The Tuck family owned & operated candy and gift shop has been producing fresh made candies & chocolates in Rockport Mass since 1929. Visit the Rockport location on Cape Ann only 1 hour north of Boston for great gift ideas, fine chocolates, candy, old fashioned fudge, salt water taffy & more.
Marblehead Massachusetts is a picturesque coastal town that is steeped in history. In its early years fishing and the shoe industry were Marblehead's two major sources of income. Today it is mainly a residential community with some minor industry and a few specialty retail stores and is known to be one of the yachting capitals of the world.
The original painting of "The Spirit of ˜76" is housed in Abbot Hall and visitors come from all over the world to see it. Visitors also come to view the scenic harbor and the narrow crooked streets in the Historic district that is lined with antique Colonial and Victorian buildings.
The town of Marblehead offers residents and visitors a series of events during the course of the year that include an arts festival and a tall ships cruise. Also offered are jazz concerts and a Christmas walk.
Cheryl Wheeler has to be seen to be appreciated. Nothing you read and nothing you hear from her albums prepares you for how entertaining a performer she is. If you're not already familiar with Cheryl, you have probably heard her music. She is very respected as a songwriter by her peers, which can be seen by how many of them record her songs. Cheryl's songs have been covered by artists as diverse as Dan Seals, Peter Paul & Mary, Kenny Loggins, Garth Brooks, Suzy Bogguss, Melanie, Bette Midler, Maura O'Connell, Sylvia, Kathy Mattea, and Holly Near. From her albums you can tell that she is a gifted songwriter with a beautiful voice. From other people's comments about her you learn that she is a natural storyteller with a fantastic sense of humor. But until you see her in person, you never really believe what you've been told about her. Interestingly enough, almost half of the songs she performs during her shows have never been recorded! Cheryl's first concert was to a captive audience. She found an old toy ukelele in a neighbor's attic and serenaded her mother who was taking a bath at the time. A year later she got a real ukelele, followed by her first guitar. She learned guitar from a neighbor, who also taught a group of boys. Each week they would get together and play just about any song they could think of for hours on end. Her first public performance was at a Hootenanny when she was 12. She started writing her own songs when she was 17. Cheryl has never had a "day job," and her first professional gigs were at the Steak and Ale Restaurant in her home town of Timonium, Maryland. The place only had one PA system; in the middle of her songs you would hear: "Jones, party of four ... Jones, party of four." She finally convinced them to get a second PA system. She performed at venues around Baltimore and Washington DC before moving to New England in 1976, where she now lives. She tours extensively, often performing solo or with Kenny White, who often opens her shows as well. She appeared as part of the On a Winter's Night tour, and was part of the Philo 25th Anniversary tour. Her funny stories between songs reveal her talent for diversity. Each time she tells a story, it will be a little bit different, so even if you've heard it before, you still find yourself laughing.
For backyard ballerinas, driveway dancers and living room leapers, the Boston Ballet School’s Children’s Program provides the perfect opportunity to introduce children to the art of dance. To experience all that Boston Ballet School has to offer, stop by the North Shore Studio Open House on Tuesday, September 8 from 5-6:30 pm for free classes, studio tours, teacher meet & greets and more!
