Category: Reviews

  • The Nth Power Shares in the BuffaLOVE in Buffalo

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    smackdab singer Jon Marc Johnson

    If you’re hip to The Nth Power, you know that they preach the power of love and have become a musical sanctuary for that message. Drummer Nikki Glaspie took some time during their set in Buffalo and told the crowd, “The purpose is to share love with all of you and to share love with the world because there’s not enough.” When the band made their stop last Friday before their Saturday night Chill, the group and city came out to share in the compassion for one another.

    With anything love related, you have to be careful not to get in too deep, too fast. So let’s take a step back and start at the beginning, where most love stories start. The Friday night began on the earlier side for typical Buffalonians with Jamestown’s smackdab starting things just before nine. The band has been an area staple for funk for quite some time now and really knows their own strengths, playing to them specifically at shows. The group is fronted by vocalist Jon Marc Johnson whose strength and power has the ability to draw you in. The rhythm this group has is like none other in the area as they’re anchored by thick cuts from bassist Ryan Ecklund and precision stickwork from drummer Daniel Witherspoon. Their music though has so many different facets and that’s largely due to the melodies that are being crafted around everything.

    During one particular section, keyboardist Mark Cooper laid down a heavy synth section that propelled a psychedelic drift into a borderline metal tear. The group may be heavy on the funk side, but they dabble and take some exploratory jamming out into other areas right in stride. At times, the band would slide into some more jam-heavy segments that were slow and droney, conjuring up sounds that were akin to Pink Floyd and The Doors having a funky little baby.

    It was the perfect pairing for the night as the band’s sound complimented The Nth Power’s well and the crowd enjoyed the smackdab set overall. If we’re back on the topic of love though, this was simply the first date and Buffalo was already tripping over their words in anticipation for more.

    For a little taste of smackdab, check out a video of their song “First and Main” from their set. The video is brought to you by our friends at Buffalo.fm.


    As The Nth Power took the stage, Buffalo gave a warm welcoming to the group being that it was their first appearance in the Queen City. After a few bars of an intro, the band dove head first into “Spirits”, easily an early favorite with its haunting melody and fat bass line. It might’ve been early on in the relationship, but this band was not shy about bringing it early on. Percussionist Weedie Braimah played off of the rhythm from Nikki Glaspie, adding an incredible range of percussive sounds to the overall color of the song. With no setlists visible, it seemed as though this band was just going to feel its way through the set.

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    The Nth Power’s Nick Cassarino and Nate Edgar

    While the drumming from Weedie and Nikki was a powerful force in and of itself, it seemed the crowd couldn’t take their eyes off of the front of the stage where guitarist Nick Cassarino bobbed and danced as he plucked his strings and felt every note through the expressions on his face. His energy and presence alone had the crowd charged and equally feeling the same emotions that Cassarino was going through. The excitement he brought not only fueled the crowd, but the band seemingly fed off of it as well, engaging each of them deeper into the music. Love usually takes time to develop, but when you’re this passionate, you can quickly fall head over heels for what’s being created, and the crowd in Buffalo that night was all in.

    Throughout their set, you could tell that the band was communicating through a romantic language that was in the music vernacular. At one point, Nick Cassarino asked each member how they were feeling to which each responded with a strike of a key or a hit on their drum. They were feeling good and the eye contact and shared smiles were an easy indicator from the beginning. Not wanting to leave the crowd out, Cassarino also asked the crowd, “Does it feel good to you?”, to which the crowd responded with a heartfelt scream.

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    Nikki Glaspie of The Nth Power

    It was easy to get swept away in the compassionate delivery of The Nth Power’s music. Each member added so much to the music itself, but also to the overall performance. Bassist Nate Edgar was another who you could physically see was feeling the music. As he swayed along to the beat, he would not only keep up rhythmically with Nikki Glaspie’s superb drumming, but also dance around the melody and support Nick and Nigel in where they were headed throughout a song. It’s a daunting task that Nate not only handled, but challenged the other band members at times with some colorful bass runs of his own.

    When falling in love, there’s usually several factors that add up to the infatuation, and the same can be said about the band. It’s not just one member that does it, it’s their collective efforts that builds them up that high. At one point during their set, percussionist Weedie Braimah took a solo that really showcased his prowess and what he adds. The man was literally combing out a rhythm with his fingers on his djembe, pulling every possible note, yes I said note, that is possible through pure precision. A thrusting beat came barreling out of the solo with which drummer Nikki Glaspie and the rest of the band jumped on, bringing the remaining sitters to their feet. The band’s control over the mood and feel in the room was apparent as they could lift the crowd before gently laying them down. In the same way Cassarino’s axe could cut, his voice could simultaneously cull the deepest of woes with grace and pure empathy. Every part of this band fits together like a puzzle, filling in the proper gaps, while leave the right amount of space.

