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Review: Sia, We Are Born

Sia

We Are Born

3/4 Hand Claps

As far as I’m concerned, and take my expertise as you will, Sia is a master of both emotionally reflective songs, like the ones used at heart-string tugging scenes in Grey’s Anatomy, and the upbeat sassy song that makes you want to dance in front of your mirror as you get dressed.

The majority of the songs off her new album, We Are Born, fit into the upbeat music category. Carried through almost all these songs is a clap-along-to beat. The album starts strongly with the track, “The Fight.” It does seem to be a sort of rallying song with her soaring vocals calling one and all to join the fight. That song sets the tone for the rest of the album. Percussion that sounds as though it was spontaneously created by tapping nearby objects carries the listener through the album.

Like with her previous work, Sia creates a sound that you won’t find elsewhere. (After all, her last album was called Some People Have Real Problems and had this album cover) Her unique voice makes her upbeat songs sound powerful and sassy, while lending a haunting and emotional sound to her slower songs. She writes creative, but at the same time, raw lyrics. While the music sounds quirky, the lyrics are bold and straightforward. The words are sung directly, as if the person she is trying to communicate with is in the room. They are also real and explore the trials of humanity that we all face, as “we are born.” She sings with an authority that makes you want to follow her beliefs.

Only a few exceptions to this upbeat pop music appear on this album. However, when they do, they hit the bottom of your stomach like a stone. Her voice, at times self-assured, switches to being quite delicate and vulnerable. She pleads, and reveals, and sounds pure – so pure it sound a bit familiar at time.

Standout Tracks: The Fight, You’ve Changed, Be Good To Me, Never Gonna Leave Me, Cloud, and Oh Father

-- Kaitlin Carano

The Dog Days Are Over: A Fall Music Preview

The proverbial dog days of summer are fading away, as we prepare to head back into the routine that fall brings. We’ve enjoyed our days at the beach, nights out, and the feeling of the breeze rustling our hair as we cruise around with nothing to do. So, as we say farewell to another summer come and gone, let’s look ahead to some of the great music that will get us through the next season.
-- Jared Iversen

Ra Ra Riot – The Orchard – August 24^th

The Syracuse-based band (don’t hold it against them) will offer up more of their orchestral pop on the follow up to their critically acclaimed debut album. This isn’t really a fall release, but I missed it on the Summer Music Preview, and it’s supposed to be “so poppy you will want to throw up on yourself” (in a good way, I’m assuming). And seeing as it was produced and mixed by members of Death Cab for Cutie and Vampire Weekend, that is entirely possible. Listen to the single (and other tracks from the album) and decide for yourself.

The Walkmen – Lisbon – September 14^th

Indie rock veterans The Walkmen will release their sixth studio album next month. The record’s title and Romantic spirit were inspired by the band’s trips to the Portuguese capital city, which spurred the writing of nearly 30 songs (11 of which found their place on this album). The lead single, Stranded, features regal horns and Hamilton Leithauser’s distinguished whine, and creates a perfect cocoon of sound, with just the right dose of melancholy and nostalgia, to get you through those early days of fall.

Of Montreal – False Priest – September 14^th

The always strange and interesting Athens, Georgia band will release their tenth studio album next month. The upcoming LP features hip-hop sensation Janelle Monae, who they are currently touring with to promote the album. The two singles indicate the record will have more of the band’s signature funky and danceable pop. And the album cover is pretty sweet.

Deerhunter – Halcyon Digest – September 28^th

The fourth album from Bradford Cox’s band is a concept album of sorts about “the way that we write and rewrite and edit our memories to be a digest version of what we want to remember, and how that's kind of sad.” The album was produced and mixed by Ben Allen, who also worked on Animal Collective’s Merriweather Post Pavilion, and, despite the more guitar based sound of the album’s pleasant single, this suggests there should be more brilliant ambient, psych-pop on the way. This album cover is just creepy though.

Girls – TBA - TBA

Last year, San Francisco beach rockers Girls released their debut album, quickly becoming to the indie world what Justin Bieber is to 12 year old girls. In a recent interview, front man Christopher Owens revealed that a new Girls album would be released “sometime in the fall.” There’s not too many deets at the moment, but for now check out this new song in which Owens shows a much softer side.

