Category: Reviews

Hearing Aide: Eminem returns with ‘Shady XV’

Before listening to this newest installment of what Eminem has to say, I was excited. I’ve been a fan of Eminem since I first heard of him in sixth grade: an era when Carson Daly hosted TRL and MTV actually played music videos. My friends and I ignored the parental advisory warning, sneaking down to the basement to listen to this risqué new music we downloaded from Napster. We were suburban white kids. We were angry. And we loved him. Shady XV marks the 15th anniversary of his record label Shady Records, as well as the 15th project his label has produced.

Shady XV is comprised of two CDs, the first features all of Eminem’s new music, including tracks from collaborating artists including Yelawolf, Slaughterhouse, and Royce da 5’9. The second disc is a re-release of old favorites from Eminem and other artists on the Shady Record label like 50’ cent, Obie Trice, and D-12. The songs complied include hits like “Lose Yourself”, “PIMP”, and “Purple Pills.”

Upon first listen I was disappointed. As for content, Shady XV touches on a lot of the same themes as his previous albums like dysfunctional relationships, his childhood, and ultra-violent revenge fantasies that are dripping with misogynistic lyrics. At certain points it came across as stale, tired, and slightly disturbing. His shock value has depreciated like a new car driving off the lot.

I took a moment to reflect and listened to it again, keeping in mind that Slim Shady is a persona purposefully used to espouse a violent dark side. I came to view it from a different perspective. I saw Slim Shady as performance art, like a musical version of a horror film. Looking at it from an artistic and technical perspective, this album is ingenious.

The first song “Shady XV”-the album’s title track-comes across as more of a freestyle over what sounds like an off beat classic rock sample. Instead of relaying a narrative like a lot of Eminem songs, (like the song “Stan” for example) these lyrics are more stream of consciousness in nature. Eminem’s word play is still on point and clever with lyrics like,

“I’ll snort a key and pick a fight with a locksmith” and “You’ll feel like Master card when I’m charging.”

The humorous lyrics help balance out the aggressiveness, and make it a little more playful. At the end of the song, he cuts the track and raps without a beat, continuing to bounce from one idea to the next.

“Psychopath Killer” is next which is by Slaughterhouse and Yelawolf but features Eminem. The beat is reminiscent of trip hop and samples a woman singing in a hauntingly beautiful voice. The song kind of gives the impression that they’re rapping from some sort of dark alley in the rain. The song focuses on being a “lyrical murderer”, and rapping as art. Several of the songs on this album are by or feature artists who belong to Shady Records. These songs including “Detroit vs. Everybody”, “Y’all Ready Know”, “Bane”, and “Till It’s Gone”, show that Eminem has a knack for finding talent.

“Die Alone”, “Vegas”, and “Twisted” are among the most violent songs on the record and harbor the same old angry sentiments that Eminem has built his empire upon. “Die Alone” addresses unrequited love and reflects yet another dysfunctional love affair. “Vegas” finds Eminem kicking a pregnant woman and alludes to raping Iggy Azalea. The chorus of “Twisted” definitely lives up to its name with Eminem and Skylar Grey crooning to each other about how much they want to kill one another.

“you’re a pain in my neck/thorn in my side/stain on my blade/blood on my knife”

These lyrics are definitely not for the faint of heart and the beats aren’t exactly catchy, but the technical style keeps these songs interesting. Eminem utilizes syncopation and different rhythms in delivering his verses that sounds like a change up from previous albums. Yelawolf’s verse on “Twisted” is the highlight.

“Guts Over Fear”, and “Fine Line” are the songs that retain the most substance on this album. “Guts Over Fear” is a reflection on the tipping point where Eminem has seemingly found himself. With lyrics like,

“What am I gonna do/when the rage is gone and the lights go off in the trailer park?”

It touches upon the fact that the persona that has built Eminem into one of the most acclaimed rappers of our time also boxes him in. Is raises the question who is he as an artist without this incredibly violent shtick? How long before this gets played out? “Fine Line” portrays Eminem struggling with his fame, asking

“Is it really my soul to keep/or have I sold it cheap?”

He goes on to relate how sometimes he longs for normalcy, and the ability to go out in the world unnoticed. The song is laid over a piano driven beat with a lackluster chorus. He somehow manages to sound angry even while saying “I love you.”

