NYS Music 20​12

Tag: funk

  • Hearing Aide: Dopapod “Redivider”

    Hearing Aide: Dopapod “Redivider”

    Dopapod, the palindrome-inclined quartet from Boston who have risen to quickly become a sought after late-night festival act (their StrangeCreek set in the cabin was a packed funk sauna) and continue to show that their studio work is tandem to their live shows. After Drawn Onward was released in 2011, the next chapter of Dopapod was received with great enthusiasm as they fanned out on tours across the country, unleashing one of the best kept secrets of the Northeast onto the country. Redivider is a powerful follow up that showcases the growth and musical maturity of Dopapod, in addition to a mesh of funk, electronic, jam and progrock genres to appeal to all, especially those who enjoy great music and love to dance their asses off.

    Dopapod RedividerFor starters, there are three short interlude tracks, “Get to the Disc”, “Ooze Weapon” and “Fry the Gorillas” that keep a wonderful flow to the album, something quite welcome that allows for seamless transition between the tracks. Starting off with “Braindead”, the combo of spooky synthesizers and slick guitar licks make for a track reminiscent of Oysterhead. On “Bubble Brain”, Eli Winderman takes the synthesizer through peaks and valleys and even has a hip hop Dr. Dre feel. While there is a progressive nature to the song, building upon each section towards a fantastic ending, I am most curious to see how this structured instrumental will develop live. Crowds will get worked into a frenzy over “Trapper Keeper”; staying organized in grade school was never this rockin’. Rob Compa’s guitar work would make The New Mastersounds proud, Neal ‘Fro’ Evans’ drums drive the song at 75mph, with the mixing in a little electronic twist perfect polish to this funky number. The next two tracks, both instrumentals, “My Elephant vs. Your Elephant” and “Blast”  are intense and soaring, the latter heavy with Rob’s guitar and Chuck Jones’ bass.

    Picture a Nintendo game, the music starting off catchy at first, and then delving into some deep and dirty soul in the first half of the tune. Then, the video-game journey brings you key-led towards an abyss… Once “Vol. 3 #86” lands into a third movement, you have the highlight of the album and an incredible song for dancing. When it comes to late night appearances at festivals, this one will be requested for certain.

    “STADA” has a spooky intro and classic Dopapod sound, while “Give it a Name” is deceptively slow to start, then drops in Soundgarden-heavy spurts amid goofy schizophrenic musical fun. “Weird Charlie” uses playful bass and accordion keys, and things get WEIRD!  An excellent cap to the album, wrapping up great production and great writing by Dopapod.

    If you’ve listened to Dopapod before, you’ll want this album. If you’ve seen them at festival, you’ll be well served buying this album. If you have never listened to Dopapod, what are you waiting for? Come join the party!

    Key Tracks – Bubble Brain, Trapper Keeper, Vol. 3 #86, Give it a Name, Weird Charlie

    Pick up the album at Dopapod.com on December 21st

  • Michael Menert & Break Science, Twilight Frequency Tour at Valentine’s, December 8th

    Having seen the Brooklynites all over the east and south, I was excited to be able to witness my favorite EDM duo Break Science in a local setting at Valentine’s in Albany. I have caught their act at festivals such as Bear Creek in Live Oak, Florida, Rock n Roll Resort in Kerhonkson, Royal Family Affair in Stratton, Vermont and The Festival of Gnarnia in Beech Mountain, North Carolina and thus, was familiar with how powerful and energetic their performances can be. This would be a night full of juggling and dancing for me; I needed a night to release my stress into the void; I was ready.

    Never having seen Paul Basic before, I didn’t know what to expect and I was very pleasantly surprised. His moody soundscapes had the crowd bobbing and jumping in delight. His being a member of PLM, or Pretty Lights Music  for the uninitiated, is no surprise to me. Created by none other than producer/DJ Derek Vincent Smith, PLM consistently brings some of the freshest production to the music scene today. Paul Basics set was a taste of what was to come, bringing us on a journey of peaks and ebbs. He dropped the bass in our face with the precision of a seasoned vet. For a taste of his music free downloads are here PrettyLightsMusic.com.

    Michael Menert joined Paul Basic for a track to finish his set, then we were given a short interlude. Claiming the stage, Michael started slow and began to amp the crowd more and more. The ever-morphing mass of fans grew during his set and the energy in the room grew with it. Palpable waves of vibration spilled off of the dance floor from speakers and revelers alike. It’s no wonder he was an original member of Pretty Lights. His skills in amping up the crowd were unquestionable. Alas, his set came to a close and another short break was awarded.

