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A Super Gnarly Christmas: Volume II sure to get your nog flowing

Like supporting local artists in Upstate NY? Dig Christmas music with a twist? Need a stocking stuffer for someone who does? Here ya go.

“A Super Gnarly Christmas: Volume Two” was slated to hit local shelves on Black Friday. Offering 22 tracks by 22 artists. Alongside 6 commercials by Arison Cain, Rob LaVine, and Adam Hunt, which make up the “DemonDS” tracks. All of which are from the Upstate area, the comp seeks to give area listeners a wide variety of holiday inspired original music, as well as a handful of cleverly re-imagined cover tunes.

Though you may want to give it a serious listen for content before playing it at grandma’s house.

As Corey Putney (the idea guy behind Super Gnarly’s resurrection) puts it “The album is dirty, fun, festive, offensive, and beautiful. It’s a blend of each and every genre in a way that just makes sense, and I hope that everyone enjoys listening to it as much as all of us had making it.”

In keeping with the holiday spirit, one can always expect a wide variety of Christmas music compilations to flood the market, agonizingly hoping to move each and every unit prior to Christmas eve so remaining copies don’t go into the local $1 bin at the gas station on the 26^th.

That being said, instead of dropping cash on yet another copy of “Grandma Got Run Over By A Reindeer” while secretly saying to yourself “Bitch shoulda ducked,” check out some local up and comers instead.

The idea of a band whose name is Bruce Campbell, covering Latin Xmas classic “Feliz Navidad,” makes this listen practically mandatory. Load up the Boomstick and grab a copy while you can.

Track listing:

DEMONDS “GHOSTS ON FILM (INTRODUCTION)”
BRUCE CAMPBELL “FELIZ NAVIDAD”
LEO LEMAY “ALL I WANT FOR CHRISTMAS IS YOU”
[YOURNAMEHERE] “BLUE CHRISTMAS”
LANDSLIDE VICTORY “DECK THE HALLS”
APACHE CHIEF “AN UPSTATE CHRISTMAS”
DEMONDS “THE LAND OF MISFIT SEXTOYS”
SHAWN VANBROCKLIN “SANTA BABY”
WOOF NASTY “CAROL OF THE BELLS”
AARON ADAIR “HAPPY CHRISTMAS (WAR IS OVER)
BABY BLUE BIRD ”BABY, IT’S COLD OUTSIDE”
COREY PUTNEY “BABY PLEASE COME HOME”
DEMONDS “WOMP & CIRCUMSTANCE”
JESSE TAYLOR “I WON’T BE HOME FOR CHRISTMAS”
ADAM MCANULTY “YOU & ME”
DAMIEN MORROW “HAVE YOURSELF A MERRY LITTLE CHRISTMAS”
SETH EGGLESTON “YULE SHOOT YOUR EYE OUT”
FOLDING HOMES “HOLIDAZE”
DEMONDS “BLACK MASS APPEAL”
AFTER THE AVALANCHE “LAST CHRISTMAS”
MATTY C BEATS “O HOLY NIGHT”
DREW B CROHNS “AULD LANG SYNE”
PRANCER & THE VIXENS “RUDOLPH THE RED NOSED REINDEER”
DEEP REST “WHEN CHRISTMAS COMES YOU’LL DO CHRISTMAS THINGS WITH CHRISTIANS AND YOUR COUSIN CHRISTIAN”
DEMONDS “THE REASON FOR THE SEASON”
JAZZTIME STARLIGHT CHRISTMAS ORCHESTRA ENSEMBLE “EVERYBODY SHAKE YOUR HANDS (IT’S TIME FOR CHRISTMAS)”
DUSTIN NICHOLSON “TWAS THE NIGHT BEFORE CHRISTMAS”
DEMONDS “STREET NAMES (EPILOGUE)”

For more information, and to keep up to date on release news visit: http://www.facebook.com/pages/A-Super-Gnarly-Christmas-Volume-Two

-Greg Allis

December 6, 2011
Coroner Confirms GWAR Guitarist Cory Smoot Cause of Death

“The Smoot family and Slave Pit Inc. released a statement regarding the official cause of death of guitarist Cory Smoot. Cory had played the character of Flattus Maximus for over ten years, and was discovered dead on the band’s tour bus on Nov. 3^rd of this year. He was 34.

