The first thing that drew me to the new album Future 86 by Brooklyn’s Turkuaz is the name. Having grown up a child of the Finger Lakes and Southern Tier regions of NY, I’m very familiar with these signs that have adorned the shoulders of NY route 17 for at least a decade. My mind immediately began to reminisce about a myriad of journeys down this roadway. To see old friends, for music, for business, or just to simply go for a ride. No doubt Turkuaz, who tours relentlessly, has passed the signs thousands of times.
This title, seemingly indicative of the present being past and pursuit of futures anew, is an excellent analogy for the band’s sound. While deeply rooted in old school funk, the band, in parallel, shows no fear in approaching the genre in uncharted ways: To boldly funk where no man (or woman) has funked before.
The album, from the opening notes of first track “Bubba Slide” to the closing single “Pickin’ Up (Where You Left Off)” consumes you like a blissful virus. The contagion first infects lower extremities: toes start to tap, feet quiver; it moves upwards to the hips which are helpless to not shake. It then invades organs: heart starts to pump and feel warm, the brain forgets those daily doldrums and commands arms to fly skyward. The confinements of life are momentarily gone. From beginning to end, this release bleeds happiness and joy. It’s music of the soul, of hope, freedom and redemption. The production and song selection truly capture the ‘kuaz experience and intensity. Bells and whistles are minimal and unnecessary. This band excels live as ever-growing audiences across the North East can attest to and “Future 86” delivers that outstanding experience directly to the comfort of your armchair and headphones. While the future of NY’s Route 17 may remain in question, Turkuaz’s seems destined to be glorious. Go buy it and you can thank me later.
It’s been nearly four years since Framing Hanley has released a new album The Sum of Who We Are. To place that into proper perspective, there have been some notable changes in the world since their 2010 release of A Promise to Burn: The world economy went to pot, Colorado residents can now smoke the pot, Hannah Montana turned to porn, and dubstep influenced Korn.
The hand of change touched the post-hardcore band out of Tennessee as well. Since peaking at No. 7 on Billboard’s Independent chart, they severed ties with record label Silent Majority, said goodbye to bassist Luke McDuffee, and exhausted earnings from touring and sales only to subsequently take on regular employment in order to support their families.
In 2012, band frontman Kenneth Nixon took to Kickstarter, an Internet funding platform, to ask fans to help raise money to support the making of their third album. The return for investors promised a variety of things, from a mention inside the album cover, to – for $5,000 – a private performance in your own backyard (so far, only one of fifteen potential backers have taken advantage of this to date.) With an initial goal of $40,000, the fundraising effort raised more than $60,000.
And, here we are.
The Sum of Who We Are , comes out Tuesday, April 29th. It is quite literally the culmination of events endured by band members over the past few years, and as trite as it reads, it still underscores the fragility of success within the music industry. However, these events don’t seem to cloud their vision. Reading the band’s Kickstarter campaign page, and watching the accompanying video, Nixon comes across humbled.
“We are NOT trying to take advantage of our fans,” states Nixon on Kickstarter, “so please know that. We understand that there are people working multiple 40+ hour jobs a week to provide for their families, so we know that not everyone could offer any assistance to us…and that is completely okay!”
The album in itself is more than okay. Though, how odd it is to make mention of the first single, “Crooked Smiles” as it was released more than two years ago as a sneak peek. Nixon’s lyrical presentation starts off low, and slowly builds up with emotion before ultimately leading on to full-on screaming. It’s catchy, and not far-fetched from what fans have come to expect.
On the other hand, what was not expected was “Simple Life”, which incorporates elements of dubstep, with the introduction of a wobble bass at the very beginning. The distinct electronic sound of that genre continues throughout the track, but more as an accompanying instrument; a kin to having a philharmonic orchestra supporting a five-piece heavy metal band. In other words, it’s not a break from their hard rock sound; so, no, Framing Hanley is not dubstep. But, its incorporation into the track adds an ingenious wrinkle, showing this album was not sitting on the shelves collecting dust for four years.
Another fresh addition to The Sum of Who We Are is the featuring of Lindsey Stamey on the track, “Rollercoaster.” Stamey, who currently fronts The Few, out of Knoxville, not only compliments Nixon, she winds up being the lasting memory to the song, especially her delivery throughout the chorus.
