Category: Features

Primus set to Bring a Twisted good time to Rochester Main Street Armory

Today, Primus will turn Rochester Main Street Armory into a twisted-nostalgia-psychedelic-fun-house in support of their new record, Primus and the Chocolate Factory with the Fungi Ensemble. The band released the album October 21 and Rochester marks the ninth stop on their countrywide tour, which has been well received. Essentially, the album is exactly what you would expect from Primus

: heavy, psych-funk with a playful dark side—except this time they are covering songs from Willy Wonka, which adds an extra dose of strangeness. Bassist Les Claypool is the mastermind behind the freak show, and he, along with band members Larry LaLonde (Ler) and Tim Alexander (Herb) will be dressed up as characters from the film to go along with the elaborate stage design. The music alone is a trip, but paired with lighting and theatrics, this evening is sure to be a spectacle. As an added treat, fans can win Primus tickets for life by finding one of six golden vinyl records (as opposed to the regular chocolate-brown color).

Doors are at 6:30PM but show time is slated for 8PM; this is Sunday show, and it is the Armory, so expect an early evening. Tickets are $39.95-$45.00, and available at the box office, Ticketfly.com, House of Guitars and Aaron’s Alley.

November 2, 2014
Film Review: St. Vincent

Bill Murray is at the age where he can play a grandfather, a wise old sage or a lovable curmudgeon, ala Walter Matthau, but less jowly. In Theodore Melfi’s feature-length directorial debut St. Vincent, Murray takes the lead in stride, giving a wonderful performance as a retiree who reveals through the simple act of watching a neighbor’s kid, much to his disdain, more and more of his true character while being a prick on the exterior.

New neighbors Maggie (Melissa McCarthy) and son Oliver (Jaeden Lieberher) move in and after a rough introduction, Vincent offers to watch Oliver as Maggie has no other recourse with a pending divorce and full-time job. Vincent, never having children and not seeming to care for them at all, gives Oliver a place to do his homework and learn about life, while making $11/hour from Melissa. When Oliver is bullied, Vincent bears witness and puts the fear of god – he, the local who knows their mothers in more way than one – into the bullies, then gives Oliver a lesson on how to defend himself and break a would-be attackers nose.

Lieberher stands out more and more as the film progresses and reminded me of Abigail Breslin when she starred in Little Miss Sunshine and stole the show. Lieberher is in the same league as Breslin, shining from the periphery. Poignant quotable observations such as “It’s gonna be a long life” provoke thought and sum up scenes quite well. Oliver is given the task of not only following along with Vincent’s lead – whether to the local bar, the racetrack or the bank, where Vincent stashes track winnings in an account under his ‘grandson’s’ name – but to improve on the situation in the only way a 9-year-old can, through honest observations.

Through the course of the film, and via the directive of his teacher Brother Geraghty (Chris O’Dowd), Oliver is assigned to look for living saints – less Mother Teresa and more ‘people you know’ – and make a presentation through his research. Seeing through the surface that Vincent wears like a coat of armor, Oliver unlocks the mystery of this ornery individual that few would consider a saint without delving deeper into his character. It is through Murray’s acting and Melfi’s writing that we get a well-composed character that is far from superficial but could be categorized as ‘a drunk mean old man’. The only weird part of Murray’s portrayal of Vincent is his Brooklyn accent, as I cannot recall a film where Murray used an accent, let alone in a convincing manner; at one point it sounded like a weak Woody Allen impression but overall, it grows on you.

McCarthy makes a strong jump into a dramatic role with far less humor in what is simply her finest film role yet, better than Bridesmaids. Trying to keep it all together through a pending divorce and custody battle, Maggie is strong and focused on doing the best for Oliver, even if it means leaving her with Vincent on a regular basis. Maggie appears as the left brain to assist the right brain that is Vincent, both providing balance to the other in a symbiotic relationship. When Vincent goes to the hospital, Maggie, Oliver and Daka (Naomi Watts) tend to Vincent and get what parts of his life straightened out that they can. Watts falls so deep into playing the Russian Daka, a ‘lady of the night’ as Oliver is informed, that you forget it is Watts behind the pregnant belly and large sunglasses of a stripper.

Making sacrifices and putting others above yourself when you don’t want to are part of being a saint. Vincent’s experience with Oliver is heartfelt and provides one with guidance and the other with purpose, something both parties are able to work off of symbiotically. St. Vincent is yet another great film for Bill Murray to shine while sharing the spotlight with Jaeden Lieberher.