Stated North Dakota coroner William Masselo, MD:

“We have finalized the autopsy report and death certificate. I have determined that Cory died from a coronary artery thrombosis brought about by his pre-existing coronary artery disease.”

The band, which will continue as a four-piece until the current tour schedule is complete, has officially retired the character of Flattus Maximus, and has announced no plans regarding a new GWAR-tarist.

Metal Blade and GWAR have since set-up the Smoot Family Foundation to raise funds for Cory’s wife, Jaime, and their unborn child. Donations can be made: http://www.metalblade.com/smootfamilyfund/ Also, at The Canal Club in Richmond, Va. on January 7^th there will be a record release show (featuring Mensrea, Cannabis Corpse, DBX and more) for Cory’s solo record, “When Worlds Collide”, which he had completed working on just prior to his death. The album will be released early next year, with all proceeds going to the Smoot Family Fund.”

December 6, 2011
Jason Acevedo of NINE ROUND discusses lyrical composition, band dynamics

An Inner View with Jason Acevedo of Nine Round

Jason Acevedo is the lead singer and lyricist for the highly talented Seneca Falls juggernaut, Nine Round. The band featuring Acevedo, guitarist John Farley, bassist Steve Sarratori, and Tommy D’Eredita, have been firing on all cylinders since the winter of 2009. Unlike many of the band’s musical peers struggling to get themselves on a high profile bill, Nine Round has been involved with a substantial amount of shows featuring national acts. The spirit of hard work is what earned the band opportunities such as opening K-Rockathon, and sharing a bill with Hatebreed among others. The seeds for success were planted long ago in bands such as One, Diamond Tyr, Bully, Saint Chaos, and Muggsy’s Boneyard. These aforementioned bands represent just a sample of the work that the members of Nine Round have been involved with in the past.

The sky is the limit for this band, and with good reason. Quite simply, their no holds barred intensity is refreshing and needed within the Upstate metal scene. I caught up with Jason to talk about all things Nine Round!

Erik: I knew that you were playing with Muggsy’s at the same time that the core of this band came together? How did you get involved with the project initially?

Jason: Actually, that band was pretty much all done. Steve starting playing with Nine Round. He played me a few songs that they were working on and I really liked them. He sent the message, I went to some practices and wrote some lyrics to some songs. From there I waited until they decided to give me a shot. The rest is history.

Erik: From the get-go, this band was playing an unprecedented amount of shows with National acts. How did it feel to start off this quickly, and what were some of your favorite moments?

Jason: Starting off like that was amazing. It really pulled us together as a band, personally and musically. We have had some great moments for sure. One that strikes me is standing on the stage at K-Rockathon 15 and seeing all of those people. It was truly like a dream. Then getting respect from some of the other “bigger” bands solidified the day. Honestly though, the best moments for me are just being up there and playing and doing something that I love. That’s good for me.

Erik: You are surrounded by some great talent man, how does it feel to share the stage with this group of Upstate music veterans? This is the supergroup of upstate NY metal! You do know this, right?

Jason: It really feels great playing with these guys. I watched Steve and Johnny play in bands for years and always respected their talents. Tommy and I were only a couple years apart in school so I have gotten to watch him grow over the years also. For it to all come full circle like this is fucking awesome to say the least! They are great musicians and great friends. We all learn from each other every time out there.

Erik: When you guys went into the studio to record your debut, you went in with an arsenal of great tunes. Lyrically, you take the game to the next level. Where do you get your inspiration. You write glorious songs of oppression, and I want to know what makes you tick.

Jason: Thanks for the kind words man! I feel that the better I connect with the lyrics, the better I will perform it live. The songs are all part of me in one way or another, whether its through personal experience or something I have seen. People often look to music for explanation or ways to vent strong feelings. If my lyrics make you happy, good. If they make you want to rip someone’s fuckin’ head off, EVEN BETTER!!!

Erik: Being that you were in the armed forces, a song like, “Soldier,” is intriguing to me! The song makes a very big statement. How you feel about your time in the service, and the fold that lead to this song being created?