    The anticipation washed away as Break Science took the stage. A powerful presence, Borham Lee is a keyboardist, programmer, producer and DJ all rolled into one. He has worked with such stars as Wyclef Jean, Lee “Scratch” Perry, Matisyahu, Lauryn Hill, and even Wu Tang Clan. He uses a Nord Stage Keyboard coupled with samples and smooth innovative computer programming to produce a textured ambiance that cannot be reproduced with instruments alone.  Adam Deitch has to be one of the busiest drummer/producers in the music scene today. He is the current drummer for the bands Lettuce and Dr. Klaw as well as Break Science. He also has worked with the likes of Ledisi, Talib Kwali, John Scofield, 50 Cent and more.

    This night would be the second to last night of their tour and Borham would make it a memorable one, blending Dubstep, Hip-hop, Jazz, Funk, Soul and even Reggae into a swirling forefront for Deitch to lay his consistent and thunderously tight barrage of beats behind. Adam and Borham have a sort of telekinetic bond on stage. With little more than an unemotional nod or glance in either’s direction, they operate almost as if they are separate entities, having just wandered into the same room to create a masterful noise that moves the mind and soul. This set was one that displayed their incredible talents. As  the crowd worked its way into a writhing frenzy, I found myself pondering what they could be trying to convey, what message they might be sending into the universe…and I concluded that it was to accentuate the positive: to focus on the here and now and find peace with whatever was found there.

    As an encore of sorts, the duo became a trio with Michael Menert joining them onstage to perform some tracks off of their new EP Twilight Frequency. Free Download at breaksciencemusic.com.  This was a perfect way to bring the show full circle and to a close. An amazing night, I left exhilarated and satisfied. My juggling and dancing craving satiated, I was ready to take on the world.

  • 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.

  • Dr. John and The Blind Boys of Alabama, The Palace, November 1, 2012

    I was filled with wild thoughts of Mardi Gras and voodoo magic as I walked into The Palace Theatre in Albany, NY this past Thursday. Far from the bayou, Rock & Roll Hall of Fame inductee, Dr. John made a stop in the Capital District on November 1st with his Spirituals to Funk Tour featuring The Blind Boys of Alabama.

    Dr. John strolled on stage, wearing a blazing purple suit, took his place center stage in between a piano and an organ, both decorated with jeweled skulls. The band jumped right into the night playing some tunes off their newest album, “Locked Up” which was produced by The Black Keys’ Dan Auerbach. One of the songs, “Revolution” gave off a whimsical circus vibe from Dr. John’s organ and featured a strong brass solo from the female trombonist. “Big Shot” had an easy flowing groove, with a simple beat and an eerie harmony, making Dr. John’s vocals intimating and hypnotizing. The top hit song “Right Place, Wrong Time” started and the audience cheered in excitement. The people sitting next to me politely excused themselves before immediately jumping out of their seats to start dancing in the aisles. This funky jam made for an excellent electric guitar solo and it’s understandable as to why it was such a chart topper.

    After that song, Dr. John was joined by the gospel legends, the Blind Boys of Alabama. The quartet eased on the stage with one member announcing, “Can’t believe I’m here at the Palace with the great Dr. John…and we don’t sing to a conservative crowd.” The audience grew loud and stood to their feet as the Blind Boys began to belt out ”People Get Ready” strong harmonies that I never saw coming. The boys each had a chair and would periodically stand for their solos or sing relaxed in unison in their seats. It was great entertainment to see the Blind Boys feel the music as they each jived to Dr. John and his band’s music. They covered one of my favorite songs, Norman Greenbaum’s, “Spirit in the Sky” with serious swag. The Blind Boys continued to bring a heart-lifting performance especially during “There is a light” with their comforting and strong vocals.

    As the Blind Boys made their exit, the crowd was treated to Dr. John laying down some serious notes on his guitar before returning back to the keys for “Mos’ Scocious.”I watched in awe as Dr. John could play the piano to his left or the organ on his right or both at the same time. Each song oozed New Orleans charm with a perfect mix of jazz, the blues and funk. As quickly as they had left, The Blinds Boys were back to help end the show with a bone chilling, slow tempo, “Amazing Grace.”

    Much to my disappointment, the show ended before 10pm but it gave everyone a chance to have a meet and greet with the Blind Boys in the main lobby for autographs. The Spiritual to Funk Tour will be making stops in New Jersey and Virginia for the month of November. You can find more information about Dr. John by going to his website here. You can find more information about The Blind Boys of Alabama at their website here.

  • 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

  • Dopapod set to fire up Catskill Chill

    The third annual Catskill Chill Festival takes place this weekend, September 7th-9th in Hancock, New York and one of the bands that are not to be missed by festivalgoers this year is the ever growing Dopapod. This experimental funk rock group has collected a huge fan base since starting in 2007 and shows no sign of slowing down. Dopapod will play late Friday night at The Catskill Chill, promising to be a great start to the festival weekend. With their hectic summer shows finally over but on the brink of a full fall tour, Dopapod’s guitarist, Rob Compra was able to find time to answer a few questions.