It’s a fortunate tale that Framing Hanley is back to releasing music and getting back on tour. They are a talent worth the recognition they were receiving, and this newest album is certainly going to get them back on the right track. If perceptions made through their fundraising venture continue to remain true, then they’re certainly a group of guys worth supporting through thick and thin.
Fiction for Bandits‘ latest release, Gunslinger, Part 1: The Chase, opens up with a smooth track called “Lovely Girl At The Window.” I was thinking, “Okay, this band is a nice, relaxed, indie band. I dig it.” But I was blown away as soon as the second song played. “The Gunslinger” is a fast song that opens up with a strong and swift guitar solo. Lead singer Nicholas Perry, out of Albany, belts out his vocals that are reminiscent of Blink 182’s Tom DeLonge. The song itself definitely has some Blink 182 and Misfits influences, which is present throughout the album.
Another song that caught me off guard was “Life For Your Crop.” The song starts out slow with an acoustic guitar, but I since learned to wait for the build up. Quickly, bassist Nick Wilson who is the in the band, comes in with a steady beat. Guitarist Mike Mazzeo follows with a catchy solo, and the band comes together with this rather edgy and dark song. Scott Ramundo, on drums, arises with a fast and punchy beat. “Do you believe in an afterlife? I think this is it,” Perry whispers as the song picks up. Deep growls could be heard in the chorus that sent chills down my spine.
Gunslinger, Part 1: The Chase is an album that can definitely be played all day and would sound best booming out of car speakers. It brings a mixture of indie, punk and metal together in one album. It’s the perfect blend for any music lover if they just want to mellow out or jam out.
Gunslinger, Part 1: The Chase, and their 2012 album, Words and Arrows are both available on ITunes. Which can be found Here
Key Tracks: The Gunslinger, Life for Your Crop, Forget to Breathe
Recorded in one magical evening with a small studio audience and comprised of a straight take with no overdubs, the Alan Evans Trio‘s Woodstock Sessions Volume I is a timeless document of a musical moment of creation. Developed over the course of an intimate evening at Applehead Recording Studios, the recording retains the freshness of an improvised performance as well as the crispness of a studio recording. The magic is to be found in the communication between the players, who were unfazed by the recording machinery and luminescent red recording light. The trio successfully captured the live vibe and thick atmosphere of the concert experience.
Drummer and band leader Alan Evans immediately conducts the band through the 80+ minute set, beginning with a funktified and extended run through of the fuzzy and smooth, ‘They Call Me Velvet’. The power of the trio is on full display immediately as Beau Sasser’s organ saturates the air with the sound of multiple instruments. The thick, creamy funk of the band is their specialty. As they slide into ‘If You Want My Love’, guitarist Danny Mayer strikes out with classic James Brown chord structures, meeting with Evans’ emotive beats to equal a hip street walking ass shake.
The track ‘Thor,’ the subject of which is a guitar amp, fittingly features some nimble-fingered riffing by Mayer, touching on some of the fringes of acid jazz. The joy here is that the band is playing fully orchestrated and arranged pieces that contain uniquely original improvisational passages brimming with joyful attitude. ‘Have You Seen Him,’ contains themes that elicit memories of the grooviest ‘Shakedown Street’ with an envelope filtered guitar that works in conjunction with the drums while Sasser’s organ paints in long broad strokes.
‘Crooooz’ is a highlight of the set with a luscious groove that sets the perfect backdrop for more atmospheric organ excursions reminiscent of some earthy Jimmy Smith. The band keeps the marathon live recording moving forward breathlessly, changing tempos, keys, and vibes at the drop of a dime. The diversity of the band gets an airing with the ‘spoken word’ and classically jazzy, ‘What Happens In the Woods.’ Scattered and spacey drumming in conjunction with a star-dust guitar dressing provides the framework for Evans’ humorous story telling.
The evening concludes with another highlight, the aggressive and powerful ‘Cosmic Hazeldust’, containing all of the impressive elements that make up the band and the recording. Slick keyboard exclamations, wildly on point guitar work, and the knockout punch of Evans thunderous drum kit.
Taken as a whole, the entire Woodstock Sessions Volume I plays out like a created storyboard, each musical excursion a beautifully created scene. Organically developed, yet tight and practiced, the album reaches numerous peaks and euphoric highs. The organ lines intertwine with the guitar melodies, playing off of the multiple rhythmic ideas of the drums. The recording captures music during its genesis as it’s developed by the minds and fingers of the players and disseminated to the hearts and ears of the listeners.
