Category: Reviews

Giant Panda Guerilla Dub Squad with Funktional Flow Close Out Another Great Weekend

Music filled the air again at Willow Creek Winery this past weekend; two days filled with music to keep everyone happy. One of the greatest things about Willow Creek is that you get the festival experience in a smaller setting. If you combine the great location with Buffalive Productions, you’re getting the entire experience at a great value with Giant Panda Guerilla Dub Squad and Funktional Flow.

Buffalive, who just recently was founded, is doing things in their first year that many promotors take years to accomplish, putting great music out there for the fan to truly enjoy. Friday and Saturday was no different with the crowd being treated to a stellar show by Badfish-A Tribute To Sublime, bringing everyone the music of Sublime that they love, but most were not fortunate to see since the bands demise in the 90’s.Saturday brought music with reggae influence and started in the afternoon, going until well after midnight.

Preach Freedom, Mosaic Foundation, Tropidelic and The B-Side Dubs all playing early on before the main event. Funktional Flow and Giant Panda Guerilla Dub Squad played 2 sets each flip-flopping after each set. Funktional Flow started it off with the side stage and GPGDS took over on the main stage. Flow has been playing the winery all summer and seemed to have quite the following since Buffalove Music Festival. Giant Panda was great and as the night wore on with darkness casting overhead and their lighting show, all made for a terrific night of music. Chad from Mosaic Foundation joined them on stage to boost the great reggae infused jam to the next level.

Speaking with Chad as he came off stage he was happy as can be and he even said how it was a dream to be able to be on stage with Giant Panda, he had been huge fans of them since the beginning. Saturday night capped off another great weekend at Willow Creek and with one more event to go who knows what Buffalive has in for store for next summer, it will be tough to beat their inaugural season. But First, up next will be The Grapeful Getdown on Aug 9, featuring a bunch of the area’s top Grateful Dead Tribute Bands with a day full of Dead songs.

You can get more information about The Grapeful Getdown here and stay tuned for our preview of the upcoming show.

July 31, 2014
Moon Boot Lover: The Most Rockin’ Party on Wheels Around

When pulling up to the train depot in quaint Milford, NY, you may be thinking to yourself, “Where am I? Have a stepped back in time?” It is hard to believe that a three-hour rockin’ party with Moon Boot Lover is about to take place on board the Cooperstown Blues Express Train.

Led by a locomotive built in the 1940s, on tracks that were put in place in the 1860s and ran between Cooperstown and Colliersville, the Blues Express Train is truly one of the most unusual concert experiences in our state. Having been dubbed “the area’s only rolling nightclub,” this train has been hosting concerts every Saturday night from mid-May through late September since 1997.

Having been around since the ‘90s, formerly a frequent visitor to old school venues in Oneonta like Diana’s, Peter Prince and Moon Boot Lover (MBL) have garnered a huge local and very loyal following over the years. Whenever they come to town to play on the Train, which they tend to do at least once a season, you definitely want to book ahead for these rides, as they tend to fill up quick. As a matter of fact, one of their biggest fans mentioned that he is in the military, and he actually schedules his leaves around Moon Boot Lover’s calendar.

While Moon Boot Lover’s music is difficult to categorize, there are definitely elements of blues, jazz, rock, and general “spacey-ness” involved. Channeling the energy of Jimi Hendrix and Santana at different points throughout the night, there was a constant out-of-orbit vibe going on all through the band’s set, which included the fitting choice of “I Miss the Train”. Peter Prince’s soulful voice shined on each and every song – at least those that had lyrics; and kept everyone grounded, with all the otherworldly tones coming from the instruments backing him up, including his very own frenzied guitar playing on his trademark Flying V guitar.

