Keith Kenny

Keith Kenny is back with nine songs recorded live at John And Peter’s in New Hope, PA. Distributed by Hit Play Records (a subsidiary of Sony Music), Keith takes the listener on a wild ride through stylistic and musically diverse selections of life. Kenny has quite the reputation as a soloist that makes huge sounds with an acoustic guitar and a few pedals. The New Jersey native can emulate the sound of a full rock band with his percussive fingerstyle approach to the acoustic guitar and an array of effects generators. Kenny even customized a vintage red suitcase to use as a kick drum that has appeared with him on stage for over a decade of live performances.

Keith Kenny has been a Shoreworld subject several times over the past decade, and it is with great pleasure that I continue that tradition with his latest live recording. During his most recent Big Red Suitcase tour, Kenny performed in over 50 U.S. cities from coast to coast and was invited to headline a series of benefits concerts in SE Asia. In recent years he has shared the stage with the likes of Keller Williams, Leon Russell, John Hammond Jr., New Riders Of The Purple Sage, The Zen Tricksters and John Kadlecik (Further & Dark Star Orchestra).

With an influential voice that lies somewhere between Neil Young and Ben Bridwell, Kenny delivers clear and concise visions of dynamic deliverance. Combining a deep dive into tone, originality and believability, he ushers the listener into his brand new living room of roots-riddled rock and roll. Never going to the standard attack, he flies far from the 12-bar blues, three-chord rock and Americana stereotype to land some place between a rock and a new place. The album illustrates a highly skilled writer who utilizes the same down-home approach in his music as he does with his day-to-day interactions with others. It’s a combination that will continue to see Kenny reach exciting new levels as he helps future fans “see the light” of his musical message.

Kicking things off is “Remember Pain.” Utilizing the sound of a distortion-laced Les Paul, Kenny fires off his special brand of rock and roll salvation with the grace and style of Neil Young. Keith’s voice is full and powerful, commandeering the track and leaving no doubt to his talent and directive. Guitar work is reminiscent of Earl Slick as he vamps hot chords throughout the piece. I love the suitcase bass drum that is employed throughout the song and disc.

“Technology” is up next. Kenny excels when it comes to coming up with cutting-edge licks. Using his repeater pedal, Keith lays down overdubbed live parts that sound natural and toned. His slide playing is over the top and blends in well with his lead parts. Kenny tells the story of our technological growth and the end results of its existence.

“Filling Holes” follows. Utilizing his vast understanding of imagery, Kenny lays down some serious lyrical messaging on this tune. His call and response vocals set well within his acoustic riff playing and leave the listener wanting much more. Once again, his suitcase drumming sounds extremely realistic and ties in like gangbusters. His live overdubs come off flawlessly and add to an already full palette of wondrous sounds.

Keith digs into the blues on “Question The Beat Of My Heart.” Combining guitar riffs with matching vocal tones, Kenny rolls out his solo magic with a flawless application. His suitcase drums are back and add depth and power. Keith explores the age-old exploration of love and romance here, and it’s a short, sweet view into everything we look for in our lives.

“Midnight Spiders” is up next and features an interesting chord and vocal vamp. Kenny’s lyrical take on human emotions is always fascinating as he uses this vehicle to mix the depressive descriptive of relationship woes with the use of arachnids.

“Dream Awake” is my favorite tune on the disc. Keith Kenny mixes his Neil Young vocal sensibilities with the guitar dexterity of Jimmy Page on this song. This is another aim of relationships gone awry, a subject the Keith has perfected in compositional form. At 3:00, “Dream Awake” is one of the shorter songs on the disc, but it’s definitely one of the best.

“Bad Medicine” follows. As it’s a live recording, Keith invites audience participation to the highest degree. He starts the song with his multi-layering process of guitar and sound, winding things up in measured pace. When he kicks in, guitars and drums are at a fever pitch as Kenny extols the virtues of the girl who gives bad medicine. The audience participation in the bridge reaches a fever pitch as Keith implores them to scream as loud as they can before heading into the back nine of this raw, ripping tune.

“TNT” is up next and jumps straight into the wild, party-like fray that Kenny had created with his fans. “TNT” is descriptive of Keith Kenny’s self-described abilities with the ladies, and he has no issue telling you that. Once again Kenny employs the crowd for his bridgework, getting several good choruses out of them before heading back into his ending.

“A Roxbury Tale” follows and closes out this live disc. Kenny utilizes his old-school acoustic guitar skills to great measure here. Toned and loud, Kenny’s six-string talent matches his vocal abilities perfectly.

Keith Kenny is a talented musician out on the road making it in his own distinct way. This live recording shows both talent and audience love of their musical hero, and the interplay is outstanding and magical.

Keith Kenny will be celebrating the release of his live disc on Friday, Sept. 25, at John And Peter’s in New Hope, PA. No cover charge at the door and donations are appreciated. Keith will be playing two sets of music and doors are at 9 p.m. There will be a limited number of Special Edition albums available for sale to show attendees. The Special Edition will have five additional tracks and a DVD with concert footage and interviews. Each album will be signed and numbered. They will only be available at the John And Peter’s show.

