Cafe Eleven

  &nbspFerrick began her career singing and playing in coffeehouses in the East Village, New York.[1] She received a great deal of publicity in 1991 when she replaced, at the last minute, the opening act for the singer Morrissey on tour. Largely as a result of her standout performances with Morrissey, she was signed to a recording contract with Atlantic Records and released her first studio album Massive Blur in 1993.
Ferrick’s relationship with Atlantic was rocky. She was dropped when her first two albums did not meet the producers’ financial expectations. Nonetheless, Willing To Wait, her second album with Atlantic, is still highly praised by her fans.

In 2000, Ferrick founded her own record label, Right On Records, in a move reminiscent of fellow “folk rocker” Ani DiFranco’s choice to release under Righteous Babe Records. A few of Ferrick’s more recent songs refer to the sometimes constraining nature of being signed with a major label. The first studio album released on her own label was Valentine Heartache. Since her departure from Atlantic, the rise in her popularity has been driven by her fan-base, by reviews in the independent and alternative press, and by word-of-mouth.
In The Eyes of Strangers, released in October 2006, was the sixth album released on her own label. Ferrick partially financed the recording costs for In The Eyes of Strangers with digital downloads of acoustic versions of select songs which fans could purchase directly via her website. In September 2007, she released Live at Union Hall, a live album recorded in Brooklyn, New York. Following her latest live album, she announced her intention of releasing future studio material as singles to be released one at a time digitally prior to compiling into full-fledged albums.[3]
Ferrick’s lyrics are characterized by confessional and highly personal content. She mostly accompanies herself on a Collings OM3 SB acoustic guitar, which she often plays with rapid fingerpicking and complicated riffs. She has also experimented with a range of accompaniments, including, in particular, brass instruments. She is famous for her excellent guitar play, even if critics do not always approve of her songwriting skills.
Melissa Ferrick on stage is claimed to be a totally different experience to listening to her studio albums. Her rigorous touring schedule generally includes more than 150 shows per year. She plays solo gigs in small to medium-sized clubs and numerous festivals, as well as occasionally larger venues accompanied by a band. In 2007, she performed at the Michigan Womyn’s Music Festival and opened for Indigo Girls and Ani Difranco.

   The Walkmen are an indie rock band from New York City. The band formed with three members from Jonathan Fire*Eater (which had recently disbanded) and two members from The Recoys in 2000. The group comprises Hamilton Leithauser (vocals, guitar), Paul Maroon (guitar, piano), Walter Martin (organ/bass), Peter Bauer (bass/organ) and Matt Barrick (drums). Four of the five band members attended St. Albans in Washington, D.C. They prefer the sound of vintage musical instruments, most famously the upright piano, and often recorded at their self-designed recording studio, Marcata Recording, which used analog recording equipment before closing in 2006, after Columbia University bought the building that contained Marcata.

   Vampire Weekend is an indie rock band from New York City signed to XL Recordings. Despite the band members’ occasionally preppy style, they are influenced by both African popular music and Western Classical Music. They describe their genre of music as “Upper West Side Soweto”, performing such songs as “Cape Cod Kwassa Kwassa,” which references Congolese soukous music. This song was #67 on Rolling Stone’s list of the 100 Best Songs of 2007.[1]

   Richie Havens is gifted with one of the most recognizable voices in popular music. His fiery, poignant, always soulful singing style has remained unique and ageless since he first emerged from the Greenwich Village folk scene in the early 1960’s. It’s a voice that has inspired and electrified audiences from the Woodstock Music & Arts Fair in 1969, to the Clinton Presidential Inauguration in 1993 -coming full circle with the 30th Woodstock Anniversary celebration, “A Day In The Garden”, in 1999.

For over three decades, Richie has used his music to convey messages of brotherhood and personal freedom. With more than twenty-five albums released and a touring schedule that would kill many a younger man, he continues to view his calling as a higher one. As he told The Denver Post, “I really sing songs that move me. I’m not in show business, I’m in the communications business. That’s what it’s about for me”.

   Blending Malian, American and “Dirty South” influences into a sound all its own, Toubab Krewe “has set a new standard for fusions of rock ‘n’ roll and West African music,” says Banning Eyre at Afropop Worldwide.

Since forming in early 2005, the magnetic instrumental quintet has been credited with bridging the gap between West African and American music unlike any group before them, quickly winning a diverse and devoted following at top venues such as the Bonnaroo and Vegoose festivals to the John F. Kennedy Center for the Performing Arts. Their live shows and self-titled debut album have won international acclaim from the New York Times, Global Rhythm, fRoots, NPR and more.

The members of Toubab Krewe developed their unique sound over the course of numerous extended trips to Mali, Guinea, and Ivory Coast, where they immersed themselves in the local culture and studied and performed with luminaries such as Lamine Soumano, Vieux Kante, Madou Dembele and Koungbanan Conde. The band kicked off 2007 in Essakane, Mali, where they played the legendary Festival of the Desert, known as the most remote festival in the world.

The band is currently working on their sophomore album with Grammy winning producer Steven Heller, slated for release in early 2008.

   After more than 15 years making music, it’s obvious Ohio duo Over The Rhine is in it for the long haul, and for keeps. Their commitment is underscored by their latest, The Trumpet Child, and its opening track, “I Don’t Wanna Waste Your Time,” a manifesto of sorts for the artists recently named to Paste magazine’s list of 100 Best Living Songwriters. Look no further than the lyrics to this track for what animates Linford Detweiler and Karin Bergquist, the married couple at the heart of Over The Rhine: “I hope this night puts down deep roots / I hope we plant a seed / ‘Cause I don’t wanna waste your time / With music you don’t need.”

   “Believe me, we don’t want to waste anybody’s time,” elaborates Detweiler. “When we stop believing we’re doing our best work, we’re done. Every song has to be good, every record has to be great, every concert has to have some spiritual significance—something that we can’t quantify, something bigger than all of us.”

   Over The Rhine may not be a household name, but to call the act’s followers “fanatical” would understate the point, and they’re not shy about converting the curious. Why? For starters, there’s Bergquist’s torchy, devil-may-care voice, brimming with Midwestern soul, unafraid to lay bare every emotional resonance. And again, there’s the life-and-death commitment dripping from her every word. “I’m either into it or I’m not, because there’s no faking it with me,” Bergquist notes. “Life’s way too short for that.”

   There aren’t many groups in North America who could lay claim to possibly 18 different genres of music, but Toronto’s Enter The Haggis is one of them. To engage this quintet is to indulge rock, fusion, bluegrass, traditional Celtic fare, agitpop, folk, even Latin flavors. Sounds awfully confused, right? Wrong. ETH is one of those rare jewels that actually pulls it all off as if to own everything.

   ETH’s live show is a musical feast- viscerally dynamic, emotionally uplifting and intellectually stimulating. The band’s oeuvre darts effortlessly from the trad strains of, say, The Chieftains and the Pogues to the frenetic pop of early Elvis Costello and even to the Latin-tinged spirit of the Buena Vista Social Club and beyond, complete with Lewington’s deft guitar playing, the reeling of Brian Buchanan’s flawless fiddle, the diverse rhythmic machinations of bassist Mark Abraham and drummer James Campbell, and Downie’s transporting pipes, not to mention the near-perfect vocal harmonies. In fact, if you’re game, the group’s undeniable power is documented in Live at Lanigan’s Ball, a film chronicling an Enter The Haggis performance at Plattsburgh, New York’s Hartman Theatre in December of 2003, originally taped for a PBS special, and now available on DVD.