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UK's Everything Everything On UK Tour Now / Look Out For US Fall Tour

Imagine a band who fuse three part harmonies with scalding post-punk guitars; floor-filling bass lines with syncopated rhythms and lyrics about everything from high-school massacres to R&B lotharios musing on their lot in a post-apocalyptic wilderness.

Not easy, is it? But then Everything Everything aren’t here to make life easy. They’re here to challenge every knee-jerk convention of indie rock and dance on the grave of pointless retrogression.

Chances are you’ve come across EE before. Chances are they perplexed, intrigued and if you’ve an ear for something special, they excited you. They first accosted our senses with ‘Suffragette Suffragette’ in Dec 08, followed by ‘Photoshop Handsome’ in May and third single ‘MY KZ, UR BF’ in Oct 09.

Having whipped up interest in all quarters via these low key releases (they’ve acquired fans ranging from Zane Lowe to 6Music’s Marc Riley, played two UK tours- including an advance sold out ICA show as an unsigned band, notched up a top spot on MTV2’s My Space Chart and been tipped by the likes of NME and Times Culture), they signed to Geffen Records in late 2009.

Schoolin is the first single to be taken from their recently completed, David Kosten co-produced debut album (title tbc) due for release in August. It seems set to be the breakthrough debut album of 2010.

After a hugely successful NME tour and supports slots with Delphic, the band are now poised for their biggest festival season yet, showcasing their amazing live set throughout Europe and Japan. EE are so far confirmed to play Reading & Leeds, Glastonbury, Latitude (headlining the Lake Stage) and Bestival.

The Terror Pigeon Dance Revolt! Announce East Coast Shows!

Founded in late 2007 as means for front man Neil Fridd to yell about his romantic mishaps, The Terror Pigeon Dance Revolt! has blossomed into a real juggernaut of epic dance floor revelation.

What do they sound like? It’s sorta dance-soul music, like synthed out Otis Redding covers on fast forward. Dance music with too many cooks in the kitchen, but in a good way, so not too many cooks, maybe just an above average amount of cooks. That is to say, there are sweet beats: your ass wants to shake, but there’s also like four vocals and two horn lines happening too, making for a unique, dense, dance floor throw down that’s suitable for both club rock outs and secluded headphone listening. But perhaps more than both of these, you’ll find yourself wanting to be listening to this music at a Halloween party with all your friends, because before TPDR were trying to make your head bob or your ass shake they were trying to make your heart feel something. Whether they’re singing about a new romance, old friends, or a magical thing that happens when the roads are too icy for professors to get to school, TPDR are singing about something that you’ve felt, and doing so with a humor and sincerity so often lacking in indie music. Scenes and events are set up so perfectly that on a late night, driving in your car in the middle of nowhere you feel every emotion they’re singing about deep down in your gut: you’ll be getting chills on the  subway during your morning commute. These songs will make you long for every boy or girl you almost kissed in high school, chuckle to yourself about how stupid and great your friends are and make you want to go camping, stay up late, dance on your fire escape, have a potluck dinner, jump in piles of leaves, French kiss in the back of a movie theater and finally go out and cut down a real Christmas tree this year.

And if listening to this band on CD makes you feel alive, seeing them live will set you on fire. Terror Pigeon live is sometimes four people and sometimes forty, but it doesn’t matter, cause you won’t know who’s in the band anyways. Everyone dances, everyone gets a costume, everyone sings. And don’t worry, only half the people know any of the lyrics so you won’t feel left out: the sing alongs are easy and they’ll teach them to you. The show is happening on the stage and in the audience. There are people running around with big light up robots on their backs, others wearing disco ball hats, a hairy man dressed as a giant pumpkin, streamers, aliens, football players from the movie Mac n’ Me on a TV dancing to the beat, a dude butoh dancing, it’s like Halloween and junior prom and new years and Christmas at once. There’s a lot of glitter and strobe lights and it’s entirely probable that at some point you’ll be handed a mic and told to go for it. And that’s the idea: that you go for it. Cool has been abolished: for 25 minutes you can’t fuck up. You can scream and sing and roll around on the floor and it’s okay. To quote them “No one here looks more stupid then we do so don’t worry about it!” And you can totally just stand up against a wall and watch too if you want: there aren’t rules. It’s not, “you have to go crazy,” it’s “you can.” And that freedom leads to a real liberation, an all encompassing fuck everything dance party hailed as everything from kid playtime gone wrong to the least self conscious act at CMJ to a religious awakening.

