and abundance.” The jewelry is made with gem stones, sterling silver and spiritual pendants. Celebrities like Lionel Richie, David Beckham and Steven Tyler have purchased her handmade jewelry.

The jewelry can be found at @Mike’s Guitar Parlor, located at 1301 Manhattan Ave. in Hermosa Beach, and online at

“I especially love gifting this stuff … while I’m doing it, I try to put all my energy and love into this one gift,” Barry said.

For more information, visit or

The new year has started, our team is expanding, ÉCU 2015 is approaching and the Official Selection of the Festival is finally out! Yes, dear indie lovers and supporters, we keep working hard for you.

If you need inspiration take a look at the Spotlight section – we have a lot of badass women filmmakers this month. And if you have just completed a cool and original script – why don’t you try to compete at ÉCU 2015 script competition? Look below, you still have time to do it!

Stay updated reading what we have done in Brazil (don’t be too jealous, we didn’t go surfing), and what we are planning to do in Paris during this lovely February: we have a couple of ideas that you can steal from us for sure.

And while you think about all of that, click on and watch the new indie movies we have released this month: procrastinating because of indie binge-watching is OK.

Don’t forget to stay in touch with us, follow / liking / retweeting / stalking us whenever and wherever you want.

And remember: APRIL 10th IS THE DATE.
See you soon in Paris!

/ ÉCU Team /

February 23, 2015

Reposted from

by Amber Claire
Hollywood Celebrity Headlines Examine

Hi Chantelle, since we last spoke to you, you have been doing a lot of exciting stuff with your music. You have also got into the producing

Photo: Aaron Nickels

Photo: Aaron Nickels

side of things. We’d love to talk to you about all the exciting news.

Hi! Yes, lot’s of cool things going on musically for me right now :) A Very exciting time.

You are getting ready to release your new video & single ‘One Step Closer’. You produced this song also, how did you feel when you first heard the finished product?

One Step Closer is a very chilled out sounding relationship song. Production is a new thing for me- it’s something I’ve always wanted to explore but I guess I just didn’t know when. I built this song from start to finish so it was very rewarding once I’d put the final touches on it, just knowing that it was something I created with complete artistic freedom and no expectation whatsoever as to how it would sound or if people would respond to it. It touches me though, because it comes from a real place so I’m proud of what I’ve created.

What is the message behind the song?

Like most of my songs it’s pretty story-driven and speaks about a relationship that could be on the border of greatness but still isn’t quite there yet. I think a lot of people can relate to it…one of those ‘so close, yet so far’ kinda themes.

I have also seen a snippet of the music video which looks incredible. Who did you work with on the video?

Thank you!! An awesome videographer out of Arizona named Aaron Nickles shot the video. It was a completely unplanned thing actually…he was in town hanging with another artist and producer I work with (Zach Savage who’s incredibly talented and signed to RCA) and I’d seen and loved a bunch of his work and very spontaneously we decided to shoot a video…so he set up the lights and we figured out a few shots we both thought would work well, and we were literally done in about 45 mins. But to me that’s how some of the best art happens, in the moment with more instinct than thought. Aaron did an amazing job!

Who are some of your favorite singers that inspired you growing up in Australia?

Great question! I’ve actually been binge listening to some of my favorite Aussie artists a lot lately. There’s the obvious greats like John Farnham, Kate Cebrano, Jack Johnson, Mondo Rock, Crowded House (not quite Aussie, but almost)…then there’s bands like Bachelor Girl that changed everything for me. Tania Doko (from Bachelor Girl) had the most incredible and pure voice. I remember hearing Buses & Trains (which was their breakout single) for the first time when I was in high school and just being blown away by this gorgeously honest voice telling a really great story and it was on the radio. Hearing Bachelor Girl and their story of recording their album independently and going platinum without a label inspired the crap out of me! It made my dream of being a singer/songwriter but still reaching the masses very accessible.

Who would you most like to work with?

