NYS Music 20​13

Category: Reviews

  • The Manhattan Project release Atomic Bomb Party vol. 3

    The Manhattan Project, one of the northeast’s newest powerhouses, came on to the scene in 2010 and is further making a name for itself with the release of Atomic Bomb Party vol. 3.

    The album’s opening track, “Endless Nights,” builds from the start into an all out barrage of sonic output layered with tasteful precision. Deep tonal exploration collides with danceable grooves for a menacing yet satisfying start to the party. Police sirens scream out in the background as Shawn Drogan’s drums continue to build the track for one last explosion of sound. The synth-heavy “Full Bounce” eases its way in with Charlie Lindner at the helm before the beats hit. Enter a layer of dub bass that tactfully wobbles in the background and the track is in full swing with a plethora of hihat chops. The breakdown is soothing and reflects a great contrast and range in the duo’s highs and lows. Beautiful vocals come and go taking the mind with them and returning it to the track just in time for the beat. “Bitcrusher” welcomes powerful vocals, a couple of sizable builds and captivating melodies for a sonic ride that may be the album’s shortest track in length, but also may be its strongest in regards to fan appeal.

    What starts out as light percussion and spacey synth builds oh so slowly with a focus on effects, before the bass enters the picture and the listeners fins themselves in the full swing of “Hiroshima.” The combination of middle eastern and Asian influences is evident and reflects a well-round arsenal. The EP concludes with “Aftermath,” a piece that begins with an almost apocalyptic buzz, chirping birds and the eventual warning of an “emergency.” Heavy bass drops and the composition takes off with soaring highs, clashing with deep lows in the albums’ ultimate build and release. The Manhattan Project’s overall output far exceeds that of a typical duo, though nothing about this duo or their music is typical. They are the past in their utilization of worldly influences. They are the present in their tasteful innovation. Atomic Bomb Party vol. 3 offers listeners a fresh perspective on a constantly developing music.

    J-man’s Conversation With Shawn Drogan(Drums):

    J-man: What are your thoughts on the new album?

    Shawn: We’re really excited about this one for a couple reasons; It’s very different than the previous two EP’s. Not only are the BPM’s of each song slower than the last, we explore different rhythms and feels on this one. There’s still a lot of variety like the last and it still sounds like us, but I think people will hear some evolution in the music. Another reason, is that this was an important one to get right and I think we did it! It’s been two years since we’ve released a studio album and we felt like we had to take it up a level this time around. A lot of the music came together fairly quickly in the weeks going into the studio. We only had a certain amount of time to write songs we felt good about and I feel we ended up producing some of our best stuff to date.

    J-man: What is your thought of the direction of “mainstream” electronic music and where do you see TMP in relation to a lot of the mainstream music?

    Shawn: I think music in general is in a great place! Popular music is popular for a reason. Our music definitely hits on certain levels of mainstream, but also offers something more for people that want something deeper.

    J-man: Can you talk about why it is you gentleman opt out of utilizing laptops in your live performances?

    Shawn: We both come from a very instrumental background and wanted to utilize that element mainly when we started, but take it somewhere new. We never really planned it out that way, but as we started to develop our sound, we didn’t feel a need for laptops to perform. Now I guess it kind of sets us apart in a way.

    J-man: What does TMP have coming up this spring/summer that you guys are most exited about?

    Shawn: We’ll be hitting a lot of new cities in the next few months which is always fun, and we’ll be announcing some more festivals very soon.

    The Manhattan Project’s website: www.themanhattanprojectlive.com

  • Blues Legend B.B. King plays The Massry Center’s 5th Anniversary Gala, April 14th

    When the Massry Center for the Arts at The College of Saint Rose set out to plan their 5th anniversary gala on Sunday, April 14th 2013, they looked to go big and find an act that would fit the evening. After a brief search, the name of the greatest living blues guitarist was thrown into the mix. Ultimately, B.B. King was selected to play for a select crowd of 300 patrons, donors and students of Saint Rose, making for an intimate experience, one the crowd would not soon forget.B.B. King

    The Massry and Picotte families were honored for their donations towards the Massry Center and the Picotte Recital Hall, respectively. Starting sharply at 7:45 that evening, the band, minus B.B., came out on the stage and began 10 minutes of swinging jazz orchestration, warming up the toes of the crowd as they tapped and swayed them into the groove as each horn took a vibrant solo.

