NYS Music 20​14

Author: Jimmy Chambers

  • Look Under Your Couch, You May Be Lucky to Find some Cosmic Dust Bunnies

    The streets of Saratoga Springs were jammed packed on Saturday, May 17th  night and there was little doubt that the Putnam Den would be receiving much of this overflow, especially considering the first beer was on the house, and two of the best progressive bands around, The Cosmic Dust Bunnies and the Squid Parade, were about to tear the place down. Yet somehow, the room was sparse, as fans of these bands looked around in befuddlement wondering if they were in the right place. They were, and regardless of how many people were there, the band did not mind one bit as they played some of the best sets seen at Putnam Den in quite some time!

    Squid Parade, formed at SUNY Oneonta, opened the evening with their own variety of jamtronica and a steady groove, setting the evening’s vibe. All the supporters of the bands knew they were in the right place: this was going to be a party! Guitarist Zac Westbrook had a very similar style to that of Chris Michetti, yet with his own soaring flow, showing his influences but also proving he is his own musician. The drums, played by Emmett Rozelle, and bass, played by Pete Piscitelli, played perfectly in sync with each other, leaving Westbrook to do his thing. Although many bands play to this formula, Squid Parade did it in a manner that exemplified practice and experimentation leading towards a new twist on what is becoming a tedious sound in a fantastic genre. The stand out track was a brand new song, among a set that showed extreme diversity, from speed metal, to classic rock, to electronica poppy choruses, yet never losing groove or the attention of the fans. This is a band that some may say are trying to find themselves, due to all the different sounds but they have already found themselves, in creating a new sound.

    Setlist: The Hammer, Out of Phase, Mutation Engine, Leave that Thing Alone,Never Odd Or Even, Frog Legs, S.S.R.A.S.B., Dualit

    New Haven, Connecticut natives The Cosmic Dust Bunnies then took the stage and hit the crowd with another type of a daring musical adventure. Their sound of new wavetronica seems like an anomaly in itself, but it wasn’t long before the crowd understood what this meant. With Chris Sellas spouting a synthesizer over the other instruments, it felt like 1984 all over again. Bassist Matt Beckett constructed the perfect bridge between Sellas and guitarist Matt Dempsey. A very fulfilling sound, giving both soloists time to slowly make their way to the spotlight. This concept is not used as precisely as the Dust Bunnies did it; they showed patience in that they were willing to solo at the right time, with no rush. This made the blissful compositions that much more significant. “Flood the Streets” was a very high point, starting out with a Talking Heads groove. It wasn’t until Sellas used the vocorder, that new wavetronica made complete sense. Erik Hyland’s drums were wailing away, as Demspey’s guitar screamed, and Sellas was just having a blast, along with everyone else.

    [youtube http://www.youtube.com/watch?v=B2folv1H9Hs&w=420&h=315]

    When the band played “Mission: Possible”, they threw in a bit of dub, although it wasn’t clear if the dub sound was going to take away from the sound that was already a staple that evening. This seemed a tad disheartening, as it appeared there was no room for the darkness that dub brings to the happy bouncy feeling that had already been established. As with everything else, however, CDB knew what they were doing and used just enough to make it interesting. This tactic was used for the next few numbers, with a little more of the electronica then the new wave, but there were no complaints, as everyone was thoroughly enjoying themselves. The group continued to show their uniqueness by playing“Down”, a poppy radio friendly song. Sung by Beckett with passion, this song seemed like it meant more than words to him, as he sang from the heart. This would be the perfect song to hear on the radio, with a little guitar and key solos thrown in bit, but it wasn’t the focus of the song: the vocals and lyrics were. The Cosmic Dust Bunnies have started a new style of genre blending. This doesn’t seem to be a flash in the pan. New wavetronica could be the sound of the future.

    Setlist: Gotcha>Moleculo>Gotcha, Emerald Zone, Flood The Streets, Mission: Possible, Cosmonauts, Down, Jay in My Life, Hipster Champagne

  • Hearing Aide: The Blurry Nights Bend Musical Boundaries in New EP

    Picture if you will, early 90’s Alice in Chains, mixed with the hipster sound possessed by The Strokes, covered over with Henry Rollins singing while Marc Brownstein throws in a couple of electronic beats just to keep it hip. You follow that? Not many would. Somehow however The Blurry Nights, formerly, Sonic Spank, have taken this sound and made it theirs.

