Steven Alvarado: Press

Le Cri Du Coyote Magazine (France)
Steven Alvarado - Let It Go


"Gruff folk blues from New York, 'Let It Go' by Steven Alvarado. Ten tracks without unnecessary detours, harsh, a bit like Escovedo. The always brilliant presence of the sublime Marc Ribot is noticeable: his sharpened guitar puts incredible colours to ”Get This Far” or ”It's Alright”. Steven's voice is beautiful without being too demonstrative, just what's needed in order to captivate."


- Le Cri Du Coyote Magazine

CTRL. ALT. COUNTRY Web-Zine



STEVEN ALVARADO “Let It Go” (Mott St Records)
(3,5****)


Erg sympathieke schijf van de zo’n jaar of zeven geleden in NYC neergestreken singer-songwriter, wiens stembanden het midden lijken te willen houden tussen die van Tom Waits, die van Jon Dee Graham en die van Ben Weaver. Knapen met wie hij verder overigens maar tot op zekere hoogte vergeleken kan worden. Steven Alvarado experimenteert immers minder graag dan Tom Waits, is véél minder Americana dan Jon Dee Graham en mist ook het excentrieke karakter van Ben Weaver. Waarvoor hij dan wél staat? Voor een vakman in hart en nieren, die zich voor zijn indie folk en akoestische pop steeds weer weet te omringen met de beste begeleiders. Zo wist hij zich voor zijn “album about heartbreak” te verzekeren van de goede diensten van drummer Kenny Wollesen, bassist Joe Quigley, pianist Rob Burger, percussionist John-David Hahns en van die van de ondermeer uit de entourage van Tom Waits bekende supergitarist Marc Ribot. En dat resulteerde in een bijzonder warm aandoend geheel, waarop zijn eigen fantastische stem en zijn ook al bijzonder fijne liedjes voortdurend uitstekend tot hun recht komen. Vooral wat tragere songs als “Nobody Knows”, “Reasons” en “Blue” zijn wat ons betreft echte blijvertjes. Maar ook wat meer uptempo spul als het aantrekkelijk rammelende tweetal “Burning Bridges” en “Gone, Gone, Gone”, het loom rockende “Get This Far” of het nadrukkelijk naar de nodige airplay lonkende “It’s For You” mogen er absoluut wezen. Dat soort van deuntjes vormt als het ware een open invitatie om er zo snel mogelijk ook Alvarado’s eerdere platen “Mercy” (1991), “Bleed” (1997), “The Howl Sessions” (2005) en “Howling Live In New York” (2006) eens op na te slaan, al zijn enkele daarvan ondertussen spijtig genoeg dan ook enkel nog als download verkrijgbaar.


(Google Translation)


Very sympathetic drive of the seven or so years ago in NYC neergestreken singer-songwriter, whose vocal cords the middle seem to want to keep between those of Tom Waits, that of Jon Dee Graham and Ben Weaver. Knapen with whom he deficiencies but to a certain extent can be compared. Steven Alvarado experiment is less happy than Tom Waits, is much less than Americana Jon Dee Graham and also misses the eccentric character of Ben Weaver. What does he have? For an expert in heart and kidneys, who for his indie folk and acoustic pop always knows how to surround with the best escorts. If he knew about his "album about heartbreak" to secure the services of drummer Kenny Wollesen, bassist Joe Quigley, pianist Rob Burger, percussionist John-David Hahn and those of the out among the entourage of Tom Waits known supergitarist Marc Ribot. And that resulted in a particularly hot-looking whole, which his own great voice and are also already very fine songs for their right to excellent. Especially what slower songs like "Nobody Knows", "Reasons" and "Blue" are what we are concerned real blijvertjes. But also a bit more uptempo stuff as the two attractive junky "Burning Bridges" and "Gone, Gone, Gone", the loom rocking "Get This Far" or explicitly to the necessary airplay lonkende "It's For You" should absolutely orphans. That kind of tunes, as it were an open invitation to there as quickly as possible Alvarado's previous boards "Mercy" (1991), "Bleed" (1997), "The Howl Sessions" (2005) and "Howling Live In New York "(2006) even after store, although some of them now unfortunately is only available as a download.

THE DELI MAGAZINE







Steven Alvarado
Let It Go
Mott Street Records 2008


★ ★ ★ ★ four stars

There’s an excellent book. “I’ll Take You There: Pop Music and the Urge for Transcendence,” that talks about music that tries to take the listener to a different emotional – almost spiritual – plane. Transcendence in music, the author argues, isn’t necessarily a religious experience: It might just come in the form of a particularly gifted songwriter who can take a moment and make it so universal that it transforms into a truth. Steven Alvarado’s latest effort, “Let It Go,” definitely has its moments of managing to achieve this concept. “Let It Go” managed to pull this particular reviewer in from the very first riff on the opening track “Get This Far” (not an easy task, by the way). How? It was a note-perfect homage reminiscent of Bowie’s iconic opening riff to “John, I’m Only Dancing.” Transcendence in the form of Bowie, you ask? Why not? It certainly worked on Flight of the Concords. But it’s not just Bowie that Alvarado manages to (consciously or unconsciously) channel in this album.


Alvarado’s voice is equal parts Tom Waits and Bruce Cockburn – deep gravel by the way of Leadbelly’s “Goodnight, Irene.” And when you manage to channel Leadbelly, you better believe you’ve achieved transcendence.


-S.R.M.

We Heart Music


STEVEN ALVARADO – Let It Go


One look at Steven Alvarado's cover artwork for Let It Go, an album that was released in April 2008 from Mott Street Records, I thought it was a tribute to Bob Dylan's The Freewheelin'Bob Dylan, but completely opposite: without a girl, presumably sadder, a little more modern, and his back to you.


One listen to the album, it definitely feels like good-time American folk rock.


I love the interaction of electric blues guitar fighting against the acoustic guitar on the brilliant opening track, "Get This Far". Even the lyrics seems to be duking it out and full of contradictions: "I'm outta gas, I got no car, I never thought I'd get this far"


Many of these songs are short, but catchy, pop-rock-oriented songs, perfect for the radio. The few exception does stick out, for instance "Nobody Knows", a slow burning depressing song. What Alvarado does best here is give such a descriptive setting:


It's Saturday night, and I'm drinking and thinking about you. _It's cold and it's raining, I'll stop complaining soon. _I cannot help myself, my heart is aching again.


Somebody throw him a lifeline, it sounds to me as if he's committing suicide here!


Fortunately, there's more happier songs makes up for that depressing one. Check out "New York", a song dedicated to Alvarado's friend and poet Aaron Smith. The song lyrics also lends itself to the title, "Let it Go".


Let It Go is out now, you can pick it up directly from CD Baby. He's planning on doing a European tour in and around September 2008, I'll be sure to mention it if I hear anything.

GROOVE MAGAZINE (Sweden)





I Sverige är han inte så känd än, Steven Alvarado från New York, men har man väl hört honom så sitter han fast i hjärta och sinne. Han är dessutom uppbackad av musiker som stöttat storheter som Tom Waits och Lucinda Williams.


Med enkla, mestadels akustiska, medel framkallar han starka, laddade känslor. Första låten får mig att tänka på Ryan Adams 30-årskris-platta 29, som också den börjar med en kreativt energifylld bluesrocklåt. Här bidrar Marc Ribot med passionerat elgitarrspel. Sedan blir det lugnare, men både text och musik är så okomplicerat direkt. Temat är det uttjatade ämnet ”hjärta och smärta” men när Alvarado sjunger och spelar blir det inte för sentimentalt utan ärligt och verkligt – bara det är ett svårt vågspel i sig. Så här bra kan bara de operfekta låta.


Sången är inte insmickrande utan kommer rakt inifrån med självupplevda relationers uppgång och fall som drivkraft. Jag vill lyssna på Alvarado när bara han och jag finns i rummet, som att samtala med en nära vän. Vi kan ta oss igenom livets mörka sidor tillsammans och allt känns bättre efteråt.


En lite vemodig med samtidigt trösterik stämning sprider sig när skivan snurrat sitt sista varv. Få singer/songwriters når hela vägen fram, men Alvarado är nära målet. Han väljer sin egen väg, en lite mer svårframkomlig sådan men när han väl är framme lär han vara så mycket starkare än de flesta andra.


-Matilda Dahlgren/Groove Magazine


Translation


He's not well-known here in Sweden yet, Steven Alvarado from New York,
but soon as you hear him, he'll stick in both mind and heart. Besides,
he's backed up by musicians who've played behind giants like Tom Waits
and Lucinda Williams.


