Last Saturday was a big music night in Albany: many downtown venues offered a genre of music complimentary to the sold out Trey Anastasio Band (TAB) show at The Palace Theatre. Hot Day at the Zoo and The Blind Owl Band were scheduled for a foot stomping, hoedown of a good time. Bluegrass at the Bayou stood on it’s own as if it were competing with TAB. Each of these bands performing at The Bayou Café have a dedicated following which filled the venue.
The hungry-for-more music aficionados left the Trey show and filed into the already bursting-at-the-seams café where Hot Day at the Zoo kicked off sometime around midnight. The deluge of music fans brought with them the carnival like atmosphere where they would boogie with their drunken hearts, ready for more. While Hot Day at the Zoo is focused on traditional bluegrass, there are subtle change ups relatable in the progression of this genre.
Throughout the set, each musician gave the others fair opportunity to take a solo, and yet, partake in a conversation through instrumentation. Musically, the roots string band captured an underlying jazz progression. Vocal harmonization with genuine lyrics could tug on the heartstrings. Hot Day often add agreeable little nuances for a finishing touch to their showcased songs. Those newly introduced to Hot Day were pleasantly surprised to hear “Ripple,” a widely known Grateful Dead tune.
Opening for Hot Day at the Zoo was The Blind Owl Band. The four piece outfit is new to the scene, but not new to eclectic sounds, traditional instrumentation and influences of some more obscure bands in the business. Geographically in the music world, location can often define a band. Hailing from Saranac Lake, these bearded boys have characterized their sound as if they stood on top of their mountain reaching out their beat up instruments grabbing various concepts of music, holding it captive ultimately for a presentation unique to the scene. On stage, they knocked the nit and grit right out of their strings. Added vocal harmonies invite us to the darker realm, where we were lead through a journey of traditional roots, dirty jams and down right scary turns along the way. Be brave and bold, these North Country boys can lighten it up a bit with Irish pub tunes as well.
Surely, those meandering out on the street missed two great acts. The energy inside was so alive you could reach out and hold on. As was the rest of South Pearl Street, which was rather magical as if some music fairy sprinkled her dust and said, “enjoy.”
Going into the concert most people there knew that For Today was a Christian metalcore band. What came to a shock to most everyone was when they stopped in the midst of an otherwise powerful set to preach. Unclean vocalist, Mattie Montgomery, stood on the stage, raised his hands in the air, and “Praised Jesus” for the time that they could have played a whole song. While most of the impressionable youth in the audience seemingly embraced the message, it left quite a few confused.
Gideon started the show with pounding drums… deafening to those in the front of Upstate Concert Hall in Clifton Park. The windows shook as the band rocked the audiences’ faces off. As the mostly teen crowd fought their way to the stage it was as if the band was trying to ward off the assault with waves of “Alabama hardcore.” When a pit finally opened up and the brave masses decided to mosh their Tuesday blues away.
Upon A Burning Body
When Upon a Burning Body from Texas came on stage it looked like an insurance convention. The gentlemen donned nice suits, spiffy ties and enough product in their hair for a guest appearance on the Jersey Shore. However, when they fired up their guitars, I swear they must have been gas powered. They reminded me of the wood chipper back home, in a good way. They shredded the air around Upstate NewYork. If you looked closely the drummer, Jonathon Gonzales, had three feet, because no mere human with two feet could pounce on the bass drums that fast. He’d compete with Neil Peart, in that element alone. The energy in the room was building with three more bands yet to come. With the night still young, and the stars are bright in the heart of Texas. After a lot of coaxing, the pit spun out of control and the whirlpool sucked the onlookers into the mayhem.
The Word Alive
All the way from Phoenix, Arizona, The Word Alive came out in a fury. Though in the middle of their set the vocals went and “Telle” Smith sang heavily into a dead mic during the majority of one song. These things happen on even the most organized tours. As Telle left the stage the band didn’t miss a beat and played as their two guitarists (Zack Hansen and Tony Pizzuti) dueled it out on the stage and got the crowd into the instrumental sensation. Then Smith returned to the stage thinking the sound issues were over, but apparently they weren’t quite fixed. Luckily, the crowd sang along and life was somewhat normal again. As normal as it can be at a hardcore show in Upstate NY on a Tuesday in Winter. The drummer, Luke Holland, played as of he was at a firing range and the under 21 crowd before him was his prey. Then the lights went out but the music didn’t stop. Just the vocals… still. So with guitars, bass and drums and no lights, UCH was alive. The mic finally came back to life, the band kept it in stride and thanked the crowd for singing the songs for them. The Word Alive ended with the title track off their new album “Life Cycles”, and reminded the crowd that they’d rather die for what they believe.