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    The Nth Power keyboardist Nigel Hall

    The band wrapped up the lovefest with “Soul Survivor” as an encore, unleashing blinding rhythmic speeds and a guitar solo that was dropped like a bomb on the crowd. Since they initially walked off to a chant of “ten more songs”, I guess the band wanted to pack the power of ten into one. The power of love is strong and if you don’t know that, you need to check this band out and feel it for yourself. Leaving the venue, you could tell everyone still had butterflies in their stomach as they went through a rollercoaster of emotions and were walking on clouds being simply uplifted. There’s something special about this band and it’s amazing and exciting at the same time that this is only the beginning.

    As mentioned earlier, “Spirits” was an early favorite from The Nth Power.  Watch the video of the song here from that night:


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    The Nth Power:

    After the show, The Nth Power was gracious enough to sit down with us for an interview. Here are some shots from after their set and the interview itself. We want to thank our friends at Buffalo.fm for all of the video from the night and to The Nth Power for taking the time.  Buffalo and NYS Music love you right back!

  • Hearing Aide: The Contortionist ‘Language’

    Indianapolis based progressive metallers The Contortionist show with the third record, Language that when modern prog metal works, it’s great, but when it starts to falter, it can be cringe inducing. The band does a lot right on this album, but they fall into traps that many bands in their genre find themselves stuck in. Language has some incredible moments where melodies mix into beautiful arrangements but also has moments where the band sounds like they’re trying way too hard.

    The Contortionist LanguageThe introductory track on Language, “The Course,” shows off new singer Michael Lessard’s impressive vocal range with runs up and down the scale. But as the album wears on, I couldn’t stop but wonder if what I’m listening to would be better off without any vocals at all. The Contortionist do mix the very melodic clean style of Lessard’s voice with harsh screams of death metal singers which comes as a bit of a jarring experience when you first hear them (especially if you weren’t aware it was part of their sound). The problem is, despite the weird mix of elegant sounds being produced by guitarists Robby Baca and Cameron Maynard, bassist Jordan Eberhardt, keyboardist Eric Guenther, and drummer Joey Baca, it’s the harsh vocals that fit the best. The clean singing comes across as very over dramatic and at times takes away from the fantastic instrumentation.

    I don’t mean to keep harping on the vocals but I will say that the lyrics here absolutely distract from the band. They come off very pretentious like they were written in a fever after reading introductory philosophical texts. The Contortionist peers The Kindred also end up in this category but they know when to pull back on the reigns. The best example I can give of this is the fact that The Contortionist sing the phrase “ebb and flow” on four separate songs including one titled “Ebb and Flow”.

    The musical chops here are first-rate. These guys know how to play their instruments and are at the top of the heap when it comes to technical playing in progressive metal. The album from a musical standpoint is very well thought out and everything flows nicely into each other which is something I look for when listening to music like this. The counter of the atmospheric like melodies and very heavy distorted chugging by the guitars works well and plays off each other. They have the star/stop jittery time signature riffs that prog metal fans love. However, there is one big musical blunder on the record, the song “Integration” has a synth line that does not fit at all. So much so it’s like they put the wrong track in the mix when working on the album. It really takes you out of the listening experience.

    The Contortionist are a band still trying to figure out what they want to do. They have promise, that’s for sure. But it may take them another record or two to finally figure out what they need to do to push forward to the front of their genre. They have the talent to do it, but we’ll see if they can put it all together and create something truly special.

    Buy the album here

  • Rock and Roll Dominates The Great New York State Fair

    With a wonderful start to The Great New York State Fair, we dug the rock and roll to bring more of what is to come.  Already covering Days 1, 2, and 3, we couldn’t wait to get back out to bring you more of the outstanding line up scheduled for Fair attendees.

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    Bowzer’s Rock & Roll Party – Great NY State Fair Chevy Court

    DAY FIVE – Rap, Rock , and Country Collide to an Explosive Show

    Some basic musical math here – What do you get when you add Rap + Country + Rock & Roll? You get Kid Rock and Big Smo of course.  Rocking the Grandstands on Day 5, this unlikely pairing of the Detroit rocker and Tennesee country star seemed a bit out of place, but this trend of marrying those artists from Motown and those from the country music capital of Nashville just seem to work these days.  Big Smo came out and rocked the crowd getting them ready for the main event, Kid Rock.  This guy has a presence and attitude I just wouldn’t mess with, adding to the reasons I think these two were the perfect pairing.  Both are no nonsense, this is who I am, without apologies types.  Delivering country in a hip hop rap style, Big Smo certainly has found a way to deliver his music his way, to an audience that eats it up.

