I edited my profile with a bottle of whiskey and a pack of camels.
always fighting convention can be a drag. i aspire to play pretty songs but not too pretty...
also, i made a record last summer with Mr. Fen Ikner, at his delicious-delicious studios, called "It's A Chemical Drag But It's Not That Bad"
.... it is on compact disc and costs $10 if you would like to own it.
This Summer i made a recording with Mark Nosowicz(and a cast of many fine buffalo musicians)at his Harvest Sum Studios in Ochard Park, NY. It is entitled "City Where You Love To Lose Your Mind" i would love for you to hear it 'n shit. if you can't afford the purchase and want to have it, shoot me a message and we can wheel and deal. it goes for ten bucks.
here's a good chunk of a review from buffalo art rag (artvoice):
It’s not punk, but it’s punk at what it does. With this second solo release in 2008, City Where You Love to Lose Your Mind—a fitting title in this town where we can’t stick to one thing at time—finds Gordon’s artful yet unpretentious songcraft honed to suggest him as a stylistic skylarker: unafraid to etch out works with wordy twists that turn about in acoustic backdrops, proving and fulfilling a vision of psych-Americana, glam rock panache, and, yes, that punk aesthetic at the core, and keeping it all on an even keel.Gordon is a great writer and his lyrics veer into fractured abstractions, but the stories he’s telling never get lost in the mix. He comes with winsome but fragile vocal style borrowed from Jonathan Richman, who is clearly referenced on the wonderful “if the atomic bomb started rock and roll†song “Stephen Goss Is a Good Friend-a Mine.†His voice sounds as if it might break into pieces at any moment. Add to that elements from the offbeat mod-folk of early solo Bowie and the elegant mystification of Robyn Hitchcock. With help from producer/engineer Mark Nosowicz and a cast of varied musicians, Gordon does a lot with just a little, taking simple, stripped-back arrangements and presenting songs with a grandiose quality on their own terms. “Early Evening†is a bittersweet, twilight-eyed slice of naiveté that is made complete by spacious guitar, piano, and harmonica, all coalescing to create a sense of careless hopefulness, in which Gordon pines the line, “We really don’t care about tomorrow brings.†“Another New Day†sounds like the Velvet Underground playing a Beach Boys song with a horn player. The compact (one minute, 45 seconds) title track, “Taking blood, guts and gore to settle the score/Tell us less/Tell us more,†ultimately ends in a beautifully calamitous kitchen sink coda of instruments and noise. Less or more: Nick Gordon’s seemingly said it all.—donny kutzbach (ARTVOICE)
