NYS Music 20​12

Category: Album Reviews

  • Soul Risin’ produces a powerful third album in ‘Rise & Fall’

    Soul Risin’ produces a powerful third album in ‘Rise & Fall’

    I was introduced to Soul Risin’ in 2009 by my friend Greg who noted that Jon Fishman himself called himself a fan of the group. When Phish played the War Memorial in the fall of 2009, an indoor lot scene was created with vendors of food, beer and clothing, as well as a few bands, most notably, Soul Risin’. Their first two albums were in regular rotation on road trips and the third album will find a home in the mix very shortly.

    Soul Risin'The album kicks off with “Don Negativo (Fool Like You)”, a country/rock foot-tapper, including a Blues Traveler vibe in the vocals that push right to the edge of each peak, building up again to the refrain. Title track “Rise & Fall” has a “You Can Call Me Al” rhythm, very calypso in composition with evenly balanced horns in the back. This is a definite crowd pleaser of a tune. “Heavens Done” has funk and blaring horns from the start, scat style singing and large builds with the horns, giving the band it’s first rock anthem of the album. “Tidal Waves” has a rockabilly, hip shaker beat to it while “Leaving Train” is the first softer track on the album, growing to nearly a full band ballad.

    The next few tracks (“Worcester”->”Baby”) carry the theme of the passing of lead singer Bryan Weinsztok’s father last year through the birth of his child this spring. 

    The island jamming music of “Worcester” is a little Strangefolk-sounding mixed into the progressive jams and guitar work. This track opens up nicely with keywork from Mike D’Ambrosio before returning to the composition and Weinsztok’s impassioned lyrics. “The Door” gets started on a slow and steady path, but halfway through diverges and gets abruptly louder, with notable accents from Adam Fisher’s bass.  Another album highlight, “Part Two/Open the Door” showcases John Capozzolo’s drum work and Jim Dunham’s Percussion, providing the framework for the band to create a song with even greater depth; one cannot help but recall Dave Matthews efforts from a decade ago when hearing “Open the Door”, a compliment to this grand track.

    “The Greatest Advice” moves by at a breakneck pace but the lyrics chillingly stick out, notably the repeated “Love means more than madness, when we’re tossed off to life’s great abyss. Ours is the flame that burns in this insane world over.” A lullaby sung from father to child, “Baby” is the softest moment on the album. “Punk” takes the album out on a high note, with Weinsztok’s guitar tearing through the song.

    Key Tracks – Rise and Fall, Worcester, Part Two/Open the Door, The Greatest Advice

    Soul Risin’ plays Saturday at The Westcott Theater for the official album release party. You can win tickets via at the bottom of this page.

    Soul Risin’ on Facebook 

  • Widespread Panic produces classic ‘Wood’ album

    Widespread Panic produces classic ‘Wood’ album

    Earlier this year, southern jam rockers Widespread Panic embarked on a four city, 11 date tour that relied on acoustic performances of originals and a nice array of covers that took the band a step away from their arena-rocking sound towards subdued but fantastically creative performances. The product of this tour is Wood, which includes a wide array of selections from the Washington D.C., Denver, Aspen and Atlanta shows from January and February this year. The band gave fans a unique experience before taking off the rest of 2012 to relax and refresh.

    widespread panic woodThe full band’s acoustic sound is spectacularly mixed by John Keane at John Keane Studios and mastered by Ken Love at MasterMix, giving each song a crisp sound that allows the listener to hear the subtle instrumentation applied to songs like “St. Louis” and “Good Morning Little School Girl”. The tracklisting features a broad selection of Panic songs from over the years, as well as new covers that hopefully will make an appearance in regular rotation when they return to the road in 2013. The album plays like a regular live, acoustic show with two disks for two sets, or 1 long one depending on how you look at it.

    “The Ballad of John and Yoko”, one of the many covers debuted this tour, breaks the ice on this acoustic album; an acoustic album is far from a way to say ‘quieter music’ – this is a full and at times, a heavy album, thanks to great sound and recording. Straight up rocker  “Imitation Leather Shoes” has a different sound in this format, and fans of Panic will find this tune a unique twist on the original. A swing version of “Tall Boy” makes this gospel-friendly song a Dixieland tune while “Many Rivers to Cross” is soft and soulful, with JB singing the Jimmy Cliff tune perfectly.

