Category: Reviews

Blues Traveler Brings Nostalgia and Fresh Jams to Upstate Concert Hall
Blues Traveler brought an energetic and phenomenal show to Upstate Concert Hall on November 21, 2013. Blues Traveler has come back with a vengence, tossing away their reputation as a 90’s pop band and truly exploring their capabilities within their jams through each facet of their ensemble.

John Popper has always brought a fresh and eccentric level of talent that extends the complexities of each song far beyond any 90’s pop band ever could. The band opened with an absolutely mind blowing take on the Charlie Daniels’ Band’s original “The Devil Went Down to Georgia.” John Popper mimicked the explosive fiddle solos with his collection of harmonicas which he played furiously along with the rest of the band.

The band played off of each other all night, slipping into more folky, slow jams and moving back into full on rock and roll solos carried by guitar. At one point they busted into a rendition of Sublime’s “What I Got” which had the packed venue singing and dancing with the classic tune. Of course the night was also filled with Blues Traveler’s classics such as “But Anyway,” “Hook” and “Run Around” all of which were almost perfectly performed and had the crowd dancing and singing along to every word. “But Anyway” held a mind-blowing drum solo that showed that the capabilities of Blues Traveler as a band were expansive. From start to finish, Blues Traveler kept the energy high and the crowd dancing. Upstate New York is definitely looking forward to the return of this timeless and talented band.
December 3, 2013
An Interview with John Medeski

John Medeski, mostly known for his work in Medeski Martin & Wood, will be playing an intimate solo piano show on Saturday, December 7 at the Massry Center for the Arts on The College of Saint Rose campus. Having played shows this past summer with Phil Lesh and Friends, The M&M’s, John Scofield, John Zorn, as well as other sit-ins and solo shows, he has had a lot on his plate in the past year. John sat down for an interview with us ahead of the show.

Medeski has been playing more solo shows as of late, but he still does not perform solo often, so the Capital Region is very happy to have the chance to witness this master of the keys in such a cozy setting. His beautiful work on piano, keyboards and the like brings smiles to people’s faces no matter the group he is with. The concert is scheduled to start at 7:30 P.M. so make sure to get there on time as you don’t want to miss a second of it.

Pete Mason: With your upcoming solo show at the MassryCenter on December 7th, what can fans expect from seeing you perform without Billy Martin, Chris Wood, or any other collaborators? Perhaps songs from your new solo piano album A Different Time?

John Medeski: Generally my solo shows are getting the picture, the unadulterated picture, of just me. (laughs) I can go wherever I want at any time – jazz, tunes of mine, the new record, it goes all over the place; there’s a lot of improvisation, dealing with what’s happening in the moment and feeding off of that and one thing leads to another.

PM: The Word (Medeski, Robert Randolph, Luther and Cody Dickinson) has been a treat when they play at Bonnaroo and select venues. How do you treat the venture into gospel music?

JM: The Word came about because of my long term love of gospel music. Luther and I had talked for years about doing an instrumental gospel album, without the words. The Hammond organ is just a natural part of playing gospel music so it’s a great opportunity to do something fun that I love. It’s another side of me, we all have many sides. It’s a way to get deeper into the music I love. By playing the music and being ourselves, we put our own stamp on it. It’s a great band.

PM: How did the occasional supergroup, The M&M’s, a lineup that includes (in different forms) yourself, Marco Benevento, Maceo Parker, Stanton Moore, Mike Dillon, Papa Mali and Rob Mercurio, first come together?

JM: It all started as a promoter’s idea and we did a show in New York City with Stanton, Papa Mali and Mike Mercurio. It was easy and felt great, so we ended up doing another gig with Marco and Maceo, and we are now starting to work on a record. A lot of the time these groups don’t work, and I’ve done a lot of them. They’re always interesting, but this one has a life of its own and taken off on its own and you can’t go against that. We have a single out, “Melts in Your Mind”, and we plan to finish up the record sometime in the next few months and it should come out next summer.

PM: What brand of pianos/organs/keyboards do you play and do you have a preferred model to use in performance?