Key Tracks: They Call Me Velvet, Thor, Cosmic Hazeldust
Perfect Pussy’s full length debut Say Yes to Love is the core definition of hardcore punk. An album that is very loud, fast, noisy, and with a much-needed raw attitude that most punk bands are lacking nowadays.
My initial reaction when I start playing the album was “WTF?” because I didn’t see it coming. Once the opening track “Driver” started, I knew I was in for a punch in the nose. My favorite track is easily “Work” because of the eerie opening guitar riff from Ray McAndrew mixed with the quick trippy bass line from Greg Ambler. Vocalist Meredith Graves spits out punk-like poetry throughout the entire album over muffled noise that adds a very unorthodox flavor to their sound.
Another fun track is “Advance Upon the Real,” which is very muffled and very fast. The drums from Garrett Koloski really stand out on this one. Keyboardist Shaun Sutkus’ talent is on full display with the closing track “VII” which seems to be slightly subliminal.
Overall, Say Yes to Love is a very fast-paced and trippy punk record that can be played from front to back in less than a half hour. It’s definitely a fun listen and a breath of fresh air, but, most important, the element that stands out the most is the attitude. Perfect Pussy has a bright future and Say Yes to Love is a must own for any hardcore punk fan. The albumcan be purchased here.
Several weeks ago I had the chance to review six songs off Amanda Rogers’ newest album WILD. The EP was a solid set that previewed the direction Rogers is taking with the album, which dips its toes in all sorts of musical genres. Rogers draws on some widespread influences from country to pop to piano ballads, all of which help keep her work undefined in any broader musical classification. The first half features singles that stand well on their own, while the second half really settles in, flowing agreeably between tunes.
One of the best songs off the album is a piano pop gem “Welcome To The Show.” With a really distinct and pleasing tone, the piano plays an upbeat rhythm that will have you hooked—a great way to start off. The drums pick the song up into a groove when they come in on the chorus and the carefree piano solo following after creates an open and unencumbered space of some feel-good music. Free and easy whistling throughout brings you back to an outdoor summertime atmosphere, something almost all of us in the New York area are longing for right about now when spring hits. With “Welcome To The Show” leading off, Amanda Rogers anticipates a sort of driving in your car with the windows down/living in America vibe to the rest of the album.
“The American Dream” presents this American feel throughout Rogers’ music, however not in an idealized or glorified way as she addresses some national issues with lines like, “We’re overworked and we’re underpaid” and “This American dream right in front of your TV screen,” as a possible call out to those who forgot about their dreams, contented by TV. “More, More, More” adds to Rogers’ exposing of the United States corporate structure by putting down certain CEOs who make an unnecessary amount of money at the expense of others.
“Sweet Sleep” is a soft lullaby tune that’s definitely meant to be listened to under the covers at night. There’s an airy freshness in songs like “Someone Waits” and “Genes I’m Always Wearing,” both of which have a similar feel to what’s heard in “Welcome To The Show.” With “10 Years Closer” Rogers offers a gloomy side to the album with some darker style singing. Altogether WILD is a long 19-song album with Amanda Rogers’ unique voice and piano style traveling through various styles of music.
Formula 5 is one of those hidden gems hidden within our borders of Upstate New York. The band generally calls Albany, and the surrounding area, home and has been lighting up that scene for a couple of years now. The band’s latest offering, Edging on Catastrophe, is the follow-up to their self-titled debut album that was released last year. From their debut to their sophomore release, the band has grown tremendously in their cohesiveness and general song writing capabilities. The new album as a whole spans many genres, yet keeps a tight flow between songs as they sonically weave their way in and out of each style. Throughout this album, you can hear the guys touch on funk, bluegrass, jam, electronica, blues, reggae, and many others, all while keeping a general theme throughout. The four-piece has developed their identity and this album really shows their comfort within that while still stretching into untouched areas.