The standard live album will have nine tracks and will be available to the public on Sept. 25 via keithkenny.com, iTunes, Spotify and other digital retailers. Presale for the live album starts Sept. 1. - The Aquarian Weekly

Keith Kenny Invited To Headline UXO Concert In Laos

Vientiane, Laos, has been named the proverbial “City of Sandalwood,” a descriptive identifier handed down from the deep communications of the Pali, the liturgical language of Theravada Buddhism. It is also the world’s most heavily bombed country, per capita, in our war-torn past.

More than half a million bombing missions were conducted over Laos, and over 2 million tons of mega-powered ordnance were dropped on the area between 1964 and 1973. Approximately 75-80 million unexploded bombs of all types remained in Laos after the Vietnam War.

New Jersey native and musician Keith Kenny became acutely aware of this fact after longtime fan and unexploded ordinance victim Phongsavath Souliyalat (Pong) reached out to Kenny and invited him to be the musical focal point of his benefit show, “We Are Kind.” Pong became familiar with Kenny and his unique style of songwriting and playing from discovering him through contacts after his accident. Pong lost both of his hands as well as his eyesight when a tennis ball-sized bomb exploded in his hands four years ago. Since that time, Pong has become the spokesperson for the COPE Center, which provides prosthetics, rehabilitation and support for other unfortunate victims of unexploded ordinances across the region.

“We Are Kind” will take place on November 11, 2013, at the Lao National Cultural Hall in Vientiane, and will feature several local musical acts and dancers before turning the headlining spot over to Kenny, who will close out the night with some guaranteed acoustic shredding.

When Pong approached Keith about performing, Kenny enthusiastically accepted the offer. “I’m really excited and honored to perform for the victims of UXO and hope that my music can help make a difference. I’m looking forward to meeting Pong in person, talking about aspirations, hopes and solutions, as well as experiencing the culture in Laos.”

Keith is actually in the middle of a national tour called the Big Red Suitcase Tour and has been performing at over 30 cities across the U.S. When he was invited to play for “We Are Kind,” he opened a quick window and made arrangements for this 8,000-mile journey, briefly putting his tour here on hold. Fortunately for Kenny, American company Aqua Survey, Inc. has agreed to foot the bill and send him posthaste to perform and contribute to this positive and healing cause. Aqua Survey is heavily involved in locating and remediating UXO (unexploded ordinances) throughout Laos.

When doing some research for this article, I couldn’t believe how many people are affected by left over weaponry in that part of the world. During wartime, over 50,000 people were killed directly from unexploded ordinance. Since the close of the Vietnam War in 1974, over 20,000 people have continued to be killed from that same disturbing field of hidden dangers.

Kenny has grown from a local club player to an internationally known artist. His complex and passionate music has reached across the globe, attracting the attention of people in need and assisting in their struggle to cope with the ramifications of war and the aftereffect it leaves behind. His involvement with “We Are Kind” and his friendship with Pong shows that the world can unite to solve problems, even though the past has told us we were too different to do so.

Keith Kenny has also told me that as soon as he returns from his Asian journey, he will resume his Big Red Suitcase Tour, performing at theaters, clubs and specialty venues from California to New Jersey.

To learn more about “We Are Kind,” check out the events promotional material over at http://youtu.be/Xrx_Huj0HFs and please visit Keith over at keithkenny.com. It’s an exciting new action from one of New Jerseys brave new movers and shakers. - The Aquarian Weekly

It sounds a bit like an old blues song: I went from Harrisburg to Pittsburgh to Vientiane/I went from Phnom Penh to New Hope, PA. Keith Kenny is taking a break from his Big Red Suitcase tour, which crosses the US from his home base in Asbury Park, NJ to California, for a very special event: headlining a UXO (unexploded ordinance) benefit concert in Vientiane, Laos. Then he swoops through Phnom Penh to bring his high-energy acoustic sounds to Equinox. Here’s what he had to tell The Advisor.

Would ‘mindblowing’ accurately describe your invitation to play at the We Are Kind concert? Did it come completely out of the blue?

Absolutely! I was floored to hear that event organiser Phongsavath Souliyalat (Pong) was a fan of my music and was completely blown away when he invited me to headline the concert. I know that it will really hit me when the trip begins in November.

Your live show seems deceptively simple: acoustic guitar and kicked percussion yet the range of sounds is astonishing, as is the energy. Did you jump out of the bedroom at 16 like this?

[Laughs] I wish that I just jumped out of the bedroom ready to go, but it has been a slow evolution into the live show today. I started doing the solo show in Asbury Park around 2005 and spent years playing locally, performing new material and making tweaks to the songs. Also, obsession with guitar pedals has changed a lot of the tones and sounds that I can get from the acoustic guitar. I am still tweaking and making adjustments at every show trying to get the sound BIGGER!

Do you road test new material, or record it first and let it find its stride?