    The opening track “Beekeeper”, off their self titled debut EP, is a a hard ripping track where the lyrics are not that clear, but yet the tune gets stuck in the listeners head, and the droning sound lingers all day. Trying to make sense out of it however, may be a struggle. A shredding guitar solo in the middle by Benjamin Karp, brings the song a White Lion feel, while going right back into Ian McGuire singing about the “Beekeeper.” A catchy opening track, for the right reason? You can be the judge.

    “Checked Out”, the next track has a groovy beach vibe, with lyrics about being, well, checked out. A feeling that many rock stars claim to have known, or felt at some point during their career, but with this laid back chill tune you can feel vocalist McGuire, really has checked out and does not want anyone to harsh his mellow. This is a song for any hipster who just wants to be cool, have his day in the sun and chill.  “Hours to Kill”, the next track is similar to “Beekeeper”, catchy, heavy making little sense, but all and all good hard rocking fun. The track of the EP is “Don’t Need 3”, with the drums at the beginning of the song, played by new comer Jeremy Worthington, set off a sweet beat that leads to great things. A fast beat layered with a sweet high pitched guitar gets the listeners attention for the story about to be told. The songs tells the tale of a guy trying to get comfortable with his lady friend and all of a sudden she wants to bring another dude into the mix! Not for this guy! He may be singing this song as if he’s Julian Casablancas, but he is not down for the swingster way of life; that’s not for him. (not that Julian is, but, who knows).

    The EP ends with “Cant Have a Fun Alone”, showing more of the Sonic Spank sound than the previous songs did. With extended jams and build ups that would transfer quite well in a live setting. Which can be seen as the band has their offical EP release party on Saturday May, 17 at Bourbon and Branch in Philadelphia. This is a time of experimental rock that should not be missed by anyone into any type of music.

    Key Tracks: Checked out, Don’t Need 3, Can’t Have Fun Alone

  • Pink Talking Fish Brings a Fantasy to Reality

    Fans whirled around the Putnam Den in bewilderment on Saturday night asking questions such as: Are there three bands playing tonight? What are they playing? What is this going to sound like? All these questions were asked in a jovial way as very few could fathom the idea of one band playing the music of Pink Floyd, The Talking Heads and Phish. Everyone was excited to see how this could be done, and they would not be disappointed; Pink Talking Fish delivered a spot on fantasy performance.

    The High Peaks Band, a three-piece ensemble out of Saratoga Springs, opened the evening bringing a high energy jammy sound that mixed in lyrics of an alt-country band. The lead vocals of Rick Nelson were complimented wonderfully by Michael Hoffman’s backing harmony. Drummer Jason Vasquez held the band together as they ran through their set. Although there were very few, if any, low points, the highlight of the set was the cover of a moe. classic “She Sends Me,” a rocking tune that not only got the crowd going, but also showed the bands diversity.  It was a great surprise during a great set.

    The stage was now set to answer everyone’s question: What is this Pink Talking Fish all about? Well, from the onset, they were about tearing it up. Opening with a spacey rendition of “2001,” the audience knew what this band was all about and that they meant business. With the funk vibe of Phish and backing sounds that echoed Pink Floyd, the tone was set for the whole evening.  “Life during Wartime” came out of this extended jam as the entire room danced along with the bouncy lyrics. From there, things slowed down a little as the band performed “Have a Cigar.” Keyboardist Rick Umlah took lead vocals on this, hitting all the notes perfectly, resonating Floyd, yet with his own spin to it. Up to this point, the songs were played very well, but it wasn’t until “Possum” that they really shined. Eric Gould, founding member and the only one consistently in the lineup, took over the vocals and guitarist Dave Brunyak, of the Phreaks, showed the crowd his stuff. The lengthy jam was filled with shredding only comparable to Trey Anastasio himself. Brunyak’s sound wasn’t the only thing that was reminiscent of Trey, as he made body movements and gyrations similar to those of the Phish guitarist, but with his own style. He wasn’t copying Trey, he was just simply being Dave, and the crowd ate it up as they fed off his energy and enthusiasm. This continued throughout the set up until the closer “Cross Eyed and Painless.” This was a perfect way to end the first set, a high energy song that left the fans wanting more.