"Going in, we said 'lets make a bad ass indie rock record with a sound as big and dynamic as we can, without compromising one single heartfelt lyric." Singer-songwriter Heather Maloney did just that on her newest LP, Making Me Break. Working with Grammy- nominated producer Bill Reynolds (Band of Horses, Avett Brothers), the two crafted and delivered on an artistic vision to merge Maloney's folk roots with indie rock. "The sounds I love in indie rock are so lush, and textured, and intricate, like someone spent a lot of time on this, so they must really care," Maloney explains, citing influences such as Ben Howard, The Shins, and Io Echo. "And as a singer-songwriter raised on folk, I am drawn to lyrics that that are meaningful, intelligent, tell a story, paint pictures that care. So I just wanted to make an album that cared musically and lyrically. Some sort of a bleeding heart meeting a distant, unaffected, sparkly rock band. That was the goal." Maloney's new music has a definite edge, but it also has a classically trained voice that delivers well-crafted lyrics over a technical arrangementa combination we've recently seen getting mainstream appreciation once more. Suddenly, the term "singer- songwriter" carries serious weight again. Chalk it up to a revival of everything 90s and Maloney's influence from "those bleeding hearts," as she calls them, referring to artists' like Fiona Apple, Tori Amos and Aimee Mann. "We wanted to make something more relevant, in a new zone." Maloney wasn't kidding she teamed up with producer Bill Reynolds (who moonlights as the bassist for Band of Horses) and an all-star group of players with extraordinary talent, including engineer Jason Kingsland (Iron & Wine, Delta Spirit), guitarist Tyler Ramsey (Band of Horses), and guitarist and sax player Carl Broemel (My Morning Jacket). Throughout the new musical heights and depths on this record, Maloney's voice and lyrics remain center stage, truthfully articulating the insights and emotions of growing up, without clichés nor quirks for their own sake. Maloney's journey to finding herself as a singer-songwriter took some unexpected routes. She studied classical operatic, improvisational jazz vocals, and music theory for several years in New Jersey, in addition to a brief stint studying classical Indian vocals with a tutor. "My first shows were jazz, in New York City. I love jazz, but it didn't feel like where I belonged. Neither did opera. I was grasping to find what felt like home," she says. "I needed to do something kind of radical." Maloney found herself at a silent meditation retreat center in Central Massachusetts. She lived and worked there for nearly 3 years, taking vows of silence from seven to ten days at a time. The silence, oddly enough, became conducive to finding one's true voice. "The biggest motivating factor in writing was probably the experiences I was having in my meditation practice There was the difficulty of it, the suffering of it, and wanting to channel that into something creative, and on the positive side, the insights that came out of my experiences. In my cottage away from the designated silent area, I just sang, and wrote, and cried. And for the first time, I felt I was using my voice in an authentic way." This was the breakthrough Maloney had been waiting for, the first moment she had a reason to get up on stage. Armed with guitar and her fresh sense of purpose, Maloney traversed across the northeast playing coffeehouses, libraries, and even meditation centers before eventually getting signing with celebrated independent record label Signature Sounds (Lake Street Dive, Josh Ritter). Maloney's self-titled label debut followed in 2013, launching her from the small stages of New England to nationwide audiences, sharing stages with renowned musicians like Rodrigo Y Gabriela, Shakey Graves, Mary Chapin Carpenter, Anais Mitchell, among others. In 2014, Maloney released a collaborative EP with Boston quartet Darlingside called Woodstock, on which she covers Joni Mitchell's anthemic "Woodstock" and absolutely nails it. A video of the session ended up on the New York Times website and gained momentum with praise from Graham Nash, who was among the first to cover Mitchell's "Woodstock" in 1970. The ensuing nation-wide collaborative tour with Darlingiside gave birth to new experiences, emotions, and perspectives. Maloney began to find moments in the van, in hotel rooms and on days off at home to write the songs that would eventually become Making Me Break. Maloney feels this record is the closest she's ever been to the sound that's truly herself. "As an artist I'm constantly changing. But I think we cracked the code on blending the two worlds here," says Maloney. For now, her distinctive voice has soared a long way from the silent confines of hushed meditation, and into a natural equilibrium of progressive Indie-Folk. Mission Accomplished. THE SEA THE SEA If life is measured by our leaps of faith, then singer-songwriter duo Chuck e. Costa and Mira Stanley have found a way to catch us midair as we jump headlong into the infinite abyss. Their debut album LOVE WE ARE WE