NYS Music 20​14

Category: Reviews

  • Hearing Aide: Eastbound Jesus ‘Ruff Stuff Nuff Said’

    ruffstuff1On Saturday December 6, Parish Public House and Guthrie Bell Productions will host the North Country Rock band known as Eastbound Jesus for the release of their fourth album, Ruff Stuff Nuff Said.

    This is Eastbound Jesus’ first live album, recorded at Parish Public House back on January 31 and February 1, 2014, when it was still known as Red Square. They recorded over 40 songs from that weekend and picked the top 14 songs to create the fun loving, foot stomping Eastbound Jesus show experience.

    Ruff Stuff Nuff Said was worth the wait for the crisp professional sound alone. Knowing firsthand how smothering the sound can be in Parish Public House, especially with more than a few enthusiastic fans, the album has a great balance of vocals, instruments and cheers. With a “take it or leave it” attitude, much like the musicians themselves, Ruff Stuff gives fair warning to listeners of the stripped honesty and raw energy of their live shows. The album starts with “I Wouldn’t Know”, a slow building melody that erupts with continuous peaks of banjo and guitar plucking with a mighty chorus, the foundation for most of their songs and it works every time.

    Showcasing EBJ’s ability to convey their unique sound as well as a few crowd pleasing covers, one of the top tracks is the Grateful Dead’s “Turn on Your Lovelight” jam that grows out of “Don’t Use It Much” when joined by trombonist Bryan Brundige and keyboardist Tony Meier. You can actual feel the venue start to get dizzy with the ferocious melody. From soft country ballads to rebellious swamp rock, Ruff Stuff Nuff Said provides light to why it’s no wonder EBJ has such a dedicated, rowdy fanbase that can relate to their Upstate sound and everyday themed lyrics about the weather, drinking and authority.

    Key Tracks: 54 Miles, Don’t Use It Much, Where The Winter Goes

    Click here to read our review from the shows where Ruff Stuff Nuff Said was recorded.

    Doors for the show on Saturday open at 8 with backwoods rockers Lucid set to kick off the night around 9. Tickets will be available at the door for $12 but you can secure yours today online for $10. Eastbound Jesus shows have a reputation for being sold out events, making this coming one no different. Red Square recently underwent a full upgrade to become Parish Public House, the same music venue we love with the addition of a full Louisiana eatery and drinkery. Their menu makes it a smart decision to get there early with items like the various po boys, alligator bites, gumbo, burgers and more Cajun delights. Eastbound Jesus has recently announced that they will be taking some time off for some desired studio time. So be sure to pick up your copy of Ruff Stuff Nuff Said to help you survive the winter and come out to the show this Saturday!

  • Hearing Aide: The Disco Biscuits ‘The Classical Set’

    The Disco Biscuits recently released a remastered recording of their 2003 performance at TranceMission music festival in Tennessee, one that has since been lovingly referred to as ‘the classical set’. This remastered recording is available on vinyl and for download and includes covers of classical pieces by composers such as Mozart and Tchaikovsky, as well as some Biscuits’ songs that are heavily influenced by classical music.

    The Disco Biscuits The Classical SetThis recording is a perfect addition to a Disco Biscuits fans’ holiday wishlist, or for those of you who aren’t as familiar and want to see what this band is all about, this may be a good option for you.

    The album starts off with Mozart’s “Eine Kleine Nachtmusik” whose title sounds foreign but you would most likely be able to recognize by ear. The song starts off sounding like a day at the races, and is driven by Jon ‘Barber’ Gutwillig’s guitar whose riffs at some points makes you feel like you’re walking on a tightrope. This particular song by Mozart seems a good choice because it’s happy and fast paced, and demonstrate the Biscuits’ ability to successfully tackle a classical composition.

    The next track is “The Devil’s Waltz”, which shines on this recording as an example of classical inspired Biscuits’ songs. “The Devil’s Waltz” starts out sounding like the introduction of a Russian wedding and unfurls itself into a dark jam in the middle, which is perhaps a nod to the song’s title. The song ends on a high note and as with many classical music pieces, it tells a story that can be interpreted differently by each listener.

    From there they play a short and sweet but incredibly fast paced cover of “Sabre Dance”, originally by Aram Khatchaturian. Coming in at a little over two minutes long, “Sabre Dance” resembles a song that would be fit for a circus. A slightly whimsical sound, this song enables you to envision clown cars crashing into each other, or old jugglers tossing their wares high into the air.