November 1, 2014
Interview: Thompson Square – Bringing Country to Syracuse

Toby Keith’s I love this Bar and Grill, Syracuse hosted one hell of a party Saturday, October 25. Long before music was to begin, the place was jam-packed with country fans of all ages waiting for Nashville’s very own married duo country sensation, Thompson Square to take the stage.

Local favorites TJ Sacco and the Urban Cowboys took the stage to get the party started. Performing songs from artists such as Brantley Gilbert, Eric Church and Gary Allan, they captivated the fans and rocked their set. Just back from a visit to Nashville, Briana Jessie joined Sacco and the guys on stage and owned it. Belting out songs by Miranda Lambert, Pistol Annies, and Carrie Underwood, their high energy show had the crowd roaring and begging for more.

The room went dark and you could feel the anticipation in the air. It was time for Thompson Square to take the stage. With the crowd chanting their name and the cheers for the music to continue, the band members of Thompson Square took their spots and played their instruments to the light show and the crowds’ cheers. The energy and anticipation grew until Shawna and Keifer joined their band on the stage. Floor shaking and music thumping, the crowd greeted Thompson Square with a warm Syracuse welcome!

This award-winning duo shares their life with the world and gives the fans a peek into their personal lives with the music they write and perform. While other artists try to keep as much private as possible, this humble duo invites us to experience their life right along side them. Performing their hit songs “I Got You,” “Glass” and “I Can’t Outrun You” they displayed their passion for music and each other through the undeniable chemistry we all witnessed.

Prior to the show, I had the opportunity to meet this amazing duo on their tour bus and do an interview for NYS Music. Nervous and excited all at the same time, I couldn’t believe I was going to meet one of my favorite country performers. Oh and did I mention this was my very 1st interview ever! Talk about nerves, but of course, Shawna and Keifer were so welcoming and down to earth.

Kim Richer – NYS Music: Thank you so much for agreeing to speak with NYS Music. We appreciate you taking time out of your busy schedule to meet with me. This is my very first interview and I’m a huge fan so please excuse my jitters.

Shawna – Thompson Square: How exciting for you. So nice to meet you, but you shouldn’t have told Keifer this was your first interview, he’ll make ya pay. Hahahaha

Keifer – Thompson Square: Yup, you probably shouldn’t have shared that with me.

KR: Do you find that as a married couple performing as a duo you have hit different obstacles than you would have as a solo artist?

Keifer: I don’t think we’ve faced many obstacles, but we are finding that maybe people think that our shows won’t be as much fun or exciting since we are a married couple that we don’t like to party, but we do. I think that’s really the only misconception.

Shawna: The only other weird thing is that when we are off the road and home just the two of us it’s strange. We are constantly out here with our crew and our band, it’s almost like we are living two separate lives. It’s just a little strange.

KR: So, is it true that you met eachother at a singing competition?

Keifer: Yes, we met at a competition in Nashville back in 1996. We met the first day of the competition and we’ve been together ever since.

KR: Did you know right away that you were each the one?

Shawna: Yes, I know it sounds really cheesey but that’s the way it was. It was crazy.

KR: How did all of this start for each of you? Did you have an influence growing up?

Shawna: I’ve known since I was like 5 that this is what I wanted to do. At 5 I went to an Alabama concert and the way they entertained and they were so massive. I knew that’s what I wanted to do. I knew I wanted to be on stage. My dad also played music and sang so I was around it growing up and it just felt so natural.

Keifer: I always wanted to do this. I was really shy as a young kid. It took me a while to come out of my shell. I was always playing a guitar and dancing around as a kid but when I was 14 I started writing music and at 15 I snuck into a place and performed. It’s such an intimate thing to perform songs you have written. Once I had that first show, you couldn’t shut me up after that.

KR: So you are dropping a new album next year.

Keifer: Yes, Spring time maybe.

Shawna: Or at least a single. We just started recording.

KR: If you could perform with anyone on stage, dead or alive, who would it be?

Keifer: Bruce Springsteen for sure.

Shawna: Etta James or Elvis would be awesome too.

KR: If you could give someone wanting to follow in your footsteps to become a star what advice would you tell them?

Keifer: I would say make damn sure you want to do this because you have to give everything but your soul to get there. You literally choose to be poor, choose to be frustrated, choose to be heartbroken. The payoff from a satisfaction standpoint is so worth it.

Shawna: All the heartbreak and hard times we have had to endure is worth it. But it’s true, it is very hard work.