    Some may have thought there was no way the first set could be matched, but those people could not have been more wrong. Opening with a raging “Run like Hell,” Zack Burwick’s drums hit hard and heavy which set the atmosphere for the whole room and the whole set. “Run like an Antelope” was as solid and tight as it has ever been played. It seemed as though there was nothing these guys couldn’t do. They were nailing everything they tried and then some, but just like every great band, they were not done outdoing themselves. “In the Flesh,” went into “Mikes Song,” which in and of itself was a treat. The real treat however is when they went back and forth between seven different songs before playing “Weekapaug Groove,” going into “Eclipse,” and ending the set where they started it with “Run like Hell!” This was simply amazing. For the encore the boys had some fun mashing up “Makisupa Policeman” with “Brain Damage,”  and closing the night out with“Cities” and “Tweezer Reprise.”

    Many bands go out and try to cover other bands, usually falling short. These guys not only successfully covered one band, they covered three! The energy was high from the beginning and it only intensified with each song. The magic of not knowing what was coming next and being pleasantly surprised when it dropped was pure brilliance, brilliance in which this band should continue to do for a long time.

    High Peaks Band Set List 4/19/2014

    Walk to the Bar, Within Reason, Doesn’t Matter, Rice Petunias, Not on TV, Superman Above, She Sends Me*, Fade to an Echo#

    *- moe. cover #- Lively up Yourself teases

    Pink Talking Fish Set List 4/19/2014

    Set 1: 2001*>Life During Wartime, Have a Cigar>Posum, Slippery People>Sand>Slippery People, Another Brick In the Wall>Psycho Killer> Another Brick In the Wall, You Enjoy Myself>On the Run>You Enjoy Myself**>Crosseyed and Painless

    Set 2: Run Like Hell***>Run Like An Antelope, Burning Down The House, In The Flesh>Mike’s Song> Pigs(3 Different Ones)>Houses In Motion>Tweezer>One Of These Days>Lenghtwise>One Of These Days>Once In A Lifetime>Weekapaug Groove>Eclipse>Run Like Hell

    Encore: Makisupa Policeman/Brain Damage >
    Cities>Tweezer Reprise

    *w/ multiple Pink Floyd teases in the intro
    **w/ Mother tease
    ***w/ Careful With That Axe Eugene tease
    ****Back and forth between Makisupa and Brain Damage. Brain Damage was reggae style during the verse and classic style during the chorus. “Woke up on 420. Went to Putnam Den. I get to try out my brand new Vapo Pen.”

  • Melvin Seals and JGB Bring Smiles to All

    The smell of patchouli oil filled the air as dreadlocked, middle-aged folks wore their patchwork pants while sipping on Sierra Nevada Pale Ale. The vibe was set for a grateful night, as Melvin Seals and JGB were set to play Putnam Den on Sunday, March 2nd.

    Opening the night from Hartford, Connecticut were the Balkun Brothers. Their unique style of powerful blues, fronted by lead guitarist Steve Balkun, mixed sounds of Joe Satriani and Jimi Hendrix, an ability shown by few guitarists today. The shredding that came from every song left the crowd wanting more, and more is what they got. Showing their diversity the band also delved into a few funky songs, further proving they weren’t a one trick pony. This was even more evident in their closing number, “Fire”, by the aforementioned Jimi Hendrix, leaving the crowd in good spirits and ready for Melvin Seals and JGB.

    When Melvin and crew took the stage, everyone, including the band, was more than ready to get things rolling. They opened with the Rolling Stones classic, “Lets Spend the Night Together.” Dave Herbert’s guitar emulated the sweet harp-like harmony of Jerry Garcia perfectly. Herbert’s high pitched, fast-paced playing was a new twist that brought his unique style to JGB. The backing vocals of Shirley Starks and Cheryl Rucker were in perfect harmony with Herbert throughout the night. This rang true on the Van Morrison classic “Crazy Love,” serving as a perfect addition to an already flawless song. At this point, it seemed as if the man of the hour, Melvin Seals, was holding back; that all changed on “Get Out My Life.” Seals took the first solo and he meant business. The whining from his organ sent the crowd into a frenzy, dancing harder than they had all night. Everyone was ecstatic, but no one more than Melvin, as he sat up on the stage smiling and laughing along with everyone. The key to the whole band was the patience and steadiness of bassist John-Paul McLean and drummer Pete Lavezzoli; these two always held the jams together even when the music seemed to be heading nowhere at times; this was pure brilliance. The rest of the night followed suit as the band went through JGB favorites, “Run for the Roses,” “Cats Found Under Stars,” and “Ain’t no Bread in the Breadbox,” all played note for note and as brilliant as the originals.

