textfield=*for press kit and bio click here to go to the band page* notable quotables "Conceptually, like a jazz-influenced Sgt. Pepper’s or a less moody Pet Sounds, [Doubt Is For Losers] is an example of genre-defining pop excellence." - Julie Min, Northeast Performer Magazine "The songs [on Doubt Is For Losers] are elevated and proper, the arrangements ambitious, the vocal harmonies sweet and the American vibe comfortable. It oozes confidence and class - great artwork, too." - Rob Forbes, Leicester Bangs (UK) “The songs on Pete Pidgeon and Arcoda's Doubt is For Losers are as sparklingly positive as its title suggests. Conviction, if not downright fervor, carries him far. That and a solid band, which includes Dap Kings/ John Scofield drummer Eric Kalb.” - Linda Laban, Boston Metro "[Pidgeon's] hyper-creativity enhances the rock and pop textures in Arcoda's compositions - the jazzy bump of Dream With Me and the acoustically quirky Treading Water. Pidgeon's songwriting prowess is acute. - Jamie Lee, Relix Magazine "[Doubt Is For Losers] gets better upon each listen. Awesome!" - Brian King, Northeast Performer Magazine, Editorial Manager “[Doubt Is For Losers] is an album steeped in the staples of pop tradition, importing blues from Motown, horns from soul, strings from The Beatles, and filtering it all through a virtuosity which stems from the jazz tradition.” - Jed Heneberry, BostonMusicSpotlight.com “[...At First Sight] is an excellently-produced collection that captures the intimacy and urgency of a live performance and the refined nuances obtained only by spending hours and hours in a recording studio.” - John Barry, Poughkeepsie Journal “Pidgeon's easy-going vocals ramble and wind like a guitar solo, though little melodic nooks - such as a surprisingly David Bowie-esque turn in Apple Core - justifying the credibly original approach.” - Jesse Jarnow, Jambands.com “Deep folk roots and elegant simplicity come through every note Arcoda play, retaining their own niche with emphasis placed melodically in the songwriting. While [...At First Sight] is a gentle collection of easy going folk rhythms, the shows are anything but mellow. By the time Pete Pidgeon took the first strum on his guitar, the dance floor was packed.” - Jon Heinrich, Meniscus Magazine “Arcoda takes all that's great about melting pot Americana music and adds a few drops of high-energy hot sauce. Pete Pidgeon plays guitar like a roadhouse Pat Metheny and has the easy, natural touch of George Benson combined with the frenetic fret-ranging of Yes's Steve Howe. Don't miss them on their next trip to town.” - Michael Witthaus, Claremont Eagle Times “The best thing about Pete Pidgeon's songwriting is that it always sounds so genuine, regardless of the genre. The lyrics always fit the song perfectly and nothing ever feels out of place. He has a knack for digging into the soul of a song, finding its root, and then crafting the rest of the song around that base. In most cases the results could not be better.” - Brooks Williams, MoHeads.com “Fucking sick I tell you. I love [2002 Live Demo]. Some of the best new stuff we've gotten in, in a while.” - Geoff Harrison of Jambase.com "Overall, I think [Doubt Is For Losers] shows a cool progression in your sound. The vocal production sounds very solid also. Keep rocking man." - Marc Friedman (Natalie Merchant, The Slip) “[Happy Song EP] sounds good and I know you put a lot of time into it. I like the songs. Nice work. I like [Happy Song] the most. Kind of like Al Jarreau without the cheese factor. Very nice. Killer bridge. Overall, Pete, I think you have a lot of talent.” - Ed Toth (of Doobie Brothers, Vertical Horizon) “[...At First Sight] sounds great, nice work! I love the tracks with Levon and his mandolin, killer! Apple Core remains one of my favorites, and the album version is nicely done. Hey man, I gotta hand it to you for bringing so many branches of the Boston music tree together. It helps everyone!” - Jon Hawes (bassist for Michael McDonald) “Listened to and enjoyed [...At First Sight] very much. It's interesting and eclectic. Great hearing from you and look forward to working and singing with you again.” - Dean Bowman (of John Scofield, Screaming Headless Torsos) press SPOTLIGHT Northeast Performer Magazine - May 2008 By Julie Min Photo By Angela Cerci Pete Pidgeon and Arcoda "Doubt Is, Indeed, For Losers" Pete Pidgeon imagines himself standing alone in the middle of a field, totally stripped of everything, isolated from the world. The lead singer and creative force behind Pete Pidgeon and Arcoda - the Boston-based rock/jazz/funk/ band - has very specific ideas of how music and creativity should manifest themselves. “If you can isolate yourself from the world around you, that’s when the ideas creep into your consciousness. Having an open mind and no one telling you what to do changes your creative flow,” says Pidgeon. Inspiration comes to him suddenly, in flashes of vision, and he will do anything to stay true to it. For his newest album, Doubt Is For Losers, Pidgeon was set on having fully orchestrated arrangements. He then decided to arrange each part separately and then spend extra money and time in recording and producing each instrument individually. Conceptually, like a jazz-influenced Sgt. Pepper’s or a less moody Pet Sounds, the album is an example of genre-defining pop excellence. With twists and turns of lush chords and arrangements, Pidgeon is very aware of the fact that he can get a bit excessive, in a good way. “I have visions of grandeur,” he says. “I don’t have realistic boundaries.” The process of songwriting and production is, to him, a constant mission. He says, “I’m a songwriter by birth and by nature of who I am. It’s my spirit.” But even this unshakable faith in his creative prophecy is susceptible to the human forces of insecurity and indecision. Doubt Is For Losers is an attempt to address and confront these struggles with doubt. The album begins optimistically with upbeat melodies and orchestral arrangements with titles like “Dream With Me,” “You’re My Girl,” and the title track. However, the album gets darker (and a lot more rock n’ roll) as songs such as “Treading Water” and “The Crusher” roll onto the scene. Things don’t look up again until the end of the album, with upbeat songs like “Julie” and “(I’m) Here With You.” Indeed, Pidgeon has had to overcome artistic and financial hurdles to get this latest album produced. He’s been through trying periods of doubt and debt - moments when he’s wondered if it was all worth it. Though with a small support system of friends, he’s been able to keep an optimistic outlook on his art. “I know what I want. It doesn’t matter how much money or time it’s going to take. I’m going to do it right. Even if it takes tens of thousands of dollars and two years.” The challenges he’s overcome in doggedly pursuing his artistic vision has led him to believe that, surely enough, doubt is for losers. “When you start to doubt that you can accomplish something, you’ve already lost. In that instant, you’re over. As long as you don’t doubt yourself, you can do anything you want,” Pidgeon adds. And through the melodic pop grandeur of Doubt, Pidgeon has yet to reconcile himself to the idea that perhaps there’s more to life than a relentless faith in his artistry. What he desires most is recognition from his peers. “The long term goal for me is respect of my peers, and that if somebody asked who I was, they would know who I was, and understand how much work I put into music.” This is a constant struggle for Pidgeon. His music is something that he wants to make independently and pursue relentlessly, regardless of convention or tradition. But what he longs for most of all is recognition and acceptance from the world around him. Pete Pidgeon has overcome his doubt. It’s obvious. But it seems he’s still looking for more. When he finds it - if he does - maybe his strict notions of art and being will evolve to something else. When he comes to reconcile his artistic vision with his more worldly needs, perhaps he’ll no longer be standing alone in the middle of his field of dreams. CD OF THE MONTH by Sam Merrick Northeast Performer Magazine - March 2008 "Walk with the confidence of the victor and he you shall become. Doubt is for losers." Pete Pidgeon preaches his message of confidence through Doubt Is For Losers, a playfully schizophrenic mix of Americana, hard rock, funk, jazz, folk, gospel, pop. Surprisingly, it works. Each track conveys a sense of hope, independence and optimism without beating the listener over the head with cheesy life-lessons. The catchy and theatrical vocal hooks don't fall far from Sufjan Stevens and Paul Simon, though the direct comparisons end there. The album features highly extensive production and instrumentation within the oft-shifting arrangements. "Faz" is a two-and-a-half-minute, hard-hitting, King Crimson-esque track featuring full string orchestrations and manic vocals. The following track, "What?," which also offers tightly orchestrated horn, string and timpani parts, sounds straight out of a Broadway songbook. Throughout the album, Pidgeon's vocals maintain a sense of purpose and confidence, in turn allowing a cohesive sonic voice to emerge through this seemingly random collection of shifting styles. Although the album's all-star cast is huge (with musicians' credits in the liner notes reading like a phone book), drummer Erick Kalb (DAP Kings, John Scofield) and Nate Edgar (John Brown's Body) serve as worthy contributors, though it's clear that Pidgeon is inarguably the music's driving force, serving as the key songwriter, producer and even art director. Doubt Is For Losers is a masterful record that deserves a serious listen. Reviews by Jamie Lee