Category: Reviews

  • Review: Lucid’s Album Release Party for ‘Home Is Where We Wanna Grow’, June 14

    Anybody who has spent quality time in the North Country and enjoys a bit of live music has heard of Lucid. Their vibrant and multi-faceted musical capacity is enough to make anybody stop for a listen. The band of six celebrated lots of hard work and the connections they have made along the way with their Home is Where We Wanna Grow Album Release Party on Friday, June 14th. The event was held at the infamous and well-loved Waterhole Music Lounge in Saranac Lake.

    The members of this band radiate the friendly, family-like vibe that Upstate New York’s live music scene is known for. They are always on the floor among the crowd before a show and during set breaks, greeting guests and interacting with their fans and this night was no different. As soon as I arrived I could spot percussion and harp player Lowell Wurster and had no problems getting his attention. We chatted for a moment and his excitement about the release of the new album shined. He explained that, “This one is for the people that want to get local. In a world full of so much doom and gloom, we want to represent something good, be people who aren’t just talking about it but actually doing something. We are working together to build good things and create change, and we have some good people helping us to do that.” Referring not only to connections made through live music, but also to the local organic food culture that is so prevalent here in the North Country, one that is getting bigger and better thanks to the people of Fledging Crow Vegetable Farm that the members of Lucid are so respectfully connected to. This is clear in the lyrics of the first song on the album “We can build this thing, from the ground on up, with a little bit of help from everyone”, that are chanted with such truth. Their inspiration and motivation is high and where there is a will, there is a way.

    There was excitement in the air as the band kicked off the night with a welcoming “World Full” that filled the room warm island sounds. They hopped from one genre to the next and busted out a few favorites before moving on to play the new album in its entirety. The songs were so diverse, showing how expansive and sophisticated their music abilities truly are. Every person at The Waterhole was dancing to the beats and singing along and I found myself in the middle of it all. During the new song “Highest Vibration”, the dance party turned into a 1950’s get-down. To my right I saw many familiar faces and to my left couples in Harley Davidson attire, the crowd as diverse as the music. There was truly something here for everyone. Keyboardist and singer Andrew Deller surprised the crowd with his accordion playing, while James Armstrong jazzed up the night with his sax. After a quick setbreak the music began again and some old favorites were played, including “Skipping like a Stone”, “Whoa Mamma”, “Psychedelic Circus” and a solid pair of Talking Heads covers, “This Must Be the Place (Naive Melody)” and “Psycho killer” , both of which you can always count on hearing.

    These guys have an array of instruments as well as character. They have so much fun on stage and are clearly proud to share their music with anybody who wants to join in and become a piece of their colorful mosaic. Their new album reminds us all why we have a love affair with this band and why the North Country would just not be the same without them.

    Be sure to check out Lucid’s 7th annual Backwoods Pondfest, in Peru, NY on August 2nd-3rd!

    Download Home Is Where We Wanna Grow on iTunes for free

    Read Lindsey Jones’ review of Home is Where We Wanna Grow

  • Album Review: Lucid’s “Home is Where We Wanna Grow”

    I first experienced Lucid about a year ago at a sushi restaurant after one of the Phish shows at SPAC. They had been on my radar for several years, as they regularly toured Upstate NY, but I had never had the pleasure until that night. I was excited to learn that they were working on a third album, Home is Where We Wanna Grow. With two solid studio albums under their belt, 2005’s Miles Deep and 2009’s Dewdmanwah, as well as a live album, extensive tour dates and their own festival, Backwoods Pondfest, the timing of this album is perfect.

    Home is Where We Wanna GrowHome is Where we Wanna Grow is a diverse mix of genres, instruments, vocals as well as intensity. Lyrically, the album is an intricately blended mix of tongue  in cheek humor, observation and inner reflection. Songs range from the bouncy and hard-hitting “Boats” to the soulful and searching “Purple Moon”.