    Susan Rice: You’ve spent much of 2012 playing festivals and shows all over the eastern half of the country, you played dozens of shows including StrangeCreek, Camp Bisco, Gathering of the Vibes, and even reached 10,000 fans of Facebook. How does it feel?

    Rob Compra: It feels great! This summer has felt like a bit of a breakthrough for us. I think right now is a very exciting time for us.

    SR: Your summer tour and this upcoming fall tour are all over the east coast.  Does networking with other bands helpful to promoting yourself?

    RC: I feel like every band in our scene supports one another very heavily. At this point, all the other bands that are in the same boat as us (i.e. touring and playing clubs/festivals) are our best friends, and we all look out for each other. I don’t think any of the bands in this scene would be very successful if we didn’t have that give and take attitude for one another. For groups like us who don’t have support from a record label, it really is essential to help one another.

    SR: You play an array of cover songs, what process do you use when you choose a new cover song to play? Which song that you cover is your favorite to perform live?

    RC: Whenever we’ve got a really big show coming up, everybody kind of splits off and thinks of some ideas, and then we decide which one we like best. There’s some covers that we’ve done that have deliberately been one time things. We want the crowd to be able to say that they were lucky enough to be there for something special that not everyone else was able to see. I think that really makes people rabid to come out to more shows. But as far as favorites go, we play an instrumental cover of “Microcuts” by Muse, which is pretty much in regular rotation. We never get tired of it. It’s funny; Muse is debatedly the biggest band in the world right now, yet when we play that song, it seems as if hardly anybody knows what it is or who wrote it.

    SR: This was your first time at Camp Bisco this year. Can you sum up in the experience in 11 words? Do you feel like this was good preparation for Vibes?

    RC: Well, to be honest, it was our second time at Bisco haha. We were there two years ago as well. Due to a lack of the math and grammar skills to construct a proper sentence in 11 words, Here’s my 11 adjectives to describe the experience: fun, exciting, challenging, inspiring, stressful, sweaty, loud, exhausting, fulfilling, smelly, & friendly. I think Bisco was indeed good preparation for Vibes but, I don’t think we were really conscious of that while it was happening.

    SR: What was the experience like at Gathering of the Vibes? Was that your biggest festival? I heard your performance brought people to their knees! You played a killer show and Eli sat in with Papadosio. Any musical highlights for you from the show and the festival?

    RC: Gathering of the Vibes was absolutely amazing. We couldn’t have had a better time. We’re pretty sure that was the biggest crowd we’ve played for to date, and it was an amazing feeling to see all those people in front of us in broad daylight. It meant so so much to us to have everybody there having a great time and showing their support. I had plenty of highlights. One was Kung Fu’s set. As a guitarist, anytime I get to see Tim Palmieri play is just unbelievable. I also really enjoyed Chris Michetti’s playing in Conspirator. Papadosio’s sunrise set was terrific. Twiddle’s set was great too. They played early in the day in the pouring rain and totally brought their A game. And aside from musical highlights, the night of Papadosio’s set we all stayed up until sunrise and went to a clambake on the water with all the Dosio guys, Stoops from Kung Fu, and a ton of other great friends. That was too much fun to put into words.

    SR: What do you want first time listeners to experience at your shows? Any big surprises for fans going to your fall tour shows?

    RC: We obviously want first timers to enjoy the music, but I think we also want to challenge the listener a little bit. We don’t want to play it safe and give them something they know they already like. As far as fall tour, our surprises are so good that we don’t even know what they’re gonna be yet. Expect cameos from washed up child stars from obscure 80’s sitcoms, effigies of unpopular politicians, door prizes, and expired fun size candy bars.

    SR: You got your start playing the major markets in the Northeast, and spent some time in Upstate New York. What appeals to you about playing in Upstate New York that you can’t find elsewhere?

    RC: I personally love Upstate New York because I grew up there, in Rochester. It’s great to see old friends whenever we’re up there, and my Mom and Dad usually make the drive to shows around there, and it’s always great to see them. Also, markets like Rochester, Albany, Ithaca, Buffalo and Oneonta are great because there isn’t much to do around there (at least that’s how I felt growing up there). So when a band comes to town, everybody gets really psyched to come out. People are super eager to have something exciting to do on any given night.

    SR: Can we expect any artist sit-ins at Catskill Chill? Who are you most excited to see perform?

    RC: I think that’s a fair assumption. There’s plenty of friends there, so sit-ins are extremely likely. I’m personally really excited for Rubblebucket, Kung Fu, Lotus, Heavy Pets, Zoogma, and Consider the Source. There’s really no weak point at that festival, in my opinion. Every single act is going to be a grand slam.

    For tour dates and music from Dopapod, visit their website at dopapod.com and for more information about The Catskill Chill, go to catskillchill.com.

  • 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