At one point, Prince jokingly said that the train was trying to take their drum set apart, and explained that this is part of the reason MBL goes through so many drummers, but current drummer Lee James Falco seemed more than capable of holding the rhythm together, which is quite the feat on a slow-moving train rolling along on rickety old tracks. At only 19-years-old, Falco is already sitting in with many bands, so don’t be surprised if you see him play in your area; he is definitely full of talent and is only going up from here. Bassist Ben Carle provided steady yet creative rhythms and notes, on top of well-balanced back-up vocals, throughout the evening’s experience. Rich Lemire, a friend of the band, joined in for this performance with some added percussions.

Once the sun went down, lighting designer Aaron Hunt provided a veritable psychedelic experience aboard the train, effectively utilizing the extremely limited amount of solid wall or ceiling space to somehow pin up the lights underneath translucent sheets, adding even more of an outer space element to the occasion. The crowd seemed to appreciate the trippy lighting, letting it take their already dancing feet to a whole other level, boogying down to “Natural Kind of Lover” until the last-minute, before pulling in to in the Milford Station.

It is strongly recommended, for those of you who have never been on the Cooperstown Blues Express Train, to hop aboard one of these Saturday nights before the summer is through. Where else can you ride on a historic railroad through beautiful countryside – and baseball fields – listening to funky music on an open air car, getting to wave at and taunt the people who have to wait at the railroad crossings sitting in their cars, while you are kicking back, enjoying a beverage and a snack, and cruising along listening to some great tunes.

July 30, 2014
Consider The Source Overloads The Hollow With Sonic Delight

“You’re the best trio in the history of music!” a zealous fan shouted between songs during Consider the Source‘s heavy rock set on Friday, July 25. Some whoops of agreement went up from the crowd of approximately 200 at The Hollow, a bar/concert venue on Pearl Street in Albany. No one disputed the claim.

CTS took the stage after Ampevene, a young local quartet, who showed that the future of rock is in able hands. They opened the night with a jazzy set of originals and a cover of Pink Floyd’s “Have A Cigar”. Ampevene played for nearly an hour before Consider the Source came on around 11, looking sharp in their white business linens. The crowd, which was energetic all night, moved up and in to get a better look at the Sourcerors in action.

Gabriel Marin was the first to melt faces during “You Go Squish Now”.

Guitarist Gabriel Marin

Marin slid his fingers gracefully up and down the top neck of his fretless guitar. Jeff Mann started the night with a pair of mallets rolling on the drums and John Ferrara—the Ferrari of bassists—came out slapping his 5-string. The trio showed their versatility immediately with a section of hard rock that became a Middle Eastern tango for three of four measures, then Mann’s double-bass drumming kicked the jam into metal before they transitioned back to jazz. Ferrara, semi-crouched, smiling, and slapping, faced Marin and the two dueled it out for the last-minute of the tune.

During “Abdiel”, Marin flipped a switch on his custom double-necked guitar and was suddenly playing a velvety trumpet solo. When he gave his fingertips a moment to cool off, Mann and Ferrara went back and forth, trading drum and bass solos respectively.  Throughout the set, Marin manipulated trumpet, flute, banjo, and oboe-esque notes from his  axe. The twenty-foot ceilings in The Hollow created great acoustics for Marin and company to jam in.

CTS blends a myriad of genres and influences into elegantly composed songs with unique movements and stanzas.  The show in Albany was an epic instrumental journey, featuring the stunt guitar, bone-rattling bass, and Mann doing his best Animal impression on the drums.  The set played out more like a unified rock opera than a dozen individual songs.  “__/” (the title is a hand symbol), began with Ferrara soloing and cradling his bass like a baby, as his left hand flew up and down the neck and his right hand alternated between tapping and slapping.  Marin and Mann joined in, as the jam had a pure rock feel to it and a grandiosity reminiscent of Umphrey’s McGee’s “All In Time”. While most of the ride was dark and spacey like “__/”, “Tihai For The Straight Guy” was a warm reprieve in the middle of the set.

“We’ve been all over the world,” Ferrara said at one point, “but we are right where we want to be tonight! You guys have so much energy!”