If you’re looking for some new personal revelations from Slim Shady, you’re not going to get them in this album. The topics that are addressed are devoid of any character development, and still reflect the same sentiments that I first heard in my parent’s basement in 1999. However, what Eminem has developed over these years are his style and his ear for talent. Eminem’s manipulation of words to connect abstract concepts together, as well as his innate understanding of diction is what continues to make Eminem a master of his craft.

Key Tracks: Guts Over Fear, Bane, Psychopath Killer

December 17, 2014
Sully Erna at Riviera Theatre

On December 4, 2014, Riveria Theatre was treated to a spectacular and moving performance by vocalist/songwriter, Sully Erna, best known for his role as Godsmack’s frontman. Sully played to a nearly sold out crowd and was accompanied by lead guitarist Tim Therault, bassist Chris Lester and drummer David Stefanelli.

Erna delivered a powerful performance with tracks such as, “Departed” and a rendition of “No Excuses” by Alice In Chains. And later in the set, Sully discussed his personal views on music. He talked about how the best music comes from the worst pain and dedicated his song, “Hollow” an original Godsmack song, to all the great musicians who had died at a young age or were considered legends. His memorial included homages to John Lennon, Dimebag Darrell, Jim Morrison, Sid Vicious, Randy Rhodes, Johnny Cash, Kurt Cobain, and of course, Layne Staley.

Afterwards, Sully played his song, “My Light” which was a tribute to his daughter. A large backdrop screen streamed images of her growing up. Then, after that riveting and emotional display of love and affection, he dedicated a song called “Until Then” to the soldiers who have fought and are still fighting for our country. By this time, the Riveria was giving off a somber vibe, and a man several seats down from me took off his hat and put it over his heart. You could see the tears in his eyes as he sang along with Sully.

Later on, Sully discussed his views on music again for about ten minutes. He commented that music is nothing but sound waves played in different orders and how the simple plucks of a chord can trigger the deepest of emotions within the listener.

The show ended with Sully singing “Dream On” and getting the audience involved. Most of the crowd rushed to the stage to help him close out the night. All in all, he put on an amazing performance and will always be welcome back to Buffalo with open arms.

December 15, 2014
Finally Sold on the Northern Rock of Eastbound Jesus

I can’t say that in the last two years of knowing and seeing Eastbound Jesus that I had been sold on them, let alone found in them what many others have. The ‘Northern Rock’ descriptor is unique but never defined them well enough for me. They have a couple catchy songs, but I couldn’t get into them despite being a huge bluegrass and jamgrass fan. While they without a doubt have a unique sound, I just didn’t fall into it in a way that would make me want to throwdown like their fans do on the dance floor.

That changed when I got a listen of Ruff Stuff Nuff Said, a wonderful live album recorded earlier this year at the same venue they released the album at, Parish Public House (formerly Red Square). I had every intention of going to this show before I heard the live album and couldn’t wait after a single spin of the disk. It has a great flow and choice tracks throughout, as well as a few covers and surprises mixed in. I had found my motivation in this live album to finally get to an Eastbound Jesus show.

Throughout the night the room had an electric vibe that stood out from other local shows – the fans bring this feeling with them and it permeates the audience, welcoming newcomers into an active atmosphere. You could have gone to the show looking forward to your favorite band or checking out something new and your night would be flipped on its axis, casting you out into the night amid a flurry of confusion as to what you just experienced. Eastbound Jesus has that wonderful effect on its audiences and gained at least one fan this past Saturday night.

Highlights from the show included Lucid’s North Country brand of rock which opened the show, a new song unnamed song from EBJ that opened the night and felt inspired by The Band; a great start to the live album from “I Wouldn’t Know” which came out early in the set, “Whisky on Dirt”, “Beat the Baker” featuring Lowell from Lucid on mouthharp and an encore of “Don’t Use it Much” which had a solid “Turn on Your Lovelight” jam and of course, “Holy Smokes”. The group is taking some time off to record in the studio, but when they come back in the springtime, you’ll be sure to find me at their shows from now on fully supporting Northern Rock.