    This group has dedicated their careers to honing in the JGB sound and they do not disappoint. Although Jerry may be gone, his memory and music will live as long as Melvin Seals and JGB are playing shows like this!

  • Conspirator Warm up Putnam Den on a Cold Night

    The wind blew a brisk arctic breeze as fans of Conspirator stood outside waiting to see the band. Upon entering Putnam Den and looking over the sea of flat brimmed hats adorned with various pins, the stage was set for a memorable evening of livetronica played by some of the best in the business.

    Albany heroes, Digital Dharma took the stage to open the night. The keys of Eliot Kershner got the crowd hopping and wailing from the start, a glorious way to get the night going with a positive vibe. The beats went on and Aaron Zarabi’s drums combined with Steve Mink’s bass tightly held the groove together as Kershner and guitarist Brian McQuade kept a stunning harmony. This went on for quite some time and allowed the crowd to get loose and have a great time. Then they started to sing. This was just weird and misplaced. Losing the crowd as they looked around in bewilderment, as the goofy sound took away from the sweet groove that was in place. However, this would quickly be overshadowed when the next song, “Better Off Alone”, came raging in with wailing guitar and sweet sampling. The guys were back on track, perfectly setting the night up for Conspirator.

    Setlist: Aeronautics -> Shag Moonstruck -> Better Off Alone -> Mission Control

    After a short break, it was time for Conspirator to take the stage and the crowd was more than ready. The energy was pulsating through the room and the band definitely fed off of this. Coming at the crowd hard right off the bat with a tune “Saw Sir” featuring Aron Magner’s outstanding keys. The mix of Marc Brownstein’s bass and the drums of Torch made the groove completely unstoppable. This led into the fan favorite “Feed the Wolf”, a song featuring a catchy chorus driven by the keyboard that led to high fives and screaming. You could tell the guys enjoyed this one as smiles appeared across all of their faces. Conspirator has been leaning towards more of a jammy-sound as of late and this was most apparent when guitarist extraordinaire Chris Michetti tore up the next few songs. As the main soloist, Magner’s keys were out of this world throughout the entire evening. Torch had many high points as well, keeping all the feet in the audience moving.

    [youtube http://www.youtube.com/watch?v=EfiLg0EJW8s&w=560&h=315]

    There’s the obvious comparison to the Disco Biscuits that the band constantly draws, but if this show was any indicator, they have successfully taken on an entity all their own.

    Set 1: Saw Sir >Feed the Wolf>Brooklyn Bridge>Right Wrong>Special Kind

    Set 2: Park Ave >Up>Retrograde>Pow Wow>Hellsing

    Encore: Hammerdown

    [youtube http://www.youtube.com/watch?v=nzSjY02AS5k&w=560&h=315]

  • Particle Makes it Hot on a Snowy Day in Saratoga

    The neon signs that welcomed fans to Putnam Den were illuminated by falling snow landing on the glass. People huddled around the snow covered tables, smoking, trying to stay warm. The venue was very welcoming to the cold as leather couches sat in the middle of the room, giving off a cozy, warm, almost home-like feeling. People trudged in slowly and the floor became soaked in footprints as the perfectly lit room filled. Everyone who made it through the treacherous weather to get there prepared themselves for the great time that is a Particle party.

    John Wayne and the Pain opened the evening with their unique sound of Reggaetronic Dub. The mixture may sound abstract but when put all together a great sound was created. They pushed musical boundaries to the limits when they covered the Grateful Dead classic, “Wharf Rat”, a song that wouldn’t seem to fit this genre, but with these three musicians they made it work. Starting the song with Garcia like guitars licks and ending it the same way was a phenomenal feat, that very few could pull off.