By simple, mostly acoustic means, he causes strong, electrically charged emotions. The first song makes me think of Ryan Adams and the record dealing with his 30-year crisis, "29", also beginning with a creatively energetic blues track. Here, Marc Ribot provides some passionate playing on his electric guitar. Then, it all cools down, but both lyrics and music are uncomplicatedly direct. Thematically, it's the same old subject "moon and June", but when sung and played by Alvarado, it never becomes too sentimental but honest and real. That in it self, is a daring adventure. This good is only how the non-perfect sound.


The singing is not falsely intimidating. Instead it comes straight from within with the rise and fall of self-experienced relations as the driving force. I prefer to listen to Alvarado when there's only him and I in the room, just like talking to a close friend. We'll go through the dark side of life together and afterwards, everything feels better.


A slightly sullen, yet trustful atmosphere takes over as the record spins its final run. Few singer-songwriters make it to the very end, but Alvarado is close. He chooses his own way to go, one that may be a little harder to travel though, but when he's home, he may be much stronger than the rest.


-Matilda Dahlgren/Groove Magazine

Backed up by a crack team of musicians, including Marc Ribot and Kenny Wollensen, Steven Alvarado returns with his radiant fourth album “Let It Go” (Mott Street). A queer take on roots and Americana music, Alvarado’s gruff but gracious vocals provide the glow in songs such as “It’s For You,” the early Tom Waits-like “Nobody Knows,” the swishing swing of “Burning Bridges,” the urban twang of “Gone, Gone, Gone,” the Springsteen-esque “It’s Alright” and the most overtly gay number on the disc, the glorious “New York,” a track Alvarado dedicated to his best friend, acclaimed gay poet Aaron Smith.

Steven Alvarado
Let It Go
Mott Street Records 2008


6.5 Stars


Dalla West Coast passando per Nashville, un percorso che infine si confonde tra le sensazioni della grande mela, ancora oggi una terra promessa profumata di sogni e speranze. Le influenze di Steven Alvarado seguono le rotte del cuore, e dal cuore si materializzano in canzoni imbevute di tradizione, in particolare quella dei colletti blu e delle dusty roads, vera e propria metafora dell'american way of life, quella più vera. Una vita e una chitarra, due album autoprodotti fino all'ottimo riscontro in patria e nella vecchia Europa (soprattutto in Francia) grazie a The Howl Sessions (2005), un disco che mette in mostra le doti sincere di un artista che fa musica per piacere, con quel pizzico di coraggio che non guasta, anzi. Non ci sono brani da capogiro in questo nuovo Let It Go, 10 canzoni che scorrono via che è un piacere in poco meno di mezz'ora, ma la proposta merita assoluto rispetto, soprattutto se paragonata al mainstream senza corrente elettrica che ormai ha colonizzato le onde radio. Tanto per cominciare, nei credits figurano musicisti di spessore non comune, in primis Marc Ribot, che regala pennellate di puro godimento con la sei corde, seguito a ruota da Kenny Wollesen alla batteria, Rob Burger al piano e Joe Quigley al basso, strumentazione essenziale degna del perfetto rocker stradaiolo. Ed è alla dimensione heartland che Alvarado attinge maggiormente, facendo sua la lezione di Petty, Mellencamp e del Boss, fino a giungere al Jesse Malin dei giorni nostri, con il maestro Dylan nelle vene e nella struttura di alcuni brani portanti, come ad esempio Gone, Gone, Gone, dove anche il titolo sembra nascere a Duluth per approdare con naturalezza al Greenwich Village. Il suono è eccellente, chitarristico e mai invadente, come si addice al genere, i testi parlano di sentimenti comuni, quelli quotidiani, della difficoltà di vivere le relazioni, di rapporti tormentati, finiti, ricordati. Il feeling sixties di Get This Far richiama il primo Van Morrison, It's For You ha Petty come mentore, un'ottima sezione ritmica e un refrain di primo impatto, Nobody Knows e See You Again sono due ballad di impianto cantautorale che ricordano il Michael McDermott migliore, Burning Bridges attraversa territori country, New York è un rock di strada nella sua quintessenza con i solchi imperlati di sudore, It's Alright deve molto a Springsteen, così come la conclusiva e pianistica Reasons. Blue è infine una dark song che spezza il filo conduttore di un disco che manca di un paio di brani superiori per diventare una proposta notevole. Ma l'onestà di fondo è più che apprezzabile, e a noi basta e avanza.


-David Nieri



Translation (from Google Translate, very rough)


Steven Alvarado
Let It Go
Mott Street Records 2008


6.5 Stars


From the West Coast passing through Nashville, a journey that eventually forms between the sensations of the big apple, still smelling a promised land of dreams and hopes. The influence of Steven Alvarado follow the routes of heart, and heart materializes in songs imbued with tradition, especially blue-collar and dusty roads, real metaphor the American way of life, the most true. A life and a guitar, two albums reflected excellent self-up at home and in old Europe (especially in France) thanks to The Howl Sessions (2005), a disc that puts on display the talents of a genuine artist who makes music for pleasure, with that bit of courage that fails not, indeed. There are songs from dizziness in this new Let It Go, 10 songs that flow path that is a pleasure in less than half an hour, but the proposal deserves absolute respect, especially when compared to mainstream without electricity which now has colonized the radio waves. To begin with, in credits include musicians thick uncommon, primarily Marc Ribot, which gives the stroke of pure enjoyment with six strings, followed by Kenny Wollesen on drums, Rob Burger on piano and Joe Quigley on bass, instrumentation essential worthy of the perfect rocker stradaiolo. It is the size heartland that draws more Alvarado, making the lesson of Petty, Mellencamp and The Boss, reaching to Jesse Malin of our day, with the teacher Dylan in the veins and structure of some passages carriers, such as Gone, Gone, Gone, where even the title seems to be born in Duluth to lead naturally to Greenwich Village. The sound is excellent, guitar and never intrusive, as befits the genre, the texts speak of common sentiments, those newspapers, the difficulty of living relationships, relationships tormented, finished, remember. The feeling of sixties Get This Far recalls the first Van Morrison, It's For You has Petty as mentor, a good rhythm section and a refrain of the first impact, and Nobody Knows, See You Again, are two ballad planting cantautorale who remember the Michael McDermott better, Burning Bridges crosses territories country, New York is a rock road in its quintessence with the furrows imperlati sweat, It's Alright owes much to Springsteen, and the conclusive piano/acoustic guitar Reasons. Blue is finally a dark song that breaks the thread of a disc that lacks a couple of songs become higher for a substantial proposal. But the fundamental honesty is more than welcome, and we justly recommend.


-David Nieri

Steven Alvarado - Let It Go


Mott Street Records


Steven Alvarado, singer - songwriter uit New York, is in de wolken over de airplay die zijn album " Let It Go" aan deze kant van de grote plas ten beurt valt en hij is beslist niet de enige en laatste singer - songwriter in het alt. country / roots gebeuren die via Europa ook in zijn eigen landje (h) erkenning verwerft.


Onder het motto "Let It Go baby" laat Mark Ribot meteen de gitaartjes scheuren op de openingstrack " Get this Far", mogen drummer Kenny Wollesen (T - Bone Burnett, Elvis Costello, Tom Waits) en bassist Joe Quigley ( Lisa Loeb, Shawn Colvin) hun ding doen op " It's For you" en "Burning Bridges" en doet Alvarado Tom Waits en Warren Zevon de duivel aan met "Nobody Knows", "See You Again", "Reasons" en "Blue" want de man beschikt net als de meesters over een vakkundig geraspt stemgeluid. Maar ook zonder het excellente gezelschap plaatst Alvarado zich in de kijker, de schitterende akoestische pareltjes " Gone, Gone, Gone" en "It's Alright" zijn daar prima voorbeelden van en verduidelijken op een erg treffende manier waarom dit schijfje gebrandmerkt wordt als "an album about heartbreak "


Tien zelfgepende songs die in een klein halfuurtje hart, ziel en geest beroeren ....uw dienaar van dienst is Steven Alvarado !


Translation:


Steven Avarado, singer – songwriter from New York, is in the clouds about the
airplay his new album “Let it Go” is getting on this side of the big pond and he is
not the only or last singer-songwriter in alt/country/roots music to achieve
recognition in his own country via Europe.