    Dave Schools’ bass resonates in the softest thumping manner on “St. Louis”, Alan Price’s “Sell Sell” is a unique song from the British film O’ Lucky Man and Howlin Wolf’s “Tail Dragger”, a nasty blues number that is perfect for Widespread Panic in this format. “Tickle the Truth” is gritty and nasty and it seems that acoustic is a preferable way to perform the song. “Fixin’ to Die” features Col. Bruce Hampton on vocals in a traditional Panic sit-in on the upbeat number.

    “C. Brown”, the story of a boy and his dog, is softer than live versions and has percussion that sounds like Sonny Ortiz playing a small child’s xylophone. “Blight”, the Vic Chesnutt classic is as dark as ever without amplification while Bloodkin’s “End of the Show” gives John Bell’s mandolin a go through impassioned vocals, a perfect ending to this album.

    Not since the Sit n Ski tour of 1996 were audiences treated to intimate shows like these. Pick this one up and enjoy some classic Panic.

    Key Tracks: Ballad of John and Yoko, Tall Boy, St. Louis, Tickle the Truth, C. Brown, End of the Show

    Pick up the album at Widespreadpanic.com

  • Funk at The Palace: A Review of Live Phish 12/6/97

    Funk at The Palace: A Review of Live Phish 12/6/97

    On September 25, Phish introduced a new member to its Live Phish Archive collection with one of their more memorable shows from one of the most impressive eras of their history. Their 1997 Fall Tour (a.k.a Phish Destroys America) is one of their most engaging and influential tours and also serves as an ideal picking ground for any live release. Their performance at The Palace of Auburn Hills on 12/6/97 is a show that’s already been established amongst devoted fans as one of the best ever. Now, the soundboard mix gets the Fred Kevorkian re-mastering technique applied and allows everyone to hear and understand what the hype behind this show is all about.

    Phish 12/6/97The album opens with the sounds of a raucous Palace crowd, a common occurrence on this tour that many regard as one of the best and certainly funkiest in the band’s history to this point. Trey utters a short count off and the show opens with “Golgi Apparatus”, a Phish tune almost as old as the band itself. This number, which served as a show opener for numerous shows in the 80’s, would surprisingly never be serve as a show opener again until Burgettstown in 2009. The band rolls through the opening verses with ease while slowly creating a high energy environment that comes across beautifully in this recording from start to finish. By the end of this standard yet powerful version, an already lively crowd has now been shifted into high gear.

    Accordingly, Trey Anastasio immediately begins the opening guitar chords to “Run Like An Antelope” to complete a memorable 1-2 opening punch to the show. The band again displays an ultra-sharp precision while rolling through the opening sections with ease before giving way to a digital delay loop type jam initiated by Trey at the 3:14 mark. Keyboardist Page McConnell then adds a layer of ambience on top of this and instantly the band is off and running on an incredible jam. Featuring the thick funk and steady grooves this era of Phish is so well known for, this Antelope becomes an animal of a whole different sort with Trey’s ‘wah’ peddle and Mike’s steady bass line prominently involved. The jam slowly devolves from the typical Antelope progression to a full on funk jam for several minutes before Trey begins to steer it back around 7:00 minutes into the track. Before long, the typical raging Antelope ending sequence is back in place as the song continues to slowly build in energy and anticipation. The “release” at 13:44 is met with a loud roar of appreciation befit of a version of this quality. Page adds a couple of simple licks on the clavichord before the band rolls through the ending section of this Antelope that clocks in at a very enjoyable 16:29 of music. With no warning, Phish delivers a monster opening two numbers that could just as easily appear towards the end of a show instead given their reputation and the high energy they induced.

    Recognizing the need for a breather of sorts, “Train Song” appears next in the opening set. Mike Gordon takes the lead on vocals and the short almost acoustic song gives the crowd (and the listener) a chance to relax a little before giving way to the true highlight of the first set. This “Bathtub Gin -> Foam” sequence is a must listen for any fan or anyone who wants to know what this band is all about. Gin begins with Page pounding on his piano like he’s mad at it and goes through the standard opening procedure. At the 4:44 mark, the band, led by Trey and Page intertwining melodic riffs, slowly begins to build the jam. The next eight minutes is a steady climb in tempo and energy done masterfully by everyone, especially the synchronized rhythm section led by Mike Gordon and Jon Fishman. As the song approaches 11:00 minutes, Trey again steers the jam back towards something resembling a typical Bathtub Gin ending.