    As Particle prepared to take the stage, fans who were milling around the room came to the center for what was sure to be a rager. The slightly tilted hats that have become a staple in the scene were out in full force as were the girls in their artsy skirts with drinks in hand. Clay Parnell (bass) and Brandon Draper (drums) started out the show with “Papa Delta”, a heavy drum and bass beat, getting the crowd going, warming their cold bones. The energy level was extremely high as guitarist Ben Combe and keyboard extraordinaire Steve Molitz joined the other two on stage. Molitz then led the drum and bass jam into the Chemical Brothers’ “Denmark”, a keyboard heavy dance track, with the crowd throwing their hands in the air, smiling, and giving each other high fives. Particle had arrived. Molitz was also hopping up and down to ensure the energy level was steady.

    Although the sound of Particle is keyboard heavy, the next track, “London Forces”, was focused on Combes’ guitar playing, building up and up until an explosion of sound emerged showing the versatility of the band. Covering Pink Floyd’s “Have a Cigar” was a treat for all, slowing the pace down a bit, allowing fans to catch their breath but still staying connected to the show. The beautifully covered song also showed the immense range Particle has in their playing ability. The party continued with more beats to keep the crowd moving, to keep them warm. This being only the second show with this rotation they were spitting pure fire and will continue to do so as the band’s chemistry grows.

    Setlist: Papa Delta, Denmark, Hits, London Forces, Red Orchestra, Launchpad, Have A Cigar, New Song, Kneeknocker, W, Elevator, Below Radar, Axel F

    Encore: Pro, Sun Mar 11

    Prior to the show, I had the privilege of siting down with Particle members Steve Molitz and Clay Parnell before their recent show at Putnam Den.

    Jimmy Chambers: How has the sound of Particle changed as new members have joined the band?

    Steve Molitz: Different people bring different sounds and tones, but I don’t think the Particle sound changes that much. There is sort of this core thing that happens when the songs get played, I don’t want to say it’s bigger than the musicians playing it but it’s separate from the musicians playing it. The various musicians over the years have tapped into it. The songs are created with am end line, but by bringing in new musicians there is room for a song to grow, but always keeping that core intact. And it’s interesting playing with different players, because you get to hear what the interpretation of the song is. A great example of this is Clay (Parnell) on bass he interpreted a song that we have been playing for ten years differently than when it was written, and now we have a completely new sound to a song we have been playing for over ten years.

    JC: Clay are you pulling double duty with Brothers Past or are you mostly going to be focused on particle?

    Clay Parnell: Well in a sense I am. I mean Brothers Past hasn’t disbanded, we have a couple of dates lined up. But everybody in Brothers Past is doing really amazing things, Tommy Hamilton is out with the American Babies. Our keyboardist, (Tom McKee) is running a music school.

    JC: How did you end up joining an established band, when your are already in an established band?

    CP: Its funny, Steve and I, since both of our main projects were kind of in a lull I kinda had a lot going on, like I say I’m the man of a million side projects.

    JC: Like the Warren Haynes of bass.

    CP: Yeah, you know, Steve asked me what I was doing, and asked me about this, and I just went with it.

    SM: It all came about very organically, it started with just jamming on tunes in the studio, and just worked out. He heard the tracks and laid down his bass lines, and that was that. It all came together very well.

    JC: How did you get involved playing with Phil Lesh, and how did that experience impact your playing, because the Grateful Dead sound is a little different than the Particle sound?

    SM: I think he (Lesh) came to see Particle at the Cow Palace (San Francisco), I think, and shortly thereafter he asked if I want to play with Phil Lesh and Friends. I said yeah, but I never grew up listening to the Grateful Dead, I didn’t have their albums, I wasn’t familiar with their songs. So I told him I may not be the best guy for the job and he said that’s even better, that’s perfect! He was thrilled that I didn’t know the material because then I wouldn’t try to emulate anyone who has played it before me. You really made a good point when you asked how it influenced my playing, because I definitely learned a lot playing with theses different lineups.

    JC: Now that you have this formation in the band where do you see yourself going? About ten years ago I saw your name everywhere, Disco Biscuits shows, then it kind of died down a bit. But now you have this resurgence with Clay in the band this huge tour. Where do you see it going?