Relix Magazine - February/ March 2008 Thinking that Pete Pidgeon may have attention deficit disorder is reasonable; the liner notes of Pidgeon and Arcoda's Doubt Is For Losers credits him with playing upwards of 30 instruments, covering the art direction and design as well as producing the album. But where the hyper-creativity enhances the rock and pop textures in Arcoda's compositions, it skews the album's 13 tracks, allowing the quartet's blossoming eccentricities - the jazzy bump of Dream With Me and the acoustically quirky Treading Water - to degenerate into one-dimensional mires with a hard-rock bent (the appropriately named The Crusher steps on the feel-good flow early on). But even with this uncomfortable diversion, Pidgeon's songwriting prowess is acute, the number of keepers surpassing the throw-aways that litter an otherwise polished collection. CD Review by Linda Laban Boston Metro - December 17, 2007 The songs on Pete Pidgeon and Arcoda's Doubt is For Losers are as sparklingly positive as its title suggests. This self-produced, self-released effort (one of several discs released since 1998) combines funk, gospel, AM radio pop, Broadway, and jazz. Conviction, if not downright fervor, carries him far. That and a solid band, which includes Dap Kings/ John Scofield drummer Eric Kalb. Oddly, or not, the disc isn't touched by any musical influences past the mid 1970s. Reviews by Rob Forbes Leicester Bangs - December 2007 Pete Pidgeon and Arcoda - Doubt Is For Losers (Fowl River Productions) Doubt Is For Losers is an album of elevated pop songs from the acclaimed Boston band. Ambitious arrangements and intrumentation (over 80 instruments are listed), proper tunes and sweet vocal harmonies come together with a comfortable Americana vibe and it’s no surprise that Levon Helm played on the debut album. From interviews online, they seem to be going for broke with this release, and so they should. It oozes confidence and class - what can possibly go wrong? Inspired pop for the masses, done right, and great artwork, too. www.petepidgeon.com. "Pete Pidgeon Aims High With Arcoda" Locals to celebrate new release at Bill's Bar Friday Night by Jed Heneberry, Managing Editor BostonMusicSpotlight.com - November 9, 2007 You can’t say Pete Pidgeon isn’t trying. On his new full-length album with his band Arcoda, Doubt Is For Losers, Pidgeon plays over 30 of the 89 odd instruments on the record, all while serving as the producer, art director, manager, booking agent, and songwriter. “The important thing is that I’ll be getting more sleep in the next week or so than I have in the last year and a half,” Pidgeon quips. That grueling recording process is a result of Pidgeon’s intense drive to succeed in his desire to make music for a living. “When I realized I was going to be turning 30 soon I realized I had to get my act together,” says Pidgeon. “If I’m gonna do it I’m gonna do it now. I really went all out and did everything I could possibly do on this record so that if it didn’t succeed, then I could look back and say that there was nothing else I could have done.” The result is an album steeped in the staples of pop tradition, importing blues from Motown, horns from soul, strings from The Beatles, and filtering it all through a virtuosity which stems from the jazz tradition. Standout song “What?” contains many of these influences all within its constantly shifting arrangement. “There was just so much work going into that tune,” Pidgeon says of the song. “It started out as just me playing the chords on the acoustic guitar, but it had so much more potential that I decided to go all out and get the whole orchestra involved. Even just tracking down someone who played the tympani was a process.” Doubt’s grandiose ambitions are a far cry from Arcoda’s beginnings at SUNY New Paltz in the Hudson River Valley. Pidgeon moved to Boston after outgrowing the local scene and linked up with The Slip and members of the Mighty Mighty Bosstones during Arcoda’s early time in the hub. “That scene was really bumping at the time,” Pidgeon explains. “Then about a year after it dried up. And not until about a year ago did it seem like anything was happening. There’s a good scene now that’s starting to brew up in the Boston area, Zox, Bon Savants, Bang Camaro, all those bands are starting to make a great buzz for the scene now.” Pidgeon and Arcoda will celebrate the release of Doubt Is For Losers this Friday at Bill’s Bar on Landsdowne Street. Accompanying the band will be four-piece horn section Two Dolla Crack Horns. “If the amount of work that I’ve put into the album is any display of the potential of the live show then people should expect a lot from it,” promises Pidgeon. “The show is very tight. Think of a James Brown Soul review where it hits very hard and the tension is there the whole time, we don’t let up. It’s going to be a very exciting show. We’re not going out there to just play the songs.” Indeed, Pidgeon is way past just playing the songs. He’s now playing them with a definite purpose, a sense of ambition with a hint of desperation that reveals just how important making music is to him. And if Pidgeon’s own personal dedication and intensity is any indication, Arcoda will continue to make music for a long time to come. Pete Pidgeon and Arcoda play Bill’s Bar Friday, November 9. Doubt Is For Losers is available at www.petepidgeon.com, along with more information about the band. "Pete Pidgeon and Arcoda Deliver Inventive, Original Music" by Michael Witthaus Claremont Eagle Times - February 15, 2007 I wanted to write about the Grammys this week. I was pleased by the Academy's awkward yet spirited defense of free speech evidenced in the Dixie Chicks sweep of all their nominations. The only thing worse than stealing music, they said, is trying to stop musicians from creating it. They closed ranks around The Chicks - a noble thing. But I lost interest in the broadcast the moment The Police finished playing "Roxanne." Don't feel bad if you missed it. You should have seen Pete Pidgeon and Arcoda's set last Saturday at The Heritage, however. Those who did enjoyed an inventive and thoroughly enjoyable band. I'd heard some of their MP3s, but really wasn't sure what to expect. Their most recent EP, "Happy Song," is smoother than 20 dollar gin. In particular, "The Myth" blusters with Lucretia McEvil horn charts; Pete Pidgeon holds down the center with wicked guitar triplets and fifth-gear-on-an-icy-road vocals. On record, they take all that's great about melting pot Americana music and add a few drops of high-energy hot sauce. But what if it was all overdubs, multitracking and multiple takes? How would they sound in a bar surrounded by pool tables, milling patrons and NASCAR beer lights? Turns out I needn't have worried. My first indication that Arcoda has a knack for pulling musical rabbits out of their hat was their arrangement of Howlin' Wolf's "Little Red Rooster." Most everyone does it as a slow growling blues. Arcoda gave it their own stamp by turning it into a booty-shaking jump shuffle. Pete Pidgeon plays guitar like a roadhouse Pat Metheny, with a dash of prog-rock spiderfingers thrown in, on a big, hollowbodied Gibson six-string more typically seen in the hands of guys working behind monogrammed bandstands. He has the easy, natural touch of George Benson combined with the frenetic fret-ranging of Yes's Steve Howe. My favorite number of the evening was "Funk #49," a James Gang song from 30 years back. Arcoda gave it their own shape, playing the 4/4 intro as a Jimi Hendrix burlesque, then shifting into blistering solo trade-offs between Pidgeon and talented second guitarist Kurt Schellenberg. Don't miss them on their next trip to town. "Pete Pidgeon and Arcoda Deliver The Goods" by Michael Witthaus AlgoRhythms - February 13, 2007 [pic of Pete Pidgeon and Seth Rivers performing at the show] Chagrined that I’d gotten the date wrong in the previous week’s column, I made a point of being at Heritage Saturday for Pete Pidgeon and Arcoda’s set. I’d heard some of their MP3s, but really wasn’t sure what to expect of them live. Their most recent EP, "Happy Song," is smoother than 20 dollar gin, with throwback arrangements that would make Al Kooper smile and nod in appreciation. In particular, "The Myth" blusters with Lucretia McEvil horn charts; Pete Pidgeon holds down the center with wicked guitar triplets and fifth-gear-on-an-icy-road vocals, featuring goofy lines like "Every time I open my mouth I get misinterpretated." On record, Pete Pidgeon and Arcoda take all that’s great about melting pot Americana music and add a few drops of high-energy hot sauce. But what if it was all overdubs, multitracking and multiple takes? How would they sound in a bar, surrounded by pool tables, milling patrons and NASCAR beer lights? Turns out I needn’t have worried. My first indication that Arcoda has a knack for pulling musical rabbits out of their hat was their arrangement of Howlin’ Wolf’s "Little Red Rooster." Most everyone does it as a slow growling blues. Arcoda gave it their own stamp by turning it into a booty-shaking jump shuffle. So far, so good. Pidgeon plays guitar like a roadhouse Pat Metheny, with a dash of prog-rock spiderfingers thrown in, on a big, hollow bodied Gibson six-string more typically seen in the hands of guys working behind monogrammed bandstands. He has the easy, natural touch of George Benson combined with the frenetic fret-ranging of Steve Howe. I’ve never seen anything like it, with the possible exception of Robben Ford one night in 1979, when he was trying to upstage Bob Weir in a Palo Alto bar. Looking at Arcoda’s web site, it seems they’ve had more drummers than Spinal Tap. With longtime bassist Seth Rivers holding down his end, including a