NYS Music 20​12

Category: Reviews

  • Eli-Fest at The Bayou in Albany, November 30th

    Eli-Fest, a benefit concert was held at The Bayou in Albany on Friday November 30th was held for Eli Ramos, who was injured in an accident on July 1st. To celebrate Eli’s strength and courage, bandmates, friends and fans gathered for a night full of groovy jams. With first walking into the front of Bayou, you wouldn’t even know that there was a huge show going on. Heading through the various sections of the venue, the smoky atmosphere hits you and so does the music.

    There was constant music being pumped out of the speakers all night. When the bands were not on stage, there was a mixing table set up to the right with DJs, responsible for keeping the party mode at a constant level. Insidious started the night off to a small, eager crowd, ready for the night to begin. His beats were enough to catch everyone’s attention and head to the dance floor. Inverspace was up second with a set that was light and upbeat. It was an easy groove to get into after Solaris. The last DJ for the night was General Korn whose big hit of the evening was a remixed Talking Head’s song, “This Must Be the Place (Naive Melody).”

    Solaris, the three man instrumental band from Ithaca took the stage and quickly warped the crowd. With a slow easy start, they hit hard into jams such as with great fluidity from song to song. The boys debuted a new song, “Deacon”, which had a fast tempo, enthusiastic start and a high build up jam. The trio has been logging in more practice time and it certainly shows on stage where they each have such control of their instruments. They are clean- cut and fresher than ever with their electro-fusion melodies and beats. Their authenticity brings the music to the next level and it’s been a thrill to watch them grow as a band.  Their set is available for free download.

    Solaris Setlist: Complete, Chapman, Deacon, Infrared, Cosmo

    It was my first time seeing digiMUN, which is a collaboration between members of jamtronica bands Digital Dharma, Wiley of MUN and Dan Gerken of Timbre Coup. With the huge crowd and high energy, it was a delicious recipe for a chaotic dance floor. Their entire set was improv, showcasing the vast talent that had come to pay tribute to Eli. Each jam had a funky rhythm, plenty of electronic beats and surprises around every trance infused melody. The encore was a Digital Dharma original entitled “Cloud 9” which featured Eli himself on the iPad. Their set is also available for a free download.

    One of Albany’s finest, Timbre Coup, was last to take the stage that night to the packed out venue with the snow falling outside. Early in the set, the progressive rock band dedicated the song “December” to their dedicated fans in November, an upbeat groove with hypnotizing melody. They covered Rick James’ “Give it to me Baby” as well as The New Deal’s “Deep Sun” both instant crowd pleasers and fed more energy to the band. Timbre Coup looks like they are having as much fun as the crowd and it’s a treat to watch them dance on stage and even switch instruments.

    Timbre Coup Setlist:  June, Jam->December. Give it to me Baby, 55->Jam&->Don’t Fly a Key on a Kitestring, September, July, Something About Radio->Jam->Mother Nature’s Baby Daddy, Verbal Kint->Jam&->55 end, Deep Sun, I Didn’t Know She Had a Moustache

    Throughout the night, all anyone had to say was how lucky we all were to share in the great music and help out a more than worthy cause. The event raised over $1200 and if people would like to still donate they can contact Steve Mink or Aaron Zarabi.

  • Jimkata and Manhattan Project – Piers & Blake, November 30th

    Jimkata and Manhattan Project – Piers & Blake, November 30th

    After a truly raging Halloween show a month ago at The Westcott in Syracuse, I knew that I couldn’t miss Jimkata, along with The Manhattan Project, when they came to Utica.

    Both bands have been touring extensively for months, Jimkata specifically supporting their new album, Die Digital. Off to a late start, and with some time to kill before they went on, I chatted briefly with bassist Dave Rossi. After being on the road, he was glad to be back closer to home, although none too glad to be back in the chilly Upstate NY weather. We discussed the venue (really unique and the bathrooms are nice too!), the Upstate music scene (awesome!) as well as upcoming New Year’s plans. They’ll be at The Haunt in Ithaca for NYE, but I was excited to learn of their Phish aftershow on 12/28 @ Club 39!

