Monster Energy Drink’s 2013 Outbreak Tour invaded the Mid-Hudson Civic Center Sunday, Oct. 20 in Poughkeepsie N.Y.
Matt Tuck
Headlining the tour was Bullet For My Valentine with special guest Black Veil Brides, Stars In Stereo, and Throw The Fight.
Bullet For My Valentine
Opening the show was Throw The Fight. I have never seen this band before, but they totally rocked live.
Matt Tuck
Lead vocalist James Clark gave a brief, heartfelt speech about being a cancer survivor and reminded everyone to chase their dreams, because five years ago he was in the crowd as a fan, and now he is on the stage living his dream.
Matt Tuck
I recommend going out and seeing this band live if you get the chance. I had a chance to talk with them after their set, and they are a bunch of really cool down to earth guys besides great performers.
Stars In Stereo were slated in the second spot for this event.
Bullet For My Valentine
This is now my third time seeing Stars In Stereo this year. It seems like they are opening for everybody these days.
Throw The Fight
Bec Hollcraft is really starting to come into her own as a performer. Last time I saw her, I felt like she was a little bit reserved but not anymore.
Guitarist Jordan McGraw has a lot of energy and is always playing to the crowd, pumping them up.
The first two times I saw them, they played a cover of Aerosmith’s “Dream On” but didn’t touch it this time and just played tracks off their album.
Outbreak Tour 2013
Up next in the three spot was Black Veil Brides. I know this band had their detractors, but every time I see them on a show, they give a really good live performance.
Andy Biersack of BVB even said during his thank you speech to everyone in the crowd who is not a BVB fan, “Thank you for putting up with us and letting us perform for you before Bullet For My Valentine came out.”
Just like some of the “boy bands” you see in the pop genre, I think the young female teenage following they have generates most of the negative press they get from fans. BVB seems to be the “boy band” of rock music.
Welch metal-core rockers, Bullet For My Valentine, are up next in the headlining forth spot for this show.
BFMV came right out and kicked @$$ from start to finish.
This was one of the best live performances by a band that I’ve seen all year! This was my first time seeing BFMV and I was not disappointed.
Bullet is a really solid band, and the crowd just ate up their energy. Lead vocalist Matthew Tuck is just amazing on vocals live, and Jason James was just as good with his screaming/growl backing vocals.
From drums to guitar to bass, these guys are all very talented musicians.
Near the end of the set, Matt invited out Jordan McGraw of Stars In Stereo and Ryan Baustert of Throw The Fight. Matt said that “tomorrow is these guys’ birthday,” and brought them out for a drink on stage.
Throw The Fight
Matt made them do a head stand as members from BFMV held their ankles and poured a nice alcoholic beverage in a red solo cup down their throats. Ryan failed his first head stand attempt, which made Matt quip in with “you’re not to flexible, are you?”
Bullet performed “Tears Don’t Fall” as the last song of the night. I don’t think they had a choice. When Matt told the crowd this was going to be the last song of the night, the crowd started an immediate chant of “Tears Don’t Fall,” which brought a huge smile to Matt’s face.
This was a really good concert from start to finish. It might even be in the top 10 of best concerts I’ve seen in 2013. All the bands were really good on this show, and if you love music like I do, and you don’t get into the band bashing like some fans do because they don’t like a certain band’s image, go out and see these bands when they come to your area. Remember, it’s all about the music and having a good time!
Cleopatra Records is set to release a rather interesting compilation cd on Oct. 22, 2013. Thriller: A Metal Tribute To Michael Jackson, with artists past and present on this project, I am really hoping that this is going to be a really good cover album and not a bust. I guess it all depends on the musical arrangements for each track for success, and I can’t wait to see what these artists come up with.
Although it’s labeled as “Thriller,” it is not a cover of the “Thriller” album itself, but rather many of MJ’s hits are covered instead. In fact, 13 songs are covered on the disc. I wish the Three Days Grace’s cover of “Give In To Me” made it on the cd and rounded it out at 14 tracks.
Nonpoint’s Elias Soriano is on the track “Shake Your Body (Down To The Ground).” Chris Jericho of Fozzy does a version of “Dirty Diana.” Asking Alexandria’s Donny Worsnop and Mr. Big’s Billy Sheehan are one the track “Man In The Mirror,” and the cd would not be complete without the Alien Ant Farm cover of “Smooth Criminal.”