Set 1: New song, Talking to John, Ghost Town, I Wouldn’t Know, Easy Now, Sittin by the River, Where the Winter Goes, KT Belle, Whisky on Dirt, Doors Open, Corn Whiskey, Tennessee, 54 Miler
Set 2: Better Things, Pipe Dreams, Times Wasting, The Storm, Here’s to You, Eastbound and Down, Hawk, Hold on me now, Take a Ride, Wastin on the Sun, Beat the Bakes
Encore: Don’t Use it Much, Ballad of Eastbound Jesus, Holy Smokes

December 10, 2014
The Green Book of Steely Dan References: Tales from the Girl in Girlie Trouble

Note: the events in this article represent certain activities that might have been entertained by a young girl in New York, i.e. of the author’s general height, weight and build. She is aware that her Steely Dan obsession isn’t punk rock at all.

It’s almost seven in the evening when I leave work, and realize that the temperature has dropped about twenty degrees since I stepped out for lunch in the afternoon. The sheer polka-dotted black shirt that I wear in lieu of a blazer is only just keeping me from shivering. Pushed, I shove through the multitudes of crowds on Madison Ave, scraping through the suited M&A types that storm out of the Black Rock buildings on both sides of the road. After having been paid—for the first time in the past couple of months—I plug in my headphones and hit ‘play’ on my ‘Reigning Gauraa’ playlist that I save for my few and far between empowered, optimistic moments. I mouth the lyrics to one of my favorite Steely Dan songs, “Glamor Profession” as I reach the 51st St station and somehow manage to board the 6; my shoulders droop, my eyes begin to close, and the track’s smug idiom-y delivery takes on a narrative arc of its own. I begin to think about my own glamor profession in the music industry—not the glorified, romanticized version involving creative freedom and backstage passes that I save for my relatives and ex-boyfriends—but the actual dreary, underpaid selection of gigs that I tie together and loosely categorize as a ‘job.’ At the Union Station stop, the crowd spits me out of the train. I decide to take a few minutes to myself before I transfer to the L, where I routinely endure the hand-quilting, alt-lit-reading crowds on my way home. I flee onto 14th street with what feels like a self-aware, if slightly jaded, grin. I’m nineteen-going on-Donald-Fagen-level-cynicism, thinking about how the music industry is a concession, but this time from the perspective of a fictional albeit big time coke dealer.

I was dragged into the world of Steely Dan as a reluctant seventeen year old, when a boy I was seeing professed his love for the band over dinner. Unlike the rest of my friends, who had previously shared with me scarring accounts of their mothers dancing in the kitchen to “Peg,” my parents didn’t introduce me to the jazz fusion duo. (In fact, they were under the impression that Steely Dan was the name of Broadway production, until I clarified later in 2013.) Knowing little about them at the time, I met his confession with scornful second-hand opinions that expressed disdain for the band’s self righteous studio attitude. Though I had my doubts about a band named after a dildo in a William S. Burroughs novel, I was taken in by how every conversation with him was riddled with footnotes that cited a Steely Dan song. When he moved to another city, I sought solace in the Dan discography, attempting to match their apathy for sport. The more I listened to them, the more I realized that they weren’t writing “cocktail jazz” as much as they were playing the armchair detective. Under the silk harmonies and solo horn sections, lay snarky lyrics and double entendres, that you had to be clever enough to unveil. Walter Becker and Donald Fagen were the two people you befriend at a show over cigarettes and a mutual dislike for The Hold Steady.

When I walk around Lower Manhattan, Two Against Nature guides me like color-changing lyrics on a karaoke video screen. I hear “What A Shame About Me” when I walk down Broadway and see Donald Fagen stacking cutouts at the Strand with rigid self-pity. A few blocks later, when I pass by a Dean and DeLuca, Becker’s bubbling bass on “Janie Runaway” comes to mind. I ricochet into the fall of my sophomore year in college when the boy I was seeing would visit. On Thursdays, he would fly out to New York and I’d get takeout from Dean and DeLuca’s, and we’d reenact the song. It was a theme park equivalent of a relationship. Most of our texts were laden with Steely Dan references—when I’d get mad I’d refer to him as Randall, Pixeleen’s “as-if boyfriend” from Everything Must Go, and he’d tell me how “the connection seemed to go dead” whenever I had droned on for too long about a new band I interviewed. We’d argue a lot about “Green Book,” a song that I was positive was drawn from J.D. Salinger’s eponymous character in the short story “Franny,” who also carried around a green book. One October night when he was visiting, he insisted on taking me to Rudy’s in Hell’s Kitchen to pacify me after we had gotten in a fight. Rudy’s was the bar in which the protagonist of “Black Cow” worked and advised an outrageous, high, mess of a woman in Aja. (We had gotten into an even bigger fight when we found out that the place wasn’t nearly as seedy as described in the 1977 song, and my fake ID landed a spot on their ‘Wall of Shame’.)