    Jimkata Manhattan Project
    Jimkata

    Manhattan Project took the stage as the room started to fill. Many that I spoke with were excited to see what they’d bring to the table tonight. This Rochester duo has been touring extensively, with several festival appearances, including at Camp Bisco, and have been building their fan base at every stop.  Having seen them several times in the past, I knew I was guaranteed a good time. It consistently amazes me that this energetic and texturally complex sound comes from just two guys, Shawn Drogan and Charlie Linder.

    Their infectious mix of dub, house and techno, combined with a visually stimulating light show made their show highly danceable from start to finish. Their remixes and steady progression of songs kept the crowd engaged. “Knight Rider” remix was a true standout and had many folks in the audience looking around in awe, “Is this really happening? This is awesome!” As they closed their set, the crowd was certainly primed and ready for Jimkata.

    Their set started off strong cruising easily through much of the new album, Die Digital.  The new album, while still lyrically thoughtful, adds the right punches whether it be electronic beats, synth or a heavy bass line and intertwines everything so perfectly. Energy was high and the room turned quickly into a full on dance party, a crowd locked in and grooving to the sound. Their “5th member” if you will, a wall of lights in sync with the show provided an additional layer of intrigue to Jimkata’s already complex and captivating show.

    Standouts of the night included “Electronic Stone”, a crowd pleaser with an extremely catchy chorus, as well as one of my personal favorites “American Cars”. Having followed Jimkata for several years, I love their growth as musicians, and their evolution of sound. Their lyrics, combined with a new found electronic edge makes for an unforgettable experience.

    This was a thoroughly satisfying show,  and I cannot wait to see them again at the end of the month. GO SEE JIMKATA, and MANHATTAN PROJECT! You won’t regret it.

  • The Heavy Pets at The Westcott Theater, November 30

    As Syracuse greeted its familiar friend, snow, back for a season of lake-effect whiteouts and heavy winter coats, The Westcott Theater hosted the return of two performing acts, veterans of Snow City U.S.A., with nearly as much experience in Upstate New York as harsh winter weather, Sophistafunk and The Heavy Pets.

    Sophistafunk, a three-piece electric funk group opened the evening to a crowd of dancing and hula-hooping Westcott attendees. Making sure everyone in attendance left the venue considering their money well spent, the trio performed for over an hour, often lengthening their songs as instrumental groves involving solos from multi-instrumentalist Adam Gold and drummer Emanuel Washington. During the prolonged jams, lyricist/vocalist Jack Brown would bust some moves not unlike those demonstrated by audience members making the most of their Friday night. The frontman encouraged the party-like atmosphere, occasionally calling out specific concertgoers on their dancing skills and involving the crowd in mid-song shouts.

    [youtube http://www.youtube.com/watch?v=GilV6JGtBfA&w=420&h=315]

    Although the entirety of The Heavy Pets’ lineup doesn’t call Upstate New York home, the region was well represented Friday night by the band’s guitarist/singer Jeff Lloyd and keyboardist Jim Wuest. Meeting at Syracuse University over a decade ago, Lloyd and Wuest are veterans of the Upstate music scene, and the band’s reception by Westcott occupants made the Upstate appreciation for The Heavy Pets loud and clear.

    Read Johnny Goff’s interview with Jeff Lloyd

    Continuing the trend of hula hoopin’ and shoe-shufflin’ from Sophistafunk’s previous set, the crowd found themselves movin’ to The Heavy Pets’ whaling keys and funky guitar riffs. Sharing vocal responsibilities, Lloyd, Wuest and guitarist Mike Garulli, each provided leads and harmonies throughout the show, diversifying the set and demonstrating each member’s musicianship. At one point, Sophistafunk frontman, Jack Brown joined the Heavy Pets, delivering his own style of vocal accompaniment to the Pets’ jams.

    The good-time atmosphere associated with bringing friends up on stage stayed prevalent throughout the entire headlining set. As if they were back at school in Syracuse, the band took beers from friends in the crowd between songs and jammed to a venue full of dancing music lovers.

    After a band experiences the type of success The Heavy Pets have had throughout their career, a show back where it all started is something special for not only the musicians, but also the fans in attendance. Bands like The Heavy Pets and Sophistafunk represent Upstate New York as they travel all over the country and its nice to get a taste of what they’ve been up to whenever they’re back in town.