Track Listing for Thriller : A Metal Tribute
Thriller – Chuck Billy ( Testament )
Man In The Mirror – Danny Worsnop ( Asking Alexandria) Billy Sheehan ( Mr. Big)
The Way You Make Me Feel – Angelo Moore (Fishbone) Doug Aldrich (Whitesnake) Rudy Sarzo (Queensryche)
Black Or White – Lajon Witherspoon (Sevendust) Bruce Kulick (ex-Kiss) Tony Franklin (The Firm)
Beat It – Pirya Panda (Diemonds) Ron “Bumblefoot” Thal (Guns N’ Roses)
Billy Jean – Corey Glover (Living Colour) Phil Campbell (Moterhead)
Shake Your Body (Down To The Ground) – Elias Soriano ( Nonpoint)
Rock With You – Doug Pinnick (King’s X)
Dirty Diana – Chris Jericho (Fozzy)
Bad – Paul Dianno (ex-Iron Maiden) Craig Goldy (Dio)
The September 28, 2013 performance by the Ghost of a Saber Tooth Tiger at the BSP Lounge in Kingston, NY emphasized a band developing a new and original musical identity, as well as embarking a journey of discovery and experimentation. The acoustic duo of Charlotte Kemp Muhl and Sean Lennon have expanded their horizons and their acoustic sensibilities with additional band members, as well as an electric jolt. The GOASTT, now in addition to founding members Lennon and Muhl, also feature drummer Tim Kuhl, Jared Samuel on keyboards, and Robbie Mangano on guitars, all hailing from Brooklyn band ‘Invisible Familiars‘. This expanded addition of GOASTT is a conglomerate of influences, containing the same melodic hallmarks and lyrical content of previous acoustic excursions, but now neatly tied up in a thick psychedelic package of soundscapes. When I asked Lennon about the shift in musical direction for the band, his reply was simple and straightforward, ‘We have always wanted to rock’, his smiling partner Muhl agreed.
After enjoyable sets by Parakeet and Brother JT, the anxious crowd awaited the appearance of GOASTT. The sold out concert was truncated at slightly over an hour but in this case quality outweighed quantity. Lennon explained that the group had only ‘been together two weeks’ and had just been building a set for their recent tour with the Flaming Lips. The songs they played on this evening were the tunes they had practiced for the road. Lennon explained that of the nine songs played during the evening’s performance, five were new and could be expected on the as of yet untitled LP due out within months. The other four tracks included two familiar originals and two expertly chosen cover songs.
The concert opened kinetically with the unfamiliar but still exciting pulse of new music. I must admit that for the first couple of songs I was disoriented and overwhelmed by the sound originating from the stage. I was immediately taken in by the succulent and psychedelic sounds permeating the venue, and the flavor of a debut, ‘Too Deep’. Lennon on Fender Jaguar guitar bounced dramatically under the cherry stage lights, his prowess sneaky, adding essential stringed elements to the musical tincture being stirred by the group. The extremely talented Muhl plays heroic bass in this line up, also switching to organ for certain tracks. Keyboardist Samuel shined throughout the evening, at some points sounding like a Mellotron, at other times carnival keys. It was obvious to me throughout the first couple of tunes that the band meant business, and like a heavy thick blanket placed their music over the lap of the crowd, enveloping all of us in textured melodies.
The third tune of the night was an obscure and well chosen cover of ‘Golden Earrings’ by the late 1960’s group Gandalf and hailing from their lone LP. This track represented the band’s sound well, spotlighting a developed prog-like peak. Lennon and Mangano thrashed at their guitar strings, while the amusement park keyboard of Samuel shifted the ground beneath the song. The bottom end slotted together perfectly in the groove with Kuhl and Muhl holding things together.
Following the detonation of ‘Golden Earrings’, a pair of new originals appeared. The first song flashed deliberately like a rainy night traffic light. Lennon and Mangano meshed gears with dual phased guitar lines that danced over the ethereal instrumental backing. Lennon’s vocals perfect as floating smoke, levitating into the night sky outside of the club. The second of the new originals was in my opinion one of the strongest songs of the night and the greatest recipient of the recent band line up. Peeking at the setlist, this tune is called ‘Gold on Green’. The song churned like a wheel through deep blue water, Lennon and Muhl sharing enlightened vocals over futuristic backing from the band. The combination of Lennon’s obvious gifts for melody with a harder edged sound in this new context are a killer combination.
The first track to be played off of the 2010 LP Acoustic Sessions, ‘Jardin du Luxembourg’, was performed for what Lennon called ‘our hardcore fans’. The tun had changed from its previous incarnations into a sludgy and punchy stomp contrasted by cloudy slide guitar. The dual vocals blending into one voice only to diverge on different paths for brief moments in an absolutely thunderous version with punctuated guitar lines and a start stop rhythms. The potent combination of melody and power is what drives the best rock music and this performance contained both in mysterious ways.
The final song of the set was appropriately the delicate ‘Last Call’, featured in a new incarnation. Shifting from its buoyant gentle introduction into a sensational and wah wah drenched finale, the song contained all of the things that made this concert so wonderful. Vocal melodies of embracing lovers, attentive musicianship and diverse songwriting all combined to make a transcendent reading of the lovely song, prodding it through many changes and concluding in a colorful wash of feedback. Lennon again showed of his underrated guitar abilities with a warm candle wax display of melodic ideas that eventually climaxed into the conclusion of the show.
The band returned after a few minutes for a much welcomed encore that featured the second ace choice of a cover song for the evening. A deadly serious version of Syd Barrett’s ‘Long Gone’ transfigured from its folk beginnings into a darker electric context. Lennon’s drawn out and dry vocals rang out all of the emotion concealed in Barrett’s original version. The GOASTT navigated their way through a heavy orchestrated facsimile of the original, that after the verse descended down the rabbit hole. A suspenseful concluding jam filled with colliding guitars brought the show to a satisfying and proper conclusion.