    The band beckoned the crowd for growing applause, as B.B. King walked out from stage right, with white tufts of hair covering his head and a signature purple jacket with a gold and silver pattern. King tossed out some guitar picks before sitting down gently, taking Lucille by the neck and plucked her strings to bring forth that signature sound, the one that every blues guitarist alive seeks to imitate, for that golden sound of blues guitar from B.B. King’s fingers is unmistakable to even the casual fan.

    B.B.’s band, all incredible individual musicians in their own right, took their own solos throughout the evening, including Charles Dennis on guitar, ‘Professor’ Stanley Abernathy on trumpet, Melvin Jackson on sax, James Sells Toney on keyboards, Robert Higgins on drums, Ron Torbensen on bass and B.B.’s nephew Walter Riley King on flute and baritone saxaphone. In every song, B.B. would defer to them, as they brought each tune to new heights, only to be accented by King’s own guitarwork.

    B.B. King

    With B.B. King out on stage, he sat down front and center and moved into “I Need You So,” with the keys eliciting symphonic strings for a soothing opener. “Everyday I Have the Blues,” one of many classics over the course of the evening, brought the voice of the King to the forefront, with a little plucking  as the band played and he strutted in his seat. The horns on “Rock me Baby” added so much to the sound of guitar, it created a perfect accent for the evening. “So Excited” started out with an extended instrumental before the lyrics of a love’s lament, “I’m so excited, think about you all the time, Yes I can’t wait to see you baby, You really messed up my mind.” About this time I noticed the incredible detail on B.B.s jacket, which stood out like a peacock showing off his feathers, enticing the audience to come in just a little bit more towards each song he sang. A high saxophone solo provided a great contribution to “So Excited”, while B.B. made it look so easy to play the blues, the notes just popping off his fingers.

    Audience participation was unexpected, but welcomed by all, with the classic tune “You are my Sunshine”, sans horns, just guitars, keys and drums. B.B. encourages the crowd to sing along early on in the tune with him, then solo, then the crowd reignited the singing without prompt. B.B. invited the women to sing a verse, then give a kiss to a guy near them, which led to humorous banter with the front row of the school’s dignitaries. Encouraging the ladies to sing and kiss a guy near them again, King counted off to 4 (at a slow pace – one, one and a half, two, two and a half…) and got the crowd kissing again. To extend the song just a bit longer, he remarked that “a few guys didn’t get kissed, so pucker up next time”, which elicited uproarious laughter from the crowd before another sing along of the refrain from the audience.

    Getting back to the classics, “The Thrill is Gone” bled from the strings, and with seats so close, I could hear each string plucked as B.B. King worked through the song. “Someone Really Loves You” was accompanied by flute and the delicate notes were enhanced by the Picotte Recital Hall’s incredible acoustics. “Love Came to Town” got progressively more toe-tappy and invigorating, leading to louder horns amid full swinging blues and an audience clap along.

    B.B. King

    For the finale of the night, B.B. mentioned a tune that he used to play with Willie Nelson at the end of shows when they toured together in 2008. “When the Saints go Marching in”, the ultimate song for New Orleans. B.B. grooved over the song, sang the memorable lyrics and then casually invited individuals from the audience to come up and get additional guitar picks, commemorative pendants or a handshake, as well as a beaming smile. This led to a true moment for many in the audience (this chance to meet the King lasted for well over 30 minutes) – to interact with a legend who has shared the gift of his music for nearly three quarters of his life. God bless B.B. King.

    Setlist: Intro 1, Intro 2, I Need You, Everyday I have the Blues, Rock me Baby, So Excited, You are my Sunshine, The Thrill is Gone, Someone Really Loves You, Love Came to Town, When the Saints go Marching In

    B.B. King

  • Review: Assembly of Dust at The Westcott Theater, April 13th

    A content crowd of harmless hippies from all around the Finger Lakes region gathered at Syracuse’s Westcott Theater on Saturday night to watch Assembly of Dust. From a cloud of fragrant smoke, the band emerged on stage with their opener “Telling Sue”. Barely seconds into the song, the audience begins to mouth the lyrics to the song.