Jason: My time in the service was really confusing. I love my country and would die for it, but sometimes its really hard not to ask yourself, “what is going on here?” That song kind of pulls back and forth between fighting for your country and feeling insignificant to the people that don’t understand war. There is a sickness in America where people feel entitled to everything. They don’t understand what it’s like in other places. Hunger, suffering, disease, etc. I’m not trying to preach but the bottom line is: appreciate what you have and appreciate the people that put their asses on the line for you to have it! So, I wanted to write a song from my perspective as a soldier and give an honest outlook of how I felt going through it.

Erik: Obviously, when Marullo left, you took some time off to re-tool what you were doing. How has this whole process been? What happened with that guy?

Jason: We did take some time off and it was needed and well deserved in my opinion. Just to get our heads back in the game! It’s always fun when you get in the creative mode and start writing the next chapter of your band. This is when you appreciate the artists you work with the most. For us, it always comes down to repetition. This winter we will be writing a ton of new material so keep your eyes open for some new Nine Round!!! As far as Eric goes, let’s just say it didn’t work out. I feel that it’s best to leave situations as such, internal. It would be unfair for me to give his perspective or the perspective of this band. What I can do is speak for myself. Eric was part of alot of great times for this band. He is a talented dude and I wish him the best of luck.

Erik: I understand that you are working on some new material. What is going on with the recording process right now?

Jason: Right now we are just throwing a ton of ideas around. We don’t want to rush our music. When we feel comfortable that we have a great set of songs, we will be back in the studio. There is a possibility of knocking a few out this winter just to get the ball rollin’

Erik: I know you have this huge Christmas show coming up…a hometown affair! How does it feel to do these hometown shows? They have become the talk of the town every time they take place.

Jason: Hometown shows are always great. The obvious factor is that there are lots of people. It’s also sweet to have a room full of your friends and family. The personal connection is comforting and inspires me to kill it.

Erik: There is a great amount of respect among peers in the Upstate Metal community. Who are some of your favorite bands to play with, and do you have a wishlist of sorts?

Jason: Honestly, there are alot of great bands out there in New York State. I have respect for every band we play with and I will leave it at that man. We will play with anyone willing to have us, anytime!

-Erik Jensen

December 5, 2011
Red Jumpsuit Apparatus invades SUNY Canton; talks latest release, and determination

“How could you possibly want to stay in the same place forever?!” vocalist Ronnie Winter says securely about the progression of his career. “No band ever recreates their first album. It’s just not possible.” Drummer Kris Comeaux assertively adds. Ascertaining resurrection, Red Jumpsuit Apparatus has exceeded all circumspection in the release of “Am I the Enemy”. Reconnecting with their melodic roots and driven sentiments, I found myself falling in love all over again with a band that had all but perished. Mesmerized I worked my way through the track listing; I found an array of genres displaying this bands adaptability and loyalty to their vision.

Restfully sitting adjacent to me I found myself encompassed by the definition of musicianship. “There are people who don’t like me, and they don’t like my band, because I’m not afraid to tell people exactly how it is…” Ron appreciatively speaks “That’s how everybody I know is. But that is not how everybody else in the industry is. I’m not out to make friends, I’m out to make great music, and communicate with people who can be honest with themselves. “. And that is exactly the passion and drive you can expect to receive from this band within albums and live performances.

Swimming in an industry plagued with repetition and deception, Red Jumpsuit put their foot straight through the floor in making their position known and clear they are here for the long run. “When you’re home you want to be on the road, and when you’re on the road you just want to be home. I need to wake up and reach out every day. This is it. It’s your calling and you can’t ignore it.” Kris, adamant in his conviction speaks. Destined and fortuitous you cannot help but absorb the atmosphere and energy surrounding you in the presence of this band. Freeing themselves from the major label confines Red Jumpsuit Apparatus has a liberated disposition and the weaponry of creativity at hand. Musically unable to be defined by one specific message; “I write about anything and everything…write it exactly how you feel it” Ron states about being the primary song writer of the band. When asked if the coming and going of members had an effect on the sound he replies; “The way you hear the (new members play) it changes the way you write.”

