New York singer/songwriter Natalia Zukerman has released five albums. As accomplished an artist as she is a musician, she included original paintings in some preordered copies of her latest, Gas Station Roses. When did you first start painting? I was terribly dyslexic as a kid and couldn’t read (books or music) until a pretty late […]
Read the full review at rockandreprise.net Here’s how easy it is to miss great music these days. I did not know I was on Natalia Zukerman’s mailing list until one day not long ago I received a CD of Gas Station Roses in the mail. I knew Natalia only through Winterbloom, the quartet which features […]
Read the full review and follow this blog at oliverdiplace.blogspot.com >> Almost every artist I have reviewed goes with a tight song structure. Verses and choruses proceed in a predictable pattern, and the bridge, if there is one, comes roughly in the middle. The verses rhyme and scan in a particular way, and the choruses […]
Read the full review and magazine at stavemagazine.com >> If you think the good ol’ boy folk club is the top of the singer/songwriter food chain, then get over yourself. Where those boys can certainly write a good story and sing it, it often takes the rest of the club to play it and produce […]
Read the full review at www.acousticmusic.com >> Natalia Zukerman comes from a family of musicians, and it shows. Her slide guitar has the swagger and skill of artists like Bonnie Raitt and Ani DiFranco. Her smoky alto climbs in and out of lyrics that tell stories with the painterly brush strokes of the visual artist […]
“Gas Station Roses,” the title track and first single from Natalia Zukerman’s new full-length, is a weary, somewhat gritty and well-crafted little lament, a snapshot of wilted flowers that features the nicely-put line, “Time’s an asshole that forgot your birthday…” (yes, there is a radio edit, her Web site is careful to note). A Brooklyn-based […]
Natalia Zukerman’s fifth LP, Gas Station Roses, spans slow and smooth folk (“Indiana,” “Sorry Side of Town”), southern rock (the title track), and fiddle-laden Americana (“Howard Hughes”). Her smoky alto often comes across like a softer-sounding Ani DiFranco (whose longtime bassist Todd Sickafoose contributes to this album), particularly in “Come Undone” and […]