The Badlees 1999 albums

Buy Amazing Grace
Buy Up There Down Here

The Badlees 1999 albumsIn the mid 1990s, The Badlees were a fast rising group, newly signed to major label Polydor and with a national selling album that spawned a couple of mainstream hits. There was great anticipation for a follow-up by this Pennsylvania based folk rock band and recording for Up There, Down Here, anticipated for release in late 1997, was completed on time. However, some corporate entanglement brought on by rapid changes in the traditional music industry caused several delays in releasing the album until, ultimately, the group made a brash decision to put the music itself ahead of the label concerns. In early 1999, the Badlees independently produced and released a wholly separate album, Amazing Grace, which caused Polydor to immediately sever ties with the group. A few months later, the group signed with Ark 21 Records and finally released Up There, Down Here, meaning the space between the group’s fourth and fifth albums was just four months while it had been over four years between their third and fourth LPs.

That third album, 1995’s River Songs was originally released independently but then re-released internationally following the group’s record deal. The group toured relentlessly in support of the album, opening up for several major acts through 1995 and 1996. The following year, the group turned their attention to writing and recording material for their next album, a second national release on Polydor that was originally slated for late 1997 but soon pushed moved back to a planned February 1998 release. Recording took place at Bearsville Recording Studio near Woodstock, New York with producer Joe Alexander for the album that would ultimately be titled Up There, Down Here. Guitarist Bret Alexander and bassist Paul Smith added some overdubs and did some mixing at Alexander’s home studio in Pennsylvania in time for the anticipated February release. However, the date of album release got pushed back three more times, the final time to “date uncertain”. Still under contract and restricted in the actions they could take to further their career, the group requested and received permission to release a 5-song “unplugged” EP called The Day’s Parade in July 1998.

The quickly recorded and unplanned release of the EP was confusing to the Badlees fans and critics alike, who were expecting a new full length production and didn’t know about the corporate wrangling going on behind the scenes. The band was confused as well, as an already-bought-and-paid for high-end production remained on the shelf through late 1998 and into 1999. After several inquiries were ignored by the label, they decided to simply start from scratch with a new full-length album independently produced without consent or input from the label.

Amazing Grace Up There, Down Here
Released: April 2, 1999 (Rite-Off)
Produced by: Bret Alexander
Recorded: Bret Alexander’s Studio, Wapwallopen, PA, Early 1999
Released: August 24, 1999 (Ark 21)
Produced by: Joe Alexander & The Badlees
Recorded: Bearsville Recording Studio, Bearsville, NY, 1997
I’m Not Here Anymore
Long Goodnight
Poison Ivy
Ain’t No Man
Amazing Grace to You
Beyond These Walls
Time Turns Around
Appalachian Scream
A Fever
Gone
In a Minor Way”
Don’t Let Me Hide
Luther’s Window
Thinking in Ways
Which One of You
Little Hell
34 Winters
Middle of the Busiest Road
Cellarbird & Zither
Running Up That Hill
Love All
Silly Little Man
The Second Coming of Chris
A Little Faith
Group Musicians (Both Albums)
Pete Palladino – Vocals, Harmonica
Bret Alexander – Guitars, Mandolin, Dobro, Dulcimer, Banjo, Vocals
Jeff Feltenberger – Guitars, Vocals
Paul Smith – Bass, Keyboards, Vocals
Ron Simasek – Drums, Percussion

 

Amazing Grace was recorded, mixed, mastered, and pressed in just two months at Alexander’s home studio and it features the most diverse array of songwriting and styles of any Badlees’ album. It also features lead vocals by four of the five group members, a strong departure from all previous material where vocalist Pete Palladino sang lead on nearly all previous songs.

Amazing Grace by The BadleesPalladino does provide vocals on the sad and melancholy opener, “I’m Not Here Anymore”, where Alexander accents the mood with a whiny guitar and subtle piano riff. “Long Goodnight” is one of two songs on the album written by Smith. This fast-paced, upbeat, catchy rocker, would soon become a crowd favorite at shows and got some regional airplay. Smith’s other contribution is the soulful “Ain’t No Man”, featuring creative drums and percussion by Ron Simasek and lead vocals by the bassist himself.

The catchy “Poison Ivy” is the first of several showcases by Alexander. Led by a banjo riff, the music moves briskly while the harsh words speak of dealing with a toxic personality. The title track “Amazing Grace to You” is the most inventive and rewarding track on the album with wild, spoken word verses accompanied by wild and unruly guitars, a Hammond organ by guest Robert Scott Richardson and a tense 5/4 time signature by Simasek which breaks free for Alexander’s desperate wailing during the choruses.