    As Kid Rock came out, he rocked the stage belting out hit after hit in his hip hop, rap, country southern rock style and he didn’t disappoint. Ever evolving, Kid Rock has made his mark on the music industry his own way with no excuses.  With a career, including multiple hits, multiple awards, and such a diverse catalog of music for followers, he continues to grow in the music field, and also in his merchandising field with his hands into his latest venture of brewing up some “Badass Beer”.  Kid Rock is about his fans.  Taking a stand on increasing pricing for live show tickets during his 2013 tour, Kid Rock went against the current of increasing prices and all tickets were $20 with each beer was $4, and without fees associated if purchased through area Walmarts.  This proved to be a huge success in increasing attendance and sales at shows, and putting the kibosh to out pricing tickets for regular joes who want to enjoy live concerts.

    These two unlikely performers give the impression of being rebels, and going against the current upstream; however what you don’t see behind the scenes is they are two of the best business men in the business with talents of not only musical skills…but producing, acting, merchandising, writing, and so many other talents. This translates to the stage and the energy felt from this show once again solidifies that although genres may be completely different, entertainers unconventional, the music comes from the soul and no matter where it originated, and by whom, music is a unifying language.

    DAY SIX –  Rocking Around the Clock at The Great NY State Fair

    Bowzer’s Rock & Roll Party.  For those of you who are unfamiliar who Bowzer is, let me introduce you. Bowzer, also know as Jon Bauman, was part of the famous group Sha Na Na. Sha Na Na introduced new generations to the world of the 1950’s and 60’s, poodle skirts, and the emergence of rock and roll. As I looked around the full crowd sitting at Chevy Court, it was apparent that his charm and timeless tunes are still transcending generations and being enjoyed by those young and old. Bowzer & The Stingrays along with Rocky & The Rollers brought a few of their special friends to the Rock & Roll Party. Freddy “Boom Boom” Cannon, Johnny Cantardo (formerly of Sha Na Na), and the Duke of Earl Gene Chandler often joined Bowzer on the road over the years and on this day these gentlemen truly entertained the crowd with tunes such as “Lovers Never Say Goodbye” by the Flamingos, “Rocking Robin”, “Only Have Eyes for You”, and of course “Duke of Earl”. These spry young men still got it, and I must add Mr. Gene Chandler was one of the most dapper men I’ve ever seen with the greatest blue suede shoes ever made.

    This was my first time seeing Jon ‘Bowzer’ Bauman live, and he didn’t disappoint. Being in the audience when Grease was first released in the theaters, his appearance in the movie was one of my favorite scenes of the whole film. The twist, the jitterbugging, and of course the Hand Jive was electric and timeless. If transcendence was a reality, I would have been right there with them. Those in attendance at Chevy Court received a free lesson and/or refresher course on how to Hand Jive, and as I looked around seeing the entire audience participating was a bit nostalgic.

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    A little known fact about Jon Bauman: he is a classically trained pianist, studying at the acclaimed Julliard School of Music at the age of 12 in New York City. He treated the audience this day to a taste of Chopin’s etude in A- Flat Major, which was his mother’s favorite tune. Spectacular doesn’t begin to describe this moving performance. He is truly talented. His mother’s dream was to see him perform at Carnegie Hall. She was able to see this dream, as he joked 
“Even if the music was ‘Shama Lama Ding Dong’.” Despite the humid temps and scorching sun, it was fun to watch these legends and the audience enjoy these timeless classics.

    Over to the Grandstands on Day 6 we had The Wallflowers and Train.  Opening to a full crowd, Jakob Dylan along with his band, The Wallflowers, came out ready to make their mark and leave an impression. Unlike their name, they certainly didn’t blend in like a wallflower, instead they stood out. Being the first time I’ve ever seen him, I found myself very drawn to Jakob’s unique voice. To me it was the perfect blend of the family tone with a Bruce Springsteen’esq sound to it. It was strong, yet sultry, and addictive; it a pleasant surprise. Taking the last few years to tour solo, Jakob was ready to get back together with the band and tour this summer. Being known as the son of a legendary musician has to be difficult. I admire and respect how he’s carved a sound and presence out for himself that makes him stand alone as the gifted musician he is. The first, but definitely not the last time I’ll catch a show with Jakob, for sure.