And all this razzmatazz hasn’t gone unnoticed. In addition to getting a plaque once they’ve also been written about by a bunch of important magazines and newspapers, including the New York Times, New York magazine, NME, Nylon and more. Perhaps most impressive, besides the plaque, was their winning the Diesel:U:Music World Tour competition last year. Selected from amongst thousands, Diesel flew them around the world to play in big stadiums in Japan and historic nightclubs in France. This rather surprising move, (wait, good, deserving bands can actually get giant handouts from monster corporations?!) catapulted them into the spotlight, giving them a much-deserved amount of exposure, a buzz that will that may very well explode as they release their debut album and continue to tour nonstop.

The Terror Pigeon Dance Revolt! have an album coming out on Luaka Bop this spring. It’s great. It’s ten tracks of absolute power. They’re touring the US nonstop starting in February with a new backing band called The Shakes. They’re now accepting summer barbeque invitations and really want to play someone’s senior prom like how the Spice Girls used to have competitions like that.

Upcoming Shows

06/05/10 - The Ox (with Harry and the Potters (7pm early show)) - Philadelphia, PA
06/06/10 - The Knitting Factory (with Harry and the Potters (3pm early show)) - Brooklyn, NY
06/11/10 - Hillstock (with the Eskalators, Ava Luna, The Shakes, Ghost Mall and many others) - Brooklyn, NY

07/18/10 - Velocity - Watertown, NY

08/06/10 - Brooklyn Yard (with for Mucca Pazza) - Brooklyn, NY

Crash Test Dummies @ the Boulder Theatre

There is no mistaking Brad Roberts’ voice. He may look like an average guy, now in his mid-40s, but then he opens his mouth and his majestic baritone voice immediately conjures fond memories of such Crash Test Dummies hits at “Mmm, Mmm, Mmm, Mmm” and “Superman.” Perhaps best remembered for the acerbic folk rock sound of 1991’s The Ghosts That Haunt Me and 1993’s God Shuffled His Feet, there have nonetheless been enough hits for the band over the years to merit a couple of greatest hits packages. Through it all, the band with Roberts at the helm has touched on funk and soul, folk, electronic music and even Christmas tunes. Yet it is Roberts’ voice and offbeat lyrical sensibility that have been this beloved band’s calling cards since their founding twenty years ago.

Due for release on May 11, Oooh La La (Deep Fried) is again something of a different animal for the Crash Test Dummies. This time Roberts collaborates with producer/engineer Stewart Lerman, whose many credits include such divergent talents as Antony and the Johnsons and The Roches, as well as filmmakers like Wes Anderson and Martin Scorcese. While longtime CTD member Ellen Reid added back-up vocals and a lead on the closing acoustic ballad “Put a Face,” this album is fundamentally the work of these two creative men.

“I met Stewart and he wanted to just write music for the sake of writing music,” Roberts explains, breaking a five-year writing hiatus to work with Lerman. “I think the music is better than it could have ever been because we were writing it for ourselves – we weren’t aiming at a demographic anyhow – but this couldn’t be a clearer case of us being little boys.” “Little boys” is actually an appropriate term to explain how this album came together—Roberts and Lerman became infatuated with ‘70s-era musical toys, particularly one called the Optigan, and used them to compose much of the music for Oooh La La. Manufactured by Mattel, the Optigan (an acronym for optical organ) looks like a small electric organ but it projects the sound of other instruments using celluloid discs. Somewhat like an accordion, there are buttons on the left side that trigger chords and piano keys on the right that trigger single notes. The discs, with names like “Nashville,” “Swing It!” and “Guitar Boogie,” rotate to produce different arrays of sounds. The process is eerily similar to the digital sampling that is so common today, but the antiquated analog system produces quite a different effect.

“Because we wrote using these discs, we were inspired to do things that we wouldn’t have done,” Roberts points out. “I don’t write big band style, but all of a sudden I had this big band [on disc], so I’m writing in a genre that I normally wouldn’t be writing in. I can’t say enough about how great it is to write on these toys.”