    Lucid brings distinct musical personalities and feels to each song; “Parisian Melancholy” brought thoughts of a Paris street, while “Highest Vibration” felt like a song one would hear at a 1950’s sock hop. Even ska made an appearance in “Green Money”. I was impressed with the thoughtfulness of their lyrics, as well as the care that they took with each song, making it truly a holistic listening experience. Overall this album offers a wonderful overview of all that Lucid offers, and I am excited to see them live again soon.

    Pick up their new album at their release party, Friday June 14th at the Waterhole in Saranac Lake or at their website www.rulucid.com. You can also check out Lucid’s festival, Backwoods Pondfest, August  2-3 in Peru, NY.

    Key Tracks: Ground on Up, Boats, Pterodactyl Lips

  • Roster McCabe Release Live 2013, Volume Cranked Up!

    Since 2006, Minneapolis-based electrorock four-piece Roster McCabe has been making music fit for jammin’ and dancin’. In their seven-year existence, McCabe has released several full-length studio albums, including The Rhythm The Elements and Through Space and Time. The band’s coalescence of sounds embodying reggae, jazz, and rock is best represented, however, by their high-energy live performances, which have led to several live albums, the most recent of which is Live 2013, Volume Cranked Up!

    Touring throughout the U.S. since early April, Roster McCabe has appeared at Summer Camp Music Festival and is scheduled to play the 80/35 Music Festival in July before finishing their tour with a stop at Hyperion Music and Arts Festival in Spencer, Indiana. After spending such a significant portion of their year on the road, another live album seems like a perfectly appropriate move for providing fans with an opportunity to experience the musicianship and energy exhibited by their live concerts.

    Live 2013, Volume Cranked Up! does just that. Between tracks like the upbeat, synth-driven “Take a Breath” and “The Only Truth,” whose steady introduction builds to a shredding guitar solo, the album offers classic Roster McCabe material in a form only fans fortunate enough to make it out for a tour stop have heard until now. The album includes a cover track as well, a version of Daft Punk’s recently released “Get Lucky.” For those who have already dubbed Daft Punk’s rendition ‘Song of the Summer,’ a listen to Roster McCabe’s version is highly recommended, along with the rest of Live 2013, Volume Cranked Up!

    Roster McCabe on Facebook, Twitter, YouTube, RosterMcCabe.com

    Key Tracks: : Get Lucky, Take a Breath, The Only Truth

  • Album Review: Robert Randolph Presents The Slide Brothers

    The pedal steel guitar is an instrument not used enough in music today.  Thankfully for everyone’s ears, Robert Randolph brought together four masters of this instrument to make an album together, The Slide Brothers.  Calvin Cooke, Chuck Campbell, Darick Campbell, and Aubrey Ghent make up the group that keeps the sacred tradition of the pedal steel alive and well.  Throughout the album there is an expertise of the instrument on display, whether the band is tackling blues, funk, rock or gospel.

    The album opener is a cover of The Allman Brothers song “Don’t Keep Me Wonderin’.”  Right off the bat you can hear that these four musicians know how to make the pedal steel sing.  Fans of The Allmans should have no problem loving this great cover.  Since Duane Allman used a slide on his guitar for many of the songs he played, the pedal steel is a great guitar to use for any cover of one of his songs.  There is a non-stop fury of wailing guitars as each member takes turns showcasing their talent.  A cover of George Harrison’s “My Sweet Lord” follows and the band makes the tune into a gospel song instead of the rocker we know from George.  The Slide Brothers make it work with help from Jimmy Carter, from The Blind Boys of Alabama, on vocals.  They truly do the song justice and this new take is a wonderful party for your ears.

    “Wade in the Water” is a great track on this album; the song has been around for ages and is a spiritual classic, but The Slide Brothers make it an instrumental and dig into the song with fury.  The five minute track allows each member to stretch their abilities out and provides them a moment to shine before turning it over to the next person.  “Praise You”, a Fatboy Slim cover, follows and with help from Shemekia Copeland and Robert Randolph and the Family Band,  the song is turned into a guitar wailing gospel song and fast becomes one of the best tracks on the album. The Slide Brothers make this song sound like an original and they did it with such ease.