couple of wild and wooly solos, the only reason I knew they had a new rhythm section that night was because Pete said so. Unfazed, these guys could and did make it up on the spot, nailing a rough but ragged pre-Grammy cover of the Police’s "Message in a Bottle" at a fan’s request. My favorite number of the eveing was "Funk #49," a James Gang song that introduced me to kick-ass rock and roll nearly 30 years ago. Pidgeon and Arcoda of course gave it their own shape, playing the 4/4 intro as a Jimi Hendrix burlesque, then shifting into blistering solo trade-offs between Pidgeon and second guitarist Kurt Schellenberg, who is no slouch either. Their rip-roaring, and horns-free, version of "The Myth" closed the night, leaving me smiling and looking forward to their next trip to the area. "MUSIC" by Meredith Goldstein Boston Globe - October 17, 2005 Meredith Goldstein of The Boston Globe chose Pete Pidgeon's solo performance at TT the Bear's Place in Cambridge, MA as her one pick for music on the night of October 17, 2005. Her brief read: T.T. the Bears's goes unplugged tonight for its Monday "Other Side of the Bear" acoustic show. The 8:30pm program features Pete Pidgeon, frontman of the jazz-rock group Arcoda, which calls its music a blend influenced by artists such as Stevie Wonder, Radiohead, and the Beatles. Ben Riva and Andrew Parker-Renga are also on the bill. Tickets: $3. T.T. the Bear's, 10 Brookline St., Cambridge, 617-492-2327. "Pidgeon Flies Free" Northeast Performer Magazine - June 2005 The Boston band Pete Pidgeon and Arcoda has released a brand new 3-song EP entitled “Happy Song EP.” The disc features two songs with accomplished alto saxophonist Sam Kininger (of Soulive) as well as a host of horn players from John Brown’s Body, Color and Talea and more. The disc is currently available as a free download. Arcoda is currently shopping the EP for labels and management. Arcoda plays every Saturday night for free at Big City in Allston Pete Pidgeon and Arcoda was formed in the spring of 1998 at SUNY New Paltz in New York. The band soon outgrew the Hudson Valley in 2000 after multiple local sellouts and moved to Boston that winter. Since Arcoda returned to the stage on Halloween 2001, the band has been growing steadily and has amassed a strong Northeast following, including sellouts at Bill’s Bar on Lansdowne Street. Arcoda’s debut album "...At First Sight" hosts appearances from Levon Helm of The Band and Nate Albert of The Mighty Mighty Bosstones among others. The disc receives steady airplay from WERS in Boston and WKZE in western CT where it was named one of the top 10 indie releases of 2003. In addition, Jambands.com editors voted it one of one of their Top 50 albums in 2003. Arcoda’s live show includes the 3-piece Two Dolla Crack Horns which is composed of Sam Kininger (Soulive), Brian Thomas (John Brown's Body), and Mark Erickson (Sugarcoat). In the vein of solo artists Sting and Bob Dylan, Pidgeon keeps the Arcoda lineup fresh with new talent as his sound evolves. Keeping his plate full, Pete, who is endorsed by Mesa/ Boogie amplifiers, is also the guitarist for the Sam Kininger Band who recently topped the Japanese jazz charts. "Pete Pidgeon and Arcoda. Friends, Funk and Crack Horns. So where are all the groupies?" Pete Pidgeon and Arcoda celebrate six years as a band by playing at Boston's Harpers Ferry. Opening up for Arcoda was Color and Talea and Caveman. 4.4.04. by Jon Heinrich Meniscus Magazine, Issue #4 (May 2004)
Despite the fact that it was Sunday night, people were out to see Pete’s new Duane Allman anti-goatee ‘stash in force. Pete Pidegon and Arcoda played Boston’s Harpers Ferry to commemorate their sixth anniversary as a band with friends and family showing their respect for the band through the good times. The setlist featured a healthy repertoire of Arcoda classics, including lots of songs about making love—but who doesn’t like to make love? The brass backing from the Two Dolla Crack Horns capitalizes the progress the band has made over the last six years. Their simple presence commanded respect from the audience. [next paragraph paraphrased] The hyper fusion jazz of Color and Talea opened the show. Caveman came on the stage next with their floating, story-telling jams. [Their] loose rootsy, dream music was in stark contrast to Color and Talea’s hyper fusion jazz set and Arcoda’s melodic song-oriented set to come. As the Caveman set concluded and Arcoda began to set up, a noticeable change occurred in the crowd. The sparse Sunday crowd suddenly swelled to a group you’d expect to see on a Thursday or Friday night. Doubling in size, the crowd took on new life. The previous two performances more closely resembled a recital you’d see at Berklee School of Music, where people stood around concentrating wholly on the music, saying nothing to their neighbors. Everyone held a stoic glance, quietly examining the new music in front of them. When Arcoda took the stage however, people seemed to stream in out of nowhere as if there was a party in another room that had just been unleashed on the venue. Not only did the numbers pickup, there was suddenly a loud distinctive party noise echoing throughout. Whereas not many people were dancing before, by the time Pete Pidgeon took the first strum on his guitar, the dance floor was packed. [Not] pictured here, the Two Dollar Crack Horns consist of Sam Kininger on alto sax, Brian Thomas on trombone, and Chris "C Money" Welter on trumpet. Johnny Trauma, guitar, also joined the band several times throughout the evening. Warming the crowd up nicely, the four core members of the band, Adam Beamer on keys, Ben Hoadley on bass, and Aaron Jackson on drums opened with "The Way." By the time the Two Dolla Crack Horns took the stage on "You’re My Girl" to kick it up a notch, the crowd was hoppin’. It turned from a listening party to a dancing party! Over the past six years, Arcoda’s lineup has seen many faces come and go. With Pete Pidgeon as the common denominator, the band has had impressive members pass through it, all contributing to today’s sound. Perhaps the most influential addition to the band in recent years is Adam Beamer. Bringing continuity, complementary vocals and much of his own material. The band hasn’t been the same since. While Arcoda breaches the jamband category, they retain their own niche with emphasis placed melodically in the song writing. They pull influence from jazz, jam, and 80s culture to produce an elegant, energetic folk sound. In their third year in Boston, the band stays busy touring around the Northeast and promoting their recent album, "...At First Sight." While the album is a gentle collection of easy going folk rhythms, the shows are anything but mellow. Freedom and love flow about the crowd of beautiful people that are latched to the driving inspiration of live music. Deep folk roots and elegant simplicity comes through every note Arcoda plays. Pete, we wish you the best for your next six years! Keep on rockin’! "The Rogovoy Report" by Seth Rogovoy Berkshire Eagle - April 23, 2004
Pete Pidgeon majored in jazz at the State University of New York at New Paltz, where he first formed his band, Arcoda. That presumably accounts for the jazzy vibe running through his group’s unique brand of jam-rock as heard on "At First Sight" (Fowl River) – think Steely Dan crossed with the Grateful Dead. The group -- which performs at Club Helsinki in Great Barrington next Thursday, April 29, at 8, as part of the monthly "Off the Beat-n-Track Presents" series -- includes Berkshire native Ben Hoadley on bass, as well as a three-piece horn section featuring members of Soulive, Lettuce and John Brown’s Body. The Berkshires’ own Tom Ingersoll warms up the crowd for Arcoda. "'...At First Sight' named Top Ten of 2003 on The Off the Beat-n-Track Radio Show" Announced December 27, 2003
"...At First Sight" was named one of the Top Ten Indie Releases of 2003 on the Off the Beat-n-Track Radio Show on WKZE 98.1FM, and was featured on the New Year's Eve edition of the program on Wednesday December 31 from 7-9 EST. "Meniscus Picks New Years 2004" Meniscus Magazine, Issue #2 (Nov. 2003) Pete Pidgeon and Arcoda are having a phenomenal 2003. Their first studio album "...At First Sight" was released last spring and has opened many doors for this Boston based [quartet]. The addition of horns during live performances gives the band the volume they need to get the dance floor groovin’. The funk inspired live flavor brought forward by Adam Beamer on keys and Seth Rivers on bass, only adds to the party vibe. Of course, Pete is guaranteed to deliver those vocals and intricate lyrics that makes Arcoda stand out from pack. Addison Groove Project and Arcoda; The Paradise and Bill's Bar; one tough decision [this NYE]. "Editor's Picks" Published August - September 2003 on Jambands.com