The Ghost of a Saber Tooth Tiger performance exceeded all of my personal expectations and delivered in many unexpected ways. The diversity of the group as well as the chemistry of Charlotte Kemp Muhl and Sean Lennon make the band something greater and different from its parts or musical pedigree. Lennon and Muhl’s need to let their music breath and develop freely it a true testament to their abilities as artists. Their personal non-musical relationship strengthens the bond created in the group, and lends a unique ability to create in a different way. Similar to his father, Lennon has found a special female collaborator to share his artistic ideas with and who equals his talent. Lennon told me that there is no date for the upcoming record as of yet, but Charlotte Kemp Muhl did reveal that the record is being mixed by musical veteran David Fridmann (Mercury Rev, Flaming Lips) with much of the work being done at his Tar Box Road Studios in Fredonia, NY.
So we will wait in anticipation for this new music to be revealed and if the BSP Lounge concert was any indication, the record is going to be special. The GOASTT provides a pallet in which many varieties can be sampled. Acoustic, electric, psychedelic, harmonies, songwriting, guitar solos, if you are looking for it in rock music, the GOASTT can provide it for you. They are one of the most talented and unique bands to enjoy in this era of cookie cutter musical displays. Catch them if you can, and keep an ear to the ground for their new sounds.
The 17th annual New York Harvest Festival and Freedom Fair will once again return to Kutsher’s Country Club in Monticello on October 11-14. The Northeast classic will host five stages, 35 musical acts and entertainers, political speakers, lights shows, a vendor village, fire spinning, glass blowing, activist opportunities and a whole lot of good vibes.
Damn Sam has been politically active for years in the movement to bring medical marijuana legalization to the state legislature. Senate bill 4406 and Assembly bill 6357 will regulate regulate medical marijuana and provide New York patients with safe access to the medicine they need. The main goal is to educate and motivate law makers and citizens of New York state to enact laws that protect the interests of those involved in the uses, production and distribution of Cannabis hemp.
Entertainment for the weekend will include:
The Original Wailers, Ghostface Killah, Melvin Seals & JGB (2 Sets), Immortal Technique, Kung Fu Tony Vacca and The Senegal America Project featuring World Rhythms Ensemble, Bideew Bou Bess, and Abiodun Oyewole (of The Last Poets) (2 Sets), Marco Benevento, Murphy’s Law, Bang Bang (Todd Stoops & Adrian Tramontano of Kung Fu), Ronnie Penque Band (Ronnie is from New Riders of the Purple Sage, & a former member of: Melvin Seals & JGB, Ripple, Stir Fried and Splintered Sunlight), Awesome Mother Road Show, Gratefully Yours (All Star Revolving Line Up, playing fans dream Grateful Dead set lists), Riders on the Storm (Doors Tribute), EARTH (Classic Black Sabbath Tribute), The Phreaks (Phish Tribute), The DeadBeats (Grateful Dead Tribute), Midnight Ramblers (2 Sets, 1 Pink Floyd), Lucid, Fikus, Mun, Cosmal with live painting by Ali Laz, John Sinclair and Elliott Levin,Newton Crosby, CAPITAL Zen, Maaze, Maganahans Revival, String band, DITCH, Digital Storm, Leila, Mentally ILL, The Jack, Unexplained Bacon, Dr. Jah & The Love Prophets, Mothers Wine, Adam Amrod, Imaginary Friends, Kara Bennett, Lethal Injection, Hannah’s Field, Risen, Rob, Darren & Richie, The Bus People, The Legendary RT & Friends, Whiskey Reverb, DJ Ean Nice, Jiggawompz and Roo
Speakers for the weekend will include:
Pastor Kenny Glasgow – Ordinary Peoples Society
Rob Robinson – Founder NY Harvest Fest & Damn Sam
Jason West – Mayor, Village of New Paltz
Isaac Abrams – “Visionary / Psychedelic” Artist
Dan Goldman – NY Cannabis Alliance
Steve Bloom – Celebrity Stoner
Brian Kuprian -Gardening Is Never A Crime
Lisa Roche – RN / Truth & Science Policy Project
Jim Miller – Marijuana Activist & Patient Advocate
The Real Radio Rahim – Hop Hop Pioneer
Rich Morowski -MS Medical Marijuana Patient
Burton Aldrich – Quad Medical Marijuana Patient
Richard Williams – HIV Medical Marijuana Patient
Jessica Abrams -Green in Greene
John Skerit – Activist & Friend of the Harvest Fest
Joe Barton – Freedom First Party
Kurt Shotko -Common Sense Revival, Host WFTE Frack Report
Trapper Flynn – Activist & Friend of the Harvest Fest
Charles Edson Rogers Jr. – Pain Medical Marijuana Patient
Johnny Pot Seed – OverGrow
Plus many more!
This year’s Harvest Festival is stacked so you definitely do not want to miss out,
Sullivan and Ulster Counties are home to the famed ‘Borscht Belt’ of Jewish comedy that rose to cultural prominence in the early and middle part of the 20th Century. Drive down Interstate 86 and Route 17 and you will see hotels that once stood in summer grandeur as thousands of tourists flocked to the mountains for respite from the heat of the inner cities and found themselves a part of the birth of American comedy. This brand of Catskills comedy originated as a result of the cultural influences of Jewish immigrants and who made up the early entertainers in New York City, the Catskills and eventually, on television and in film. Today, New York is home to more music festivals than any other and looking back at our history through the new documentary When Comedy Went to School, we can see that Upstate is also the birthplace of the Golden Age of Comedy in America.