    “Motherless Children” by Eric Clapton is tackled a little later in the album and they stay more true to the original than they have done with other covers.  The track is excellent and having four people cover one of the best guitar players around makes the song easier on everyone.  “The Sky is Crying” was another standout track done perfectly.  Most know it as a Stevie Ray Vaughn song but The Slide Brothers stayed with the more traditional Elmore James version of the song, keeping it heavily rooted in the blues.

    Robert Randolph has wanted to make this album for a long time in order to show everyone why he plays pedal steel.  These were some of his guitar gods growing up and he did a great job of giving The Slide Brothers material to tear into.  Get this album as soon as you can and be prepared to get rocked by one of the most unique musical  instruments, the pedal steel guitar.

    Key Tracks: Don’t Keep Me Wonderin, Wade in the Water, Praise You

    Pick up the album from their website – The Slide Brothers

  • A Threesome of Trios: Haewa, Legit, and Heady Yetis at Montage

    Rochester’s Montage Music Hall is primarily known for its metal shows but has occasionally branched out into the jam scene with varied success. The venue has made some sound upgrades recently and is again making forays into jamland. Friday, May 17th was one of these adventures, with Buffalo’s Heady Yetis opening for Rochester’s Legit and Haewa. Early on, it was apparent that this would be a successful journey as people crowded the venue at show time, many having traveled all the way from Buffalo to support the Yetis’ early set.

    The Yetis are a young band primarily composed of members of the University of Buffalo’s jam club. They also comprised the surprise of the evening, as the jam force is strong with this young group. Playfully moving between songs with soaring solos from guitarist Philip Dreisen and rock solid rhythms from bassist Paddy Donnelly and drummer Nathan Bakowski, the Yetis showcased talent well beyond their years. Unfortunately, given the impending summer college break the Yetis will be on extended hiatus. Let’s hope this “jam-pire” strikes back as the deafening roar of the crowd end set indicated they all wanted a lot more.

    Following the Yetis was the Rochester mega-group Legit, who played their second performance ever. Legit is composed of drummer-for-everything Matt Ramerman, Roots Collider’s  Wil McKenna on bass and keyboard whiz Charles Lindner of The Manhattan Project. In complete contrast to their jazzy coffee-house-esque debut show at Roam Cafe earlier in the month (which you can read about here), this set was a rager filled with playful improvisation and a very adventurous take on The Beatles “Eleanor Rigby”. It was abundantly clear that this band knows how to play to a room and the frenzied crowd in house definitely brought out their animal instincts.

    During setbreak I find myself outside pow-wowing with Ocupanther‘s Jason Gilly, Roots Collider’s (and LEGIT’s) Wil McKenna, Thunderbody‘s Sam Snyder and Dopapod‘s Rob Compa. This is a typical situation in Rochester’s booming music scene, with musicians happy to support each other, sit in, and do whatever it takes to help each other succeed. Which is exactly how it should be.

    DSC_0315Haewa was up next. Fronted by Berkelee educated ax wizard Collin Jones, with a rock solid rhythm section of Ben Chilbert (Bass) and Riley Dichairo (Drums); the band has been blanketing the local area with shows and have been rewarded justly with a noticeable degree of improved tightness in their complex compositions. The trio has no fear of experimentation and while this can sometimes cause a train wreck, more often then not, it works beautifully. The group powered through their itinerary of originals with reckless improvisational abandon, much to the glee of the packed house. Mid-set, the already salivating audience was rewarded with a sit-in from the aforementioned Rob Compa, and watching these two guitar wizards play off each other was an excellent ending to a jamtastic experience. Although next time Rob, please turn it up to 11.

