SINGER-SONGWRITER JARED COSTA PLAYS PHILADELPHIA'S TIN ANGEL THIS FRIIDAY, MAY 15

Newtown, Pa. native Jared Costa performs a 10:00 p.m. show at Philadelphia’s Tin Angel on Friday, May 15. The 27-year-old singer-songwriter recently released his debut CD, Onwards and Upwards, a collection of 12 well-written songs in the bluesy folk-rock vein.

A singer-songwriter with an acoustic guitar is a tried and true pop music blueprint, but Costa distinguishes himself from the pack with memorable songs that not only sound good, but also have something to say.

On Onwards and Upwards, Costa keeps the arrangements clean and straightforward, accompanying himself on acoustic guitar, harmonica, and an occasional keyboard. The style and instrumentation invite the inevitable comparisons to the work of Bob Dylan, Leonard Cohen, and Atlantic City-era Bruce Springsteen.

While those might seem like lofty comparisons for a first album, Costa’s work is up to the task. Costa succeeds specifically because he doesn’t try to sound like the “second coming” of any famous predecessor, concerned more with sounding like the first coming of Jared Costa.

For example, Costa’s “Love” talks about the subject in the broader sense, as it applies to “our fellow man”:

“Well you can't look down on another man unless you intend on helping him up/And the Lord above says a window's always open whenever the door is shut/”

In a savvy move, Costa weaves a melody line from the classical piece “Canon In D” (the popular wedding ceremony choice) into the song to make his point. Costa’s music is further distinguished by his rich, soulful singing. On “Take It All” his voice glides smoothly from a deep whisper to an emotional wail; on “Love” it gets gritty and real.

Costa recently took the time to answer a few questions about his career and music.

Q: Your bio says that you played in a number of rock bands before deciding to go solo. Was that decision made primarily so that you can have more control over your music, or are there other things that appeal to you about the solo acoustic format?

A: It wasn't so much a conscious decision to go solo as it was a somewhat natural progression. I was always the primary songwriter in those bands. I would sit and write on my acoustic: putting together the melodies and arranging the music. Over time, I found I was accomplishing my vision for those songs as they were on my own - just the guitar and vocals. I do enjoy having the control and being able to really go in any direction I want to go with the music. I think the ability to really explore dynamics is what makes it so appealing. Energy and intimacy can be achieved all in a single transition.

Q: Is there anything you miss about the band format?

A: There are some aspects I miss and I may put some of my music into a band project in the future. In the meantime, I enjoy the positive aspects of a band with some of my very good friends in Crow vs. Lion, a band I play with that is fronted by longtime friend and amazing songwriter, Dan Gallagher. It gives me the opportunity to collaborate and to play several instruments: mandolin, banjo, guitar, keys, and harmonica. It's a lot of fun and gives me some ideas for my own music to be applied to a band dynamic.

Q: Your song “Love” incorporates a bit of the famous classical piece "Canon in D" by Pachelbel. Are you classically trained?

A: I am not trained in any way, actually. I taught myself how to play guitar, harmonica, and a few other instruments. Although, I do feel I am constantly taking things from those around me and I am very fortunate to have always had people around me that were willing to answer questions, give me guidance, or offer advice.

And of course, I enjoy music across the board. Classical music, in particular, has themes and melodies that really lend themselves to interpretation and imitation. "Canon in D" is certainly a favorite of mine and a great example of how I was influenced by and able to incorporate my appreciation for a classical piece into my own songwriting.

Q: What is the writing process like for you? Are you someone who has creative ideas all the time, or do you need to be in a certain mood to be able to write?

A: I try not to be too scientific about the creative process. You risk losing something if you become too rigid about something that I think has to come pretty natural. I am someone that tends to be creative throughout the day. So when I sit down to put pen to paper, I usually have a good idea about a concept or direction.

Q: Do you usually start out with lyrics or music first, or is it a mix?

A: I'd say most often I start with with music and melody based on a feeling or thought I'm having. Then, I put the lyrics to the melody. For me, it's rarely a finished product right away. A song usually needs to be explored and maybe even played live before it's completely finished. Even when a song is done, I'll play it differently on stage from time to time. In that respect, a song is always a work in progress.

Q: The music business has changed quite a bit in the years that I’ve been covering it. These days, artists can be discovered or build an audience through a variety of nontraditional methods, sites like Sonicbids and MySpace. However I still feel that the most direct, lasting, and purest method is still through live performance. Are there any performances of yours that remain particularly memorable?