The first song that grabbed my attention was “Pedro,” which really showcases guitarist Joe Davis’ skills as he leads the band melodically through this piece. This song illustrates another thing the band does well, which is understanding how far to push a jam. The guys have a great feel for how much is just right and your ears are continuously treated to that balance on this song and throughout the album. The band lays down a solid backing through the first few minutes of the song with a catchy little guitar riff and a chorus that opens up and allows the band to stretch out. As the song progresses, it continually picks up steam until around four minutes in when the band takes it over for some exploratory jamming. Their choices for both the effects on their instruments and overall ambient sound is spot on, providing a perfect and slow-rolling current for keyboardist Mike McDonald to show his skills while trading off with Joe Davis’ riffing. The closing minute of the song swells before relaxing and jumping back into the chorus, bringing it back full-circle and resolving the built-up tension.
My favorite song on the album immediately follows “Pedro” and is appropriately titled “Ride.” The song starts with some ominous keyboard chords before the bass and drums jump in, giving it an STS9-like feel right from the get go. The vocals and instrumentation on this song are layered perfectly and combine for a haunting and transfixing composition. The verses of this song remind me of Neil Young’s “Rockin’ In The Free World” and has the same internal pull that evokes raw emotion. The second guitar solo that starts around the four-and-a-half-minute mark comes out of nowhere as, leading up to this point, the song was still mellow and relaxed. The driving nature of the band combined with Davis’ playing launches you from the ground and into the outer atmosphere. He makes beautiful lines through the chord progressions and really adds color to the overall song before it slows down again, tucking away into this beautiful environment of ambient tones that’s both driving and relaxing at the same time. At around the eight-minute mark, you can hear a little Paul Simon “You Can Call Me Al” flavor from the keys before the band begins the haunting swell that closes the song. As the pace climbs, notes are blurred together and the beat continues to escalate before they drop you on your face, leaving you wondering where the ride left off.
Throughout the rest of the album, the band does a tremendous job of really engaging the listener with a wide array of music styles, terrific lyrics, and overall top-notch musicianship. If you want a snippet of how talented these guys truly are, take a listen to “Timmy’s Dream,” as the minute-long jam really shows how polished their sound has become in their short existence. I will be the first to admit that I haven’t had the time to check these guys out up until now and I now fully regret that decision. It’s baffling to me how such a young band could put out an album of this caliber; whatever the formula is, it’s dialed in right with these guys and other bands need to take note. Edging on Catastrophe is edging on being the catalyst to a very successful future.
On May 7th the road leads full circle for Ben Mauro, Syracuse native and world-class musician, as he takes the stage at Shifty’s Bar & Grill on 1401 Burnett Avenue to launch his new EP, Take Your Time. The year was 19-something when those at Shifty’s Bar & Grill first saw Ben take the stage for open mic night.
Since that time, he’s gone full steam ahead to have one of the most successful careers a musician could hope for, traveling the world, meeting and playing alongside the most amazing musicians, mentors, and fans along the way. However, after only two seconds I knew he was something special as we chatted about his upcoming event. The success that Ben has achieved has not changed his priorities, and this is apparent as he comes home to share this special release. Giving back to the community that embraced him originally was Ben’s goal, and for this we embrace our home town star and say thank you.
As I reviewed the new EP Take Your Time, I came away with a sense of who Ben is and what he wanted to achieve in his new release. His versatility is amazing to me and after speaking with him, I can see how all of the influences over the years lend to what we hear on Take Your Time. A positive vibe comes across in his sound as the lyrics tell a story of love, happiness, and living life uncomplicated as it should be. With a mix of pop, country, southern rock, jazz, and Latin flavor the audience is treated to many genres, sounds, and instruments along the way. In “She’s Beautiful”, the jazzy tune is upbeat and happy with an interjection of a sax solo that is reminiscent of songs during the Motown era. In “Complicated” Ben’s songwriting skills inherently shine through. While on the track “Down By The River” you have this urge to grab a cooler, bathing suit, and fishing pole to play hooky all day like Huck Finn and Tom Sawyer. On the title track “Take Your Time” Ben’s guitar solo rocks this number to the point where that’s the one thing that stands out..WOW…this man can play a guitar. Here’s a small taste of “Take Your Time.”
Lately I’ve been on a kick for ethnic sounds and find myself drawn to songs of this nature so on the final track “Burn It To the Ground” I was immediately drawn in to the sultry song with the Latin flair to it. Not only does it showcase the songwriting talents of Ben, it also showcases the amazing talent of Ben’s backup musicians with the percussion and keyboards, while his guitar solo evoked a feeling of being in a small cantina listening to the mariachi band serenade me. Only thing missing was my cerveza. Over all, once I listened to the Take Your Time EP, I couldn’t help feeling happy, upbeat, with an admiration for Ben. I was curious to see who and what had influenced him over time to bring us to the point where this mix of music originated from within. So as Ben toured the world with Lionel Richie through Australia, Asia, and many countries, he so graciously took the time to answer a few questions for me and the audience to get to know him better.