    With Reid Genauer’s organic, raspy vocals and Adam Terrell’s Chuck-Ragan-esque raw attitude, the duo share chemistry that injects energy in their set. After the upbeat performance of “Paul Henry”, the band included instrumental interludes to go along with their cosmic lighting backdrop. Between the high strung guitar solos and the shimmering tinkle of the keyboard, it was as if every note had diffused itself like a pleasant haze over the audience. Assembly of Dust then played the synthy title track of their new record, Sun Shot, which was received by the audience with a roar of applause.

    For someone who is not the biggest fan of the bluegrass-jam-band genre, this reviewed found it exhilarating to watch such a great band draw such a diverse crowd together.

    Setlist:

    Set 1:  Telling Sue, Man With a Plan, Whistle Creek, Myth of Mine, Paul Henry, Avenue of the Giants, Love Junkie, Arkansas Down, Truck Farm

    Set 2: Mama, Weekhawken Ferry, Speculator, Burned Down, Cluttered, Songbeard, Silver And Worn,
    Westerly, Sunshot

    Encore: Miss Ohio, Lost and Amazed

    Download the show here

  • Todd Rundgren releases his 24th solo album “State” and tour dates

    One of the coolest parts of writing is the opportunity to review music by my favorite artists. I’m not a critic unless I’m badgered into it. If I listen to something that I don’t care for, I don’t write about it, simple as that. I don’t want to rain on anyone’s parade, for me it’s all about giving exposure to music I believe is exceptional. But writing about Todd is a pure joy! He’s been one of my favorites since “Hello, It’s Me” hit the airwaves. I’ve had the pleasure of seeing him in concert twice. Once with his band Utopia at the opening of the “Ra!” tour and again two years ago at The Oneonta Theater, which I reviewed on these pages. I’m about to spin State for the first time and share my thoughts on it with you. Here we go!

    Todd01-web
    Photo by Sandra Jackson at Sublunar Studios [Visual Design]
    State is a one-man-band project like so many other of Todd Rundgren’s works, ten tracks that reflect industrial and contemporary electronic elements. This is his 24th solo release and it’s touted as a fusion of rock, soul, R&B and electronica.

    Todd sets an immediate electronica tone with a sequencer running to open “Imagination”, then lays down a little “War Pigs” crunch line. I’m not sure if it’s a vocodor or just effects on the vocals, but the echo element emphasizes the topic, or lack thereof. It’s like the devil on one shoulder and an angel on the other, or is it two devils? They push and prod against each other in an almost tug of war right up to the first solo which is quintessential Todd. Exposing an inner battle in song, “I am what I am, that’s all that I am. Same old situation. No imagination. I tell myself.”

    Bordering on trip-hop with a twist of Todd mayhem. He said he listened to Skillrex, interesting and a bit alarming! “Serious” feels like a mix of 80’s elements from fuzz-tone funk bass to chorus-like synth flourishes right down to the R&B influenced vocals. A total switch of the gears, just like you’d expect from him, it’s like Was Not Was on steroids. He keeps the sequencer rolling on “In My Mouth”, accompanied by electronic drums and processed vocals. Sounding something like a musical therapy session, perhaps describing words on the tip of his tongue that he can’t release.

    “Ping Me” reflects the modes of communication we use today as much as how we diagnose a interpersonal problem described as a technical problem. The inability to express feelings that has been exasperated through our use of the internet medium. Just send a signal and I’ll know you’ve heard me, but did you really? The electronic funk feel rolls on through “Angry Bird”. It’s like he’s playing the game to describe the ebb and flow, lose a life, gain a trophy, re-charge, start over, pretty much a relationship video game soundtrack. “Smoke” has all of the elements of a New Order collides with Todd’s signature R&B/blue-eyed soul feel. He often plays an under-lying sexual tone expressed through analogy. He remains oblique enough to allow the listener their own definition, truly one of the most difficult of songwriting pieces.