Shifting positions, I brought forth the question of cause. Having gained massive notoriety for their song “Face Down”, which was about the tumultuous childhood both Ronnie and Randy endured, this band set out on a mission to be more than musicians. Ron looks down at his To Write Love on Her Arms shirt proudly. “…we never really stopped; just the first time got a lot of press. We get emails every day from people who reach out to us daily”. Taking the time to read and respond to as many fans as possible, Red Jumpsuit never lost sight of what was truly important to them. Renewed with a sense of determination and self-worth this band breathes into the atmosphere, I situated myself on stage left, ready to experience what has to become Red Jumpsuit Apparatus. Screaming, adoring, bright eyed fans lined the gymnasium. Delivering a powerful performance of a mixture of their three releases, you will not be disappointed. Red Jumpsuit Apparatus is primed to remain a fixture in this industry. You can purchase their latest release “Am I The Enemy” through Itunes, and you can check out the bands facebook at: www.facebook.com/redjumpsuitapparatus

December 5, 2011
Borderline Suicide

Borderline Suicide – Many bands have wallowed in obscurity while having the talent to break out into the music business. Bands have come and gone only leaving remnants of songs and albums in the past. Too many times we have seen good bands die without proper recognition. With the release of “Gone Forever” by Borderline Suicide in September 2011, we have yet another piece of evidence that incredible musicianship can be found on the outside of confines a label instills. This album rips through your heart with thrashing guitars, emotional lyrics, and a sound all of its own. Borderline Suicide has managed to put together an independent album that sets the standards high within the underground. As I listened to each track I was amazed to find out that this release was the first ever for this band from Fulton, New York. Each song seems to take the listener on an emotional roller coaster starting with, Take It All the Way to Dead Alone. Most songs on the album stay fresh with a multitude of tempo changes and dramatic breakdowns. The production of the album could have been better with the backup vocals but overall was solid. Each song featured harmonizing guitars and vocals that told a story of struggle and pain. My favorite songs on the album are No One Can See the Light and Punch ‘Em. Punch ‘Em features the tempo changes that build up to dramatic breakdowns in the song while No One Can See the Light keeps the energy flowing for the listener. I would highly recommend this album to anyone who enjoys metal music! The album is priced at $10 each and is available at Soundgarden in Syracuse and Bodified in Oswego, NY. Albums are also available directly from the band itself on Facebook.

-Rob Born

December 5, 2011
Rock n Roll Resort v1.5 @ Hudson Valley Resort and Spa – 11/25-27/11

Having attended the first Rock n Roll Resort in April of this year, I knew what to expect: a large, 1950s era Catskill hotel, with great rooms, a spa, Shakedown Street vendors in the lobby, music going for nearly the entire weekend in four different rooms and a festival feel to the entire event. A festival in a hotel. I went knowing what to expect and walked out amazed at how this second installment of Rock n Roll Resort v1.5 went smoother, had a buzz about the entire weekend that I didn’t notice the first time around, and found more musicians sitting in with other bands and mingling with fans in a very casual manner. As Ryan Montbleau said during the Nephrok All-Stars Superjam featuring 15 musicians, around 2am on Sunday morning, “This is Jamcruise-esque.”

Friday’s music included Zach Deputy playing his brand of funky sitdown soul, although the crowd was far from sitting down. A theme of cowboys and aliens brought the creative crowd out of the woodwork and led to some interesting interactions around the hotel. Ryan Montbleau Band moved the crowd as always with his crooners voice and soulful funk of the band. Deep Banana Blackout headlined and packed the crowd in for a proud set; I saw them in the late 1990s at Hungry Charlie’s in Syracuse and its great to see their sound return to the scene for festivals. Meandering back upstairs for a refresher, I heard someone yell out “Rock n Roll Resort is Jamcruise meets The Shining!” I haven’t been on Jamcruise, but if the music is even 10% as amazing as it, then yes, this is definitely true. Sadly, Scatman Crothers was not on the festival lineup.

Late night went straight through till dawn and I spent a solid hour+ seeing Wyllys and Jha, featuring Original Wyllys and Jennifer Hartswick from the New York Hustler Ensemble. This was their first public performance as a duo, with Wyllys DJing and Jen on trumpet. It was a very unique and effective combo; together they breed unique dance beats with smooth airy funk that led to funky duets between them. Kung Fu rocked out till 330am while Brothers Past kept the Empire Lounge dancing till 5am.