In both August and September of 2003, Arcoda's debut "...At First Sight" was voted by the editors of Jambands.com as one of the month's top 50 albums. "Fareed Haque Performs with Arcoda" by Jeff Waful Published October 2, 2003 on Jambands.com: Guitarist Fareed Haque joined Arcoda last night at Bill’s Bar in Boston. Haque (Garaj Mahal) took the stage for the last two songs of the set, "Left-wing Politics in a Vacuum" and "Thank You." Later in the night, during Garaj Mahal’s second set, Arcoda guitarist Pete Pidgeon returned the favor, joining the band for Miles Davis’ "Jan Jan." Saxophonist Sam Kininger (Soulive), who is a member of Arcoda’s horn section – The Two Dolla Crack Horns - also sat in for a portion of show. Mysteriously, Haque did not perform with his band during the second set. "Holding The Bag: August 2003" by Jesse Jarnow Published August 28, 2003 on Jambands.com: "...At First Sight" - Pete Pidgeon and Arcoda Guitarist Pete Pidgeon emerge out of the vast fusion-fried jamband scene of the northeast. Like their brethren in Uncle Sammy, Addison Groove Project, The Miracle Orchestra, and The Slip, Pidgeon and company draw liberally from snaky funk rhythms. While groove oriented, the songs are vocal driven. In places, Pidgeon's easy-going vocals ramble and wind like a guitar solo, through little melodic nooks - such as a surprisingly David Bowie-esque turn in "Apple Core" - justify[ing] the credibly original approach. On the latter song, the band's arranging matches the vocal approach as it builds towards a pleasantly lazy climax. With Levon Helm of The Band on drums, the group turns in a trio of surprising (and wisely grouped together) Americana-tinged numbers -- "But It Don't Worry Me," "When The Devil's Come To Take My Angel Away," and "Pretty Woman Don't Follow Me." A diverse effort, and a swell entry in the annals of jamband pop. Oblique Strategies sez: "Twist the spine." "Pete Pidgeon and Arcoda at Bills Bar" Published August 20, 2003 in the band Three Percent's Email Newsletter We highly recommend y'all hop on over to Bills Bar on August 27th to see our good friend Pete Pidgeon and his band Arcoda as they show Lansdowne St. how it's done. Pete joined us on guitar up in Limestone at "IT" and helped us rip "IT" up. For more info log on to: http://www.petepidgeon.com or http://billsbar.com. "Pete Pidgeon and Arcoda - ...At First Sight" by Brooks Williams Review published August 2003 on MOHeads.com I first heard of Pete Pidgeon a few years ago. I was sent a link to a few mp3's and I liked what I heard. I exchanged a few emails with Pete and then lost touch. A few months ago I saw a news item on jambands.com that announced Pete's album and I dropped him a line, hoping to get a promo copy of the album. The CD came on a lazy Saturday afternoon and I spent the next hour absorbing this great music. The album, ...At First Sight, opens with a song that sets the tone for the rest of the album. With it's cool jazzy feel and distorted whispering vocals, "Left Wing Politics In A Vacuum" is a nice showcase for Pidgeon's jazz-influenced guitar playing. It's a subtle song, both musically and lyrically, suggesting in it's whispers that "in the end you will find / If relaxed you'll be fine / So sit back and recline and unwind." In some way or another, this relaxed feeling finds itself into nearly every song on the album. No matter how much colorful noise is being made, a laid back vibe can be found in almost everything. The first instrumental, "Dang, Somebody Done Stolded My Wheels," is an agressive groove-fest. Drummer Jeremy Gustin crashes about belligerently while bassist Seth Rivers pounds out a funky groove. Keyboardist Adam Beamer bangs out some catchy paino while Pidgeon rides on top of it all with his guitar. It's a short song, but fulfilling on a number of levels. Levon Helm of The Band joins Pidgeon and crew on "But It Don't Worry Me" on drums and mandolin. It's a rootsy acoustic song about losing love and moving forward. A great drinking song, for sure. Helm's mandolin is sprinkled throughout and along with some acoustic slide work it feels so authentic. So often bands try to do a country or bluegrass tune, but it always sounds like a rock band doing country. "But It Don't Worry Me" sounds like the real thing. Along the same lines is "When The Devils Come To Take My Angels Away, " a song that sounds like something The Band might have played back in their heyday. This song also features Levon Helm on the drumset as well as Paul Wolstencroft on organ. It's a reletively simple song, but it's catchy chorus and great lyrics give it a warm feeling. Pidgeon does a very short and very pretty solo acoustic number called "Backup 40,000 lb. Love Ship" before the band glides into the very laid back ska-influenced "Come To Me." This song features Nate Albert (formerly of the Mighty Mighty Bosstones) on lead guitar. This song is one of the best examples of Pidgeon's excellent vocal ability. With the spacious instrumentation his voice is left more open to shine on its own. The horn arangements perfectly complement the song and makes it one of the best songs on the album. "...At First Sight" closes with "The Way" and it's companion, "The Way Out." The former is a fun song about love and has a chorus that makes you want to sing along. The latter is an expansion on the chorus of the previous song and it closes the album with smiles. The best thing about Pete Pidgeon's songwriting is that it always sounds so genuine, regardless of the genre. The lyrics always fit the song perfectly and nothing ever feels out of place. He has a knack for digging into the soul of a song, finding its root, and then crafting the rest of the song around that base. In most cases the results could not be better. "Several Special Guests Join Zyrah's Orange" by Jeff Waful Published May 29, 2003 on Jambands.com: A long list of special guests jammed with Zyrah’s Orange last night at Johnny D’s in Somerville, MA. Bassist Mike Rivard (Club d’Elf) sat in for “Leave” and bass player Brian O’Connell (Uncle Sammy, Gordon Stone) added Warr guitar to “8 Words.” Keyboardist Paul Wolstencroft (Jiggle, Trauma Unit) then emerged for “Susan Sweet” and guitarist Pete Pidgeon (Arcoda) stepped in for “Fire Engine.” Other guests included vocalists Ricky Ginsberg (Three Percent) and Kathy McCann as well as tenor saxophonist Thomas Razler. "On the Record: Pete Pidgeon's Music A Multi-Layered Sound" by John W. Barry Published May 16, 2003 in The Poughkeepsie Journal Last call has passed and the party is moving from the dance floor to the sidewalk. The morning sun pours down Main Street in New Paltz like dreams down a drain and Pete Pidgeon finds himself alone on an empty stage at Snug Harbor, a downtown bar where countless broken-hearted poets and musicians have cried in their beers before accidentally spilling them on the floor. As the band breaks down, Pidgeon begins to sing in a voice that captures the gritty side of Trey Anastasio and the earnestness of Dave Matthews. He launches into a song about girls, two-timing best friends and moonlit nights when the only bright side of life comes beaming in from outer space. Welcome to perhaps the best song on ''... At First Sight,'' the new CD from Pete Pidgeon and Arcoda. ''When the Devils Come to Take My Angels Away'' takes the listener on a stilt-walking expedition through chord progressions that conjure the Grateful Dead's ''Mississippi Half-Step Uptown Toodeloo'' and lyrics that straddle the line between college innocence and adult callousness. Feels like you're there Pidgeon and his band have created a CD that tugs on your heart while massaging your ears. Some of the songs are much better than others, but the collection overall is a keeper. The ensemble manages to maintain the feeling of a live gig, where an enraptured crowd of close friends would remain quiet and polite during the softer, jazzy tunes but let loose with excitement during the rockers by hurling raw emotion and empty beer cups at the stage. Draw your own conclusions tonight when Pete Pidgeon and Arcoda plays The Loft in Poughkeepsie, which is part of The Chance entertainment complex on Crannell Street. Doors open at 8:30 p.m. for the show, which also includes Five Minute Riot and Still Casting Shadows on the bill. Pidgeon and his bandmates are based in Boston but maintain strong links to the Hudson Valley. Pidgeon was a jazz major at the State University of New York at New Paltz and graduated in 2000. Bass player Seth Rivers graduated from Poughkeepsie High School and is attending the legendary Berklee School of Music in Boston. Completing the band's lineup is Randy Wooten on drums and Adam Beamer on keyboards. Pidgeon's musical interests range from jazz to classical to Phish, a band he has traveled hundreds of miles to see more than a hundred times. But the songs on ''... At First Sight'' recall Queen, Pink Floyd, Led Zeppelin, the jam band Percy Hill, straight-ahead jazz and down home bluegrass. And Woodstock musical legend Levon Helm, former drummer for The Band, plays drums and mandolins on several tunes. '' ... If I'm going at a certain style of music, [I'm] going fully in that direction rather than compiling a bunch of different styles and bundling them down to one style, which I see a lot in the jam band scene,'' Pidgeon said. ''It always ends up sounding like the same band.'' More about Pete Pidgeon and Arcoda Pidgeon graduated from the State University of New York at New Paltz and Arcoda bass player Seth Rivers graduated from Poughkeepsie High School and attends the Berklee School of Music in Boston, where Pete Pidgeon and Arcoda is currently based. This band formed a large part of its identity at Snug Harbor, a downtown bar in New Paltz that regularly gives birth to a night of music, dancing and singing before "Last Call" is announced by the bartender and the throbbing masses of partygoers spill out onto the sidewalk looking for an after-hours party. Pidgeon majored in jazz studies at SUNY New Paltz, studying under Jazz Studies Department Chairman Mark Dziuba, a guitarist who plays regularly in clubs around the region with the jazz ensembles, Duo Loco and Trio Loco. Pidgeon has attended more than 100 Phish concerts. Seeing this jam band ensemble from Vermont introduced Pidgeon to improvisation, which led him to jazz. "It tied a lot of things together," Pidgeon said of Phish's unique style of music. "You could hear Genesis and Yes influences but there was also this improvisational thing which I had never gotten into. That opened the door for jazz for me." Pidgeon's jazz influences and his days on tour with Phish are reflected in "...At First Sight." The CD is an excellently-produced