    Untitled

    “Collide-A-Scope” gets heavy on the electronica in a stream of thought lyric. As if he’s spinning the wheel on a kaleidoscope of his emotions, again the analogy-like exposition of feelings through an electronic medium. The real heart trying to be heard, but washed under a tide of programming and lack of ability to communicate. The metronome-like percussion of “Something From Nothing” gives a machine voice to a clock left hanging on a wall in a deserted town. Hanging onto hope, which equates to nothing more than a nail on a wall, expressed as faith, which ends up being nothing. “Party Liquor” is a full-force shot at the whole dj dance-hall scene. Exposing the vacuousness and soulless nature of the genre. It’s remarkable that all of these sounds were created with one guitar and a laptop, but that’s surely the shape of music today. The difference is these things are used by a brilliant musician, not a kid using Garage Band. The lyric suggests how easy it all is when you’re in the right place at the right time. Pure misogyny. The closer, “Sir Reality” reduces the real to the ridiculous in a simplification of what actually is, a Wizard of Oz-like opus of belief. Believe what I tell you is real, not what you actually feel. Pure Todd.

    There is also a 2 CD limited edition of State which features a recent concert on Disc 2. Much like every other Todd album I’ve heard, this one is highly recommended as his constant evolution as a writer and musician are in full force here. Don’t forget, he plays every instrument, sings every vocal, engineers and produces this work. Don’t try this at home, trustafarians.

    Todd will be touring in support of “State” beginning at The Bearsville Theater in Woodstock, NY for an “Official State Visit” on May 5th and 6th.

    Tracklist:
    1. Imagination
    2. Serious
    3. In My Mouth
    4. Ping Me
    5. Angry Bird
    6. Smoke
    7. Collide-A-Scope
    8. Something From Nothing
    9. Party Liquor
    10. Sir Reality

  • EVERYONE DIES IN UTAH Kill the Lost Horizon on April 6th with Local Support

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    Last Saturday, April 6th, Everyone Dies In Utah came to the Lost Horizon in Syracuse on their Dark Hearts & Open Eyes tour with The Overseer and Bleach Blonde. To support them were some of the finest upstate metal acts: Redfield, Meira, and Turn the Tide. This show was exactly what it promised to be; a showcase for up-and-coming talent in the various forms of underground music. While the bands all did very well and had good energy, the crowd seemed less enthusiastic. I’m not sure why this is the case, but by the end of the night, EDIU most certainly made the crowd come alive.

    Local metalcore sextet Turn the Tide opened the show and did what they always do; they “kept it metal”. Their high-energy stage presence and tight stage-move choreography kept things interesting, on top of talented musicianship and vocals. Not even drummer Mike Hopper’s overhead microphone falling on top of his drum set could stop the flow of their musical onslaught. However, being the first band has some serious drawbacks, and the crowd didn’t really give these guys as much energy as they deserved.

    Following them was Meira, a metalcore quartet that sounds like there are way more people than that. Playing songs from last year’s debut EP, Closure, plus a new song, these guys brought their dark, brutal sound to the stage with full force. The crowd started to pick up a bit as they went on, and some dedicated fans revealed themselves and sang along with them. They showed a lot of promise and cohesiveness with just the four of them, and proved that they are not messing around.

    Redfield, a local fan favorite, was the last local band to play. This metalcore act has gone through some lineup changes to date, and I think some of it showed. The vocals and rhythm section were spot-on, and brought the familiar partying energy we’ve all come to know and love, but it seemed as though at least one of the guitarists were new to the band and still needed to learn parts of some songs. However, vocalist Travis Bartlett carried the energy they are known for and engaged the crowd well, and induced some singing along of their newest songs.

    Pop-punk band Bleach Blonde were next, and they created some mixed feelings. They have a light, fun sound, and the music itself was performed excellently. Their drummer truly stood out with his skill and fills, but the whole band kept it together very well. That is, except for the singer. I don’t know if he couldn’t hear himself or what, but I don’t think he sang one note on key the entire show. That wouldn’t be too big of a problem if he wasn’t also boring on stage. This may sound harsh, but I think this band would have a much more promising future with a different singer.

    The Overseer, the last supporting act, took the stage by storm and brought some life back to the crowd after the previous band had finished. With their engaging stage presence, musical skill, and varying effects, these guys most certainly made a good impression on the crowd. They proved to be nice guys too, hanging with the other bands and talking to the audience about Syracuse University in the Final Four between songs. This band is definitely one to watch, because as good as they already are, it can only go up from here.

    When Everyone Dies In Utah took the stage, it was like a tidal wave. Strobe lights, keyboard effects, and brutal postcore music seemed to completely revive the crowd. It seemed many of the people in the crowd came to support the local bands, which is good, but the ones that stuck around to see EDIU were most certainly impressed. Somehow, they are able to combine brutally heavy verses and breakdowns, super catchy choruses and riffs, and electronica all into one distinct sound. They also proved to be nice guys, taking the time to talk to me for an interview after taking down the massive amount of equipment they had.

