NYS Music 20​12

Category: News Desk

  • Dum Dum Girls at Schine Underground, October 11th

    The Dum Dum Girls are a band whose genre cannot be defined in a simple manner. When describing the group, fans of the Dum Dum Girls often use phrases like “dream pop,” “noise pop,” or “chill wave.” They use phrases that aren’t necessarily found on the iTunes “Music Categories” tab.

    This precise characterization associated with the Dum Dum Girls is a result of the band’s effort to create a musical style of their own, one that strays in the opposite direction of today’s exclusively female pop groups. In doing so, Dee Dee, Jules, Sandy, and Malia have pinpointed exactly how they want to present themselves, and on Thursday, October 11, this presentation was put on display at Syracuse University’s Schine Underground.

    Introducing themselves in lace tops and skirts significantly shorter form a proportional perspective than their complimentary tights, the Dum Dum Girls spoke first with “Mine Tonight,’” the opening track of their recently released EP, End of Daze.

    As their set progressed, the Girls continued to emphasize End of Daze, playing four of the EP’s five songs that earned the band “Best New Music” recognition from Pitchfork and a spot on this year’s CMJ lineup in New York City.

    Tracks from their two full-length albums, “I Will Be” and “Only in Dreams”, appeared in the eclectically put together set as well, along with the title track from 2011’s He Gets Me High.

    Throughout the show, the Dum Dum Girls also committed to communicating primarily through their music, deviating from any pre-song banter with the crowd. While many musicians take some type of conversational approach in an effort to connect with their audience, The Dum Dum Girls exhibited no such strategy. This lack of dialogue, however, by no means correlated with a disconnected audience. The venue’s guests found themselves dancing with the set’s more upbeat songs, driven by a snare drum that created a rhythmic version of sounds not unlike those of gunfire.

    The band’s mellower songs reflected lead-singer Kristen Gundred’s (A.K.A. Dee Dee) angelic stage presence. Standing out as the lone “Dum” blond, Gundred exemplified both a seraphic appearance and vocal ability. Her ethereal nature, however, fittingly contrasted with her punk-rock attitude.

    The Dum Dum Girls’ commitment to epitomizing rock lasted their entire set and peaked as they transitioned into their final song, covering the Smiths’ “There is a Light that Never Goes Out.” The Girls showed no fear in presenting one of Morrissey’s most popular songs to a surely Smiths-savvy crowd.

    This type of audacious behavior has resulted in burgeoning success for the Dum Dum Girls, putting Dee Dee and company exactly where they want to be.

  • Blues Traveler heads to Putnam Den Monday, October 15th

    Blues Traveler heads to Putnam Den Monday, October 15th

    Blues Traveler makes a small room stop in Saratoga Springs next Monday at The Putnam Den. Having long ago graduated from the jam-band underground to mainstream stardom, the iconoclastic combo has consistently stuck to its guns and played by its own rules. For their new release North Hollywood Shootout, the quintet ventured out of their creative comfort zone to explore some adventurous new horizons demonstrating the band’s songwriting while capturing the spirit of their live shows.

    blues traveler putnam“We’re still trying to reconcile the different things we do, and cultivate what we’re individually good at into something that’s bigger than the sum of its parts,” notes front man and harmonica-slinger John Popper. “When we’re all playing and it’s working, it becomes this separate entity, and that’s still the thing that we’re chasing.”

    Blues Traveler released its self-titled debut in the spring of 1990, featuring the hit track “But Anyway”. The album won the group a national audience that continued to grow with the following year’s Travelers and Thieves and the live EP On Tour Forever, and 1993’s Save His Soul. In 1992, Blues Traveler founded the touring H.O.R.D.E. festival, which became an influential outlet for bands associated with the jam scene. 1994’s Four became a quintuple platinum breakthrough for Blues Traveler, spawning the Grammy-winning smash single “Run-Around” and the followup hit “Hook.”

    “It’s unavoidable that if you’re around long enough, you’re gonna fall into ruts,” Popper reflects, adding, “We’ve been in several over the years, but you fight through that and you overcome it. We were little kids when we started, and we approached this like little kids, and I think we’ve held onto that. We’ve made mistakes, but we’ve never allowed ourselves to do anything that we’d be embarrassed about now.”