    “The Thieving Magpie” and “The Overture” are two songs that display the bands’ ability to connect with each other and develop a sophisticated sound. “The Thieving Magpie”, originally written by Italian composer Gioachino Rossini, sounds like what an Eastern European military officer might listen to on his day off. Characterized by trilling notes on the guitar and piano, it is pretty and compelling. “The Overture”, which is the second classically inspired Biscuits’ song on this album is characterized by breakbeat jams and a complex layering of sounds, which is really what The Disco Biscuits do best. “The Overture” is really a quite beautiful song that starts out uplifting and then delves deeper down into a more electronic influence. Each member of the band truly coalesces and is instrumental in making the song work to garner your attention. The song ends with a definitively more classical feel, swooping the listener back into the light.

    The album rounds itself off with two more classical covers, “In the Hall of the Mountain King” by Edvard Gries and “Waltz of the Flowers” by Tchaikovsky, where once again the Biscuits’ emboss their own style onto different classical pieces. Throughout the entirety of the album, The Disco Biscuits use the template of classical compositions to explore different areas of their sound. Whether you’re interested in listening to a new side of The Disco Biscuits you haven’t heard before, or wanting to hear new interpretations on old classics, The Classical Set demonstrates that The Disco Biscuits can stay true to the essence of their cover songs while sealing their own mark onto timeless compositions.

    Key Tracks: Eine Kleine Nachtmusik, The Devil’s Waltz, The Thieving Magpie

  • Hearing Aide: Soundgarden, ‘Echo Of Miles: Scattered Tracks Across The Path’

    Seattle hard rock outfit Soundgarden has graced a long and vivid music career. With six studio albums, several EP’s, a live album, and multiple soundtrack appearances spanning almost three decades, the long awaited b-sides collection Echo Of Miles: Scattered Tracks Across The Path is guaranteed to please any Soundgarden fan, or any fan of hard rock and metal. This collection was unleashed November 24, and contains three discs of some of the best Soundgarden tracks you will ever hear. It contains ultra rare recordings that are damn near impossible to find, some tracks are familiar, some are so rare that they’re going to sound new.

    And that’s the beauty of this collection.

    soundgarden echo of milesThe first disc contains eighteen original tracks, including two brand new recorded songs. The first track “Sub Pop Rock City” is an early recording from Soundgarden’s Sub Pop Records era, a very groovy Rolling Stones-like track. A very odd but rocking track. Then the album goes into “Toy Box,” off the ultra rare Flower EP. A very gloomy Sabbathy tune. Killer slow rifts from Kim Thayil with crazy and gloomy vocals from Chris Cornell. The next two tracks “Heretic” and “Fresh Deadly Roses” are more bizarre, both off of the Loudest Love EP , which has more distorted and screeching guitars from Thayil and Cornell screaming bloody murder. The album then goes into a groovy and fast track called “H.I.V. Baby” which was recorded live during Soundgarden’s early years and wound up as a b-side to “Room A Thousand Years Wide.” The quality isn’t the greatest, but it sounds dirty and distorted, but that’s the beauty of Soundgarden’s early work. Then we get a very heavy track called “Cold Bitch,” b-side to “Spoonman.” that Cornell wrote about an ex-lover.

    The album switches gears a bit with the track “Show Me,” a track written by bassist Ben Shepherd before going into “She’s A Politician,” which is a very short track. Then we are graced with the heavy “Birth Ritual” which was off of the movie soundtrack “Singles.” This is easily one of the best tracks from this collection. Catchy rifts from Thayil, clutch drumming from Matt Cameron, and Cornell really bringing the best of his vocal range. The album takes another strange turn with the track “She Likes Surprises” which was originally off of Songs From Superunknown EP. Then it gets heavy again with “Kyle Petty, Son Of Richard” and “Exit Stonehenge” Both tracks are very heavy but strange, can’t help the fact that they’re catchy, “Kyle Petty, Son Of Richard” may be stuck in your head for days after listening to it thanks to some of best guitar work from Thayil.  Gloominess sinks again with “Blind Dogs.” This one is pretty much a stoner track because it’s slow and trippy. “Bleed Together” which was off the best-of compilation A-Sides, was a track that was originally supposed to appear on Down On The Upside but never made the cut, anyone familiar with that album will have a good idea on how that track sounds like and makes you wonder how on earth this song didn’t make the cut at the time.