Bassist John Ferrara.

The front half of the venue was packed with wide-eyed and slack-jawed enthusiasts squished in to get a close-up view.  When not induced into dancing, listeners stood on tip-toes trying to get a better look at the Sourcerors operating their instruments with surgical precision.

Toward the end of the set, Marin showed his mean streak during “I’ll Fight For The Imp”. He played with an apparently disgruntled attitude, punishing his guitar for unknown crimes.  Most of the night, however, he looked like a violin savant fitting of the name Gabriel, fingering his custom guitar with deliberate movements of massive fingers.  He shredded with a cool, calm composure, making intricate solos appear effortless. While he may be the most eloquent guitar player on the rock circuit, he may not even be the best string player in the band.  Imagine the ’90s Bulls.  Now, imagine them with LeBron on the team, too.  You can debate either way which of Marin and Ferrara are Michael and LeBron.  Mann—who reminded the crowd during the encore, “it’s Friday night; I want you to push that fuckin’ rock button!”—is unarguably Pippen, valiantly rocking the most under-appreciable position in music.

During the encore, the Sourcerors each showed their prowess one last time.  Mann busted out his electric drum pad and Ferrara played a solo that incorporated classical plucking and heavy womping.  Marin jettisoned his hat and, with his long golden hair flowing free, pumped out spacey laser sounds.  The Hollow was rocking as Consider the Source proved that rock is far from dead.

Set list: Wandering Bear, Abdiel, Ninjanuity , __/, Tihai For The Straight Guy, Absence Of A Prominent Tooth, The Great Circuiting, I’ll Fight For The Imp, Keep Your Pimp Hand Strong

Encore: Ol’ Chomper

July 29, 2014
95X Fest Packed A Punch At Papermill Island In Baldwinsville

Although Paper Mill Island is located in the small town of Baldwinsville, outside of Syracuse, with practically no parking and a strict noise ordinance, apparently it doesn’t mean that it can’t be a great local destination for a kick ass rock show. 95X (WAQX) took the risk of holding an all day rock festival on Saturday, June 21 and combined it with entertaining wrestling matches from Central New York’s own 2CW to make this year’s 95X Fest one of the most memorable rock and metal experiences this summer in Upstate New York.

The stars aligned as the weather cooperated that day and the Town of Baldwinsville allowed the music to go on for thousands of people to enjoy themselves. Props to Joe D, dXn, and their promotions staff for running the entire gig smoothly. With the wrestling ring built at the opposite side of the island, there were some wrestling matches from 2CW going on between music sets. dXn had the guts to enter the ring and really put on a show for the crowd, including lots of beard pulling.

The lineup wasn’t spectacular, but every band delivered. Adelita’s Way was the sole headliner, followed by Vegas rockers Otherwise, the veterans Smile Empty Soul, along with Nothing More, who is hot on the rise, followed by Ume and Edisun. Local area bands Jeremiah’s Razor, How To Disappear Completely, and Cry To The Blind kicked off the show.

Every band was amazing, but the one band that really took it to a whole new level was Otherwise. Their stage presence and ability to deliver was completely unmatched; it was hard rock at its finest. Hands down, the band could have and should have been the sole headliner. 95X has this band at their disposal and I would imagine they will be back in Central New York again very soon.

Overall, the day was fun, the beer was cold, the bands kicked ass, the wrestling was over the top, and everyone seemed to have a really good time (I didn’t see any fights). I feel 95X still has their work cut out for them for future local shows, but this one was definitely in the right direction.

July 29, 2014
Randall’s Island gets Rocked from Phish and Phans

Phish and their dedicated followers are no strangers to New York City, seeing that they visit during the bitter cold New Year’s Eve runs each year. But the holidays came early for fans as they enjoyed the three-night run of beautiful weather, famous skyline and jam-packed Phish set lists on Randall’s Island, located between Harlem, Queens and the South Bronx. With a capacity of 35,000, Randall’s Island was a comfortable and familiar fit for fans that long for the Phish festival experience, but were happy to spread out on the lawn or rage by the stage.