I’d love to write with Tania Doko someday. I’d also like to work with Mikal Blue who discovered and helped break some really prominent musical acts here in the states like Colbie Caillat and One Republic.

Lastly, where can we check out your music?

Thank you for asking! I have 2 albums on iTunes already as well as a bunch of singles and videos on youtube. I’m really loving connecting with people on my Facebook and Instagram pages.

Thanks a lot for your time Chantelle! Best of luck with the new single.

Thank you, so much.

To check out the snippet of One Step Closer, go to:

To purchase the new single, One Step Closer, go to:

For more on Chantelle Barry, check out the links below:

Hello! My name is Alison. I’ve been passionate about country music since I was very young. I got to know music by following styles – rock, southern rock and the country music styles of today – and by cruising through the USA. I’ve also bought a lot of CDs! In recent years, I started broadcasting the “Les News de Nashville” on the Big Cactus Country presented by my friend Johnny Da Piedade. You can read my blog post on the Big Cactus Country site as well as here on the HorizonVU Music Blog and SHOP!

Big Cactus Country Radio Show!!! The best of American Country presented by Johnny Da Piedade and Alison Hebert! The BCC is a syndicated radio Show presented by Johnny Da Piedade and Alison Hebert broadcast weekly more than 250 times. The BCC network is 120 affiliated radio stations in France, Reunion Island, St-Pierre-et-Miquelon, Belgium, Switzerland, Quebec and more.

Here’s a weekend noted immediately on your agenda, that of 29, 30 and 31 May 2015. Why? Well simply, do not miss the 15th anniversary of the famous American Journey’s festival! At Cambrai!

s every year Lobjeois Jean Marc and his North Cape Association team offer us an eclectic and original artistic plateau.

Jean Marc Lobjeois

Jean Marc Lobjeois

The headliners are American. Starting on Friday is Hanna Aldridge, musically categorized as Americana.

 Hanna Aldridge

Hanna Aldridge

Kimberly Dunn

Kimberly Dunn

And on Saturday Kimberly Dunn brings real country music, a great moment in perspective and not to be missed. Like rockabilly country mix? Then you’ll love the American quintet Dead Bronco whose show is likely to be colorful! The Belgian quintet and rockabilly:

Dead Bronco

Dead Bronco

The Baboons promise a concert that will get things off to a flying start. Discover: US Lydia Loveless & Band and artist Devon Graves will present his show case.

The Baboons

The Baboons

Trainwreck Trio

Trainwreck Trio

Also on the program are the Australians of the Trainweck Trio. This year the French artists will be honored with a beautiful bunch of groups “Made in France” and there will be something for all tastes, be it country or Rockabilly, blues and swing, as well as other surprises! Starting with the musician and performer, Country & Rockabilly Eddy Ray Cooper, who will have the honor of opening the American Journeys festival gates.

Eddy Ray Cooper

Eddy Ray Cooper

And not to be missed, the expected performance of the excellent Roving Seats, one of the best bands on the French Americana scene! Another major event will be the concert of Rambling Men, a group of six musicians, crazy and furious in which we find the man show, guitarist, harmonica player and singer of Rockabilly Blues: Jack Calypso i.e., Mister Hervé Loison.

Rambling Men

Rambling Men

Holy Wood

Holy Wood

Honk Tonk Angel

Honk Tonk Angels

A lot of discoveries: With the Holy Wood trio, The French girl band Honky Tonk Angels. A bit of swing with Little Rina & The Frenchies without forgetting Lil Dixie duo that will delight all Country dancers and finally in “Special Guest” newcomer Julia.

   Little Rina & The Frenchies

Little Rina & The Frenchies

 Lil Dixie

Lil Dixie

Johnny Da Piedade The moderator will be on hand to present the Festival for the 10th year in a row !!! Throughout the three days you can dance and have fun.