collection that captures the intimacy and urgency of a live performance and the refined nuances obtained only by spending hours and hours in a recording studio. Playing mandolin and drums on several tracks on the CD is Woodstock musical legend Levon Helm, the former drummer for The Band. For information about Pete Pidgeon and Arcoda: visit www.petepidgeon.com. Local music online Hear music from Pete Pidgeon and local artists at www.poughkeepsiejournal.com/entertainment/groove. John W. Barry is the music writer for the Poughkeepsie Journal. Write him c/o Poughkeepsie Journal, P.O. Box 1231, Poughkeepsie, NY 12602, call (845) 437-4822, or e-mail jobarry@poughkee.gannett.com. "Pete Pidgeon and Arcoda Releases Debut Disc" by Jeff Waful Published April 30, 2003 on Jambands.com: Arcoda, the ensemble spearheaded by guitarist/songwriter Pete Pidgeon, will release its debut album tomorrow. "...At First Sight" features guest appearances by The Band's Levon Helm on drums and mandolin, Ben Groppe (Addison Groove Project) on sax, Nate Albert (Mighty Mighty Bosstones) guitar and Brian Thomas (John Brown's Body) on trombone. The band will celebrate the completion of the disc (the project has been in the works for nearly two years) with a series of CD release parties, the first of which is Thursday at Joe's Mill Hill Saloon in Trenton, NJ. Additional dates and info on purchasing the disc can be found at the Arcoda web site. "Levon Helm Records with Arcoda" by Jeff Waful Published October 31, 2002 on Jambands.com: Drummer Levon Helm (The Band) recorded with Pete Pidgeon and Arcoda this week. The studio sessions included three Arcoda originals as well as Bob Dylan’s “Tonight I’ll Be Staying Here with You.” As a member of The Hawks (who later became The Band), Helm backed Dylan when he first went electric in the mid-sixties. Arcoda is comprised of guitarist Pidgeon, percussionist Jeremy Gustin, pianist Adam Beamer and bassist Seth Rivers. The album is due out early next year. "The Live Live Interviews Available Online" Published September 9, 2002 on Jambase.com: Noncommercial community radio program in Boston posts in-depth interviews with Tea Leaf Green, AGP, and others Live Live (pronounced "Liv Live") is proud to offer the first installment in an ongoing series of live interviews on its website, http://homer.etree.org/livelive. The interviews are available for download, free of charge, in .mp3 format. We currently feature interviews with Tea Leaf Green, members of Addison Groove Project, Pete Pidgeon and Arcoda, and Nikulydin. In addition to comprehensive, in-depth discussion with the band, the Live Live interviews also feature exclusive live in-studio performances, as well as recorded live performances from the bands' archives. While most band interviews adhere to strict time and print space limits, the Live Live interviews contain up to two hours of high quality material, providing listeners and fans with a wealth of content not possible elsewhere. These interviews probe beyond a set of stock questions and prepared answers; they give fans and listeners a deeper insight into the musicians interviewed, as well as their art. For more info on Live Live, go to the show's website at http://homer.etree.org/livelive. June 25, 2002, recorded, live, on-air interview on the Allston-Brighton Free Radio show Live Live
This two-hour show was originally posted to the Live Live website archive page in 15- minute segments but is no longer available. The show, hosted by David Taus and involving Pete Pidgeon and Jeremy Gustin, features in-studio acoustic performances of Say Baby, Stripped Down, and The Way played by Pete on guitar and vocals and Jeremy on duct tape, pencil and paper. "Pete Pidgeon and Arcoda | 6.26.02 | Harper's Ferry - Boston, MA" by David Taus Published on the Live Live radio show website on July 1, 2002 Short of a handful of music fans that take it way too seriously most of the time, the primary purpose of live music is to have fun. Ask Pete Pidgeon. He'll tell you what it's about. "Playing in clubs is just a party," he'll say. And he delivers. If it is indeed a party you're looking for, look no further than Arcoda. This, it seems, is the age of the jamband. He who can extend a song for the longest amount of time is king. While the merits of the extended live improvisation are not meant to be diminished here, there is also something to be said for being succinct. To distill all that is good of a 20-minute jam into a three or four minute package is at once a noble endeavor and the pinnacle of an ancient art called 'songwriting,' a supposed relic of pre-jamband days. Pete is a songwriter, as comfortable at an acoustic folk open-mic night as he is at an electric club gig. And while Arcoda maintains the jamband sensibility and appeal, they are also able to pump out songs, recognizable, catchy songs that get you off your barstool and moving. They even dip into the subject pool of such forbidden topics in the jamband world like love and girls. Jokingly, Pete calls it "Pop Gold." But at the center of every joke, Freud teaches us, there is a nugget of truth. So test it if you will; here the Pop Gold is the real McCoy. While Pete would admit that he and Arcoda keyboardist Adam Beamer have penned their share of musical run-on sentences, the main thrust of Arcoda's show at Harper's Ferry on June 26 was to keep it to the point. And the point was fun. Following an icebreaking acoustic guitar ditty from the Pidgeon/Beamer duo, the band opened the show Proper with an upbeat ode to the nude photograph called "Stripped Down." The ensemble was tight from the get-go, glued together by drummer Jeremy Gustin's arena-style rock/funk swinging on the kit. Pete's buttery vocals and acute stage sense forged musical paths for the band and audience alike to follow. I was struck with how ingeniously simple and honest everything was. The stage setup itself was nothing more than a guitar, a bass, a keyboard, three amps, and a drum kit. Sadly, the sound came out as a bit muddy up front, but when I moved back towards the soundboard, the sound sharpened considerably. I think this is just a flaw in the speaker setup at Harper's Ferry: the sweet spot is the soundboard, and not the audience. It is certainly not the band's fault, but is something that anyone who plays Harper's should be aware of. Luckily, it didn't matter much; Arcoda's setup and sound is very honest, clean, and simple. I counted two effects pedals on stage total, and couldn't make out any other means of altering the sound. Pure, clean, wholesome fun. Pop Gold. Except that Arcoda would launch into songs with titles like "$2 Crack Ho" (a surprisingly subtle and compositionally complex tune), adding the requisite wackiness and bizarre sense of humor of the jamband to the equation. The combination was made possible by Pete's affinity for stage banter and crowd interaction; he made Harper's Ferry feel like Arcoda's backyard barbecue and jam session. This was possibly the hallmark of the show from a Live Live perspective: the sense of community was astounding. A brief look into the history of Arcoda would teach you that its current incarnation is approaching some sort of solid lineup. Despite the rotating bassists, the trio of Pidgeon, Beamer, and Gustin are solid foundations to a band that, at various points in its history, included members of Uncle Sammy, the Miracle Orchestra, and Addison Groove Project, among others. It seems that finally, Arcoda is coming into a more permanent, solid lineup and will have time to cultivate its sound, refine the balance of songwriting and improvisation. Although Arcoda works the songwriting angle more than the typical jamband, they are not afraid of the jam. Take, for example, "Thank You," a funky tune that featured saxophone work from "Jess," the saxophonist from the Living Daylights, a prog-jazz trio that opened the show. Despite Pete's casual introduction, "Thank You" dug deep into the funky stuff from which butt-shaking comes and Arcoda, along with Jess's aid, delivered big for the aficionados of the jam. Songwriting not to be forsaken, Arcoda brought it back to their compositional forte with some tight compositions and poignant lyrical twists. All this, sadly, was accomplished for a small crowd. What was it about this sweltering Wednesday night that kept all the music lovers of Boston in their apartments? For those dancing, there were not many complaints due to the generous amounts of floor space. For those listening beyond the dance floor, one could not help but be impressed by the effort that band put out despite their crowd. If Arcoda is to play, it seems, they are going to do it 100 percent regardless of crowd size. And for a band that interacts so much with its audience, that is above admirable. So for the few blessed or lucky enough to find themselves at Harper's on June 26, it was a party. Everyone, including the band, was all smiles all night. When the time came for me to put down pen, turn off mind, and just shake my butt and have a good time, Arcoda delivered with a big golden nugget of songwriting fun. "Jessica Lurie Sits in with Arcoda" by Jeff Waful Published June 22, 2002 on Jambands.com: Living Daylights’ saxophonist Jessica Lurie took the stage with Pete Pidgeon and Arcoda last night at Harper’s Ferry in Allston, MA. Lurie emerged for "Thank You" midway through the set. Arcoda is Pidgeon’s backing band, which features an ever-changing line-up currently comprised of keyboardist Adam Beamer, bassist Lajos Incze and drummer Jeremy Gustin. "Pete Pidgeon | 03.19.02 | Lizard Lounge"
by Jon Heinrich
Published March 28, 2002 on Jambase.com:
This rising east coast collaboration is steeped in song writing more than "jamming" but seem to appeal to a wide array...