My train of thought is rudely interrupted when a breeze wafts through my hair. Shivering, I decide to stop by my favorite ale house on Bleecker street to warm up with a quick drink. As I place my order, I catch a glimpse of Bleecker Street Records. There, I had picked up a copy of The Nightfly a summer ago. I think about the album cover and wonder what Donald Fagen was trying to imply by sitting in front of a record player, with an ashtray and a pack of Chesterfield King cigarettes. I can’t quite place my finger on what it is, but I know that it makes me want to drink in inspiration. I take a swig from my mug and dial my friend. ‘Meet me at midnight’ I say in a rather coy manner, ‘at Mr. Chow’s,’ which more likely than not, gives away that I have been drinking. Meet me at midnight at Mr. Chow’s? I’m not a character from a ’74 neo-noir mystery film. I send her a text with a link to the lyrics of “Glamor Profession” in order to clarify. Knowing that going on impromptu Steely Dan inspired field trips is my version of getting a radical, post-breakup haircut, she agrees.

I had looked up Mr. Chow’s before, and was well aware that it was a high-end Chinese restaurant. To someone who survives almost exclusively on takeout, upscale Chinese sounds like a fifteen percent increase on the prices of the Szechuan Dragon noodle house. When we get there, both dressed in some kind of casual denim variation, we are reminded to never buy anything from a retail company that identifies itself as “the fast option for fashion” again. As we wait to be seated, I see a woman in a silk gown swirling vintage port wine at her table. She looks like a wizened vestige of the woman on this month’s Vogue cover. The host walks up to us to inform that the kitchen is about to close in five minutes. ‘You can stay if you place your order right away’. I make a mental note to check details in the future, just in case timings from a thirty-three year old song change. ‘Sure, that won’t be a problem’, I assure him. I already know we’re going to order Szechuan dumplings, like in “Glamor Profession.”

The waiter comes to take our order, glancing at our denim apparel in the condescending manner high-end boutique sales assistants look at you when you try on something they know you can’t afford. ‘We’ll have the Szechuan dumplings, please.’ ‘And for your entrees?’ I glance down at the menu, trying hard to keep my jaw from falling down. There are few selections priced in double-digit numbers. “That will be all, thank you!,” I say, hoping he will disappear into the kitchen with our order. With a sharp grin, he tells us there is a strict $40 per person minimum charge. I entertain the thought of dining and dashing for a brief second, but then decide the odds of outrunning the security are probably slim. We order just enough appetizers to reach the minimum. ‘Do you think they have a pool going on to see how long it takes for us to give up and leave?,’ I ask, trying to make light of the situation. We eat, what could easily be most mediocre set of dumplings ever, in silence. How the mighty have fallen.

The evening suddenly becomes more embarrassing than the culmination of the wall of shame incident at Rudy’s, and the time my mother commented on my “Any Major Dude”- inspired squonk cover photo on Facebook, asking me to take down the “ugly, crying mythical creature” from my profile. This is not as bad as the time I danced a little too long with Cuervo, the fine Colombian, and sang “Hey Nineteen” to an empty karaoke room on my own nineteenth birthday, I remind myself in consolation.

Maybe next time I’ll try reenacting an easier reference. Like, I don’t know, taking “off to Barbados, just for the ride?”

December 10, 2014
Hearing Aide: Wu-Tang Clan ‘A Better Tomorrow’

Undoubtedly one of hip hop’s most influential groups, The Wu-Tang Clan have unleashed their first album in over seven years A Better Tomorrow on December 2 via Warner Brothers Records. It was only a couple months ago, that Warner Brothers Records signed the Wu. With years in the making, A Better Tomorrow almost didn’t happen due to internal beefs within the group. However, they overcame all the problems and dished the record out. So after all these years, does RZA (who produced most of the album) and The Wu-Tang Clan still have it?