Keifer: I don’t feel like we’ve made it yet. I feel like we are still paying our dues and I’m fine with that. We have a long way to go, I hope.

Shawna: What’s really weird too is you speak to some of these huge artists like Jason Aldean and he’ll still say to this day, it can all be gone like that and go away tomorrow, so everyday is a battle to stay on top.

KR: Well you guys are doing a kick ass job so keep it up!

Shawna and Keifer: Thank you so much.

While watching Shawna and Keifer perform it resonated with me that they are just as raw and honest on stage as they are sitting across from you at a table.

October 31, 2014
Film Review: Ouija

Ouija was released on October 24, 2014 and I was one of the millions of people who was looking forward to this movie. Ouija is directed by Stiles White, known for his work on The Sixth Sense (1999), Knowing (2009) and Interview with the Vampire: The Vampire Chronicles (1994).

I now regret spending money on this film. The film was done rather professionally and the effects were great. But the plot and cast were terrible. The only good thing was Ouija had a few good scenes where the audience jumped. I closed my eyes a few times because I was predicting when to be scared and when I thought I was about to be scared something would jump out on the screen. But that was one of the many cons of the movie: it was rather predictable.

The movie starred actors and actresses that no one knows about, a rather young cast trying to make an impact on the Young Hollywood scene. These stars included Olivia Cooke, Ana Coto, Daren Kagasoff, Bianca A. Santos, Douglas Smith and Shelley Hennig.

Ouija began with younger versions of Cooke (Laine) and Hennig (Debbie) playing with a Ouija board. It flashes to the present of them as teenagers and Debbie is seen burning a Ouija board and Laine calls her and says that she has not seen her in a few days. Debbie denies wanting to hang out with Laine and that she is fine and that she was using a Ouija board and it freaked her out. Laine let her be and the next thing we know, Debbie becomes possessed and hangs herself by a string of lights.

For the rest of the movie, Laine and her friends are using the Ouija board to get into contact with Debbie to see why she killed herself. The group of friends figure out that while they are using the Ouija board they are not talking with Debbie, they are talking to an evil spirit(s) and a scary ghost child with her mouth sewn shut. As you can guess, people become haunted and are killed off one by one by this haunted Ouija board.

The plot was just overall terrible. The movie could have ended multiple times but it kept going on and on. The one thing that I could not stand was that the casting director decided to make Laine’s sister, Sarah (Ana Coto) a rebel child with the skulls and leather. Sarah is seen leaving a mysterious car and the audience is told by Laine that it is some older guy that Sarah has been seeing. That was it. The story did not go into any further detail when the car shows up multiple times. Sarah brings this up to Laine when she is caught sneaking out, saying, “You’re not mom.” The sisters are brought up by their dad but nowhere in the movie do they bring up what happened to the mom. What was the point of having these scenes if they were no way relevant to the plot?

Ouija was not worth the hype that it caused. It is literally a movie that middle school kids would brag about seeing because they saw a horror movie. It reminded me of the Scary Movie series. Most of the movie was laughable. But if you’re looking for horror, you will not find it in this movie.

October 31, 2014
Consider the Source Drops EP Stream Before Stops in Albany and Buffalo

This past Wednesday, the instrumental wizards in Consider the Source dropped a bomb as they released a stream of the first installation off their new EP World War Trio, titled “Put Another Rock in That Bag”. The release is a six-part, 25-minute impeccable composition that showcases that band’s talent in new and interesting ways. The overall vision and thought-out structure shines in the smooth transitions and its careful ebb and flow of energy. At the risk of sounding cliché, this is a prog-opera with hints of jam, metal, Middle Eastern, and a fusion of other genres into an emotional and dramatic epic. If this band wasn’t unique enough, this album puts them in a category all their own and pushes some serious musical boundaries.

These three gentlemen have stepped outside of the songwriting box and are delving into composer-level status with their vision. The juxtaposition of beauty and fierce aggression propels at the same time it slows down for the view. This tease, and I use that loosely as it is still 25 minutes in length, will lead to a huge anticipation for parts two and three of this album series.

The ONLY way to listen to this album is from start to finish as it tells a tonal story through vivid language, rife with patient punctuation. If you liked this band before, you’re going to love this direction as they’ve found their calling and have created something truly beautiful. If you’re going to cheat your ears out of this masterpiece though, at least take the time to listen to “Put Another Rock in That Bag IV,” which is simply powerful and moving. No band in the jam scene has ever had the balls to step outside the circle like this album does and this song is the climax.