    However, instead of just ending the song. Trey begins chording ferociously, Page joins in on the clavinet and the aforementioned rhythm section begins the opening patterns of “Foam” while McConnell and Anastasio continue to play wildly. Gordon then delivers the iconic bass line intro and as the seamless segues concludes the crowd lets out yet another very audible roar of approval. The band nails the composed parts of another one of their classic songs before giving way to a truly beautiful McConnell piano solo, a staple of any good “Foam”. The baton is then passed to Trey who also delivers a stirring solo that continuously builds in both volume and tone. The rest of the band soon joins in as the jam builds to a stirring peak before breaking down into the vocal outro. This 23:00 minute overall sequence gives the casual listener a great audio example of the essence of Phish: a seamless musical segue, tight knit orchestration, offbeat lyrics, rousing piano and guitar solos and four individuals effortlessly working as one musical unit.

    Perhaps sensing another appropriate spot for a breather of sorts, Trey begins the opening chords to “Sample in a Jar” and a standard version clocking in at 5:03 follows. Trey’s guitar solo is executed flawlessly and complimented perfectly by the drum play of Jon Fishman. The song achieves its goal of slowing things down a little while keeping the collective energy high in The Palace.

    https://www.youtube.com/watch?v=p9OmP4fGhvQ

    Following this, the opening drum beat of “Fee” begins and Phish is off and running with yet another one of the classic songs in their canon. Trey, sans megaphone, delivers the lyrical part of the song with ease and Page delivers beautiful piano fills throughout. As the song concludes and the typical outro jam eases to a stop, the high hat cymbal sound signaling the beginning of “Maze” is initiated by Fishman. Phish then takes the audience on a fifteen minute journey of pure psychedelic rock goodness. Starting with more digital delay loop play from Trey in the opening, this rendition is truly memorable and harkens back to another classic Phish 1-2 song pairing. “Fee -> Maze” was a common sight on set lists from shows in the early 90’s and this version sees the band on top of its musical game. Electrifying organ and guitar solos take the already high energy to another level and the ending is performed with a true precision seen right from the start of this set. “Cavern” then puts the finishing touches on an incredible first set.

    A few small vocal flubs from Trey in this song are the only things keeping this from being a truly perfect first set. Phish delivered an opening act that saw them run through some of their more legendary songs and jam vehicles at the time. This set just kept in line with the growing expectations for every show played in this legendary span of Phish history. Trey promised the crowd a return in 15 minutes with ‘a whole lot more’ and the second half of this promise was kept ten times over in the form of a second set for the ages.

    Sensing the opportunity to immediately elevate this show to an epic status, Phish opens up the second set with the jam monster of “Tweezer” which sends an already ravenous crowd into a frenzy. From the outset, this appears to be anything but a straightforward “Tweezer”. After the opening chords from Trey, the intro spaces out for a minute or two as the band playfully toys around with the beginning. After a short, fun and almost plinko-esqe sequence, the song begins its standard opening at 2:06 and never looks back. The signature pounding of Gordon’s bass has an extremely crisp sound on this track as well as throughout this impeccable recording.

    At the 6:36 mark, the jam starts up and Trey immediately introduces the funk theme that was so prevalent in 1997. Page then replies with more play on the clavinet and a slow and steady groove is established over the next several minutes. Around 10:30 into the track, Trey once again layers the digtal loop on top of an already stellar groove that soon has a much spacier sound to it. This proceeds in the customary fashion until 13:54, when Trey shifts the guitar into a totally different type of tone usually designated for soloing. What follows is an incredible few minutes of musicianship highlighted by said guitar play and the corresponding drum work from Jon Fishman who shows both a phenomenal ear and mastery of tempo throughout this show. Soon, a shuffle-type beat is established behind massive piano and guitar fills with everything held together by the sound bass playing of Mike Gordon. The jam slowly and surely builds in intensity as each band member plays perfectly of off one another. As this monster jam approaches the 18:28 mark, it slows down slightly with the band seemingly catching their breath this time before a final stretch run.