With a little help from a few friends, the guys laid down a collection of beautifully crafted instrumental parts on top of the original toy tracks to create a fully realized production. Listening to the completed tracks you probably wouldn’t even realize that these tunes were started on toy instruments, but those unusual origins are still lurking. It won’t only be longtime CTD fans who will get a kick out of such sonic touches as the `50s doo-wop feel of “Paralyzed” (inspired by another toy called the Omnichord), the manic country feel of “What I’m Famous For” and the big band swing of “Now You See Her.”

Even aside from the toys, there is a distinctly different vibe afoot with this record. “Songbird” opens the album with a somewhat haunting but still undeniably beautiful acoustic melody and uplifting arrangement. Then there’s the third song “And It’s Beautiful,” which is a full-blown love song. “Happy songs are hard to write, especially love songs,” Roberts says. “This is territory I couldn’t have touched as a younger man without making myself sick.”

Yet this is still the unique (some might say warped) perspective of Brad Roberts and the Crash Test Dummies, nowhere more in evidence that with a few of the darker songs on this disk. “You Said You’d Meet Me (In California)” can’t help but make you think of a carnival side show. The Tin Pan Alley-inspired “Not Today Baby” is actually a Frank Sinatra reference. Legend has it that one day Sinatra walked into a studio full of engineers, staff and musicians at the ready, turned around and walked right out with a simple, insouciant “Not today, baby.” The reference was irresistible to Roberts and Lerman, as they recorded their tracks in Frank’s hometown of Hoboken.

Roberts has come a long way from 2004’s dark Songs of the Unforgiven, as a listener will pretty easily hear in “Now You See Her,” a song that Roberts proudly calls “Light and cheeky.” A happily married man who blogs at www.crashtestdummies.com about, among other things, the wonders of his wife, Roberts just seems happier and more balanced than he has been in the past. The image of a happy artist may be antithetical to the “great art demands suffering” mentality, but in the case of Brad Roberts it’s a welcome change of pace that has left him invigorated. Roberts has been so revitalized by the making of the new record that the band will tour this summer for the first time since 2004. Crash Test Dummies will perform as an acoustic trio with Ellen and Brad singing and old friend and tour partner Stuart Cameron playing acoustic guitar, much in the spirit of album closer “Put a Face.” Rather than try to recreate music that was created with some rather cranky toy instruments never meant for the rigors of a tour, Roberts has opted to present these songs in a straightforward, stripped-down manner. It’s a curveball, but the test of a great song is its ability to work in different formats, and these songs, along with classic CTD hits, undoubtedly pass this test.

“I think that when you are dealing with popular music, unless you have a strong melody, sympathetic chords, and a good set of lyrics you ain’t got nothing,” Roberts points out. Foreshadowing the highly entertaining shows for which he is so well known, Roberts adds “I want to have a little room to digress into an anecdote while Stuart strums the guitar, if that’s what I feel like doing.”

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97.3 KBCO Presents
CRASH TEST DUMMIES | June 13th
The Boulder Theater |  Boulder, Colorado
www.bouldetheater.com | ON SALE NOW

Azar Lawrence Sextet @ Tribeca Performing Arts Center

When saxophonist Azar Lawrence first burst on to the jazz scene in the '70s he was hailed by many as the second coming of John Coltrane.  "Azar Lawrence burns like a bright, hot flame at the altar of his muse. Given the ever-present fire danger in the Southland, a fire truck should remain on call when Lawrence blows. " raves  AllAboutJazz.  BMCC Tribeca PAC’s Lost Jazz Shrines series is dedicated to bringing legendary New York City jazz clubs back into the consciousness of the world with a thorough remembrance and celebration.  Our opening night concert will be a tribute to the late Rashied Ali. Saxophonist Azar Lawrence performed there frequently, and Rashied Ali played the drums on his next release.

Azar Lawrence Sextet
Lost Jazz Shrines Series Part 1 Celebrating Ali’s Alley
May 7, 8:30PM, $25

BMCC TRIBECA PERFORMING ARTS CENTER
Borough of Manhattan Community College
199 Chambers Street
(212) 220 -1460 | www.TribecaPAC.org

Here We Go Magic On Tour Now | LP Pigeons Out June 8th

Here We Go Magic is a five-piece band made up of members Luke Temple, Kristina Lieberson, Michael Bloch, Jennifer Turner, and Peter Hale. They originally came together in New York in early 2009 through a series of chance encounters, overheard conversations and supernatural occurrences.