As the album comes to a close, the band circles back to the opening theme. How else would you close something of this magnitude? By tying it all back to the origin and closing the circle, the band leaves you wanting to start the journey again. Absolutely beautiful.

The album can be streamed in its entirety right here and I would strongly recommend taking a listen. Additionally, I got the chance to sit down with the group at Night Lights Music Festival back in September and we talked about the upcoming release, their influences, and a few other things. Check out the video below from our friends at Buffalo.fm.

The band is set to play the new album in its entirety tonight in Albany at their album release party. Tomorrow night they’ll be making their way across the state to play a show in Buffalo at Waiting Room. If you still need tickets, you can grab some for Albany here and Buffalo here.

October 31, 2014
The Architecture of Sound, Part 1

The venues we see music are more than just a place to congregate to experience concerts and performances. The work that goes into architecture – the designing, creating and building these venues is a lengthy process that spans years, well before patrons take their seats or find dance space to enjoy the sound. Architects, engineers and consultants contribute to the development of the overall sound, acoustics and open space that factor into the finished product – a music venue with, in more and more instances, incredible acoustics and sound.

To shed some light on the architecture side of designing music venues, spoke with Matthew Geiss, AIA, NCARB, Principal and an Adjunct Professor at The Catholic University of America’s School of Architecture and Planning. A graduate of the School of Architecture at Syracuse University, Geiss spoke with Pete Mason to discuss the ‘how’ of music venues and acoustics as the latter grows in importance throughout the design and construction process.

Pete Mason: When the design process for a music venue begins, what factors are brought into play initially for the rest of the design to build around?

Matthew Geiss: It depends on the type of venue and primarily whether or not it will be new construction or a renovation of an existing space. Many large music venues need to be multifaceted (can be used for multiple types of events). Typically, the larger the number of functions a building is designed to accommodate, the less it can actually perform for each individual function. In other words, if a building is designed to accommodate live bands, theatre, orchestral performances, etc…- due to the different requirements for each function – choices need to be made to maximize the benefit of each without creating a negative impact to any of the other functions.

If it is new construction, the primary factors are the site – how large will the building be, how will people enter and exit, what other buildings surround the building site, etc… – and the function – how will the building be used, how often will it be used, how many people are to be accommodated, etc…

Kennedy Center, Washington D.C.

PM: How are acoustics and the flow of music built into the design in a way that does not affect the overall structure of the building? How can acoustics be worked into a building without making the overall structure unappealing, or worse, unsafe?

MG: With most performance spaces, acoustical design is something which is inserted into the building to capitalize on the performance. In most cases (such as the Alice Tully Hall renovation at Lincoln Center by Diller Scofidio and Renfro) the acoustical elements of the interior are slid into the shell or structure of the space like a sleeve. Structural requirements will generally interfere with acoustical requirements of the space so the two are generally separated. Typically the building will have a structure, with a skin on the outside (enclosure) and a skin on the inside (the acoustical, aesthetic or finished space). Of course, these are generalizations. Many Gothic and Romanesque churches, domed spaces (such as the baptistery in Pisa) have incredible acoustical properties where the structure, enclosure and finished space are one and the same.

The Baptistry at Pisa, Italy

PM: How long does the process for designing, drafting and building a music venue take, in years?

MG: This is a difficult one to generalize as it will have a huge range depending on the building type, finishes, site conditions, etc… A small interior retrofit or renovation may happen within the span of a year or two (from initial design to completion of construction), where a large performance space will likely take in excess of 5 years from initial design to the completion of the structure.

Alice Tully Hall by FXFOWLE Architects United States

PM: When it comes to the process of designing a music venue, what would surprise music fans the most?

MG: I would say that the most surprising element might be the large number of people involved in the design and the collaborative process which is required. When I was working at STUDIOS Architecture here in Washington, DC, we designed the performance studio at XM Radio Headquarters here in town. We had a team of over 20 people (acoustical consultants, electrical engineers, mechanical engineers, structural engineers, and architects) working on the design of only two rooms.

Alice Tully at Lincoln Center. Photo by Iwan Baan

PM: Considering the great many music venues in America – what are some of the best venues for sound and acoustics, that you have come across in your experience?

MG: The Kennedy Center in Washington, DC; Alice Tully Hall in Lincoln Center, NY; 9:30 Club, Washington, DC.