    SM: Yeah you’re right, right now we have like 40 tour dates on the books. This tour takes us down the East Coast and as far south as Texas. Then the next tour starts in Tahoe (Nevada) and works its way down to San Diego and out through Arizona, Utah, the Midwest, ending at Jazz Fest in New Orleans. So we’re definitely getting around, planning a big fall tour as well and finishing putting a few touches on the new album. As for the big picture, its kind of counterproductive to think about the future too far and that’s something I’ve learned being on the road for over 14 years. So I’m not really trying to get ahead of myself thinking where will we be in a year, five years. It’s more just thinking ‘I am so excited for the show we are going to play tonight’, and ‘I’m so excited for the show we’re going to play tomorrow night and so on’. Trying to play each night as it comes, live each moment as it comes. And have as much fun as possible doing it.

  • Clap Your Hands Say Wow! Alec Ounsworth Rocks Big Blue North Studios in Utica

    Picture hundreds of people huddled around,smoking cigarettes, drinking beers under the bright lights of the grand marquee waiting to get into the show. Now take that image and think the complete opposite and that is the feel of the Alec Ounsworth (Clap Your Hands Say Yeah) living room tour. If a patron of the concert at Big Blue North Studios in Utica didn’t have specific directions and overview of what they were in for, they would have thought they were in the wrong place. A huge church that Big Blue North Studios now calls home was dark with nothing but a candlelit pathway leading to the entrance on January 28th.

    A kind woman was at the door, taking names, letting fans know that coffee and tea were available to the right. Yup, you heard it right coffee and tea. This was a concert? The ambiance at this point was that of an AA meeting. Confusion filled the room; confusion and anticipation. As the crowd of 40 people or so sat in metal folding chairs, the stage was set up just as if it were a living room (hence the tours name) with ablack and white TV with a scrambled image, a tan fuzzy chair, a fireplace, a table and a microphone in the middle of it all. Intimate doesn’t even begin to describe the atmosphere. When Ounsworth walked through the crowd and stepped on stage he had everyone’s utmost attention.

    This was more than a show, it was an experience, a rare one at that. Seeing an indie hero such as Alec Ounsworth playing his usually fast paced songs, stripped down and played completely different, while the farthest person away from him was 20 feet away. Ounsworth proved to his fans that he still has it and with the new formation of CYHSY, the new album has nothing but the possibility of greatness.

    Opening up with the beautiful David Bowie classic “Absolute Beginners” highlighted Ounsworth’s vocal range and not stretching it too far to get a feel for how the room would sound with an audience. The intimacy was so apparent that Ounsworth not only didn’t mind fan interaction, but encouraged it. By talking to the fans throughout. When he played “Upon This Tidal Wave of Young Blood”, a classic off the CYHSY self-titled debut album, there were people quietly sitting but yet moving to the music, smiling, mouthing the words, as not to disturb the ambiance of the room. At this point where the man of the hour started to cough, and sniffle a bit, making comments implying he may have a cold, but not only didn’t he stop the show, or take a break, he continued his high pitch on the verge of whiny vocals. Ounsworth offered fans a treat by playing “Blameless”, a new song off the full bands album set for a spring release, transitioning smoothly into “In this Home on Ice”, stripped down, even more so than the song’s previous versions. The show closed with “Underwater (you and me)”, off the bands second album Some Loud Thunder, a spectacular way to end the set. Arguably the bands most beautiful song made even that much more due to the intimate surroundings.

    Ounsworth proved to his fans that he still has it and with the new formation of CYHSY, the new album has nothing but the possibility of greatness.

  • moe. Years Eve in Albany

    The vibe headed into moe. New Years Eve at The Palace Theatre was naturally festive, with moe.rons dressed up in an array of different attire, from tutus and wigs to tuxedos. This was bound to be a special evening in Albany.

    moe. Years Eve in Albanymoe. played a second night at the historic Palace Theatre to close out the year. Starting in rare form with a small stage set up in front of the main stage, the band played a short, fun and very well received acoustic set.Although the music itself was quiet it still captured the crowd’s attention. Highlighting this short set was the rarely played “Backwoods”, a song that long time moe. fans were quiet pleased to hear. In return, people who may not have been privy to that song were treated to a rendition of the Tom Petty classic,”Wildflowers”, the last acoustic song of the set, leaving Al Schnier, Chuck Garvey and Rob Derhak on the small stage while the other members Jim Loughlin and Vinnie Amico dispersed.