LOVE finds the duo in suspended animation, exploring moments of the unfolding future through their sincere, storyline lyrics, intimate harmonies and emotive sonic landscapes. "It wasn't a theme we necessarily set out to pursue," says Chuck, "but all of the songs on this record take place immediately before, in the midst of, or after a decisive plunge into the unknown, believing the proverbial net will appear. This could mean uprooting and moving somewhere new, what comes of falling in or out of love, following a dreamand the struggle to confront these things honestly." It was a sign - very literally - that first brought Chuck and Mira together. "She was actually holding a sign with my name on it," recounts Chuck, who was showcasing in a songwriting contest that Mira had volunteered to stage-manage. However, it wasn't until the fall of 2011, nearly five years later, when they reconnected to form THE SEA THE SEA. "We had both just gone through major upheavals in our lives," says Mira, "And we were ready to test our faith in what was possible in our art and in the world." They borrowed their name from Xenophon's Anabasis, the ancient tale of Greek soldiers returning to their coastal home after a long arduous battle inland. "The Sea! The Sea!" is a cry of joy. Once they began writing and singing together, it didn't take long for Chuck and Mira to weave their many voices into one. They've already received praise from NPR and No Depression and now, by enlisting the careful production of Todd Sickafoose (Ani DiFranco, Andrew Bird) with accompaniment like tuned wineglasses and swathing strings, they've created their honest and ethereal debut album, Love We Are We Love. They accompany each other with electric/acoustic guitars, the occasional banjo, piano, and percussion, but it is Chuck and Mira's rich harmonies that provide the depth to their songwriting. Their perfectly matched voices sometimes share the back-and-forth conversations of the song's characters and other times are the exchanges of one mind, weighing a decision, analyzing the moment, and trying to find the answers. "There's a reoccurring idea on the record that we really wanted to explore," Mira says, "of the question and the answer being completely entwined or even the same (hence the palindromic album title). The leap of faith for example, what does it mean to really begin contemplating the leap? Have you already leapt just by asking the question in the first place? When is it too late to turn back? What happens next? And what is it that we can find in all of those spaces in-between?" Each song is about it's own leap, autobiographical or otherwise. In the album-opening "Re: Blah," Chuck comforts his younger sister as she wonders "what's the point of all this?" "Guess It Was" wrote itself during the night as Mira was coping with the passing of her grandfather. "Watertreader" finds the protagonist stuck in a situation where the mind has already moved on, but the body isn't yet ready join it. The echoing and canon-like "Love We Are We Love" is the anthem that accompanies a leap of faith, and "Ten Thousand Birds" imagines all of mankind in a surge of courage taking that leap all at once like a murmuration of birds. Indeed, The Sea The Sea implores us through beautiful song and their own connectedness to believe that we all exist in this world together, as we stare into the unknowable future. Though the album closes with the universal image of an amoebic flock of birds, Chuck and Mira shared the key to navigating it all at the very beginning, opening the album with the same belief that brought them together: "There is no such thing as having too much faith."
When: Nov 20, 2015 8 PM to Nov 20, 2015 10 PMin Marblehead, Massachusetts Cost: 10 - 18 USD (Fri, 20 Nov 2015 20 )
Sean Rowe has spent much of the last year traveling the country with just his guitar, performing in people's living rooms. "It's like I'm some kind of a bearded salesman," he says, "Going door to door but instead of vacuum cleaners I'm selling all these feelings that come with the songs. It's a really intense experience for listeners to have me there in their homes playing. They're not used to having a stranger show up, play music, drink their beer and eat their food. But I think that's how we're supposed to be. It only feels strange because we've made it that way." It is this same sense of unflinching connection that has shaped Rowe's extraordinary new album Madman. The singer, who The Wall Street Journal wrote "recalls the ecstatic intensity of late-'60s Van Morrison and stark subtlety of late-era Johnny Cash" has created a beautifully primal work. Madman is deliberately, if not defiantly, simple in both arrangement and composition. It is soul music in the purest and most literal sense, hypnotic rhythms, warmly distorted guitars and Rowe's incredible voice recalling a time, real or imagined, when music and people seemed distinctly more connected. Rowe's previous Anti- release, The Salesmen and The Shark, was a far more polished affair recorded in Los Angeles with the accompaniment of West Coast session players. This time around, Rowe is