  • Dark Star Orchestra at The Westcott Theater, November 25th

    When Dark Star Orchestra made its way to the Westcott Theater this past Sunday, it was difficult for me to understand, fully, the emotion I used to have for the band.

    For years I saw them dozens of times, closing my eyes and pretending I was at a Grateful Dead show and enjoying an experience I was far too young to taste myself, as Jerry Garcia had passed away when I was just eight years old.

    But this DSO show was different. It was my first non-festival DSO show without former guitarist John Kadlecik, who made the leap from the minor leagues to the majors in joining Furthur, Bob Weir and Phil Lesh’s latest post-Jerry Dead collaboration in late 2009. In his place was a fitting man, one who even looks similar to Jerry: Jeff Mattson.

    Well, to be blunt, I still had a blast. With a rollicking “Here Comes Sunshine” to kick things off – the crowd still filling the small venue – DSO proved to me they hadn’t lost a step. In fact, I’d say they gained a little more soul with Mattson leading the group.

    “Me and my Uncle,” “Ramble on Rose” and “Looks Like Rain” had me wondering if this was an early 1970s Dead recreation, or an original setlist, which I prefer. “Deal,” “Mexicali Blues” and “They Love Each Other” told me this was definitely a recreation, which turned out to be from St. Louis on October 30, 1973. “El Paso,” “Row Jimmy” and “Jack Straw” kept the flow of upbeat tunes coming, but the band seemed a step slow. That, or I was just slow from a week of work and not Thanksgiving celebration. Who knows?

    Easily the highlight of the knight came next with my favorite pairing of “China Cat Sunflower>I Know You Rider.” Mattson took the lead, trading licks with Rob Barraco, the man who has played keyboards with countless post-Jerry bands. To close the set was a spacey, yet tight, “Playing in the Band.”

    The second set kept pace with a “Mississippi Half-Step Uptown Toodeloo,” a personal favorite, that featured the intricate song played flawlessly. “Big River” got the crowd back on its toes before the group bled into “Dark Star.” This wasn’t your average version, as the psychedelic riffs from Mattson were in perfect sync with the tribal rhythms provided by drummer Dino English.

    The rest of the set was a segue-fest, with “Dark Star” moving seamlessly into “Stella Blue>Eyes of the World>Weather Report Suite Prelude>Weather Report Part 1>Let it Grow” before the band finally took a breather. “Going Down the Road Feeling Bad>Johnny B. Goode” closed one hell of a set. For the encore, as predicted, was “One More Saturday Night,” a tune that had the Westcott going like it was 1973 again.

    While this version of DSO is definitely different from the last incarnation, one thing holds true: The Grateful Dead spirit Is alive, well and on a trip that hopefully never ends.

  • Syracuse Guitarist Miss E. Releases Killer New CD Yesterday’s Muse

    Miss E. is Missy Ragonese, a guitarist/percussionist/ singer/songwriter based in Syracuse. She plies her trade in and around Central NY under several monikers: Miss E., Miss E. Duo, her main band Dovetail Joint and Miss 3, a female power trio.

    Ya gotta do what ya gotta do to get your name out there and this lady lays it on the line every day. Yesterday’s Muse is like “the story so far” in her journey as a professional musician. While her influences become clear, her voice and guitar licks quickly establish a style both contemporary and individual.

    Let’s run this baby up the flagpole and see what happens. Miss E. is joined by her Dovetail Joint band-mates Paul Carpenter on bass guitar and Dan Redmond on drums, along with a guest appearance from Syracuse native Paulie Cerra on sax.  “Cherie”, the opener, is sweetly melodic featuring Paulie’s silky licks rolling over Miss E’s deft rhythm line, a very smooth beginning that transitions nicely into “Always”, a bittersweet reminiscence. Miss E. knows how to tell a love story and you can feel her swoon as the memory swirls. It’s downright beautiful, her voice rich and sure, the guitar dances with her while her heart opens lyrically.

    Each song segues to the next with sounds from nature leaving no empty spaces between each piece mixed by perfectly by Jeff Moleski at Moletrax Studios. “Just One Kiss” is the first track where Miss E. lets the electric guitar rip and cuts loose some solos. Her soaring licks melding with the heart-felt vocals to fully express her emotion in the moment.