The rest of Amazing Grace features a diverse array of short songs. “Beyond These Walls” is a classic Badlees pop rocker, while “Time Turns Around” is a distinct jazzy ballad led by Alexander’s crooning vocals. Guitarist Jeff Feltenberger composed and took lead vocals on the blue-grass tinged “Appalachian Scream”, followed by the subtle beauty of “A Fever”, co-written by Palladino and long time band collaborator Mike Naydock. The album wraps with two more Alexander-led tunes, the slightly psychedelic ballad “Gone” and the Tom-Petty-esque rocker “In a Minor Way”.

The Badlees in 1999

Amazing Grace was released on the band’s independent Rite-Off label on April 2, 1999 and the Badlees were dropped from Polydor on that very day. Alexander referred to this as the Badlees “White Album” because of its eclectic styles and diversity of voices. At the time, it was assumed that the recordings for Up There, Down Here were casualties of the move. However, some other personnel from Polydor were now at a new label called Ark 21, owned by Miles Copeland, who had previously co-founded I.R.S. Records and by May 1999 a deal was in place for the Badlees and their nearly two-year old record, with the provision that they would stop any promotion of their recently-released Amazing Grace album.

Up There Down Here by The BadleesThe opening track on Up There, Down Here, “Don’t Let Me Hide” is the highest quality and most well-known song on the album, with a profound lyric, subtle, moody guitars and excellent high harmonies that complement the strong lead vocals of Palladino. “Luther’s Window” follows with interesting musical changes and lyrics about examining different perspectives;

Turn your back to the sun, you see only shadows, look beneath the stars and you see only night…”

The beautifully atmospheric “Thinking in Ways” features fine orchestration, precise yet intricate drumming by Simasek and subject matter which may refer to a prepaid funeral? This followed by a trio of catchy, pop-oriented tunes, “Which One of You”, “Little Hell” and “Middle of the Busiest Road”. Feltenberger’s “34 Winters” is another beautiful but melancholy song with Jeff providing some fantastic vocal trade-offs between himself and Palladino. After Alexander’s interesting but odd instrumental “Cellarbird & Zither” comes the darkly inspirational “Running Up That Hill” and the catchy “Love All”. The album concludes with three interesting tracks, the Beatle-influenced “Silly Little Man” with great drums and guitars, the mechanical and quirky “The Second Coming of Chris”, and stripped-down acoustic ballad, “A Little Faith”, a nice break on this otherwise richly produced album.

With the album that the band had prepared for and worked on for nearly half a decade finally released in August 1999, the Badlees were once again disappointed when Ark 21 was unable to help promote the record nationally. The label soon declared bankruptcy and the group returned to their roots as an independent band as they continued off and on for the next decade and a half.

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1999 images

Part of Classic Rock Review’s celebration of the 20th anniversary of 1999 albums.

 

River Songs by The Badlees

Buy River Songs

River Songs by The BadleesAfter honing their sound for half a decade, The Badlees found their first real commercial success with River Songs. Originally released as the quintet’s third independent studio album in early 1995, the album was re-released internationally after the group signed with Polydor/Atlas later in the year. Led by guitarist and chief songwriter Bret Alexander, the group produced solid songs with scaled back musical arrangements utilizing an array of acoustic and native percussion instruments as well as a heavy use of harmonica as a lead instrument.

In early 1992, The Badlees released their first full-length album, Diamonds In the Coal, which featured a nice blend of pop, rock, and folk tracks. However, they decided to change directions for the 1993 follow-up, The Unfortunate Result of Spare Time, which had a slicker and more streamlined production style. Although disappointed with the overall result of this second album, the group worked hard to promote it through constant touring. This lead to the band getting the incredible opportunity to be one of the first Western rock bands to perform in mainland China during the 1994 Qingdao Beer Festival in August of that year.

After returning from China, the group started work on their third full length release. The daily 50-mile commute along the Susquehanna River inspired the title, River Songs, as they traveled to Harrisburg, PA to record the album. The deliberate musical intent of this record was to return to the distinct style they began forging in their early years.