Where they there for a metal show or a evangelistic revival? Upstate Metal was there to rock our faces off and For Today did that, when they played. Their set was solid, both the clean and unclean vocals were great, guitars shredded, the new drummer, David Puckett, was spot on. It was the preaching that made this writer pause and say “what happened to the music?” Christian metal has it’s place, it can be quite good and carry a solid message. However, preaching doesn’t do it for me. What’s more is that a couple songs later, Mattie did it again. I’d much rather he took the 10 minutes telling me how his soul was saved and spent it playing two new tracks of the album Immortal that came out last year. Either that or give The Word Alive the 10 minutes to play the songs that the mic went dead.
Memphis May Fire, another Texas band, braved the bitter northeast again to greet many adorning fans. Just a month and a half ago MMF was at Upstate Concert Hall opening up for As I Lay Dying. On this night, the young, eager crowd was ready for them. A lot of repeat concert goers were in the audience and were familiar with the songs and sang, urrr.. screamed along. When the anthem “Legacy” started up halfway through the set, you’d have thought that Memphis May Fire was the headliner. All eyes were on the stage, except those in the ever growing pit that seemed to consume the majority of the floor in front of the stage.
The drum solo by Jeremy Grisham after “Legacy” was one of the more impressive ones I’ve witnessed lately and that led to more mania from the crowd. As with the three bands before them, the sets grew slightly longer and the crowd surfing, jumping up and down and shrieks from the audience was quickly hitting “10” on the dial. When the band ask if anyone had seen them before, nearly half the crowd cheered. Finally when MMF performed “The Victor” that had vocalist, Chase Ryan, going back and forth between singing and screaming, a multiple personality madman intriguing the bouncing teens before him.
For Today
Overall, Upstate Concert Hall was another gracious host to a night of kickass metal. They provide a great outlet for the Capital region. In the next week, Sevendust and Trapt will be at UCH. Shows that this writer does not plan to miss.
The Westcott Theater in Syracuse, NY has been a go-to venue for Syracuse University students and area residents for years. Recently, the Westcott has offered an eclectic blend of bookings that span across many different music styles and genres. This particular night was no exception to this relatively new trend, as Oregon-based producer Douglas Apping took the stage with live violinist Ilya Goldberg under the moniker of Emancipator.
The crowd was primed well by openers Beatkid, Tor and Eliot Lipp, who offered fast-paced infectious dance grooves that drew from several subgenres of electronic dance music like House, Drum n Bass, and Dubstep. I had broken a sweat and felt loosened up by the end of Eliot Lipp’s set, anxiously waiting to see what Emancipator would bring next. As Emancipator began their set, the overall vibe of the crowd seemed to change from raging craziness to a slower, more relaxed feel. Emancipator’s advanced lighting rig grabbed my attention right away. The rig included thirteen LED lit triangles that towered over the two artists. It was obvious that the lights were programmed for each song, as they seamlessly changed with each subtle transition in the music.
Emancipator seemed to build in the layers in each track carefully, which allowed the set to take on a free-form. Emancipator barely used any distinct riffs from any of their albums, but did include brief teases of “Jet Stream” and “Kamakura” from their latest album Safe In The Steep Cliffs. Douglas and Ilya seemed to be in a trance, lost in their own musical take on down-tempo, trip-hop grooves.
The performance was especially enjoyable and unique because the music warranted multiple potential responses. One could dance to it, just stand and relax to it or immerse one’s mind in the detail and complexity of it. An even blend of these types of expressions was apparent in the audience and I was eagerly sampling each one. This show presented me with three things that I look for in a live music experience: a danceable groove, some musical complexity to ponder and a chill crowd to experience it with.
What do you get when you take the mandolin from Woodenspoon, mix in the drums and guitar from moe., and add the fiddle/banjo and upright bass,? A knee-slappin’, foot stompin’, head bobbin’, skirts-a-twirlin’ good time.