Saturday started out slow, for me at least, so I hit the Jacuzzi, steam room and sauna, all key to refreshing me after a long Friday of work, traveling, dancing and partying. The spa at Rock n Roll Resort is the secret benefit to the festival, and likely to spoil you for the weekend, but it is oh so worth it. Walking up to get food I heard an unexpected rendition of Pink Floyd’s ‘Set the Controls for the Heart of the Sun’ from the lobby stage, a pretty cool bonus to the nature of the festival.

Sister Sparrow and the Dirty Birds performed two strong sets, getting the early crowd moving. I caught up with Jen Hartswick to talk about her new album Ocean Floor, refueled before the nights music and caught a little more Zach Deputy while Montbleau sat in with Deep Banana Blackout on Stevie Wonder’s Sir Duke. The headliners for the weekend, Ivan Neville’s Dumpstaphunk brought New Orleans to the Catskills, playing some of Papa Neville’s hits from The Meters, inviting the ladies in the audience up on stage with him for a memorable “You can make it if you try” while Jen Harstwick and the Deep Banana Blackout Horns for ‘Be Mine’.

When the music at Rock n Roll Resort v1.5 seemed it couldn’t get any better, the Nephrok Allstar Jam led by Nephtaliem brought out a little bit of everything from the weekend to create the greatest dance party the Catskills has seen since April, if not the 1970s. Ivan and Tony Hall from Dumpstaphunk, Dirty Bird Horns, members of Spiritual Rez, Deep Banana Blackout, and many other musicians took the stage in rotating fashion, never stopping the music. After stepping off the stage after a lengthy “Thank You Falletinme Be Mice Elf Again”, Ivan Neville remarked ‘This is the sickest collection of musicians I’ve seen in a LONG while’.

The energy from Nephrok Allstars carried over to the late-late night with a collection of bands that were perfect to bring the sun up. Seed was amazing again and really needs to start hitting Upstate New York; Brothers Past played a 4am set after Wyllys and Red Shift finished solo and dueling DJ sets, and Jeff Bujak included his electronica with the always amazing effect of Silent Disco to create Silent Bujak and carried the festival past dawn.

Shannon Plaquet and Wicked Cool Productions are onto a gem in the Hudson Valley with a now twice a year festival. Another installment of Rock n Roll Resort comes in early spring. Stay tuned to www.rocknrollresort.com for updates and lineup announcements in a few weeks.

December 5, 2011
An Interview with the multi-talented Jennifer Hartswick

Jennifer Hartswick has been in the live music scene for over a decade, contributing to Phish’s studio work on The Story of the Ghost and Farmhouse. She is best known for touring with Trey Anastasio Band since 2001 in its various incarnations and sitting in with a wide range of bands including Umphrey’s McGee, Zach Deputy, Karl Denson, Keller Williams, Everyone Orchestra, Cornmeal, Dumpstaphunk, Addison Groove Project, and Soulive.

Jen’s trumpet and soulfilled voice are immediately noticeable wherever she graces the stage, either sitting in with others or with her current projects, The Jennifer Hartswick Band, Van Ghost or Wyllys and the New York Hustler Ensemble. Her latest release, Ocean Floor, debuted in November and presents Hartswick in all her talents, highlighting her beautiful voice.

NYS Music was able to sit down with Jennifer at Rock N Roll Resort in Kerhonksen, NY over Thanksgiving weekend to discuss her musical history, how she got started with TAB and her current musical endeavors. Jen was forthcoming and shared a great deal about her musical upbringing in Vermont and her role in TAB. Just after this interview, she rehearsed with Zach Deputy for a later collaboration, and saw her take the stage with Dumpstaphunk later that night on “Be Mine.”

Pete Mason: What is your earliest musical memory?

Jennifer Hartswick: When I was three, I distinctly remember a black and gold Maxell tape of Ella Fitzgerald singing skat. I asked my mom, ‘Why isn’t that lady singing words?’

PM: When did you start playing trumpet?

JH: It was 1990 when I was 10 years old, the year before Natalie Cressman (current TAB trombonist) was born. Before that I played piano, clarinet, flute and saxophone.

PM: Growing up in Sheffield, Vermont, what was your musical upbringing?

JH: I came from a different musical world than most kids. My family has a classical background so growing up I would see classical and opera music anywhere possible – Boston, New York, anything in Vermont. My aunts and uncles, my brother, mother and grandmother are all brilliant musicians, so when we had family gatherings, music was always around and a totally normal part of life.