Kid Cudi – Man On The Moon II: The Legend of Mr. Rager - October 26^th

KiD CuDi is dropping the sequel to his debut album, Man on the Moon: The End of Day, in October, saying it will bring “you into [his] reality, good and bad.” The rapper’s brand of electronic hip-hop will likely provide one or two songs that will become staples at Village A parties this fall. Until then, listen to the official single (featuring Kanyeezee) and a couple other tracks, and cop his latest mixtape.

Nelly – Nelly 5.0 – November 16^th

We finally have an answer to the question everyone has been asking (mainly just Caroline) – what happened to Nelly? The St. Louis rapper hasn’t had a hit song since 2005, when Facebook still required an invitation to join and Twitter wasn’t even invented (you know, the good old days), and seemingly dropped off the grid for the second half of the decade. The man who kicked off the new millennium with classics like “Country Grammar,” “Ride Wit Me,” and “Hot in Herre” appears to be making a comeback, with the release of his sixth studio album. Listen to the single and get ready to shake ya tailfeather.

Dale Earnhardt Jr. Jr. - TBA- TBA

This ectro-folk-psych-pop duo is the best thing to be associated with NASCAR since, umm, ever (except for maybe this, and probably this, ok and definitely this). According to their MySpace, the debut album will be out in the fall, but in the meantime check out their painfully catchy Horse Power EP, which features a cover of The Beach Boys' "God Only Knows" (Do I smell/hear a feature on Take Cover?).

Kanye West – Dark Twisted Fantasy – November

Speaking of comebacks, ladies and gentlemen, Kanye West is back. It seems the enigmatic rapper has abandoned the abhorrent auto tune that was featured prominently on his last album, the emo dud 808’s and Heartbreak, and has returned to form. He recently joined the web’s most popular narcissistic outlet, and has shown no signs of checking his ego when discussing the new album either, comparing it to the “masterwork” of “Michelangelo, Picasso, [and] the pyramids.” He says his goal is to reach “that Avatar level,” but let’s hope he doesn’t substitute substance for some glitzy gimmick. Then again, glitzy gimmicks are what ‘Ye does best. As if that’s not enough, it has been confirmed that he flew Justin Vernon (of Bon Iver) out to his studio in Hawaii to lay down vocals for “at least 10 songs!” While I can confidently say this album won’t actually compare to this or this or this, Kanye appears to be as motivated and cocky as ever, and that is a very good thing. Check out the single and a leaked track.

Other releases to be on the lookout for:

Fleet Foxes are supposed to release their sophomore album around “stocking-stuffer” time

(You’re my boy) Blu is slated to drop his album NoYork! this yea.

And of course there’s always the possibility of a new Radiohead album...

Artist of the Week: Dawes

Artist of the Week: Dawes

I stumbled upon Dawes, a four-piece band from Los, Angeles, at this year’s Newport Folk Festival, and I was instantly taken with their endearing folk rock. Hailing from the renowned Laurel Canyon region of California, they don’t shy away from their influences, infusing the warm harmonies of CSNY and the comforting melodies of The Band into their familiar sound. What really set these guys apart though are the lyrics, inspired and poetic, yet somehow instantly germane and deeply human. They’re debut album, North Hills, came out last summer, and it is a compelling collection of Americana songs that show a remarkable maturity for a few guys in their early twenties.

-- Jared Iversen

Listen to a few tracks below:

Dawes & The Morning Benders "When My Time Comes" from Yours Truly on Vimeo.

Review: Big Boi, Sir Lucious Left Foot

Big Boi
Sir Lucious Left Foot: The Son of Chico Dusty
9.5/10

I’m going to cut straight to the chase: Big Boi’s debut solo album, Sir Lucious Left Foot: The Son of Chico Dusty, is dope! No questions asked. I must admit that over the last few years I have pretty much been a hater of most new music released under the ‘hip-hop’ genre. This is due in part to my love-hate relationships with both T-Pain (it’s hard for me to continuously hate his music after he joined forces with Andy Samberg for “I'm On a Boat”) and Lil Wayne, coupled with my complete and utter dislike of artists such as Gucci Mane and Bangs. Over the course of these past few summer months, I have tried to mentally accept that the music industry is changing; genre roles are changing and therefore, hip-hop must also change. And, although I do miss the innovative styles of such artists as Eric B. & Rakim and De La Soul, not all of the hip-hop artists today are complete crap. Actually, some of them are pretty damn amazing.