The album starts off really strong with “Ruckus In B Minor.” Every member of the Wu has their moment in this song. (which is totally refreshing especially earlier in the year when Raekwon at one point didn’t want to record on this album or appear in any videos due to a clash with RZA) We are even graced by the late Ol’ Dirty Bastard with some of his recordings infused into the track. Very great production on this track from RZA and Rick Rubin. (only track he produces on) Overall lyrics are catchy, awesome hook from Method Man, and a killer retro sounding beat. Wu-Tang was clicking on all cylinders with this track.

Next, the emotional song “Felt” has verses from Masta Killa, Cappadonna, Ghostface Killah, Method Man and an into from RZA. This track would have been better but the beat and production was a little too strong, kind of overbearing all the rapping.

The next track “40^th Street Black/We Will Fight” is a FANTASTIC track. Great lyrics, such a feel good song that makes you get pumped. To top it off, The Rutgers University’s Scarlet Knights Drumline appears on this track, really giving this song a sports anthem feel to this. I would not be surprised if we start hearing this song at sporting events or on ESPN. Excellent production from Allah Mathematics. (who produced two tracks on this album.)

At four tracks into the album, “Mistaken Identity” feels like a missed opportunity because we get powerful lyrics from Inspectah Deck, Method Man, U-God, Cappadonna, and Masta Killa. But again the production and instrumentals overpower all the rapping. Lyrically, arguably one of the best on this album.

“Hold The Heater” is a heavy, hardcore hip hop track. It contains a very powerful hook with very good production. We hear about life on the streets as told by RZA, Cappadonna, U-God, (who really shines on this track) GZA, and some good closure from Method Man.

On the sixth track we get a brief, yet powerful track entitled “Crushed Egos” with rapping from Raekwon and RZA. I would speculate the two of them got together and wrote this track after the patched things up earlier this year. Again, we are graced with a powerful hook on this song. Raekwon, who doesn’t really appear much on the album at this point, really shines here.

Then we get another powerful track with “Keep Watch.” This is the other track produced by Allah Mathematics. The track samples The Sweet Inspirations “You Roam When You Don’t Get It Home” which musically adds a nice element to this track. Method Man and Inspectah Deck really shine here. Also they make reference to former New York Giant Justin Tuck. Nice sports reference there.

Halfway through the album we get to the track “Miracle.” This track I’m not a fan of. The hook is soft, and I really don’t think it fits appropriately with Wu-Tang Clan. I can do without this track. But the next track “Preacher’s Daughter” makes up for it. Again, Wu-Tang, who are masters of sampling, sample Dusty Springfield’s “Son Of A Preacher Man.” This track is amazing. Great hook, great lyrics, and excellent production from RZA. I think a lot of people will be talking about this track.

The album goes back to the classic “Kung Fu” sounds that we are accustomed to from Wu-Tang with “Pioneer The Frontier” with some Ol’ Dirty Bastard lyrics mixed in the refrain. It’s a cool little track before we go into “Necklace,” which again goes into the “Kung Fu” mode. This marks the last of two tracks produced by 4^th Disciple.

Getting close to the end of the album, we get “Ron O’Neal” which is catchy track. Not sure why it’s called “Ron O’Neal” minus a brief Super Fly reference, but it’s has a great hook. Then we get the title track “A Better Tomorrow” which again uses excellent sampling, this time “Wake Up Everybody” from Harold Melvin & The Blue Notes. Brilliant lyrics from Method Man, Masta Killa, Cappadonna, and Raekwon.

Then we get educated from Wu-Tang with “Never Let Go.” I say educated because this track is their serious and preaching side. It seems very appropriate at this point in the album. Also it opens and closes with samples of Martin Luther King’s speeches which adds a tasteful flavor to this song.

Finally, the album ends on a clever and high note with “Wu-Tang Reunion” which finds them sampling again, this time, sampling The O’Jay’s “Family Reunion.” This is a brilliant way to end the album because this one is a very positive song. I believe they did this to show that the group is here to stay, and that they are happy to be running together twenty-years plus strong.

To sum it all up, this is an excellent output from Wu-Tang Clan. I believe this is the album that 2007’s “8 Diagrams” wanted to be. If you’re going to compare this to “36 Chambers” you will be disappointed, but if you’re a fan of Wu-Tang Clan, or a fan of true hip hop, then this album is enjoyable. It has a nice variety of serious songs, songs about the streets, positive songs, sports-anthem songs, and more. A Better Tomorrow may be Wu Tang’s deepest album. Obviously it misses the spunk that Ol’ Dirty Bastard would bring to the group, but I think with this album ODB would be proud. It’s worth the investment.