intent on replicating the immense emotional power of his live performances. The process began with Rowe alone in an upstate New York recording studio with his guitar, laying down riffs that would become songs. For Madman, an album he was self-producing, Rowe wanted to strip away much of the production and focus instead on the voice and guitar style he had perfected in theaters, nightclubs and living rooms. "I came to this realization that the songs don't have to be structurally heavy to be intense," he explains. "It's more about the honesty and emotion behind the delivery. A lot of these songs are pretty simple but I was really thoughtful about that, it was intentional. I wanted to go right to the heart." The record begins with the title track Madman. A rhythmic guitar, lilting piano and melodic bass, punctuated by horns all of it in the service of Rowe's incredibly soulful voice. "My singing is definitely more playful on this record," he says. "Lyrically the song is about living this life when you're on the road more than you're at home." It is an immensely personal and heartfelt song for the recent father and dedicated naturalist, with Rowe singing, "When the road takes me to the other side of the world/Let a walnut tree replace me/Give my body back to the birds". Rowe came of age listening to a father's record collection that included The Beach Boys, Elvis Presley and more. But in his late teens it was soul and blues that spoke to the bourgeoning singer-songwriter. Rowe says the sound of Madman is influenced, in large part, by the hypnotic driving guitars of Delta blues. "I was listening to records by R.L. Burnside and John Lee Hooker and others which are basically just guitar and drums and really raw sounding. I was also listening to the early soul records like Otis Redding and Ray Charles. I didn't want to try and duplicate those sounds, just take aspects of them and make them my own." The influence of Delta blues is most apparent on the album's second track "Shine My Diamond Ring" with its driving repetitive guitar and stomping bass drum. "The guitar sound was influenced by John Lee Hooker," Rowe says. "The version you hear on the record which was mostly a live cut almost never happened as it was very last minute. We already had an earlier version of Shine that i was happy with but on this particular day we had about 15 minutes to kill till wrap up time and i felt if i grabbed the drummer and recorded this song live with just the two of us, I could nail it even better. I'm glad I did that." "Desiree" is a raucous deconstructed take on early disco, with a pulsating bass, Nile Rogers-like guitar picking and a looser than ever Rowe singing with absolute abandon. "It's so different than any song I've done before, Rowe says. "It's a really fun song and it felt good. It's one of those songs that I felt like I needed to write. With the thumping bass and drums it needed a lot of space so we tried to keep as many holes in it as possible. The vocals were cut live in one take." On Sean Rowe's latest, the adage less is more is on full display. This is a record of extraordinary honesty intent on establishing a connection. In its deliberate simplicity there is pure sonic emotion. "I wanted to go right to the heart with this," he explains. "And sometimes that meant seeing how much we could remove. It helps to have a great recording. But I would rather have great performances and that's what I was after here. Sometimes when you're listening to a piece of music you don't have to think about it, you just feel it. It's primal and you trust it."
When: Oct 23, 2015 8 PM to Oct 23, 2015 10 PMin Marblehead, Massachusetts Cost: 10 - 18 USD (Fri, 23 Oct 2015 20 )
The cool breezes of Maine's northlands have flowed through the songs of David Mallett for more than four decades. His latest, Greenin Up, is a compilation of some re-recordings of his finest work. Released in conjunction with the Maine Farmland Trust, it is a celebration of rural life. "Having grown up around country people and farmers, rural life has always been the wellspring for a lot of my best work," Mallett said. "I was glad to be able to put some of my best 'nature tunes' in one collection and help draw attention to and to support such a worthy cause as the Maine Farmland Trust, which essentially helps prevent valuable farm land from being turned into housing and strip malls. I've always wanted to revisit some of my old stuff, like 'April', and present a more 'seasoned' version of some of these songs." Mallett includes three new songs "Fat of the Land", "Dogs & Horses" and "Beautiful Rose" along with re-recordings of his better known tunes like the American classic "Garden Song," "Summer of My Dreams," "I Knew This Place", "Good Times" and "April." Greenin' Up is the culmination of a musical career that began when Mallett was eleven years old, playing in a country and folk duo, The Mallett Brothers, with his older brother, Neil. "We played everything from old songs like 'Carry Me Back To Old Virginny', which is the only song that my father ever sang," recalled Mallett, "to stuff that was on the radio, Johnny Cash