    Warmed up and ready to hit the stage, Train barreled through onto the stage like the force they are. Emerging in the 1998 with their Top 10 hit “Meet Virginia”, these guys came right back in 2001 with the Grammy award winning song “Drops of Jupiter” solidifying their place in history as a force to be reckoned with. Here we are 16 years later, numerous hits, numerous awards, and miles and miles of touring on the road, Train is now known as one of the most loved groups out there today. With Pat Monahan on lead vocals, percussion, harmonica, acoustic guitar, trumpet, saxophone, vibraphone, megaphone; Jimmy Stafford on lead guitar, mandolin, ukulele, slide guitar, backing vocals; Jerry Becker on rhythm guitar, keyboards, piano, Hammond organ, slide guitar, percussion, backing vocals; Hector Maldonado on bass guitar, rhythm guitar, percussion, backing vocals; and Drew Shoals on drums these guys belted out hit after hit, with audience members singing along and rocking the Grandstands as though a freight train was barreling through.

    Set List – Calling All Angels > 50 Ways to Say Goodbye >If It’s Love > Get To Me > Meet Virginia > Bulletproof Picasso > What Is And Should Never Be > Look To The Sky > Bruises > Save Me San Francisco > Free > Angel In Blue Jeans > Marry Me > Wonder What You’re Doing For The Rest of Your Life > Soul Sister > Drive By > Drops of Jupiter > Dream On ( Aerosmith)

    Night Ranger – Getting pretty good at the dodging and weaving amongst the crowd, I high tailed it over to Chevy Court just in time to see the end of Night Ranger’s encore performance of “Sister Christian”.  Wow!  They still got it.  With the crowd on their feet cheering and singing along, I managed to grab a few shots for the readers to see these legends in action.

    Building on the momentum that had started this awesome entertainment lineup at The Great NY State Fair, I couldn’t wait to keep this going and capturing all the events planned ahead, all the sights there to see, and of course all the foods yet to try. Stay tuned as brings you more coverage of the 2014 Great New York State Fair.

  • Hearing Aide: Ryan Adams

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    “Nothing much left in the tank/ somehow this thing still drives/ forgot what it needed/ but somehow it still survives” sings Ryan Adams on “My Wrecking Ball”.

    On his self-titled album, Adams has so far gone into rekindling the flame of a past romance that he burns himself in the process. With a Robert Smith sense of emotional claustrophobia, he irrationally vacillates between holding on and letting go, insisting “it’s a slippery slope hanging around a wishing well”. Unlike his past records Easy Tiger and Cardinology, that are doused layers of almost too-slick production, his vulnerability is well translated into his no-frills self-produced live sound, which serves as an elaborated albeit less embellished sequel to the 2004 “Come Pick Me Up”.

    Though there are no harmonicas on this album, there are prevalent traces of how dizzyingly happy this relationship once made him in his hesitation to move on. From the raw lyrics of “Shadows” to the palpable anguish in “Am I Safe”, Adams plays the part of a man who has drowned himself in a relationship to the extent he has lost perspective. He is in limbo, engulfed in nostalgia induced from taunting memories. On “Kim”, you can find him scratching a name on the wall of a Sycamore tree, and you too can hear names ringing like false alarms. Part reverie of love, part haunted account of a paradise lost, he is human, lost in limbo. “I can’t stand/ can’t let go/ underneath my feet it’s miles/ Nowhere to go”.

    Shadows of his 2004 album Love Is Hell also linger on this record in the way his ability to maintain balance is eradicated. However, he trades in the extra fuzz and greasy guitar work for catchy melodies in straightforward arrangements. He is even ready to the play the fool to renounce time and retrieve the past on closer track “Let Go”: “Cross your fingers behind your back and lie to me/ Tell me it’s ok and you’ll fix everything.”

    As wonderwalls rise and fall and leave him without hope of redemption, there is barely an illusory entity left of Adams. As he sings on the leading single,”Gimme Something Good”, it’s like ‘there’s no tomorrow/ barely yesterday’. Ryan Adams fans,  this album might not be as radio friendly as Gold, but you’re definitely in for something good. This album delivers.

    Key tracks: My Wrecking Ball, Kim, Let Go

    Ryan Adams’ self titled album is available for download now.

  • Fitz and the Tantrums Electrify at Water Street Music Hall

    Fitz And The Tantrums brought loads of emotion and punch to Rochester’s Water Street Music Hall on Sept. 2.  Opening with “Get Away” the fans knew immediately that they were in for a high-energy show. Together, the voices of lead vocalist Michael Fitzpatrick and backup vocalist Noelle Scaggs created an undeniable heat that fired through the crowd.

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    Photo © Kelli Marsh

    Fan favorites “Out of My League” and “Don’t Gotta Work It Out” had the audience singing every word across the floor and balcony. Fitzpatrick and Scaggs have an electric connection that buzzed through the air at Water Street.  They kept the poppy pace going and the fans bumping from start to the encore finish.  The catchy hits, “Moneygrabber” and “The Walker” closed out an enthusiastic performance.