From disparate musical backgrounds, the five found immediate common inspiration in a collection of unique 4-track recordings created by lead singer Luke Temple. These recordings were released in February, 2009 as the self-titled Here We Go Magic (Western Vinyl).

Since this initial spark the band's creative momentum has been unwavering. Together they have developed a broad array of musical material and honed an explosive live sound all their own. They spent much of 2009 on successive North American and European tours with bands such Department of Eagles, Grizzly Bear, and the Walkmen, before retreating to a house near East Branch, NY to record their second full length LP.

Pigeons, set for release on Secretly Canadian on June 8th, is an entirely self-produced album, recorded by Here We Go Magic over four months living together in late Summer and Fall of 2009.

Tracklisitng:

1. Hibernation
2. Collector
3. Casual
4. Surprise
5. Bottom Feeder
6. Moon
7. Old World United
8. F.F.A.P.
9. Land of Feeling
10. Vegetable or Native 11. Herbie I Love You, Now I Know

THE 40th ANNIVERSARY of the Grateful Dead at HARPUR COLLEGE

1970's intense. T.C. leaves the band in late January. The band's 'busted down on Bourbon Street' on January 31st. In March they discover their manager, Mickey Hart's father Lenny, has been stealing them blind (they're already hugely in debt to the record company). Only the music is sane; they enter the studio in March and in three weeks record Workingman's Dead, fulfilling Garcia and Hunter's work of the past year. It comes out in June. They add a regular opening act, the New Riders of the Purple Sage (Garcia plays pedal steel in it), and their shows stretch ever longer. Late that month they cross Canada on the Festival Express. In September they have some spare time, and go back into the studio, producing another gem, American Beauty. In the fall they begin a long series of college concerts that will establish them (along with the two albums) in a long-term way as a touring band.

“Finally I have the quality I’ve been looking for on this famous date. There are so many outrageous things that stand out on this date, that I hesitate to list them all. There are a few places where the quality “garbles” of fades in & out, during the “Anthem” & “Viola Lee Blues”, but outside of this everything is excellent. In “Cold Rain & Snow”, Garcia tunes up several times & really gets into singing with gusto, like I’ve never heard this tune. There is a really nice riff from “Dark Star” that they do during the end of “Dancing in the Streets”. During the Acoustic Set, there is one point where Garcia & Weir lecture the noisy audience about being a more “respectable audience.”

Dick Latvala

--

THE 40th ANNIVERSARY of the Grateful Dead at HARPUR COLLEGE

May 2, 1970

The Zen Tricksters Will perform the entire show forty years to the day on May 2, 2010 at Brooklyn Bowl

Tickets: $5.00

Online ticketing

Venue phone: 718-963-3369

Doors: 7:00pm | Show: 8:00pm

Brooklyn Bowl Website

Dedication to Afro-Cuban Jazz: Art Blakey and Dizzy Gillespie

Creole Restaurant and Music Supper Club, located at 2167 Third Avenue (NE corner 118th St.), known for its great food according to ZAGAT, ambiance, and for bringing Jazz and R&B back uptown, proudly presents a Dedication to Art Blakey and Dizzy Gillispie for the inspiration of Afro-Cuban Jazz in America on Friday, April 9 and Saturday, April 10, 2010, respectively.  

Art Blakey (1919 – 1990) was a drummer, leader, composer and teacher, and co-founder the Jazz Messengers for 35 years. Blakey introduced congas to the sound of jazz in 1949, blending Afro-Cuban rhythms with straight ahead jazz.  After six decades of influencing Jazz around the world, Art died at the age of 71.

Dizzy Gillespie (1917 –1993) was a significant developer of the American jazz art form of bebop and modern jazz, and he was instrumental in founding Afro-Cuban jazz the infusion of Spanish rhythms.  He was a jazz trumpet player, bandleader, singer, and composer.  In the late 1940s, Gillespie was also involved in the movement called Afro-Cuban music, bringing Latin and African elements to great prominence and in the late 1940’s recorded with Chano Pozo and Mario Bauza.  Dizzy died at 75 leaving his legacy in Jazz and leaving Americans dancing to Afro Cuban jazz rhythms.