to Peter Paul and Mary. to Sinatra. We had our own tv show in the sixties for a few seasons, made a few 45s and did a lot of nice shows. It was a great way to grow up in show business." As an acting student at the University of Maine, Mallett discovered the music of singersongwriters like Gordon Lightfoot and Bob Dylan and soon began writing his own songs. "Up until that point, I thought of myself as a singer," he said. "In college, everybody that was singing also wrote. I realized that that was what I wanted to do. I was a theater major. I felt short-changed that I had to speak someone else's words. I felt that, if I became a singer-songwriter, I could sing my own words." Honing his craft as a soloist, Mallett increasingly expanded his repertoire with original tunes. "When I was in my twenties, playing in bars," he remembered, "I would sprinkle in a few of my own songs. They blended in pretty well. By the time that I was 26 or 27, I was singing all my own songs." A turning point in Mallett's career came in 1975, after he discovered that Noel Paul Stookey of Peter, Paul and Mary had moved to Blue Hill, Maine and was opening a recording studio. "That was back in the days when a recording studio was sort of like Oz," he said. "It was a foreign land. I wanted to see his studio, so, I called him up and said, 'Can I come visit?'" Within six months of their initial meeting, Mallett found a true mentor in Stookey. In addition to producing Mallett's first three albums, Stookey helped to bring his tune, "The Garden Song", to the attention of influential folksinger Pete Seeger who included it on his 1979 album, "Circles And Seasons." John Denver soon recorded the song and took it to the top ten in the adult contemporary charts in the late 70s. "The Garden Song," recorded hundreds of times and performed around the world, has gone on to find its place amidst the lexicon of American folk songs. "It was never that big a hit," said Mallett, "never blared at you, ten times an hour, on the radio. It's gotten around but in a very human way, through the mouths of children, campfires and wedding ceremonies. I'm so proud to be associated with such a simple and beautiful thing. "It's like every kid in America and a lot over the world learns my song at one time or another." Touring the folk circuit for ten years and moving to Nashville in the late 80s Mallett continued to record and write new songs. While in Nashville, with the help of veteran producer Jim Rooney, Mallett recorded a total of three records for Chicago-based Flying Fish Records and two collections for Vanguard and wrote songs recorded by Marty Stuart, Hal Ketchum, Emmylou Harris, Kathy Mattea, Alison Krauss and others. Meanwhile his "Ballad of the St. Annes Reel" from his second album evolved into a folk classic played around the world. Since returning to Maine in 1995, Mallett has recorded two cds for Rounder / Flying Fish in the 90s and tour nationally Canada and in the UK. He has performed at Wolf Trap, The Kennedy Center, The Newport Folk Festival, Prairie Home Companion, among many notable venues. He has released 5 cds on his own North Road label in the last ten years, including Artist In Me (acclaimed by Associated Press as one of the year's best records), Midnight on the Water (a live cd), The Fable True (in which he successfully explored the spoken word realm with his collection of Henry David Thoreau's stories about his visits to Maine in the mid 1800s with instrumental soundtrack). His 2009 release, Alright Now, was proclaimed "a masterpiece" by the Boston Globe. Greenin' Up continues this great body of work. Using a spare collection of musicians with Michael Burd, Susan Ramsey, Mark Macksoud, Roy Clark, Rob Coffin, John Stuart and Luke, Will and Molly Mallett the album provides the soundtrack of not only Mallett's home state, but also farmers and agriculturalists across the country. The 12 songs contained on Greenin' Up further build on and support his reputation for having a storyteller's naturalness and a poet's intelligence. Although it is rooted in place, his music speaks to the essential things that move us all. Mallett knows the factory work, the field work, the memories of summer dances, the loves and losses, and the stunning incidents of courage and despair. Named one of the most memorable "Mainers" in the millennium edition of The Bangor Daily News (along with Marshall Dodge, Andrew Wyeth, E.B. White, Stephen King, Edna St. Vincent Millay, and others), Mallett's songs are filled with passion, evocative imagery, and a sense of the inevitable passage of time. The struggle of the common man and the loss of American towns and landscapes are the subject of many of his songs. When he is not touring, the place where he makes his songs is in his writing room in an old farmhouse with a view across the field and a tintype of his great-great grandfather on the wall. "I like to keep reaching out to touch the past," he says, "to connect it with what's going on now. To me music is one of the few things that is timelesshuman emotion is one continual chain."
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