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    Photo © Kelli Marsh

    Setlist: Fitz and the Tantrums Water Street

    Setlist:  Get Away, Don’t Gotta Work It Out, Break The Walls, Breakin’ the Chains of Love, Keeping Our Eyes Out, Spark, Sweet Dreams, Out of My League, Fools Gold, 6am, Tell Me What Ya Here For, L.O.V

    Encore: Moneygrabber, The Walker

  • Hearing Aide: Black 47 ‘Last Call’

    LastCallOne last musical statement. One more dance on the New York City skyline. One last call for Black 47. New York’s Black 47 released Last Call on March 4, 2014 and it is just that: their last call.

    After 25 years the band made a decision to stand down while they are still going strong and to reinforce that fact made a final musical statement with a solid 13-track album.

    For the loyal Black 47 fan and new listeners alike, Last Call beckons the ears into a fire of music still burning strong 25 years after the band’s first recording. It’s fresh, relevant, and not repetitive while keeping strong roots in Irish heritage. By no means does it sound like the band has plans of standing down following this album; however it does bring things full circle by incorporating a little bit of everything from the styles the band has composed with over their career – rock, punk, reggae, and even a splash of Latin music for something new. In line with the band’s Irish Republican sympathies, the lyrics on some songs are not shy on political and social commentary.

    A strength of the album in its composition is a tightness that can be heard in the rhythm section. This is an element that hasn’t been much of a focal point of a Black 47 album since Home of the Brave 20 years ago. Frontman Larry Kirwan encouraged Joe Burcaw to be more upfront with his bass lines on the recording, something that’s particularly noticeable on “Let the People In” featuring a short slap-bass breakdown in the middle of the song. “Just go for it Bearclaw!” was Kirwan’s attitude on it. On each song, it is hard to miss how much this element adds to the overall experience of listening to the album, filling out a rich and robust sound. In fact, it makes listening to the album with the volume dial turned up one more notch rather fun.

    It is worth mentioning one of the key elements that has defined Black 47’s sound over the years. On Last Call, the trombone, sax, uilleann pipes, and flute lines are not shy in defining their role in the arrangements. Whether fast-paced technical licks that weave in and out of each other or subtle harmonies that compliment the core of the band, this section is plays a vital role in the sound of the album.Black 47

    Black 47 has always been open about their music, encouraging recording and photography without restriction. Furthermore, they share their lyric and chord sheets online along with other notes and commentary on their own music. Kirwan has written a few of his own remarks and stories on each track of Last Call which can be found here. While you can check out the song stories, here are a few of our thoughts on the tracks here at :

    1. Salsa O’Keefe: A Latin-inspired tune that gives a fun tale of a Puerto Rican/Irish woman living in the Bronx who “steams up the neighborhood” with her Irish half. Nice and smooth it’s a great song to break the Last Call ice on a first listen.
    2. Culchie Prince: From Burcaw’s punching groove bass intro, we’re quickly lead into a jig with Joe Mulvanerty’s pipes that sets the scene for the story of a chap from the outskirts of Dublin (a “culchie”) and a working class girl from Dublin.
    3. Dublin Days: A fairly simple straight-ahead rock tune, “Dublin Days” plays along the lighthearted theme as a follow-up to “Culchie Prince” by talking about the nighttime college scene there. It makes you want to spend some time hanging out in Dublin.
    4. US of A 2014: What’s not to want about the American Dream? A longer-than-typical day of work at a desk job fresh out of grad school? Black 47 makes their political/social statement about the younger generation entering the workforce and state of affairs surrounding it with the lyrics presented mostly in a spoken word/rap style.
    5. The Night The Showbands Died: The most profound song on the album, it tells of the Irish Showband scene in the 1970’s before diving into the tragic events of the Miami Showband Massacre on July 31, 1975. The arrangement of the song, musically and lyrically, makes it ring far. The ascending guitar riffs accented with trombone, sax, and pipes create a solemn tone overlain with lyrics about the innocence of the showband music scene. A faster break in the song gives a feeling of chaos as we hear a frantic exchange between the Miami showband and UVF members before returning to the chorus from earlier in the song.
    6. Johnny Comes A Courtin’: How about some Irish reggae? Taking a stab back at Cromwell’s dealings with Ireland in the 1600’s, Black 47 gives us a story of a young Irish woman sold off as a slave to harvest sugar cane in Jamaica, only to find love with an African slave and unable to consult her father back home for advice. This is a clear nod to the early days of reggae/ska.
    7. Let The People In: Let’s call this one flute-funk, driven by a funky bass line and featuring a breakdown of slap-bass and a flute solo.
    8. Lament for John Kuhlman: This one is a short instrumental, but a curious mind would question the meaning behind it. A pretty little tune introduced by a music box, this one is short tribute to a collaborator and friend of Fred Parcells (trombone). Its placement before “St. Patrick’s Day” makes it feel like an introduction to that song.
    9. St. Patrick’s Day: This one drives fast with half-time feel choruses that will make you want to get up and dance like it’s St. Patty’s Day in the Bronx.
    10. Queen of Coney Island: This is one of the musically easier listening tracks on the album featuring some jazz-rock overtones, melodies driven by the horns, and a brief soprano sax solo from Geoff Blythe at the peak of the song. It fits well in telling the story of the “queen.”
    11. Shanty Irish Baby: Syncopated rhythms and a simple bass line give a dash of slow/relaxed rockabilly that fits well with the lyrics that express the love for a simpler woman than the uptown champagne-sippers.
    12. Ballad of Brendan Behan: Black 47’s final recorded tribute to a notable Irish figure, this time writer, poet, and Irish Republican Brendan Behan. You’ll want to raise a pint in Brendan’s honor as you listen to this one.
    13. Hard Times: A song that has stood the test of time since first written for the middle class by Stephen Foster in 1854 and recorded by many, Black 47 leaves us with “Hard Times” as their last ever recorded studio track. Perhaps a phrase Black 47 wants to ring on their legacy, hard times come again no more. Black 47’s take on this tune makes it rank amongst the many great versions out there.