With the motto “Let it go baby”, Mark Ribot (T - Bone Burnett, Elvis Costello, Tom Waits) immediately lets the guitars rip on the opening track “Get this far” and drummer Kenny Wollesen (Norah Jones, Rickie Lee Jones, Rufus Wainwright) and bassist Joe Quigley (Lisa Loeb, Shawn Colvin) are allowed to do their thing on “Its for you” and “burning bridges”; and Tom Waits and Warren Zevon tease the devil with “Nobody knows”, “see you again”, “reasons”, and “blue” because this guy [Steven Alvarado] has, like the masters, a professionally raspy voice. But even without such excellent companions Alvarado puts himself in the limelight, the beautiful acoustic pearls “gone gone gone” and “its alright” are perfect examples of this and clarify poignantly why this disc has been branded as “an album about heartbreak”.


Ten self-created songs that touch in a small half an hour your heart, soul, and
spirit….compliments of your servant Steven Alvarado.

Steven Alvarado - Let It Go


Mott Street Records


☆ ☆ ☆ three stars

Let It Go komt met stip in de Top 10 van MinstZeggende Cd-covers Aller Tijden binnen. Hoe bestaat het toch dat Alvarado deze foto, waarop zijn rug is afgebeeld en een paar keurig geparkeerde auto’s, gekozen heeft als gezicht van zijn nieuwe liedjes? Ik heb werkelijk geen idee. Gelukkig zijn de 10 liedjes alles behalve nietszeggend. Steven Alvarado zingt met gruis op de stembanden over zijn liefdes en zijn leven. Hij kan door voor het minder hese broertje van Matthew Ryan. Hij is niet alleen minder hees, hij is ook minder opdringerig. Ze staan wel allebei liever in de schaduw te vertellen dan in het volle licht. Ik hou overigens heel erg van een opdringerige Ryan, maar dit ter zijde. Alvarado laat op Let It Go horen dat hij het genre van singer-songwriter/roots beheerst. Hij slijpt en rockt en wordt daarbij begeleid door de bezoekers van de studio in New York waar hij werkt: gitarist Mark Ribot (Tom Waits, Elvis Costello, T-Bone Burnett), drummer Kenny Wollesen (Norah Jones, Rufus Wainwright), pianist Rob Burger (Beth Orton, Lucinda Williams en ook Rufus Wainwright) en bassist Joe Quigley (Lisa Loeb en Shawn Colvin). Zowaar geen kattenpis.



Translation:


“Let It Go rushing into the Top 10 of Least-Interesting CD covers of all time. How can it be that Alvarado chose this picture, where his back is shown and a few neatly parked cars, as the face of his new songs? I really don’t know. Luckily, the 10 songs are anything but uninteresting. Steven Alvarado sings with rawness on his vocal cords about his loves and life. He could be the less scratchy-voiced brother of Matthew Ryan. Not only is his voice less scratchy, but it also less pushy. Though both of them prefer to stand in the shade to tell their stories instead of the bright light. By the way, I really like Ryan, but that is beside the point. Alvarado shows on Let It Go that he is in full control of the singer-songwriter/roots genre. He slides and rocks and is accompanied in this by the visitors to the studio in NY where he works: guitarist Mark Ribot, drummer Kenny Wollessen, pianist Rob Burger, and bass player Joe Quigley. Truly nothing to be sneezed at.”

Steven Alvarado - Let It Go


Mott Street Records


Der ursprünglich aus Los Angeles stammende Steven Alvarado ist seit sieben Jahren in New York ansässig und spielt frische, lebhafte, von akustischen Gitarren dominierte Rockmusik. Sein aktuelles Album "Let It Go" liegt mir nun vor und ich sehe mich mit einem Songwriter konfrontiert, der qualitativ hochwertige Musik abliefert. Zehn Songs umfasst diese Scheibe und kommt dabei bloß auf eine halbe Stunde Spielzeit.


Das bedeutet in diesem Fall allerdings, dass Alvarado und seine fünf Mitstreiter kurze, knackige Lieder aufgenommen haben, die sofort ins Ohr gehen: Mehr als die Hälfte der Songs liegen im Zweiminutenbereich. "Let It Go" bietet ansprechende Kost und keinerlei Lückenfüller. Thematisch geht es auf dem Album um persönliche Erfahrungen, die Alvarado einer ehrlichen Beobachtung unterzieht. Dabei bleibt es nicht aus, dass auch sein Umzug nach New York das ein oder andere Mal verarbeitet wird.


Dementsprechend nachdenklich sind die Texte des Amerikaners, auch wenn die musikalische Untermalung meist etwas anderes erwarten lässt. So plätschert der Quasi-Titeltrack "New York" beispielsweise fröhlich vor sich hin, obwohl der Text die Verwahrlosung in Alvarados Wahlheimat beschreibt:


»Bethesda angel touches...
Earth with blackened iron toe...
God don't live here baby...
Better learn to let it go«


heißt es im Refrain.
Wie eingangs bereits erwähnt, dominiert die Akustikgitarre das musikalische Geschehen - neben Alvarados Stimme natürlich. Seine Mitmusiker halten sich dagegen deutlich im Hintergrund, einzig Drums und Percussion hört man fast immer. Das stört aber ganz und gar nicht, sondern unterstreicht den insgesamt sehr ruhigen Charakter von "Let It Go".


Diese Scheibe wächst mit der Zeit, eventuell muss man ihr ein paar Durchläufe genehmigen, bevor sie ihre wahre Schönheit offenbaren kann. Dann kann man sie aber auch wunderbar nebenbei hören. Oder aber man füttert damit seinen CD-Player, wenn man sich nach einem anstrengenden Tag beim wohlverdienten Feierabendbier entspannen und schönen Klängen lauschen möchte. Songs wie "It's Alright" eignen sich zum Abspannen nämlich ausgezeichnet. Aber was rede ich, denn das ganze Album ist für derartige Situationen bestens geeignet. Macht auch beim Kuscheln mit dem Partner eine wirklich gute Figur, solang man nicht unbedingt auf die Texte hört.


Nun noch ein paar Worte zu den einzelnen Songs: Eröffnet wird die Scheibe von dem Akustik-Rock'n'Roller "Get This Far", dessen Lead-Gitarren-Untermalung zum Mitwippen einlädt. Das darauf folgende, schön leichtfüßige "It's For You" kommt nur mit Stimme, Akustikgitarre und Bass aus, ist textlich gesehen aber todtraurig. "Nobody Knows" ist vergleichsweise getragen (es geht um das Vermissen und die Traurigkeit, nachdem jemand gestorbenen ist) und macht mal eben so deutlich, dass diese ersten drei Songs schon fast den Kauf wert sind. Aber es geht ja noch weiter: Nach dem wieder etwas flotteren "Burning Bridges" gibt es mit dem weiter oben bereits angesprochenen "New York" ein kleines Highlight der Songwriting-Kunst. Tolle Melodien und ein schöner Refrain machen den Song zu einem echten Schmankerl!


Die zweite Hälfte von "Let It Go" wird vom schleppenden, ziemlich traurigen "Blue" eröffnet. Es ist das langsamste, schwermütigste Stück des Albums. "Gone, Gone, Gone" ist wieder recht lebhaft, "See You Again" nimmt das Tempo daraufhin etwas heraus (traumhafte Gitarrenmelodie gegen Ende), und die letzten beiden Songs "It's Alright" und "Reasons" beenden Alvarados neuestes Werk ganz entspannt.


Anspieltipps: "It's For You", "Nobody Knows", "New York", "See You Again", "It's Alright".


Abschließend noch etwas zu den Musikern auf "Let It Go". Da hätten wir zum einen Marc Ribot an der elektrischen Gitarre, der z.B. schon für Tom Waits oder Elvis Costello gespielt hat. Dann wäre da noch Schlagzeuger Kenny Wollesen, der Fans von Norah Jones, Rufus Wainright u.a. kein Unbekannter sein sollte. Aber auch Tastenmann Rob Burger sowie Tieftöner Joe Quigley haben schon bei bekannten Gesichtern in Lohn und Brot gestanden.
Somit hat Steven Alvarado also eine hochkarätige Besetzung für diese CD zusammenstellen können.


Line-up:
Steven Alvarado (all vocals & acoustic guitar)
Marc Ribot (electric guitar)
Kenny Wollesen (drums)
Joe Quigley (bass)
Rob Burger (piano)
John-David Hahs (shakers, etc.)

Today's Music Review: Steven Alvarado!