Floodwood is Al Schnier & Vinnie Amico of moe., Jason Barady (mandolin) of Woodenspoon, plus Nick Piccininni (fiddle and banjo) and Zachary Fleitz (bass). This isn’t the first side project for Al and Vinnie. They have been playing together in Al & The Transamericans for over a decade.
This quintet came together about a year and a half ago, but on stage they gelled like they’ve been doing it much longer. The fun interactions between bandmates added to the warm vibe in the room as they pulled out a unique mix of bluegrass, Americana, and progressive string – or as the band would call it “Madgrass”.
While the snow may have kept some people home on Friday night, the ones who showed up got a pleasant treat. There was even one person who drove all the way in from Boston to see the show and was heading to Oneonta the next night for a double-dose of Floodwood.
The band mingled with the crowd during opening act Rebel Darling, a trio featuring two guitars and a harmonica. There were a lot of familiar fans (some of whom were family and friends) there to see the local musicians. Floodwood seemed to be right at home at The Putnam Den. In fact, during the second set, Nick Piccininni jumped down off the stage to play fiddle and dance with the many smiling faces on the dance floor.
It was a great time for those who braved the slippery conditions. If you are one of those who stayed safely at home Friday night, you will be able to catch Floodwood as they play theFiddler’s Picnic festival this year with other local favorites like the Rumpke Mountain Boys, The Blind Owl Band, Eastbound Jesus, Jatoba, and many others. But those courageous souls who made it — they got to be a part of Floodwood’s intimate, and successful, Saratoga debut.
What once was a bunch of friends jamming cover songs to an elite few in a living room while their listeners munched on hummus and drank the wine has now molded into closed session rehearsals and a slew of new songs. Those originals skipped a trial run. Instead, the five bones tossed their project out into the world for a live recording in front of a live audience at the Rustic Barn in Troy, NY.
The Bear Bones Project has drawn a following of old time hippies hanging onto Grateful Dead era songs and young followers trying to capture the essence of an era just out of their reach. The winter covered streets, the flakes in the frosted beards and ice under foot didn’t stop their dedicated following for the trek into the hills just beyond Troy. Inside the dimly lit pub, the wooden beams and stone fire place set the ambiance for a toasty evening of good grub, hearty brew and jam friendly music which will soon find it’s way to a polished disc.
Each set was a blend of originals speckled in between obscure cover songs. However, they started with a fun warm up tune familiar to most. The Bear Bones Project had a little fun with The Beatles original, “I’ll Follow the Sun.” They create a neat little arrangement of two part harmonies breaking away to the only female of the group, Sandy Decker, during the chorus. They were warmed up, the crowd was primed and they kicked it up a notch breaking into some brand new songs written by lead vocalist and guitarist, Carey Ahner. The Bear Bones Project arranged each song for an overall sound of bluesy, classy jams interjected with a playful flute. Bill Decker laid the bass lines down and drummer Eric Johnson moved the songs along as guitarist and vocalist Pete O’Hearn added just enough depth to keep this project firmly rooted in it’s inspirations of whimsy and jazzy tunes.
Each new song is rich in lyrics, and musically accomplished. There is a certain kind of sway to their songs and it is certain to get folks out of their seats. The Bear Bones Project can be seen at various clubs around the Capital District.
When most people think of Saratoga Springs it’s visions of horse racing in August. Tiffany and Jonathon Albert, Bob Millis and Jarrett Hartstone and the staff at the Putnam Den are working hard to make Saratoga known as a place to catch great ORIGINAL music, year-round! Based on the crowd at the Putnam Den on a bitter cold Thursday in January, they may be succeeding. Over 150 people braved the negative temperatures to feel the face melting heat of two talented bands, Barika and John Brown’s Body.
Barika (pronounced body-kah) started off the night with a unique blend of psychedelic charm and West African-inspired beats thrown in, crossing gracefully into the realm of dub. When Craig Myers stood center stage with a large gourd that had a long neck and bright yellow strings, heads turned. The opening act of most shows is noticed for a moment and then conversations continue throughout the room. However, when Craig started to play his Kamel N’goni – a wave of silence washed over the crowd. The Kamel N’goni sounded like two dueling banjos fighting it out to see who could please the eardrums more. Both hands plucked and strummed away at the neon strings, setting off a magnetic vibe through the Den. As Barika played, the crowd started to creep toward the stage to find out what foreign magic these strangers from Burlington, Vermont brought to Upstate New York. Craig wasn’t alone in playing the funky groove. Barika has six other talented musicians: Caleb Bronze (Drums), Rob Morse (Bass), Andric Severence (Keyboards) and on horns are Dave Purcell (Trumpet), Gordon Clark (Trombone) and Deva Racusin (Tenor Sax). Deva didn’t make it out to the Putnam Den, but you can hear everyone on Barika’s new CD, Remember, available on iTunes and other outlets.