There was a strict curfew each night of 11pm, causing the shows to actually start on time around 7, and with gates opening at 4, there were more than enough activities to keep fans entertained. Ben & Jerry’s handed out free Phish food ice cream and Hippieshop.com sold raffle tickets for a Fuego themed bicycle. One of the biggest attractions were the Official Phish Freezer and Water Wheel Foundation tents, offering vintage merchandise, Pollock posters, DVDs, and vinyls such as the new exclusive release of Picture of Nectar.

Thousands of phans travelled by ferry, car, subway, bus or walked the almost 2 mile hike over the East River to partake in the unique experience of Phish. The start of the three night run on Friday night brought a funky “Moma Dance” opener as the first “Ya Mar” of the season had the classic Page McConnell solo plus a stand out bass solo from Mike Gordon. The first set had possibly one of the best “Bathtub Gin” versions of the summer, clocking in at a solid 18 minutes. The Gin started in the traditional sense of phans singing along with the lyrics before the band dove into a fast paced melody of pure exploratory bliss.

The second set was a continuous flow of surprise and delight as they started with a dark and rare “Steam” with a slow build up that got pretty weird before the stand out “Down with Disease” that featured high energetic guitar riffs from Trey Anastasio. The soft and gentle melody morphed into a “Golden Age”, followed by a mellow “Limb by Limb”. The ever popular new hit “Fuego” made an appearance and set fire to the “David Bowie” that followed with triumph.

The show ended with a simple, yet groovy “Character Zero” as the first impressions of the night were grand, making everyone eager to return for two more nights of Phish. Randall’s Island has proved to be high on the list of venues and stand out jams for the summer tour this year.

Friday July 11th Setlist

Set 1: The Moma Dance, Kill Devil Falls > Ya Mar, Bathtub Gin, 555 > Rift > Sample in a Jar > The Wedge, Waiting all Night, Stash

Set 2: Steam> Down with Disease [1] -> Golden Age > Limb by Limb > Fuego > David Bowie, Cavern Encore: Character Zero

[1] Unfinished.

Notes: Trey teased the Munsters theme in Stash. DWD was unfinished.

July 28, 2014
Seth Yacovone Brings his Southern Style from the North to Putnam Den

The Putnam Den has been a staple in the Upstate music community for quite some time and is known for bringing acts spanning many genres. This has not changed, in fact, it’s about the only thing that has stayed familiar. The walls have all been painted a dark red, sending a warming vibe throughout the club. The bras that once hung from above the bar are gone. Tables are placed methodically around the soundboard, leaving plenty of room for people to shake their stuff in front of the stage, which is now graced with a red velvet curtain. These changes, along with many made to the outdoor patio (such as ping-pong and baggo), have made The Putnam Den an even more desirable place to have a great time and see live music. Saturday night exemplified this tremendously. With a packed patio and even more patrons inside to see The Seth Yacovone Band, all of the ingredients for a fantastic night were in order.

The Seth Yacovone Band, who hails from Burlington, Vermont with a sound coming from below the Mason-Dixon line, had the crowd hooked right away. “Tonight the Night”, a Neil Young song, was pure blue-blooded American rocking magic, with wailing guitar solos that set the mood for the entire night. Stellar musicianship was shown by the whole band. Steve Hadeka was on the kit while adding some vocals and Alex Budney slapped the bass, making a sound that was untouchable by many three-piece acts. “Botulism” was a high point of the set. Musically it held its own with the rest, but listening to the lyrics, which addressed nasty mayonnaise and other things that spurred the title, was very funny. If you didn’t listen close enough, the song was just another groovy danceable number. Closing the set out with Bob Dylan’s “Isis” was a treat. The band took the slow Dylan tune and sped it up a bit, yet didn’t stray too far from the feel of the original, a talent many bands do not possess.