River Songs by The Badlees
Released: February 28, 1995 (Rite-Off)
Produced by: The Badlees
Recorded: The Green Room, Harrisburg, PA, September-November 1994
Album Tracks Group Musicians
Grill the Sucker
Angeline Is Coming Home
Fear of Falling
Angels of Mercy
Queen of Perfection
Bendin’ the Rules
Gwendolyn
Ore Hill
Nothing Much of Anything
Song For a River
I Liked You Better When You Hated Yourself
Pete Palladino – Lead Vocals, Harmonica
Bret Alexander – Guitars, Mandolin, Dobro, Vocals
Jeff Feltenberger – Guitars, Vocals
Paul Smith – Bass, Vocals
Ron Simasek – Drums, Percussion

River Songs by The Badlees

The brief, 73 second opening instrumental, “Grill the Sucker” was meant to make an immediate statement foreshadowing the tone of the subsequent album. It starts with a fade in of Ron Simasek‘s drum shuffle soon joined by the group in a blue-grass inspired stomp which includes such rustic instruments as the dobro, stumpf fiddle, and jaw harp. Unfortunately, the later release changed the running order so this intended opening statement gets lost in the mix. Co-written by longtime band collaborator Mike Naydock, “Angeline Is Coming Home” would become The Badlees’ highest charting single. Driven by the signature harmonica and fine vocal melodies of Pete Palladino, it features artful lyrics about an addict’s triumphant return from rehab.

A true highlight on the album, “Fear of Falling” is built upon Alexander’s mandolin and melodic lyrics which speak of reaching for lofty goals, failing, and then getting up and trying again. Musically, the mandolin is blended with acoustic and electric guitar as well as some strategic Hammond organ by guest Robert Scott Richardson. Throughout the song, there is a potent mix of backing harmonies by Jeff Feltenberger and Paul Smith with Palladino providing the climatic closing crescendo of harmonica intermixed with vocal ad-libs.

 

Through the middle part of the album, the group alternates between upbeat pop/rock and more somber, folk-influenced tracks. “Angels of Mercy” features intelligent lyrics, chanting hooks, and entertaining guitar riffs, while “Queen of Perfection” features a heavy dose of dark humor along with an opening harmonica that harmonizes with an electric guitar and an interesting, country-like ending. The dramatic and deliberate “Bendin’ the Rules” was co-written by Alexander, Naydock, and Smith and it is notable for containing two of the very few proper guitar leads on the album. The highlight of this part of the album is “Gwendolyn”, a strong pop song with an excellent hook that pulls you right in. The track is pure musical fun and entertainment, starting with the high-pitched wail by Feltenberger and a later strong blues/rock guitar lead.

The Badlees in 1995
“Ore Hill” is Feltenberger’s sole composition on River Songs as a pure folk / Americana track with delicate acoustic guitar complimented by mandolin, harmonica, and interesting drum patterns. The thumping rocker “Nothing Much of Anything” seems a bit out of place at this point in the album but still features a good building chorus section along with interesting guitar textures by Alexander and bass patterns by Smith.

The quasi-title track “Song for a River” is actually about a person, using the “river” as a metaphor for that person’s life. The song was composed by Alexander and Naydock in the early 1990s but was not used because it was difficult to develop due to its length and unique arrangement. Eventually, Alexander decided to simply “talk” through the verses and add a repeating chorus throughout. Ultimately, the song employs three lead singers; Alexander, Palladino, and Feltenberger, whose majestic scat vocal notes were a tip of the hat to Pink Floyd’s “The Great Gig In The Sky”. Closing out this eight minute track is a fine outro of pure acoustic folk instruments. The album concludes with the light and entertaining “I Liked You Better When You Hated Yourself”, complete with sarcastic nostalgia and a middle yodeling section which became a fan favorite during subsequent live performances.

Following the success of River Songs, the band embarked on several national and international tours, supporting headlining acts such as Jimmy Page & Robert Plant, Bob Segar, Greg Allman, and The Gin Blossoms. They would shoot a Hollywood music video and record a follow-up material in a world class studio before reverting back to being a top-notch independent band for many more years.

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Check out The Badlees’ Career Profile on Modern Rock Review

1995 page images

Part of Classic Rock Review’s celebration of 1995 albums.

 

Diamonds In the Coal
by The Badlees

Buy Diamonds In the Coal

Diamonds In the Coal by The Badlees At a time when many in the rock world were in the process of re-imaging from the slick 80’s hair band to the grungy 90s alternative, a young Pennsylvania band called The Badlees was forging their own path with a sound called “roots rock” with their first full length album, Diamonds In the Coal. The band, which had been steadily gaining popularity since the release of their initial EP It Ain’t For You in late 1990, had solidified their lineup with the addition of Paul Smith in 1991. With Smith’s addition, the Badlees had the core quintet in place that would drive them through their most productive years. The result is a well-crafted, entertaining, and thoughtful album with fine and exquisite details.

The album was co-produced by guitarist Bret Alexander and contains all original compositions which were mainly written by Alexander with about half being co-penned by band associate Mike Naydock. The songs are augmented by a structure of electric and acoustic guitars, solid rhythms, judicious use of ethic instruments, layered vocals, and thoughtful lyrics.