Wu-Tang Clan is forever.

You can purchase A Better Tomorrow here.

Key Tracks: Ruckus In B Minor, 40^th Street Black/We Will Fight, Crushed Egos, Preacher’s Daughter

December 9, 2014
Flogging Molly Rallies The Capitol Theatre For Weeknight Show

Weeknight concerts are sometimes a hit-or-miss affair because of a light crowd (or we should say the tough ones brave enough to call in late to work the next day). That wasn’t the case this past Tuesday as Flogging Molly rallied a flock of dedicated music fans at The Capitol Theatre in Port Chester.

The night had an easy start with some good tunes from The Pasadena Band, named after their hometown in Maryland. Concert early birds were treated to the band’s aggressive singer-songwriter type rock with occasional funky reggae beats and lingering melodies, somewhat akin to what the band 311 has going on. Though, of course, their set was short as an opening act but they’re worthy of checking out for a full set next time they’re around.

Continuing the run of opening acts not-to-miss was The Mighty Stef who, though from Dublin, champion an alternative rock sound without the traditional Irish music elements that Flogging Molly incorporates. Mostly bright and energetic The Mighty Stef had some first-time listeners talking after their set. Two songs that stood out from their set were their new single “The Nightwatchman of the Iveagh Flats” and the slower, darker “Death Threats” off of an EP of the same name.

Flogging Molly met a surge of energy for their set with a small pit forming in the middle of The Cap’s open-floor orchestra level early in the set (despite the signs on The Cap’s doors about not moshing during the show).

The band broke into a brief acoustic set about halfway through their time on stage – “a set to rest our dancers’ feet,” Dave King remarked as he was introducing “The Sun Never Shines (On Closed Doors).” For a set full of driving rock this feature of the show added a swing of dynamic that was done well.

Of course the setlist included “Devil’s Dance Floor,” “Float,” “Drunken Lullabies,” and “Salty Dog,” – songs that Flogging Molly wouldn’t make it out of Port Chester alive for not playing. But, rather than simply getting on stage to play a bushel of songs before moving on to the next gig, they took the time to make a few dedications and tributes throughout the evening. Early on a “Whistles the Wind” was dedicated to Conor McGee, a fan recently passed, introduced by King with a few words about Conor and his family who were in the crowd. “The Likes of You Again” was dedicated to the band’s guitarist and Rochester native Dennis Connor and “The Sun Never Shines (On Closed Doors)” to The Pasadena Band’s Joey Harkum, both of whom had recent losses in their families.

It seems like the fact of a concert falling on a weeknight inevitably looms over it, sometimes dampening the experience. While possibly true for this Flogging Molly show, especially for those dragging their feet to work in the wee hours of the following morning, one takeaway is this: Don’t underestimate a weeknight show.

If you missed your chance at seeing Flogging Molly on their current tour, the band is planning on releasing a new album sometime next year (their first in four years), so we may perhaps see them in New York again soon.

December 9, 2014
OMG, DSO! Dark Star Orchestra at the Westcott Theater

In my entire college career, I can’t say I’ve witnessed the Westcott Theater to its full, maximum capacity. Sure, they bring in big names every week that bring in hundreds of people in to listen, but this DSO concert was my first time experiencing difficulty locating my entourage through crowds of dancing bears…I mean, people.

Dark Star Orchestra has quite the reputation for delivering vast glory through their extensive tour history, with shows ranging from The Palace Theatre to the Best Buy Theater, and the creation of their own music festival, Dark Star Jubilee, in Ohio. Somewhere in between a tribute band and the Grateful Dead themselves, this seven member masterpiece consisting of Rob Barraco on keys and vocals, Rob Eaton on guitar and vocals, Dino English on drums, Lisa Mackey on vocals, Jeff Mattson on lead guitar and vocals, and Skip Vangelas on bass and vocals, have combined forces to create a clean, vibrant, and expressive sound that kept your whole body moving as you jammed to songs of your earlier years.