    Catch Haewa back at Montage after the Moe. party in the park show June 20th with Ocupanther. ($3 presale, $5 doors)

  • Mind was D’Melted thanks to Club D’Elf and Marco Benevento at Red Square

    One of the best ways to cool down after a disgustingly humid Saturday is with cold drinks at Albany’s Red Square, and on June 1st, it was even cooler with Boston’s Club D’Elf and the infamous Marco Benevento. Club D’Elf is notorious for having a jazz –infused, progressive rock, Moroccan sound which was enough to sell me on seeing their show for the first time while Marco Benevento is no stranger to me or Red Square.

    The evening got off with a mellow and slow start with “Bass Beatbox”, gentle bells, easy beats from Dean Johnston and echoing riffs with each musician getting a feel for the crowd and space.  I lingered in the back of the crowd to take in the sound of the music clashing beautifully together. I could hear Marco pounding on his keys while Club D’Elf sent out waves of creepy Middle Eastern flair. I was pulled closer to the stage by the hypnotizing electric guitar riffs in “13/Gijro” and strong rhythm of the drum set plus ever growing bongos in “Hegue”.

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    Being closer to the action gave me a deeper appreciation for the artists who kept a constant exchange of smiles between themselves and the audience, plus a better look at instruments, some of which I have never seen before. Danny Blume takes credit for playing the biggest guitar I have ever seen and shredded the life out of it. While Mike Rivard handled the skinniest stand-up bass, switching back and forth to an electric blue guitar, giving the music a heavy dub/reggae sound. Benevento played what must have been every note on his piano and keyboard, all with great fire and recklessness throughout the night. “I Wish I Was in Heaven” and “Sidi Rabi” as the encore, brought out intense vocals from Brahim Fribgane and exotic sounds from his stringed Lutar.

    The sound of the evening could be summed up as a “Bob Marley meets crooked Arabian Nights meets downtown Jazz club” mixture. With everyone playing together, it was true Frankenstein of a band, complete with bizarre instruments and monstrous songs that left me with confused, delighted terror and amazement.

    The show is available for a free listen and/or free download, thanks to Ed Guidry. Remember to tip your tapers folks and to catch Club D’Elf at the Disc Jam music festival and The Lizard Lounge in MA on July 12th and 26th. Marco Benevento can be seen at Equifunk festival on August 17th Upstate New York.

    Setlist: Bass Beatbox, 13/Gojiro, Hegue, As Above, Mogador, Zeed Al Maal, I Wish I Was in Heaven Sitting Down, Instar,

    Encore: Sidi Rabi

  • Album Review: Bryan Howell’s ‘Lightning Through My Soul’

    Bryan Howell’s ‘Lightning Through My Soul’ begins with a straight- ahead rock track, “Why Oh Why”, complete with hand claps and some sweet backup vocals. There’s a cool ending breakdown with a tasteful guitar solo and some accented full band hits. The album segues into “Dry My Tears”, a feel-good anthem. The atmospheric guitar tone goes over nicely with the bouncy chorus backup vocals.

    Lightning Through My SoulThe album continues with “East Coast Girls”, an upbeat summertime rock track. The vocal lines match the guitar strumming pattern and really play off of each other. There’s also some auxiliary percussion to get you moving towards the end. Finally, “Cold Little Heartbreaker” begins with a melancholy acoustic section that boasts perfectly timed delay on the vocals. The triumphant rock guitar comes in, followed by the floor tom driven rock beat. Howell’s vocals really project on this track, his confidence very evident.

    Overall, this album offers up all of the awesome traits of a summertime rock album. From sweet guitar tones, chords and patterns to happy, sing-a-long choruses, this album does everything it should.

    Pick up the album through Bandcamp and check out Bryan’s Facebook page and his website.

  • Hollerback Productions Celebrates Ten Years of Great Acts with Club D’Elf and Marco Benevento

    Hollerback Productions celebrated ten years of presenting great music, brought about by the vision and hard work of Dan Mastronardi, with a special anniversary show on Friday, May 31st at The Westcott Theater.  The show at Hollerback Productions featured one of the first big bands booked by Dan, the highly esteemed jazz/prog/dance/world music group Club D’Elf, with special guest, indie/jazz innovator Marco Benevento.  Following a genuinely heartwarming, albeit awkwardly delivered speech by Dan Mastronardi, Syracuse music fans whooped with supportive thankfulness for the people that have helped construct the Syracuse scene.