A: I agree. Live performance is the most important avenue for connecting to your fans. For me, every show I do has something about it that is special to me.

One that stands out immediately is my recent CD release show at Puck in Doylestown, PA. It was just an experience I really cherished. I had some close friends and family there as well as some great folks coming to check it out. The venue really allows the artist to play to the room rather than at it.

Puck is one of the top sound stages I have ever played and the room has a great vibe. Things really clicked from the onset and I was able to hit an intensity and energy level that was exactly what every performer hopes to get out of playing a show. The audience was so responsive; I felt that I was actually just reciprocating their energy at times. And any time you get an encore call, you've done your job. It was the perfect way to celebrate the release of the album.

I could go on and on about many nights because there are so many that stand out. Honestly, every show I play has something memorable for me. I really do try to approach every show as a different entity. If you come out to see me on any given night, I am going to try to make it the best show I've ever played. It's more important that the show will be memorable for the audience and that's exactly my goal. (interview continues below video)

Here's Jarod Costa performing "No Revolution" / "All Along the Watchtower" live at Philadelphia's North Star Bar on December 2, 2008:

No Revolution/All Along the Watchtower-Live



Q: Along those lines, now that your music is available to the public, I was wondering if you’ve been surprised by how it’s been received. For example, have you ever had someone talk to you after a show about your music, or perhaps write to you and express an interpretation they had, or tell you how it affected them in a way that surprised you?

A: First of all, for me there is nothing better than someone coming up to me after a set, saying hello, telling me what they think, and just hanging out. Live performance is the apex of the creative experience. It's the fruition of the whole songwriting process. Not to say recording isn't important or fulfilling, but playing live gives you the connectivity and excitement that you can't replicate any other way. You can really emote what the song was intended for.

I have had a few interpretations and some feedback that struck a chord with me. Feedback from the record is important as well. I put a lot of time and effort into this album and not just because this is my first album, but because anything I do musically represents the best of me.

Origivation Magazine said the album was "iconic" in a recent issue. That was a huge compliment and an honor. I had someone call a song on the album inspiring and say it touched them profoundly. And I always enjoy listening to someone's interpretation of a song. I believe that interpretation is how people participate in the art of music. It's the experience coming full circle. In that way, it's as necessary as anything else in the songwriting process. It makes the artist and listener connect to create something special together.

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For more information on Jared Costa, or to purchase a copy of Onwards and Upwards visit www.jaredcosta.com. Tickets for Friday’s Tin Angel show are available by calling (215) 928-0978, or on-line through Comcast Tix.

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NICOLE ATKINS WALKS A FINE LINE BETWEEN MODERN AND RETRO

Singer-songwriter Nicole Atkins has been riding a wave of positive press and publicity since the October 2007 release of her full-length major label debut album, Neptune City, which she named after the northern Jersey shore town in which she grew up. The album received positive reviews in publications like Entertainment Weekly, USA Today, and Spin, and Atkins was named one of the “Top 10 Artists to Watch” by Rolling Stone.

Atkins built national recognition performing with her band, The Sea on the late night TV circuit, including “The Late Show with David Letterman,” “Late Night with Conan O'Brien” and “The Late Late Show with Craig Ferguson.” They were also featured (playing themselves) in a television commercial for American Express as part of its “Are You A Cardmember?” campaign.

Atkins music sets introspective lyrics to Brill Building-style pop fused with lush, atmospheric layers. The 30-year-old Atkins calls her cinematic songs “pop-noir.”

“It took me a long time to find my sound,” she says. “When I first started writing songs, they were kind of country-ish. I was into that [sound], but I was also really into ’68 garage rock and psychedelic music. I could never figure out how to put together all the sounds I wanted into one. After many years of trial and error, it finally happened.”

Atkins sings in a traditional, melodic, retro style that may have been at least partly inspired by all the classic lounge singers she witnessed accompanying her parents on weekend trips to Atlantic City. Her sense of drama was kindled by her participation in school plays.

“I did a lot of musical theater growing up,” she says, “but I was always more drawn to singers like Roy Orbison, Scott Walker, or the Righteous Brothers – people that sang in a really dramatic way. Even the Beach Boys on Pet Sounds – things that just really have a soundscape.