Just as things were getting warmed up nice and toasty, John Brown’s Body came on stage and turned the heat way up. John Brown’s Body has Upstate roots in Ithaca and have been playing their future roots take on reggae for nearly 10 years. With tours around the world, it is always nice to catch them back in the area with new songs and a new EP, JBB IN DUB. JBB started the show with a song off their new release, “The General’s Ambush.” A nice steady beat and smooth horns come into play in this melodic instrumental number. Bandleader Elliott Martin got to flex his chops with the second song, “Invitation” that had more of a ska sound with the brass section sharing the spotlight with Elliott’s smooth yet strong vocal stylings. The crowd took the “Invitation”, and those fortunate enough to be at the Putnam Den had a hard time not approaching the dance floor. More dub, more funk, more dancing ensued as JBB played another track off the new album, “The Grass.” “The Grass” was reminiscent of the reggae of Marley in that it carried a strong message. The band ended up playing three songs off the new EP.
John Brown’s Body is also planning a new full length album in the next few months and played “Plantation” off that upcoming release. They also played old favorites like “The Gold”, “Resonate”, and “Push Some Air”. Look for them around the festival circuit this summer and keep an eye out for the new album. John Brown’s Body is a treasure that Upstate New Yorkers can call their own and it was a nice surprise to see them at the Putnam Den. Be sure to check out the Den’s upcoming shows and give them the support they need to keep bringing these great line-ups to the region.
Setlist: General’s Ambush*, Invitation, The Grass*, Plantation, Wellington*, Shine Bright, The Gold, Follow Into Shadow, Peace in the Valley, The Cup Dub, Empty Hands, Make It Easy, Zion Triad
By the third day of Jam Cruise 11, everything seems so fluid. Moving from stage to stage, each with it’s own sound and vibe and seeing who’s sitting in with who, you never know what you’re going to see. Or miss. Al’s solo set turning into an acoustic moe. set, Galactic coming out to play moe.’s setbreak (Kashmir!), Karl Denson’s Tiny Universe playing some Beastie Boys (which I missed in December in Manhattan), ALO having fun with the Spinal Tap theme, Tea Leaf Green covering Europe’s “The Final Countdown”… The island stops were nice too, a small reminder of what it’s like to stand on something that’s not moving. See Part 1 here
Wednesday
Thursday
Friday
Jam Cruise 11 Playlist: [youtube http://www.youtube.com/watch?v=videoseries?list=PLxxJxvJ3pYYiJkDMnoOVjtsU3FlEjd8_t]
Having gone to bed at 8 am, Wednesday would have normally been a sleep in day, but as the boat was arriving at Grand Turk, Turks and Caicos, as I called it a night, I wanted to get out and see some island culture and life. So I struggled to get out of bed at noon, showered, dressed, ate a quick meal and got myself off the boat with Chris and Jason. You’d think that after 50 festivals, I would have learned not to overdo it one night and expect to be up and functional the next day, but this is Jam Cruise and you have five, count em FIVE days to spend on the boat, so pacing yourself and getting rest is wise in the longrun. A rookie mistake for me on my first Jam Cruise, but I wasn’t the only one, as evidenced by the late risers in the cafeteria. But still, Tuesday was fully worth it. You can’t do it at all at a fest, but it can be a lot of fun trying!
Walking off the ship and entering the port area, we were welcomed by giant letters that read WELCOME TO GRAND TURK. A nice touch, along with the Duty Free being the entrance to the island, as well as a Ron Jon Surf Shop and sadly, Jimmy Buffett’s Margaritaville. We promptly walked through the eyesore to get to the local establishments for Turkshead Beer and fresh Conch Fritters. Hanging out near the beach, we were left with two options – stay here and drink and get a little sun on this overcast day, or venture out into the 7 mile island and get some culture. We opted for the latter because where we were was so touristy, we didn’t feel like we had gone anywhere. Plus, staring at the ship for 4 more hours wasn’t at all thrilling.