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    Club D’elf then took the stage and fell instantly into a deep, bass-driven, psychedelic groove, laying down a warm and cosmic blanket of ambient sound and tribal rhythm, while masterful solo work was interwoven by the ‘Club’s’ highly gifted musicians.  Each artist brought their own worldly and masterful sound to Club D’Elf’s droning yet complex jam-compositions.  Besides talent, the Club boasted a diverse arsenal of cool toys.  Bass player and Club D’Elf originator Mike Rivard switched between a low profile, futuristic-looking stand-up electric bass and a standard electric bass, while world music master Brahim Fribgane traded off between hand-drums and a stringed Lutar, that poured out exotic and timeless-sounding melodies that could have come straight out of a National Geographic documentary.

    Together with Marco’s soulful, and dare I say “pretty” melodies on keys and Hammond Organ, Club D’Elf entertained, intrigued, and mesmerized listeners.  Unlike many popular improvisational groups and jam bands, Club D’Elf focused on laying down well-crafted, often danceable bass-lines and rhythms, while placing the lead guitar in a chord-dominated supportive role.  This kept the crowd moving and allowed space for lead instruments to develop melodies and themes spontaneously and collaborate on composition in the moment.  Many times throughout the night, I watched as the members of the club traded knowing and joyful glances, as they felt the music come together organically.  This, my fellow fans, is always a beautiful thing.

  • Funkin’ for your Feets: Turkuaz Storms Water Street

    “Turr-kwaz” is how you say Turkuaz, and you should remember that pronunciation, as this Brooklyn based band isn’t going anywhere. The word as defined is the Turkish translation of  turquoise, but unlike the gemstone there is nothing blue about this band. Their style is pure funk, which is deliciously refreshing in the modern landscape of never-ending jambands with musical Attention Deficit Disorder.  Don’t mistake this musical singularity for boredom though, as only moss-covered rocks and Nickelback fans could possibly not feel the urge to dance their posteriors off while Turkuaz rages their funktasticness, and Thursday, May 16th at Rochester’s Club at Water Street would be no exception. Blessed with a large crowd, at least partially in part due to the earlier Rusted Root show at the annual Lilac Festival, the band took full advantage of the packed house and played their asses off for two sets.

    The first set from Turkuaz featured tons of original material showcasing the band’s deep influences from old school masters such as George Clinton and James Brown to 90’s funk machines like Galactic and Lettuce. Sexy people playing sexy music laden with delicious horn sections: this always works. Some highlights of the first set included exploratory jamming within original compositions with names like “Bubba Slide” and “Electric Habitat” as well as a nicely chosen array of covers including “Slippery People” by the Talking Heads and Traffic’s “Feelin’ Alright”. Towards the end of the first set, Dopapod’s Rob Compa joined the band on guitar for the original tune “Physical Challenge” and a cover of The Band’s “The Shape I’m In”. Rob can often be found sitting in or attending Rochester shows when Dopapod is on break and he always brings the heat on his 6 string.

    Despite being a weeknight, the venue only seemed to get busier during set-break and the second set featured perhaps the most energetic crowd this writer has EVER seen at Club-side Water Street during the week. The segues were heavy and it almost seemed as if the music never stopped; fine by me! The ladies ruled the roost for much of this set, with top notch vocals by Sammi Garret and Geneva Williams. Really, beyond the excellent  music, this band has some of the finest vocals out there, with all four singers laying it down with heaping spoonfuls of soul goodness. Set highlights included all the segues, the twosome of original “Chatte Lunatique” into Hot Chocolate’s “Everyone’s a Winner” and a spot on funky-blast-off version of Led Zeppelin’s “Trampled Under Foot”.