    Trey soon establishes his signature reverb sound as Page chimes in with ferocious piano play. Now over twenty minutes long, the jam continues in this fashion as Trey and Page continue to trade rock riffs between one another. The beat slows down slightly as the band seems to be seeking a new direction in which to take this jam. Trey and Fishman oblige and soon establish some interplay which instantly morphs into the Jimi Hendrix classic, “Izabella”. Phish then proceeds to tear through this cover song which was debuted earlier this year and the energy pulsating throughout The Palace is nearly tangible at this point. As the song approaches 4:20, “Izabella” subsides and another incredible funk jam develops replete with at least one band member shouting out yells of approval. Highlighted by phenomenal precision and more clavinet solos from Page, the jam that follows just adds to an already exceptional open to the second set.

    Eventually, it breaks down into a drum and bass only jam with Fishman playing something similar to the “Foam” drum beat at one point. This gives the rhythm section a much deserved chance to take the musical reigns and be front and center for a little. Trey then joins in with some more funk licks before steering the group into the opening of “Twist”. The beginning vocal section of this song plays much slower than the modern day variety as this song was still in its infancy stages at this point; its debut was not even 6 months prior. However, the song’s musical gears soon get lubricated a little and a fun rock jam with the customary loud “woo!’s” thrown in by the band ensues.

    Instead of a jam, the band slowly brings the song to a halt with some blissful interplay between Page and Trey. The latter takes this opportunity to begin the opening chords to “Piper” and the band executes another flawless segue into another one of their dominant jam vehicles. “Piper” is another song featured on the album Farmhouse which was also pretty new to the Phish repertoire in 1997. For those who prefer the slowly drawn out openings, this version is a must hear. The band takes its time with the intro before Page slowly builds up intensity and the rest of the band then follows suit. Vocals don’t appear until well after three minutes in and the song then continues to grow in tempo and energy. Another few audible roars of approval from someone in the band shows just how much fun they’re having and what kind of show this is. “Piper” continues to grow in fury as ‘machine-gun’ Trey makes another appearance at the 7:07 mark as the set continues to cement itself in Phish lore.

    This marks only the halfway point of the track as Trey continues to lead the band through a raging display of psychedelic rock for another seven minutes. The crisp drum work and steady bass groove really holds this jam together as “Piper” makes it known early on in its existence that it is a force to be reckoned with. The tempo slows down a little bit before picking up once again and the song gets the true rock ending it deserves and also serves as a most impressive bookend to this four song sequence that epitomizes the overall excellence of this show.

    With all four songs almost seamlessly flowing into one another, there was no chance for any slow down or ‘breather’ song. Phish decides to deliver one before ending the set in the form of the lighthearted crowd favorite “Sleeping Monkey”. More impeccable guitar play from Trey soon gives way to the familiar opening sounds of “Tweezer Reprise”, giving everyone in The Palace one last display of pure arena rock before ending the set. A “Rocky Top” encore serves as another chance for Page to display his piano mastery and serves as the footnote to one of the more seminal shows in this band’s history.

    This show displays all of the elements that endear Phish to its dedicated audience: well executed originals, fun covers, exquisite improvisation and deep, pulsating funk. The powers that be picked a live show to release that was already well established as one the epic performances in this band’s rich history. Whether it’s a truly dedicated fan or just the casual listener, this show offers a little something for everyone and is truly a must hear.

    Pick up the album at livephish.com

    Setlist via Phish.net

    Phish – The Palace at Auburn Hills, Auburn, MI, 12/6/97

    Soundcheck: Dog Log, AC/DC Bag, Ginseng Sullivan, Black-Eyed Katy

    SET 1: Golgi Apparatus, Run Like an Antelope, Train Song > Bathtub Gin -> Foam, Sample in a Jar, Fee > Maze, Cavern

    SET 2: Tweezer -> Izabella -> Twist -> Piper, Sleeping Monkey > Tweezer Reprise

    ENCORE: Rocky Top

  • Hearing Aide: Jeff Bujak “Something Different”

    Hearing Aide: Jeff Bujak “Something Different”

    Jeff Bujak on his latest release Something Different, showcases this electronic pianists creativity with a nice array of rhythms and skillful piano playing throughout. I was drawn in by the initial two studio tracks which served as the perfect warm up to the remainder of the albums extended, live studio tracks.