    “Black Rain” graces this album as well, which was first released off the retrospective album Telephantasm, but was originally supposed to be on Badmotorfinger. Another track that makes you scratch your head and wonder why it never made the original album. It’s a heavy track that has Cornell screaming his best vocals. “Live To Rise”, made famous from The Avengers movie soundtrack, finally gracing a Soundgarden album. This one is probably the only radio-friendly song on this collection. Finally, the album closes with two brand new recorded tracks starting with “Kristi.” This song really put a smile on my face. It’s Soundgarden going back to the heaviness that was Badmotorfinger. A catchy song with the slow, heavy, down-tuned guitar rifts from Thayil. It’s been so long since we heard Soundgarden go this heavy. Although I enjoyed 2012’s King Animal, it didn’t have that really heavy old school Soundgarden sound. “Kristi” does just that. Disc one closes with the brand new track “Storm,” this track combines the sound of the Ultramega OK and Superunknown, which is a really clever way to close this part of the collection.

    soundgarden echo of milesThe second disc contains covers recorded over Soundgarden’s entire career. The first track is “Swallow My Pride” which is a fellow Seattle band Green River cover originally off of the Fopp EP. A really fun track to listen to start this album. “Smokestack Lightnin’”, a Howlin’ Wolf cover, was originally recorded on Soundgarden’s first full length album Ultramega OK. Then we get one of two Beatles covers on this disc starting with “Everybody’s Got Something To Hide (Except Me and My Monkey)” this is where Soundgarden really shines, because all four members said that The Beatles were one of their main influences. The album continues with another brilliant cover with Sly And The Family Stone’s “Thank U”, a heavier and more obscure take on this song.

    Right after that, we get the second Beatles cover with “Come Together”, the best version of this song you will ever hear – slow, heavy, and distorted. Clearly Soundgarden are experts at deviating cover songs. Then they managed to cover The Rolling Stones’ “Stray Cat Blues,” a cool cover, but doesn’t stand out like the other covers. The next cover is easily best one, Soundgarden covers Black Sabbath’s “Into The Void” but they change the lyrics from the song with lyrics about Chief Sealth, a historic Native American that lived in the Seattle region in the 1800’s. A brilliant take on this song. Thayil does a wonderful job replicating Tony Iommi’s iconic rifts and solo’s while Cornell does such a great take on Ozzy Osbourne. Nothing can beat this.

    Soundgarden then pays tribute to Devo with an excellent cover of “Girl U Want”; any fan of Devo will appreciate this cover. Soundgarden pays tribute to The Doors with two tracks on this disc starting with “Touch Me” with Stephanie Barber, who is a friend of the band sang on this song with Cornell. This may be the only recording where we hear Cornell partake in a duet. Soundgarden manages to cover Jimi Hendirx’s “Can You See Me” on the next track. Hearing Thayil’s take on Jimi Hendrix’s guitar solos is absolutely fascinating. Then we get a cover of Budgie’s “Homicidal Suicidal,” a really slow and sludgie song. Clearly this band was an influence on Soundgarden which is why they must of decided to cover this song. Soundgarden pays tribute to seventies punk with the next two tracks starting with a cover of The Ramones’ “I Can’t Give You Anything” and Fear’s “I Don’t Care About You.” Both are fun tracks to listen to, especially if you’re a fan of that era. We get the other Doors cover on the next track with “Waiting For The Sun” with a live recording of it, originally on 2011’s expanded version of Live on I-5. A slow and really heavy version of this song.

    Then we get another cover from that same album with a cover of The Stooges “Search And Destroy” Again, its heavy, but this one is faster than the last cover. Soundgarden puts out the third consecutive live cover, but this time, they go extremely out of the band’s character by covering Spinal Tap’s “Big Bottom.” It’s amusing, but it contains punishing guitars, a real treat to listen to. Finally the album closes with yet another out of character cover, this time, Soundgarden covers Cheech & Chong’s “Earache My Eye.” This one is recorded live as well, and holy cow is it funny to listen too.   It’s nice to see Soundgarden who is really known as a serious band show off their sense of humor on this album. I would say that the covers are the main reason to purchase this album.