PM: How did you voice develop? Did you naturally have a singing voice, being born into a musical family?

JH: I always sang, but I’ve never considered myself a singer. I’m a trumpet player first, even though I sing a lot more these days.

PM: How did you get connected with Trey?

JH: When I was in high school, I performed in a school band and we took part in one competition each year. Dave “the Truth” Grippo (of Giant Country Horns fame) was a judge one year when I was 16. After the competition was over, Dave came backstage and literally parted the waves of kids and came up to me to say “You’re having WAY too much fun up there! I want to have that much fun with you!” When Trey was recording One Man’s Trash, Dave mentioned me to Trey when he needed a trumpet on his solo album. That led to recording on The Story of the Ghost (Birds of a Feather) and Farmhouse (Gotta Jibboo) and when he put together the touring band in 2001, he brought me along. The group was formed in January and we started touring in February. In the trio, Grippo led the horn section, which also included Andy Moroz on trombone.

PM: Starting at 19 in Trey Anastasio Band and touring the country in 2001 and 2002 seems to have been quite the change of pace.

JH: It was completely different than anything I had experienced up until then. It was the beginning of my what would become my career. My life. Playing great music with wonderful people is the core of what that band is all about. And now it’s cool to see Natalie, who is like my little sister going through the same transition at the same age. When I got home from the first tour, I told my grandma how exciting it was and her reaction was “Ya know, you’re not the first trumpet player in this family to tour the country on a bus!“ She had played trumpet with the Cleveland Browns and traveled with the team in the 40’s when there were bands with football teams. She was one of the very first majorettes for the Browns. I thought I was doing something new and exciting…turns out Gramma had already been there done that!

PM: Why did you move to Chicago in 2006?

JH: We needed a change of scenery; I had just gotten married and my husband Wade was working with Umphrey’s McGee on the road full time. While there I played a little and taught private music lessons. It was definitely a growing period, a huge shift from the eastern seaboard to the Midwest; I started over in a way.

PM: To what extent do you collaborate with Trey on songs? You seem to lead the horn trio now onstage.

JH: It’s a very comfortable setting. If someone has an idea, they’ll throw it out into the mix. I’m very lucky to have a boss who cares about our opinions. The older I get and more experience I gain I realize what a gift that is. As far as leading the horn section…it’s been 13 years and I’ve just grown to know the heartbeat, pulse and flow of the show, so you go by what feels right, particularly this past year; everyone has a really solid role.

PM: What are your favorite songs to play with TAB, original and cover?

JH: “Money, Love and Change,” it’s such a rocker. “It Makes no Difference,” such a beautiful song.

PM: What are you listening to currently?

JH: I’m listening to a lot of indie rock, m83’s new album Hurry Up, We’re Dreaming. Also Snarky Puppy, their new album is Tell Your Friends; they are a huge band of probably 9-12 members, but not big for the sake of being big. They are very composed and tight, everyone has a purpose, with the music composed by the bass player. When I listen to them, I’m constantly thinking “How the heck did you come up with that? It’s so complicated and beautiful.”

PM: What are your musical plans for the New Year?

JH: I’m playing with Wyllys and The New York Hustler Ensemble New Years Eve at Sullivan Hall after Phish. Early in the New Year, Van Ghost has a new album coming out titled Domino Effect and the Jennifer Hartswick Band has a spring tour in the works to support the new album. In between, there’s not a lot of downtime.

PM: When did you start Jennifer Hartswick Band? What sound were you looking for when the band idea grew into a reality?

JH: We started in 2003. The band has gone through many changes in the last 10 years as we’ve all grown up and matured. What was once a group of ten friends taking long, meandering, drawn out solos has turned into a tight and deep five-piece soul machine. With age comes the wisdom to embrace the ‘less is more’ mentality which is something that is second nature to us now. The band consists of Nick Cassarino on guitar, Dezron Douglas on bass, Rob Marscher on keys and Nikki Glaspie on drums; all of whom are masters of their craft.

November 29, 2011
Soulive Presents the Beatles at The College of Saint Rose

Soulive, the instrumental jazz trio that formed 12 years ago took the stage on a chilly Sunday night in Albany at the Picotte Recital Hall in the Massry Center for the Arts, a new room with perfect acoustics and seating for only 400. A unique journey into the catalog of The Beatles was met with amazing sound for every one of the filled seats in this acoustically perfect room.