    When the main stage curtains opened, a clock on the back drop of the stage was counting down the minutes until 2014. Drummer Amico furiously hit the drums, ensuring the acoustic set was not going to be the evening’s vibe. The rest of the band joined in at this point playing “Water”. This transitioned into the Pink Floyd Dark Side of the Moon classic “Time”, slowing things down yet bringing the crowd into the fold. Going into the immense “Recreational Chemistry”, showcased the ability moe. has to fiercely jam, with wailing guitar solos and hard drum beats the set concluded on a high note.

    “Mar-Dema”, an instrumental song highlighting Amico’s drumming talents transitioned into the fan favorite “Meat”. A heavy song with a slow beginning, Al and Chuck, the groups two guitarists, traded psychedelic guitar licks while Rob held it together with the bass. This lasted for a minute or two then broke down into a colossal jam verging on heavy metal. The intense electricity in the room was palpable. Percussionist Jim Loughlin took a xylophone sol, a highlight that raised the bar for the rest of the jam, hitting each note yet emphasizing the other instruments, putting him in a class of his own. “White Lightning Turpentine”, a transitional bluesy instrumental gave the crowd a rest after the velocity that ensued previously. This transitioned into a segue of songs, consisting of “Four”, “Spaz Medicine”, “Spine of the Dog and ending with a huge rendition of “Buster”, a staple in the moe. universe and one of their tightest and most danceable numbers. The tightness and patience the band possessed was outstanding as they were right on point for every note as the set closed.

    moe new years eve albanymoe. has never been know for their serious side and they proved this by coming out in animal costumes and playing “Sensory Separation Bank.” The New Years countdown began as balloons filled the room and the audience went nuts. The band sang “Auld Lang Syne”, a staple of any New Years Eve show, as per tradition. This cliché was easily forgotten when local heroes Shannon Lynch (saxophone), Terry lynch (trumpet) and Shaun Bazylewicz (trombone) from Conehead Buddha joined the band for Paul Simon’s classic “Late in the Evening” to kick off the first set of 2014. Terry Lynch not only played the trumpet throughout the set, he also took lead vocals on the Black Sabbath tune “The Wizard”  which added to the fun. The set closed with a fantastic version of “Plane Crash”, where the horns took control and all the ranges imaginable were conquered, ending the set on a very high note.

    moe new years eve albanyThe encore started with Al thanking all the moe. family for being there, and announced that lighting designer, Jason Huffer, would be leaving his five year stint with moe. This left the the crowd with a mixed reaction, as the moe. lights are a large part of the show. Playing “Bearsong”, the first of two encores, led to an ensuing jam that was heavy and dirty with a guitar jam bordering trance. “Wind it Up” followed suit nicely, continuing with the trance vibe as the guitars began to shred, moving the crowd towards the show’s finale. The end of a show is never easy, but when done like this it is, without a doubt, easier. Happy moe. Year to all!

    moe. setlist

    Set I: Shoot First^, Blue Eyed Son^@, Willin’, Backwoods, Wildflowers^^, Water > Time > Recreational Chemistry

    Set II: Mar-DeMa > Meat, White Lightning Turpentine, Four > Jazz Wank > Spine Of A Dog > Buster

    Set III: Sensory Deprivation Bank , Auld Lang Syne > Late In The Evening$+, Spaz Medicine$ > Not Coming Down$, The Wizard$+, Nebraska$, Spanish Moon$+ > Threw It All Away$, Plane Crash$

    Encore: Bearsong, Wind It Up

    Notes
    ^Acoustic, band on small stage
    @Al on mandolin
    ^^Only Rob, Al and Chuck (on acoustics)
    $ with Conehead Buddha Horns: Shannon Lynch (sax), Shaun Bazylewicz (trombone), Terry Lynch (trumpet, trumpet & vocals on Wizard)
    +debut

  • moe. head Eastbound to take over Albany

    Standing out in the cold is rarely a good time, but this did not stop the masses from waiting outside the Palace Theatre in Albany for moe. and Eastbound Jesus to kick off two nights to close the year out in Albany. The doors didn’t open until 7 pm, yet there were plenty of people waiting to get in, standing around, mingling, and talking about what songs would be played, how excited they were to get in and see two of the hottest bands around.