    “It’s funny, but right now the band is feeling a lot like it did in the early days, when we were just playing for the sake of playing and we were hitting on all cylinders and the communication was fresh and alive. The shows have been really kicking, and the new songs have been going over great.”

    Blues Traveler takes the stage at Putnam Den on Monday October 15th at 9pm, doors open at 8PM. Tickets are $28 in advance. It is recommended you buy tickets through www.PutnamDen.com as there will be limited tickets available at the door.

  • An Interview with Jeff Howard, Guitar Prodigy, Years Ahead of his Peers

    An Interview with Jeff Howard, Guitar Prodigy, Years Ahead of his Peers

    Jeff Howard has a history with Connecticut group Barefoot Truth that overlaps his experiences with The McLovins, the group he formed with Jason Ott and Jake Huffman back in late 2008. Recently, Barefoot Truth announced they were breaking up saying,

    “In the past few years, it has been more difficult than you may realize for the band to continue the pace. Although we love playing live shows, the pull to be home with loved ones and the desire to pursue other interests has strained our ability to honestly give the band our full devotion and attention. After much soulful discussion, we have decided that it must be time for us to turn a new chapter. Therefore, the band has decided that this fall will mark the final shows for Barefoot Truth. Trust that we did not come to this decision easily, for we truly believe that our music has a place and purpose that is needed.”

    McLovins with George Porter

    jeff howard mclovins

    Howard has the incredible ability to play guitar, blending rock, jazz, blues and folk into a wide array of songs and jams, taking time to play through songs but not hogging the musical spotlight, for he shares the stage with a wide degree of humility and maturity not found in more experienced musicians. Jeff plays with Barefoot Truth on the first of four final shows with Barefoot Truth, starting at The Colonial Theater in Pittsfield, Massachusetts. Jeff spoke with to discuss his musical growth, 2012 and what the future holds for this high school senior with incredible guitar chops.

    Pete Mason: How has 2012 been for you musically?

    Jeff Howard: 2012 has been quite the musical journey. I’ve had the pleasure of working with roots-rock band Barefoot Truth, and have started a new funk project, Suitcase Rodeo. Suitcase Rodeo was born from these Monday night jams I’d do up in Pittsfield with some of the guys from Barefoot, plus a friend of mine in Canton who plays drums (Andrew Maggennis). We really hit the jackpot with this particular lineup, and became our own group. In a nutshell, I’d say 2012 has been diverse and exciting.

    Pete: Last December, you left The McLovins, but you have sat in with them in the past few months. For the record, what led to you leaving the band and branching out on your own?

    Jeff: I haven’t yet sat in with the McLovins since my departure. My leaving the band was simply a matter of conflicting circumstances and commitments I had to deal with. It got to the point where I knew that I was unable to be the band member that the other guys deserved.

    Pete: How has playing with Barefoot Truth added to your guitar skills and playing with a broader group of musicians?

    Jeff: The guys in Barefoot Truth are some of the most refined musicians I’ve ever played with. It’s extremely beneficial to play with guys who write such well-crafted pop songs, and play them with such command. It’s easy to get caught up in Altered Dominant and Whole Tone scales, but in the end people want something that’s simple and hits home. To accomplish this takes just as much skill as it does to play the most complex jazz music.

    Pete: These last four Barefoot Truth shows seem to be quite emotionally charged, especially after a thorough and thought out letter to fans. How are you planning to approach these shows?

    Jeff: Honestly, I’m going to approach them as I have every other Barefoot show. I put my all into every show I play, no matter what band it’s with. As long as the goal is to give the audience a meaningful show worth remembering, I’m going to simply keep on doing my thing.

    Pete: Where did this talent for playing guitar come from? Some experienced guitarists listen to you and are blown away that a 17 year old has more chops than they do after twice as many years of playing.