Comedic legends such as Sid Caesar, Mickey Freeman, Dick Gregory, Sandy Hackett, Larry King, Robert Klein, Jerry Lewis, Jackie Mason, Mort Sahl and Jerry Stiller are interviewed in this 83 minute documentary, including archival footage of Henny Youngman, Buddy Hackett, Joan Rivers, Lenny Bruce, Alan King, Woody Allen, Rodney Dangerfield and many more. Robert Klein hosts and narrates the film, for he is a product of the Catskills comedians who came a generation before him. The birth, rise and fall of the Catskills is exhibited and argued to be the home of comedy in America as we know it today. What grew from the Eastern European immigrants of the late 1800s became the post-vaudevillian comedy of the 1920s, seen in the Depression-era theaters like The Palace in New York City and eventually, the vacation getaways for the post World War Two tri-state area. This gave rise to comedians such as Sarah Silverman, Jerry Seinfeld and even Chris Rock, who shaped comedy and pop culture through today and will continue to do so posthumously well into this century.
The rise is documented quite well in When Comedy Went to School, starting in the packed inner cities of Brooklyn and The Bronx, where European traditions led into vaudeville and theater. In the summers, young waiters and staff were trained to socialize with the patrons, which invariably led to comedic routines for the likes of Jerry Lewis, Alan King and Larry King, among others. Summers in the Catskills had a thriving Gentile population that made the region a Dirty Dancing-esque retreat for more than two decades. Things thrived until the decline in the 1960s began, partly attributed to the rise of the middle class and affordability of amenities not previously available to all, including a shift to the suburbs, houses with pools, membership at country clubs, air conditioning for those hot summer days, and summer camps for kids that kept families from going to the Catskills in growing numbers. Plus, the comedians once seen in the Catskills were now seen on television and in movies, so a 90 minute drive to see them was not needed. The counterculture shift of the 1960s was a final straw for the region, one that has struggled to recover from the end of a half century of success as a summer destination for millions of New Yorkers.
Ron Frank and Mevlut Akkaya’s film is a documentary but more of a loose oral history of how comedy rose and fell in the Catskills. While it is disjointed at times, the audience at Spectrum 8 on September 30th roared with laughter and reflected on an era left behind, finding the film nostalgic and a method of preserving this era as the major players, especially Sid Caesar, Jackie Mason and Mickey Freeman, who shared a wealth of information found no where else but in the memories of those who lived them. For those who want to find evidence of the roots of American comedy that followed the eras of Mark Twain and Will Rogers, laughs and nostalgia combine as When Comedy Went to School covers all the bases.
It should be noted that while many resorts from the region are no longer open, a couple of these locations in the Catskills thrive and one is the reason for Woodstock finding its way to Sullivan County. In that case, Eli Tiber was the son of the El Monaco Motel owners who lived in White Lake. Throwing small arts festivals each summer, he learned that Michael Lang was looking for a place to throw his Woodstock festival after they were summarily asked to leave Wallkill in Orange County. After the motel’s property was deemed too small for the festival, Max Yasgur’s farm was offered up as a potential location, and history was made. Today, Rock n Roll Resort at Hudson Valley Resort and Spa in Kerhonksen and The 16th NY Harvest Festival and Freedom Fair at Kutcher’s in Monticello are well received music festivals that provide a spark for the economically distressed region and offer a glimmer of hope for a new reason to make the Catskills a destination for those throughout the Northeast.
The storied history of the Woodstock community is as rich as the lush green mountains that cradle the artistry of the region. Radio Woodstock, a staple of the community, is just such an example of the past greeting the present. The radio station was once the video studio of Todd Rudgren on the property that was the brainchild of Albert Grossman – manager to many of the great folk stars of the late 60’s and early 70’s. The creative flow has been carried through, nurtured and passed on to the next generations. On the weekend of August 31, however, a new tradition was born – The Felice County Fair.
Opus 40
The Catskill region encourages artistic endeavors through a grow-your-own mindset. The organic atmosphere culminates in a booming fervor in a world of the arts. Radio Woodstock hosts a number of events around the area, most notably Mountain Jam. The Felice Brothers had a vision and with the help of Radio Woodstock, a fair of the arts came to fruition. True to form of the local natives, they don’t host the usual agricultural event; their idea of a fair is music and art and culinary divinity. “Location, location, location” is generally the mantra when purchasing a home, but in this case, prime realty for just such an event came in the form of a sculpture park.
Festival Fun
The grandeur of Opus 40 is nothing short of a miraculous feat of sweat, tears, and sadly, blood. Its massive display of stonewalls, secret passages, and deep pools provided an ideal location for an unadulterated marriage of music and art. The daylong event began with Paul Green’s Rock Academy. The students performed various cover songs of their favorite rock stars, adding a touch of their own improvisations. The Academy is located in Woodstock and serves as a shining example of the mindset: the idea of developing artistic abilities to foster the creation of beautiful music. Academy staff member and guitar player Conor Kennedy took the stage shortly after. Aside from his on stage performance, his youth and exuberance are impressive. Conor Kennedy played a set well versed in various genres showcasing his musical agility. Kennedy is Woodstock’s next generation cream-of-the-crop ripe for the picking.
