Check out Eventful, a search site that lets you plug in a zip code, and view upcoming events. It’s somewhat threadbare, but unlike Pollstar, for example, it’s democratic. You can learn about author readings along with the big ticket shows. Now in beta, and not owned by Ticketmaster.
“Hope and Other Casualties”
Mark Erelli departs from his chameleon-like ways with this effort, which should please fans that latched on to his eponymous 1999 debut, and the brilliant follow-up, “Compass & Companion.”. Despite the title, this is an optimistic work. “Here Now” imagines a time when “there’s no cracks to fall between.” Much of “Hope & Other Casualties” is light and easy, with multi-instrumentalist Erelli’s considerable chops evident throughout. Ultimately, his musicianship redeems a somewhat uneven record.
“The Only Way” is a rally-round-the-rainbow call to arms that evokes 9/11, with a lively beat and good harmonica playing. It falls flat, however, with lines like “it’s too much to swallow/it’s left me hollow.”
He’s on firmer ground evoking shipwreck tales on “Evening’s Curtain,” and railing against social injustice in the indignant “Seeds of Peace.” “Imaginary War” is a lovely elegy to bygone small town life, reminiscent of John Gorka’s “Houses in the Fields,” but with a bright innocence that’s missing from that song’s somber tone.
“Snowed In” is a nicely winterized romantic song, and the Greg Brown shuffle “Undone” is equally pleasant, but neither registers with any particular force. “God Loves Everyone,” clunky and earnest, should have been left off entirely. Better to have “Hope’s” penultimate track, the gorgeous, gospel-tinged “Passing Through,” and its’ declaration, “I refuse to let my hope become the latest casualty,” be the record’s final resonating thought.
“Hartfordtown 1944” is this disc’s understated masterpiece. A musical retelling of true events vividly recounted in Stewart O’Nan’s “The Circus Fire,” it begins so jauntily it seems ripped from a Raffi record. But he’s describing a tragedy, forever etched on his hometown’s consciousness. The harrowing line, “some remembered how the animals cried/but there weren’t any animals inside,” hits like an abrupt gut-punch. It’s Mark Erelli at his evocative best.
Strange times in the big music biz. Along with the payola suit, there’s news that major labels are increasingly fighting the tide of online downloads. Ne-Yo’s latest is touted as evidence of the strategy’s success, but 400,000 or so units is chump change next to the millions of times fans grabbed “So Sick” for free from P2P sites.
Also, the American Association of Independent Music sent a letter to the FCC alleging that the broadcast industry deliberately keeps indie music off the radio.
“Well over half of the releases cited in January’s Village Voice Critics Poll were released by independent labels. The marketplace is responding, as independent labels now make up over 27% of sales in the American music market (and about 80% of the music available to consumers—representing the broad cultural diversity of the musical landscape). Yet, somehow, music released by independents is virtually absent from the commercial airwaves.”
Think about that. Against a tide of money, the little guys are winning.