    “A Girl Like Me” switches up gears a bit with this song of determination and defiance against the road-blocks of a musician’s life and the belief in a dream that keeps her going against it.

    “The Tide is Turnin’” turns it up several notches on the attitude meter as Miss E. wails a growling vocal line accenting her screaming guitar solos. This is all about spitting in the face of oppression no matter what form it takes and she reveals several. The reggae break puts a light beat behind the most serious in a Marleyesque way.

    Isolation can be confused by onlookers as arrogance and “Anything Less” paints a picture of reality vs. conceived illusion from others jealousy. A hand that holds you down, instead of lifting you up, until you realize what really counts is your own image of yourself. Her sultry, knowing voice echoes their words until you can feel her confidence take over in the final verse. Very powerful stuff here, most artists don’t have the nerve to be this self-expressive and it’s a hallmark of the whole album.

    “Oh No” let’s Miss E. wave her Hendrix flag, her funky wah pedal work and gritty voice scream out, trying to pull someone back from the edge and expressing the intense frustration that can bring.  Her solo lines cast a lifeline that seems to not reach the intended goal.

    “Hold On” brings a reggae feel to a lover’s cry for patience, but we all know how difficult waiting can be. She pleads for the space to make things right before they can be together, and the raw emotion in her voice makes you want to believe.

    Paulie Cerra returns on “Super Woman Lover (SWL)”, his sax is as sultry as her dream sequence verbalized. I know I said it before, but the lady can write a love song. This time she’s flat out confident and sexy, determined and strong. The “Spooky” feel is perfect for the topic and twists the lyric in your mind.

    A little bit of Carlos pops right out of “When It’s Your Turn”, from the Latin percussion feel to the chord progression. Almost a dare or a challenge to step-up and keep it real, it’s softly in your face and honest.

    “Is This Love” could almost be a Toy Caldwell tune, simple and to the point, yet emotive in the guitar line, more than through the lyric. Each solo ascending the previous to the ultimate conclusion and the answer to the question asked. Both.

    “Shoot Me Down” sets its tone right off the bat, it rocks hard and bares her heart. Humility is always a tough topic and the wanting to retain it is tougher.  She pleads for honesty and guidance from her inner self, or is it from her lover? To be oblique as a writer is a slippery slope and she navigates this one with skill.

    “Indigo Sunset” pays a musical homage to the Indigo Girls, Miss E.’s light touch on the acoustic reminds me of a lighter “History Of Us” melody, not the topic, but the feel of the guitar.  A great closer that gives her a chance to show-off her acoustic chops to match the variety of feels she has playing electric.

    Overall this is a fabulous and daring album of life-stories, the best music always comes from the heart and Miss E.’s heart is all over each cut here. I found this to be a great cruising disc, especially when you can listen to it completely without interruption. I bet it’s pretty good to make-out to as well.

    You can find Miss E. and Dovetail Joint on facebook and her disc is available on cdbaby

    Check it out and support local music!

    Key Tracks: Always, The Tide is Turnin’, Is This Love

  • The New York Banjo Summit at The State Theater, November 2nd

    Dan Smalls Presents and the State Theater of Ithaca hosted a magical experience with the New York Banjo Summit on Friday November 2, 2012.  All in attendance in the nearly packed house were treated to a mixture of history, storytelling, music and showmanship from an all-star line up of musicians spanning many styles of banjo music.  I left the theater feeling utterly grateful to have been in the audience.

    One would be hard pressed to find a venue as suitable as The State Theater for this kind of show.  The theater itself dates back to around the 1930s, the time period the banjo asserted itself as an American instrument in popular culture.  It’s quaint and relatively small with a historical feel and an overhanging balcony assuring that even the cheap seats get a good mix of the stage sound.  Every note rang clearly and precisely in the room. Even the breathy, husky lilt of the voices of the pioneers on the stage reached out and touched our ears.