I first heard Big Boi rapping on Southerplayalisticadillacmuzik as part of the duo OutKast. This album dropped in 1994 and I distinctly remember little ol’ me sitting in the back seat of the car as my older cousin drove around Chicago with this album on full blast. By the time Stankonia dropped in 2000 I was finally old enough to seek out the album myself and sing along to the lyrics whenever I was clear of adults. At this time I knew very little about production quality or lyrical flow and judged music solely based on the beat. It’s now 2010, I’m older, wiser and I have become a hell of a lot better at distinguishing albums that I will blast for a season then quickly forget from those that I believe represent true artistry.

I can’t get enough of Sir Lucious Left Foot. Big Boi has definitely been able to hold his own both as part of Outkast and as a solo artist. Despite doubts as to his potential success releasing a full solo album not accompanied by Andre 3000 (Speakerboxx was released with Andre 3000’s The Love Below so it doesn’t count in this instance) Big Boi has proven to be a definite innovator in the music industry. Maintaining the oh-so-precise calculations of production Outkast was so well-known for, Big Boi serves listeners with back to back dope tracks. He spits ill rhymes that had me continuously saying to myself, “Oh snap, he said that”. My top four tracks off the fifteen-track album are “Follow Us ft. Vonnegut”, “Shutterbug ft. Cutty”, “Hustle Blood ft. Jamie Foxx,” and “Fo Yo Sorrows ft. George Clinton, Too Short and Sam Chris”. Some of the tracks are slow jams while others remind me of summer parties back home but all fit together so perfectly that I enjoy listening straight through the album. If you have not yet listened to Sir Lucious Left Foot: The Son of Chico Dusty I highly, highly, highly, recommend you do so. And soon. I for one will definitely be rocking this album for seasons to come.

Disclaimer: I would have given the album 10/10 but I had to deduct points for Gucci Mane’s presence on the track “Shine Blockas” (Gucci’s voice is a drone but the track otherwise is pretty awesome).

-- Dominique Barron

Review: Various Artists, Twilight: Eclipse Official Soundtrack

Various Artists
Twilight: Eclipse (Original Soundtrack)
B (Twilight: Eclipse, as a movie: F--)

I don't know where to begin on why I hate Twilight so, so much. There's just too much to hate. But then again, this is not a literary blog, or a vampire blog, or a Teen Korner blog, this is a blog about music. And the Twilight: Eclipse Official Soundtrack makes me forgive Twilight a tiny, almost insignificant bit for making the world so much worse. The Twilight movie saga has set a strange reputation for itself by roping in more and more (previously?) respectable indie bands to create and collaborate on original tracks for the movie soundtracks--a moneymaking scheme, no doubt, but one I finally agree with.

As this is the easiest way to go about a "Various Artists" album, I'll run through the best and worst tracks artist-by-artist. Metric's track "Eclipse - All Yours" is decent at best--there's no denying Emily Haines is a golden god no matter what she attempts, but the song just falls flat. As an aside, who is Sia? Did I miss something? What is that name? Wasn't there that one song everybody put on their angsty mixtapes for a while? Anyway, "My Love" is utter twee, but movies need those moments just like we do (unless we're robots). I'd never heard Cee-Lo on his own before (which isn't a surprise, if you look at his utterly impressive list of collaborations), but "What Part of Forever" made me curious for more.


As for the real highlights--the Black Keys track "Chop and Change" is gritty, gritty gold with epic movie potential (does the beginning remind anyone else of Inception?). Good work on two great tracks from Bombay Bicycle Club ("How Can You Swallow So Much") and Battles ("The Line"), Twilight producers, you've truly upped your ante with some indie heft. There's a Beck* and Bat for Lashes collaboration--a track I at first thought might turn out like Converse's first and second round of summer jams (read: really, really high expectations thanks to a dream team collab coupled with a really, really mediocre turnout). "Let's Get Lost" actually turned out great, to be honest--the two utterly different respective vocal styles melded together perfectly.

Finally--as per usual, I've saved the best for last, only because everything else pales in comparison to Florence + the Machine's "Heavy in Your Arms." I've said it before, but I'll say it again, I get depth overcharge when it comes to this band. "Heavy in Your Arms" is thundering, epic, utterly mind-blowing--and oh, the funniest, cruelest joke, it's not actually in the movie--it's not even the first song as the credits roll, to add insult to injury, it's the second. Which is, I suppose, in a roundabout way best, because if the scene this song was slated for was not the most epic, rousing battle scene in the movie, then it's probably best it was cut altogether. Because, in the end, the whole movie (Kristen Stewart-the-Worst included) should have been cut as a scene, leaving only this decent soundtrack behind it.