October 30, 2014
Hearing Aide: SOLARiS ‘This is What You Get’

What do you get when you cross an improvisational instrumental trio and a good amount of studio time? This Is What You Get. That’s the name of the newest album of Ithaca-bred band SOLARiS, who have taken the Upstate music scene by storm with their minimal use of instrumentation and maximum use of funkadelic improvisation.

Released on September 9, this LP has 13 tracks that often contrast in style. With the mutual understanding of the improv art, however, these three amigos certainly create a sound that blends each song together with the next.

Back in 2010, bandmates Jared Raphel, Vince Naro, and Daniel Scott Lyons met in Binghamton and had a vision: to create a jam band that sounds completely rehearsed, but thrives in creating music on the spot. With their earlier releases, such as Beyond 3-D, BLACK, and NeoN, they have kept this vision alive, combining their raw improv with production effects. Even skimming through their discography, you can see this vision within their song titles, like “First Jam”, “Unfrozen (A Live Jam),” and let’s not forget one of my favorites from This Is What You Get (or TIWYG), entitled “Billy’s Jam.”

While albums like Beyond 3-D clearly blend studio production into their mix, TIWYG brings listeners back to basics using only three instruments: keys, bass, and drums. The most basic instrumental combinations take place at the beginning of the album, especially in songs like “Doomsday” as well as “Drum and Bass” (no kidding).

As the album continues, the trio introduce electronic components, such as a drum pad versus a kit, as well as added synthesizer effects on what was a keyboard. By the time we are brought “In The Jungle,” we are greeted by a progressing bass line and simultaneous synth melodies, embodying a walk through an African safari. Following right after is the title track of the album, “This Is What You Get” where we switch gears to include more of a hip hop drum influence, with swirling echoes throughout the keyboard section. In case that wasn’t enough contrast for you, be sure to listen to “Iron Dome,” which I can only describe as electronic drum pad meets the Indian santoor.

To experience this improvisational magic, you can always find This Is What You Get on their Bandcamp. Luckily for us, the band tours primarily in the New England area, making stops throughout Upstate quite often. They’re playing a show this Halloween at the Lot 10 in Ithaca, so don’t just take my word for it; experience their live improvisation for yourself! Make sure you follow their website and Facebook page, and go catch them at one of their shows and see what YOU get from SOLARiS.

Key Tracks: Billy’s Jam, Doomsday, This is What you Get

October 30, 2014
BSP Enjoys a Night of Folk, Psychedelia and Rock From Across the Globe

A fall night at Kingston’s BSP saw three great bands take the stage for a small but enthusiastic crowd. Juan Wauters started the evening off with a wonderful set of acoustic tunes. The singer-songwriter’s tunes were short and fun, but allowed enough time for the duo’s great harmonies to shine through. The set at BSP was upbeat as the duo danced around the small stage, engaging the crowd. Juan had a child-like quality to him: he was so excited to perform on stage that it seemed he could play all night. The band was bathed in the best light show of the night, one which truly complemented their set. Juan sang the last song by himself, in both Spanish and English, which was a great way to end their evening.

Up next was Australia’s King Gizzard & The Lizard Wizard and their brand of psychedelic folk-infused rock. The seven piece band furiously went to work during their short time on stage. The first few songs were segued amazingly– strung together for a non-stop 20 minute journey. “Sleepwalker” and “Hot Wax” off the band’s album Oddments were two highlights of the evening. During the set, front-man and guitarist Stu Mackenzie mentioned that the band was tired and they would be taking it easy tonight, but no one showed any signs of wear and tear from the road. The band has been playing many shows surrounding the CMJ Music Festival taking place in New York City, and they played yet another wonderful set for the lone show in Upstate New York during their time here. Talking with drummer Eric Moore after the set, he stated how much the band loved Upstate New York. Their newest album I’m In Your Mind Buzz, coming out November 11, was recorded in Hunter, NY this past year during which time, the band fell in love with the area. Hopefully the band will keep the area on their tour docket for everyone to enjoy in the future.

White Fence ended the night of music with a punk rock attitude that the crowd loved. Their sound was reminiscent of early tracks by both The Who and The Kinks. Tim Presley played a fantastic lead guitar and his vocals perfectly suited the songs. A heavy dose of garage rock filled the small club to which people danced and bopped along during the hour long set. When the band wasn’t employing their fuzz pedals on their guitars, some of the music sounded as though it could have been mid 70’s Bob Dylan on stage. BSP put on a great showcase of three bands that are up and coming in the music scene throughout the country. The club has a knack for getting talented acts before they hit it big. If you want to see bands before they gain a buzz, head down as often as you can to the great shows put on by the small Kingston club!