The air was crisp outside the Lizard Lounge last Tuesday night, but it would serve as perfect contrast to the rouge groove inside. The soft flair of red velvet curtains blanketed my senses as Pete Pidgeon and Arcoda, headlined a collaboration of Boston musicians to welcome the first official day of spring.
Collaboration was the theme of the night and it got going strong as Mystery Mullet Circus took the stage as the opening act. This freestyle jazz act comprised of Jonti Siman (bass) from Fat Mama, Jared Sims (saxophone) and Bill Cabone (drums) from Miracle Orchestra and Eric Hoffbauer (guitar). They warmed the stage early with fluttering guitar, countering bass groove and deep, dark blues.
Next, Arcoda took the stage with Pete Pidgeon (guitar and vocals), Adam Beamer (keyboard), Lojas Incze (upright bass) and special guest collaborators Andrew Keith (drums) from Addison Groove Project and Jon Hawes (electric bass), formerly of Moon Boot Lover and Percy Hill. Smooth, clean, happy melodies permeated the air and left a look of bliss on the bobbing faces of the audience. The mix of talent peaked when both bass players, joined by Jared Sims, dueled it out in "Thank You" for a wailing jam. But the jam was just the beginning.
Ideally, Arcoda would not like to be in the "jamband" category although it seems to be inevitable. In the current explosion of bands, the term seems to envelope any and all improvising musicians, however firmly established in their own genre.
The song writing style of Pete Pidgeon and Arcoda can be characterized as exactly that - songwriting. "There are so many bands now that just get up there and jam for 15 minutes on two chords, and they’re good at it, but something has to emerge from that scene as distinct." Pete uses his influence in jazz, jam and his youth in the age of ‘80’s pop to churn out more concise compositions similar to those of the Aaron Katz Band and the Dan Rocket Band. They have a songwriting focus but a jamband background creating songs with a strong melodic foundation and lyrical theme.
Having written over 60 original songs, the band has plenty to choose from including several new collaborations with keyboardist Adam Beamer. Overall, the songs take on an easy going groove, epitomized by songs like the funk-based "Thank You", "Say Baby" and the Stan Vincent cover "Ooh Child".
Now that the band’s been in Boston for a year, it’s starting to solidify its lineup with the permanent addition of Lojas Incze on double bass. "We had been looking for a bass player for four straight years" explains Pete, "then this guy shows up to the audition with a Colt 45, nails all the tunes and that day, he’s in." In addition, Adam Beamer has been a member of the band since Halloween ’01 and has since contributed several new songs like the Tuesday night highlight "Two Dolla Crack Ho". In describing Adam, Pete says, "His fluidity, his phrasing, its all there. He’s a great piano player and song writer, now all we need is a drummer and we can start touring!"
But having enough band members hasn’t been a problem since the band moved to Boston. "The list of people we have played with is exciting," says Pete. "We’ve played with members of ulu, The Slip, Addison Groove Project, Miracle Orchestra, Uncle Sammy, and Perfect Thyroid. If we would have had a band this whole time, we wouldn’t have had any of this."
Right now the band has been doing its best to improve exposure by opening for better-known acts in the Boston area. While they never cater to what they think the audience wants, they are hoping to find a niche of music fans who are into the song oriented approach, even if it means recruiting them from the jambands crowd. "Even Dave Matthews had a heady scene back in ’94," Pete recalls.
As the show came to a close, Pete announced a special "spring time melody" to bring in the official change that occurred at midnight. It seems that in addition to the trees, Arcoda too, will enjoy some blooming. A solid three-piece lineup and unlimited collaboration will help in this seasons newest style of lyric melodic revival. "Boston Musicians to Collaborate Tonight"
by Jeff Waful
Published March 19, 2002 on Jambands.com:
Several Boston musicians will perform at the Lizard Lounge in Cambridge, MA tonight. Pete Pidgeon and Arcoda will headline the evening. The line-up features drummer Andrew Keith (Addison Groove Project), bassist Jon Hawes (formerly of Moon Boot Lover and Percy Hill), bassist [Lojas Incze] and pianist and vocalist Adam Beamer. Opening the show will be Mystery Mullet Circus, which includes Miracle Orchestra’s Jared Sims (saxophone) and Bill Carbone (drums) as well as Fat Mama’s Jonti Siman and Eric Hoffbauer. Showtime is 9 p.m. For more information, visit www.petepidgeon.com. "ULU | 12.13.01 | HARPER'S FERRY"
by Craig Vinecombe
Published December 17, 2001 on Jambase.com:
"Brad Barr Sits in with Earthy Delights" by Jeff Waful Published November 28, 2001 on Jambands.com: The Slip’s Brad Barr took the stage with Earthy Delights last night at the House of Blues in Cambridge, MA. Earthy Delights consists of Uncle Sammy’s Brian O’Connell and Thomas Arey, along with Pete Pidgeon, Ric Baker and Roger Pannella. Barr (guitar) joined the band for a jazz version of The Beatles’ "Norwegian Wood," which was dedicated to the ailing George Harrison. Barr also sat in with opening act Tagine earlier in the evening. That group features Timo Shanko of Fully Celebrated Orchestra, Grayson Farmer of The Jazz Farmers, Andrew Barr of The Slip, Marco Benevento and Rich Stein. "Double Helix Is Born" Published November 2, 2001 on the Uncle Sammy Website: Beau Sasser and Tom Arey of Uncle Sammy have formed a side project, entitled Double Helix. A drum and bass live jungle groove sound is the general theme. They've already played gigs with Brian of Uncle Sammy, Pete Pidgeon of Arcoda, Rob Marscher of Addison Groove Project, TQ formerly of Nozmo King, Ric Baker on trumpet, as well as other musicians. They have played the Lizard Lounge and Lilli's, and keep your eyes peeled for more gigs in the future. "Special Guests Join Uncle Sammy" by Jeff Waful Published November 2, 2001 on Jambands.com: Special guests joined Uncle Sammy for the band’s Halloween show Wednesday at Harper’s Ferry in Allston, MA. Addison Groove Project’s Ben Groppe was the first guest to emerge and played tenor sax on "Zapatos Bailando." Next up was vocalist Dawn Derow who sang "Spooky." Keyboardist Rob Marscher (Addison Groove Project) then performed on "Teen Town," "The Night Court Theme" and "Windjammer." The latter two songs also featured Groppe and Arcoda guitarist Pete Pidgeon. "Featured Band" Published November 1, 2001 on BandsInAmerica.tripod.com:
The website BandsInAmerica.tripod.com chose Pete Pidgeon and Arcoda as their featured band for November 2001 and hosted a link to the band's official website. "Halloween Time In Beantown" by Mr. Completely Published October 25, 2001 on Jambase.com: Also October 31, Boston's own Uncle Sammy will be providing a full evening of serious jams at Harpers Ferry. Barnstorm and Arcoda open the evening, and discounts on ticket prices are available for all members of the Beantown shows discussion group. Uncle Sammy has been making a lot of noise in the northeast over the last year, gaining a reputation as one of the region's premier jam masters. "Fareed Haque, Pete Pidgeon Sit in with Addison Groove Project" by Jeff Waful Published October 1, 2001 on Jambands.com: Fareed Haque and Pete Pidgeon performed with Addison Groove Project Saturday night at Pearl Street in Northampton, MA. Haque (guitar) joined the group for "38" and Pidgeon (guitar) emerged for Freddie Hubbard’s "Red Clay." Published August 16, 2001 on The Fortyfour, Inc.: posted by the mobiustrip 2:31 PM Anywho, my old friend from New Paltz, Pete Pidgeon, will be playing down in The Lounge at The Wetlands this Saturday [and the show will feature