    Eastbound Jesus, from Greenwich, New York, had the crowd’s attention from the moment they took the stage at The Palace Theater, opening up for moe.’s first of two nights to cap off 2013. ”Waiting for the Sun” off Northern Rock was not your typical bluegrass, mixed with electric guitar solos. This is one of separating factors Eastbound from the mainframe of bluegrass. This jam could have gone on infinitely, but as they were the opening act, time restriction definitely brought this jam of endless possibilities to a halt. “Where the Winter goes” focused on harmonizing echoing the sound of Fleet Foxes, Crosby, Stills & Nash, among others, giving fans a chance to see this band for their many instruments, but also having a genuine good time on the stage, with the overflow engulfing the crowd. The multiple instruments played was very impressive, and although the lead guitarist Adam Brockway handled most of the solos and banjo player Luke Anderson filling a key role in many of the band’s extended runs. Closing the set with “The Ballad of Eastbound Jesus”, the crowd started to clap their hands to the beat, leaving the band and crowd mutually happy. Eastbound Jesus played their songs tight and had the crowd in the palm of their hand in an opportunity to showcase their sound to a wide audience.

    There are umpteen jam bands in the music scene today, mostly sounding very similar and almost having no identity. moe. is not one of these bands. With a unique sound spanning many musical horizons from psychedelic to hard rock, moe. covers it all. The set opener, “Paper Dragon”, had these aspects. Starting out slow with the emphasis on Jim Loughlin’s percussion playing, he was busy on his many instruments to keep the rhythm going. This was not the case for long as the song sped up and guitarist Al Schnier began to shred, a recurring theme for the evening. The drums, led by Vinnie Amico and anchored by Loughlin transitioned into the forgettable “Y.O.Y”, just a lot of sound over more sounds, doing very little for the crowd. This would’ve become a problem if the band stayed on this course, however the mess known as “Y.O.Y” shifted into one of the nights highlights, “George”, which had the crowd going utterly nuts as they sang along to the line “It’s not my problem!”, followed with a tremendous jam led by Schnier . The first set was very much a set based around the guitar playing of Al, although the vocals of Rob Derhak and the guitar playing of Chuck Garvey were very apparent in helping them come together.

    The second set opened with “Zed Naught Z”, rocking the fans right out of their seats, with nary an individual sitting down. Loughlin had a tremendous xylophone solo that sounded like a carousel ride, transitioning into a spacey Grateful Dead-style jam, almost losing the crowd. “Timmy Tucker” hooked the crowd back in, and quickly. The jam that ensued showed patience and timing, particularly as Amico’s drums and Loughlin’s percussion complimented Derhak’s bass and vocals and the rhythm became tight. Garvey and Schnier were able to duel guitars, creating a unifying sound between them, jamming another fan favorite, “Akimbo”. A straight forward song, “Akimbo” was fun but nothing special, and segued right back into Timmy Tucker”, with fury from the wailing guitars. This five song palindrome of the set was finished with “Zed Naught Z”, seeing everything come full circle. The patience to get from point A and go all over the place and ending at point A is a talent very few bands possess. “Opium” segued into another favored moe. classic, “32 Things”. The crowd sang along, everyone cheering for more moe. when it was finished.

    The band came back out and played a cover of Blue Oyster Cult’s “Godzilla”, a heavy number which did just as an encore should do: left the crowd wanting more. They would get more later that night, as it was already New Years Eve. As the doors opened and fans dispersed onto Pearl Street, the cheers and claps were proof to patrons on the street that a very good time was had at the Palace.

    EastBound Jesus setlist
    Set: Waitin on the sun, Beat The Brakes, Where The Winter Goes, Katie Belle, Doors Open, 54 Miles, Ballad Of Eastbound Jesus

    moe. setlist
    Set 1: Paper Dragon > Y.O.Y. > George > Skrunk, Blue Jeans Pizza, Puebla > The Pit
    Set 2: Zed Naught Z > Timmy Tucker > Akimbo > Timmy Tucker > Zed Naught Z, Opium, 32 Things
    Encore: Godzilla

    Stay tuned for a review of moe.’s New Years Eve show on Wednesday, January 8th.