    Jeff: All I know is that one day when I was nine, I had a yearning to pick up the guitar, and I’ve stuck with it ever since. My family isn’t really musical, so it came as a surprise that music was my calling. Whenever people appreciate my guitar playing, I feel very grateful. Sometimes I think they’re hearing something very different from what I’m hearing! When you listen to guys like Tosin Abasi and Shawn Lane a lot, it’s easy to realize just how little you know. In all seriousness, it feels so awesome to be able to move people through music. That’s why I keep on playing guitar!

    Pete: Is there a long term goal that you have in mind, musically?

    Jeff: Really, I just want to keep on improving my skills. There’s no limit to how far you can go in your mastery of music, so it would be silly to set a boundary as to how far I should achieve. Music is a giant puzzle, and overall I just want all the pieces to come together. In terms of achieving success in music (i.e. fame), my only plan is to see what happens. These days it’s so hard to make a living off of music, so I’m not going to tell myself that I have to make money off of a successful band. If I do turn out to be able to live off of making music, I’ll be extremely thankful.

    Pete: You’re a senior in high school. How do you find the balance between music and finishing up school, as well as the high school social life?

    Jeff: The balance isn’t too stressful. I think that musical performances are necessary to offset the day-to-day business and grind of school. I remember at Strangecreek this year (when I was sitting in with Sparkplug), seeing a guy wearing a wife beater, and on it was written “Where is McLovin?” It’s funny to think that “McLovin” was stressing out about his chemistry homework the very night this guy was writing his special message. Gigging really provides a healthy release from daily stress, and has a way of recharging your battery.

    Pete: Beyond high school, what are you looking into for college and programs? Are you planning to stick with music?

    Jeff: I will probably not be putting all my eggs in one basket by majoring in music. I’m still uncertain of what I’ll study. That being said, I will always “stick” with music, in that it’ll be a constant part of my life.

  • 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

  • Medeski, Martin and Wood performing acoustic concert October 6th at The College of Saint Rose Massry Center

    Medeski, Martin and Wood performing acoustic concert October 6th at The College of Saint Rose Massry Center

    “Wide open.” That’s how John Medeski describes his bandmates’ musical sensibilities, the attitude he seeks in himself, and the spirit of musical adventure he, Billy Martin and Jeff Wood have pursued for two decades. On Saturday, October 6th at 7:30pm, Medeski Martin & Wood will perform a special acoustic performance at The College of Saint Rose, in the Kathleen McManus Picotte Recital Hall, located in the Massry Center for the Arts. Tickets are $30 each and may be purchased online.

    Medeski Martin Wood Massry Center
    photo by Christopher Decotis

    Medeski, Martin and Wood’s amalgam of jazz, funk, “avant-noise” and other musical currents and impulses is nearly impossible to classify. Medeski’s keyboard excursions, Chris Wood’s hard-charging bass lines and Billy Martin’s supple, danceable beats have come to resemble a single organism, moving gracefully between genre-defying compositions and expansive improvisation atop a relentless groove.

    Though the “jazz spirit,” as they like to call it, has been ever-present in their sonic voyages, Medeski Martin & Wood have won over a substantial audience that rarely responds to instrumental music. Their club and festival appearances are packed with alternative-rock lovers as well as jam-band aficionados and jazz heads. The band’s onstage adventurousness sparked an experimental approach to recording as well – as on 1996’s solar-powered Shack-Man, recorded in a plywood shack amid the mango trees and plumerias on Hawaii’s Big Island (and featuring Martin’s artwork on its cover); the funked-out 1998 Blue Note disc Combustication, which enlisted two radically different engineers to create complementary sonic approaches; the acoustic live set Tonic (2000), recorded in New York, and its plugged-in twin, 2001’s Electric Tonic; 2004’s End of the World Party (Just in Case), produced by John King of the Dust Brothers; their two collaborations with guitarist John Scofield, A Go Go (1998) and Out Louder (2006, under the name Medeski Scofield Martin & Wood); the 2008 children’s record Let’s Go Everywhere; and the 2008-09 Radiolarian series, a trilogy of albums generated according to a strict policy of “Write > Tour > Record > Repeat,” as the band noted in an online announcement. They’ve also founded and run their own label, Indirecto.