    soundgarden echo of milesThe third disc contains fifteen oddities. Including remixes and instrumentals plus two brand new tracks. The album kicks off with “Twin Tower,” a brand new instrumental tune. This tune has Thayil’s guitar work front and center along with some powerful drumming from Cameron. The next track is another instrumental tune “Jerry Garcia’s Finger” which was the b-side to “Pretty Noose.” This track is kind of pointless. I think the band threw this in as a joke. The album segways with another strange instrumental tune “Ghostmotorfinger,” which is just sound of a motorcycle looping, again pointless, unless you’re really stoned off your ass. (giggles) Then we get another brand new unreleased instrumental track called “Night Surf.” This one is a bit haunting, nothing spectacular but a nice change of pace from the previous two tracks. The next track “A Splice Of Space Jam,” yet another instrumental similar the previous track, was a b-side to “Blow Up The Outside World,” again, nothing spectacular. Finally , we get an excellent instrumental tune “The Telephantasm” which was recorded during the Fopp era of Soundgarden. This one is groovy and fun to listen to, miles above the other instrumentals.

    A full blown song with “Black Days III” which is off the 20th anniversary of Superunknown. This is the third version of the song “Fell On Black Days.” It’s an awesome take on the song with more down tuned guitars and Cornell screaming more than singing. Now you get a sense the album is picking up more. Then the b-side to song “Burden In My Hand” called “Karaoke” kicks in, this is a cool track with some fine drumming from Cameron and strange lyrics from Cornell. Next is “Fopp (Fucked Up Heavy Dub Mix)” off of the Fopp EP.   I absolutely love this track. It contains clips of Godzilla: King Of The Monsters in it, including that famous roar, and the speech from Raymond Burr’s character. This song has a place in my heart due to my love for kaiju films. Then the album kicks into a remix of “Big Dumb Sex.” This is one of my favorite songs of Louder Than Love but it’s a whole different but interesting take on it. It’s definitely worth a listen to it. This was the b-side to “Loud Love.” After that, the album goes into a really crazy version of the classic “Spoonman,” this version is more a trippy hip hop remix of it, and it also includes more Godzilla roars. Soundgarden must be a huge fan of Godzilla. Next, we get a very cleaver remix of “Rhinosaur” which was the b-side to “Ty Cobb” I really like how they produced Cornell’s voice and remixed Thayil’s guitar track. Excellent production on this track. That trend continues into the next track with the remix of “Dusty.” They made it softer and gloomier, but again, the production is excellent. The album wraps things up with a remix of “The Telephantasm” before going into the pointless track “One Minute Of Silence” (which exactly what it is). Calling this disc full of oddities is definitely true. No other way to put it. Some tracks are pointless, but contains so awesome remixes.

    Overall, this is a fantastic and must own album. It’s a tad bit pricey due to the fact that it is three discs of material, but its brilliant and takes you on a journey showcasing the true talent of Soundgarden, showing that their b-sides, covers, and rare tracks are still boss over 99% of music that is out there right now. I’m glad Soundgarden took the time to dig deep and release these songs in a compilation, because they’re damn near impossible to find. Invest your money, and invest your ears to this album, you will be happy that you did.

    You can purchase Soundgarden’s Echo Of Miles: Scattered Tracks Across The Path here.

    http://www.youtube.com/watch?v=KgWS6DkogV0?list=PLLzn6aYLx2LWcxyRhZWHAqOYX1S447q8F

    Key Tracks:

    Disc One: H.I.V. Baby, Birth Ritual, Kristi

    Disc Two: Thank You, Come Together, Into The Void

    Disc Three: The Telephantasm, Black Days III, Fopp (Fucked Up Heavy Dub Mix)

  • Josh Ritter and The Beast Within

    “I’m singing for the love of it, have mercy on the man who sings to be adored.”

    In an industry inundated with flash, flare and over the top shock-inducing antics, Josh Ritter employs nothing by way of tactic.  In fact, there is nothing exceptional to note of the author-singer-songwriter from Moscow, Idaho.  No fancy foot pedals, no blinding light displays, no revealing bootie shorts.  Nope, just an every-guy and his acoustic guitar.