A downside to waking up late: all the bikes, mopeds, and scooters you can rent to roam the island were all rented for the day. So we got a $5 cab ride a couple miles into the island and stopped in an area with shops, food and people. Island life on Grand Turk was pretty chill and looking for souvenirs didn’t have haggle or hassle attached – it was nice and low stress while we meandered about the town. Tourism is on everyone’s mind here, and they promote positive attitudes to help with their image, as tourism is so central to everyone’s livelihood. There is even a philatelic shop where you can mail postcards and buy stamps in the port area, all for the benefit of the island life.
While on the island, I chatted for a bit with Seth Weiner, the Activities Director for Jam Cruise 11, who has been on all 11 Jam Cruises. Working activities, we discussed the different options that were available to the cruisers and how they continue to come up with enjoyable events for everyone to take part in outside from the music. Events this year included repeats such as the Jam Cruise wedding, Autograph sessions, Rockstar Karaoke, plus they took it up a notch with Gong Show, Musical Bingo, Jamily Feud and Air Guitar, which tied into the theme of the last night, Spinal Tap. They also brought in the Moog Foundation, which honors the legacy and impact of Dr. Bob Moog, creator of the well known Moog Synthesizer. There were workshops, discussions, sound therapy sessions and other gatherings that highlighted the like and work of Dr. Moog.We boarded the boat with time to spare and got a little rest after the half day on the island.
Dinner, we quickly noticed, was becoming an affair, with tables full of dressed up cruisers enjoying the hell out of their meals. There felt like a slight sense of urgency was in the air – we only had two days and three nights left! Jam Cruise was half over! It was time to step it up. Between the 3-5 courses served that night, we got going and prepared for a great Soul Train night. Donning Adidas Track Suits like a large contingent on the boat, I popped down to the Theater to see Greensky Bluegrass end their set with a cover of Prince’s “When Doves Cry”, a truly awesome rendition by a jamgrass band with unique prowess and skilled vocals. I wish I caught more of Greensky, but headed up to the Pool Deck to catch up with Chris and Jason to see Karl Denson’s Tiny Universe for a funk filled set with some of the best horns on the boat. Karl stands about 5’7” but is ripped from what may as well be a 50 pound sax. He tears up every song he plays on, as noticed during “Rich Man’s Welfare” with The Motet horns and a broke out his flute for a cover of “7 Nation Army”, with the flute singing the lyrics.
Lettuce followed with a killer set, as did moe. in the Theater – this one people were talking about for the rest of the cruise, especially The Pit > Water > Recreational Chemistry and Billy Goat > Tailspin. Even though I turned in around 2 am, I didn’t consider it an early night for me, it was just a chill night. Tuesday and the day on the island were exhausting, so I made sure to rest up and get my fill on Thursday and Friday, and that is exactly what I did.
Thursday, January 10th
Unlike other music festivals which are two, three or sometimes 4 days long, Jam Cruise is a five day affair and nothing can prepare you for that. You’ll think it’s easy, that the extra day or two won’t matter, but they do. There’s no coasting through on the boat – that’s why this is for veteran festivarians, which I consider myself to be, especially after this festival. Next Jam Cruise, there will be no such early nights, but rather a paced experience to carry me through the entirety of the festival.
I started the day off in the Theater for a screening of the documentary Basically Frightened, profiling the life of mystic musician Col. Bruce Hampton. If you saw H.O.R.D.E. in the early 1990s, caught Widespread Panic down south, Phish at The Palace in Albany or with any number of bands in his nearly 50 year musical career, you were in the presence of greatness. Col. Bruce is a psychedelic, phophetic, poetic musician who has mentored musicians, had roles in films and otherwise been an enigma to bring out the best in those he plays music with. The trailer below was evidence enough for me and when it comes out in full release, be sure to watch it. I admire this man every time I see him play and still found myself more confused about him than ever once the film was over. When I approached him to tell him that, he said ‘good!’, and he meant it, a truly surreal moment.