    Here’s my interview with Everyone Dies In Utah:

    http://www.youtube.com/watch?v=ogBYZeFC330

    My interview with Meira:

    http://www.youtube.com/watch?v=XSKIMvHpQvs

    My second interview with Turn the Tide:

    http://www.youtube.com/watch?v=y0NRs6AyRvA

    (Here’s my first interview with TTT, just so you’re all caught up and learn everyone’s names…):

    http://www.youtube.com/watch?v=zTaX0cJz_N0

    www.facebook.com/315MusicReviews

  • Album Review: Keller Williams Keys in tribute to The Grateful Dead

    Keller Williams, best know as the one-man jam band, recently released his new album Keys, which focuses on only one instrument and one charity. The album is a collection of Grateful Dead songs with 100% of the proceeds going to The Rex Foundation, a charitable non-profit organization that was started by the Grateful Dead and gives grants to various causes. Keller Williams has a full schedule for this summer, making stops at festivals such as Summer Camp, All Good, Delfest and Equifunk. Keller Williams routinely uses the technique of live-phrase-looping with multiple instruments, which makes for a marvelous and unique show each time.  I was expecting to hear such a performance on the album, however, was left with only a piano.

    KW.Keys_.cover__1I discovered the jam band scene less than three years ago and therefore, my Grateful Dead knowledge is limited. Regardless, I do enjoy their music all the same and had to re-listen to some of the original songs before listening to Keller Williams’ version.  It was a great album to unwind to, with Williams’ soothing mellow voice and gentle finger playing. Keys definitely gives the songs a fresh perspective of the classic hits, but it’s not quite the same. I missed the groovy guitar riffs, pounding keyboards, familiar voices and steady rhythm that I associated with the GD. One of the best parts about listening to Keys is with the only sounds being the piano keys and Williams voice, it made the lyrics stand out so much more. Williams gave each song a new meaning by performing Robert Hunter’s psychedelic lyrics and Jerry Garcia’s melodies with a caring heart and impeccable finger playing.

    Keller’s thoughts on the album bear repeating, to show the personal connection he has with the music: “It’s no secret I have an unhealthy fascination with the Grateful Dead. Whenever I sit down at the piano its seems the only thing that comes out are Jerry ballads.  Even though these songs are not all Jerry ballads, I have sort of made them that way.  The lyrics, although I’ve been singing them most of my adult life, are not 100% perfect….like any other music I play, I’ve taken liberties.  All of the proceeds from the sale of these songs goes to support the Rex Foundation, which was started by the Grateful Dead, in the 80’s….so you can feel good about that! ”

    The album is available through iTunes currently for digital download, remember it’s for charity.

    Key Tracks: Brokedown Palace, Bird Song, Row Jimmy

  • Hearing Aide: Eastbound Jesus “Northern Rock”

    Northern Rock is a bold title for an album – Eastbound Jesus define themselves with the release of their third album in as many years.

    Northern Rock not only gives rise to the sextet’s own sound, but perhaps defines something that had previously been elusive – a sub-genre of music pumping out of the northern region of this country.  It’s something a kin to southern rock, but not quite; Northern Rock encompasses a variety of musical elements from rock to alternative country to folk-like story telling lyrics neatly packaged within each strategically placed song for an album that redefines the boundaries of Americana in the north.

    Eastbound Jesus Northern Rock

    Gentle drops of rain and soft plucking in album opener, “Out Yonder,” breaks open into a welcoming harmonization of vocals and the listener is hooked. “54 Miles”, a clap along song, would surely have the masses marching to the beat of their own drummer, in this case, Carl Anderson.  Northerners are often known for their attitudes (albeit misperceived), which forlorn and edgy lead Adam Brockway captures by strumming his acoustic amid the electric instrumentation.  Dave Wright on bass provides the needed counterpoints for a smooth, rounded balance of sound while Dylan Robinson (electric guitar) pushes the limits on “Kate Belle.” Getting down to the nitty gritty, Luke Anderson takes lead vocals on “I Wouldn’t Know”, letting his punchy personality flow into his banjo, crafting character into Northern Rock.  But, the congealing medium throughout the disc is the intrinsic lap steel interjections of Zach Infante.