    Jeff Bujak Something Different

    The table is set with “Raygun” and “Riky,” clean studio efforts layered in samples that are plentiful and well positioned. The transition into the 8 live tracks is seamless as the album works nicely through some shorter live remix tracks, into the more extended live material beginning with the catchy “Nu-Muneh”. I particularly enjoyed the live tandem of “Mutator” and “Sea Monster”, filled with heavy beats and catchy grooves offered generously in each track. Really nice upbeat piano playing make this portion of the release in particular my favorite.

    There are no holes to be heard, but rather a straight forward high energy effort from Jeff Bujak here with track after track that is sure to please.

    Key Tracks: Mutator and Sea Monse=ter

  • Jimkata releases stellar third album, “Die Digital”

    Jimkata releases stellar third album, “Die Digital”

    Jimkata made their presence known with their debut album Burn my Money and the 2010 follow up Ghosts and Killers, both products of progressive rock and the music of the 80s and 90s on this  quartet of millennials from the heart of New York State. With graduated song writing and more complicated compositions, their new album Die Digital flows seamlessly from beginning to end, well produced and fantastically frenetic.

    “Sweet Glory” begins the album with deep bassy and a sound akin to Disney’s Electrical Parade via chimes played on the sythnethizer, as the band chants Druid-like vocals that set the tone and give you a slight sway from side the side. “Nightshade” accelerates from “Sweet Glory”’s intro, and has an indie/late 80s pop vibe, a remarkably upbeat and dancey track that has high potential when performed live. “Chainstore” pairs neatly with “Nightshade”, however the vocals are ‘less is more’ on this track, letting the music move the song and the lyrics punctuate the rhythm in only the most apt of spots; the synth/drum combo carries you through this menagerie of a song.

    jimkata Die Digital“Electronic Stone” is Smashing Pumpkins-esque while “Low Low” takes the album on a mellower turn; think The Jesus and Mary Chain’s “Snakedriver” with an indie twist. The songs turn into a melodic, full band assemblage in the song’s second half, driving the song to unexpected heights. This track is a huge pleasure to listen to.

    The title track “Die Digital”, another highlight off a purely enjoyable album has deep bass furrows in between the stanzas, where you can hear the keys speak in retort to lines such as “Cause all the best things seem to surface after the worst times. All the worst things seem to come around after the best times”, a musical conversation between musician and instrument. “LegoLand” has a unique Nintendo-style character banter to open the track and then moves into a groovy bass led jam, with chanted lyrics returning for the perfect outro.

    “Girl with the Diamond Tongue”, the darkest track,  carries Freidell’s guitar and makes a larger presence on this track, as layers kick in with samples and hints of trance- style electronica. “American Cars”, a bass-heavy sendoff to the album is an anthem ala “Ghosts and Killers”, with great vocals along with drum/bass dynamic and a driving rhythm as all four combine in perfect synchronization, much like a 90s alternative act hitting the mark; instead of a tune for the disaffected generation, this is a choice album of the next generation.

    Key Tracks: Nightshade, Low Low, Die Digital, American Cars

    Pick up Die Digital here

    Listen to American Cars

    [soundcloud url=”http://api.soundcloud.com/tracks/58746025″ iframe=”true” /]

  • Aqueous: Live Nugs Volume III

    Aqueous: Live Nugs Volume III

    The third live release from Buffalo’s Aqueous, Live Nugs Volume III, was recently released at moe.down 13, coinciding with their two sets on Saturday afternoon. The six tracks of the album were recorded in New Philly, Ohio on June 2nd and in Baltimore on July 25th of this year. Aqueous has a prog-rock base with improvisation that incorporates funk and rock riffs into ten minute-plus compositions when played live. Offered up as a ‘name your own price’ album, fans across Upstate New York should download this live album and familiarize themselves with Aqueous, as upcoming tours take them across the state and into New England. Aqueous looks to be one of the next bands to break out and this album shows why.