  Johnny Da Piedade (Emmanuel Marin Photo)

Johnny Da Piedade (Emmanuel Marin Photo)

Country dance classes and activities will be offered and don’t forget the famous Western and Indian camp, the many Western shops, motorcycles, cars and American trucks and the famous parade in the city center of Cambrai! The festival takes place in the shelter of the Palace of Cambrai caves, so no worries about the weather. So do not miss the 15th edition of the festival’s American Journey of Cambrai on 29, 30 and 31 May. We’ll be there!!

Love is in the air…February is the shortest and sweetest month with Valentines Day smack bang in the middle. Whether you want some date ideas to dazzle your loved one or some distraction from being on your lonesome, we’ve got things to do for you here:


For the film buff with a conscience, FIFE (International Environmental Film Festival) is offering a huge variety of documentaries and fiction films inspired by our planet’s plight. César award-winning director Martin Provost leads the jury. 3-10th February

Head to Art Ludique to see the concept art and sketches of Studio Ghibli, known for their highly poetic animated films PRINCESS MONONOKE and SPIRITED AWAY. Until March 1st.


Deep in the depths of the Bois de Boulogne is a stark modern building, Foundation Louis Vuitton, and Olafur Eliasson is providing the highly immersive opening exhibition. Come in from the rain and contemplate for a within his magical landscapes. Until February 15th

The Pompidou have rustled this exhibition together in record time after the atrocity that shook the country. For those who want to no more about this infamous paper, come and see their entire history on display. Until February 27th.


Indie folksters Alt-J are rocking Le Zénith with their infectious songs that stand out from the crowd of trendy wannabes. Get a ticket before they inevitably sell out. February 4th

For the older (or retro-loving) indie folk, catchy as hell The Divine Comedy are playing in Paris too. Check out their hilarious classic ‘The National Express’ for a satirical criticism of coach travel. February 11th at Philharmonie de Paris


Where is this? The Amazon? Believe it or not this is in our very own Paris in the lovely park Buttes Chaumont. With waterfalls, caves, an island and lots of grassy slopes, there’s plenty of perfect make-out spots.

“Uno-dos-tres, cuatro-cinco-seis” Tango dance on the banks of the Seine for a romantic and inexpensive treat. Head down to Quai St. Bernard and join in the fun or drink wine and watch amazedly.

Published on 2 February 2015

Header_DenigrataA Lecturer in Popular Music at a British Higher Education institution, Denigrata Herself is undertaking her PhD in women in extreme metal. She is also the front woman/guitarist in Denigrata, an experimental black metal collective. Denigrata have coined the term noir concrête for their music, meaning the avant-garde dark noise initiated by Pierre Schaeffer and Karlheinz Stockhausen finds a different rhizomatic existence within their contemporary black metal performance space.

Denigrata Herself is a gender theorist whose research and publications to date focus on body performativity, reclamation of female space, tattooing, graphic novels, death metal and black metal. She is part of the International Society for the Study of Metal Music (ISMMS) and sits on various academic and equal rights boards in the UK.

For over a decade she was a lead guitarist in British death metal bands, she was signed to and worked for various independent record labels and now devotes her time to lecturing, researching and performing. She is choir master for her departmental chamber choir and presents annual post-modern renderings of canonical classical pieces with her choir, a string quartet, a contemporary band and Ableton performers.

Hyperreality or Documenting the Debut Gig

After six months of preparation, writing and practice, Denigrata had their debut show last Thursday at the Student’s Union of my institution. Having been there for most of the day, setting up the sound desk, PA and backline, this gave me an opportunity that you don’t get at most gigs and that is to paw over every minute detail until it’s set up in a manner most appropriate for you. I took a certain amount of enjoyment during the process as most gigs are not like this…

You can only do so much to prepare for these things and when it’s time, it’s time. We took to the stage and struck the first chords of the set, knowing that all we had to support us was the practice we had done and the trust of one another. This can be a risky business, not only because I am the performance module leader of our undergraduate programme (and my students were in the audience) but also because the local great and good of the metal scene were in attendance. If the performance had been shit, my professional reputation would have affected. Fortunately this was not the case! It was a blast and I have not enjoyed performing like this for a long time. Yet something struck me as very odd, that previously I had only been vaguely aware of, and that is Hyperreality.