    The band members also have kept things fresh by pursuing scores of other projects. Medeski produced two albums by the Wood Brothers, Chris Wood’s rootsy partnership with his brother, Oliver, as well as work by the Dirty Dozen Brass Band and performed as a solo pianist. He and Martin also have performed and recorded as the duo Mago.

    Martin, for his part, has recorded several solo discs and an album of breakbeats (under his own name and as Illy B), collaborated with DJ Logic, DJ Spooky, Dave Burrell and other artists, authored a book, pursued his own visual art, and produced and directed “Fly in a Bottle,” a feature-length documentary about the making of the Radiolarian series.

    The Wood Brothers have released three LPs and an EP of cover songs and toured with the likes of Zac Brown Band, Levon Helm, Bruce Hornsby & the Noisemakers and k.d. lang.

    We’ll see you at the show on October 6th at 7:30 for this intimate performance.

  • Stuff Your Face With Bass: Jungle Rumble

    Get out the glow sticks and neon clothes, bust out the pinned hats and your rage faces because Rave Season is back! The first rave of the season blew up at the Washington Armory in Albany, NY this past Friday September 21st. PeepThis Entertainment hosted the Stuff Your Face with Bass: Jungle Rumble event, urging attendees to unleash their inner animals and go wild.

    The first few minutes of entering the venue and being thrown into the scene, can be more than chaotic and intimidating. Push past the main lobby and make your way onto the wide dance floor, when suddenly the bass drops. ERUPTION! The crowd goes wild and you give in. The beat hits you with a feeling of immense relief to let go and party. Eric David, TrevMunz , Bare and DieselBoy had control of the main stage, pumping out huge sound waves, all about the buildup.

    If the large crowd was too overwhelming, there were 2 other stages set up in rooms located on the left and right side of the venue. The smaller rooms provided artists a chance to shine and show their talent in a more intimate setting. Lions Den on the left hosted Deyo life, Notixx , Evac Protocol and Aire Atlantica. The Waterhole on the right hosted JP Mac, Primitive, Fitted (Hip-Hop MC), Nikolai & Hoops, SubSet and J Demonic. One of my favorite acts took place in the Lions Den, left room stage where I caught Evac Protocol. The angry, high energy techno felt so good after a long work week. The dark beats were ideal for a Friday night and a sure thing to unleash the beast within.

    PeepThis company member and cofounder, Kyle Faulkner, had this to say, ““This was our 5th installment and numbers were average. I can proudly say that after this show over 15,000 peeps have stuffed their faces! What started as a pun on thanksgiving since our first show in November of 2011, has turned into a popular catch phrase for the EDM scene. If there is another SYFWB it’ll be a super sized 1 year anniversary party.”

    For more information on the biggest parties, like PeepThis on Facebook. PeepThis will be hosting Masquerave at the Oneonta Theatre on October 11th and at the Washington Ave Armory October 26th.

  • Brothers Past and Timbre Coup at Valentines this Friday

    Philly-based Brothers Past returns to Albany this Friday night, September 28th with Timbre Coup. This four piece jamtronica band has been described by The New York Press as “the square-jawed, bastard child of Pink Floyd with a gigantic stage show.”  Summing up their music with a few catchy adjectives won’t do them justice though… their songs vary in style and crossover many genres.   You’ll just have to judge for yourself.

    Timbre Coup, Albany’s favorite prog-rock act, has had a very busy summer, holding an awesome stage presence at festivals such as Catskill Chill, moe.down, Cabinfest, Strangecreek, and Bellstock.  Pronounced “tam-ber koo” (see: music theory), this talented four piece experiments with crazy time signatures and tripped out experimental prog-rocky funky beats that get you off your ass and spinning around.

    Valentines (upstairs) is located at 17 New Scotland Ave in Albany and the show is 18+. Doors are at 8 pm with  Timbre Coup taking the stage at 9:30 pm and Brothers Past at 11pm.

    A word of advice – Do NOT be late for this show.  Tickets are sure to sell out (there are still a few left online!!) and are only $12 in advance!