The second half of music opened with the bass-heavy, fast-paced “Storage Space”, a fantastic way to start the set, attracting people walking the streets of Saratoga to The Putnam Den. This vibe continued as the club became more and more packed of people who were digging the sound coming from the Vermont trio. “Gnashing Golgotha Footstomp Shindig Blues” was intense. Channeling the late Frank Zappa on this tune was completely unexpected as the rest of the night offered nothing similar. The slow start with a funky bass groove and drum beat kept the cool vibe going while Seth sang over it in a different tone than the crowd had grown accustomed to. As the solo emerged, the crowd was in awe. Shredding does not even begin to describe how hard and fast Seth was playing. It was as if he was on another sphere. Slowly bringing it down enough to not lose the groove was just pure brilliance and, without a doubt, the high point of the show. Closing with “What Have I Done Wrong”, a song where the title pretty much sums it up, is about a man wondering what he did wrong and asking his lady with little or no response. Showing the more bluesy side of the band as well as some pure emotion was a great way to end the show. Not a single person was not screaming for an encore; the band gracefully obliged by playing “Little Richard Will Rise Again”, a song that sounds exactly how you’d picture it with a title like that. The band picked a fantastic way to end the show and was tops from the first note to the last.

July 26, 2014
Bruno Mars Dazzles Times Union Center

Albany was buzzing with anticipation Sunday night at the Times Union Center as Bruno Mars was set to make his debut appearance in Upstate N.Y, bringing his “Moonshine Jungle Tour” to the Tri-State area.

Bruno Mars – Times Union Center – July 2014

Fans of all ages came out for this highly anticipated, sold out concert. Some seats opened up right before the show, but were gone just as fast with some lucky fans even scoring front row seats.

After a short delay letting fans into the arena in the hot muggy weather, all was forgotten when this concert started.

Multi-talented Bruno Mars and his band are some of the best live entertainer’s I’ve seen on stage this year. A very charismatic bunch of musicians. This concert had a little of everything – pyro blasts, fire, sparklers and an awesome light show.

Both artists were very interactive with the crowd.

Aloe Blacc was the opener for this show in Albany. He and Pharrell Williams have rotated dates throughout the tour in select cities.

Aloe started the night off with the song “You Make Me Smile”. Some fans were still filing in from the delay during this song. The song broke down into a dance break, which prompted Blacc to ask the crowd “who likes to dance?”. He paused for the crowd’s response, then Aloe himself broke out into a dance.

The crowd stood for the rest of the performance when the song “Here Today” started.

Blacc now sheds his jacket and tells the crowd “here’s an oldie but goodie” and sings the song “I Need A Dollar”. Aloe had the crowd on their feet clapping along to his hit “The Man”. Blacc talked about his other hit “Wake Me Up”, saying, “I had these words that I wanted the whole world to hear”, and proceeded to talk about hooking up in the studio with DJ Avicii in 2013 to record the track.

Blacc was a great opener. The only drawbacks that I had were that his mic was a little bit low and he was drowned out by his band. Also, I didn’t like the plain black curtain behind him. I think a logo or themed curtain for intimacy as a back drop would have felt like more of a big deal, while the black made it seem like he was not that important.

Blacc signed CDs and T-shirts at the merchandise booth after his performance for fans.

Bruno Mars – Times Union Center – July 2014

Excitement from the fans started to rise as Bruno Mars was set to take the stage next. Concertgoers broke out into a wave around the arena in anticipation for Mars to come out.

After a quick intermission to set up the stage for Mars, the lights went out to a thunderous, almost deafening, roar. Everybody’s attention was now focused on the gold palm tree themed curtain, just waiting for it to fall as the beat started for the song “Moonshine”.

As the beat played, Bruno Mars welcomed the crowd to the moonshine jungle. A pyro blast cued the curtain to fall to Bruno and his band, jamming the first verse of the song.