JM: I’m endorsed by Steinway, I like Bs or Ds or Greats. I seem to always go for Hamburgs, but every piano is different – Yamaha, Bechstein … a lot of factors work into the pianos. There are a lot of great pianos. There could be one with the same model number but sound completely different. For keyboards I use Hammond B3 or A100 organ, I have a Wurlitzer 140 that I love. I use an electric piano, a Minimoog is important for me. I usually have an organ, clavinet and electric piano around me, plus an auxiliary keyboard as well.

PM: Shortly after your show at The Massry Center, Marco Benevento performs just down the street at Red Square in Albany. If you’re not headed out of town right away, any potential stop in for a sit in with Marco?

JM: Well, you never know. It’s very possible.

A presentation of Premiere Performances, tickets are $25 ($12.50 for students) and may be purchased online at www.massrycenter.org

December 2, 2013
Upstate’s own Maria Brink & In This Moment Headline the Best Buy Theater in NYC

What do you get when you mix glam, sex, blonde bombshell Maria Brink, and perfect choreography with a drum beat that alters your heartbeat, screaming guitars, and voices full of power? You get heavy metal that’s not only awesome to listen to but one hell of a performance.

On November 10th, the Best Buy Theater near Times Square welcomed a couple thousand metal-heads for The Hellpop Tour. The venue, originally the Astor Plaza movie theater, was designed to easily move people. The only lines that existed were those that were formed by the fans waiting for the doors to open – once inside, getting drinks, visiting the restroom, and even checking out merch were super easy. Oh, and it had some pretty classy features, like the glass chandeliers – check them out if you go.

All Hail the Yeti stepped on stage first, offering intense and loud vocals, synchronized head banging, and drums that seemed to take control of my heartbeat. Up next was Kyng — although the vocals were harsh in the beginning, they sounded great in the end and the crowd was really impressed when they sincerely thanked their family for their support. Motionless in White was up next; this group, as always, drew tons of fans with their Gothic image and great sound. In addition to all three bands fitting perfectly into the typical heavy metal persona, they all noted, with surprise, how QUIET the NYC crowd was.

That all changed once In This Moment appeared on stage – as it should have. The music was awesome; on top of the totally synced metal, the vocals were powerful, and the lyrics were pretty commanding too. Unlike the three bands before them, In This Moment, is NOT your typical metal band. Their show is all about their lead, Maria Brink, and her very theatrical production. It is REALLY hard see/hear past the performance though. When you have two sexy dancers writhing next to the super hot Brink for 75 minutes, you do not want to focus on anything else.

The crowd loved the set list; most songs came from the last two albums, A Star Crossed Wasteland and Blood. But they were just as excited when the band performed their “old school” stuff from 2006. The Nine Inch Nails cover of “Closer” was pretty perfect. Seems appropriate to pair this song, which is all about raw animal sex, with the heavy metal band that is totally playing on the female sexy. I only wonder why Brink kept the “Closer” lyrics PG-13? Why say “I wanna LOVE you like an animal” when “fuck” is used pretty loosely the rest of the night? That aside, it was a great cover.

In This Moment finished their captivating performance with “Whore”, then “Blood” for their encore. After that, the 2,000 metal heads “quietly” (and without waiting in line) made their way above ground to the Times Square lights.

December 2, 2013
Maria Brink & In This Moment Headline the Best Buy Theater in NYC

What do you get when you mix glam, sex, blonde bombshell, and perfect choreography with a drum beat that alters your heartbeat, screaming guitars, and voices full of power? You get heavy metal that’s not only awesome to listen to but one hell of a performance, particularly from Maria Brink of In This Moment

On November 10th, the Best Buy Theater near Times Square welcomed a couple thousand metal-heads for The Hellpop Tour. The venue, originally the Astor Plaza movie theater, was designed to easily move people. The only lines that existed were those that were formed by the fans waiting for the doors to open – once inside, getting drinks, visiting the restroom, and even checking out merch were super easy. It had some pretty classy features, like the glass chandeliers – check them out if you go.