I’ve actually done both, but most material is tested out in front of an audience before it’s recorded. Sometimes I feel like I can approach the songs better in the studio if I’ve played them on the road for a few months. I can usually get a better feel for the dynamics of the songs that way, but then again there’s always that studio magic that happens when you just record something off the cuff and it turns out to be a fan favourite.

The choice of cover versions often uncovers influences and when I checked a cover of the Led Zeppelin song Bron-Y-Aur Stomp on YouTube it put the folky/bluesy feel of your material in perspective, where you veer away from the country/Americana style.

That tune just seemed to have all the elements for a perfect one-man-band performance and I have loved their whole catalogue since I heard it back in high school. My influences have been all over the map, from heavy metal to finger-style acoustic guitarists to singer/songwriters and old blues artists. That might be one of the reasons I’ve had a hard time finding that defining category for the sound that I’m after.

WHO:Keith Kenny
WHAT: Singer/songwriter and acoustic guitar hero
WHERE: Equinox, #3a Street 278
WHEN: 9pm November 15
WHY:Witness a road-dusted, multi-influenced talent tweaking and searching for a category - The Advisor - Cambodia

Keith Kenny will headline a benefit concert to raise money for the victims of unexploded ordnance in the Southeast Asian nation of Laos. The event—billed as "We Are Kind”—will take place in that Laotian capitol of Vientiane on November 11. The show will feature a number of prominent Laotian musicians and dance performers before Kenny takes the stage to close things out. Kenny is currently in the middle of his Big Red Suitcase tour, which is taking him to over 30 cities across the United States.

Keith Kenny Tour Dates

October 18 New Hope, PA—John & Peter’s
November 1 Harrisburg, PA—Subas Tapas Bar
November 2 Pittsburgh, PA—Howler’s Coyote Café - Jambands.com

Acoustic/electric/singer/songwriter Keith Kenny brought the house down on Friday night at John and Peter’s with his blend of rock, blues and country. Audience members including Ween co-founder Micky Melchiondo, were singing, clapping and stomping to Kenny’s blend of raucous, original songwriting.

Said Kenny, “I love to play New Hope and especially John and Peter’s because I started out here and it’s the most responsive audience.”

Kenny displays a great variety of musical talent, but his guitar wizardry is unparalleled and is on display in blindingly fast riffs often based in blues or boogie-woogie progressions. The dude’s going places, and hats off to J&P’s for continuing to showcase new and original talent. Party on. - Newhopefreepress.com

Keith Kenny kicked off “The Big Red Suitcase Tour” on August 24 at The Court Tavern in New Brunswick, NJ. The 23-date tour will take him throughout the East Coast and Midwest, with stops at the Highlands Festival at Waterloo Village in Byram, NJ and the “Band Together ALS Benefit” in Charleston, SC. Along the way, Kenny will share the stage with Marco Benevento, Zach Deputy & Yarn.Kenny is touring in support of his latest release, And the light came blaring in…. You can check out a review of Kenny’s July 8 performance at the Riverside Inn in Cranford, NJ here.Keith Kenny Fall Tour DatesAugust 29 Baltimore, MD—8×10
August 30 Cambridge, MD—447 Gallery
September 5 Raleigh, NC—Amra’s
September 6 Winston-Salem, NC—Brewskis on Burke
September 7 Knoxville, TN—The Birdhouse
September 8 Johnson City, TN—Acoustic Coffeehouse
September 10 Brevard, NC—185 King Street
September 12 Charlotte, NC—The Saloon
September 13 Charleston, SC—Brickhouse Kitchen
September 14 Charleston, SC—Brickhouse Kitchen
September 17 Jacksonville, FL—1904 Music Hall
September 19 Palatka, FL—Steamboat Willies
September 22 Byram, NJ—Highlands Festival at Waterloo Village
October 3 Palatka, FL—Steamboat Willies
October 9 Knoxville, TN—WDVX 102.9 FM Blue Plate Special
October 9 Knoxville, TN—Preservation Pub
October 10 Asheville, NC—The Root Bar
October 11 Charlotte, NC—The Saloon
October 18 New Hope, PA—John & Peter’s
November 1 Harrisburg, PA—Subas Tapas Bar
November 2 Pittsburgh, PA—Howler’s Coyote Café
November 16 Columbus, OH—Brothers Drake Meadery - Jambands.com

Keith Kenny’s music can at times convey sincere nostalgia, or bring you back to harsh reality real quick! His new album And the Light Came Blaring In Is full of mostly unembellished rock (Keith plays all the instruments with very little overdub or sweeteners,) blues and folk rock that focuses on his style of comfortable enthusiasm. That is, Keith has a way of laying it all out there, but sometimes it’s a slow, burning buildup, that draws you into the heart and soul of the song. He can also take you the dance floor stomping out Living in Circles with the mojo of Stevie Ray Vaughn.