Creole Restaurant and Music Supper Club continues its tradition of being true to the American Jazz art form, by not forgetting jazz origins.  On Friday, April 9 and Saturday, April 10, 2010.  Grammy™ award winner Brian Lynch (trumpet), Grammy™ award winner Ian Smith (Alto Sax), Little Johnny Rivero (congas), Joel Forbes (bass), Todd Herbert (tenor sax) and “Killer” Ray Appleton (drums) will deliver an out of this world performance both nights, two sets each night, 7pm and 9pm with a $20 music cover charge. Doors open at 6pm and 8pm. Call 212-876-8838 ext.4 or visit their website for more information and to make reservations.

THE WHIGS "IN THE DARK" OUT NOW!

Known for their enthralling live show, the Athens, GA trio The Whigs are currently on tour with Band Of Skulls and will make their Late Night with Jimmy Fallon debut April 27th. You can check out their recent appearance on The Late Show with David Letterman performing "Kill Me Carolyne," their raucous first single from their recently released album IN THE DARK. The song which brings a memorable strength to this exciting new collection, is now available for free download on the bands website and the video premieres today on Yahoo Music.
IN THE DARK is the follow up to the band’s two much-admired albums – GIVE ‘EM ALL A BIG FAT LIP and MISSION CONTROL. With each release, The Whigs have won over fans and critics with their pedal-to-the-metal power earning them universal praise as one of America’s finest young rock ‘n’ roll bands. Filter Magazine hailed for “artfully combining the disenchanted swagger of ‘70s punk with the infectious, catchy bounce of ‘60s pop” and Maxim Magazine simply called “riff-tastic.”
Spending much of 2008 and 2009 on the road, The Whigs have completed several tours with Kings Of Leon, The Kooks, Drive By-Truckers and others, have performed at Bonnaroo, Lollapalooza, Fuji Rock and T in The Park, among other festivals and worldwide stops and have performed on The Late Show with David Letterman, Late Night with Conan O’Brien and Jimmy Kimmel Live!.
Developed through years of non-stop touring and two critically acclaimed albums, IN THE DARK, with its impressive range and undeniable vigor, sees The Whigs doing what all-great bands do – furthering their artistic scope with each successive effort.
TOUR DATES:
4/6/10 - Cosmic Charlie’s -  Lexington, KY *
4/7/10 - Grimey's In-store - Nashville, TN
4/7/10 - Exit/In - Nashville, TN *
4/8/10 - 40 Watt - Athens, GA *
4/10/10 - WorkPlay Theatre - Birmingham, AL *
4/12/10 - Riot Room - Kansas City, MO *
4/13/10 - Boulder Theatre - Boulder, CO *
4/15/10 - Zia Record In-Store - Phoenix, AZ
4/15/10 - Martini Ranch - Phoenix, AZ *
4/17/10 - Outside O'Connell's Irish Pub - Norman, OK
4/18/10 - Cain's 2nd Stage - Tulsa, OK
4/19/10 - Outside Phoggy Dog - Lawrence, KS
4/20/10 - Mill Creek Bar, Appleton, WI
4/22/10 - Gargolye - St. Louis, MO
4/23/10 - Bottom Lounge - Chicago, IL
4/24/10 - University Of Wisconsin - Madison, WI
4/28/10 - The Mod Club Threatre - Toronto, ON *
4/29/10 - Live Lounge - Ottawa, ON *
4/30/10 - Studio JPR - Montreal, QC *
5/1/10 - Valentines - Albany, NY
5/2/10 - Higher Ground - Burlington, VT
5/5/10 - The Southern - Charlottesville, VA
5/6/10 - Jewish Mother - Virginia Beach, VA
5/7/10 - New Brookland Tavern - Columbia, SC
5/8/10 - Pour House - Charlestion, SC
5/15/10 - Hangout Music Festival - Gulf Shores, AL
6/5/10 - Mountain Jam - Hunter, NY
6/12/10 - Riverbend Festival - Chattanooga, TN
6/30/10 - Hyde Park w/ KINGS OF LEON - London, UK

* = Dates with Band Of Skulls

2 Nights of EOTO at the Fox Theater

From dance halls to intimate theaters worldwide comes EOTO - the nation’s top innovator in glitchy electronic, bass thumping, dub-step themed music. With performances booked well into 2010 including a special two-night run at the Fox Theater, EOTO is taking the country by storm with their innovative brand of live electronic music.