    What begs consideration however is the depth of his musical catalog and the urgency with which he performs to his loyal following of folk/Americana aficionados.  As a performer, Josh exhibits a boyish charm; an ease and accessibility granted through wide eyes and a cheek-straining smile.  He seems almost smitten to play the songs that he himself has penned.  Like somewhere in the silence of his own head he is begging the question, “Is this really happening?”.  This humility and enthusiasm proves infectious to his audience, and those who packed into Water Street Music Hall on a frigid Friday night in November were no exception.

    Josh Ritter’s current tour, based distantly on the heels of his 2013 LP A Beast in it’s Tracks, is a minimalist presentation and a treat for fans of all things acoustic.  No frills here.  Just he and longtime collaborator Zachariah Hickman on string accompaniment, along with a smattering of original folk music that dates back 15 years.  The audience listened in delight as the duo opened with “Monster Ballad”, “Bonfire” and the foot-stompin’ “Me and Jiggs” from the 2000 LP The Golden Age of Radio.  The set chugged along for over two hours, highlighted by classics such as “Curse The Rose”, “Cumberland” and the painfully revealing yet aptly titled “Hopeful”, a song from his current album that chronicles his divorce from musician Dawn Landes in 2011.  The encore was short and sweet, comprising of the “So the World Runs Away” B-Side “Galahad” and the all-time Ritter classic “Kathleen” from 2003’s Hello Starling LP.

    As the show drew to a close, Josh and Zach pulled back on the strumming and gave the audience it’s long overdue vocal solo:

    “I’ll have you back by break of day. I’m going your way anyway. If you’d like to come along. I’ll be yours for a song.”

    Josh Ritter came to Rochester for more than a song.  In fact, he came for 25 of them.  Throughout the performance he illustrated his prolific range:  brilliant songwriting, enthusiastic musicianship, All-American charm and just enough vulnerability to make it all real.  The Beast that is Josh Ritter is a force to be reckoned with.

  • Hearing Aide: Ariel Pink, “pom pom”

    ariel pink

    After his controversial interview with The Guardian, ageist views of Madonna, and constant struggle with fitting into the indie rock music sphere, Ariel Pink sets out to release all his grudges on his new album, pom pom.

    In this new 17 track album, Pink encourages us to “keep your eyes on the dream, in the theater of endless reform” and as always, “don’t forget to show your stripes.”

    Pink has surely not had any difficulty showing his stripes, after being signed to Paw Tracks as a solo artist early in his career. After releasing several successful self-made recordings, he was then signed to 4AD with his experimental backing group, known as “Haunted Graffiti.”

    Going back to his solo roots in pom pom, Pink expands the boundaries of experimental indie by influencing 80’s pop, prog rock, and a bit of glam rock, which I could see in a sequel of the Rocky Horror Picture Show.

    For those who enjoy standard meters and catchy choruses, songs like “White Freckles” and “One Summer Night” have been taking music blogging sites by storm, and for a good reason. As an 80’s buff myself, tracks like “Lipstick,” “Four Shadows” and “Picture Me Gone” provide the perfect soundtrack to pop into your cassette player.

    For less conventional individuals, songs like “Dinosaur Carebears,” “Black Ballerina” and “Plastic Raincoats in the Pig Parade” have a very odd sound to match their song title names. With the additions of sound effects and constant key and meter changes, these songs are certainly like candy for the musical ear.

    While Pink doesn’t perform live as often, he will make one stop in NYC on February 25th at Terminal 5 before undergoing a European tour. Until then, make sure you follow his Facebook and Twitter, and check out the video for his top track from the album, entitled Put Your Number In My Phone.

    Key Tracks: Put Your Number In My Phone, Picture Me Gone, Black Ballerina

  • Funsgiving Tradition Carries on Strong at New Location

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    In its seventh year, the B3nson Family Funsgiving was in a new space, but held true to the sounds and energy that have made it a familiar tradition in the Albany music scene. A year ago Funsgiving was held where it had always been, at the now defunct, and sorely missed Valentine’s, packing the rooms on both floors. This year, instead of walking a flight of stairs between stages, it was between the doors of Pauly’s Hotel and The Low Beat on Central Ave. Two rooms, seven bands, all for ten dollars, and it would prove to be a pretty excellent deal.

    Brooklyn four piece Leaks/Mirrors made the trek to Albany to kick off the night at Pauly’s. It was apparent people had paid attention to the warning that music would be starting early, the crowd was pretty sizable by the time the music bounced over next door for the first set of the night at the Low Beat from Secret Release. Guitarist Mike Campana and keyboardist Dan LaFave trade off vocal duties with a sound that is easy to listen to, easy to like and easy to move to. Don’t take “easy” as a negative, it simply means they’ve crafted their songs so nicely that it’s tough to hear them and not want to move closer and see what this band, relatively new in its current form, has to offer.