The album is full of amusingly wry regrets, social observations, and heartfelt emotional outpourings, which all combine to travel the back roads of American music to fine effect. On “Filling Holes” Keith digs into similar roots and comes up with a clearheaded, plain-spoken song about love and loss. With just an acoustic guitar (like on songs on And the Light Came Blaring In), Keith leaves out the ambience of a full blown band in favor of perspective lyrics and strong melodies.

For anyone who listens to And the light Came Blaring In or any of Keith’s records, this music is a highly personal medium through which he can (and does) broadcast/exorcise his inner demons.- That’s not to say he doesn’t rock out (dang, this cat can make you practically leap outta your seat with his hot, swirling brand of rock ‘n’ roll), but Keith’s use of musical structures and lyrical imagery is exciting, intense-even cathartic- with a dash of punk without diluting the soulful strength and humor.

With minimal instrumentation And the Light Came blaring In is a one-man show (although Keith also plays with a full band at times), that plainly lies out the author’s heartaches, loves, and everyday problems. Keith crates songs with pride and dignity, making this a deeply moving document of sincere, honest emotions set into song.

All seven songs here are strong, and Keith has become a consistently good singer/songwriter; one can only hope that he gets a chance to develop even further for larger audiences.

Keith Kenny is having a record release party at The Court Tavern in New Brunswick on March 23. You can also contact him at: keithjkenny@hotmail.com to get his new record or for more show information.

By Phil Rainone - Jersey Beat

The singularly most relevant and history making artist on the 60’s and 70’s were the Guitarist Singer / Songwriters, modern bards that often mixed melodies and social / political diatribes together to awe and inspire the youth to think of their past, present and futures, bring about change and rise to stand against injustice. Today, in our media soaked worlds befuddled with overdriven digital enhanced information and pseudo soundtracks that seem to be forced into our ears and minds, choking our natural song and making us sound like pigeons in a park, we miss the true artists that are gems in the crowning achievements of the music world.

IMG_8905-e1369274470658Last year I met an artist at the NAMM Convention in Anaheim California, a young and energetic man who seemed to be unpacking a small suitcase on stage, only to see that the suitcase was turned into a percussion set, a small amp and he transformed into one of those old time movie one man bands you see in the old black and white comedies.

He stood up and to a small but growing crowd he introduced himself, with a crooked smile just under his mustache and a small twitch of his finger he began to entrance and get the crowd moving, swaying and swarming to the rhythms and cheering at every note.

I got to talk to him for a bit, exchanged emails and before I could turn around to talk to him, he vanished, out of sight and as if he was never there.

He appeared as if a ghost of Woodstock and darkened coffee clubs of yesteryear.

Recently I received a CD in the mail from Keith Kenny, his newest offering And the light came blaring in…. no letter enclosed, no request or special notes, just the CD. I put it on and I found myself whisked away to what seemed like a personal performance, a concert for one. I was reminded of artists like Bob Dylan, Gordon Lightfoot, Richie Havens and other illuminated souls I have listened to.

And the light came blaring in…. is not his only work, he has actually performed in a multitude of venues and has 2 other albums, evil fuzz magic and Limit is the Sky which I listened to at his web site http://www.keithkenny.com , I will say that this new album is what appears to be the next transformation in what sounds like an audible journal and diary of a man’s life and growth in music. Keith Kenny is truly a modern day bard, weaving music and words into rich tapestries that imprint themselves into your mind and stay with you, bring back memories of your own life into focus, inspiring warmth of love and understanding of one’s self. I don’t know if this troubadour intended to be a modern day pied piper or if it comes naturally, but Keith Kenny is one to be heard.

I am especially fond of “Living in Circles”, the first track on this album; this is so down and reminiscent of the late great Jimi Hendrix, but lyrically so Lou Reed, it swirls and Builds into a stomp and then – Stops, leaving you wanting more, and with the song “Filling Holes”, I also feel like at time I have dug my own graves, only to leave them empty, hoping not to fall into the traps I have laid for myself.

The whole albums is riddled with heart pulling, brain freeing mind bombs of emotion and make this possibly the best solo performance album I have the pleasure of hearing this year. And at only seven tracks long, there is so much that is said in just a few smooth verses. The total track listings are “Living in Circles”, “Filling Holes”, “Question the Beat of My Heart”, “Dream”, “Awake”, “And the Light Came Blaring In”, “Carved in Stone”, “Love Will go the Distance”.

I feel Keith Kenny will make a strong impact on the music scene, without the glam and the glitz, but with a soul so strong it could part the sea and bring grass to the dessert. I am a new believer, and a faithful follower of the singer songwriter, the minstrel in the park, the singer in the dark, the one man band.
- Xombiewoof Magazine

—by John Pfeiffer, May 1, 2013
Keith Kenny has never relied on the promptness of strangers and musicians. And while has used a band for several previous releases, on And The Light Came Blaring In, Kenny relies more on his lone power of compositional grit than his usual fret board grandeur.

On the creation of this disc, Kenny says, “The album was recorded a bit differently than my older ones that were done with a full band. For this one I wanted to capture what the live solo show sounds like so it’s basically just me playing guitar and singing while playing a kick-drum and a hi-hat.”