Connor Kennedy
The Felice County Fair also encouraged the family feeling. The event hosted bouncy bounces, make your own tee shirts and a play area for the kids. It was only fitting that Marco Benevento’s two young daughters helped warm up the piano keys during their load in – future musicians perhaps. Shortly after 3 pm, Marco, Dave Dreiwitz (bass) and Andy Borger (drums) took stage. The crowd counted: one, two, three, four and the threesome started on cue. Marco Benevento promoted his latest disc, playing the set with songs from TigerFace. Almost entirely wordless music, the trio waned back and forth between heavy rock and psychedelic. A tiger head prop was used for the last song, “Limbs of Pine.” Each of the threesome took turns wearing the head while dancing and playing to an electro-pop dance beat.
Marco Benevento
There are many adaptations of Amy Helm whether she is the Amy Helm Band, The Dirt Farmer Band, or the Midnight Ramble Band. However, her vocals are unmistakable and distinctly her own in each of her performances. She often travels with Daniel Littleton on guitar, Byron Isaacs on bass and Justin Guip on drums. However, they did not need to travel far as Opus 40 is practically their backyard. As veterans of the Woodstock music scene, the Amy Helm Band invited many to the stage encouraging collaborative creative flow and maintaining that family like tradition.
Amy Helm Band
An ironic and historic fact regarding Opus 40 is that its sole creator, Harvey Fite, was killed after he fell into his own massive stonework sculpture. He is now buried in the hillside of his own property, just behind the stage location. Hauntingly beautiful and chilling, Amy Helm gave new meaning to “she walks these hills over my bones” in “Long Black Veil” with husband and wife duo, Mike + Ruthy joining in on the old time favorite. Another classic, “It Makes No Difference”, would be enough to bring anyone to their knees or at least tears to their eyes. Amy’s soft and sultry vocals harmonized with Elizabeth Mitchell, Daniel Littleton, and Mike + Ruthy seemingly channeled her late father giving his soul life making his presence strong. The Amy Helm Band ended on a positive note with Sam Cooke’s “Good News.” Conor Kennedy joined the already packed stage and a folk-rock revival exploded on the hillside.
The Felice Brothers
Ending their set in this manor served as a perfect primer for the closing band, The Felice Brothers. The high energy Felice Brothers got right down to business as the rain started to fall with a melodic rock violin intro. In an instant the fellas jumped around, stood on chairs and engaged the crowd. The soggy but jubilant crowd belted out “I put some whiskey in my whiskey”, as the brothers led the sing-a-long ballad. However, the band resigned to the weather, as there was lightning in the area. After a short postponement, the band resumed as if they bottled up the electricity from the storm and shot bolts from their fingers. The onstage shenanigans were a site to behold and the music was to be experienced. In its inaugural year, The Felice County Fair successfully captured the essence of Woodstock. From veteran players to newcomers, the stage performances shined. The musicians continue to harvest the artistic mentality as their songs fell upon welcoming and equally nurturing ears.
The opportunity of a lifetime. “No overdubs, no second chances – just a moment captured in time”, says guitarist Danny Mayer. History was made in just 85 minutes of creative passion. The Alan Evans Trio caught lightning in a bottle with what looked like relative ease as the band embarked on the first ever Woodstock Sessions last weekend, where they got the chance to record a live album with thirty exclusive guests at Applehead Recording Studios.
photos by Chris Daniele and Barry Bellamy
Anticipation ran high as something special was surely going to be made that Saturday night. The scenic drive up offered only brief distractions. This was more than just a concert, and overwhelmingly felt that way. There aren’t many things on the same level as your wedding day or the day your child is born, but this was approaching that intensity. You could feel how special this truly was from the second you drove up the dirt access road. It was both making history and laying the groundwork for future sessions at the same time. We weren’t on the actual grounds in Bethel, but maybe there was a reason they were calling this the Woodstock Sessions.
The atmosphere as you arrived felt intimate and inviting, which would set the tone for the evening. The studio itself sat hidden in what appeared to be an old barn, set quite a ways back from the road. Drummer Alan Evans said, “The Woodstock Sessions had a little bit of everything. It felt like a small festival, it felt like a family get together, it felt like a gig. It was really unique.” Thirty guests from all over the country descended upon the property and slowly trickled in one by one. The band, relaxed and easily blending in, greeted everyone as they arrived and began settling in. As the food was cooked and setup, Alan, Danny, and Beau were just hanging out, drinking beer, and shooting the breeze. There might not have been any true family relation, but there was definitely a shared appreciation for creative expression, musical intelligence, and one class-act band that brought everyone together. Studio owner Michael Birnbaum noted, “We wanted to accommodate the intimacy of the relationship between an artist and their fans and have the people be an energetic accelerant for the entire process.”