What EOTO achieves on stage is nothing short of astounding. Performed with all of the bells and whistles of a traditional electronic artist plus the addition of live drums, vocals, bass and guitar, the duo creates each and every bass ridden noise right before your eyes -without the addition of a single pre-recorded track. Known for their 100% live improvised performance, EOTO is breaking ground into a new sub culture of music while standing with some of the nations best live DJ’s in the country.

With leagues of sold-out theater performances in 2009, the project started out as an avenue for the duo to blow off steam and generally just have a good time playing around with technology with music. Now, a full time project for the pair with a seemingly endless tour featuring over 600 shows in 4 years and sold out performances in every market in the country. With no signs of stopping, EOTO fine-tunes their approach and skill with each and every show they play, leaving the next performance more unique then the last.

The project will be careening the countryside in 2010 with back-to-back performances scheduled well into late spring and festival dates booked swiftly behind it. The project will be playing along the mountain west and up the west coast before heading back to middle America, through the South, and over to the East Coast in support of their third release, Fire The Lazers, which is now available on iTunes or at a show near you.

For more information about EOTO check out the MySpace

EOTO ON TOUR NOW:

March 4.....Crystal Bay Club - Crystal Bay, NV
March 5.....103 Harriet - San Francisco, CA
March 6.....Don Quixote's International Music Hall - Felton, CA
March 7.....Hopmonk - Sebastopol, CA
March 8.....Lost on Main - Chico, CA
March 9.....Red Fox Tavern - Eureka, CA
March 10.....Cultureworks - Ashland, OR
March 11.....The WOW Hall - Eugene, OR
March 12.....Berbati's Pan - Portland OR w/ Lynx & Janover, DJ James Ho
March 13.....Nectar Lounge - Seattle, WA
March 14.....The Night Light Lounge - Bellingham, WA
March 15.....The BLVD - Spokane, WA
March 16.....Taps @ Schweitzer Mountain Ski area - Sandpoint, ID
March 17.....The Palace - Missoula, MT
March 18.....The Fillin Station - Bozeman, MT
March 19.....The Limelight - Nashville, TN
March 20.....412 Market St - Chatanooga, TN
March 21.....The Boone Saloon - Boone, NC
March 22.....The Pour House Music Hall - Raleigh, NC
March 23.....The King Plow Art Center - Atlanta, GA
March 24.....The Cider House - Knoxville, TN
March 25.....New Earth Music Hall - Athens, GA
March 26.....Ultra Music Late night at Moksha Family (7th Circuit Studio) - Miami, FL
March 27.....The Hat Factory - Richmond, VA
March 28.....Awful Arthur's - Towers - Roanoke, VA
April 9......The Fox Theatre - Boulder, CO
April 10.....The Fox Theatre - Boulder, CO

SNL's Christine Ohlman's new CD with Marshall Crenshaw

Christine Ohlman, a.k.a. “The Beehive Queen,” whose “day job” is that of the flashy, gritty long-time featured vocalist with the Saturday Night Live Band, has completed her first new album in five years, The Deep End, to be released by the Horizon Music Group through Selct-O-Hits on April 6, 2010.

Having won the respect of many fellow artists over the years, Ohlman recruited a stellar group of them to contribute to the new CD, including Marshall Crenshaw, Dion DiMucci and Ian Hunter as duet partners, as well as an all-star list of accompanists: G.E. Smith, Eric “Roscoe” Ambel from the Del-Lords, NRBQ veteran Big Al Anderson, Catherine Russell, the Asbury Juke Horns (Chris Anderson and Neal Pawley) and more.

Working in a swampy, guitar-driven style of contemporary rock/R&B, Ohlman and The Deep End co-producer Andy York (John Mellencamp) crafted 15 songs of life and love tempered by loss. It is Ohlman’s first album of new work since 2004; her recording hiatus followed the deaths of both long-time producer and mate Doc Cavalier and guitarist and founding member of Ohlman’s Rebel Montez band, Eric Fletcher. (The band presently includes Michael Colbath, bass; Cliff Goodwin, guitar; and Larry Donahue, drums.)