    After a nice set from Neighboorhood of Make Believe over on the Pauly’s stage, Bear Grass’ set inside The Low Beat felt like some sort of mid-winter barn show. The wooden interior, the crowd bundled up in hats, scarfs and sweaters on what was the coldest day of the season so far, huddled around the stage with drinks in hand. Standing in the back of the room, the band’s often soft demeanor led them to being sometimes easily overlooked. However, stepping closer into the crowd, their warm sound was absolutely captivating. Bear Grass’ sound felt bigger than usual, with layers of vocals and guitars, and Katie Hammon’s lead vocals seeming to gain even more power and confidence over the past year.

    Back over at Pauly’s people were filling in the room for Hammer Hawk, the trio that creates rock in all the right ways.  Hammer Hawk makes music that feels good to yell along with. It’s rock with alternative roots that feel almost comforting, and familiar. Familiar in its most kind interpretation can sum up Funsgiving. If you’ve been to one before, the faces are familiar.  While some of the bands were seasoned Funsgiving veterans, the ones that weren’t, had mostly been there before, just in different forms. B3nson is a music collective of musicians and friends with bands that are constantly evolving, where one project ends, someone is inspired to take a sound in a new direction and a new one begins.

    The crowd was at its peak during The Parlor’s set, who was celebrating the release of their new EP, Ghost House. Where Bear Grass’ set felt in need of a fireplace, the only thing missing from The Parlor’s set could’ve been a disco ball. Covering the Eurythmics “Sweet Dreams”, with the dual vocals of Jen O’Conner and Donna Baird, along with the contagious, wild energy of frontman Eric Krans, The Parlor ensured there was a smile on the face of everyone in the room. Funsgiving favorites, they knew exactly how to get the crowd all warmed up and moving throughout their set, playing old crowd favorites and great new tracks.

    Closing out the night was the band that has quickly become a party-time favorite in Albany – Rival Galaxies. For people in it for the long haul, there was no better band to close out a great night of music. They’re the type of band that even if you had no clue who they were, and you walked into one of their shows, they’d have your attention, and have you moving in an instant. Think LCD Soundsystem with a hint of punk energy. Drummer Todd Richards is so precise he at times seems more machine than man, and bassist Nick Wallas finds a groove that fits perfectly and lays it down solid, making for an ideal rhythm section for a live dance band. The energy from Matt Ferguson on synths never ends, and neither does the unique range of sounds he creates. Even if guitarist/vocalist Mike Fuccilli didn’t nail all the words to their cover of Semisonic’s “Closing Time” to end the show, it didn’t matter. When you put out a sound and energy like they do for a full set, and a room is filled with that many good friends, perfection can be thrown out the window in exchange for an honest, good, yet slightly cheesy in all the right ways, drunken singalong. Let’s be honest, sometimes, nothing feels better.

    B3nson has created a musical collective that from the outside, seems completely organic. Over the years they’ve provided truly quality sounds, and great texture to the musical landscape of Albany.  It’s friends and musicians that would be throwing this annual party each year whether anyone else showed up or not. But, we’ll keep showing up, because their constant output of music is something Albany would sound far less vibrant without.

    Aside from Funsgiving, The B3nson Recording Company is responsible for the annual Restoration Festival, along with countless great shows and releases throughout the year. To keep up to date on what they have going on, find them on Facebook.

  • Slayer, Suicidal Tendencies, Exodus Level Albany’s Washington Avenue Armory

    As major touring season is coming to a close and a memorable year of concerts approaching to an end, The Washington Avenue Armory was graced by metal’s best bands: Exodus, Suicidal Tendencies, and main headliner Slayer, to a three thousand plus crowd on November 25. Before, during, and after the show, there lots of people screaming “Slayerrrrrrrrrrrrrrrrrrrrrrr!”

    I was late arriving to the show after being stuck in traffic and the line to show was still massive when I arrived, so I wound up missing most of Exodus set, but managed to catch their last two songs “The Toxic Waltz” and “Strike Of The Beast.” Judging by the crowd, they definitely made an impact, they sounded loud, clean, and vital as ever. The recent arrival of vocalist Steve “Zetro” Souza couldn’t have come at a better time for the band.