“It’s a shame people don’t really sing with melody anymore,” Atkins adds. “All of my songs are really emotional. They’re stories. There might not be that many words to them, but it’s just the way that they’re sung, or the violin or piano lines underneath – that tell the whole story.”

Atkins and the Sea have been touring for over two years.

“We’ve been touring so much the shows have gotten pretty dialed in,” Atkins says. “It’s easy and fun for us now, whereas before we were just finding our footing.”

Atkins says the years she spent playing to audiences of 15 people taught her how to work a crowd. Even when playing to large crowds, she says she tries to create an intimate, interactive atmosphere.

“That’s what’s most fun about what I do – just being on stage and getting to live through all the experiences of the songs and interacting with the crowd, telling stories and jokes,” she says. “It should almost be like me and the people in the audience are at a party together and I’m the loudmouth in the room. I almost get more upset if one of my jokes bombs than if I flub a note on one of the songs.”

In concert, the band has no trouble recreating the lush sound of Neptune City, but Atkins says the energy level is turned up a few notches.

“Our live sound is pretty true to form, but it’s a lot more raw and rockin’,” she says.

After nearly two years on the road, Atkins says she’s looking forward to returning to the studio to record her next album.

“I’m excited to see what these 30 songs are going to turn into on a 14-song album,” she says. “There are some that are similar to Neptune City. Then there are some that are almost like dirty blues songs, in a Black Keys or Jon Spencer Blues Explosion-type way. That’s why I’m glad there are so many different styles and elements in my sound. We’re kind of free to take it where ever we want.”

The new album won’t be out until sometime later this year, but fans check out Nicole Atkins Digs Other People’s Songs, a four-song EP of cover tunes Atkins and The Sea recorded between legs of the current tour. It features songs by the Doors (“Crystal Ship”), the Mamas and the Papas (“ Dream A Little Dream”), the Church (“Under the Milky Way”), and Nada Surf (“Inside of Love”) and is available for download at Amazon.com.

“Yeah, I listen to a lot of different music,” Adkins says about the eclectic nature of the collection. And judging from the positive buzz surrounding her, other people dig Nicole Atkins’ songs, too.

“I worked really hard for seven years as a solo artist, and then one summer I made a demo that turned into these songs and got a band together,” Atkins says. “Everything just fell into place. It happened quick, but it was seven years in the making. Finally I had a cosmic bone thrown to me.”

The Hit Man

Kenneth “Babyface” Edmonds has been one of the biggest names in popular music for over 20 years. The multitalented singer, songwriter, and producer, has written, and/or produced dozens of Top-10 hits for some of music’s top stars, including Aretha Franklin (“Willing To Forgive”), Toni Braxton (“Another Sad Love Song,” “Breathe Again”), Whitney Houston (“I’m Your Baby Tonight” “Exhale (Shoop Shoop)” ), Boyz II Men (“End of the Road,” “I’ll Make Love to You”), Pink (“Most Girls”), Madonna (“Take A Bow”), and many others.

The 10-time Grammy winner has also enjoyed an extremely successful recording career with eleven albums of his own. Known primarily for his smooth, romantic ballads, his hits include “Whip Appeal,” “Every Time I Close My Eyes,” “It’s No Crime,” and “When Will I See You.”
Touring in support of his current Island Records release, Playlist, Edmonds recently performed at Atlantic City’s Borgata Casino Hotel.

Playlist marks a departure for Edmonds in both song selection and style. Of the album's 10 songs, only two are originals. The other eight are covers of songs that Edmonds says influenced him as he was growing up, including Eric Clapton’s “Wonderful Tonight,” James Taylor’s “Fire and Rain” and Dan Fogelberg’s “Longer.”

When Playlist was released in September 2007, some long-time fans were surprised to learn that Edmonds’ early mentors were soft-rock, rather than R&B, artists.

“I started listening to this music as a kid, probably around the seventh grade,” the 48-year-old Indianapolis native explained in a November 2007 interview with BET. “When we used to go to church, I would sneak out and listen to the car radio. Most of the R&B stations were playing church choirs, which I didn’t want to hear. But most of the other pop stations were playing stuff like James Taylor, Bread, the Beatles and Bob Dylan. I’d already started doodling with the acoustic guitar. Obviously, you couldn’t play James Brown on the acoustic guitar, so I started playing those pop songs.