Kathy Stockbridge: So let’s begin this journey and share with me some insight to how it all began. When did you know that music was your destiny? You share how you began as a young adult jamming in the basement to Led Zeppelin tunes, but did you also participate in music through grade/high school also? Garage bands? Marching Bands? Was a formal education in music helpful to your understanding of the craft?
Ben Mauro: I played French Horn in middle school, and was All-County Band and Orchestra. Then I took a break from music for a while, until my dad brought home an electric guitar he had trash-picked while out running one day. That’s where it started, and I’ve been playing since I was 16. I had a garage band in high school ,and we played in the school talent show and at a couple of parties. That was really it.
My formal education was mostly with Rick Balestra, a private jazz instructor, that still teaches and performs around Syracuse. I studied with Rick for two or three years – he really opened my eyes to a lot of different types of music and it made a huge difference. I was mostly playing Southern Rock up until that point. Plus going to OCC for classical guitar really helped a lot – learning technique and how to read music. My instructor there was Joe Jewel. He left Syracuse to go to Los Angeles and now plays on “Dancing With The Stars.”
KS: As a parent I support my children in anything they wish to do, no matter how risky it may be as I feel when you love what you do, it’s not even a job, it’s a lifestyle. Did your family support you like this as well? Do you come from a musical family?
BM: The short answer is no, I don’t come from a musical family. A couple of my cousins were kind of musical – one played guitar and one had long hair. But the rest of my family are all teachers. My dad started the rugby team in Syracuse, so I was surrounded by rugby players growing up. I was always hanging around athletes, not musicians. They still know how to party, though! Really, I’m very lucky because nobody in the family knew much about music. My dad said if I could make it my job and make a living doing it, we support you. And they did – still do.
KS: You share how you took off for NYC to for a “street musical education”. As a starving artist, do share some experiences that defined in which direction you ventured. We know you gravitated towards the music scene in Greenwich Village at Café Wha? Were there other venues you played that held special meaning? Types of music that helped you learn the business more so than had you just hit the tour scene?
BM: What I tell up and coming artists all the time is that they have to work – hard. Before I got the Lionel Richie gig, I was a freelance musician playing around the circuit in NYC for years. I paid my dues and at the time that I got the Lionel audition I was playing in ten different bands. I used to say “Yes” to every call I got. It was a badge of honor in our circle of friends to see who could play the most nights in a row without taking a night off. It would usually be about 35-40 nights straight of playing before I would take one night off and then go back at it. Sometimes that was two gigs a night –three sets in two different bars! We would play one gig then drive into NYC to start our second gig at 1am and then play sometimes until 4am. But that is really what helped me keep my name out there – just keep going and going. And playing in all different kinds of bands. I got the experience in Jazz, Funk, Rock, Latin. Even if I wasn’t sure I could do it when the call came in, I would say yes and then make sure to learn. You can’t just play one style of music, even if it is your favorite. Learn as much as you can and play as much as you can.
KS: We all are inspired by other greats along the way. Share with us some of these influences that shaped your musical style and steered you towards the craft you do today? Teachers, mentors, bands, sounds…who and what has shaped the sound we hear today on “Take Your Time”?
BM: My favorite band growing up was the Allman Brothers Band – that kind of Southern Rock type band. Learning all the different styles helped me figure it out along the way, but my all time favorite is a guitar player named Warren Haynes.
KS: On this timeline, please share with us some of your musical moments beginning at Shifty’s and carrying on through to your world-wide tours with artists such as Lionel Richie, Don Felder, John Fogerty, Kelly Clarkson, and so many other great musicians along the way.
BM: The thing with Shifty’s is, that is where I first met Delmar Breland. He was playing bass and I went up and started talking to him. My first band was with Delmar, Ricky Chisholm, and my good friend Paulie Cerra. And that all happened because of Shifty’s. Ricky loves the Commodores and we played all kinds of those songs. Which really helped out a lot when it came to my current job. Delmar was also a big help to me because he and this other dude named Sugarfoot are the ones who really taught me how to play that kind of funky rhythm guitar. Here I was, this long-haired white kid from the country and these two big guys took me under their wing and taught me how to really play. That is why I am working today – that funky R & B guitar skill has served me well.