    Eastbound Jesus will be unraveling their disc for the masses at a release party open to the public at Revolution Hall on April 19th.  Northern Rock is an expression of what it’s like to experience the north. A style of catchy rhythms, contextual lyrics (relevant to the day in the life of a small town northerner), and a homogeneous blend of instrumentation, Eastbound Jesus established a foundation for the sound of northern rock music.

    Key Tracks: 54 Miles, North Country Girl, Where the Winter Goes

  • Mandate Of Heaven releases their 10th CD, “Mark Music”

    Syracuse multi-instrumentalist/singer/songwriter Greg Pier and his vehicle, “Mandate of Heaven” have released their latest CD, “Mark Music” and are preparing for several shows in May and June.

    Pier could certainly be considered one of the area’s most prolific writers as MofH reaches double-digit numbered releases. MofH is not only a band, but also the moniker for Pier’s solo performances and recordings. “Mark Music” is the tenth release on Pier’s “Neon Witch” label. Jason “Jocko” Randall engineers and mixes at More Sound with additional tracking done at Neon Witch, Randall and Pier co-produce this release which was recorded between 2009 and 2012. All songs were written by Pier except “Scrapper’s Blues”, written with Ethan Jenks.

    MOH-1-web
    photo by Robyn Stockdale

    The current band features FLASHING ASTONISHER veterans Bob Kane on Drums, who plays on all tracks here besides “High Dragonfly” and Chuck Gwynn who contributes bass on “Bedroom In The Sky”. Bob gave me a great quote while we discussed this review, “What bums me out is that my favorite tune has Greg on drums, “High Dragonfly”. I laid down a track, but I was more Wilco than Crazy Horse, just too many grace notes, so he played it himself. Someday I’ll learn!” Jason “Jocko” Randall on second guitar and six string monster John Hanus plays the slide solos on “Bedroom In The Sky” and “Cruel, Cruel Aristocrats”. All other instruments and all vocals are performed by Pier, much the same as previous MofH releases.

    The CD opens with “Baby Electron”, a straight-up power-pop monster, setting the bar high for the rest of the disc. Super melodic, the ringing harmonic guitar parts swirl around the vocal harmonies ‘til the chorus hits with a crunch and bite! Hopelessness and lack of control, such a romantically pretty place to start and an appropriate lead in to “Bedroom In The Sky”. John Hanus’ dripping slide part supports Pier’s melancholic reading. The guitar parts individually read with a R.E.M. feel, the rhythm, the slide. Gwynn’s bass line is solid and flowing, just the right feel to work with Kane completing the section. “Scrapper’s Blues” is like a postcard from the front porch, written by Yorke and sung by a Matt Bellamy/Bono lovechild. The syncopation in the guitar line with Kane’s drive close at hand pushes the pace in an almost twirling dance. The first listen of “High Dragonfly” illustrates Kane’s previous quote, while the vocal line belies the almost woodsy feel of the tune, Pier’s vocal twists from his heart like the removal of a similar knife-blade. There’s a “dEUS” quality to one guitar line that echoes a “Beefheartish” influence and influences the vocal meter. The minimalist feel allows the words to bite and release, hard. “From The Center” releases the heavy side of Pier, while he allows the melodic vocal duality to layer deep. Kane’s strength reminds me of QOTSA Grohl, along with a vocal intonation that is rhythmically British in a Foo kinda way, again, back to Kane’s quote.

    There’s an edgy, crispy quality to the whole recording, maybe it’s in the compression. It’s a bit haunting and a bit halting, kinda like T-Rex at times vocally and that ain’t bad!

    Note: We just clicked on cdbaby to the “if you like this artist try” section. Hahahaha! Perfect!

    “Cruel, Cruel Aristocrats” brings Hanus back in the mix to accentuate the fast pace of Pier’s guitar line. Thematically Pier takes another bite at the expected and entitled, spitting at the standard while embracing the outsider. Check out the video here, it’s very well done.

    “If Twenty” jumps out of the gate heavy, its layered guitar riffs punctuating Greg’s quasi-pastoral, pleading vocals. Kane, once again is so strong, yet thoughtful, right down to the bell ride on his cymbal signaling the crunch along. Pier’s disaffected poetry is wrenching when it reaches its apex, circling and re-examining to the ultimate goal, the ultimately isolated self.