April 7, 2008 11:38 AM:
Steven Alvarado
☆ ☆ ☆ ☆ four stars



Let It Go
Mott St. Records
Released: 04/08/08
www.myspace.com/stevenalvarado
Reviewed by Rob Browning


Steven Alvarado is a California transplant who landed in NYC about ten years ago via an ill-fated major label deal. In recent years, he’s performed mostly as a solo acoustic guy for practicality’s sake and it’s garnered him a bit of renown overseas, especially in France and the British Isles. The solo acoustic thing is a necessary evil and while Alvarado is an engaging performer, it’s his records with a full band that really shine.


Alvarado manages a recording studio as a day job and it’s worked out well for him, allowing him access to some of the city’s best players while keeping recording costs low. It also gives him a very realistic perspective on what it takes to be a successful musician in this day-and-age. Alvarado has embraced the web heartily, and is no stranger to a podcast. Both have broadened his renown nicely. He’s had music on PBS and the mini-documentary about the recording of his last record. The Howl Sessions, has been well-received. The buzz from Howl finds Let It Go in a great position to get a lot of shine.


There is a lot of Dylan in Alvardo’s music: Bob compositionally and Jake vocally, maybe with a touch of Jesse Malin for good measure. He’s strong songwriter who knows his craft. It’s obvious that the songs here were written acoustically and embellished during recording; a wise move that allows him to get the record noticed and still be able to play it out and have the songs be familiar. There is a gang of heavy hitters backing up Alvarado on Let It Go, most notably Marc Ribot, who plays his usual masterful guitar on all the tracks, whether it be roots rock twang on “Get This Far” or more subtle textural stratification like on “It’s Alright”.


It’s hard to make a living as a musician in the 21st century, but Steven Alvardo seems to be making all the right moves. By self-releasing his stuff, promoting on the internet, cultivating good personal and professional relationships, and, most importantly having some pretty damn good songs, he’s got everything he needs to do well with Let It Go.

STEVEN ALVARADO + THE ADVOCATE INTERVIEW

“I DON’T FIT INTO THE GAY MUSIC SCENE, if there is one,” muses singer-songwriter Steven Alvarado at a coffee shop in New York City, his adopted home. “I hate dance music, and I know this is a sin, but I’m not a fan of Madonna.” Alvarado is instead a Bob Dylan man, and there’s no question the 30-something’s acoustic guitar—based folk is steeped in the tradition of troubadours like Bruce Springsteen and Paul Westerberg.


Growing up gay as a born-again Christian in Southern-California, Alvarado wrote songs to deal with the central contradiction of his life: “You have to be a broken person if you want to really connect to people,” he says. He scored his first record deal with a band, but both quickly dissolved. Then he played solo gigs around Los Angeles until he was signed by Richie Valens’s old label, Del-Fi, and recorded Mercy. After relocating to Nashville, Alvarado made Bleed, while working in a grocery store and later at DreamWorks Records, where he was gifted a TiVo by an unlikely admirer: country star Toby Keith.


Seven years later, Alvarado moved to New York landing a job at a recording studio that would change his life. “I got to meet all of the musicians who played on my new album,” he says of April’s Let It Go, a record that’s piquing the interest of gay and straight listeners (the first single, “It’s for You,” was picked up by Logo and VH1’s websites). When legendary guitarist Marc Ribot swung by the studio, Alvarado seized the opportunity and booked him, and Ribot’s soulfully edgy riffs adorn Alvarado’s husky-voiced meditations on love gone wrong. “Every time I sat down to write a song I was writing about all these fallen-apart relationships,” he explains, before backtracking a little: “But no one song is about any one specific person—they’re all blended together.”

—Caryn Ganz


PHOTO BY MEGHAN PETERSON. GROOMING BY SUSIE SOBLE. STYLING BY ALLYSON VIEIRA. SHOT ON LOCATION AT THE TRASH BAR IN WILLIAMSBURG, NYC

Steven Alvarado - Letting It Go at Dubway






Pro Sound News Magazine


Steven Alvarado is set to release his fourth solo album, Let It Go, on April 1st on his own Mott Street label. The product of sessions at Dubway Studios that spanned one year, Let It Go, which features musicians Marc Ribot, Kenny Wollesen, Rob Burger and Joe Quigley, is a shining example of the other music-industry revolution launched by the personal computer: online, Alvarado’s music is distributed globally via download and CD sales and is spun on internet and terrestrial radio stations based around the world. Further, by virtue of demand in cities around the world, he organizes tours via online correspondence with local promoters and agents.


Let It Go is an extremely likeable collection of songs, most of them featuring sparse and acoustic arrangements that recall, to this listener, Tom Waits, Neil Young and early Van Morrison. Upon its release, Let It Go is likely to build on the considerable buzz around Alvarado’s previous release, The Howl Sessions.


“We definitely went for ‘high-fidelity lo-fi,’ if that makes any sense,” Alvarado allows. “There are not a lot of instruments on the album—mostly acoustic guitar, bass and drums throughout, with a sprinkling of Marc Ribot’s electric guitar, and piano on one song. So we really stripped it down, but definitely went for a high-fidelity sound, without overdoing it.”


Like many other contemporary independent artists, Alvarado is exploiting the Web’s distribution and promotional opportunities. His Cds are sold through CD Baby (www.cdbaby.com), which distributes indie artists’ music to iTunes and scores of other e-tailers, and recently began selling downloads via its own website.


“It’s funny,” Alvarado muses of his global reach. “It’s all so much internet-related. Last year I got 80,000 hits to my website; I don’t know how people find me, they just seem to do it. I get lots of e-mail from people I don’t know, asking me for a copy of the CD for their radio station, or internet station. The internet has totally changed everything for independent artists. My last two tours were entirely booked through the internet, and I never spoke to anybody in person until I actually got to the venues.”

It’s Hard to Let This CD Go!


5 Stars ★ ★ ★ ★ ★


Once again, Steven touches the heart and moves it from idle complacency to the human longing which is the heart beat of every soul. Good work!


-The Schnied/Apple iTunes

Out Smart Magazine


Steven Alvarado
Let It Go



Alvarado, who released the Parisian-based Radio Dio fave The Howl Sessions in 2005, provides flat-out, acoustic-laced rock 'n' roll on his fourth album. Fans of Lucinda Williams and Beth Orton may enjoy this collection, especially “Get This Far” and “Blue.” Mott St. Records

Thursday, February 21, 2008
First Impressions: Today's 10-spot of albums
I continue to be impressed with the volume of high-quality music being released these days. Someday, maybe, when historians regain their perspective, this period will be looked upon as a golden era -- not necessarily by judging from the hits, but from the sheer, unprecedented quantity of good music. I know this isn't a popular viewpoint, and I also know, from first-hand experience, how easy it is to ossify your tastes with a particular time and place so that appreciating newer music becomes ever harder, but there are musical riches out there in profusion if you look for them.

Anyway, this week's 10, most of which in some way qualify to join the quality ranks:

Steven Alvarado, Let It Go (out April 1): Potential-filled singer/songwriter with a tantalizing hint of Dylan on a couple of tracks.

Recommended:


Steven Alvarado Let It Go (Mott Street)


Pleasantly unwound rootsy pieces. Alvarado has a fine rough-hewn voice, and he's got the likes of Marc Ribot and Kenny Wollesen backing him up. Hard to go wrong there, and Alvarado doesn't. Something to savor.


-Jon Worley


www.aidabet.com

THIS IS FROM BELGIUM! (anyone speak Dutch?)