Let me explain. Hyperreality is a theoretical concept first identified by French Post-Structuralist Jean Baudrillard. Essentially what happens during this process is when the Real (Lacanian or otherwise) collapses into something more real than real, a Hyperreal where you enter a space that dissolves the borders of consciousness. I felt unable to distinguish from the real of the ‘pre-gig abstract business’ to the Hyperreal of performing on stage. This was compounded by the fact that we alter our appearance for the performance – wigs, antlers, corpse paint and other paraphernalia all provide othering signifiers to manifest the Hyperreality of the performance.

Denigrata_gig_11022105Simply put, I was myself but not myself whilst performing; I was an altered subject, signifying a different set of encoded meanings whilst we played. I still felt like me, I still represented all of my existing ideological positions and occupied the same intersubject space with the relationships with my partner, friends, students and acquaintances but whilst I was screaming and playing my guitar, I was more other than the other I usually perform.

It is important to establish what I mean by the term ‘other’. The hegemony is patriarchal therefore by the simple act of being female, I am other. Consequently men are considered subjects, women are objects to be looked at and according to Julia Kristeva, the uncomfortable weirdness of people sits in between the subject and object, and that is the abject. Not only am I other to the hegemony because of my gender but I am othered even further because I am alternative. My appearance, my ideological position (Feminist-Marxist at its most simple incarnation at any rate!) and my desire to be loud and take up space, means that I exist even more marginally because I perform my femininity in the way I want to, not the way patriarchal hegemony prescribes. So for me to experience an even deeper level of othering within the Hyperreal space of my stage performance was exciting and utterly bizarre!

It struck me, about half way through our set that I can use this space to be anything I want and rather than it being a pre-constructed arena, it could be anything I want it to be. So, rather than the weight of musical or gendered expectations meeting me like a brick wall, I experienced an emancipatory performance space that was mine to do with what I wanted. I cannot state just how significant a realisation this is.

For the previous decade, I had navigated the death metal scene, performed death metal guitar and been excruciatingly aware of how extensions of the dominant discourse pervaded death metal, musically and socially. Girls don’t play guitar and nor do they have the cheek to get up on stage and do it well! I am currently in the process of writing a paper on this subject but long story short, sexist modes of address and engagement were plentiful during this time.

Denigrata is different and this difference is manifest on a number of levels. Firstly, the music is black metal, not death. Seemingly this might not present any real difference but to those who know these genres inside out, know there are significant differences. Black metal is a different paradigm entirely, focusing more on existential engagements rather than how complex the music is. Riff complexity and virtuoso playing translates to a form of performed masculinity or hypermasculinity because through virtuosity, there is something to prove. It becomes less about the music, and more about showing off. In black metal, there is space in the guitar lines, there is a different timbre at work and this is not to say that black metal is totally free of sexist engagement but when compared to death metal, there is certainly more room to manoeuvre.

Consequently, the sense of liberation, of autonomy and of agency I experience playing guitar and screaming in Denigrata is astonishing. I feel free to navigate the Hyperreal of the on-stage performance but returning to ‘me’ afterwards, feels like somewhat of an anti-climax. If I employ the Lacanian mirror stage to this concept, the mirror or copy of me on stage, is an altered ego-ideal or alter-ego; it is perhaps what I wish were true in the everydayness of my subjective experience of the Real. The problematic gendered constructs imposed during the process of passing from the ‘imaginary’ through the ‘symbolic’ to existing in the Real demonstrates a rent or gap in the fabric of that reality. How can I know what is real when my most significant moments of subject-self totality occur when I am in the realm of the Hyperreal?! Does this process in fact point to the impossibility of wholeness for the subject, for me? In the face of this experience, I am faced with, not the void of an absent reality, but with whatever abject replaces that void.