As dinner wrapped up and the sun slowly began to set, everyone knew that it was time. We slowly funneled into the studio for what was going to be the experience of a lifetime. The inside was in striking contrast to the exterior and drew everyone’s eyes up and down as they stepped through the doors. The wood that covered the interior was warm and rich in color, a winding staircase gave a birds-eye view, and there was nothing but equipment that separated you from the band. As you sat in anticipation, you realized how real this was becoming. Guitarist Danny Mayer, says, “The vibe in the room when we played was almost the same as the barbecue, but with a significant amount of excitement in the air.” It was like an MTV Unplugged session, but imagine sitting on the stage. There were no barriers. The instruction was to just have a good time, nothing else. The band looked around at each other to make sure all were ready to begin. The time was finally here.
photos by Chris Daniele and Barry Bellamy
And just like that, the band exploded into the set with the relentless attack of “They Call Me Velvet”. At any normal show, the guys would just be getting their feet under them, but they hit the ground running on this night. As the set evolved, the band had such command over the feel and sound. At times, they sent you blasting off into the atmosphere with their forceful play and other times they would reel you back down to Earth. The dynamics were simply beautiful. The band was firing on all cylinders, churning out a mix of the tightest funk, the most emotional of blues, and expressed to the jazz degree. They were more locked in and focused than most had ever seen them. Bandleader Alan Evans commanded the tempo like few drummers have the ability to do. His poise and power behind the kit delivered a beat that grabbed your foot and tapped it for you. Ears and souls were satisfied to the fullest. Michael Birnbaum, says, “It was shocking how powerful the recording sounded when we played it back.” At the end of the final song, there was an apex and one last sendoff as Alan used his kick drum in a manner that sounded like fireworks to appropriately close the session.
The expression of “What just hit me?” was plastered over everyone’s face around the room. Music fans of the world, take note, this band and this studio just made a profound discovery that everyone needs to know: this is the way music is supposed to be recorded and the quintessential way for music to be listened to. Music is supposed to have human error and flaws; it’s what keeps things real. There was no auto tuning applied, fixing of solos or patching anywhere. This was raw and done in just one take, as they achieved something as close to flawless as real music is supposed to go. It truly achieved perfection though through the deep expression of the band and the energy that the guests gave right back.
To steal a line from Ralphie, this was “electric sex”. Instead of light glowing through a window though, this was a penetrating sound that was experienced within feet. It hinged on feeling like a religious experience as your soul felt enlightened after experiencing music in a way it had never been experienced before as a fan. The humbleness and appreciation the band expressed was second to none as well. Al might have moved away from his hometown of Buffalo, but The City of Good Neighbors has clearly left a resonating impression that he carries with him today. Seconds after the closing note, each of the guys jumped into deep conversations with the fans who attended on topics ranging from their gear to how the experience felt. This was family now as this group shared something that will bond them together forever.
As some camped out that night and others went back to their hotels, there was a collective high and feeling of privileged unity as we all bore witness to a performance that had never been captured quite like that. The drive home felt as though you were awaking from one of those dreams you clench your eyes to get back into. The reflective solitude of silence after something like that is powerful. Thankfully for everyone that didn’t get the opportunity to share in this, the studio plans on making live attended recording sessions a regular occurrence. And while other bands will surely share something intimate with their fans in future iterations, there’s just something about the first time.
A six and a half-acre labyrinth, hand crafted from millions of pieces of bluestone known as Opus 40 is an attraction on its own. However, on Saturday, August 31, Radio Woodstock Presents the Felice County Fair, an event drawing upon the finest Hudson Valley musicians and food vendors.
According to the Felice Brothers website, they have “always wanted to put on a festival in [their] backyard.” They will close out the day with a set ending just before dusk. The Felice Brothers are a folk rock outfit that began their career playing New York City Subways with roots in Upstate NY. Amy Helm’s soulful vocals are a breathtaking match for the artistry of the landscape for a late afternoon set. Jazz pianist extraordinaire, Marco Benevento will transcend the physical and create a soundscape that flows through his fingertips. Connor Kennedy has laid out the groundwork for his songwriting ability and is set to perform mid afternoon. His first disc, Nothing Lasts: Nothing’s Over, was released this summer. The daylong event will begin with Paul Green’s Rock Academy All-stars – the performance based interactive music school provides students with genuine opportunities to study and perform music.
The Felice County Fair not only offers food vending and libations by Keegan Ales, but patrons of the event will be giving back to the community as partial proceeds benefit Catskill Mountain Keeper. The not-for-profit organization promotes sustainable growth and protects natural resources essential to healthy communities: an advocate preserving the beauty of the Catskill Mountains.
The music will pause at dusk and resume Sunday, September 1. The married Bela Fleck and Abigail Washburn will perform together showcasing their clawhammer style banjo playing aptitudes. Another husband-wife duo, Mike + Ruthy will bring their grit to the Opus property weaving storytelling and acoustic music through the stone and trees. Elijah and the Moon will kick off the day, greeting the sunshine (hopefully) with their intrinsic blend of roots music.
Thunder rolled in from the distance as The Big Up campers funneled into the venue, hurrying to set their tents up. As EZ-Ups and tents began popping up throughout the field, rain fell and dissipated in the August humidity. The levels of excitement were high for the return of The Big Up Festival, this time at a new location at Hemlock Hollow Farm in Claverack, New York.