    Aqueous Live Nugs Volume III“Warren in the Window” leads off the album with 12 minutes of solid prog-rock without a dull moment. Fans of Twiddle will here a little familiarity, as will Umphrey’s McGee fans, but they do not sound just like either of these acts, but the influence is apparent and a positive welcome to the album. “Gordon’s Mule” continues the prog-rock journey while “Below the Funk” heats up the album and likely many rooms the band has played. With the casual line “So pass the joint” repeated a few times, “Below the Funk” references the band’s native Buffalo, the type of song that a band like Aqueous  will precede them and contribute to an already positive reputation for solid live performance. “Eon Don” contained a tight jam while “Timmy’s Blades” was a short, succinct, progressive instrumental that slowly grows into a fast paced, electric ode to Rush. “Triangle” is the highlight of the album, growing its pace into an anthemic guitar led track, with good vocals taboot.

    Key Tracks: Below the Funk, Triangle

    Download the album on their website here and check them out on Facebook 

     

  • Hearing Aide: Phish Chicago ’94 Box set

    Hearing Aide: Phish Chicago ’94 Box set

    Phish released their latest box set, Chicago ’94, on July 31st with fans excited to hear two shows from the same venue played over the course of the 1994 tour. The two shows at UIC Pavilion at University of Illinois, Chicago, 6/18/94 and 11/25/94, are both notable for their growing sound as they ventured into larger venues before they took on new life as the band grew. The songs of the Hoist era such as ‘Sample in a Jar’, ‘Julius’, and ‘Down with Disease’ are featured across both shows as are the thorough jams of vehicles such as ‘David Bowie’, ‘Reba’ and ‘You Enjoy Myself’.

    Phish Chicago '94The June show features a solid first set, with ‘The Mango Song’ > ‘Down with Disease’ packing a one two punch midway through. The second set enters the realm of new territory, an era that fans today clamor for and led to the positive reaction given upon the announcement of the box set. Starting with ‘Peaches en Regalia’, the set launches as ‘David Bowie’ swings low into a ‘Mind Left Body Jam’ with multiple teases in this rich, 18+ minute version. The set has a masterful centerpiece in ‘McGrupp’ > ‘Tweezer’ > ‘Lifeboy’ > ‘You Enjoy Myself’, the last of which contains incredible and frequent teases amid the jam and numerous calls and wordplay in the vocal jam of ‘YEM’. Led Zeppelin fans will be pleased to hear ‘How Many More Times’ teased during this show as well as in the soundcheck at the end of the sixth disk of the box set.

    The Thanksgiving show has as terrific version of ‘Reba’ and second set storytime sandwich of ‘Simple’ > ‘Harpua’ > ‘Weekapaug Groove’. Phish takes every opportunity to exit the song structure and delve into improvisation, while ‘Harpua’ told the story of the green love beams and red hate beams, the crowd cheering along with Trey’s ongoing tale of Jimmy. Both shows were recorded by Paul Languedoc and remastered by Fred Kevorkian to create a crisp and stellar recording, perfect for fans of the era and provides evidence of Phish delivering the heat at UIC since 1994.

    You can order the box set here

  • Aggro Or Die! – Summer Dies is angry thrash perfection

    Aggro Or Die! – Summer Dies (Overdose on Records)

    Detroit is a hellhole. There’s entire streets where they just shut the power grid off because fucking no one lives there. In 2009, when a reporter asked mayoral candidate Stanley Christmas why the murder rate had recently dropped 14%, he answered “There just isn’t anyone left to kill.” This is of course a fertile breeding ground for angry punk rock. Summer Dies, a 13 song offering by Aggro or Die, illustrates this nicely.

    AOD describes themselves as ‘Detroit Hardcore Nerd Rage Wood Pushing Concrete Surfing Radd Reggae Thrash Punx’. That’s a lot of words. With songs a bit longer than what I generally expect in thrashier bands, I didn’t find myself losing interest in the middle… the songs seem to ebb and flow effortlessly and maintain dynamic throughout. I hear DRI meets Agent Orange (check guitars in Punch Out!) meets glimpses of The Suicide Machines, with some Citizen Fish thrown in for good measure. That’s a pretty potent combination, and one the world needs more of.