    “Parable” is like a theme that runs in my head everyday. Listen to what the self-proclaimed decide you like and let them pick your enemies while they’re at it. It spits at the standard and what is foisted upon us daily. Almost a updated “Iron Man” hidden in there for familiarity, with the classic percussive break only to bring you back with slowed down big-rock ending.

    “Riverbed” has a cool wilting pedal steel line playing against the semi-San Franciscan guitars, whether they’re para-psychedelic or more semi-symbionic. There’s a root in the Appalachians and a mind in Berkeley, woeful, but trust-fund hopeful. Cue up Yo La Tengo – “Sugarcube” and stress the droning vacuum cleaner sound.

    “Hand The Bottle From The Tree” is classic indie-power pop, it rocks, the vocals soar and the end kills. It times in at 3:08, just like a single that will never get airtime. It’s a pity really. At first listen a few months ago I stated that this release alone was reason for a “Album Of The Year” category in our local SAMMY Awards. Did I mention that this won “Best Modern Rock” album this year? I truly believe this work toasts many Grammy winners, it truly is that good! A taste of The Black Keys, maybe some spice from The Raconteurs, all deftly dialed in by Jocko and Greg.

    The closer, “Song Of The Halfway Point” lays it all on the table for digestion. Influences blended with personal vision, forethought and hindsight mixed with the slightest twang. It’s powerful, it exceeds its environment, it stretches reality beyond the norm if only just in wanting. It’s brilliant. Go buy it right now.

    Find Mandate Of Heaven online at Bandcamp and Facebook.

  • Johnny Mathis serenades fans at The Palace Theater in Albany on April 4th

    Legendary singer Johnny Mathis performed last Thursday April 4th at the Palace Theater in Albany, NY. I was originally told about this show by my parents, who grew up listening to his classic hits and were eager to see the crooner in action.

    The Palace Theater was the ideal setting for a Johnny Mathis concert, given its rich history and architecture. The crowd slowly shuffled in with most of the fans being no younger than 55. It was an unfamiliar feeling for me to be one of the youngest concert goers at a show. I was both thrilled and surprised to see a full orchestra set up on stage.  Knowing that The Palace Theater has plenty of space for the music to travel around in, I suddenly couldn’t wait for the show to start. Luckily for me and everyone else, Johnny Mathis started the show at 8pm on the dot and was greeted with a slow-rising standing ovation. Johnny_Mathis

    The opener was “When I Fall in Love”, to which I had never heard such utter silence from a crowd. Every set of eyes and ears were locked on Mr. Mathis, giving him his much deserved attention and respect. He stated how he was “thrilled to be at The Palace” and was going to play some songs that we’ve all heard before but he loved to sing them. After a few notes, it was easy to understand why Johnny Mathis has broken the Guinness World Record for selling over 350 million of his various gold and platinum albums worldwide. Despite being 78 years old, Johnny Mathis can still sing every word as crisp and clear as on his albums, and still with great gusto. Mathis sang his classic hits such as “It’s Not For Me to Say” and my favorite, “Chances Are.” The songs were filled with charming doo-wops and sincere, long sustained notes.

    Throughout the entire show, at the start of every song, the whole audience would sigh and swoon. Johnny Mathis would sing a few notes, the crowd would sigh in admiration and I could hear the folks around me gently singing the lyrics to each other.  As humorous as it was, it was still heartwarming to be included in a nostalgic evening for concert-goers. Mathis ended the first set with an emotional cover “Yesterday” by The Beatles. There was a brief intermission where comedian Brad Upton kept guests entertained with clean cut jokes about today’s youth and their obsession with technology, the humor of getting older plus plenty of marriage/relationship advice. Mr. Upton delivered each punch line with charm that it was no surprise that he won the crowd over in just a few laughs. Brad Upton recently was the winner of the Las Vegas Comedy Festival and has appeared at Caesar’s Palace as part of the HBO Comedy Festival. bradupton2

    Johnny Mathis began the second set with the recognizable song “Pure Imagination” from the film Willy Wonka and The Chocolate Factory. One of Mathis’ signature songs, “Misty”, received plenty of cheers due to the soaring string section and tender lyrics. The second set was mellow and easy going until Johnny Mathis brought up his fellow band mate and “Dear friend of 48 years”, Gil Reigers to center stage. The crowd got antsy as this was a sure sign that the two would play “12th of Never”, a warm ballad with gentle guitar strumming from Reigers. Johnny Mathis ended the evening by serenading the crowd with the classic song “You’ll Never Know” and thanking the talented orchestra, loyal band mates, his dedicated fans and of course, the beautiful venue, The Palace Theater.