With the influential voice that lies somewhere between Neil Young and Ben Bridwell, Keith Kenny delivers clear and concise visions of dynamic musical deliverance. Never going for the standard attack, Kenny flies far from the 12-bar blues, three-chord rock and Americana stereotype to land some place between a rock and a new place.

His guitar style is unique and I’ve watched him shred heavy on a Martin acoustic, strumming and bashing away with the finesse of “Dimebag” Darrell.

But Kenny shows a more seasoned side on And The Light Came Blaring In. Combining a deep dive into tone, originality and believability, Kenny ushers the listen into his brand new living room of roots riddled rock and roll.

The disc opens with a sonic Stratocaster shuffle of “Living In Circles.” This gritty ball of fuzz pushes air out of the speakers as Kenny sings simple, effective lines about the wants and needs of life. Syrupy, Les Paul tones congeal the middle-eight like Randy Bachman’s work on “American Woman.” Rhythm guitars rip into the open spaces like a badger as Keith builds back up to his foot stomping finale. Great use of compositional direction and some forward thinking choruses.

Harmonic pings ride the laid-back stick and snare ramble of “Filling Holes.” Countrified pull off riffs dribble down over the heartbeat of the bass drum as Kenny slides into his best Neil Young-influenced (Buffalo Springfield) warble. Strummed chords ring open and full as Kenny slashes his down stroke signature over call and response warnings of “I started digging holes many years ago/I still don’t know where I belong/If you try to make it you better get in line/Hope I don’t fall in tonight.” Dissonant ending chords put the icing on the cake.

“Question The Beat Of My Heart” is pure High Plains Drifter material. I picture this as the thematic backdrop of outlaws racing across Tombstone flats. An ode to highs and lows of love, Kenny questions the very essence of that journey and what it takes to get there. Seasoned wood groans and shimmers under the ministrations of Keith Kenny’s Tex-Mex skills.

“Dream Awake” is the focus of this disc. Mixing the warm, analog visions of ‘70s America with the melodic alternative of Band Of Horses, Keith downshifts into the lazy, hazy daydream states of day-tripped shimmer. Guitar work soars in the middle eight. Simple and sustainable lead lines go for days as Kenny comes down to earth to ponder the brief trip through dream state with, “And I woke up from the dream to realize, it wasn’t really me.”

This is an interesting record. Keith doesn’t stutter when it comes to walking down the pathway of continuity. But he doesn’t make the mistake of having every song sound the same for the sake of style or production. Disc title song, “And The Light Came Blaring In,” proves that with golden summer sound of early ‘70s rock. Chords in the chorus are immensely pleasing with their jazz inflections. 6th’s, 9th’s and 7th’s explode in diminished glory. Kenny’s melodic choices reminds me of a few prominent singers but honestly, he melds influence so well I can only credit Kenny himself. This would be my second choice for most memorable on the disc and one that I have added to my top-secret playlist that no one knows about.

“Carved In Stone” features a loose and open bass drum meter as Kenny lays guitar and vocal in a direct line with each other. Acoustics sparkle and glimmer as Kenny waxes poetic on the content of acceptance and a place to hang his hat. The chorus is catchy and keeps this wandering minstrel off of the main path and into the luxurious and folksy field of daisies.

Keith Kenny ends his CD on a manically high note with “Love Will Go The Distance.” Singsongy and bright, he proves that while he is excellent with an effect board the size of China, he’s equally at home with a single acoustic guitar and his voice. And The Light Came Blaring In was not a surprise to me. Kenny is a highly skilled writer who utilizes the same down-home approach in his music as he does with his day-to-day interactions with others. It’s a combination that will continue to see him reach exciting new levels as he helps future fans “see the light” of his musical message.

You will be able to see Keith Kenny re-create these songs and more at his May 15 appearance at Urban Nest, located at 631 Lake Avenue in Asbury Park. For information on Ke - Aquarian Weekly

On Halloween night, Keith Kenny will kick off a Northeast tour. Kenny, who has maintained an ongoing residency at the Stanhope House in Stanhope, NJ, will leave the confines of the club for a series of dates. He will kick things off at McCann’s Tavern in Lake Como, NJ on October 31 and the tour will culminate on November 18 at The Stone Pony, Asbury Park, NJ on a bill opening for Keller Williams. Along the way Kenny also will perform at the M.I.T and New Haven University radio stations.
Keith Kenny Tour Dates
October 31 McCann’s Tavern, 1704 Main Street, Lake Como, NJ
November 1 WNHU-FM – New Haven University Radio, CT
November 2 Cafe Nine New Haven, CT
November 3 WMBR-FM MIT Campus Radio Station Cambridge, MA
November 4 Precinct Somerville, MA 02143
November 5 Theodore’s Springfield, MA with Mike MiZ Band
November 18 The Stone Pony, Asbury Park, NJ opening for Keller Williams
- Jambands.com

On June 26 Keith Kenny performed a Live Global Webcast Concert last night, via HomegrownRadioNJ.org. The venue was The Riverside Inn (aka “The Dive”) in Cranford, NJ. Keith invited veteran Jam Rock icon Joe Gallant (Glowing Skull Ring / Illuminati Project ) for a completely unrehearsed, spontaneous jam session. Joe enthusiastically accepted the invitation, and brought his 6 string bass to bear with electric results. “I heard Keith’s music on his website and [I] instantly got it !”, stated Gallant. He continued “I think [Keith] is way overdue for amazing exposure, I think this is going to be a big year for him.”