STEVEN ALVARADO - LET IT GO
Label : Mott Street Records


Vanuit New York City bereikte ons nieuw werk van singer-songwriter Steven Alvarado, die ons in 2005 al wist te verrassen met zijn debuutalbum “The Howl Sessions”. Eerder had hij al twee cd’s in eigen beheer opgenomen onder de titels “Mercy” en “Bleed”. De meeste bekendheid verwierf hij doorheen de voorbije jaren opvallenderwijze voornamelijk in Engeland en Frankrijk. Zijn liedjes behandelen meestal onderwerpen in de emotionele sfeer en vaak kijkt hij op een eerlijke wijze naar de onderlinge verhoudingen tussen de mensen, zijn eigen privé-ervaringen in het leven daarbij zeker niet uit de weg gaand. De nieuwste cd van Steven Alvarado heet “Let It Go” en zal officieel pas in april 2008 verschijnen. Ze bestaat uit 10 zelfgeschreven nummers in diverse snelheden, gaande van swingende rock tot slakkengangtrage ballades. De muzikanten die deze plaat met hem opnamen zijn niet van de minsten: gitarist Mark Ribot (Tom Waits, Elvis Costello, T-Bone Burnett), drummer Kenny Wollesen (Norah Jones, Rickie Lee Jones, Rufus Wainwright), pianist Rob Burger (Beth Orton, Lucinda Williams en Rufus Wainwright) en bassist Joe Quigley (Lisa Loeb en Shawn Colvin). De meeste songs zijn nogal donker opgebouwd, maar nummers als “New York” over het wilde leven in deze wereldstad en “It’s For You” (de eerste single uit het album) met een drijvende percussie-groove contrasteren daar op een knappe manier mee. Enkele teksten gaan over de gevoelens van pijn over een verloren liefde en “Nobody Knows” is een weergave van de verscheurende eenzaamheid en het verdriet dat je ervaart als je een geliefde moet missen. Steven Alvarado zal in 2008 een uitgebreide tournee maken doorheen Amerika en Europa. Wij hopen hem hierbij ergens aan het werk te mogen zien en horen.
(valsam)


www.rootstime.be

STEVEN ALVARADO - Let It Go
(CD, Mott Street, Pop)


5 Stars ★ ★ ★ ★ ★





Steven Alvarado makes music that seems to come straight from his subconsciousness. Instead of aiming for a particular audience or mimic the sound of other artists, this fellow seems to just let music flow from his veins.


His 2005 album The Howl Sessions made a lot of people sit up and take notice. Our guess is that Let It Go will be even more well received. The album features an all-star cast of session musicians that includes Marc Ribot, Kenny Wollesen, Rob Burger, and Joe Quigley. In some ways, Alvarado's songs recall the cool reflective quality of Kenny Siegel's music (Johnny Society)...except the sound is more organic overall. Like Kenny, Steven has a mesmerizing voice and his presence (that comes shining through in these recordings) is extraordinary. Alvarado is one of those guys who...if he gets lucky...could easily make the transformation from underground nobody to major celebrity in a flash.


His songs come straight from the heart...genuinely touching and real. Ten kickass tracks here including "Get This Far," "Nobody Knows," "Blue," and "Reasons." An instant hit. Highly recommended. (Rating: 5 Stars)

The Long-Tail Gets Longer, and Indie Folk-Pop Artist Steven Alvarado is helping it grow


Without the help of a major record label, celebrated indie artist Steven Alvarado toured Europe this summer, got his music on the hit PBS television show Roadtrip Nation, and has a new studio album in the works with mass distribution. How did he do it? The Long Tail.


New York, NY (Billboard) March 4, 2007—New York City singer-songwriter Steven Alvarado has been on tour, selling downloads on iTunes, getting his music on PBS television, and carving out a place for himself on the international music scene. Not bad for an artist you may have never heard of. Principals of the now famous Wired Magazine news article and book The Long Tail
http://www.wired.com/wired/archive/12.10/tail.html
by writer Chris Anderson are clearly at work here.


In spring of 2005 Steven Alvarado released The Howl Sessions on his own upstart record label Mott Street. By summer of 2006 the album had amassed an enormous amount of good press heralding him as one of the greats with comparisons to the likes of Bruce Springsteen and Tom Petty. Quotes like "A truly excellent release." -Zeitgeist-Scot (London), "Alvarado is a salty, epigrammatic, storytelling poet." -Chris S. Witwer, GayWired.com (USA) and "Startlingly gorgeous and cohesive." -Stephanie R. Myers, The Deli, (New York) became the norm. By fall Alvarado embarked on his Howl Sessions Tour, which started in NYC and took him to England and France and back to the U.S. with a final stop at The Hinge Café in Philadelphia, PA. The tour named after his critically acclaimed album played intimate venues across Europe including London’s world famous Troubadour where Bob Dylan once played on his first UK visit.


Alvarado is among the growing number of artists who have decided to take matters into their own hands and forgo the typical major-label path to success. As various avenues of distribution become increasingly available, more and more artists have opted to bypass record companies altogether. The number one culprit in this mutiny? The Internet. Websites like MySpace can get an artist noticed and help them build a substantial fan-base. MySpace has become the standard for all musicians major or minor for maintaining a presents on the Web. They offer free web space that includes streaming music, video, photos, and Blog space.


CD Baby has quietly become the number-one distributor of independent music in the world. About two years ago they signed a deal with the wildly popular Apple iTunes for digital distribution. Deals with every major digital distributor including Rhapsody, Emusic, AOL and MSN Music soon followed. Super D/Phantom Distribution, the largest CD distributor for both major and independent record companies in the world came next and offered CD Baby a better deal for its’ artists than any other label they distribute. Under this exclusive deal there are no returns, a feat previously unheard. These deals give artists on the CD Baby roster the same distribution that any major can give and makes the entire CD Baby catalogue available to easily buy digitally or in traditional brick-and-mortar stores.


iTunes, the most influential music distributor in the music business just announced they are now the fourth largest music seller in the world. They are poised to become number one as CD sales continue to drop, and downloads and iPod sales continue to rise. The staggering success of the iPod and iTunes has without question shifted the way all music will be distributed in the future. In true Long-Tail ideology of make everything available, Steve Jobs himself said he wants “every piece of recorded music that exists to be included in the iTunes catalogue.”


As a result Mercy Alvarado’s debut album, Bleed, the follow up, 2005’s The Howl Sessions, and the 2006 release of Howling Live in New York Alvarado’s first live album are all available on iTunes. To his credit, Alvarado drew an impressive group of musicians to play on The Howl Sessions including Rob Burger (Rufus Wainwright, Norah Jones) on an assortment of vintage keyboards, and Joe Quigley, (Shawn Colvin, Lisa Loeb) on bass.


The album drew attention from the get-go. Former MTV Veejay Adam Curry played the title cut Howl (pushing up daisies) on his groundbreaking Podcast Daily Source Code resulting in thousands of hits to Alvarado’s Website and sales on iTunes. Taking further advantage of the internet, Alvarado began emailing his Electronic Press Kit to various contacts and got a song featured in two episodes of the PBS TV show Roadtrip Nation, which airs weekly.


Alvarado is currently at work on a new album and has once again drawn well-known musicians to play. Grammy-nominated drummer Kenny Wolleson (Sex Mob, Lisa Loab, Rufus Wainwright) and guitarist Smokey Hormel (Beck, Johnny Cash, Rick Rubin.) The album is expected out this summer along with a tour.

Steven Alvarado-MakingMusic.com Interview
September 2006


Part One...


Meeting Mr. Alvarado on his home turf, NYC


As many of our readers will know, we at MakingMusic are huge fans of New York Singer songwriter, Steven Alvarado. As it happens I was the lucky one to meet up with him on his home territory on my recent trip.


The Meeting…
Based in New York, Steven has everything he could ever need on his doorstep, therefore he doesn’t suffer much from jet lag, but I should have know better than to ring a musician before midday to arrange to meet up. After my rude awakening at 11am we decided to meet in SoHo, downtown New York at 1pm. As a first time visitor to NYC, I decided to make my way from Central park by taxi, this took only ten minutes, so I had a while to waste, however, there is always something to do in this most vibrant and diverse of cities, for me though, lunch beckoned. After this, I stood on a street corner, called Steven again and agreed to meet outside a ‘famous’ pizza parlor, famed for it’s involvement in the well documented impromptu Madonna vs. Paparazzi battle.


Within minutes, the man who looks exactly like he does in his photos, arrived, refreshed, relaxed and smiling so we targeted another coffee house.


The Man…
The man behind his music is a genuine, sincere guy, who is not only pleased to answer any questions, but appears truly interested in what you have to say. He is ebullient about New York and is very excited about his trip to London and France next month.


Speaking to Steven it is obvious his passion drives his music and his music is his passion, and to the constant frustration of his record company, of which he is a partner, you could not find a musician less interested in the commercial aspect of this world. Steven does not write music to sell, he writes what he wants, about what he wants and that’s it. If people do buy it, then that is just a happy coincidence, and with some breaking news, it would appear that this coincidence is soon to become a lot happier.


Steven also runs a recording studio in the Chelsea area of New York, which not only gives him the facility to get his work recorded, but also the access to some very fine musicians, whom he is humble enough to appreciate their enthusiasm for his work.


The Music…
Inspiration for Steven’s music is quite literally around every corner in this city and when the need to write descends on him, he will quickly write three or four songs almost simultaneously, each influencing the other, back and forth and each story fuelling the next chapter.