October 30, 2014
EDX to Provide Soundtrack for the Nightmare on Franklin Street at LiFT in Buffalo

Halloween falls on a Friday this year, and while there’s always a lot to do in and around Buffalo for the holiday, if you’re looking for great music and someplace to dance, LiFT Nightclub has you covered. The club is throwing a party late Friday night called Nightmare on Franklin Street and will feature Switzerland-based DJ/Producer EDX.

Since August, the DJ has been everywhere from Ibiza, Spain to Mumbai, India, both coasts of the US, and everything in between. The world traveler has been making a name for himself to say the least. If you need proof, look no further than who he’s worked with, including names like Deadmas5, Armin Van Buuren, Axwell and Benny Benassi among many others. If you haven’t caught him on tour or at one of the many festivals he’s played, this is your chance. The Swiss DJ doesn’t come around often and his shows are only getting better.

LiFT’s first show last week was a great kick off and the club is definitely something to check out if you still haven’t been there. Opening the night will be local acts Jesse Aaron and Swagglerock. With things kicking off around 10pm and going through the night, I recommend you get there early and take part in what’s sure to be a solid Halloween in Buffalo. As always, the club recommends to “Dress to impress. Dress to dance,” so don’t worry about a costume if you don’t have one, but certainly wear one if you’d like.

Grab your tickets ahead of time here or at the door.

October 30, 2014
Hearing Aide: Hard Working Americans ‘The First Waltz’

Hard Working Americans have released The First Waltz, a live recording of powerful rock numbers with songwriting that any blue collar working, freedom-loving Americans can easily rock out to, start to finish. Only a year old, Hard Working Americans includes Dave Schools on bass, (Widespread Panic) guitarist Neal Casal (Chris Robinson Brotherhood), Chad Staehly on keys (Great American Taxi), Duane Trucks on drums and guitarist Jesse Aycock. The album will have a visual component when a film of the same name, directed by Justin Kreutzmann, is released later this year, offering insight and a snapshot of the start of this supergroup. The album debuted October 28 and can be picked up on iTunes or in the band’s store.

Opening up The First Waltz with “Blackland Farmer”, the vibe of Tom Waits “Goin Out West” is present as slow grooving blues, intertwined with “New Speedway Boogie” lyrics. Pedal steel guitar from Aycock enters into Michael Houser territory. A dual song, “Another Train/Working Man Blues” included a mild and driving “Train” that picks up with “Working Man Blues”. Snider remarks on “Mission Accomplished”, “It was the great Billy Joe Shaver who once said that ‘God loves ya the most when you dance’”, and with that Duane Trucks sets a beat in the vein of “Not Fade Away” while Casal plays a catchy Mexicali riff. A Jekyll and Hyde song, “Run a Mile”, begins with patient blues and halfway in takes this speed of ‘4’ and doubles it to an ‘8’, albeit briefly, building back up to a ‘6’ as the band rocks out.

Todd Snider’s vocals are gritty, powerful and thought-provoking, particularly in “I Don’t Have a Gun”, where his songwriting skills add an emotional weight, referencing a drunk night and confrontation of which Snider opines in a grateful escape, “I’m so glad that I don’t have a gun.” A great deal of instrumental prowess from the full band is to be found on “The Mountain Song”, but it is on “Straight to Hell”, a marquee song for Hard Working Americans, that the band and Snider’s songwriting shine. An established sing-along for the nascent group, Snider sings the words “I’m goin’ straight to hell, just like my momma said, I’m goin’ straight to hell”, with such conviction, you feel empathy for such a determined view of the afterlife. The flipside to “Straight to Hell” is “Stomp and Holler”, a footstomper aided by Trucks’ kick drum, inspiring and motivating any audience to play along from start to finish.

“Guaranteed” has the potential to drift into uncharted territory in a live setting, venturing into the somewhat uplifting blues-tempo and forgoing any noodling when rocking through it suffices, while “Wrecking Ball” stands alone as the most emotionally charged song of the album. The final track, “Come From the Heart”, featuring Roseanne Cash is a soulful and inspiring love song. All throughout, Snider, Schools, Casal, Staehly, Trucks and Aycock give a powerhouse clinic of collaboration, sounding as though the band has been together for a decade when they are just about to turn 1 with The First Waltz.

Hard Working Americans Facebook | Twitter | Soundcloud

Key Tracks: Blackland Farmer, Straight to Hell, Stomp and Holler

October 29, 2014