The vibrations from the music could be felt in your clothes and your body, providing a tactile sensation rarely experienced at a concert – sitting down for nearly the entire show helped this feeling to accentuate the music’s intensity as well highlight every minute note that Alan Evans, Eric Krasno and Neal Evans played over 90 minutes.

From their debut album Get Down! (1999), Soulive has been a mainstay at festivals from Bonnaroo to Jazz Fest, Mountain Jam to Wakarusa and their own inaugural festival this past August, The Royal Family Affair in Stratton, Vermont. Jazz and funk are their fortes but the depth of their musical skill and talent are not easily bottled up in one genre. While the band is entirely instrumental, the trio sound like a sextet at times, bringing together so many sounds, you can willingly take a short break from seeing live music for a few days to soak it all in.

Coming off the release of Rubber Soulive (Royal Family Records, 2010), Soulive has performed their jazzy versions of Beatles songs to enthusiastic crowds, although Alan Evans was quick to mention that the crowds vary from night to night, with the show on the 29th being completely different – a costumed crowd packing Higher Ground in Burlington is the polar opposite to a unique performance space where all 400 remained seated throughout much of the show. “We’ve always been big Beatles fans,” said Krasno. “We thought about doing all of Rubber Soul,” Krasno said, “but that band has so many great tunes. We picked the ones that lent themselves well to our sound and others where we could add the Soulive flavor.”

Soulive took the stage shortly after 8 p.m. with The Beatles’ “Baby You Can Drive My Car,” featuring Neal Evans on keys as he covered the beat and the bass of the original all while laying down fresh funk for the instantly recognizable classic. “In My Life” was, in a word – beautiful. The organ portion was nailed while the lyrics poured from Krasno’s Ibanez AS200 guitar with which he held THE note perfectly, akin to the steel pedal guitar notes from “Sleepwalk” by Santo and Johnny. “Come Together” started off dark and jazzy, with Krasno squinting into the light as the intensity of the song was seen in his expression.

Something was heavy and loud and Krasno segued neatly into “Eleanor Rigby,” a highly complicated song to convert into jazz with excellent improvisation in the middle by all. A second segue into “I Want You (She’s So Heavy).” Neal took a solo to slow things down while Alan and Eric stared motionless as the song grew and moved into darker territory. A deep jam evolved before Alan hit the drums intensely to return the trio into “She’s So Heavy.” “Get Back” was originally covered by Krasno when he recorded this on his acoustic album Reminisce. Neal used funky keys to start the rhythm and groove as Alan moved in with his drums, building up calmly before the full weight of the organ drove the song into full gear. Krasno’s Clapton-esque solos lead into full on bluesy rockers in these Beatles songs.

The band left the stage following the Rubber Soulive portion of the evening and headed back out a few moments later to entertain the crowd with a couple originals. Steppin, one of the trio’s first songs woke the audience up from the mesmerization of the Beatles songs, “El Ron” brought funky grooves and a need to free the beast of dance from the within the crowd. An enthusiastic contingent of the crowd urged those seated to get up and dance before the final song of the night. Within 30 seconds of “Tuesday Night Squad” starting, most of the 400 were on their feet. The groove plateaued and slowed down before kicking in again and gave rise to cheers from all.

Soulive has been around only 12 years, but with Royal Family Records behind them and a great deal of side projects, not to mention their album of Beatles’ covers, the trio is continuing to add to the musical landscape with it helped pave in the past decade both inside and around the jamband scene.

Setlist: Baby You Can Drive My Car, Revolution, In My Life, Come Together, Something-> Eleanor Rigby-> I Want You (She’s So Heavy), Get Back (50 minutes)
Encore: Steppin’, El Ron, Tuesday Night Squad (25 minutes)

November 11, 2011
Weird Al Yankovic at The Palace Theater in Albany – 10/18/11

Anticipating Weird Al Yankovic’s show at The Palace Theater for the past two months took me back to my youth. I was brought back to the 2nd grade, when I heard a classmate explaining Eat It and learned what a parody song was. It took until 6th grade when I picked up my first Weird Al(bum) Even Worse, (featuring Fat, Lasagna (La Bamba) and the rarely played original Stuck in a Closet with Vanna White) that I was hooked. Later came Off the Deep End in 1992 with the classic Smells Like Nirvana which hit at just the right time during the grunge era to gain a new generation of fans. Bad Hair Day in 1996 with Amish Paradise got national attention thanks to Coolio’s complaint, which was recently withdrawn.