  • The Black Crowes at The Capitol Theatre, Port Washington, April 2nd and 3rd

    Playing their first shows in the United States since December 2010, The Black Crowes came to The Capitol Theatre in Port Chester to packed houses for a two night stand of amazing music at the legendary venue, a big change for the band since last playing in the U.S. with the addition of Jackie Greene.

    Jackie has played with numerous people over the years including Phil Lesh, Bob Weir, Warren Haynes and many others and was a welcome addition to the band.  A big ovation greeted them as they came out on the 2nd and displayed big smiles, with the band launching into “Twice As Hard” followed quickly by “Sting Me.”  This one-two punch forced the already excited crowd out of control.  The fans were happy to have their band back and the band accepted the love and gave their all through the music.

    On both nights, Jackie Greene and Rich Robinson played off of one another perfectly.  Individually, each has the ability to take the lead at any point in any song that is performed.  Although Jackie is new to the band, he stood right there alongside Rich, trading guitar licks as if he’d been there for years.  The back and forth between the two made the show move without giving up for a second.  Steve Gorman and Sven Pipien kept the beat going and matched the intensity of the guitarists on drums and bass respectively.  Adam MacDougall had time to shine on the keys each night.  One of the few songs to be repeated, “Thorn In My Pride,” saw Adam destroy his keys to the pleasure of the fans.  Chris Robinson was in fine vocal form both nights.  His voice echoed throughout the hallowed halls of The Cap both nights showing no signs of wear and tear from the years of being on the road.

    Each night saw a mini acoustic set by the band, starting with beautiful versions of “She Talks To Angels”;  Jackie plays the mandolin for this and it is a wonderful addition to the song.  The first night they went into a standout version of “Whoa Mule” from 2008’s Warpaint, while the second night they brought a new take on “My Morning Song.”  This acoustic version of “Morning Song” was a different take than anything I have heard before from the band.  When electric, this song is usually jammed out to its full spacey extent, but this version saw the jamming in the middle become concise and beautiful.  It is a must hear from the two night run.

    The encores at the end of each night paid respects to bands that have preceded them.  Night one ended on “Hard To Handle”, a tune that nearly everyone know and was by far their first hit, but all of a sudden the band flowed right into Deep Purple’s “Hush” and completed it before going back into “Hard To Handle.”  The Black Crowes have always had a love of covering bands that have come before them and this was no exception.  It was a beautiful nod to the past, while still showing that there is more to come from this band.  The two night stand ended with a take on Delaney and Bonnie’s “Poor Elijah – Tribute To Robert Johnson Medley,” giving the band yet another opportunity to show they have many surprises up their sleeves.

    The Black Crowes have always been a fun band to see in person.  With these shows, they showed that they are in this game for the long haul.  The addition of Jackie Greene has made them even stronger than when they went on hiatus in 2010.  Be on the lookout for them as they tour throughout this year.  These guys are not to be missed with the way they are playing right now, and remember, these were just the first two shows of the tour.  Many more surprises are sure to be heard as they get comfortable being on the road again.

    April 2nd Setlist: Twice As Hard, Sting Me, Think N Thin, Hotel Illness, Medicated Goo, Ballad in Urgency, Wiser Time, She Talks to Angels, Whoa Mule, Hi Head Blues, Soul Singing, Thorn In My Pride, Remedy, Jealous Again, Been A Long Time (waiting On Love) Encore: Feathers, Hard To Handle>Hush>Hard To Handle

    April 3rd Setlist: Jealous Again, Think N Thin, Halfway To Everywhere, Space Captain, Sister Luck, Wiser Time, She Talks To Angels, My Morning Song, She Gave Good Sunflower, By Your Side, Soul Singing, Sometimes Salvation, Remedy, Goodbye Daughters Of The Revolution, Thorn In My Pride Encore: Descending, Poor Elijah – Tribute To Robert Johnson Medley