Before he sang the song “Treasure”, Mars said how it was his first time in Albany, N.Y as a giant mirror ball lowered from the ceiling above the stage.

Mars then went into a medley of different songs, including the Beatles hit “Money (That’s What I Want)”, “Billionaire” (Bruno’s song with Travie McCoy), which drew loud cheers from the crowd, “Pony” (Ginuwine) and “Ignition” (R.Kelly).

Bruno blended his songs “If I Knew” and “Runaway Baby” by asking the crowd to sing along with him by hitting certain notes. Then, Mars asked the crowd to repeat the words “do you love me”. After having everyone repeat it, he asked for just the ladies to sing it. After singing it with all the women in the building, he answered them, “yes I do.” The screams from the ladies were insane.

When Mars teased the crowd that they were quiet, he said, “hey we can get quiet.” He and the band slowly faded down to silence, but were still dancing and snapping fingers like there was a beat still playing. Then Mars and the band slowly brought the volume back up; fans ate this up and just loved it.

Another funny moment happened at the end of the song “Nothing On You” (his song with B.o.B). Mars asked the guys to grab their lady’s hand, look into her eyes and say…”Bruno’s gonna do the talking tonight.” Mars then didn’t forget about the single ladies in the house. He said, “singles ladies don’t worry,” and he and his band shouted, “we’re here,” as they did a hip thrust gesture.

Bruno Mars – Times Union Center – July 2014

Mars then got serious and told the audience that his next song was the hardest song for him to write and was still the hardest for him to perform. He then played “When I Was Your Man” as cell phones lit up the whole arena during this song.

A minute-long keyboard solo led into the song “Grenade”, and finally, the smash hit “Just The Way You Are” ended the set.

During the last song, gold confetti fell from the rafters. It was an awesome scene. There was so much confetti it was like a white out in the middle of winter.

Mars introduced his whole band, while each member did their own signature dance as they were introduced.

The two-song encore started with Mars doing a drum solo, which led into the song “Locked Out Of Heaven” and wrapping up with “Gorilla”.

An amazing performance by Mars left me wanting more; he played about an hour and forty minutes it total. It’s nice to see Upstate N.Y. finally getting some different musical acts to this area who have never traveled here before, including Mars, Justin Timberlake and Paul McCartney. I hope this opens the door for more artist to come to our area for summer concert events in 2015 who would have not considered this area before.

July 26, 2014
Gypsy Punk Icons Gogol Bordello Played Host to a Melting Pot of Fans

A small congregation of people waited outside of Upstate Concert Hall on Tuesday, July 22nd. Much smaller than one might suspect, on a night helmed by gypsy punk band Gogol Bordello. But, more people did show for the performance as the night went on, possibly in part for the ‘Upstate Common Sense’ on tap behind the bar, instilling in the 500 plus crowd a feeling of liquid camaraderie. Gogol Bordello has a reputation for bringing a combo platter of life together for an all-inclusive party atmosphere, and by the end of the night, this was exactly the case. The gypsy punk band, with members from all over the world, brought quite the spectacle to Clifton Park once again.

The show opened with the raucous energy of Man Man from Philadelphia. Experimental rockers at their core, they descended onto the stage with a wall of sound and main singer/keyboardist Honus Honus presiding over the crowd in a sparkling hooded cape and his trademark mustache. With a hurried explosion of notes, Man Man started their set with what sounded like the middle of it. Cheering along at full intensity immediately, the crowd fell right in step. The four-piece switched instruments constantly, and between horns, strings and percussion, they welcomed the masses into their chaos. Pow Pow the drummer acted as de-facto conductor for the band and the audience, keeping the White Stripes meets Frank Zappa vibe at peak energy the entire set. By the end, the crowd was hungry for more.