Through recognising the controlling binaries of the symbolic (Man/active/ positive/ agent/autonomous vs Woman/passive/negative/bound), what we encounter in the Real is in fact nothing but the void or more accurately, the absence of the void, the un-space. Are our subject-selves so fragmented that we cannot truly know what we are to each other or to ourselves that ultimately we all experience the Lacanian psychosis, the total breakdown of identity?!

I can scream ‘WHO AM I!’ down the microphone with all the fires of Hades for all the good it does and it be assimilated perfectly into Denigrata’s musical soundscape without raising an eyebrow but what this represents to me, subjectively, is deeply significant. I know who I am when I am on stage, and when I am not, the void, the un-space, swallows identity irrevocably.

The Kennedys: West review

Posted on February 5 by Dave Simpson

Reposted from

Maura and Pete

American folk duo, The Kennedys, have a busy year ahead of them. Singer/songwriters Pete and Maura, who have been performing together for two whole decades, plan on releasing three different records in 2015. The first of these, West, will be exclusive to Ireland and Britain when it hits on April 13th, preceding a UK tour at the beginning of May.

The album’s eponymous opening track is an altogether innocuous affair that blends together elements of folk and country and western. Its warm, relaxing riff and soft melody serve as a pleasant starting point.

“Elegy” features cool and crisp guitars that develop into an enthralling riff bordering on classical about three-quarters of the way in. A rousing harmony persists throughout the pressing instrumentation and is particularly arresting.

Musically, “Sister of the Road” has quite a sentimental feel, affording it a compassionate air. The transfixing vocal work washes over the senses and captivates entirely from beginning to end. “Signs” exhibits another mesmerising melody amid guitars that are a little more dark and serious. There’s something both intriguing and exciting about it all as it trucks along at a steady pace.

Light and breezy instrumentation joins upbeat, reassuring vocals during “Jubilee Time.” This song acts like it doesn’t have a care in the world, emanating a contented and unconcerned atmosphere.

Exotic guitars and romantic lyrics breathe life into “Locket”. Their heartwarming disposition results in a touching and amiable love song. The cheeriness continues into “Southern Jumbo”, which is a bright and jovial entry. Its music and melody glide along merrily, evoking feelings of joy and happiness.

The guitars and vocals of “Black Snake, White Snake” build steadily, forging a strikingly stirring and powerful piece. “Bodhisattva Blues” follows along whimsically with riveting instrumentation and a swift melody. “Travel Day Blues” opts for a heavier approach, recalling the rock and roll anthems of artists such as Chuck Berry while adding a country spin. It’s an irresistibly enthusiastic addition, loaded with energetic vocals and vigorous riffs.

The hushed acoustic guitars and optimistic vocal work of “The Queen of Hollywood High” develop gradually to become lively and hectic, building suspense and anticipation as they do so.

“Perfect Love” is a bustling ballad with a tender melody and spirited instrumentation, after which a mellow acoustic riff and sobering lyrics take over for “Good, Better, Best”. Its affecting tune ensures that it serves as an eloquent finale.

The Kennedys’ work here showcases a splendid blend of acoustic folk and easy listening pop. West is a collection of thirteen enchanting tracks whose heartfelt and passionate execution makes for a wonderful listening experience. Be sure to check the album out upon its release in April and in the meantime, head over to Facebook and Twitter to keep up to date with the band.

What’s The Buzz ?

By Charles Curkindec December 26, 2014

Reposted from

This month, a private screening was held for a rough cut of “Danny Says,” a documentary about the New York rock music legend Danny Fields. The theater was full of old friends of Danny’s and potential investors, but Mr. Fields was not in attendance.