    [youtube http://www.youtube.com/watch?v=DXZ2xQIYVV8&w=560&h=315]

    I was anticipating some great music and had done my research before arriving, but I still found myself surprised by how much I learned about the banjo and banjo music in general.  Somewhere between a songwriter’s circle complete with a story or 10, a showcase and a presentation, this show truly left the audience with a well rounded view of how varied the music birthed out of a banjo can be.

    [youtube http://www.youtube.com/watch?v=6kThZrIuEj0&w=420&h=315]

    Some highlights for me included a poignant expression of a proletariat anthem “How Can A Poor Man Stand Such Times and Live,” raising the hair on my arms with its lyrics still so relatable.  This is part of how this instrument crept deeply into the hearts of the American people; it backed so many songs of struggle of the working man and the enduring qualities that make us human.  I was also taken completely aback by Richie Sterns!  As much as Bela himself has tailored the banjo to suit his particular expression, so has Richie Sterns with this aggressive and progressive rockabilly lean. Utilizing several effects, Sterns’ play was edgy and crisp; his demeanor truly grateful and amiable  Of course, Bela Fleck’s unique style of heavily working harmonics and his tuning pegs relentlessly left us breathless as he took his solo spotlight moments.  There is something sacred in the air when Bela plays with such intensity and the audience shared in some beautiful moments of near meditation. Tony Trischka is a true showman and it was downright fun to watch him interact with Bela and the rest of the band and to hear his quips and stories.  He is also a master at the instrument blending more contemporary play with jazz and  the essence of old foot tapping barn-thumpers.  Under his hands, many styles of banjo play converge.  Trischka and Bela created an impressive display of a four armed banjo beast, both playing the same instrument at the same time with astonishing precision and speed.  Weissberg delightfully taunted with “Dueling Banjos” and ultimately delivered an interesting slightly deconstructed version of the fan favorite.

    [youtube http://www.youtube.com/watch?v=zRaAfmhObSY&w=560&h=315]

    The backing band was also superb with fiddle player Alex Hargreaves receiving a fair share of attention. I would have liked to have heard the upright bass up in the mix a little more prominently, but that is likely personal taste over a genuine criticism.

    All in all, the New York Banjo Summit was a beautiful, touching and evocative experience in lovely Ithaca that I will honestly carry with me my entire life. If you have a chance to catch this tour somewhere, even if it is only from clips online, I urge you to do it!

  • Rubblebucket At The Westcott Theater, November 14th

    Rubblebucket At The Westcott Theater, November 14th

    Around the educated-listener music scene, there has been quite a buzz about the Boston-based band Rubblebucket. At the Westcott Theater November 14th, I finally got to check out what all the hipster hubbub was all about. The lead vocalist, Kalmia Traver, is one of those rock chicks every female music lover wishes she could be. Traver’s, and the rest of the band’s “I don’t-give-a- $&?!-I’m-a-dork” attitude got the entire house grooving hard. Other than easily noting their whimsical horn section, the band’s sound is hard to put a finger on. To give you a good idea of their musical spectrum, at one point in the show Kalmia asked the crowd if they were in the mood for one of the bands dark and stormy songs or one of their happy dorky songs. Both types were shouted equally from the loyal audience and the band settled on one of their new songs “(Focus) Oversaturated” off their 2012 EP Oversaturated. The track incorporates ghostly arpeggios and has a tempo which definitely puts the song in the dark and stormy category even though its hip-hop claps keep the song fun. You can download “(Focus) Oversaturated” for free on their website rubblebucket.com

    Rubblebucket eventually brought the mood back up to happy and dorky when they played their most popular new song off the Oversaturated EP, “Came Out Of  A Lady”. Kalmia and the boys in the horn section highlighted the song with random choreographed dance moves at different parts. The show became more of a celebration than a concert when giant tinfoil robots came dancing into the pit. The band’s fun interactive qualities are clearly a major driving force in their success. Their physical antics and showmanship were beyond captivating. Anyone who hadn’t previously seen them live knew they were in for something cool when the band played their first song wearing spotlight medallions around their necks, like Flava Flav at a rave. Twice in the show, Kalmia was helped over the metal gate in front of the stage by fans in the front and  proceeded to climb into the crowd for dance breaks with the audience. Band leader and trumpet player Alex Toth joined in the crowd as well playing his trumpet on the shoulders of a lucky fan. The band ended the show by jumping into the crowd one by one (giant robots included) and parading through the room to the back where they had a jam session in a circle while the audience danced and clapped around them. At this show, if you weren’t dancing, you stuck out like a sore thumb. Rubblebucket’s live performance exceeded my expectations. If they keep it up they can look forward to capturing many new fans and keeping their old ones coming back for more.