    When Suicidal Tendencies hit the stage, they whipped the crowd clean across the floor. I have never seen any band perform they way they do. It was like they had five frontmen in the band because all five of them were all over the place. Vocalist Mike Muir at age 51 is going absolutely bananas on stage and performs better than any twenty-something person from what I can tell. They opened with my favorite song, “You Can’t Bring Me Down.” Although Mike Muir is the only original member left in S.T., this currently lineup has something special going on and S.T. is here to stay for a long time.

    Suicidal Tendencies also did a great job doing a set list that contained songs that were more “thrashier” to really please the crowd. The second song they played was “Freedumb” before getting the crowd to participate in the classic “War Inside My Head.” After they played “Subliminal” the band took a break and Mike Muir addressed the crowd about the bands history and their love for skateboarding and played one of their trademark songs, “Possessed To Skate.” Then what was probably the highlight of their set, they played “I Saw Your Mommy” before ending their set with “Cyco Vision” and “Pledge Your Allegiance.” I was kind of surprised they didn’t pay tribute to Tim Williams who sadly passed away recently, but did have t-shirts of him over at the merch table. They didn’t play “Institutionalized” but they didn’t need to with such a good performance.

    Finally, Slayer arrived on the stage to make everyone’s ears bleed. This time through, Slayer’s production was massive with four giant upside down crosses hanging above the stage and multiple backdrops throughout their set. They played for almost two hours, ripping through their set, going song after song taking very minimal breaks. Guitarist Gary Hoyt who is pulling a double duty on this tour with Exodus and Slayer, was on stage replacing the late Jeff Hanneman, and did a respectable job in playing Hanneman’s parts. Paul Bostaph was behind the kit, also doing a hell of a job. If you were blind, you would not even know it’s not the original lineup. Tom Araya sounds furious as he ever did, and Kerry King is still boss on guitar.

    Now for me, I did see the original lineup five years ago and it was sad not to see Hannaman there, but it’s a damn shame things didn’t work out with Dave Lombardo, but if it was your first time seeing Slayer, you wouldn’t care because their performance was clutch and top notch. They opened with “World Painted Blood” and other highlights included “Chemical Warfare,” “War Ensemble,” “Hell Awaits,” and “Jesus Saves.” But the best part of the show was when they played “Seasons In The Abyss” because just about all of their set was heavy, up tempo songs, but when they switched it up and played “Seasons In The Abyss,” hearing a slower song seemed to stand out more, and the stage lights went from what was primarily red through the whole show to yellow. At the end of their set, they wrapped things up with their trademark “Raining Blood, Psychopathy Red” before finishing up with “South Of Heaven” (which sounded really fantastic before paying tribute to Hanneman for “Angel Of Death” with a backdrop dedicated to him on display. Even though Slayer at this point of their career it’s more about their business and keeping it going, it doesn’t stop them from giving a performance for their insane fans.

    Overall a fantastic show, personally I thought Suicidal Tendencies owned the show, but obviously the crowd was there for their lords and saviors Slayer. I would imagine all three bands will be back in Albany sooner or later.

  • The Touré-Raichel Collective at The Egg

    As part of The Egg‘s Rhythm International concert series, musicians from around the world take the stage in the Swyer Theater and shower the audience in the sounds of corners of the world unheard by many. The most recent installment of this series brought The Touré-Raichel Collective, featuring Malian guitarist Vieuz Farka Touré and Israeli jazz pianist Idan Raichel along with Malian drummer Souleymane Kane and Israeli bassist Yogev Glusman, and between them collaborated across cultures and centuries of musical history to create a fusion of traditional musics.

    Touré-Raichel CollectiveThe song names were presented in their original language, the songs themselves unique and offering a different influence, perhaps more Malian than Israeli, more traditional than classical, or combining Afrobeat with Mid-Eastern influences. One composition was at times pleading and reaching, then growing and fading slowly, a journey through the instruments, a blend of classical piano with light guitar, smooth bass and the beating of a calabash by Kane; he makes it look so easy with such a great beat in every facet of the instrument. Raichel, like Chick Corea, plays the inside of the piano, adding to the collective sound.