The Origins…
Many musicians will tell you about their childhood - stealing moments of late night radio, or TV shows with inspirational characters that have made them ‘pick up a guitar and sing’, but not for Steven. During his high school days a friend of his would often come to school with a guitar, sit in the hallway and strum and sing, this memorized a young Mr. Alvarado, so much so that he went home, bought a guitar and started doing the same, neither he nor anyone who loves his music has any regrets about this.


The Future…
It has to be said, that the future is a very exciting place to be for both Steven and his growing number of fans.


Firstly, Steven told us in confidence about some interesting developments; checking his web site since my return, confirms that the ‘news’ is now released and that a US based TV series, Roadtrip Nation has opted to include a some of Stevens music in some up and coming episodes, this will not only prove profitable, but will immediately throw his name in front of millions of new listeners… exciting times? ‘well yes, I have say that I do love the idea that my music will be heard by more people, I think any songwriter wishes for that, the fact that it will earn some cash is definitely a ‘happy coincidence’’ Steven added.


For those of you in the UK, there is good news too, but you will have to be quick off the mark. Steven is touring Europe and this is including two dates in London. The Troubadour Café and the 12Bar will both play host to Steven on the 3rd and 4th October, take a look at Steven’s web site for more details.


If you do miss out on these live shows, please check back this site and we will endeavor to keep you up to date with the latest news from Mr. Alvarado.


Part two to follow...

Part Two…


Steven Alvarado-MakingMusic.com, Live in London at The Troubadour
10/03/06


The Man is a Troubadour


After a few short weeks back in the UK, we needed our U.S. fix, but the lack of funds, and too much work, meant that we had to settle for the next best thing, and please believe us, this man will be the Next Best Thing.


From the time that news broke of Steven Alvarado's first UK performances, this MakingMusic office has been rather excited - to learn that his first performance would be at London's world famous Troubadour Music club - the venue for Bob Dylan's first UK gig - just doubled the excitement level. We have been pacing the office and watching kettles boil for weeks, and then, the time came for what will be an historic gig.






The Troubadour is a small, intimate venue, perfect for close-up music. This suited the material and performance of Mr. Alvarado.


Steven's live performances are a deeply personal experience, none more so than for the artist himself - the songs are emotions delivered in a shy 'why should I tell you my deepest secrets' kind of way - but his desire to disclose those secrets to people who care, overwhelms him and disclose them he does.


Quite simply, being in the presence of this performance was a privilege - to be allowed in to his world for thirty minutes can at times be a eerie experience - sometimes you find yourself wondering if you should be there, like you have stumbled into a conversation that you're not sure if you should hear.


The audience on that night were less respectful initially, broadcasting their 'louder-than-necessary' conversations about buildings and food, cars and girls. However, after a worthy sound engineer entered the stage after the third song and issue a warning, an agreeable applause was initiated and normal service was resumed. Steven's timing for his next song - Wish You Were Here (Postcards from Hell) - was perfect, he explained that this was written because an old 'friend' told him that he would go to hell - this was the songwriters' response and his message to all - 'Don't F*** with a Songwriter' was not lost on this audience. Point well made!


Opening for the evening meant that Steven's first UK gig was far too short, next time this will not be case - all of you reading this now need to demand your favorite venue to call Steven and book him - more people need to witness this fine songwriter, and the UK needs to hear crafted songs of this quality more often.


Thank you Steven

Steven Alvarado - The Howl Sessions


“Brilliant acoustic music from a great songwriter. Earthy, beautiful and soulful. Gruff American Music Club. Modern folk-roots-rock… Artful indie-country-rock… Part Jerry Jeff Walker, part Neil Young… All good.”


-Hybrid Magazine, Colorado

THE DELI MAGAZINE
Steven Alvarado, The Howl Sessions (Mott Street)


Raw, haunting and compelling, Steven Alvarado’s “The Howl Sessions” is full of battle scars, dirt in your teeth, and open wounds all over your body. “Howl (Pushing Up Daisies)” references beats Allen Ginsberg and Jack Kerouac and is forceful and vigorous enough to make me think that he might be angling for a movement of his own. Alvarado evokes Bruce Cockburn’s vocal stylings and pairs them with lyrics that range from the somber to the exuberant without once breaking a sweat. Melodically, there’s nothing short of virtuosity here, whether it’s the country-flavored guitars on “Wish You Were Here (Postcards From Hell)” or the positivist anthem “I Feel The Rain.” The album doesn’t shy away from incorporating very different sounds, and yet the feel ends up being startlingly gorgeous and cohesive.


-Stephanie R. Myers, New York City

REVIEW: Steven Alvarado
The Howl Sessions (Mott Street)


Solo album 3, in a recording career going back to 1991 isn’t a frenetic release schedule, but it’s worth waiting for something this good.


His vocal style alone would make this worthwhile, even if he was singing the equivalent of the telephone directory, for his warm, lived in voice, is a treat. However, he knows how to write a memorable tune as well. Amongst the many highlights here are the tragic “Morphillia (A Girl I Knew)” and “Wish You Were Here (Postcards From Hell)”, which show a depth of lyricism rarely heard these days. How can you go wrong with an opening stanza of;


You told me I’m going to Hell
I’m finally here and doing swell
I’ll send you a card ‘wish you were here’
‘umm humm, down here


He is well respected enough to be able to call on some well connected players to help bring his vision to life, with Rob Burger (Rufus Wainwright, Norah Jones) on organ, Joe Quigley, (Shawn Colvin, Lisa Loeb) on bass, Mike Presta, (Counting Crows, Melissa Etheridge) on drums and Richard Barone, (Lou Reed, Patti Smith) on bongo's, amongst others.


But it’s to his credit that his songs and voice rise above the backing to make a righteous claim for respect in his own right. A truly excellent release.


-Zeitgeist-Scot (LONDON)

The Howl Sessions-Steven Alvarado
June 2005


Bleed, the highly acclaimed predecessor to The Howl Sessions (Mott St. Records) is a hard act to follow, but Steven Alvarado pulls it off with his latest offering. The Howl Sessions, recorded and produced by Alvarado in New York City, is a personal, political, acoustically-bent CD.


Alvarado, who is originally from California but has done his time in Nashville, is now flourishing musically in New York City, where he managed to assemble a group of talented, star musicians including Rob Burger (Rufus Wainwright, Nora Jones) on a variety of organs, Joe Quigley, (Shawn Colvin, Lisa Loeb) on bass, Mike Presta (Counting Crows, Melissa Etheridge) on drums, Richard Barone (Lou Reed, Patti Smith) on bongos, Al Houghton (They Might Be Giants, Penny Arcade) on electric guitar, and Mike Crehore, (Phoebe Snow, Patty Austin) also on electric guitar.


As a songwriter, Alvarado is a salty, epigrammatic, storytelling poet. “Howl (Pushing up Daisies)” begins with the line, “I’m a beaten down poet…” who claims to sell tragedy for $10 a pop unless you’ve already stolen it. The song goes on to explain that Jesus is still pushing up daisies, still in the grave… and that Alvarado is an American Beauty with buzz but no high. This track alone warrants repeated play in order to understand where Alvarado is coming from, and where he’s going with The Howl Sessions.


Vocally, Alvarado is rarely in tune—he stretches his voice beyond its comfort zone and doesn’t always hit the note he’s supposed to, but this is part of his charm. He sounds like a scruffy friend who sat down in your garage with a used mic and a battered acoustic guitar, intending to share his sense of the world with you through his lyrics.


Which is exactly what Alvarado is, and what The Howl Sessions accomplish. Some of the melodies and song structures are too similar for my taste—they sound very much alike, but the lyrics are all unique and full of meaning.


The CD is produced in an old-school acoustic style, with Alvarado’s vocals and acoustic guitar leading the way on all the tracks—organ, bass, electric guitar, and drums lightly accompany him in his solo effort as a singer of gritty, disgruntled American guy songs.


The tracks sound like they were recorded in a garage with a group of friends who just happen to be incredibly talented musicians. And they are. It’s an interesting and welcoming effect, one that brings you closer to the lyrics than any other style Alvarado might have employed for The Howl Sessions.


-Chris S. Witwer (Los Angeles)


© 2005 GayWired.com, All Rights Reserved

Making Music, UK
REVIEW: The Howl Sessions
Mott Street Records


STEVEN ALVARADO - AMBITIONLESS!


We have been listening to a sensational artist, Steven Alvarado - this may be the start of something beautiful in the Making Music offices and we have fallen in love with this guy's Steam Powered vocals and stories from his latest release The Howl Sessions.