I headed back to the autographs signing again, got the other half of the musicians on the boat to sign my prints and chatted with Kyle Hollingsworth from String Cheese Incident, Matt Butler of Everyone Orchestra, Natalie Cressman and Jennifer Hartswick, the Disco Angels of Wyllys’ New York Hustler Ensemble, plus half a dozen members of March Fourth Marching Band (there are around 20 of them)
On paper at the Magic Hat Wind Stage was set to be an Al Schnier solo set, but members of moe. slowly filed in to make it an impromptu full moe. acoustic set while many on the boat hung out in the pool. The set included She, Nebraska, Harder they Come, Shoot First and Haze, setting the tone for a day of big surprises all around the boat.
I won’t lie — I went into Umphrey’s McGee’s show at the Landmark Theater in Syracuse on January 17, 2013, with almost no high expectations. I had seen them nine times and not once was I blown away. It always seemed stale, like the music was a moldy piece of bread. Just guitar solos and crazy lights, which always made for a fun show, but UM never made the cut to my iPod. That has since changed.
So it came as a huge surprise to me when I walked out of the venue with a smile on my face, slapping hands and chatting about how great of a show it was. And it was! Not being familiar with a band’s full catalog can have serious consequences if you are reviewing a show. Luckily for me, I knew every song and had just enough UM experience to understand what was going on.
First, let’s talk lights. Jeff Waful, the band’s lighting director, is insane. Not the committed-to-asylum insane, but lights-in-your-face crazy. I am so used to Chris Kuroda of Phish that I never really thought lights for any music could be as powerful as they are for Trey and Co. Waful puts on more of a psychedelic feeling show, with lasers and rotating bulbs. The Landmark is a small theater and to fit a rig in there has to be difficult and cannot compare to playing a large festival or outdoor arena. Waful manages to weave in perfect diversions from Jake Cinninger and Brendan Bayliss’ wicked guitar mania. Those two guys, who just so happen to put on a real guitar clinic every summer, are two of the most talented players going today. My only gripe is that the lights were so blinding that I couldn’t hone in on watching their fingers. As a guitarist, I try to take something from every guitarist I see play. I need to see them again, standing on the stage again, listening to them shred again.
“Cummins Lies” bled ever so thrashingly into “Miss Tinkle’s Overture” before a brief breath. “Walletsworth”, “Der Bluten Kat” segued into an instrumental of Springsteen’s “I’m On Fire” back into “Der Bluten Kat”, “Through the Cracks”, “Smell the Mitten” and “The Floor” made for a rocking set. The second set was where I got “it”, as in understanding the band. “Prowler” > “In The Kitchen” > “Deeper” > “#5” > “In The Kitchen” was a full-on dance-a-thon, It just kept heating up with “Let’s Dance”, “Utopian Fir” > “Cemetery Walk” lit the rafters ablaze with fiery soloing. An encore of “Miami Virtue” > “Glory” sent the almost-full theater home with a happy ending.
Setlist
Set 1: Cummins Lies > Miss Tinkle’s Overture, Walletsworth, Der Bluten Kat > I’m On Fire > Der Bluten Kat, Through the Cracks, Smell the Mitten, The Floor
Set 2: Prowler > In The Kitchen > Deeper > #5 > In The Kitchen, Let’s Dance, Utopian Fir > Cemetery Walk
It’s hard for me to put into words just how awesome an experience Jam Cruise 11 is. The music is non-stop and you’re sharing the ship with the artists, so when they’re not performing, they’re likely right there with you enjoying the music. Outside on the Pool Deck there is plenty of room to get down in front of the most conventional festival stage on the ship, but the indoor stages are much more intimate – it’s like being at your favorite small club back home.
While on the island, I chatted for a bit with Seth Weiner, the Activities Director for Jam Cruise 11, who has been on all 11 Jam Cruises. Working activities, we discussed the different options that were available to the cruisers and how they continue to come up with enjoyable events for everyone to take part in outside from the music. Events this year included repeats such as the Jam Cruise wedding, Autograph sessions, Rockstar Karaoke, plus they took it up a notch with Gong Show, Musical Bingo, Jamily Feud and Air Guitar, which tied into the theme of the last night, Spinal Tap. They also brought in the Moog Foundation, which honors the legacy and impact of Dr. Bob Moog, creator of the well known Moog Synthesizer. There were workshops, discussions, sound therapy sessions and other gatherings that highlighted the like and work of Dr. Moog.We boarded the boat with time to spare and got a little rest after the half day on the island.