Up next for the Twilight movie soundtracks? One mega-collaboration track with every artist on the album contributing to the same song--a la "We Are The World."

*Hang on, I just realized that Beck's Top 8 Myspace Friends are all Greek Philosophers? Points? So many points!

--Fiona Hanly

Review: Someone Still Loves You Boris Yeltsin, Let it Sway

Someone Still Loves You Boris Yeltsin

Let it Sway

7.8/10

Someone Still Loves You Boris Yeltsin creates tantric pop. They are able to identify that climactic moment in a pop song, that fleeting micro-second that saves pop music from the over saturation by the Biebers in the world. Upon identifying it, though, they exploit it. They dissect that one instant into minutes. Stretching it out over repeating riffs and building handclaps they let us experience that perfect moment for longer than we ought to. And it feels pretty good. 

Let it Sway is the third release from Springfield, MO pop quartet Someone Still Loves You Boris Yeltsin. They recruited heavy-weight Chris Walla (of Death Cab For Cutie) to help with the production and mixing, and though Walla's influence is definitely noticeable in the album's aesthetic, the arrangements of the tracks shows a return to the patience that gave Broom, the band's first release, its rich texture.

Review: Jaill, That's How We Burn

Jaill

That’s How We Burn

3 mustaches out of 4 (actual band statistics: 2/4)

Michael Chabon, musing on the possibility of a totally original novel, said that “All novels are sequels; influence is bliss.” The same is true in the world of music. This review will not be able to tell you whether or not Jaill’s new album sounds like The Soft Pack has a crush on XTC, or of what it is “reminiscent.” Nor will it contain a lengthy analysis (with spreadsheets and percentages) that charts the band’s influences from their toddler days, when they were big into Raffi to their teenage years spent idolizing Joe Strummer. This review is, in fact, significantly more concerned with how the name of the band is pronounced (I alternately envision the word ‘jail’ pronounced with a Southern drawl or a Jamaican saying ‘ja! ill!’) and the fact that one of the members is named Ryan Adams.

Regardless of influence, what sets this album (and any other) apart is what Jaill does differently from others who have come before. Sure, Jaill may not fully be the “psych-pop” band that they envision themselves to be, but they still know how to throw together some slick, catchy tunes. The guitar lick on the deliciously upbeat ‘Everyone is Hip’ is utterly irresistible. The sardonically titled ‘How’s the Grave?’ sports some quite fun guitar solos and ‘Baby I’, though a bit slower, has an equally catchy hook. Sure, ‘Snake Shakes,’ and ‘She’s My Baby” could have just as easily come from an early Shins album, but then again, you would never find Mercer and company crafting a song like ‘The Stroller,’ the most “psych-pop” song to be found here. The album does have a few duller moments, and it is clear that Jaill are at their best when they are rocking out, keeping things upbeat and tight, and surfing easily through pure pop riffs. Still, when all is said and done, That’s How We Burn would be a pleasant addition to any summer rotation.

-- Mark Waterman

Review: Wild Nothing, Gemini

Wild Nothing

Gemini

8.5/10

If you are like me, you took one glimpse at the wholly discomforting album cover of Wild Nothing’s Gemini, and immediately grabbed at your own face to make sure that you still possess your highly desirable lower jaw. It’s not unlike waking from a fraught dream, shaking off the sleep and scouring your body to account for everything being intact. The sensation of reverie is entirely fitting for Wild Nothing, whose aptly pegged “80’s dream-pop” treads the familiar while never escaping the surreal throughout the artist’s wonderful debut album.

Hailing from Blacksburg, VA, Jack Tatum of Wild Nothing does not shy away from the dream association; instead, he welcomes it from the very first track, “Live in Dreams.” With Gemini, Tatum constructs a musical world saturated with shimmering synths and reverberating guitar, creating the blissful mood that never falters for the duration of the album. His voice floats and drifts, sometimes for several seconds, seeming both all-encompassing and completely out of reach at any given moment. The lyrics teem with unfulfilled sentiments and suppressed yearning (“Where are you going?/Can I come with you/I don’t feel right when you’re not here.”), but under the layers of hazy texture, the pain never seems acute. Compartmentalized in this other-worldly space, Tatum’s troubled emotions are only passing, and a sense of peace persists as each track fades to a gentle close.