It took until I saw the Fat video, but I’ve been a Weird Al fan since I was about 10 years old. Two decades later, after years of album listening and video watching, plus repeated UHF viewings, I got to take in the live Weird Al, a concert tour that comes around only every 4 or 5 years. I saw Weird Al in 1996 at the Starlite Music Theater in Latham, NY, and while the shows had some similarities, the 2011 show was incredible interplay with the audience, hundreds of laughs and an impressive 27 songs over the course of two hours. Not a moment was dull and the crowd laughed and loved every song and costume change.

Listening to Dr. Dimento every Sunday night from 10pm-12am on PYX 106 in Albany for many years, taping entire episodes (including the Funny 5 countdowns), I knew I would hear a Weird Al song every week or so. Hearing the comedy and music each week was a relief from high school, but it also brought out the impact of Dr. Dimento, for without him, kids of the 80s would not have found out about a young Al Yankovic from Lynwood, California. The overlooked impact of Dr. Dimento and Yankovic is impressive, in that each contributed greatly to the comedy and music worlds for listeners nationwide, bringing music that would otherwise not have found an audience in the pre-digital age.

The audience was the widest age range for a show that I’ve seen in years. Anywhere from 8-9 year olds up through doting grandparents and their old friends. The crowd was very excited yet in prone position for the entire two hours of the show, aside from a standing ovation pre- and post-encore. The show featured classics, new songs, polkas, videos to go with the songs on the screen behind, clips from The Weird Al Show, the cult Saturday Morning hit show from the late 90s and AL TV clips from MTV and VH1 in the MTV logo when the costume changes were taking place.

Al’s band, consisting of Steve Jay on Bass, Ruben Valtierra on keyboards, Jim West on guitar, banjo and mandolin, and the incomparable Jon “Bermuda” Schwartz on drums and percussion. Al played guitar, keytar and keys during the show, with everyone chipping in on vocals throughout. When it came to songs, every genre of music was covered through a wide variety of bands: Nirvana, Miley Cyrus, Green Day, Dire Straits, Bruno Mars, Backstreet Boys, Huey Lewis and the News, Survivor, R.E.M., The Knack, Billy Joel, Los Lobos, Michael Jackson, Coolio, The Doors, Lady Gaga, Chamillionaire, Don McClean and The Kinks. Add in a handful of originals, and you have two jampacked hours of music from an act that has lasted for over 30 years and will continue to delight future generations with hilarious parodies and originals for years to come.

Pre-show music: Intro music from Stanley Spadowski’s Clubhouse in UHF

Setlist: Polka Face, Franks 2000” TV, Drum Solo^, TMZ, AL TV, Smells like Nirvana#, AL TV*, Skipper Dan#, AL TV*, Party at the CIA#, AL TV*, CNR#, Drum Solo Reprise^^, Canadian Idiot, AL TV*, Wanna Be Ur Lovr#, Medley: Money for Nothing/Beverly Hillbillies# -> Whatever You Like -> Another Tattoo -> I Bought it on Ebay -> I want a New Duck -> Rye or the Kaiser -> Spam -> My Bologna -> (Ode to a Superhero) Spiderman -> Lasagna -> Eat It#, AL TV*, Amish Paradise, AL TV*, Craigslist#, AL TV*, Perform This Way#, AL TV*, White n Nerdy#, AL TV*, Fat#, Band intros
Encore: The Saga Begins#, Addams Family theme -> Yoda -> vocal jam$ -> Yoda

^5 seconds long
^^ 2 seconds long
$ YEM-esque vocal jam

Costume changes:

[1] Kurt Cobain
[2] Jungle Cruise skipper
[3] Black CIA suits
[4] Charles Nelson Reilly outfit complete with ascot
[5] Red striped pimp suit
[6] 80s neon jackets
[7] Red MJ jacket
[8] White shirt ala Jim Morrison
[9] Giant peacock outfit
[10] Wanna-be Gangsta riding segue
[11] Fat suit
[12] Brown and white Jedi robe

October 27, 2011