All Hail the Yeti stepped on stage first, offering intense and loud vocals, synchronized head banging, and drums that seemed to take control of my heartbeat. Up next was Kyng — although the vocals were harsh in the beginning, they sounded great in the end and the crowd was really impressed when they sincerely thanked their family for their support. Motionless in White was up next; this group, as always, drew tons of fans with their Gothic image and great sound. In addition to all three bands fitting perfectly into the typical heavy metal persona, they all noted, with surprise, how QUIET the NYC crowd was.

That all changed once Maria Brink and In This Moment appeared on stage – as it should have. The music was awesome; on top of the totally synced metal, the vocals were powerful, and the lyrics were pretty commanding too. Unlike the three bands before them, In This Moment, is NOT your typical metal band. Their show is all about their lead, Maria Brink, and her very theatrical production. It is REALLY hard see/hear past the performance though. When you have two sexy dancers writhing next to the super hot Brink for 75 minutes, you do not want to focus on anything else.

The crowd loved the set list; most songs came from the last two albums, A Star Crossed Wasteland and Blood. But they were just as excited when the band performed their “old school” stuff from 2006. The Nine Inch Nails cover of “Closer” was pretty perfect. Seems appropriate to pair this song, which is all about raw animal sex, with the heavy metal band that is totally playing on the female sexy. I only wonder why Brink kept the “Closer” lyrics PG-13? Why say “I wanna LOVE you like an animal” when “fuck” is used pretty loosely the rest of the night? That aside, it was a great cover.

In This Moment finished their captivating performance with “Whore”, then “Blood” for their encore. After that, the 2,000 metal heads “quietly” (and without waiting in line) made their way above ground to the Times Square lights.

Words by Joy Houle, Photos by Jim Gilbert

December 2, 2013
Hearing Aide: Jimkata Live Album ’10 More Songs’

Upstate’s own Jimkata continues to buzzsaw through genres and expected timetables for success. They have been diligent in the studio over the years and have worked even harder touring, which is why their newest live release 10 More Songs fittingly celebrates the latter. A 14-song commemoration of the embodiment of both Jimkata and their Upstate NY roots, live tracks were plucked from shows in their resident Ithaca and also Rochester, Oriskany Falls and even Brooklyn. Yes, 14 songs.

Looks like the boys over there in the ‘Kata Kamp’ have quite the sense of humor, adding with it an enjoyable 80’s esque cover art with 8th Grade Media Arts type-graphics atop at sunset cover with two pelicans. All I really know about pelicans is they are especially hungry and the same could be said about Jimkata’s meteoric rise to success.

The live compilation for 10 More Songs was masterfully selected. At times during multiple re-listens, I found myself yearning for a bit more hi-fidelity in the mastering of the audio but that is often quickly subsided with slowly-building jams on nearly all the tracks. Not only do most 10 More Songs’ 14 tracks consist of Upstate tour dates, but fittingly, they truly embody the entire body of Jimkata’s song catalog, which fittingly, was often first tested on Upstate NY jam crowds. At least a tune from every Jimkata era or album is represented, including several from their latest release Die Digital, which appropriately is one of the best damn live tracks on the album.

In addition to long-time jam vehicles’ “Greyhound”, from their breakthrough LP Burn my Money, two real surprises come from the tracks “One to Ten” and “Soap.” In the former, listeners are urged to be patient with the song’s live progression as the final two minutes really highlight what Jimkata is capable of as a band when it all gels at the end of real live exploration. Similarly, the album’s fourth song, “Soap”, also starts out of the gates rather slow but layers and layers into a dominant, clean hard jam, driven by Jimkata drummer Packy Lunn and bassist David Rossi.

While some may scoff at the idea of a live album this early in Jimkata’s resume, closer inspection will reveal that Jimkata’s body of work is not only experienced but mature, whereas those two adjectives are not always synonymous. 10 More Songs is a great live-album introduction from this band. Jimkata, as a band with a unique sound with great vocals continues to grow bigger and badder with every tour stop they cram in or festival they play. This new live release contains enough octane to continue furthering that mission for those not going to shows or festivals but chillin on their couches or driving their cars.