“That pop music really talked to me, because they were romantic songs. I was a kid who was always in love; I was always trying to write pretty songs. That experience definitely influenced me to be a songwriter and to really emphasize melody.”

In an exclusive telephone interview with Atlantic City Weekly, Edmonds promised a “walk down memory lane” for fans attending shows on his current tour.

“It’s a combination of things, including songs from Playlist, my hit songs, as well as older songs from my other records,” he said. “I even do a medley of songs that I wrote and produced for other people. It’s a lot of fun. I think most people come with the perception that they’re coming to a romantic, mostly ballad driven show, not necessarily one with a lot of energy. But actually the show has a lot of energy, with the combination of things that I've done for myself as well as for others. The audiences have been very receptive, and we've had a good time.”

Edmonds began playing in local bands while still in high school. In his late teens he joined a funk group called Manchild, which signed a record deal in 1977 and released three albums. He earned his nickname while on a side gig as part of Bootsy Collins’ backing group.

After Manchild broke up, Antonio “L.A.” Reid asked Edmonds for help writing some material for a group he was putting together called the Deele.

“I joined the Deele initially as a writer,” Edmonds says. “I came on to help them with a few demos. It was after they got a record deal that L.A. asked me to be in the group.”

Although the Deele scored a few hits in the mid-to-late 80s (most notably “Shoot Em Up Movies” and “Two Occasions”), Edmonds and Reid began producing and writing for other artists on the side, landing hits with Pebbles’ “Girlfriend” and the Whispers’ “Rock Steady.” After the Deele's third album was released in 1988, the duo left the group to continue their outside activities full-time. They co-founded the LaFace record label in 1989.

Edmonds says his approach to songwriting doesn’t change, whether he’s writing for himself or for another artist.

“When I break it down, it's always about what is believable – either for myself or for another artist. It’s really all the same – you’re always looking for great melodies and a great story.”
He says sometimes, as was the case with his current single, “Not Going Nowhere,” the song comes together quickly.

“It flowed out like a conversation,” Edmonds says. “That’s happened to me before. I wrote ‘The Day’ when I found out I was going to be a father. It was five o'clock in the morning, and I got out of bed. I sat down at the piano, and it just came out of me.”

Early in his career, Edmonds demonstrated his versatility not only as a performer, but also as a songwriter and producer. Today he believes that early success has been a key to his longevity.

“There are a number of artists who came out at the same time that I did, and you don't really hear about them in the same way anymore,” he says. “It’s partly because I was a writer and producer for so many other artists and had success with it. Enough people in the industry knew about it, and that gave me a platform that wasn’t the norm. Because of that I ended up being able to stay in the game a lot longer.”

While he’s equally adept at performing, producing, and songwriting, if he were forced to pick just one full-time pursuit, Edmonds doesn’t hesitate.

“I believe I'd be a songwriter,” he says. “As a writer you’re able to touch a great number of people, and if you write the right song, it lives forever.”

City to City: Suzanne Vega Makes Her Atlantic City Debut

It’s poetically appropriate that Suzanne Vega will make her Atlantic City debut as part of a tour supporting Beauty & Crime, her brilliant new album in which New York City plays a starring role. While the specifics are different, the paradox of a city in which, as Vega sings, “You were dazzled by her beauty and her crime” could refer to either town. The themes of change, rebirth, and even some of the characters (“Frank and Ava”) that Vega writes about on the album are common to both New York and Atlantic City.

However, once you get past the broad generalities, it's clear that the town that permeates the songs of Beauty & Crime is Manhattan. Vega, who performs Saturday, December 1 in the Club Harlem Ballroom at the House of Blues, has always been known for her succinct narrative songwriting style. Throughout Beauty & Crime a variety of New York City locations (West End Avenue, Ludlow Street, Ground Zero) serve as backdrops to her songs.

In a recent telephone interview for Atlantic City Weekly, Vega joked that she could offer a bus tour of all the locations mentioned on Beauty & Crime. She says the song “New York Is A Woman” was inspired by conversations she’s had with first-time visitors to the Big Apple.

“I have a lot of conversations with first-time visitors and sometimes I'm even there with them when they're in New York for the first time,” she said. “The guys from DNA (the British producers who worked with Vega on the hit remix of “Tom's Diner”) came to New York to do some work with me on some other projects. They had never been to New York, and they were flipping out. It was a lot of fun to watch their reactions. Everyone's always impressed by the steam that comes out of the sidewalks, and everyone seems to say the same thing – that it's just like what they've seen in the movies and on television.”