The main camping lot was just on the other side of a small wooded area separating main stage from the campgrounds, but still close enough to hear each main act from the comfort of your site. lespecial took the main stage playing a high energy set, setting the tone for the rest of the weekend. Steering away from the normal and expected, lespecial adds a necessary and interesting variety to each festival and show they play. Directly following lespecial was Laser Sex at the Space Ball City tent directly adjacent to main stage. Laser Sex used a mix of funky-deep bass lines with a heavy use of samples, creating a perfect storm for an epic dance party. Light projections by Drew Suto of Dutch Masterson Designs spanned the walls and ceiling of the giant tent only further exemplifying each set.
Dopapod took main stage directly after Laser Sex which had the crowds wandering back and forth without much time to rest in between phenomenal sets. Dopapod only further proved why such a huge hype around them exists. Each time Dopapod picks up their instruments, it seems their talent as individuals and as a group grows exponentially. It is no surprise that their popularity only continues to grow in such rapid success. Dopapod played for an hour and a half before Gigamesh began his electrifying and energetic set in the Space Ball tent. If you had caught Gigamesh at his set at Camp Bisco, you knew that this was not a set that you could relax and hang out during. True to form he busted out amazing dance remixes of a variety of different songs. The highlight of the set was a rendition of Blackstreet’s “No Diggity” which turned the tent into a giant, hot rave. When asked to describe the festival experience in a few sentences, Gigamesh spoke of the overall vibe saying,“The whole festival has created a very welcoming atmosphere. The people aren’t pretentious or uptight and that sets a great tone for a festival.”
Ian Stewart played short sets before and after Higher Organix’ first set of the weekend. The crowd seemed to be pleased to see Higher Organix once again take the stage together at The Big Up Festival. True to form, they packed a lot of energy into their allotted time and kept the crowd moving. Jules Jenssen really exhibited his diversity and talent by picking up his sticks and hopping on stage with his boys while also helping run the festival and his various other side projects throughout the weekend. One would think it was not physically possible. The rain had tapered off shortly after we had arrived and it wasn’t until Higher Organix ended their set that it began to downpour turning much of the festival grounds into a mud fest. No one seemed to mind the onset of heavy rain as they made their way into the wood stage for Mun’s amazing set. The paths leading into the woods quickly became a treacherous journey as the walkways turned to mud. At one point there was a large rope scaling the incline leading to the stage that individuals used to pull themselves up the hill without falling.
Festival goers are no stranger to the rain and mud that go along with camping alongside live music, so it would take a lot more than that to dampen the spirits of the Big Up patrons. The hill stage was worth the walk with mind blowing deco and surroundings. It was apparent that a large amount of effort went into turning the woods into an other worldly place. Neon decorations stretched from tree to tree lit up with projections and changing lights surrounded by a beautiful and serene babbling brook home to a large trout population. The woods stage was definitely a site to see. The night was capped off at the Space Ball tent with Party Supplies who laid down an awesome set that was reminiscent of bands like Two Door Cinema Club and Empire of The Sun. Thursday night’s lineup was perfect to ease into a long weekend of great music.
By Friday it seemed that the population had nearly doubled as more and more people funneled through the main gates. The rain had picked up significantly overnight, making the grounds a muddy mess and some of the earlier sets difficult to catch. The forecast showed a 100% chance of rain until 10 pm, so it was a pleasant surprise when it began tapering off in the early afternoon. Luckily, camping was so close to main stage that all of the main acts were audible while campers took shelter under their EZ-Ups and campsites. Once the rain stopped people began emerging throughout the grounds and filing back into the concert field for Color Channel. This was a perfect opener to release all of that pent up energy from sitting around the camp sites all morning. The sound was reminiscent of LCD Soundsystem with a psychedelic-pop undertone that was the perfect upbeat mix for a post-rain dance party.
Timbre Coup switched schedule times with their good friends Kung Fu after car troubles prevented Kung Fu from making it on time. People began emerging from their different campsites to dance to Timbre Coup’s funky afternoon set. Kung Fu promptly took the stage, and no matter how many times you see Kung Fu, it is always a different experience. Chris Deangelis, bassist for Kung Fu, described the connection between the name and the experience: “It’s all been pretty organic. We like to kick ’em in the face, and then nurse them back to health.” It is easily agreeable that anyone who has seen Kung Fu live can agree with this statement, as there is rarely a dull moment for the band or the crowd while these guys are on stage. After Kung Fu, Escort took main stage. The entire set was mostly focused around a 1970’s disco vibe, with the lead vocals from Adeline Michele creating a mind blowing stage presence with her powerful voice. The talent of each member in this band is incomparable when fused together to make a disco-funk explosion. When Michele picked up the bass, you were immediately aware that each member in the band had an outrageous amount of talent outside of their one specific niche.