    Last Call is an album with its heart as much in New York as it is in Ireland – a testament to a pond-spanning musical bridge Black 47 has created in the rock genre between Ireland and the States. It is an album Black 47 fans are thankful for – one more genuine collection of new songs before they part ways. Black 47 may soon be a thing of the past, but Last Call is a bastion of music and prose that will help carry on their legacy.

    Key Tracks:  The Night the Showbands Died, Culchie Prince, Johnny Comes A Courtin’

    Black 47 wraps everything up on November 15th at the B.B. King Blues Club in Manhattan with less than two dozen scheduled shows before then, including one at the Irish 2000 Festival in Ballston Spa, NY this Saturday September 13, one at Connolly’s 45th Street location in Manhattan on September 27 and at the Towne Crier in Beacon on October 26.

  • The New Mastersounds and Orgone Meet in the Middle

    One band from Leeds, England and the other from Los Angeles.

    Meeting in Buffalo last Wednesday, Orgone and The New Mastersounds packed The Tralf for a soulful throwback with a good helping of funk thrown in for good measure. With one making the far trip east across the U.S. and the other coming west across the pond, Buffalo was treated to a perfect pairing of solid musicianship all on one stage.

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    Frontwoman Adryon De Leon

    Orgone kicked things off, and while they may have opened the show, this is FAR from your typical opening act. The band came onstage Wednesday night and laid it right out for the Queen City, jumping into a tight melody that rode along the rhythm and combined to pull at people’s feet and sway their hips. The band blends funk and soul in a very classic, yet powerful way, emitting a surplus of energy that immediately powered the crowd. The Wednesday night audience was sparse at the release of the first note, but had the floor covered by the time the song wrapped up.

    Singer Adryon De Leon joined the band onstage after the start, gracefully stepping up to deliver her powerful voice. She didn’t let the crowd have it right out of the gate, opting to ease in with a soulful, yet jazzy hook. Her full capabilities were quickly realized by the city’s funky fans. The diva commanded the stage with her presence and elevated the already incredible musicians who backed her.

    The band was able to walk around the venue before the show started without many noticing, but that is sure to change after the performance they put on. The sitters were soon standers and standers quickly became dancers. Their sound was the catalyst to a shift in energy in the room. Other music websites must not have caught an Orgone show yet, because this band is without a doubt worthy of a mention when talking about the Top 10 Current Funk Acts if you’ve seen them live.

    The enthusiastic crowd that filled the place on Wednesday let the band know how they were feeling during any lull in the action, screaming and encouraging the band to keep it up. Orgone’s throwback sound was refreshing and deeply intoxicating. The way the instruments played off of De Leon’s voice left many with eyes closed, fully embracing the sound. In retrospect, the West Coasters damn near stole the show.

    De Leon sat out for a few songs, allowing the rest of the talented group to share in some of the spotlight. All around, this is a special mix of people, from guitarist Sergio Rios to percussionist Chuck Prada who ripped a solo all his own earlier in the night. As De Leon stepped back out though, her quickly developed fan group cheered her back on. Her multifaceted approach was showcased through her ability to groove through low-end melodies and belt out highs that sent the crowd reeling.