Brian on] Chapman Stick. Check it out. "Local Boston Musicians to Collaborate Tonight" by Jeff Waful Published September 6, 2001 on Jambands.com: Several Boston musicians will take the stage tonight at the Lizard Lounge in Cambridge, MA. The group, billed as Double Helix, features keyboardist Rob Marscher (Addison Groove Project), vocalist T.Q. (Nozmo King), guitarist Pete Pidgeon (Arcoda), keyboardist Beau Sasser (Uncle Sammy), drummer Tom Arey (Uncle Sammy) bassist Brian O'Connell (Uncle Sammy) and trumpeter Ric Baker. Showtime is 9 p.m. "Uncle Sammy Bassist Forms Side Project" by Jeff Waful Published July 18, 2001 on Jambands.com: Uncle Sammy bass player Brian O'Connell has assembled a side project called Earthy Delights. The line-up features O'Connell, guitarist Pete Pidgeon (Arcoda), trumpeter Rick Baker and drummer Darcy McCrae. The quartet will make its debut August 18 at Wetlands Preserve in New York City. "Brian O'Connell Forms Side Project" Published July, 2001 on the Uncle Sammy World Wide Webquarters: Uncle Sammy Bassist Brian O'Connell has formed a side project named Earthly Delights, which will make its debut in the lounge of the Wetlands Preserve on August 18th. The project features O'Connell himself on bass/chapman stick/vocals, Pete Pidgeon on guitar/vocals, Rick Baker on trumpet/flugelhorn/samples and Darcy McCrae on drums. O'Connell will be playing a lot more chapman stick than he normally does in Uncle Sammy. Published June 26, 2001 on the Uncle Sammy World Wide Webquarters Message Board: Posted by jim (208.218.128.6) on June 26, 2001 at 11:35:50: Tonight...soon to be world famous guitarist without a band will be performing a: (1) free (2) all ages show at Matt Murphy's on Harvard Ave in Brookline (close to Rt 9) with after-show party at my house (The Alpine House on Parker Hill Ave.). E-mail me for info. FREE SHOW, ALL AGES? Dood, i'm there. Check www.petepidgeon.com for directions to the club...its pretty easy to find actually. "ISO Arcoda Lyrics" Published June 11, 2001 on The Slip E-Mail Discussion Group: Posted by ALarryLock@AOL.COM: I DL the show from Harper's Ferry tonight from theslip.net and it so dope! Everyone should DL this show ASAP! I think you have to search for Arcoda rather than Pete Pidgeon in order to find it on the site. I would really love to get the lyrics for Tea for Two if Pete would be so kind. peace, Sean "Pete Pidgeon Sits in with Uncle Sammy" by Jeff Waful Published June 8, 2001 on Jambands.com: Guitarist Pete Pidgeon performed with Uncle Sammy last night at Harper's Ferry in Allston, MA. Pidgeon (Arcoda) joined the band for "M.A.G." and then returned later in the set for "Windjammer." "Tribute To Beloved Student At Cabs" by Michael Isenbek The May 3, 2001 issue of The New Paltz Oracle featured a review of the April 29, 2000 benefit concert for the family of the late Ivo Shanks. Below is the section on Pete Pidgeon and Arcoda: ...The show flowed on into the final act, Pete and Gian, with Gian Starr singing his heart out to soulful Dylan and Dead tunes and Pete [Pidgeon soloing] on a semi-vintage Gibson hollow-body guitar. The dial [tuned] itself into the voice of timeless musicians and poets steeped in all-knowing grief as well as joy. "Broken Down Palace," a gentle acoustic Grateful Dead song, and the dark, blues standard, "Death Dont Have No Mercy," with Pete laying down minor-key runs and harmonizing, showed both [the] yin and yang of sweetness that life and death bring. "I Shall Be Released," a Dylan original, finished up the set and show. Jester's Dead percussionist Andrew Cass wrote the following in their April 27, 2001 E-Newsletter: First of all I wanted to thank everyone who helped with our show a Wesleyan College. Pete Pidgeon played with us and tore it up on guitar in the usual Pidgeon fashion. Go to Pete's webiste at www.arcoda.cjb.net for more information on Pete. "Northeast Regional Report" by Tony Oliveira Published Spring 2001 on Jambands.com: A few weeks back I had what I consider to be a wonderful evening of music courtesy of the Boston area music scene. Now, I've definitely seen shows that I enjoyed more and I wouldn't call this evening mind blowing, but the fact is the night was pretty representative (to me) of what this little scene has going. My first stop was over at Harper's Ferry to check out a friend's (and recent Boston transplant) first ever gig out [in Boston]. It was booked as "Pete Pidgeon of Arcoda". I first met [him] a while back at a Slip show in Albany or NoHo (can't recall), but more recently got to know him from his time doing the lights for the Slip during their fall tour. It was pretty interesting to see Pete up on stage playing various original tunes mostly in a solo guitarist environment. Previously [I] had only seen him screwing around on guitar by himself or with Brad from the Slip. Eventually Pete was joined by Andrew Barr of the Slip on drums, Jared Sims on sax, and Garret Sayers on bass (both of the Miracle Orchestra). This is when the playing really took off as Pete was now free to just play guitar as previously he was trying to play both rhythm and lead due to the fact that he was playing solo. It's too bad for Pete that these musicians are already taken ;) (Coincidentally, Pete is looking for folks to join him so if you are interested, get in contact with him at [arcoda316@hotmail.com])... ...It's a pity that I waited this long to finally see what my Slip/jazz friends had been talking about. Again, I found this night to be really representative of how lucky the Boston area is in terms of music. Published February 15, 2001 on the Uncle Sammy World Wide Webquarters Message Board: Posted by Steely (4.36.210.10) on February 15, 2001 at 12:39:08: Who were the guests on 2/14? There was a guitarist who absolutly ripped, and I'd like to find out what band he's from. I didn't catch his name...maybe it was Tim? He was wearing glasses I think if that helps... Posted by Thomas on February 15, 2001 at 13:00:14: I think the only guy up there with glasses was John....on Windjammer...he slammed it. Posted by Chopper on February 15, 2001 at 13:03:42 His name is Pete Pidgeon... "Special Guests Perform with Uncle Sammy" by Jeff Waful Published February 15, 2001 on Jambands.com: Several special guests sat in with Uncle Sammy last night at Harper's Ferry in Allston, MA. The show, which was billed as "Uncle Sammy and Friends," featured performances by guitarist Gabe Johnson (Jive Talkin' Robots), keyboardist Paul Wolstencroft (Jiggle), guitarist Jon Trama (Rockett Band) vocalist T.Q. (Nozmo King), keyboardist Rob Marscher (Addison Groove Project), trombonist Brian Thomas (John Brown's Body), guitarist Pete Pidgeon (Arcoda) vocalist Dawn Derow and guitarist Roman Zeitlin. The show included a variety of Uncle Sammy songs in addition to few Valentines Day covers such as "Let's Get It On," "Is This Love?" "Golden Lady" and "Sex Machine." "Members of The Slip, Miracle Orchestra, and Mountain Of Venus to Collaborate with Pete Pidgeon" Published January 16, 2001 on TheSoundboard.com: Former Arcoda Guitarist/Vocalist Pete Pidgeon will be performing a solo show scheduled for Wednesday, the 17th at Harper's Ferry. Special guests announced include Jared Sims, saxophonist for Miracle Orchestra and drummer Andrew Barr of The Slip. Tanya Shylock of headliner Mountain Of Venus will be singing harmony for a song as well. The show starts at 9:00pm, Harper's Ferry is located at 158 Brighton Ave in Allston, MA. Mountain Of Venus plays at 10:30pm. Phone: (617) 254-7380 or (617) 254-9743. For More Information: http://members.tripod.com/arcoda/ "Pete Pidgeon to Collaborate with Members of The Slip and Miracle Orchestra" by Jeff Waful Published January 15, 2001 on Jambands.com: Pete Pidgeon will make his Massachusetts debut Wednesday night at Harper's Ferry in Allston. Backing Pidgeon will be Miracle Orchestra members Garret Sayers (bass) and