It kind of goes with a story about Lionel, too. After I had played a couple of gigs just filling in for his main guitar player he made some changes and he fired everyone in his band except the drummer and sax player. I had to try out again too, and at first the new musical director didn’t want to hire me. He told me later he was thinking who is this surfer looking dude in here, but it was Lionel who said to him, “Naah, give him a chance – he’s funky.” So if I hadn’t hung out with Delmar and Sugarfoot, or learned all those Commodores songs with Ricky…
KS: In between, what are some “a ha” moments that you have had?
BM: Probably watching the first season of American Idol and then getting a call to play in the band for the tour and backing up Kelly Clarkson. She was really great to work with – and then doing TV shows with her. Getting a call from Don Felder from the Eagles asking me to be his guitar player in his solo band and then playing the Hotel California harmony guitar solo on stage with him. That was a WOW moment. Auditioning in John Fogerty’s garage and getting the job as his guitar player and background singer. That was pretty surreal. He asked me if I knew any country! And pretty much every time I get onstage with Lionel and he looks me in the eye while he is singing his ass off!
KS: As I previewed the new songs on Take Your Time EP, one thing definitely jumped out at me, and that is that you are very versatile in your styles. Many times you will listen to an album and get a flavor of similarity in all the songs, however on this album, you get a wonderful variety of genres, musical instruments, and moods.
BM: I think this goes back to my days in NYC where I had to play all those different styles of music. Now that I’m an artist and write my own stuff, that is all coming out. It just feels comfortable and comes naturally to go from one style to the next. I don’t set out to write in a specific style – it just comes out.
KS: And I must add they go together extremely well. They have a common theme to them and a positivity.
BM: I’m happy to make music that makes people feel good instead of all down and dark.
KS: Talk with me about the making of this album and the songs on it. What do you want the listener to take away from this album?
BM: Uplifting. I want people to feel good and positive.
KS: What was the creative process, the inspiration, and share some of the moments in the making of the album cuts. Do you come up with lyrics and immediately reach for the closest paper? Were there melodies in your mind you came up with and then put the lyrics to them?
BM: The music usually comes first and then I write the lyrics as I play the tune. I don’t write it down very often – just start playing. Sometimes I will record things on my phone so I don’t forget an idea. Some of the new songs were written in the area. “Down By The River” was inspired by something my dad said when we were all on a family vacation. He just said one thing and it clicked – the song came from that. And I wrote “Take Your Time” sitting at my parents kitchen table.
KS: Do you collaborate on any of the songs? Share with us the band and how you chose the instruments to accompany the music.
BM: I do most of the writing and then my producing partner Gary Davenport comes in to collaborate on some of them. He does some arranging and polishes the songs up. Makes them more focused – just better. The band is the 13 Curves Band, Oscar Seaton and Gary Davenport. 13 Curves was my rock band from a few years ago. We played together for a while and then it kind of morphed into me as a solo with them playing for me when I recorded. Gary is also from Syracuse and I played with him way back before I left for New York. I first met Oscar touring with Lionel – he has been Lionel’s drummer for 15 years. He also plays with jazz guitarist George Benson and a bunch of other great artists.
It’s also cool because Paulie Cerra, my old bandmate is still one of my best friends. He plays saxophone with me on “She’s Beautiful.” That’s another Syracuse connection.
KS: Do you play multiple instruments in the recordings?
BM: I play guitar, dobro and banjo on this one.
KS: As I mentioned above I have noticed that you are a very upbeat and positive individual and that shines through your music and your show Let’s Go! With Ben Mauro. How did you come up with the idea for Let’s Go! and share with us how long you have been documenting your adventures?
BM:Let’s Go! came from my dad telling me I had to go out and see things while I was on tour. I kept telling him I was too tired after having been on a 12 hour flight, but he would say things like, “The Tower of London is only 20 minutes from your hotel.” I finally went and took some pictures and posted a blog. I started to do it for my family – so they could know what I was doing while I was on tour and stuff. But people really liked it so it expanded. I got an HD camera and started to do the videos. The very first one I did officially was the Great Wall of China and it’s been almost 4 years.