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    Keyboardist Dan Hastie

    Before finishing their set, guitarist Sergio Rios said, “That’s what it feels like to love.” Surely it was a setup though as the blistering solo he saved for the final song completely blindsided the crowd. He just let us have it, throwing everything he had through the six strings of his guitar. With how powerful of a set overall, and especially in closing, this band put on, it wouldn’t surprise me if Orgone packed the same room on their own next time they come back.

    New MasterSounds-0259The New Mastersounds were up next and did not have an easy act to follow. Guitarist Eddie Roberts’ suave and dapper attitude was quickly exuded though as he setup, letting everyone know that they were up for the challenge.

    Kicking the night off, the band immediately showed the crowd their stripped down and organic approach, while simultaneously filling the room and proving the old adage of “less is more” to be true. With little to no introduction, the band went from the first song into “Dusty Groove”, leaving only a rhythmic reset in-between. This may have been the first date of their U.S. tour, and also the first time they had played together in over two months, but the crowd would have been oblivious if the band hadn’t told them. The four-piece from across the pond settled in rather quickly with no visible rust.

    Drummer Simon Allen and bassist Pete Shand were tightly synced from the start, becoming even more intertwined as the show wore on. Their direction provided a moving treadmill that the other two members had to jump on with their melodies. While the lengthy break might be a detriment to some bands, The New Mastersounds seemed to be actually using the reunion to their advantage with an excitement you could feel through their music.

    In true testament to how rhythmically tight this band is, Eddie Roberts played a tambourine with his foot as he started the opening line of “Morning Fly” through his ’65 Gibson hollow body guitar. As Eddie ripped through jazz scales, Simon built the beat while the remaining members would join for support. The undeniable swell captivated the whole room and pushed everyone to dance harder into the night. It was as though the band just picked up their musical conversation right where they left off. And just like a renewed friendship has those exciting moments, so too did this night with the entire band sharing smiles with the crowd when they would particularly nail a segment.

    New MasterSounds-0254

    As individuals and collectively as a band, their simplistic approach utilized spacing as tension that fought an incessant rhythm. By laying back, the band drew your ear in and allowed the music to breath before taking off again. As they launched into the opening track “Old Man Noises” from their latest album Therapy, the band brought an unmatched ferocity to whatever song they damn well chose. Organist Joe Tatton threw his heavy Hammond overtones out into space while Eddie took that same foot he used for the tambourine and turned it loose on his wah pedal, creating a tremelo effect on an incredible rendition of that song’s solo.

    Many people were caught deeply entrenched in the music throughout the night. The positive and soul-quenching material was absorbed by everyone who happened to venture out and written across their faces even after it came to a close. It may have been a trip for both bands, but the crowd was thankful for the night of music and everything the bands put forth on stage. As for the battle of who had the better set, well, it would be a tie in this writer’s eyes, but you can decide for yourself…

    Thanks to our friends at WNYmedia Network, we have audio of both band’s full sets:

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     All Photos by Thomas Sgroi

  • Hearing Aide: Interpol Return With ‘El Pintor’

    Interpol_-_El_Pintor_cover_artInterpol have made a triumphant return with El Pintor, their first album since 2010’s Interpol. With the departure of original bassist Carlos Dengler shortly after the completion of that release, the band went on a hiatus right after supporting the album with a tour. Lead singer and guitarist Paul Banks reconvened with lead guitarist Daniel Kessler and drummer Sam Fogarino wanting to make some more music. Banks picked up the bass and El Pintor soon fell into place with the new band configuration. Touring band member Brandon Curtis contributed keys on nine of the ten tracks as well. The band toured minimally this summer and were a major highlight on the third day of The Governors Ball and are now touring the United States this fall with  a two night stand taking place at Terminal 5 in November.

    The album starts off with rocker “All The Rage Back Home.” The band announces right away that they are back and ready to be back playing live in front of crowds. The entire album sees the band happy to be back and re-taking their position as a top rock band from New York. “My Desire” has Banks’s voice soaring over beautiful guitar solos by Kessler. The back to back placement of these songs to start off the album give Interpol fans exactly what they want from this band, great rock songs that you can dance to and get lost in.

    “Same Town, New Story” keeps the driving beats by Fogarino going with slick guitar parts added by Kessler. Banks’s and Kessler’s voices, for the first time on the album, meld together beautifully throughout the song. The lyrics may not be the most subtle of El Pintor, but the band makes them work flawlessly.  “My Blue Supreme” and “Everything Is Wrong” are not up to par with the rest of the album. The band hits its stride and doesn’t push itself in the middle of the album. When the album gets to “Tidal Wave” they break back through and bring the album home. The dense layering of instruments and vocals is easily one of the highlights of the album. The song is unlike anything else on the album and hopefully is a direction the band will continue to explore.

