All-Acoustic With Allergic to B’s at Historic Richmond Town, March 21 2015


By Ernest Barteldes

Recently Renata and I attended a concert at Staten Island’s Historic Richmond Town’s Tavern, which hosts a series of acoustic shows throughout the winter and early spring – and by acoustic it means that there is no amplification at all – the musicians play without microphones or any kind of electronic resources. In fact, the venue itself has no electricity or running water – it is like a time capsule into the 19th Century.


The tavern serves no food – they have a limited menu that includes wine, ale and cider (including heated mulled wine – a favorite when days are cold. Incidentally, they have no restrooms on premises, so patrons have to utilize the facilities in Historic Richmond Town’s main building about a block away. Heat is provided by a wood-burning stove placed in the middle of the room – the place gets so cozy that I was quite comfortable in a T-shirt.

The band we saw was Allergic to B’s, a folk-inspired acoustic quartet led by multi-instrumentalist Gary J. Moore and his wife Joan (ukulele). The music they play is a mix of originals and personal takes on covers of The Beatles, Billy Joel, Tom Waits and an assortment of New Orleans-influenced Gospel songs. Gary wanders around the room either playing guitar, dobro or mandolin, often singing lead with his time-weathered, bluesy voice. He often introduces the songs with stories about how certain songs move them and how the original tunes come to life.

I have sat in with the band once – their bass player Al Sklar and percussionist Joanne Gleich (also a married couple) were out of town and they had a short gig at The Bay Street Café (formerly known as Cargo Café – many patrons still call it by its old name), so I subbed for a set of New Orleans music on Mardi Gras. They are avid Beatles fans, and during the one rehearsal we had at their apartment we jammed on a lot on around their canon, including George Harrison’s version of Harold Arlen’s “Between The Devil and The Deep Blue Sea,” the song that partly motivated me to learn how to play the uke.


It was very interesting to hear the band in a completely acoustic setting. Sklar brought in a u-bass (a ukulele with bass strings), a marvelous instrument that sounds like an upright bass and has a rich, earthy tone. In fact, I have seen that instrument used by touring musicians, and I am compelled to get one due to the convenience and its incredible sound. Joan Moore a very strong voice and  when they do three-part harmonies you feel how their chemistry is strong. At a time when most musicians use numerous embellishments to enhance their sound (even Brian May uses multiple effects on his acoustic side project with Kerry Ellis), it is refreshing to hear a band that relies on talent alone – and what a great set it was.

Learn more about the band

Learn more about the Tavern


Disc Review: Altas/Tiempo de Bestias

By Ernest Barteldes

The band formerly known as Panal S.A. de C.V. (a  Colorado-based trio formed by Enrique Jimenez, Juan Carlos Flores and Israel Jimenez)  defines itself as an experimental instrumental band, but I see them as more than that. Their songs could easily lend themselves to extended jams that could go beyond the confines five or six minutes of the seven tracks on their (sort of debut) EP Época de Bestias.

 The album kicks off with “Altepetl,” a distortion-heavy rocker reminiscent of the early days of Black Sabbath with a touch of psychedelics. There are no virtuoso moments – guitars scream at you with gusto as to announce that the show has begun. Things move into a different direction with “Aokigahara,” a trippy tour-de-force  in which electronics plays a central role around  guitars and jazz-inflected drums. My personal favorite is “Black Sand,” a tune that is quite surprising. A gentle piano starts the song out, and then for a while the song evolves into a progressive-style ballad. Around the fifth minute things completely change and things become much heavier with a greater emphasis on guitar and drums.

“You Knew I Was A Snake” begins with a snippet of a Spanish-language oath of office of a Mexican president (not sure who that was, but by the sound it seems like something quite ancient) that introduces an uptempo number based mostly around keyboards.

I have run into band member Enrique Jimenez various times during the annual Latin Alternative Music Conference in New York City, but they have never (to the best of my knowledge) participated in any of the showcases. I think it is time for the organizers to give these guys a shot, because it is clear their time has come.

To purchase the album visit