KS: What are some of your most favorite places and you’ve been able to share with viewers along the way? I also want to commend you for featuring band mates and other musicians along the way as well. It’s great to not only see these amazing countries and places, but also to see behind the scenes of the rock and roll way of life with sound checks and traveling and all of the things that accompany this lifestyle.
BM: Some of my favorite places are Morocco, Brazil and the Great Wall of China. It is very important for me to show the life of working musicians. I say that in every episode. What we do is really so different from what most people think. It’s a great job and I’m very lucky to get to do a lot of really cool stuff, like seeing places I might never see. But it is not all rock and roll glamour. We are on planes. A lot. We are in hotels. A lot. It’s a job and we work hard.
KS: As a fun way of getting to know the musicians and give the readers an insight into their personalities…would love if you would play along in a “Social Speed Round” of questions, some very random questions for you to answer. And…”Let’s Go! With Ben Mauro!”
1. You’re flipping through the channels on TV and come across this movie or show that you always stop on!!! No matter how many times you’ve seen it!!! – Million Dollar Baby or Anchorman.
2. You come across a restaurant out-of-state that claims to have the best original NY food…you think THIS has to be on the menu to even be considered a NY restaurant? –
3. I meet a lot of great individuals in my line of work, some that have left me at a loss of words. This is the person that leaves you speechless and at a loss of words when you finally meet them? – Greg Allman.
4. Time to get away for the touring for a while. Where is your “Happy Place”? – Zuma Beach, Malibu, California.
5. You’re at Disneyland/World…you only have time for one ride because you have to do a sound check and perform immediately after…you choose Roller Coaster/Bumper Cars/Sky Ride or Ferris Wheel? – Roller Coaster.
6. You get an offer to be a featured star on a cable television show but you can only do one..you choose Dancing with the Stars/ Man vs. Food/ Off Limits? – Man vs. Food
7. Dream collaboration – Greg Allman again.
8. Favorite board game? – Yahtzee.
9. If you weren’t a musician what was your plan B? – When I was a kid I wanted to be a professional athlete – soccer player, but never really had a plan B. Since I was 16, I always wanted to be a musician and I loved it so much that I never thought about doing anything else. Even when I was dirt poor in New York, I never thought I would do this for a few years and then get out.
10. Your guilty pleasure? – Spy and adventure novels. Like Lee Child or the James Bond books.
As you can see, Ben Mauro is a fun, positive, upbeat type of person. He works extremely hard to be the best he can be, and he is appreciative of his beginnings and those along the way. Syracuse is honored to have Ben Mauro return home to launch his new EP Take Your Time and we urge everyone to take the time to stop down to Shifty’s Bar & Grill on May 7th to welcome Ben home. Ben will be joined by SAMMY award-winning performers Phoenix Eleven and special guest Ricky Chisholm. Tickets are being sold ahead of time and can be purchased at http://bpt.me/622514 There are limited tickets available so I urge you to not wait, but buy in advance to guarantee to be part of this event.
The up-and-coming band, Hard Soul, from Albany NY is about to release their first full-length LP, Heart of Plaster. The band has been diligently gigging and recording since their formation in 2011. Hard Soul’s short history has included many shows in upstate and central NY as well as the release of two singles, “Love Eat the Young” in 2012 and “Seize the Year” in 2013. On April 8th, Hard Soul is releasing their new album and will be celebrating at their release party at The Low Beat in Albany on the 11th, which will also start off their 2014 tour season.
Hard Soul’s versatile sound can only be attributed to the dedicated musicians that make up this Pop/Punk Rock quartet. Music on their new album ranges from a heavy, up-beat hard rock, celebrating the pure fact of being alive, to quiet acoustic songs recalling life’s mistakes that we can all relate to. The group’s sound is very reminiscent of the punk-skater music that became popular in the late 90’s and mid 2000’s. Hard Soul’s lyrics are those that people of all ages can relate to, but would definitely be more favorable to teenage ears. Similar to bands like Green Day and Blink 182, Hard Soul has a raw, uncut feeling that holds nothing back in expressing the struggles and trying times in life that make us question our very existence.
Hard Soul’s talented members have written, played, and produced the entire album themselves with the help of Steven Goldman at Four Legs Records in Washingtonville, NY. Front-man Johnny Salka is the beating heart of the band. Not only did Salka produce the album, but he also provides vocals and lead guitar, which is a large part of what gives Hard Soul their appealing sound. Helping out are Nick Kossor on lead and rhythm guitar and Ryan Klaeysen on bass. And last, but certainly not least, is drummer Mark Podbielskim, who ensures that your foot won’t stop moving till the album is finished.