The clarity of Wild Nothing’s expressiveness is refreshingly welcome, as the pervading anesthetic atmosphere takes the edge off the Tatum’s sharp reflection. The entire album has a well-conceived rhythm, and as such, no one song is worthy of a skip. A full listen without interruption is surprisingly comforting, especially during the summer months when music often aims for stand-alone anthems. That’s not to say that Gemini does not have its clear breakout moments; “Chinatown,” for one, exudes exuberance and conveys the restlessness that so often accompanies the mid-year break. Another album hightlight, “O, Lilac,” features a bouncing acoustic melody and is decidedly upbeat in comparison to the rest of the LP.

Sure, Wild Nothing sticks to a consistent musical formula, and doesn’t introduce any particularly novel concepts. But the strength of Tatum’s composition is unwavering, and maintained a inescapable grip on my own attention within every listening moment. Ultimately, the cool lushness of Gemini provides the perfect counterbalance to the sweet, beachy, sun-soaked albums that have become commonplace in the summer of 2010, and will have staying power long after the warm months dissipate into the crispness of autumn.

Worth many listens: “Chinatown”; “O, Lilac”; “Summer Holiday”; “Confirmation”

--Scott Lensing

Review: Gayngs, Relayted

Gayngs Relayted
A (or 2/2 Unnecessary Silent Vowels)

Before we begin, I have two tasks--first of all, please proceed to Gayngs' Wikipedia page. Read the first few paragraphs. Now, I dare you not to immediately like this band, based just on those few bits of information. There are so many things to like! 23 musicians (including Justin Vernon (SWOON) and a rapper (classic combination of things?)), check; the entire band dressed as "prom" for their first show, check; the Onion liked it and we're suddenly taking the Onion seriously (?), check; they not only did a cover song but a cover video (something Take Cover could look into!), check. Check!

Now that we've got a predisposed bias in favor of the band, we're ready to face the music. To make things easy, Gayngs takes everything about Justin Vernon that could have made you fall asleep and turns the beat up a few notches and back a few decades--from "smooth and sonorous" to "big, harmonic 80's boogie." The album is huge, and lovely, the kind of album that fills a listener up with sound and warmth. This sounds trite, but I'm not kidding, the album is, metaphorically speaking, the Grand Canyon in an elephant's ribcage.

The 23 band members surprisingly don't end up tripping over each other--but their respective influences do shine through in bits and pieces from song to song. "The Walker"--who knew gunshots could, well, fit into a soft rock piece without making me fall out of my office chair? Hats off to Rhymesayers' influence. "Spanish Platinum" is kind of Twin Sister-esque spacey, no doubt Solid Gold's influence. I couldn't even hate "No Sweat" despite the presence of a saxophone (and I have a vendetta against saxophones and 80's music in general). I could go on, but I'll end it here by saying the best thing about the album is that there's something to like about every song, and that there's no telling which one will be my favorite on any given day. My favorite game recently has been playing a "Where's Waldo" of sorts with the list of musicians--can you find the Andrew Bird contributor's influence shine through in any of the tracks? Anyone? Please, keep the surprises coming, Gayngs.

Recap: Newport Folk Festival 2010

DJ and Biz Director Jared Iversen took to the New England countryside to catch some folk-rockers new and old and reported back to us with some sweet pictures. Check out his review and the gallery below.

The Newport Folk Festival began in 1959, and is probably best known for launching Bob Dylan’s career and as the site of his notorious 1965 performance, where he went electric and changed the face of both folk and rock music. This past weekend, nearly 18,000 people descended upon Fort Adams, an 18th Century military base situated on the pristine shores of Newport, Rhode Island, for the 51st performance of this historic concert. It was my first time at a music festival, and the relaxed air of the folk fest proved to be a great introduction to the festival experience.

On Saturday morning, my friends and I departed Providence behind schedule and anxiously drove across the state, hoping to make it in time for Blitzen Trapper’s set. We drove through the quaint Newport streets, passing mansions and battling traffic, finally making it to the scenic hilltop that hosted the festival. As we entered the gates, we heard the first chords of “Furr” and excitedly ran to the Harbor Stage, arriving just in time to see our favorite song. The memory of the day’s shaky start melted away as we stood in the blissful aura of the crowd, watching the Seattle folk rockers finish up their set.