The Indobox raised the heat in the Space Ball city tent; by the end of the set the inside of the tent had increased at least 10 degrees. The Indobox always packs a huge punch and brings something outside of what most festival goers are used to seeing. Jules Jenssen once again stole the show on the drums, but that is certainly not to say that the rest of the band did not throw down as well. The entire set had a very indie-electro vibe which was only solidified by their amazing cover of Mike Snow’s “Animal.” Holy Fuck! of Toronto, Canada took main stage at midnight and brought a new and eclectic vibe to the festival. The rhythm between drum and bass progressively built taking the set in twists and turns panning between high tempo and ambient beats. Each song played with different tempos and builds to create an experience that is unlike most electronic bands that exist. Overall the set was phenomenal and a great beginning to the late night music. Gaudi was another artist that brought a completely different sound to The Big Up Festival. The set played between world music and break beats shifting from harder, faster tempos into slower paced dub and reggae. Jeff Bujak played in between sets bringing his high energy, dance party vibe to the late night tent, in a way only Buj could.
Saturday was a beautiful day in comparison to the rainy days that had led up to the last day at the Big Up Festival. Consider the Source took main stage mid-afternoon in a very CTS fashion, holding absolutely nothing back and unleashing a fire set that had the crowd yelling for more as they left the stage. Halfway through the set they pulled out an insane cover of “Run Like Hell,” which is definitely over done, but somehow these boys managed to put their own twist on it and turn it into a loud, chaotic and beautiful rendition of a classic song. The Heavy Pets pulled out a great version of “So Thank You Music” while Higher Organix second set of the weekend was absolute fire. Throughout the set there were ribbon dancers cascading from the top of the main stage down to the floor. Jules Jenssen closed the set with an outrageous drum solo that made the entire crowd step back and evaluate what the hell was going on. This guy can play the drums, that’s an understatement for sure. Once he was done, he yelled into the microphone, “Sorry guys, I’m a little tired so cut me some slack.” If that’s tired, after three days of performing AND running a music festival, then wow.
Kung Fu came on main stage later with their Prince tribute. The Motet’s vocalist Jans Ingber stepped in to cover Prince’s vast vocal range and did not falter. The energy of Kung Fu is unfathomable, and when you mix that with Prince it is nothing short of spectacular. They played all the classics mixing in their own funky twist. They closed with the ever popular dance tune “1999”. Afterwards, it was no surprise that the Space Ball City tent was packed wall to wall for Normal Instruments. This powerhouse of musicians is always a crowd-pleaser and they certainly did not disappoint.
Beats Antique stole the show with Zoe Jakes pulling out all of the stops as she danced across the stage. Some of the highlights included a beautifully executed “Beauty Beats” and a high energy “Dope Crunk”. After their set, Zoe stated, “I feel like Upstate New York has an open community to anything. I feel a connection and openness and connection to the music and art that I give out to the crowd”
Walking into the tent stage to Eskmo’s performance would start as very confusing and end as absolutely blown away. Eskmo clearly has a very creative concept on how to make music, and it certainly works for him. Behind his table he did everything from pop soda cans, crumple bottles of water, smash two shovels together, and sing melodic sound bites into the microphone, all while looping them to a back beat to make a layered track. If you had just heard this song in passing you would never think it was created using a variety of household oddities.
Clearly The Big Up Festival did a great job of covering a wide variety of artists while giving the chance to smaller artists to share the stage with some of the biggest names in the game. It is no wonder this festival had such high anticipation and excitement surrounding the comeback after seeing the amount of talent that graced the stage of this small Upstate New York town. The Big Up Festival’s ‘upstronauts’ have already begun the countdown to the next epic year of amazing music and art.
The first annual Woodstock Comedy Festival will open Friday night September 20th at the Woodstock Playhouse in Woodstock, NY. The festival will help to raise money for several charitable organizations. Ticket prices range from $10-$50 depending on the show, check out their website for full ticketing options. The festival will run September 20-22nd.
Friday night’s lineup will feature improv and standup with, comedians Rick Overton and Eddie Brill.
Saturday night’s benefits for Family of Woodstock and Polaris Project are a double feature. First, Stand Up and Sit Down: Comedy and Conversation from Dick Cavett and Bobcat Goldthwait, together on stage for the very first time. Hosted by Eddie Brill, show time is 7 pm at the Bearsville Theater.
Closing out the weekend Sunday night is an all-star comedy lineup at the Colony Café featuring, Laughingstock: A Night of Local Stand-up Comedy, starring Verna Gillis, James Judd, Adam Mamawala and Audrey Rapoport, hosted by Rich Shultis.
Comedic legends such as Sid Caesar, Mickey Freeman, Dick Gregory, Sandy Hackett, Larry King, Robert Klein, Jerry Lewis, Jackie Mason, Mort Sahl and Jerry Stiller are interviewed in this 83 minute documentary, including archival footage of Henny Youngman, Buddy Hackett, Joan Rivers, Lenny Bruce, Alan King, Woody Allen, Rodney Dangerfield and many more. Robert Klein hosts and narrates the film, for he is a product of the Catskills comedians who came a generation before him. The birth, rise and fall of the Catskills is exhibited and argued to be the home of comedy in America as we know it today. What grew from the Eastern European immigrants of the late 1800s became the post-vaudevillian comedy of the 1920s, seen in the Depression-era theaters like The Palace in New York City and eventually, the vacation getaways for the post World War Two tri-state area. This gave rise to comedians such as Sarah Silverman, Jerry Seinfeld and even Chris Rock, who shaped comedy and pop culture through today and will continue to do so posthumously well into this century.