Physically, Steven was born in California, however his spiritual heart soon corrected that accident when he moved to New York to synchronize his heart and music. The man claims to be ambitionless, which from a our perspective, makes him a success...


In his own words, Steven's latest album, The Howl Sessions is his best record yet, of which he is justifiably proud' Well, we here at makingmusic are new to Steven and are not going to judge this against his previous work, but purely on it's own merits. This album is GOOD. Of course there are many ways you can inflict the word 'good' in any sentence, but please believe us, on this occasion we need no more embellishment. Here in the office, we have fallen in love with this man's music and voice; our neighboiurs now believe we only have one album!


Quite simply everyone who appreciates well crafted songs, good musicianship balanced with pure, clean production will have to buy this album, and probably all his back catalogue and all future work. Steven's unique vocal goes a long way to colour this work, previous reviewers' observations likening of him to Tom Petty and Bruce Springsteen only serve to give a fore taste of a genre. For our part Steven's Steam powered voice is a perfect device for the output of such textured and lyrics and stories.


'Pushing up Daisies', proclaims a 'non-belief in Angels' and of being a 'beaten down poet, selling tragedy on plastic ' is a surprisingly depressive, uplifting song. Acoustic poetry with friends.


We won’t go on too much, make your own mind up and buy the CD. Go to Steven's site for a lot more info and the fantastically named web site. www.stevenalvarado.com


Steven's dues are all paid in full, from California to Nashville, on to NYC and all stops in between. Guests on his work reads like a who's who of the cool and talented and is a token of the respect he has earnt.


Any comparisons to more well known artists will not prove of any use, this work is unique and deserves universal airplay


_________________________________


INTERVIEW:


We spoke to Steven and asked him our standard Top 20 questions. Here’s what he had to say...


Who and what did you listen to when you were growing up?


"Well first of all, let me say thank you for all the enthusiasm about my album, you guys are great and I really appreciate it. It’s not everyday someone puts up a shrine to me on their Website. Wow!


I have always been surrounded by pretty eclectic music. Everything from Patty Griffin & Sam Phillips to Cold Play to Led Zeppelin to Neil Young to Miles Davis and John Coltrane (one of my favorites.)"


What or who got you interested in playing an instrument?


"I first learned the flute because I thought it was cool, but I couldn’t sing and play flute so that was a problem. In high school a kid I knew used to bring his acoustic guitar to class and sing and play songs in the hall. The first time I saw that I was smitten. I borrowed my sister’s boyfriend’s guitar and started teaching myself. I started writing songs from day one. I was never interested in learning anyone else’s music because I had plenty to say myself."


Have you had any formal training, if not how have you taught yourself?


"Early on I took a few guitar lessons, but that was it. I just practiced a lot."


What are you listening to at present?


"Dave Sharp from The Alarm put out a solo album years ago called Hard Traveling. I started listening to that again recently and I’m just addicted to it. It's so good."


How did the band get together?


"Well, we aren’t a band. I was lucky enough to meet all these great musicians at the studio and through mutual friends. Guys like Rob Burger who plays with Rufus Wainright and Nora Jones and Joe Quigley who’s played with Shawn Colvin."


What ambitions do you have as a band?


"I don’t have any ambitions. I’m ambitionless."


What musician or artist, dead or alive, would you like to meet and why?


"Marlene Dietrich. Can you imagine hanging out with her? You would be fabulous by association."


What advice would you give to young musicians starting out?


"Be honest in what you write. If it’s a put on, no one will respect you and no one will relate to you. Anyone can make up stories, but few people can tell the truth. If you do that people will respond to you and you’ll get noticed."


What is the best piece of advice you have ever been given?


"F**k ‘em all, be yourself."


What has been your favourite gig?


"I played this tiny little bar in Hollywood CA once. It was just me and my guitar and it was one of those magical nights where I just had them. I sold it out and it was really great. I’ve had many like that but that was special."


Who is the moaner of the band?


"Hmmm… well I’ve never had sex with any of those guys so I couldn’t tell you. But if I had to guess I’d say me."


Your favourite...
TV programme?


"An American show on HBO called Six Feet Under. It’s amazing."


Film?


"It changes but right now I’d say Angels In America."


Musician?


"Sam Phillips."


Actor or Actress?


"Christopher Walken is at the top of my list. He’s so bizarre and fantastic. Also Al Pacino, you just can’t touch him."


Country?


"England, Italy & France. Sadly, I’m embarrassed at the moment by my own country because of our idiot president. When he’s out of office I’m just going to pretend it never happened."


Method of transport?


"Walking. I live in New York City."


Time of day?


"In the summer time just about an hour before the sun goes down and there’s a nice cool breeze blowing and the sky is beautiful."


Sport?


"Does drinking with friends count?: (yes, Ed.)


Desert Island, one CD. Which album and why?


"Sam Phillips, Cruel Inventions. I think that is her masterpiece album."


What gear do you use?


"I play a Guild acoustic guitar. I love Taylor guitars and would play one if they would endorse me. I’d tell everyone how amazing they are in every interview."



Thank you Steven

REVIEW: The Howl Sessions


“New York City transplant Steven Alvarado has assembled an all-star cast of musicians, including Richard Barone of The Bongos, to perform with him on his latest album The Howl Sessions (Mott Street). The ten catchy pop songs, buoyed by Alvarado’s smoky vocals, emanate audible and irresistible warmth. Whether he’s referencing both Allen Ginsberg and John Lennon in “Howl” or observing the decline of those around him as in “Morphillia (A Girl I Knew)” and “Mad At The World” or celebrating queer love in “Wildflowers” or telling someone off as in both “Tea & Sympathy” and “Wish You Were Here (Postcards From Hell),” Alvarado does it with style.”


-Gregg Shapiro, Chicago


Acclaimed critic & author Gregg Shapiro writes regularly for the following publications:


afterelton.com, Chicago Free Press, HX (NYC), Bay Area Reporter (San Francisco), The Bottom Line (Palm Springs), In Newsweekly (Boston), Outsmart Magazine (Houston), Philadelphia Gay News, Watermark (Orlando/Tampa), Baltimore Outloud, Gay & Lesbian Times (San Diego), Xenogeny (Nashville), Outlook Weekly (OH), Lavender Magazine (Minneapolis), Dallas Voice, Illinois Entertainer, The Vital Voice (St. Louis), Q-Notes (the Carolinas), TWN (Miami) and others.

OUT MAGAZINE


The Howl Sessions
Steven Alvarado - Mott Street Records


Channeling Jakob Dylan and Matthew Sweet, crooner Steven Alvarado provides an enjoyable, if flawed, exercise in folk-rock conventions with his third album, The Howl Sessions. In thoughtful tunes like “Morphilia (A Girl I Knew)” and “Tea & Sympathy,” the openly gay, New York–based singer-songwriter brings to mind a certain cadre of musicians that belongs to an earlier decade, who made easy-on-the-ears music without flashy production or ear-splitting decibels. Alvarado’s sound is similarly unadorned. The sparse arrangements highlight the artist’s strong guitar playing and reflective and interesting lyrics, especially when he sings about gay romance in “Wildflowers.”


-Neal Broverman, Los Angeles

STEVEN ALVARADO
The Howl Sessions


Label: Mott Street Records
Genre: Indie - Release Date: 2005 - Catalogue No: MS001


Our Rating: Five Stars


“New York based STEVEN ALVARADO definitely has a knack for getting close to a good tune. He's a US singer songwriter in a long tradition with some mighty talents. TOM PETTY and BRUCE SPRINGSTEEN would be your K2 and your Everest… On that scale, he's worth a good second look.”


“I'm on his side because there's a technical roughness to the recording that puts the quality of the song and heart of the man right up to the front. Voice and guitar are both on the lumpy side. "Sessions" is an accurate title word. Drumming is basic, playing is rough and ready, the voice even shifts off the note now and then.”


“His approach to production is equally loose. The best of the songs have the universal quality that would make for good cover versions. "I'm tryin to Tell You" does sing out as a tune, with a good chorus. " Morphilia (A Girl I Knew)" gets a nice organ part going, and follows through with a bitter-sweet ballad that works well enough. "Wildflowers" has a big universal feel to it. "I Know You Loved Me" uses a mournful accordion to underpin a seafaring sort of song that invites close listening.”


“…In a head to head with JAMES BLUNT, I'd go for ALVARADO's gruff honesty any day.”