We left the Harbor Stage satisfied that we had caught “Furr,” and began wandering around, scouring the numerous vendors for free food (thanks CLIF) and just taking in the gorgeous sites. After watching snippets of sets by the foot-stompin’ O’Death, the incredible mandolin and banjo based bluegrass of Sam Bush, and the soulful Brandi Carlile, we settled back down at the Harbor Stage to watch one of my favorite artists, Jim James of My Morning Jacket (performing as Yim Yames). As James took the stage, replacing Sam Bush, the average age of the crowd was cut in half, as its size nearly doubled. People drifted off between sets and we snagged seats about 12 rows from the stage, watching the bearded James, dressed in a stylish maroon suit and sunglasses, set up.

After a few minutes, James began his set with the Monsters of Folk tune “His Master’s Voice,” and I gazed admiringly, pretty much like this, as he stood alone on the stage, plucking his acoustic guitar and singing like an angel. The crowd seemed to share my adoration, as everyone sat enraptured by James’ intimate performance, only breaking their silence for an occasional hoot or holler as he showed off his vocal range and an explosion of applause after each song. He continued his beautiful, heartfelt set with an unreleased song called “Wonderful (The Way I Feel),” and the My Morning Jacket songs “Look at You,” “Tonight I Want to Celebrate With You,” and “Bermuda Highway.” At this point, he took a moment to remember his friend, cartoonist and musician John Callahan, who had passed away the week before, dedicating the performance to him and playing a cover of Callahan’s song “Summer Never Ends.” He continued with “It Beats 4 U” and a very subdued version of “What A Wonderful Man,” both of which carried a new gravity in light of James’ earnest tribute. Continuing the festival's collaborative tradition, he called up his friends Ben Sollee and Daniel Martin Moore, who recently released an album to raise awareness for mountain top removal, which James produced. They added a cello, bass, and drums to James’ acoustic guitar, picking up the pace on the next few songs, before ending the stellar set with knockout versions of “Smokin’ From Shootin’” and “Gideon.”

As the sun shined on our smiling faces, we hurried over to the Main Stage to watch Andrew Bird, who stood on the huge platform all by himself, playing his violin, surrounded by the bevy of other instruments and equipment he would use during his set. Bird started off by playing what he called “musical ideas,” bits and pieces of music that weren’t really fully formed songs yet. We ended up making our way towards the front of the stage, and stumbled upon a small group of people dancing off to the side, in front of the press tents. We immediately joined in, jumping around joyously and uninhibited, as Bird was accompanied on stage by Calexico, and launched into “Plasticities,” “A Nervous Tic Motion of the Head,” and “Tables and Chairs.” People stared at us. And laughed. And took pictures. But we didn’t care. It was one of those special moments that music festivals seem to induce, where strangers come together, and yell as loud as they can that “oooh there will be snacks there will.” We tried to get other people to join, and attempted to orchestrate a group clap, but the crowd seemed more content to just lounge around on the lawn, only half paying attention to Bird’s impressive set.

As the day wound down, and the sun began to approach the sailboats on the horizon, we decided to check out one more band before leaving. As we approached the smaller Quad Stage, Dawes had just finished their set, but, continuing the day’s good fortune, they asked, “Anybody wanna hear one more?” and came back out for a rare encore. I had never heard of these guys, but they instantly won me over with their uplifting anthem, “I Got a Feeling,” and sent me off with my favorite song of the day, which is still stuck in my head. After the first stanza, front man Taylor Goldsmith called his father, a musician and former member of Sweathog, onstage to help him belt out the catchy refrain. The crowd joined in, chanting elatedly as Taylor strummed his guitar and hopped around the stage with childish excitement, seemingly thrilled at how the crowd had embraced his band. Dawes was a real pleasant surprise and, after seeing their rousing performance, I discovered that this California band released a beautiful album last summer called North Hills, filled with warm harmonies reminiscent of fellow Laurel Canyonmusicians Crosby, Stills, and Nash. They are definitely one of the most promising young bands on the Americana scene, and Goldsmith has joined forces with a couple of other rising folk stars, John McCauley from Deer Tick and Matt Vasquez from Delta Spirit, and is slated to release an album with them sometime this year.

This wasn't a huge music festival, and I only saw some of the band's on just one of the two days, but it was still one of my greatest music going experiences. During his set Jim James mused at “what a miracle it all is,” asking “how can things be so great?” Wonderful music, perfect weather, and lots of cheerful people, all set against a picturesque backdrop, can make things great, and the Newport Folk Festival was nothing short of that.