Key Tracks: Greyhound, One to Ten, Soap

December 2, 2013
Hearing Aide: North Mississippi Allstars ‘World Boogie’

New Orleans and Chicago can lay claim to their own blues sound, but the Memphis and North Mississippi Hill Country sound is the rarer, less explored gem of sound to discover. Fortunately, Luther and Cody Dickinson, the core of North Mississippi Allstars have spent the better part of the past 20 years sharing this sound with fans, following in the footsteps of producer-father Jim Dickinson. The sound – a gritty, unrefined and powerful force gushes forth in the fantastic World Boogie is Coming. Featuring tracks varying in length from one to ten minutes, the full pantheon of the regional blues sound is delivered through covers from blues legends the Allstars are happy to introduce you to, as well as originals and instrumentals.

“Rollin ‘n Tumblin”, best interpreted by Muddy Waters, kicks off with gritty guitar work from Luther, both plucked acoustic and shredded electric, and primal drums from Cody, leading to a fresh take on the early blues number. “Snake Drive”, the RL Burnside original the trio has performed for years has the vocals strained through a megaphone that makes for a distant, stripped down juke joint vibe. “Meet me in the City”, one of the more upbeat songs on the album (as close to a ballad as NMA gets, via Junior Kimbrough) drifts off into “Turn Up Satan”, where Luther Dickinson sings with a love-scorned blues infusion at its core.

“Shimmy”, another staple from the NMA live catalog is pure instrumental howling guitar while “World Boogie” and “Goin’ to Brownsville” give a taste of local flavors embedded in the vocals. “Jumper on the Line” is 10 minutes of bluesy bliss, anchored by Luther’s guitar and Cody’s drumming and a bass beat held down by Chris Chew, but it is the vocals on this RL Burnside tune that are inviting throughout.

A unique aspect to the album are the short interludes between the main tracks – “That Dog After That Rabbit”, “My Babe”, “Cuttin’ Shorty” – add to the album by providing slight valleys to the multiple peaks on the album. The bonus tracks are solid as well – “Back Back Train”, a lively and seemingly spontaneous “Hodown” and a studio take on a fun live tune, “ML (Goin Home)” are great extras for an album that is strong and thorough. Produced by the Dickinson brothers and featuring Lightnin Malcolm, Alvin Youngblood Hart and Duwayne and Garry Burnside, among many others, the musical history heard in this album is a rare-treat.

Key Tracks: Rollin n Tumblin, Turn up Satan, Shimmy, Jumper on the Line

November 27, 2013
Cabinet and Rebel Darling: A Wallow at The Hollow

A purist might not consider Cabinet a Bluegrass band. Sure the building blocks are there, traditional instruments are there, but somehow Cabinet bellowed, thundered, resonated, hummed, and jangled from the depths of The Hollow in Albany creating a unique musical vibration. A six-piece ensemble from Pennsylvania was well received by a large and appreciative crowd. Cabinet is a no-frills type of band, at least until they pick up their instruments.

Cabinet moved through a set of songs of various tempos, some lyrically absent songs and tunes that engaged the crowd in what seemed to be a dance-a-thon. “Doors” switches things up within the song itself; beginning slow and steady, Todd Kopec uses his fiddle to take this song into another realm of existence. Cabinet has the ability to move a song into another space and then bring us back down to reality. Covering “Mr. Spaceman,” with their modern nuances, introduced a familiarity to the crowd, perhaps a nod of gratitude to The Byrds but even more so, a conjunction to their own music that ventures into avant-garde. Cabinet played a lengthy set yet strategically left the crowd wanting more. Cabinet is currently on tour with dates in Pennsylvania, Virginia and Washington D.C. through the end of the year.

Brand new local 518 band Rebel Darling opened. Singer-songwriter and Rebel Darling founder Michael Poulopoulos exclaimed, “We extended ‘Harvest Heart’ on a whim lead by a dirty blues harmonica. We felt the moment and went with it.” Rebel Darling played Cabinet’s, Pappy Biondo’s solo song “Hard to Find” from his album Pappy Time.

