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Homeboy Steve / Press

“The album is just as much about tunesmithing as it is about the guitars. The title track opens it – it’s a wry look at how audiences live vicariously through musicians, especially if they’ve gotten to the point where they’ve left their own dreams behind. Behind Antonakos – who’s really done a good job pulling his vocals together here – there’s Neil Thomas on piano, Skip Ward on bass, Kenny Soule on drums and Seay on characteristically crystalline, spine-tingling vocal harmonies. Antonakos follows the wistful ballad December Roses with the album’s best track, I Don’t Miss Summer, a killer garage-pop hit driven by Bruce Martin’s roller-rink organ. Tomorrow’s Girl nicks the changes from Bob Seger’s Turn the Page and turns it into a brooding, restless acoustic Nashville gothic tune. After that, there’s Live it Down, a shuffling oldschool garage rock tune done as jangleroc , and then the album’s closing cut, Better Off With the Blues, an elegantly swinging so”

“From 4 star review of Karen Hudson’s CD, “Late Bloomer” “…features Steve Antonakos playing some fabulous lead guitar…””

“As a sideman, Antonakos’ resume is second to none. Somehow he finds the time to write songs and record them. The first track, Poor Santa, finds the guy passsed out at the North Pole, where the the ho-ho-ho’s had taken their toll. As it turns out, the guy’s pension’s gone, his HMO won’t cover his health problems – in other words, this is a metaphor for everything that’s wrong with the world right now and in typical Homeboy Steve fashion, it’s funny. Then there’s December Roses, a pensively optimistic fingerpicked country-folk ballad. The big hit here is I Don’t Miss Summer, which screams out for a good janglerock band to cover it. This acoustic version only hints at the deliciousness of where a couple of Rickenbacker guitars could take these catchy changes, and Antonakos’ cynical lyric makes a good contrast with the sunniness of the tune. The ep ends with Dear Santa, a psych-folk tune with a weird twist – any way you look at it, it’s creepy and gets creepier a”

"…Antonakos lit up with some surrealistically searing slide work…"

"…ubiquitously brilliant…" “…inimitably cerebral, jazz-infused, fearlessly intense solos…” “…from Wes Montgomery-land to solid country ground in seconds flat…”

“…takes listeners on a lo-fi musical adventure through the twentieth century and beyond, with generous helpings of folk, jug band, pop, roots rock, country, Tin Pan Alley, swing, sea shanties, sing-alongs, and a wry sense of humor.”

“…this is a playful, fun, staggeringly diverse mix of styles from one of New York’s most esteemed guitarists. … the cd includes a Stonesy tale of a Lower East Side booking agent who lived through the scene’s glory days; a big, gorgeous soul ballad (that’s the one Turner sings); a funny, sympathetic number about a monster (”Monsters aren’t evil, they’re misunderstood/It’s the people behind ‘em who’re up to no good); a tribute to the value of good timekeeping and improvisational cues, and an absolutely killer, amusingly metaphorical country tune that winds up the album. And a faux-oldtimey tribute to well-loved LES bar/club Banjo Jim’s, where you shouldn’t let the calm ambience fool you: you can really tie one on there, as Antonakos insists you should know. Musicians in particular will get a kick out of this cd, and so will you unless you don’t have a sense of humor. ”

“The gig never ends, it's just that some breaks are longer than others.”

“The guitarist would come up and, improbably,launch into a rap over a country rock backbeat. It was Sunday night at the Continental, every Sunday night. They were the best bar band that you could still go see at an actual bar.”

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