    Raichel spoke in between a few songs, at length, bringing up the topic of ‘music that changed the world’, such as The Beatles and Pink Floyd. Considering that this music has been around for only 50 years at the most, and classical music that has lasted hundreds of years, above all, traditional music, the DNA of nations is the music from cultures that will last forever. Music from Mali has roots dating back thousands of years, and while the music of Israel is far younger, Jewish heritage stretches millenia. Weighing this, Raichel argued that  some songs will last forever. Perhaps, some 700 years in the future, in a church in Costa Rica, people will sing ‘Let it Be’, yet have forgotten who John Lennon was. With that, Raichel introduced “Thank the Lord for his Grace”, adding that he hopes it has the potential to be a song played 700 years from now in a synogouge in Costa Rica.

    Touré-Raichel Collective

    A song full of Malian funk stood out, adding a flamenco/salsa vibe that went on for over 10 minutes. A few songs elicited applause from the start, a pleasent surprise to see fans of musicians who are far from home. Before the finale and encore, Raichel mentioned that world music artists have the honor of playing the soundtrack of where they are from. An encore, seen below, was described as ‘the soundtrack of Mali’, and with its beautiful rhythm it led the audience out into a warm and windy night on the Empire State Plaza.

    Photos by Andrzej “Andre” Pilarczyk

  • Dark Star Orchestra kicks off the Tour in Buffalo to a Sold Out Crowd

    The hype was surrounding Town Ballroom on November 12 as Dark Star Orchestra was set to open up the tour in Buffalo, NY. Fans from all over the state drove in to get their Grateful Dead fix and with DSO giving them the closest experience a band could. DSO is known for playing an entire show from what the original Dead played and seemed to pick the perfect show for this night.

    Reaching deep into the catalog, the group chose a show from August 18, 1970 which took place in San Francisco. “Truckin’” opened things up and why wouldn’t it have, with Buffalo being cemented in the lyrics since the beginning; it was the perfect song to be played in any show in Buffalo. There were a lot of great classics as well as some songs that were not in every show, making the show an all around delight, especially with an all acoustic second set. If DSO comes to your area make sure to dust off your tie dyes and make it out, it will take you back to a simpler time and place and lets you leave your troubles at the door.

    Dark Star Orchestra buffaloSet One: Truckin’,  Dire Wolf, Friend Of The Devil, Dark Hollow, Ripple > Brokedown Palace, Operator, Rosalie McFall, New Speedway Boogie, Cold Jordan > Swing Low Sweet Chariot
    Set Two: Dancing In The Street, Next Time You See Me, Mama Tried, Cryptical Envelopment > Drums > The Other One > Cryptical Envelopment > Sugar Magnolia, Attics Of My Life, It’s A Man’s World, > Not Fade Away, Casey Jones > Uncle John’s Band

    Filler: Alligator > Death Don’t Have No Mercy > New Orleans

    * Show originally played by The Grateful Dead on 8/18/1970 San Francisco, CA

  • The Barr Brothers tour the Northeast and Visit the Late Night Show

    The Barr Brothers are currently on tour in the Northeast, as well as making their second guest appearance on the David Letterman Show.  They had to cancel a show in Philadelphia on Nov. 20 in order to play Letterman due to a last-minute invitation, but the band was able to play to a much larger crowd at the Bowery Ballroom, last Friday, Nov.21, and at The Sinclair in Cambridge, MA last Saturday, Nov. 22.   They will play Canada next on Dec. 5 (Vancouver, BC), Dec. 7 in Oregon, then Dec. 10 – 12 in San Francisco, Santa Cruz and Los Angeles  and then back to NYC at the Highline on January 8, before shipping off to Europe for a UK tour Jan. 24-30 [tour info]. The Barr Brothers have also recently added Mishka Stein on bass, from Montreal to their line-up.

    Here is the official video from the Late Show with David Letterman – “Even the Darkness Has Arms” ]  Letterman jokingly asked Brad, “You still live in Montreal?” Brad replied, “yes” Dave then said, “Paul and I will come up…we would like to manage the band. … I don’t know what arrangements you have now, but we’ll kill that, Paul and I will take over” Paul jokingly stated, “…and Joy Philbin will also co-manage”.

    Check out a full photo gallery by Phrazz – at the Historic Synagogue at Sixth and I, Washington, DC.  [Barr Brothers – PhrazzPix – HD Gallery 11/18/2014]