A fluid jam session ensued with a dual pyrotechnic instrumental base, supporting great original song structures composed by Keith Kenny, such as his signature tunes “Technology,” “Neck Hurts”, and brand new songs like “Love Will Go The Distance” and “And The Light Came Blaring In”, the title track from Keith’s newest CD. The duo performed a few choice covers, ranging from Stevie Ray Vaughan’s “Rude Mood,” ‘Pride & Joy” and a heretofore unheard of Kenny treatment of Bob Dylan’s “Knockin’ On Heaven’s Door.” Keith also tackled Led Zeppelin’s “Bron Y’aur Stomp” by himself.

HomegrownRadioNJ.org DJ Bob O’Donnell (DJ Easy Wind) said “Watching Keith & Joe play together, I had a revelation that they are actually a power trio with only two guys.” In addition to a 6-axe array of guitars and banjos, Keith played his trusty red customized Samsonite suitcase with kick pedal attached as his bass drum, along with a second regular bass drum. Keith commented that this might be the last appearance of Ol’ Red, as he is currently modifying a “new” replacement Suitcase Drum, as “Ol’ Red” goes into retirement after nearly a decade on the road in venues as varied as The Stone Pony in Asbury Park to DeBarra’s in Clonakilty, Ireland. Riverside Inn owner Peter “Jake” Jacobs said “The world needs more people like Keith Kenny”.

Reflecting on the debut Duo performance of this “meeting of musical minds”, Joe Gallant said “ I’m just really entranced. I think Keith has something very unique. It’s storytelling, it’s swampy, it’s very bluesy, but.even more than the aesthetics, technically… it’s this amazing Fripp-ian [20] foot-pedal board…he’s incredible. He’s a real crafstman.” - Jambands.com

Even as one of the most good-natured guys in the music biz, Keith
Kenny’s amicable image doesn’t hide
the fact that he’s a musical monster
not to be taken lightly. His unique
approach of using an acoustic guitar
in a situation where most would be
brandishing a Les Paul or some sevenstringed
demon stalker puts Kenny in
his own unique group, throwing new
light on tradition and squeezing all he
can get fromhis banged upMartin sixstring.
It brings back the days of The
Alarm, who made that presentation
quite popular in rock and roll before all
the rock gods ran out of good ideas
and grabbed anything with a Floyd
Rose to fillmy decadewith dive bombs
and whale mating calls.
One of the great things about playing
the way Kenny does is that you have
to actually be really good.There’s no
hiding or “string slurring” under a tube
screamer when it’s just you and that
piece of weathered wood in front of a
crowd.But on “Evil FuzzMagic”Kenny
steps out of the acoustic ring a bit and
back into the styles and vibes of
Santana, Page and Iommi.Combining
his unabashed rock and roll idolatry
with a complex and sometimes
progressive style of singing and playing
puts him at home in the folkie clan as
well, bringing you glimpses of protest
and experimentation from greats like
John Prine or Bobby Dylan.
The CD kicks off with the down and
dirty rock/blues of “How Many Lives”
and showcases Keith Kenny’s upper
midrange voice quite well. In many
instances you’ll see a singer/player
that has one great talent and another
okay talent, but this guy has perfected
his signature sound since the early
days of jamming with his father and
wearing out discs from guys like Jimi
Hendrix, Stevie Ray Vaughan, and
Crosby, Stills, Nash, &Young.
The 37-second “Herbie And Sam”
is an imaginative and organic ditty; you
can hear the CSN&Y influence here
with ultra warm acoustic guitar and
clever and funny lyrics. It’s a cool
separator as he moves into “Bad
Medicine” a vamping, stark stomper
complete with cool guitar riff oddities
that float around the tune with days of
sustain and compression and just
enough vocal distortion to get the point
across.There has been somuch abuse
with this effect that I cringewhen I hear
it on a track. It’s sort of the “auto tune”
for rockers, but Keith makes it work
well here.
“Triage Recruit”mixes NealYoung
protest with the acid rocking vibes of
Cream as he wah-wah’s his way into
the cosmos; drums and bass are
pounding, mysterious and effective.
There aren’t a lot ofmusical changes
here and themelody is a bit repetitive,
but I get what he’s going for and it’s
totally that 1960sWoodstock imagery
with the warmessage and screaming
stadium guitar solos.
Closing track “AllThe RightThings”
is a good representation of what Keith
Kenny is all about. Although not
completely acoustic, he keeps this
troubadour number deep in American
tradition of the singer/songwriter.
Sparkling electrics stay far in the back
with background vocal swells as
harmonica lines bond the verses and
percussion builds the dynamic advance
in the song.
Keith Kenny has always been the
quiet one around the scene, remaining
in the background and concentrating
more on talent advancement than
swaggering around town like some
ridiculous legend in their own mind.
Make nomistake about it:He’s one of
the best guitarists around.Keith Kenny
is into some interesting things and this
latest CD gives you a good idea of
where he’s heading. For more
information check him out at
keithkenny.com. - The Aquarian