Based on my little knowledge of past Grateful Dead setlists (sorry guys, I’m a baby), I guessed that either “Casey Jones” or “Alabama Getaway” would kickoff the show. That’s why when “Casey Jones” started things off, I freaked out for a second. In a yelling cheer, the whole audience commenced as a choir to sing along to the Dead’s hit tune, and the energy from the band was ever so present to match. To make me even more excited, DSO played my favorite Dead tune, “Hell In A Bucket” right after, making my jaw drop once again. There’s no doubt that this group has been around for a good long while, with their almost second-nature musical blend, incorporation of solo instruments, and attention to detail. I also kept watching Barraco, wishing that I could master the art of piano rhythmic syncopations between hands that he clearly has mastered.

Finishing up their fall tour, Dark Star Orchestra has interesting tour spots ahead, including Jamaica. Luckily, if you live on the East Coast, you can see them live at the 89 North Music Venue in Patchogue on December 11, Garcia’s at the Capitol Theatre in Portchester on December 17 or at The Paramount in Huntington on December 3o and New Year’s Eve. Be sure to also check out their Facebook Page and follow them on twitter @darkstarorch.

Set 1: Casey Jones, Hell In A Bucket, Jack-A-Roe, El Paso, Loose Lucy, Tom Thumb Blues, When I Paint My Masterpiece, West L.A. Fadeaway, My Brother Esau, Rubin And Cherise

Set 2: Keep On Growing, Victim Or The Crime, Crazy Fingers, Saint Of Circumstance, Terrapin Station, So Many Roads, All Along The Watchtower, Tangled Up In Blue

Encore: Overseas Stomp, New Orleans

photos by Alex Hamer

December 8, 2014
Bob Seger Brings his Old Time Rock and Roll to Albany

That old-time rock ‘n’ roll reigned supreme at the Times Union Center with Bob Seger and the Silver Bullet Band, Dec. 2 in Albany. I know of Seger the way most do – through classic rock radio stations, but I also recall way back in the early ’80s winning a small glass album of Bob Seger and the Silver Bullet Band at the Altamont Fair for hitting 3 balloons with darts. When he announced he was coming to the Times Union Center, nostalgia was triggered for a first time show.

Truth be told, I missed most of J. Geils Band opening the show. “Angel is a Centerfold” was played but beyond that it was a mix of some new songs and older tracks I was unfamiliar with. I am sure they’ll turn up on the State Fair circuit next summer.

Seger and his band took the stage and opened with five songs I was wholly unfamiliar with but each of them had a ’70s rock quality that captivated me. For a band that has a handful of radio hits, I never recognized that there were some quality tracks lying around on those non-greatest hits albums; it was a pleasant surprise. “Old Time Rock & Roll” was played early and not shelved until the end – give the audience the song you are best known for and appease them early. “Like a Rock” inspired the audience to go out and buy a Chevy, while cellphones were used in place of lighters – the times, even for the old timers, have changed. “Travelin’ Man” was a good stand out tune, as well as “California Stars” the most modern song of the night despite being written by Woody Guthrie and Wilco. “Turn the Page” which got a second life when Metallica covered it back in the late ’90s, was the penultimate song of the night, with an inspiring “Detroit Made” closing the show.

The two encores gave us four solid songs – “Against the Wind,” “Hollywood Nights” (Umphrey’s McGee covers this and help to reintroduce Seger to a younger audience), “Night Moves” and “Rock & Roll Never Forgets”. Seger knows how to draw the crowd in, and despite being seated for most of the night, the audience was rapt with attention towards the rock n roll legend.

Setlist: Roll me Away, Trying to Live my Life Without you, The Fire down Below, The Devil’s Right Hand, Mainstreet, Old Time Rock & Roll, The Fireman’s Talkin’, Come to Poppa, Her Strut, Like a Rock, Travelin’ Man, Beautiful Loser, California Stars, Hey Gypsy, We’ve Got Tonight, Turn the Page, Detroit Made

Encore: Against the Wind, Hollywood Nights

Encore 2: Night Moves, Rock & Roll Never Forgets

December 8, 2014
Tropidelic and Funktional Flow with Special Guest Mike Gantzer

The biggest party night of the year turned out to be a special night at Nietzche’s on Wednesday, November 26. Opening the show was Tropidelic from Cleveland, Ohio. The group brought a big sound and packed every inch of the stage with some very solid musicians. The night however, belonged to local Funk Jammers Funktional Flow.