  • An Interview with John ‘JoJo’ Hermann of Widespread Panic and Missing Cats

    An Interview with John ‘JoJo’ Hermann of Widespread Panic and Missing Cats

    With Widespread Panic taking a light break from touring this year, members of the band have taken to the road with their side-projects. Missing Cats, featuring piano/keyboardist JoJo Hermann, comes to Upstate Concert Hall in Clifton Park on Saturday, September 29th. JoJo sat down to talk with NYS Music about Missing Cats and other musical topics.

    jojo hermannPete Mason: Missing Cats has you working with Luther and Cody Dickinson from North Mississippi Allstars, as well as Sherman Ewing from your college days at Columbia. Was this project a long time in the making?

    John ‘JoJo’ Hermann: Well we recorded an album and Cody and Luther played on that, and I talked to them (North Mississippi Allstars) about hooking up on the road for about 15 dates and it’s just been a blast. They’re joining us on our set and I’ve been sitting in with them. It’s been really fun.

    Pete: How has your collective Mississippi roots affected the sound of the band and what can be said for Sherman’s guitar and vocals in the group?

    JoJo: Sherman and I ran around the New York City clubs for a while, then I went to Mississippi and really got into some of the music around North Mississippi, Junior Kimbrough and R.L. Burnside were playing in Oxford and there was a jukejoint in HollySprings we would visit that occasionally. When I first heard those guys, it blew my mind.

    Pete: You have a heavy New Orleans influence in your music from living in Mississippi. How did you first become aware of New Orleans music and in what ways has it influenced your musical direction with Beanland and Widespread Panic?

    JoJo: Well a friend introduced me to Professor Longhair, I’d been listening to Dr. John and Allen Toussaint’s stuff. I just kinda got hooked and started learning that style and when I played it, is just made me happy, this music just makes me really happy. I got into New Orleans music that way through Professor Longhair records and went down there, started hanging out and playing with New Orleans musicians a lot. We jammed last week with in Athens with Tony Hall and Ivan and Ian Neville and the guys from Dumptaphunk and just had a big superjam there. New Orleans is where all the music I play… I’m a musician because of New Orleans.

    jojo hermann

    Pete: This past August marked 10 years since Mikey Houser died. Beyond being the namesake of the band, looking back, what do you feel his legacy is with Widespread Panic?

    JoJo: We miss him dearly, I sat behind him for many, many years. His style, his playing, it had a way of taking me to another place, it was almost like he played his own style and he took you to this very special place. He’s always been a part of me and always will be.

    Pete: Tell me about the Missing Cats tune ‘Halfway to the top’, it stood out when I listened to the Ogden Theater show.

    JoJo: Sherman and I have been writing songs for a while and I think that was a combination of three songs that we crammed together, because that bridge drops out so that’s like a separate song. On the record, Luther (Dickinson) and a guitar player from Nashville Guthrie Trapp play on it and the guitars are pretty wailin’ on that track.

    Pete: Have you been playing any Smiling Assassins songs this tour?

    JoJo: Yeah we played a few, we busted out five or six of them over the course of the past few nights, it’s fun to revisit that stuff. Smiling Assassins stuff is fun to play.

    Pete: Widespread Panic introduced me to Warren Zevon and his music has had a huge impact on my life. Along with “Lawyers, Guns and Money”, Panic covered Warren Zevon’s “Exciteable Boy” and more recently, “Carmelita”. What makes Zevon such an appealing artist to cover?

    JoJo: His lyrics, how clever they are. He’s a lot of fun as a piano player, he comes up with just these great piano parts. “Excitable Boy” is my favorite Warren Zevon song, I always loved that song.

    Pete: One of the greatest moments I have had at a music festival was seeing Steve Winwood sit in with Panic at Bonnaroo 2002. Was that planned in advance, or something that came up as the festival came together? It was quite a moment to hear “Glad” and “Low Spark of High Heeled Boys” with two keyboardist at the helm.

    JoJo: He stopped by rehearsal the day before and we played those songs and the idea came up. I’ll never forget we were in the trailer backstage rehearsing with Dottie Peoples (who performed with Panic that same night) and Steve came in and started playing. It was quite an experience in that rehearsal. It was wonderful to have him up there, he has such a powerful voice and it’s just amazing. (Glad begins at 28:08, Low Spark at 37:40)

    Pete: Before moving to Mississippi, you grew up in New York. Where were you for Game 6?