Apply titled, Keith Kenny's new album digs deep into a rainbow of genres including blues, rock, country, & earthy soul. Limit is the Sky plays like a time warp. These musicians show a respect for the greats of yesteryear, fleshing out some ancient soul, hellhound blues, and neo-rock, ultimately putting together a behind-the-time disc that alternates between generations.

Opening the album with the banjo-infused, pop blues mantra, "Haven't Seen Me," which uses the clever refrain, "Unless you dream/ Life is just what it seems," this song wouldn't be out of place on a Buddy Guy or John Lee Hooker album. On "Bedrock" the band employs Summer of Love-era lyrics like, "Take all your
pollution and you just send it on my way/You're looking for truth now but you got no good words to say," with a righteous slide guitar, framed with bluesy harmonica, and a psychedelic rhythm section, that changes toward the end into one cool, four minute free for all, frat house chant of "Heeey...Heeey...Heey!" Sounds like they took a page out of The Stones' "Her Satanic Majesty's Request," throwing in all the colors of the musical rainbow. While a good portion of today's pop music is often dismissed as fluff (and for good reason), it's encouraging to hear someone pay respect to the musicians that created meaningful blues rock. With multi instrumentalist Keith Kenny on guitars/vocals/piano/banjo/harmonica/ and wash tub - I don't think I've seen him break out the "tub" at a show, but I could just imagine how cool it would be! -
and his band, Tyler Chiara on drums/organ/piano/pick axe (pick axe?), he also produced the album with Keith, and Jonathon Luberecki on bass/percussion. They've had the foundation laid by Hooker, Guy, and Bela Fleck to name a few, and their musical siblings like The Rolling Stones, and John Hammond, and shown it to be possible to craft an original sound, rather than take the already-drawn blueprints, and construct the same thing further down the road. Songs like "The Rounds," "Something Strange About it," and the title cut are unusually, yet oddly familiar combination falling somewhere between blues, folk, and psychedelic. It's tough to define where one genre ends and the other begins, but that's part of what makes a good song stronger and memorable. "Neck Hurts" has been around for a while first appearing on Keith's demo from a couple of years ago, which showed a lot of promise. On "Limit is the Sky," the humorous tale of too much metal band ego doubles as a 'we're all in this together' plea, with a hard, funk/blues vibe. First-timers to Keith Kenny's music should realize that "Limit is the Sky" is fueled by the album's purpose: To be an almost timeless collection of songs that grew from branches and roots, with a modern blues edge. The last song "A Roxbury Tale" - an inspirational song which has also been in Keith's live show and on his demo - was written in memory of his late friend Chris Roxbury, and mourns and celebrates their friendship. In it, you feel that he's leaving behind what's lost and lonely, as the song breaks down into Zeppelin/Who (a cross between Zep's countrified "Going to California" and The Who's banjo-stung "Squeeze Box"), acoustic jam, only to be resurrected with a plaintive acoustic guitar; then the rest of the band harmoniously intertwines for over four minutes as Keith's voice fades in lighting up the darkness with the refrain, "Oh Lord, I know I'll see you again." Having premiered some of the new tunes at Todd's Dugout & Sports Cafe this past Thanksgiving Eve, Keith Kenny will be back at Todd's on July 19 for a record
release party. This is a fine, fine album! - Phil Rainone - Jersey Beat

May 27, 2008: I first met Keith Kenny when they performed at The College of New Jersey on Friday April 26th, 2008. Self-named after the lead singer, the band members are Keith Kenny- lead/vocal/guitar; Jonathan Luberecki- bass, and Tyler Chiara- drums. They've put out 2 EPs on the internet, and their first album is out June 14th, 2008, which will be reviewed in a separate blog at that time. Musically, you're listening to mixed acoustic and electric instrumentation, mixed major and minor key tonality. Basically: a hybrid of blues rock, classic hard rock, a little bit of Eric Clapton (when he did blues) and Led Zeppelin.

[The Band]

The 'New Jersey' vibe was present in their appearance. And you can't miss the weatherworn look of the guitar- which almost showed the years and shows it's been at. One could tell that this is a guitar player that will play the first guitar that he ever got for his entire life, even though he could replace it, he never would based on principle.