Afterward, the director, Brendan Toller, who hopes to debut the film in March at the South by Southwest Festival in Austin, Tex., answered questions from the audience. The actor John Cameron Mitchell, who in the film refers to Mr. Fields as a “handmaiden to the gods,” asked if Mr. Fields would ever see it.

Mr. Toller, he later confessed, had been dreading that question. He hesitated. “Well —— ” he said.

“I’m never seeing it,” Mr. Fields, 75, wryly declared a few days later, sipping some microwaved sake in the living room of his West Village apartment. The man who introduced Jim Morrison to Nico, Iggy Pop to the world, and cocaine to Iggy Pop, simply doesn’t want to. “That’s Brendan’s thing,” he said.

Danny’s thing — and he is known to people in the business as “Danny” — was music. For roughly two decades, Mr. Fields found himself at the center of a revolution. He broke into the industry working for Elektra Records, first doing publicity for the Doors, then signing both Iggy Pop’s band the Stooges and the MC5 (on the same day), which would ultimately lead to his managing the Ramones. You could make a convincing case that without Danny Fields, punk rock wouldn’t have happened.

“Danny Says,” which took Mr. Toller five years to make — and takes its name from a Ramones song about Mr. Fields — is dominated by Mr. Fields’s tremulous monotone voice-over. But though he may claim that “Danny Says” holds little interest for him, the source material of the movie, his obsessively cataloged archives, certainly does.

Mr. Fields inhabits a cramped apartment filled with more priceless art and artifacts than its few walls can accommodate. As a proudly gay and puckish music industry executive, photographer, D.J. and journalist, Mr. Fields has lived a life most textured, and he has been re-examining it as Yale University’s Beinecke Rare Book & Manuscript Library, which recently acquired a portion of his archives, comes to collect it one box at a time.

Timothy Young, curator of modern books and manuscripts at the Beinecke, is very excited about the acquisition. “My colleagues looked at me in silence after I pitched them Danny’s archive,” Mr. Young said, affirming Mr. Fields’s renown even in academic circles. “It’s such important material of such an important person.

He also noted that the circumstances for the acquisition were strange. “It’s a new experience for me to work with someone who’s alive.”

Andy Warhol’s manager, the filmmaker Paul Morrissey, knew Mr. Fields well but lost track of him over the years. “Is he still alive?” Mr. Morrissey asked, over the phone. Mr. Morrissey, who was interviewed for “Danny Says,” recalled the many times Mr. Fields would stop by his office — what is referred to in popular culture as the Factory — with some friends in tow. “He was a really fun and intelligent guy,” Mr. Morrissey recalled. “I liked him a lot, but I never really knew what he did.”

Though it has been some time since Mr. Fields was influencing the culture, he is very much alive.

Today, Mr. Fields jokes that he doesn’t even like music, but then he’ll insist that it is the greatest of all the things that matter to him. He also considers himself an equally ardent cinephile — he speaks passionately of classics like “The Thief of Bagdad,” a Technicolor adventure from 1940 that still brings him to tears upon repeat viewings; its score, he says, is the first music he ever loved.

Mr. Fields likes to speak, and does it naturally, openly, and with great brio; it’s his talent. For stories, he’s an endless fount, with enough material to fill a few tomes. Those bites of oral tradition are his legacy. The people he knew, the things he saw, the places he has been: That is the gestalt of Danny Fields. They’re alive in his reminiscences, and in the surfeit of audio recordings, photographs, paintings, books and magazines he lives among.

Danny Fields took the photo for the Ramones 1977 album, Rocket to Russia. Credit Joshua Bright for The New York Times

Danny Fields took the photo for the Ramones 1977 album, Rocket to Russia. Credit Joshua Bright for The New York Times

Born Daniel Feinberg in Queens in 1939, Mr. Fields was raised Jewish and is the older of two children. He was a bright kid, graduating from high school at 15, then the University of Pennsylvania at 19, and then dropping out of Harvard Law at 20. “I didn’t want to be a lawyer,” he said. “I thought Harvard was where all the beautiful boys went.”