    JoJo: I was watching it on TV at a friend’s house and I couldn’t believe it; I’ll never forget that game. What a strange, strange game. I always think about Mookie Wilson, I love Mookie.

    Pete: When Panic returns to the road next year, will we see more shows in the northeast? Even though the fanbase is more fervent in the south and west, there are still fans up here dying for some Panic shows.

    JoJo: Well I know we’re playing New Year’s Eve in Charlotte, NC and a ‘Tunes for Tots’ benefit, as well as a trip to the Caribbean for Panic in La Playa, we did that last year and really enjoyed it. I think we’re going to meet next month in October, talk about next year, have a cup of coffee, watch some baseball, watch the World Series together.

    Pete: In your years of living and touring throughout New York, do you have a favorite place that you have visited in Upstate New York? A favorite place you have played in Upstate?

    JoJo: Well, Saratoga, I especially enjoyed the racetrack. I think the first H.O.R.D.E. show we did (1992 or 1993) Col. Bruce Hampton hit like a 43-1 shot or something, that was a lot of fun. I remember there’s a great theater at Cornell in Ithaca which we used to love.

  • The Purple Pig Music Festival, September 28-30, Naples, NY

    The Purple Pig Music Festival, September 28-30, Naples, NY

    There’s a chill in the air, the leaves are turning gold, and the grapes are ripe for the pickin’.  That’s right, it’s time for the first ever Purple Pig Music Festival at Odd Fellows Farms in Naples, NY.  The festival will feature two nights of relentless roots and reggae music by Giant Panda Guerilla Dub Squad as well as a premiere set from Naples native Aaron Lipp and Friends.  Other bands include The Prickers, Pink Elephant, White Woods, Axis Armada, My Stolen Bike, Tryptic Soy, Easthill Ramblers, Naked Grey, Roots Collider, Landmark, Wonderland House Band, Universe Shark, and Family Dinner.  The festival gates open at 2pm on Friday September 28th with music starting at 5pm.  Pack some warm threads and your camping gear, as The Purple Pig offers on site camping for a small fee of $5 a night or $10 for the entire weekend.  Tickets for the festival are $10 a day or just $20 for the entire weekend!

    There will be no shortages of fuel for dancing as the Purple Pig will offer a gluttonous array of food, fine brew, and local wine.  This festival has down home done right written all over it.  It’s the perfect way to celebrate Upstate NY in all it’s autumnal glory.  Details and updates can be found on the event page. 

    Listen to tracks from Giant Panda Guerilla Dub Squad’s latest album “In These Times”

    [soundcloud url=”http://api.soundcloud.com/playlists/1694271″ height=”200″ iframe=”true” /]

  • Third Annual Love-a-palooza Mixes Live Music, Art and Beer

    On Saturday September 22nd, Genesee Brewery and Lovin’ Cup Presents the 3rd Annual Love-a-palooza, Music & Arts Fall Fest in Rochester, NY. For only $5, you get an entire day of fantastic bands, beer sampling, vendors and fun! Featuring musical performances by RIPROC, Extended Family, Ultraviolet Hippopotamus, Occupanther, SubSoil, Jimkata, Manhattan Project, Papi Chulo, The Third Party Candidate and Silent Disco, and more.

    Beer is sponsored by Genesee as well as great breweries offering beer tastings such as 3HB, Roc Brewing, CB’s, Rohrbach’s and Naked Dove. As a bonus, 3HB & Clown-Shoes Brewing (Boston) will release their hybrid beer for the first time!

    Artisans will also be on hand for a variety of hand made crafts, designs and artistic creations, including Henna Art, Mariah Rose Tattoos, Ilana Zatkowsky Sugar and type, Snyder Handcrafted Syrups, Claire Flare, Malex Demmerly Prints & Glasswork, A Different View, Moorethenart, CTW Metal and many others.

    See you Saturday at Lovin’ Cup, 300 Park Point Drive