Heart of Plaster starts off with a track titled “Let Go!” and serves as a perfect opener to kick off their debut album. It starts off with a no-holds-barred driving rhythm intro accompanied by a public service announcement calling everyone to attention for “an important announcement.” The songs talks about the urge that everyone has known, where you just feel the need to escape from the real world and take time to figure out who you really are. Its high energy is a perfect vessel for the message to just let it all go and be yourself. The album’s big hit and popular music video, “Just Be Love,” is another fast tempo tune with a positive message. The song recalls the trials and tribulations of being “young and dumb” and reminds the listener that through it all, when you may be most conflicted, to “just be love.” The music video is the full band in a small room, with a crowd of loyal fans in the background dancing their hearts out to a tune they all love. The album’s tenth and last song, exemplifies the band’s stellar musicianship, versatility, and range of emotion that Hard Soul can evoke. “Sincerely” is an enduring eight-minute ballad that evolves from a solemn acoustic opening into a heart-wrenching electric guitar section that sends chills down the spine. This final track begs to know whether the love that singer-songwriter Salka has been feeling is real. He swears he will be fine with whatever answer he is given, but you know by the tone of his voice that heartbreak surely awaits him. All he wants to know is if she is sincere or if this feeling he has is nothing more than a fading memory.
Hard Soul’s new album can be found on Amazon or itunes. You can also follow the band online via Facebook or their website, thehardsoul.com.
It’s always interesting to see what transpires when different musical elements get mashed together and get transformed into something new. In the case of Mister F, this particular mash up is the result of a cross pollination of band members from established Upstate New York groups Timbre Coup and Capital Zen. This relatively new project is already starting to make itself known outside of the Capital Region and if the release of their new album The F Stands Four is any indication, the rest of the country should be on notice.
The band’s debut album makes its intentions known off the bat and lets you know right away that you’re in for a slightly psychedelic affair courtesy of some mind bending electronic synth sounds that serve as an opening bell of sorts. This helps usher in the first track, a catchy number called “Everything You Say” which mixes intricate piano fills with a steady bottom end and more layers of synth tones before a frantic guitar solo drives the pleasant jam to a fever pitch. The well mixed vocals stand out here and help lend the song an almost Jamiroquai-esque vibe.
A really solid 1-2 punch of an opener for this release is ensured with perhaps the most engaging song on the album. “This One Goes to 11” features more funky keyboard work at the outset but it also keeps a more traditional rock sound before shedding this completely courtesy of a ferocious tempo change with a supercharged bass line leading the way. This song seems to encapsulate the band’s true sound, one that meshes modern day elements of electronic fusion with progressive song compositions that scream Zappa and King Crimson influences.
Another standout track on The F Stands Four is “Treadmill”, a strong instrumental number that puts the band’s prog rock chops on full display. In general, the instrumental numbers on this release seem to carry a little more energy and attention to production detail. However, the band’s ability to intertwine raging electronica numbers with vocal numbers that have an almost acid jazz to feel to them should benefit them in the live setting.
Key Tracks: Everything You Say, This One Goes to 11, Treadmill
Mister F will be undoubtedly be playing these and many other songs this weekend at their album release party on April 11th at Red Square, with Brooklyn’s Tauk opening up.
The first thing that drew me to the new album Future 86 by Brooklyn’s Turkuaz is the name. Having grown up a child of the Finger Lakes and Southern Tier regions of NY, I’m very familiar with these signs that have adorned the shoulders of NY route 17 for at least a decade. My mind immediately began to reminisce about a myriad of journeys down this roadway. To see old friends, for music, for business, or just to simply go for a ride. No doubt Turkuaz, who tours relentlessly, has passed the signs thousands of times.
The band’s debut album makes its intentions known off the bat and lets you know right away that you’re in for a slightly psychedelic affair courtesy of some mind bending electronic synth sounds that serve as an opening bell of sorts. This helps usher in the first track, a catchy number called “Everything You Say” which mixes intricate piano fills with a steady bottom end and more layers of synth tones before a frantic guitar solo drives the pleasant jam to a fever pitch. The well mixed vocals stand out here and help lend the song an almost Jamiroquai-esque vibe.