    El Pintor is a great return to form for the band that had to show the world they were back to being the band everyone remembers from the early 2000s. The personnel may have changed a bit, but the band still has its unique sound ready for the masses to eat up. Interpol fans should rejoice as the band is back and is ready to take on the world again.

    Key Tracks: All The Rage Back Home, Same Town, New Story, Tidal Wave

  • Steely Dan Closes the SPAC Season with Absolute Mastery

    Steely Dan is known for high-quality composition, intellectual lyrics, and songs that contain multiple layers of meaning. Yet, while on SPAC’s stage on Sunday, Aug. 31 their performance was quite simple. No fancy props, no flashy clothes, no crazy antics. The complexity of their music compared to the simple performance on stage was ironic.

    The irony of Steely Dan seems to be a common theme. Even their name is ironic. Those who don’t know the band might assume it is named for one person whom perhaps either has a “steely voice” or who makes the guitar screech like grinding steel. But Steely Dan is not named for one person – they are named for an adult toy that was the subject of the novel, The Naked Lunch and the band’s name definitely does not describe how they operate on stage.

    Their performance does not focus on one person; in fact, it’s not even really focused on the two men (Donald Fagen and Walter Becker) who founded the band in the 1960s while attending Bard College. All 13 musicians on stage had an opportunity to show off their incredible talent. The keyboardist, guitarists, and backup singers were all given ample time to display their gifts. All four horn players had solos, and even had a chance to step to the front of the stage to highlight their life’s work. The drummer had multiple times to shine, and in fact, lights were arranged behind and underneath him to further emphasize his explosive talent.

    Fagen and Becker, who are of course, the glue that holds Steely Dan together, were the guys who drew thousands of fans to Saratoga Springs. Both are brilliant musicians. Fagen was working with malfunctioning equipment; the G above middle C on his  keyboard was not working, but, as he told the crowd, he worked around it. Becker’s stories, which started out in a conversational tone, but following tangent after tangent, ended up fitting into the music that the band was building up behind him.

    Fans who came to hear their Steely Dan favorites were not disappointed. The 1970s hits, such as “Rikki Don’t Lose that Number,” “My Old School,” and “Reelin’ In the Years” were performed with absolute mastery.

    Steely Dan’s Jamalot 2014 Tour will end with a three-day run Sept. 19-21 at The Capitol Theatre in Port Chester,N.Y. with several other scheduled performances in the Northeast.

    Set List:
    Cubano Chant (orchestra) , Black Cow, Aja, Hey Nineteen, Black Friday, Show Biz Kids, Time Out of Mind, Two Against Nature, Dirty Work, Bodhisattva, I Want To (Do Everything for You), Daddy Don’t Live in That New York City No More, Babylon Sisters, Reelin’ In The Years, Josie, Peg, My Old School, Rikki Don’t Lose That Number

    Encore:
    Kid Charlemagne, The Untouchables

  • Dark Star Orchestra Played to a Packed Crowd at Rochester’s Party in the Park

    One of the most notable events from the Party in the Park lineup was Dark Star Orchestra’s event, which featured a random set-list, not a specific recreation of an authentic Grateful Dead show as they are famously known for. The set-list featured gems like “Loose Lucy” and “west L.A. Fadeaway” in the first set while the second set had highlights, “Foolish Heart” and encore “Dear Prudence”. Despite they did not choose a set-list from a show, the energy was still there and family was all around.

    Summer has come and gone and the Autumn time is coming soon, when we look back to those hot summer nights, many in Rochester will surely think back to the superb Party in the Park concert series we enjoyed this year. The location had been brought back to the original spot at the Martin Luther King Jr. Memorial Park at Manhattan Square, and Rochestarians couldn’t have been happier about the re-location and the hot line-up.

    Setlist – Dark Star Orchestra Party in the Park

    Set One: Greatest Story Ever Told ; Quinn The Eskimo (The Mighty Quinn) ; It’s All Over Now ; Loose Lucy ; Lazy Lightning > Supplication ; West L.A. Fadeaway ; Big River > Mystery Train ; On The Road Again ; Let It Rock

    Set Two: Feel Like A Stranger ; Foolish Heart > Lost Sailor > Saint Of Circumstance > Unbroken Chain > drums > space > Fire On The Mountain > Hey Jude > China Doll > Johnny B. Goode

    Encore: The Shape I’m In > Dear Prudence