Rebel Darling released Harvest the Heart this past March. will have more on Rebel Darling in January.

November 27, 2013
Rubblebucket at the Westcott Theatre, November 20th

The lights gracefully brighten the stage and the audience finds themselves looking at colorful scarves draped across the microphone. It was only last fall that this Brooklyn based band played a sold-out show here in Syracuse and tonight, the Westcott Theatre is packed with a returning jubilant crowd gathered to see one of their favorite jam bands play. To the right is a middle-aged woman in a wheelchair, circling around in anticipation as singer Kalmia Traver aligns her saxophone carefully next to the mic. To the left are a red plastic cup holding college students chanting, “Rubblebucket” repeatedly. It is evident this band appeals to more than just one social scene. Armed with their wide pallet of instruments, the eight-member band takes on the stage like a stirring of galloping ponies, ready to show the town how to have a good time.

The band opens with “Bikes”, which brings back the tootsie-rolling, toe tinkling feeling of the early Free Design records. Traver showers the crowd with glitter and pulls out crowd pleaser after crowd pleaser from her setlist. In the middle of the band’s performance of “L’homme”, she casually pulls off the bright yellow scarf from around her painted face, to reveal a clean-shaven head, with a heart shaped buzz cut in the center that she dyed red. One can leave it up to Traver to even turn her recovery from ovarian cancer into a fashion statement. Traver, who had to cancel her summer shows because of her sickness, seems to have emerged even better than before. Her humming-to-the-flowers melody in “Silly Fathers” makes that apparent.

By the end of the night, everyone left the show a little worn out from all the “silly” dancing encouraged by the band, but the huge smiles plastered on their faces said that the experience was worthwhile, even if that meant showing up to work a little hung-over the next morning.

November 26, 2013
Hearing Aide: Brendan Benson ‘You Were Right’

Singer/Songwriter and power pop emissary Brendan Benson will be releasing his eighth solo album on November 29, 2013 for a Record Store Day Black Friday vinyl only exclusive, and in official digital/CD capacity on December 10^th, through his own Readymade Records.

Benson, who is recognized as the other principal songwriter in addition to Jack White in the Raconteurs, has again developed a melodically infectious and lyrically intelligent collection of songs. Released only a year removed from 2012’s What Kind of World, You Were Right collects the entirety of Brendan’s special Readmade single releases throughout 2013, in addition to demos unearthed and reworked from Benson’s vault to round out the substantial 15 song release.

For fans of Brendan Benson, the usual hallmarks can be expected on this release, sugary sweet melodies, lofty vocals and a willingness to experiment. For those new to Benson, expect to find relevant and often self-depreciating lyrics supported by sturdy melodic foundations that echo Benson’s long and varied list of influences. Benson is blessed with the innate ability to draw the blood out of any melody and inject it with originality and a humble translation. Through his truthful and often humorous commentary on the male/female dynamics of relationships, Benson has developed into one of the greatest modern day songwriters, and on You Were Right, he again delivers a divergent collection, able to sit comfortably under any classification or critique. After a few spins this LP soaks in to you skin, finding you singing in the shower, humming in the car, and waking with its numerous melodies bouncing around your skull.

The LP opens with the hook of a song that is instantly recognizable, yet brand new and completely unique. Just like an ‘old familiar friend’, the opening track ‘It’s Your Choice’ elicits the rare feeling of loving a song the first time you hear it. The addictive instrumentation forces the listener’s ear to crane, like a dog who has just heard a random rustle or tussle outside the window. Benson’s full pop sensibilities are on display with this introduction to the album. Sounding like a classic in the making, the harmonies give the song a big and sleek sound and an groovy aesthetic.