    Beyond the music, the crowd, the sit-in and everything else; it was inherently apparent that this band is a group of people who have deep kinship. Throughout the night they were endlessly smiling at each other, putting their arms around each others shoulders and cheering each other on. Any group of fine musicians can put together an excellent itinerary of rage, but when one can sense an internal warmth; a group that is truly acts as one soul; it brings the entire experience over the top.

    Check out Turkuaz’s next stop in Upstate NY on June 29th at The Westcott Theater in Syracuse. You will not regret it.

    Setlist

    Set 1: Jb intro, 20 dollar bill, Smarter than the speaker>Coast to coast, Bubba slide, Future 86, Electric habitat, Slippery people, Nightswimming, It’s hard>Feelin’ alright, Back to normal, Physical challenge, The shape I’m in

    Set 2: Lookin’ tough, Feelin’ good, Chatte lunatique>Everyone’s a winner, M’lady, XYZ, Trampled under foot, Bijou drains, The bird dog>Sledgehammer, Pickin’ up>Hold on, I’m coming

    Encore: Space Captain

  • TAUK New Album “Homunculus” Forges New Path in the Jam World

    I had never heard of TAUK nor had I heard their music prior to giving the new album Homunculus a listen. I was pleasantly surprised and pleased that I had the opportunity to discover a new band with such a unique sound. Immediately from the first song, “Dead Signal”, I knew that these boys were not just your average garage band playing around with instruments. It is evident that each individual is a musician, and a talented one at that. The entire album is filled with psychedelic-jazz guitar riffs and trancey loops that keep their sound light and organic with a very subtle electronic undertone. The album is instrumental front to back, but even without vocals each individual song is so complex and layered that the void is easily filled.

    Homunculus TAUKA personal favorite was track number five, “The Chemist.” The blend of man and machine is at a perfect split in this song. The guitar is hard and heavy and rips through the electronic loops elevating each intricate note. Just when you think the song ends it comes back even harder than before. “The Chemist” is followed by a much more laid back song, “Dirty Mouth.” I was blown away by the highs and lows that they created within this five minute song. They take what could have been a relatively simple jam and add subtleties that create a whole other world within the music. “Curtain Call” starts off with heavy drum influence and veers off into very slow, melodic guitar. Parts of the song broke away with organ and keys which created a very unique sound. Another personal favorite was “When in Doubt.” The song starts off very melancholy and slow but is picked up by the drums and keys. For a relatively slow tempo song “When in Doubt” is very hard-hitting. The entire album was nothing short of phenomenal these boys certainly did not disappoint a first time listener.

    Editor Pete Mason had the chance to sit down with the guys of TAUK at this years Summer Camp Music Festival. When asked to explain the meaning behind their new album’s name, they said Homunculous has multiple meanings, varying in sound and not restricted; this can be taken within many interpretations, among them ‘the mind within the mind’ and ‘an inherent force.’

    TAUK has been throughout Upstate recently, playing with Aqueous in Buffalo, as well as in Ithaca and New Paltz. They also played this year’s snoe.down Festival which they spoke very highly of for themselves and the audience. They were happy to get a longer set which allowed them to experiment freely and immerse themselves within each song as opposed to compacting their songs and jams within a stricter set time. Their brand of psychedelic improv gives them the space they need to completely redirect their jams in any direction without constriction.

    If you like jam, funk, electronic, rock, fusion or pretty much music in general you will enjoy Homonculus. You can catch TAUK at Floyd Fest, July 25th in Floyd, Virginia and Maz Fest August 1-4 in Roscoe, NY.

    Key Tracks: Dirty Mouth, The Chemist, When in Doubt

    Download the album here

    Track listing:
    1. Dead Signal
    2. Afro-Tonic
    3. Hello Narwhal
    4. The Spot
    5. The Chemist
    6. Dirty Mouth
    7. Curtain Call
    8. Carpentino’s Rebirth
    9. When in Doubt
    10. In The Basement of the Alamo