  • Album review: Soule Monde

    Album review: Soule Monde

    Soule Monde is a power funk band from Burlington, Vermont, composed of drummer Russ Lawton and multi-instrumentalist Ray Paczkowski. The duo’s moniker, pronounced “SO- lay –MON-day,” is a combination of Lawton’s middle name (Soule) and Paczkowski’s first name (Raymond). “Mond,” in Haitian Creole, translates to “world,” and the worldly influences drawn by Soule Monde are apparent in their music, presumably resulting from Lawton and Paczkowski’s experiences playing with a number of different bands in the past. Paczkowski has toured with Dave Matthews and Friends, while also playing in the jazz group, Vorcza. Similarly, Lawton was a member of Afro-beat band, Zzebra, among others, and has played drums for various independent films. Together, Lawton and Paczkowski are part of the Trey Anastasio Band, a side project created in 1998 by Phish frontman, Trey Anastasio.

    album reviewPaczkowski and Lawton have just recently, however, come together as a two-man band. On November 17, Soule Monde will release its self-titled debut on Cornmeal Records. The album is eight tracks and forty-two minutes of funked-out instrumentals, originally composed during improvised jam sessions at Slidebrook, a bar in rural Vermont. Since Sole Monde’s conception at Slidebrook, Paczkowski and Lawton have fine-tuned each song in the studio, putting together a record that represents the musical capabilities developed over the years by the duo.

    Soule Monde opens with “Bernard,” a track in which Lawton’s drums, playing quick, complicated beats, remain constant while Paczkowski’s instruments produce a call and response. Throughout the album, Paczkowski demonstrates his skills on the Hammond organ, the clavinet and the left-hand bass. “Tango,” the album’s seventh track, is dominated by Lawton, however, as his drums, which include timbales, exemplify a Latin influence, providing a fitting sound for the song’s title. As the song finishes, the listener is able to make out a faint “Victory!” expressed by one of the band members. Although “Tango” does not conclude Soule Monde, this expression could be used to describe the entirety of the album, as the compilation of all eight tracks makes up for forty-two minutes of winning jams.

  • Hearing Aide: Last Train Out

    Central NY classic rockers Last Train Out have released their first CD. Built on a solid foundation of blues/rock tradition the tracks here sound immediately familiar, yet fresh and true to their roots. This traditional power-trio jumps over the pitfall of translating the strength of their live performances to the studio and onto their eponymous first release. Big guitars, pounding bass and thunderous drums blend under the smooth stories and real-life tales spun by bassist Lou Kaplan (formerly of Mad Jack and Savoy Brown). His band-mates Bob Bachta – guitar (Joe Whiting Band/Spider Murphy) and Al Macomber – drums (Savoy Brown/Mad Jack) join Kaplan on vocal duties stretching the abilities and overall sound to seem like much more than three guys rocking out.

    On first listen I distinctly heard Bad Company (not a bad start!), then with each subsequent listen the deeper nuances came out, hitting their target squarely. These cats know where they came from and hold firmly to the traditions they learned over decades on the road. The twelve tracks featured here reflect all of the band’s roots, rock, blues, southern rock and more. Each of the band members are strong in their position, giving free space for each to step-up and shine.

    There’s an instinctual groove happening here that’s reflected strongly in the opening cut, “Heart Of An Outlaw” right through the closer, “Last Train Out”. “You’re No Good For Me” is a straight up rocker with Bob’s guitar dancing over Lou and Al’s steady rhythm. Lou’s soulful vocals are consistently dead on, “Reachin’ For The Sky” tells yet another tale of the road, symptomatically. The words may form in his brain, but the song’s are straight from his life-experiences and hence, his heart. “Love Me In The Morning” is a solid homage to their signature sound with its “Can’t Get Enough Of Your Love” rhythm riff, then Bob takes off into a solo and it’s all LTO!