    With a majority of songs about skating, video games and of course Detroit living in extremely desperate times, AOD has produced a fine document with Summer Dies, one that’s well worth the money spent to check it out. And who knows, you might just save Detroit’s economy by buying it.

  • Big Ol’ Dirty Bucket debut album review

    Big Ol’ Dirty Bucket debut album review

    Funk is great music for getting down to, although late night at StrangeCreek Music and Arts Festival brings out some of the best up and coming bands in the Northeast. When 10-piece band Big Ol’ Dirty Bucket from Boston started playing, I was drawn in by the horns and stayed for the rhythm and double threat vocals. The cabin got quite warm throughout the set, as it would be expected with a sexually charged dose of funk and world beats. The band is only two years old but holds great promise with strong live performances coupled with a great self-titled debut album

    Big Ol’ Dirty BucketWith strong influences from Parliament Funkadelic, The Meters, Stevie Wonder and most music from the Soul Train era of 70s funk, Big Ol’ Dirty Bucket has strong potential and with funk this deep, they should be on JamCruise within a few years time. The opener, Phototonic Amplifier People has blaring horns and impressive vocals from Sarah, aka Lil’ Shrimp. Mic Smoke gets sharp horns accenting catchy lyrics “When Smokey told Michael Jackson, When they give you the mic don’t give it back son”, Big Daddy Disco sings with a Q-Tip velocity and cadence to the words. Sin Lamento starts with a deep grooved bass before growing into a salsa/tejano number, sung entirely in Spanish. Chuck Norris is notable for weed references and high speed funk, Blue Dream gives a Stevie wonder groove on the keys while I Don’t Want to Ride Your Emotional Rollercoaster is soft in an R&B style, akin to Bill Withers ‘Ain’t No Sunshine When She’s Gone’, a very emotional track. Black Cloud Joe is Wilson Pickett-esque with a big band backing a boisterous story about Joe. Capping it all off is a highlight, All Night Long and Once in the Mornin’, a sexually charged song, with a dash of Ohio Players and a porno-funk guitar in the background, plus balanced dueling vocals.

    As said in the final track, “There ain’t no party like a bucket party cause a bucket party don’t stop” are true words, coming from first hand experience and listening to a funking wonderful debut album. Look for Big Ol’ Dirty Bucket this summer at a festival near you!

    Key Tracks: Mic Smoke, Sin Lamento, All Night Long and Once in the Mornin’

    Band website

  • Suckers “Candy Salad” out today!

    Ohh Brooklyn… Your ability to churn out Indie bands is astonishing. Undoubtedly attempting to cater to the Bedford/Lorimer L stop crowd, Suckers have come up with 10 synthy, bouncy tracks certain to come as fast as they go, but with a smile. Don’t like my rationale? Write your own review. Hey, this is what happens when you give a metal-head an album of hipster music to review.

    But in all seriousness, Suckers’ “Candy Salad,” out on Frenchkiss Records,  is a solid record, chock full of catchy melodies and warm feelings. The singer’s voice fits perfectly within the context of the tunes and what they are trying to do, and the tracks all blend together nicely. After a weekend’s worth of listens, I am now a fan of the album and band.

    Between the heavy reverb and spacey, atmospheric flow throughout, “Candy Salad” will certainly captivate the intent listener… Lots of friendly jams! I particularly enjoyed the Beach Boys-esque vocal harmony in “Figure It Out,” the happy-go-lucky whistle-a-long of “Chinese Braille.” There is a bit of guitar noodling that clutters up the sound at times, but I won’t hold that against the group… After all, it’s Indie Rock.

    The musicianship and weaving grooves will have every American Apparel wearing scenester swaying and whistling along, Pabst in hand. Bonus points for “Lydia,” a guaranteed bet to get the crowd singing along during the chorus… Excellent song!

    A word of advice… Listen to this album while doing something else. Drinking, dancing, cleaning, writing term papers… Anything other than just listening to the record on its own. “Candy Salad” is an excellent catalyst for activity, and sitting alone at a Barnes and Noble sipping an iced coffee is better left for The Beatles.