There are few things easier than to live badly and die well…”

This quote by Oscar Wilde was placed inner sleeve of Diamonds In the Coal, in an obvious play on the band’s name. Further, each song on the lyrics page contained its own special quote from philosophers and artists ranging from Aristotle to Andy Warhol, some of the extra attention to detail the band put into the atmosphere of the album. Topping it off were the authentic pictures that were used for the cover of early 20th century coal miners that drummer Ron Simasek found at a local Historical Society.

 


Diamonds In the Coal by The Badlees
Released: January 14, 1992 (Rite-Off)
Produced by: Bret Alexander & the Badlees
Recorded: Waterfront Recording, Hoboken, NJ / Susquehanna Sound, Northumberland, PA, 1991
Track Listing Band Musicians
Like a Rembrandt
Back Where We Came From
Just One Moment
The Real Thing
Heaven On Earth
Interlude / Badlee Rap
The Next Big Thing
Dirty Neon Times
Spending My Inheritance
Sister Shirley
Mystery Girl
Road to Paradise
Diamonds In the Coal
Pete Palladino – Lead Vocals
Bret Alexander – Guitars, Mandolin, Harmonica, Vocals
Jeff Feltenberger – Guitars, Vocals
Paul Smith – Bass, Vocals
Ron Simasek– Drums & Percussion
 
Diamonds In the Coal by The Badlees

 

Thematically, Diamonds In the Coal is nearly sliced in half by the light intermission of “Interlude/Badlee Rap”, with the rap itself performed by Loose Bruce above some slight guitar and harmonica. Songs previous to this on the album are mainly pop-oriented, with basic structure and strong hooks. This all starts with the opener “Like a Rembrandt”, of which Alexander sets the scene as “a bunch of young kids partying out by an old coal breaker and realizing full well that this may be the greatest summer of their lives”.

“Back Where We Came From” (commonly referred to as “The Na Na Song”) follows with a strong delivery by lead vocalist Pete Palladino. This acoustic-driven tune with electric overtones, was the first single from the album and the first to receive significant airplay. It also shows that the Badlees had perfected a song template that the much more heralded Hootie and the Blowfish would replicate years later. Despite the Bon Jovi-ish hook at the onset, “Heaven On Earth” is still a song with good instrumentation lead by a solid, strummed acoustic while the lighter sound of “The Real Thing” contains serene and solid guitar riffs by Alexander with just a touch of the instrument which would become more predominant in the band, the mandolin. “Just One Moment” is another pop-oriented track with a bouncy and choppy riff, good vocals, and strong back beat by Simasek.

 
The second “half” of the album contains songs that explore deeper subject matter and richer musical structure. Guitarist Jeff Feltenberger provides good vocal interplay with Palladino during “The Next Big Thing”, while upbeat power-pop anthem “Dirty Neon Times” provides more fantastic vocal harmonies by Feltenberger in a pleasant, acoustic driven song.

Alexander’s “Spending My Inheritance” is a well composed, sort of “people’s anthem” tune with some harmonica intertwined with fiddle by guest performer David Rose. “Sister Shirley” is perhaps the most unique song on the album. It includes a picturesque lyrical narrative by Naydock and some sweet, jazzy guitar by Alexander – a rewarding listen, which shows the band’s musical and compositional range. Feltenberger wrote “Road to Paradise”, in an odd time, with steady acoustic strumming against slightly spastic drums all topped by intricate, three-part vocal patterns.

The closing title song is the true masterpiece of Diamonds In the Coal. Here, the listener is brought into the dark, forgotten patch towns of Pennsylvania’s Anthracite Region. The imagery in this song’s lyric is so vivid that you can almost feel the coal dust flying, while the music sets the perfect scene with a methodic, marching rhythm below and some authentic, ethnic instrumentation up above. This song showed the true promise of the band in 1992 and would be the primer for their breakthrough album River Songs three years later.

Recently, Bret Alexander looked back with great fondness on the creation of this album, saying he had a tremendous amount of fun and creative fulfillment writing the songs and producing Diamonds In the Coal. Although he does lament that he doesn’t feel that the overall “sound” of the album has held up sonically through the years. There is a definite early-nineties, polished-up quality with the drum sound snare-centric, the rhythms contain little variation, and the well-compressed vocals always seeming to hang at eye-level. But still, after 20 years, a deeper listener will definitely appreciate the quality of the songs and recognize the watershed of creative music “springs” that began their flow with Diamonds.

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1992 Images

Part of Classic Rock Review’s celebration of the 20th anniversary of 1992 albums.