    “Too Complicated” is a classic “opposites attract” rocker that brings a little Skynyrd to the party, and a party it is. Another track that will likely see life on a live recording along with “Lonesome Hearted Stranger” with its ZZ Top, rave-up feel and relentless groove. Much like “Red Eye Sauce”, this song could pop-up in a Texas roadhouse and fit right in. Just enough twang in the vocal and plenty of attitude in the lyrics, it’s as if Lou is writing while sitting in that sketchy place. Completely comfortable, but with his head on a swivel for a thrown punch or bottle.

    “Standin’ In Your Shadow” flat out rocks, Bob’s bluesy riffs bring it home once again, defining the sound of the band. It’s a great mix by Rob Hunter too, the guitars just slightly over the rhythm and below the vocals. “Sweet Addiction” is a great example of the producing team of LTO with Andrew “Duck” MacDonald and Rob Hunter and Dave Conway’s engineering. Deft touches by all on the sliders!

    “I Don’t Want To Leave You” is like a Robin Trower rocker with swagger, a “I didn’t want to do it baby, but you made me” kind flip off. It expresses attitude in the same way “Burn One Down” expresses defiance, no apologies, no rules, it’s a lifestyle, like it or not. These guys have the balls and the chops to back it up, no need to lean on frivolous extras here.

    The closer “Last Train Out” ends the disc with a fury that flows through the whole disc and a punch that’ll make you remember it. These guys have a long way to go on this trip and everything they need to take it much further. Check ‘em out on facebook and reverbnation. They have a new website in the works and are in the process of signing a management team to spring-board their careers. Stay tuned for much more from Last Train Out.

  • Hearing Aide: “Long Time Coming” by The Heavenly Chillbillies

    One of Buffalo’s best-kept secrets (not for long) is the raucous good-time band The Heavenly Chillbillies.

    They’ve expanded to a quartet since this recording and certainly their heart lies in live performances, but this freshman release provides a guide to what is in store for you when you see them live. From their tag-line “Booze Infused Blues and Americana” to the song titles, including “I Don’t Need Drugs To Have A Good Time (I Need Drugs To Have A Good Time With You” and “My Sister’s So Mean (She Drinks Gasoline)” it’s obvious these boys are not only out for a good time, they’re about to show you one too.

    The opener, “Long Time Coming”, has a funky-cool swing reminiscent of The James Gang and features the multiple vocalist capability of the band. Gabrial Mayer, guitars/vocals takes the lead here and on track two, “I Don’t Need Drugs To Have A Good Time (I Need Drugs To Have A Good Time With You). A straight up rocker that laments with tongue firmly in cheek, kick ass! Earl Irving, bass/vocals takes over the lead vocals with his distinct growl. Mike Olczak, drums/vocals drives the whole thing, steady and strong at the kit, his voice blends and highlights both Gabe and Earl’s. “Tell Me Mama” is a gritty, in your face plea for acceptance and communication with the fairer sex that leads to the rave-up, “Tired Of You”, makes perfect sense in sequence! “Buffalo Blues” starts with Gabe rhythm channeling his inner SRV on this tribute to their hometown and it’s own trappings. Funky as hell with a killer vibe, a must see live! If the pulsating rhythm section at the start of “Mike’s Song (Shine)” doesn’t make you move, nothing will, and the groove just drives the song under Gabe’s vocal. Yet another example of THC’s broad style base, they ain’t scared to grab you by the neck AND the heart! The seemingly endless groove continues on “My Sister’s So Mean (She Drinks Gasoline). THC makes it sound so easy, they funk, rock and kick the jams seamlessly, flipping a switch to rave it up on “Shotgun Revival”. While the disc is dynamic, it seems like a natural course for The Chillbillies to do a live album. ‘Cause this shit is hot! Play it loud!!

    The bonus track, “Blues Is My Business (And Business Is Good) just kills combing all of the elements I’ve previously mentioned. Earl and Mike groove under Gabe’s smooth solos and the three part vocals run deep and rich. They aren’t afraid of anything, stretching and breaking genre boundaries on every track.

    You can check out The Heavenly Chillbillies on their website at http://www.thcbillies.com, on facebook and reverbnation.