The night was supposed to be a farewell to former guitarist Michael Szczepanik; Unfortunately, Szczepanik failed to show, but you wouldn’t have known it as the group didn’t miss a beat. Matthew Lester joined on stage, playing keyboard and really making up where a void may have been felt. The highlight of the night had to be when Aqueous‘ Mike Gantzer joined the threesome to close out the night. It was one of the finer moments in Flow history and the band looked to have been hitting their stride with great enthusiasm and vigor. It’s Setting up to be one New Year’s Eve that people will be talking about as Funktional Flow and Aqueous will be ringing in the New Year together in their next collaboration at Buffalo Iron Works.

Tropidelic

Funktional Flow w/ Matthew Lester and Mike Gantzer

December 6, 2014
Montbleau Brings Exciting Lineup to Saratoga Springs

If you go to a Ryan Montbleau show and you leave with both your face and feet hurting, you know it was a good one. It’s that type of sound that is upbeat and fun to dance to, but it’s also uplifting, it’s honest, it’s real, it’s those often simple yet insightful lyrics that can connect and bring a smile to your face for the duration of the set. It’s a blend of the most feel good parts of folk, soul, and rock, that has found a nice, cozy, welcoming home in the jam band world.

After the Ryan Montbleau Band split up at the end of 2013, fans were nervous, curious and excited to see what type of project he’d jump into next. For those fearing a complete change, that they would no longer hear old favorites live, it seems there couldn’t have been a better outcome. Over the past year Montbleau has called upon a rotating cast of musicians to accompany him, in some cases for entire tours, at times only for a show or two.

The lineup on hand at the Den was truly a treat: Beau Sasser on keys, John Kimock on drums, Marc Friedman on bass, and Mike Dillon on vibraphone/percussion. If you ever see a lineup that says “featuring Mike Dillon on vibraphone” go, just go. After becoming familiar with his unique style in previous Les Claypool side projects, hearing those sounds over those nice Montbleau melodies put a completely different twist on the sound. Sasser brought some serious funk on the keys, and the Kimock/Friedman rhythm section held down the base of whichever direction the band decided to go, proving to be incredibly solid, yet fluid when needed.

Saturday night at the Putnam Den, Montbleau’s demeanor throughout the set showed that he was reinvigorated, genuinely happy and excited to be pushing his songs, and himself, in new directions. He proved to be on point both being a band leader, and member. Guiding the rest of the band with subtle cues of where he wanted the music go, but being generous with letting everyone else take the spotlight from time to time, showcasing the admirable level of musicianship the group of men brought to the stage. Songs stayed true to structure, while morphing in style just enough to give them new life. Every so often the smile on Montbleau’s face lit up the room as Dillion or Sasser grabbed one of his songs and put a healthy dose of their own signature flavor on it, perhaps taking it to places even he didn’t know it could go.

The set was definitely a crowd-pleaser, the packed dance floor at the Putnam Den barely stopped moving throughout the night as the band played through favorites such as “Dead Set”, “Eggs”, “I Can’t Wait”, and “75 and Sunny”. As the rest of the band took a short set break, Montbleau remained on stage for three solo acoustic songs, playing “Chariot” with many in the crowd singing along before welcoming the band back on stage. Commenting that “it’s nice to come to Saratoga, where the crowd sings all the songs back”, Montbleau let the crowd know he doesn’t forget that a stop in Saratoga always means a full room and a party loving group of music fans. Before closing out the show, the night’s opening act, Jesse Dee, was brought up on stage to join in on a couple of songs. His big, soulful voice helped fill the room with warmth. There was also a surprise visit from moe.’s Vinnie Amico, who lives locally, joining Dillon on percussion. The group performed the Beatles classic “With A Little Help From My Friends”, which in some circumstances could receive an eye roll due to a “this song again!?” reaction from a crowd, but on this night it got a pass. It could sum up the evening’s performance, and perhaps even Montbleau’s current touring band situation, as he picks up friends and musicians as he traverses the country town to town, gaining from them help and inspiration.

With the always changing group of musicians, now there is perhaps more reason than ever to catch a Ryan Montbleau show wherever, and whenever you can. Because while the songs may remain the same, the sound and the energy is in a constant state of growth that seems to be as exciting for the people in front of the stage, as it is for the performers on it.

December 5, 2014