Christine is a musicologist of note of whom SNL bandleader Lenny Pickett, quoted in the New York Times, once said, “She knows the really good, obscure stuff.” The covers on The Deep End were lovingly chosen from her fabled record collection. She duets with Dion on the obscure Southern soul gem “Cry Baby Cry” and with Crenshaw on a Motown classic, Marvin Gaye and Mary Wells’ “What’s the Matter With You Baby.” A third duet with Ian Hunter on Ohlman’s own “There Ain’t No Cure” celebrates her love of the music and language of the Delta behind a punked-out, soul-searing groove. It’s one of a group of eleven new originals that includes “The Gone of You” (a song of loss and longing so central to The Deep End’s theme that it appears twice: in a full-band version and in York’s evocative, loop-driven demo, dubbed “After Hours” both for Ohlman’s late-night vocal and its darkest-before-the-dawn sensibility); the Muscle Shoals-tinged ballad “Like Honey”; flat-out barnburners “Bring It With You When You Come” and “Born To Be Together”; and Ohlman’s post-Katrina lament “The Cradle Did Rock,” which will appear later this year alongside tracks by Irma Thomas, Dr. John and Allen Toussaint as a bonus cut to the reissue of Get You A Healin’, a CD benefitting the New Orleans Musicians’ Clinic.  The late Eric Fletcher is memorialized in the album’s third cover, a pristine reading of Link Wray’s “Walkin’ Down the Street Called Love.”

Ohlman and her previous recordings have impressed critics. The late Brownsville Station leader, bluesman and musicologist Cub Koda, writing in Stereo Review, believed, “Musical treasures like this don’t come along very often. Ohlman is the number one secret weapon in America’s gal-singin’ sweepstakes.” Charles M. Young in Playboy observed, “The first thing you notice is her tough, rousing, sexy voice.” Elmore magazine noted: “Few singers today are truly versed like Ohlman in all things soul. Tough and raw around the edges, she belts with a voice steeped in the heritage of this musical tradition.” All Music’s Hal Horowitz raved: “Ohlman never sings a tune halfway . . .she’s the leader of the pack.” And of the new album, critic/broadcaster Dave Marsh said, “There are so many ‘wow’ moments.”

In addition to her years on Saturday Night Live, Ohlman has an impressive resume. She sings on the theme song for 30 Rock; performed at Bob Dylan’s 30th Anniversary bash at Madison Square Garden with George Harrison and Chrissie Hynde; performed at President Obama’s Inaugural Gala in Washington, D.C.; led Big Brother & the Holding Company in a Central Park tribute to Janis Joplin; worked on a musical with Cy Coleman, who compared her sense of timing to that of Peggy Lee; and frequently duets with blues legends Hubert Sumlin and Eddie Kirkland. She also edited Rolling Stones producer Andrew Loog Oldham’s autobiography 2Stoned (Oldham described Ohlman’s Wicked Time as “a deep swamp theme to a movie Burt Reynolds wished he’d made’)  and worked with Bonnie Raitt and Ry Cooder at the Rhythm & Blues Foundation Awards — all while continuing to torch clubs up and down the Eastern Seaboard with Rebel Montez. She counts among her friends Willie Nile, Syd Straw, Charlie Musselwhite, Hal Willner, David Johansen, Paul Thorn and Marshall Chess.

A Connecticut native and resident, Ohlman played with G.E. Smith in the Scratch Band in the 1970s, leading to her long association with Saturday Night Live. Her stint in fabled Studio 8H of Rockefeller Center includes the Sinead O’Connor and Ashley Simpson meltdowns (she was present for both) and the current season’s hilarious “Swine Fever” commercial parody, featuring a magnificently beehived Ohlman in full Dolly Parton regalia. She fondly recalls waltzing around 8-H with the late Chris Farley to Paul McCartney’s impromptu rehearsal performance of “Hey Jude.” With her long-time mate, the late Doc Cavalier producing, Ohlman released four records with Rebel Montez: The Hard Way (1995), the live Radio Queen (1997), Wicked Time (1999) and Strip (2003). In 2008 with current business partners Alex DeFelice and Vic Steffens at Horizon Music Group, she released a career compilation called Re-Hive. Yet she has remained under the radar — a best-kept secret. Until now.

Reflecting on The Deep End’s central theme of love both lost and found, Ohlman says, “Rosanne Cash and I were talking and she asked me if I’d written sad songs. It wasn’t until then that I realized I hadn’t. Ultimately, this album is about love and the courage to fall into it. Loss just informs you; it opens emotional doors that couldn’t possibly have opened before, no matter how much you thought you knew about it. I wrote about love — the newness of it, the glory of it, the loss of it, the sadness that can come from it, the wonder of it . . . the sweet bitterness of it.”