-Sam Saunders (Ireland)


© www.feeldesign.co.uk 2002 – 2005

STEVEN ALVARADO
"the howl sessions"
(Mott Street Records)


Ce songwriter n'en est pas à son coup d'essai et celui ci est transformé aisémment. Intimiste et habité, aidé par s'il vous plait Richard Barone (Bongos) un album attachant et personnel comme l'est Steven Alvarado. 10 titres d'égale facture, sans fioritures, simplement des chansons que l'on a envie de réecouter souvent.


"This songwriter performs songs that are intimate and lived in, assisted thank you very much by Richard Barone (Bongos) on an album that connects on a personal level like all songs by Steven Alvarado. 10 songs of equal quality, with no frills, simple songs that you will want to listen to over and over."


-Gerard Girard (France) www.rockandrollreport.com CANADA

Steve Alvarado - The Howl Sessions
Mott Steet Records


"The world of the singer-songwriter is a tough gig to conquer. Ever since Bob Dylan strummed, opined and whined charismatically to a cult of personality in the 1960s many have tried, but few have succeeded to create music that navigates the path between incisive social and emotional observation and self-indulgent and trite commentary."


"Steven Alvarado is another lonely traveller on that route. The Howl Sessions is Alvarado's third album and – his most prized recording so far. Alvarado was born in California, spent time in Nashville and now lives in New York. The influence of each of those locations shines through in his songs – there's the sweet folk of the west coast, the rueful country observations of the south and the intense concentration necessary for survival of any New York artist."


"Alvarado's voice exhibits an earnest quality that's compelling or disconcerting, depending on your point of view. While it doesn't have the obvious stains of hard living that exemplify the work of artists like Steve Earle, it fits comfortably with his soft acoustic, folk(s)y brand of music. Alvarado has managed to drag up an impressive cast of supporting musicians, including sometime collaborators of Rufus Wainwright, Nora Jones, Patti Smith, They Might Be Giants and Penny Arcade."


"The lyrics demonstrate a wariness with the state of the world; Wildflowers and I Feel the Rain continue the folk tradition of using nature as metaphor for hope and human triumph; Tea & Sympathy sounds like an extremely emotive Elvis Costello with an updated plea for peace, love and understanding."


"Alvarado's ability as a songwriter is without serious question; his music is on the subdued side, but consistent with his chosen politico-folk aesthetic. This is an album for those who appreciate the balance between restraint and agitation."


PATRICK EMERY (Australia)

Steven Alvarado – The Howl Sessions (Mott St Records)


"Lazy foot tappers aplenty get under your skin on this US artist’s current album, but it’s the more off kilter tracks that make the more pleasing impression; “Mad At the World” seems to contain an angry Japanese rant, presumably by Shoko Watanabe, and is set to a wonderfully fucked up chord sequence that is easily the standout for me on the recording.


Elsewhere you’ll find nods to Springsteen, tips of the hat to Ryan Adams and shades of Van Morrison amongst others..."


-Tone E, UK

"Singer-songwriter Steven Alvarado performs catchy Power Pop tunes fraught with self-examination and shy cynicism. Features jangling guitars, steady beats and occasional use of a Phaser Pedal. Similar artists include Elvis Costello & Matthew Sweet."


-Doug Russell, Rhapsody 411

THE DELI MAGAZINE


Steven Alvarado on Studio Recording
Interview by C. Jones


What is the one session you would bring with you on a desert island?


"Any of the stuff that Richard Barone has produced lately. Richard is a really creative producer and has a way of not getting in the way of the artist."


What advice would you give to a band that is entering the recording studio for the first time ever?


"Well- I would say have a plan. Map out what you want to accomplish each day so that you have a realistic idea of how much time you will need to complete your project. It's best to be as prepared as possible. Time fly's in the studio and it doesn't take long for you to eat up your entire budget.”


Many young artists tend to ignore any production or technical advice to pursue their own vision. How often does that pay off?


"You could probably make your own shirts, but they probably won't look very good, or fit too well. If you are working in a pro studio it's likely that you will be surrounded by people who are very good at what they do, you should take advantage of that."


With the advent of the lo-fi scene - many bands think that any crappy recording (and performance) can become a hit and that sound engineers are not necessary. What's your opinion about that?


"Many people hear these recordings that are really stripped-down and raw sounding and are astounded by them including me, but don't kid yourself. Those albums are recorded on some pretty amazing equipment and with microphones that cost five thousand dollars. There's a lot of work involved to get that kind of pure sound. But it goes beyond the equipment. A great engineer can make a below average artist sound great, which is really kind of a drag if you think about it. But a really great artist is probably going to sound pretty good even in a home recording situation. The technology has gotten really good. The problem is, you will never be as good as a pro engineer. They know how to record things in ways you don't. I've gone the DIY way in the past like everyone else and it's never as good as the studio. If you are really good, then you should treat your art like it's worth a damn and do it right. If you aren't willing to spend money on your own music, then probably no one else will be either. Including music fans."


What can producers add to the equation?


"It really depends on the artist. Producers are sometimes completely necessary, and sometimes completely superfluous. Some people need lots of direction and others have a very clear picture of what they want and how to get it. I have a handful of producers whose work I absolutely love, yet I have always produced my own albums. I couldn't imagine working with a producer on my own album. I fall into the category of knowing what I want and how to get it."


Is expensive gear really necessary to record great music?


"Expensive no, sophisticated yes. The problem is, sophisticated gear usually cost a lot of money. And even then, unless you have an experienced engineer, the equipment is only going to take you so far."


How do you see the contradiction of using expensive gear in the studio to make great sounding records that end up being listened via mp3, i.e. a very average sounding compressed audio format?


"Well-that's not the same thing. A great recording sounds pretty good on anything. But crap will always sound like crap. I like mp3's. I imported my entire music collection into my iBook & iPod a while back and I love it. And this is coming from a guy who has access to super high quality equipment."


What are your feelings about Mp3s in general?


"I like them. They have gotten better with mp4 etc. Anything you buy from iTunes is pretty high quality. The technology is only going to get better. I love to buy music online, it's easy and it's immediate. It doesn't have the physical limitations of a record store where they can only carry a certain number of CD titles. There is only so much rack space and only so many customers that live within a reasonable distance from that store to sell CD's to. The internet doesn't have those limitations. Every album recorded past, present and future will be available to anyone anywhere who wants to buy it. This means all the small obscure and unknown albums indies or majors, will make more money than the few hits. It's shear numbers. There are more misses than hits and the dollar value of the misses is greater than the dollar value of hits simply because there are more of them. This isn't futuristic thinking, this is today, right now. iTunes, Amazon and Netflix have built their entire business on this idea. Even though the misses only sell/rent one or two copies, the number of the misses is endless and they can carry every single title because they don't need to build physical retail outlets. This all started with the internet and selling things online, but when mp3's came along they gave it a jolt. So like I said, I like them and they will only get better. The record companies are already gearing up for this new way of releasing and buying music. CD's will be gone in five years."


What's the band/artist that changed your life?


"God, there have been several. I love Gillian Welch, Patty Griffin and Sam Phillips. Sam's my favorite-I worship the ground she walks on, seriously. Back in the day, I was a huge U2 fan from the beginning. They were really it for me back then. These days it's anything stripped down and honest with a good voice."

Popsided Magazine calls Steven Alvarado "...fresh and original" and "...a warm voice...a first rate songwriter...a first rate producer." "Work overtime and pay list price if you have to!"

"Alvarado has a fresh and unconventional approach...Great Voice."

"Loved his voice. ...Alvarado has the potential for something really big."

POPSIDED MAGAZINE-****
Four Stars


Some of you may remember Alvarado's solo debut Mercy on Del-fi. It was a fine record that set his warm voice and first rate songwriting against a backdrop of AOR style pop. With his sophomore effort, bleed, he has grown considerably, not only as a songwriter and musician, but as a first rate producer as well. Songs like "We Can Make It" and "Now I'm Cynical" would be right at home on an early Matthew sweet record, while "Just A Boy" sounds like Warren Zevon trying a Tom Petty song on for size. Steve's current Nashville home has rubbed off on him a bit as well, on both the wonderful "Just A Little" and the heartfelt "You And I."


The playing throughout is top-notch, with nice Hammond B-3, piano, trumpet and percussion fills keeping things fresh and original. When Alvarado sings, "I got a gun and a bullet/A preacher and a pulpit," it's like he's taking one through the heart. The crimson may run deep on bleed, but his soul and band keep it all alive.