Tracks like ‘Rejuvenate Me and ‘As of Tonight’ continue the theme of Benson’s penchant for opening his records with powerful tracks, a habit that can be traced back to his debut LP. In contrast, ‘Diamond’ which was released as a single, reflects some of the down home influence Nashville (where Brendan lives and the LP was recorded) has had on Benson, both in attitude and melodic expression. This track is a recipient of Benson’s inherent gift to mix any genre with his pop influence, coming out with something contemporary and mellifluous. ‘Diamond’s’ melody line is a high and lonesome back porch holler, smelling of wood smoke and booze, it’s Appalachia backbone transposed with a urban recording studio. The myriad of diverse styles and approaches continue throughout the record spotlighted in tracks such as the 1960’s flashback “I Don’t Want To See You Anymore’, the smoky reggae burn of concert favorite ‘I’ll Never Tell’, and a song that encapsulates Benson’s songwriting style, the vocally dead pan, musically flamboyant ‘She’s Trying To Poison Me’

‘Purely Automatic’ was also one of the singles Benson released this year, and for good reason. Beginning on an edgy descending rock and roll introduction, the longest song on the LP springs excitedly into a banging march. The song was originally a contender for Benson’s 2009 LP My Old Familiar Friend, somehow falling by the wayside, and luckily reappearing here. ‘New Words of Wisdom’, ‘Oh My Love’ and ‘The Fritz’ all use the acoustic guitar as their respective foundation and are the melodic teeter-totters rebounding Benson’s resonant musical ideas. The next to last track of the record is another song featured as a 2013 single release, ‘Swimming’ is easily one of the strongest tracks both musically and lyrically from Benson on the LP. The album concludes with the number ‘Red White and Blues’, a honky-tonk bar room brawl of a tune. Metaphorically referring to certain pharmaceuticals, the track feels as if it could have come from a Raconteur’s recording session, lending itself to that kind of edgy reading.

Brendon Benson’s new LP release You Were Right is a record that offers a rare guarantee to the listener, a promise that the music found within will be honest, made with an attention to detail, and played with conviction and attitude. Benson’s consistent musical output has shown no decline in quality, only an increase in willingness to experiment, and the ability to take chances through artistic expression. Benson has and will continue to offer an honest analysis of the dynamics and intricacies of interpersonal relationships, as well as humorous and always self-aware glimpses of his life and commentaries on our own. His musical development is in constant flux, and his collection of melodies, harmonies and production talents continues to grow and find differing avenues for expression. Lovers of rock and roll that can make you think, as well as dance should look no further that Brendan Benson’s new record You Were Right, available November 29 in a limited LP release and December 10 here in its official capacity.

November 21, 2013
Hearing Aide: Tennis’ ‘Small Sound’ EP

It’s been more than three years since the North Atlantic sailing trip that inspired Alaina Moore and Patrick Riley’s first album under the musical moniker, Tennis. The duo released Cape Dory in 2011, a collection of surf pop tunes that displayed Moore’s swooning vocals among breezy guitar riffs and beach rock beats. Their 2012 follow-up, Young and Old, showed progression; with producer Patrick Carney of the Black Keys involved, Tennis’ music became more than just a summer soundtrack. The album provided a more complete set of tracks, blending rock ‘n roll elements with their signature island sound.

Tennis’ most recent release comes at a time when the sunshine days of summer finally feel like the distant past. Their new EP, Small Sound, features Moore and Riley moving forward as musicians, distancing themselves even further from their Cape Dory days. After working with Carney on their previous project, Small Sound’s production is the product of another one of today’s biggest indie rockers, the Shins’ Richard Swift. This collaboration results the most developed sound Tennis has created to date.

Small Sound opens with its first single, “Mean Streets.” From the get-go, Small Sound continues Young and Old’s focus on Tennis’ evolved musicianship. In an age where indie pop’s utilization of keys generally means danceable synth sounds, piano acts as a driving element throughout the EP. Introducing itself in “Mean Streets,” Tennis’ usage of piano continues into “Dimming Light,” a song whose R&B influences are apparent in a chorus of percussive claps and incredible vocal range. As Small Sound progresses throughout its five tracks, Moore and Riley continue to provide listeners with new components of their music. Small Sound is Tennis’ most complete piece of work yet; it’s the next step in an already impressive career.

Key Tracks: Mean Streets, Dimming Light, 100 Lovers

November 19, 2013