Vega was born in Santa Monica, California, but her family moved to New York City when she was two and a half. She started writing poems when she was nine, and wrote her first song when she was 14. She taught herself to play the guitar, and studied dance at New York's High School of Performing Arts.

While majoring in English literature at Barnard College, she started performing in clubs and coffehouses on New York’s Lower East Side. In 1984 she was signed to A&M Records, and released her self-titled debut album a year later. Featuring the modest hit, “Marlene On The Wall,” it was warmly received by both critics and fans.

Vega hit her stride when her 1987 sophomore effort, Solitude Standing, garnered critical and commercial success worldwide. The album featured two unlikely hit singles – the a capella version of "Tom's Diner," (which was an even bigger hit again in 1990 in DNA’s club remix version) and "Luka,” a disarmingly catchy, uptempo song about, and written from the point of view of a battered child. The song raised awareness of a social issue in a way that hadn’t been done in pop music since the 60s. “Luka” became an international hit, and it’s video an MTV staple.

Released last July, Beauty & Crime is Vega’s seventh album overall, and her first since 2001’s Songs In Red and Gray. Six years is a long time between albums, but the 48-year-old Vega kept herself busy in the interim.

In addition to touring, Vega hosted the public radio series “American Mavericks,” wrote an occasional piece for the New York Times, and participated in “The Vigil Project,” a collection inspired by the events of September 11, 2001. She changed managers and record labels; and went from adjusting to single life (she was divorced from producer Mitchell Froom in 1998) to re-adjusting to married life (she married lawyer and poet Paul Mills in 2006).

When it came time to record Beauty & Crime, Vega says she had a very specific idea of how she wanted the album to sound.

“I try to make each record exciting and a step in a new direction,” she says. “I didn’t want to do just a regular old folk album [with] guitar and your basic four-piece backup band. I couldn't help but think that strings would be really gorgeous on some of the songs, like ‘Pornographer’s Dream,’ which just seemed made for that kind of lush sound.”

British producer Jimmy Hogarth helped Vega balance traditional and modern elements during the recording process.

“The album was recorded using analog equipment, and then fed digitally so that we could have the technology of cutting and pasting, but maintain the warm sound of the analog recording,” Vega says.

Many of the songs on Beauty & Crime are based on Vega’s real-life experiences: “Bound” is a love song for her husband; “As You Are Now” is a dedication to her daughter; “Zephyr & I” revisits old haunts with an old friend; and “Ludlow Street” mourns the loss of her brother. Vega says that knowing the back-story of a song can enhance a listener’s appreciation of it, but she believes her best work can also stand on its own.

“In a song like ‘Angel’s Doorway,’ I don't think you have to know that it's my cousin, but it helps to know that it's about a cop,” she says. “A song like ‘Luka’ works regardless of whether you know it's about child abuse or not. It was a hit before people knew what it was about, and then people started talking about what it was about. So the best songs will work no matter. You shouldn't have to have the Cliffs Notes on it to know what's going on. But to get the full benefit of the song, sometimes it really does help.”

Vega says that over the years she’s become a more deliberate songwriter. When writing for an album, she considers how a song will translate to live performance.

“I record once every few years, but I'm constantly touring and constantly performing,” Vega says. “It's much more useful to me if the song works live, because if I can make it work live, I know I can make it work in the studio. If I can only make it work in the studio, then it's less useful to me. I also like a show to be entertaining, and so I try to make sure there's enough up-tempo, major key songs, because I tend to write minor key songs. If I'm singing too many sad songs in A-minor, I'll say, ‘Lets see if I can write a song in A-major. Or let's see if I can do a whole song with just major chords.’ I like to have a balance.”

Fans who come to the House of Blues on Saturday can expect a well-balanced show of both old and new material.

“I do want to play a lot of the new album because I don't know how else people are hearing it,” Vega says. “It's not something that Top-40 radio is going to jump all over, so I really want to make sure that the audience does get a chance to hear it. But I'm also playing quite a bit of older material – ‘Luka,’ ‘Tom's Diner,’ ‘The Queen and the Soldier,’ ‘Gypsy,’ ‘Caramel,’ ‘Marlene on the Wall”… so it's a really nice range of songs.”