Jared Sims (saxophone), Andrew Barr (drums) of The Slip and Tanya Shylock (vocals) of Mountains of Venus, which will close the show. For more information, visitwww.arcoda.cjb.net. "Pete Pidgeon" by Jami Johnson The June 2, 2000 issue of Blue Stone Press (P.O. Box 149 Stone Ridge, NY 12484, (914) 687-4480, FAX: (914) 687-2327, email: bluepress@aol.com) featured and article on Pete Pidgeon written by Jami Johnson. Here is the article reprinted with permission: Pete Pidgeon is a recent graduate of SUNY New Paltz, where he studied guitar, primarily focusing on jazz. His previous experiences with music began with the Beatles and James Taylor before moving into progressive styles such as Yes, Genesis, and Van Halen. When Pete Pidgeon plays, his influences are reflected in his vocal style as well as in his acoustic chordal choices."What interests me now more than ever is theory - building chord structures through theoretical means," explains Pidgeon. What attracts me to Pidgeon is his ingenuity, both as a performer and as a writer. Pidgeon's "interest" comes through in his original work, which he plays and sings. One song, "Tea For Two," has the movement of a jazz ballad instrumentally while vocally he carries a soft likeness to bassist/ vocalist Sting. Next, Pidgeon leans into his guitar and lays down a faster, more intense groove, a segue to create a mood for the night. When playing solo, Pidgeon creates a great acoustic set. Each song has its own sound, appealing to the assortment of listeners in the crowd. In the past few years, Pidgeon has been playing his originals and covers with a number of locally formed bands such as the Whiter Side of Trash, Groove Merchants, and Arcoda. Pidgeon considers Arcoda to be his main project although there has been a turn over of musicians in the band. "There are a lot of really good performers [here in New Paltz]. Either they've established themselves or are just starting out," said Pidgeon. "You have to make it happen which is what I'm trying to do." Pidgeon isn't trying to do it, he is doing it. Besides establishing his own career, Pidgeon is helping others explore their relationships with music. He does this through hosting an Open Mic at the Oasis Cafe in New Paltz. "Open Mic is a good place to meet people. The more they're on stage, the more it promotes them," replied Pidgeon when I asked him about his views on Open Mic. For the next few months, Pete Pidgeon shows will all be in New Paltz, NY. Pidgeon will be hosting an Open Mic at the Oasis Cafe, Wednesday, June 7th and will be performing with the Pidgeon Piller Project at Snug Harbor on June 9th. For more information about Pete and Arcoda, you can find them at www.arcoda.cjb.net. The March 2, 2000 issue of The New Paltz Oracle (75 S. Manheim Blvd., Student Union Building 417, New Paltz, NY 12561, (845) 257-3030, FAX: (845) 257-3031) featured a review of the Students For a Free Tibet benefit concert held at Cabaloosa in New Paltz, NY on February 23, 2000. Within the article, the Oracle writer Mike Isenbek stated: Pete Pidgeon and Family presented a light, meadering, bluegrass sound as the floor of the club filled up. With gentle mandolin, acoustic guitar and heartfelt vocals, they started the ying which was immediately followed by an almost complete yang by the next band [Mastas Of the Universe]. "Students Hold Concert for a Free Tibet" by Jason Silverberg and Daniel Sieradski The October 29, 1998 issue of The New Paltz Oracle (75 S. Manheim Blvd., Student Union Building 417, New Paltz, NY 12561, (845) 257-3030, FAX: (845) 257-3031) featured a review of the Students For a Free Tibet benefit concert held at McGillicuddy's in New Paltz, NY on October 21, 1998. The article also featured a large picture of the band. ...After Aliza and Josh's performance, SFT member Ken Formisano took the stage and performed a couple of poppy-punk tunes, including the ever-popular Dead Milkmen's "Punk Rock Girl." By then the crowd was huge, and as Kenny toiled on, Pete Pidgeon and Friends set up their equipment behind him. It was around 2:00am when Pidgeon hit the stage, vocally led by Roger Mahle and Gianny "Ghetto" Starr. As highlights of the [World] Series [final game] played on television monitors above the crowd, the band broke into a rusty version of "Take Me Out To the Ballgame," bringing many smiles and giggles to the crowd. After several funky-phatty jams, including a cover of John Scofield's ["Hottentot"], the band called all the previous performers back to the stage, and elicited even more smiles and enormous laughter as they performed the USA for Africa classic, "We Are the World..." "Pete Pidgeon and Friends Spread Their Wings" by Jesse "J.J." Carter The October 22, 1998 issue of The New Paltz Oracle (75 S. Manheim Blvd., Student Union Building 417, New Paltz, NY 12561, (845) 257-3030, FAX: (845) 257-3031) featured an indepth interview with Pete Pidgeon during the middle of his period playing in New Paltz, NY. Guitarist Pete Pidgeon, bassist Chris Macchia, and keyboard player Andy Lewis sat up on the roof of Pidgeon's Church Street [apartment] absorbing the unseasonal warmth and talking about the developing musical environment of New Paltz. "We'd like to help make New Paltz a scene like San Francisco in the 60's," Pidgeon said while gazing at the buildings of Main Street. "I think all the bands around here can help one and aother, so hopefully we all can benefit from everybody's success." Pidgeon transfered to SUNY New Paltz from Rutgers University in the fall of 1997. Pete Pidgeon and Friends is a New Paltz based group whose musical style can only be described on a "song-to-song" basis. Pidgeon's "friends" include Lewis, Macchia, Mike Macbeth on drums, vocalist/ guitarist Gian Starr, vocalist Roger Mahle, and bassist Eric Sanderson of Pooja. Numerous other musicians sit in with Pete Pidgeon and Friends and the main lineup often varies as outside responsibilities hinder members from performing at all the shows. The varied personnel of the group reflects the myriad of styles they display on stage. An eclectic yet homogeneous blend of classical, funk, rap, tribal-trance, reggae, and progressive rock, is what Pidgeon says makes his group unique from the scores of "hippie jam bands." "I try to compose songs that are kind of progressive. Not just three chords and a twenty minute jam," Pidgeon said between sips of an orange Sobe. Pete Pidgeon and Friends performed at the three-day annual Harvest Moon Jamboree in Vienna, New York on September 20, along with 24 other acts, including the legendary Richie Havens, who was the opening act at the 1969 Woodstock Festival; reggae band John Brown's Body The August 1998 issue of RELIX printed an add for the 1998 Harvest Moon Jamboree which included Pete Pidgeon as one of the selected artists to represent the festival. The September 18, 1997 edition of the newspaper "The Citizen" featured a color photo of Pete Pidgeon on the front page of the entertainment section - Today Tempo. The caption read: Connecticut native and guitarist Pete Pidgeon will begin the musical menu at 10:45am Saturday at the Harvest Moon Festival in Vienna. The page, in addition to a listing in the festival's schedule, also mentioned in its article: Saturday's music starts off with upstart Connecticut guitarist Pete Pidgeon, who will be followed by a wide range of acts during the course of the day. &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& "I'm totally looking forward to seeing another Arcoda show real soon. Great songs make great shows."
- Bradlee Cumberbatch (drummer for Who's the Fat Guy?) "F***ing sick I tell you. I love ['2002 Live Demo']. Some of the best new stuff we've gotten in, in a while."
- Geoff Harrison of Jambase.com "[Pete Pidgeon] has the easy, natural touch of George Benson combined with the frenetic fret-ranging of Yes's Steve Howe."
- Michael Witthaus of Claremont Eagle Times