The band members went to high school together, met in Guitar Center, and then again at a backyard gig called Kenstock in Monroe Township, NJ. Their biggest music influences have been Stevie Ray Vaughn; Michael Hedges, and Jimi Hendrix. A political and intellectual influence has been Ron Paul. And the inspiration for lyrics came from "life experiences, sad times, bad things…"

During the concert, I could not describe the guitar riffing, solo's, chord progression, plucking, chugging. During the interview, I asked Kenny who have been your biggest musical influences and he said, Hendrix, Vaughn, Hedges. And that to me was the light bulb that I needed. The reason why I could not describe what I was hearing was because it is impossible to describe the combination of Hendrix, Vaughn and Hedges. You have to experience it yourself.

This is great musicianship at its finest—combining a warm blues rock tone with some hard rock roots. My favorite parts were the electric guitar solos and riffs, with thru composed melodic style and demanding guitar and drum parts. And finally, the bass enhanced the dynamic vocalist.

[The Concert] April 26th, 2008

These are musicians who have years of classical guitar training. The vox has a pretty impressive range, steady control and pure talent.

The bridge had perfect use of melodic phrasing; acoustic for the first part; and then a gradual build up. After the second refrain it became drum centric; then the electric guitar riffing and chugging power chords took over leading up to the solo, which was amazing. Finally, the resolution back to the acoustic lyrical end, the bridge and fade out was skillfully done.

The singer's voice improved between the first and second songs. The 2nd song, named "Bed Rock," was your classic rock and roll sound but in a unique modern day way. The solo was amazing. Overall, I love this song despite the abrupt ending

The third song had on-again-off-again power drums. It was very blues-y, semi-country and totally electric. The lyrics were very country-esque, as in they had the twangy sound. The vocal control range improved again from the second song to the third one.

The 4th song had acoustic guitar strumming intro; and then a transition; into tribal drums which made me think of New Orleans. The melody made me think of Jimmy Buffet. I also enjoyed the romantic lyrics that had soul. I actually really love his voice because of its uniqueness. The electric guitar solo and the riffing were amazing. I loved the guitar solo and how the drums perfectly enhanced the guitar.

The 5th song was romantic. It had a post-country, happy-country vibe to it. It seemed to fit the definition of a country song. Between the plucking and strumming and entirely acoustic playing, I was really amazed at his skill. The first half is a country song then it transitions to an intense guitar soloing hard rock inspired. The drums backed it up, and the chord progression shows years of studying the classics.

Last song showcased the talent of all members. This is a band that has everything that you could ask for in a band. Singer/lead guitarist picks up the electric guitar. It has a blues-country sound and narrative lyrics. The vocal range was excellent and he maintained control. Drums were at their finest in this song.

When I observe a band, I look for whatever the band's strongest point is and I focus in on that (stage presence, vocal range/control of the lead, drums, guitarist, bassist, etc.) For Keith Kenny, I could not separate between the guitar and the drums. I simultaneously love the guitar and the drums to the point I could not take my attention off of either one. Also, seeing the same person sing and then shift the focus to the guitar with the same skill between both (singing and playing) is what makes Keith Kenny amazing.

[The Interview] April 26th, 2008: Keith Kenny

"My goal is not to get signed. My goal is to get people involved in the show and to grow and expand" —- Keith - Princeton Record Exchange

Monroe Township’s Keith Kenny digs deep. About as deep as one can get for the emotional core of his music. One song specifically taps the anguish felt when a young life is taken away too soon.
“A Roxbury Tale” was written to mark the passing of Monroe’s Chris Roxbury, who died two years ago at age 19.
“He was basically my childhood best friend,” said Kenny, 22. “We used to ride bikes all over town and have sleepovers and all that stupid stuff you do when you’re kids and you don’t have any worries in the world.” Roxbury died of lymphoma. “He just passed away out of nowhere,” Kenny said. “A RoxburyTale was kind of my way of remembering him and saying goodbye - closure. I mean, it’s still hard to think about him to this day. Playing that song for people feels great because people get into it, and it’s a good feeling – like he’s almost in the room.”
“A Roxbury Tale” is a plaintive and dignified elegy set to wistful country blues. The track is a bit different than others on his self-release.d EP, “Keith Kenny,” which is dominated by up tempo, blues based rockers. Kenny picks away like a post millennium Stevie Ray Vaughan with incendiary results. Live, it’s often just Kenny up there. He uses a loop pedal for the rhythm and percussion parts of a song while playing the lead on his acoustic guitar.
Kenny’s crowd is growing. He plays regularly at Todd’s Dugout (next show is Nov. 22) and the Stone Pony in Asbury Park, where he’s up for an Asbury Music Award for Top Acoustic Act. The AsburyMusic Awards takes place tomorrow night at the Pony.
Even the afternoon drive-time Jersey Guys of New Jersey 101.5FM had him on for an hour in August. “They gave me an interview – it was an edgy Howard Stern type thing about my whole personal deal,” Kenny said. “It went really well, and I had to play a bunch of covers before they gave me approval to play an original.”
“There were a couple of jokes in between, then the traffic and wheather, obviously, every 15 minutes.”
- The Home News / Asbury Park Press (New Jersey)