After Harvard, he moved back to New York and became a regular at the San Remo Cafe in Greenwich Village, where he befriended fellow patrons like Warhol, Robert Rauschenberg and Edward Albee.

Though he found himself surrounded by artists, his own talent was publicizing them. He became an editor at the teen magazine Datebook, where during a fabulously short tenure he managed to ignite controversy by publishing a quote from a 1966 interview by Maureen Cleave with John Lennon who had humbly declared that his band at the time, the Beatles, was more popular than Jesus Christ. (In “Danny Says,” it is asserted that Mr. Fields’s decision led to the band’s eventual dissolution.) He certainly had a yen for stirring the pot. When speaking about his mission statement at Datebook, he said: “I wanted to introduce the Velvet Underground to girls aged 11 to 14.”

From Datebook, he was hired by Elektra Records, which marked a turning point in his career — the observer became a participant.

Mr. Fields surrounds himself with mementos from his life. Some he is parting with now, and the rest he is keeping until he shuffles off: art by the notorious cartoonist Mike Diana, who was convicted of obscenity; hundreds of black-and-white photographs — shots by him and of him and his old coterie including Warhol, John Waters’s drag collaborator Divine, David Bowie and Paul McCartney.

Danny Fields with Nico, photographed by Linda McCartney. Credit Courtesy of the Danny Fields Archives

Danny Fields with Nico, photographed by Linda McCartney. Credit Courtesy of the Danny Fields Archives

“I’m so happy my things are getting a better place to live,” Mr. Fields said.

In January, his first shipment went out to the Beinecke. It was made up of materials largely relating to the Ramones. The second installment, which was collected in July, was mostly audio recordings newly digitized from cassettes, a task that Mr. Fields personally oversaw and underwrote.

The recordings are of his conversations with people he knew or encountered, like Leonard Cohen, whom Mr. Fields took to the Chelsea Hotel to meet some of its tenants, including Edie Sedgwick. “He called me his Virgil,” recalled Mr. Fields, referring to his role as a guide through hell in Dante’s “Inferno.”

The big names he recorded have salience for a lot of music fanatics, but for Mr. Fields, it’s his conversations with the theater critic Donald Lyons (whose estate was also acquired by the Beinecke) and Steve Paul, who owned the Scene (the nightclub where Jimi Hendrix played his first New York show), that he considers highlights of his collection. “Everyone’s heard Lou Reed,” Mr. Fields said, “but no one has tape of Donald screaming, and Steve just being cosmically wonderful.”

Also part of his archives, which he hopes Mr. Young of the Beinecke will acquire, is his pornography: Polaroids of hustlers and videocassettes of blue movies he directed. “I have drawers full of mini-videocassettes of homemade porn,” Mr. Fields said. He described them as fabulous. So far, Yale has not disclosed exactly how much of the pornography it will be taking.

It has been a somber year for Mr. Fields, with the deaths of the punk photographer Leee Black Childers; Arturo Vega, designer of the Ramones’ logo; the poet Rene Ricard; and Tommy Ramone, the original Ramones drummer.

Mr. Fields wistfully acknowledged, “I got more than I deserved,” referring to a career as an important operator in the history of rock ’n’ roll. “I never put my stamp on anything,” he said. “I’ve tried, but never succeeded. I was just a witness.” One could get the impression that Mr. Fields’s self-deprecation belies how he truly feels about himself.

As he takes stock of a storied, tumultuous past, he makes his expectations for the future perfectly clear: He wants more great bands and people in his life to fall in love with. “That’s ‘The Thief of Bagdad,’ ” Mr. Fields said. “To be in love with the princess. Or the prince.”

A version of this article appears in print on December 28, 2014, on page MB1 of the New York edition with the headline: Iggy, Lou, Joey — and Danny.

HorizonVU Music is proud to have donated to the “Danny Says” project.

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