The crowd exemplified the feeling of the night — the idea that no matter who you are, you would belong, here, at this show. People shirtless with multicolored LED gloves, or fedoras over dreadlocks, or metal shirts and ripped jeans, all were welcomed and more. The lights dimmed and the crowd coalesced into one singular being, eager and willing as Eugene Hutz, the leader of Gogol Bordello, took the stage. He vocalized the feeling of the night and asked the audience, “Where did we leave off last time? Let’s pick it up right there.” He started the show alone, with a single spotlight for the aptly titled “Illumination”, with the entire band joining him by the end. They played their dirty, infectious gypsy grooves in expert fashion, from a band honed by constant touring.

The sound was great, allowing the crowd to pick out all the intricacies of the band, from the extra percussion, to the accordion and violin solos, to the subtle, but powerful, five-part vocal harmonies. The presence of Pedro Erazo and Elizabeth Sun, the band’s MCs, extra percussionists, and hype man and woman, add to the deliberate crowd control that Gogol emits. At one point, Hutz anointed the congregation with a bottle of wine as he sang “Immigraniada” and brought the audience to a fever pitch. They left the stage, and not a soul moved, waiting for instruction to proceed. The show had stripped the audience down to it’s innocence, and the band came back to emulate this, starting their three song encore with “Lost Innocent World”.

One thing can always be certain of a Gogol Bordello performance: it will be an experience to remember. One of the hardest working bands in the business, and it shows, they continue to enthrall audiences and provide tasty morsels of world-class rock, punk and folk to keep the audience eating right out of their hands.

Photo by Jim ‘JT’ Gilbert

Set List: Illumination, Ultimate, Rise Again, Wonderlust King, Dig Deep Enough, Other Side of the Rainbow, Companjera, TC Hustle, Immigraniada, Mishto, Rise the Knowledge, Malandrino, Purple, Pala Tute, Sun Is On My Side, Not a Crime.

Encore: Lost Innocent World, Alcohol, Think Locally.

July 25, 2014
Hearing Aide: “Weird Al” Yankovic ‘Mandatory Fun’

It’s hard to comprehend a time when there has been so much fanfare surrounding a “Weird Al” Yankovic release; nonetheless, in 2014, Mandatory Fun is here.

The 54-year old from Lynwood, CA launched his career tape-recording a Queen parody from inside a bathroom. Today, he is using the numerous tools of the Internet, launching eight videos in eight days upon the consumer world. It’s the most aggressive marketing ploy from the three-time Grammy award winning artist, since he was able to take over MTV’s broadcasting with previous releases.

The media blitz is still upon us, but we wish to provide you a collection of three cuts from Mandatory Fun.

First World Problems:

Yankovic invokes the musical style of ’80s alternative group, Pixies in “First World Problems.” This track is a joke on all of us, as we have all suffered from at least one affliction referenced in the song – from having someone call our cell phone (instead of texting), to purchasing an extra item online only to qualify for free shipping. It’s a song full of chuckles, until you reach that awkward moment when you realize you’re guilty of doing this too.

Word Crimes:

OMG! Dis video will 4ever circulate da Internet for as long as theirs social media ant pour grammer.

(Please tell me you saw what I did just there. Anyway.)

Yankovic goes the way of They Might Be Giants to help educate the English-speaking world on grammar usage by doing a spoof off of Robin Thicke’s “Blurred Lines.” The highly controversial song, the live performance with Miley Cyrus, the lyrics, the subject matter, and just about everything involving this song has been a dumpster fire despite its popularity. Yankovic turns Blurred Lines into a song music critics love to hate, into one they adore. The potential uses for this 3-minute-plus video is endless – from business seminars to teach technical writing, to an addition to Common Core’s academic curriculum. But, likely, you will be seeing this for the next twenty years as a witty response to whomever attempts to write something online without consulting a dictionary. This is another track that will have you laughing until you find yourself questioning why one (or many) reference(s) is (are) funny.

Mission Statement:

The 1980s is when hippies turned to yuppies, casting aside their collective search for free love and peace for monetary growth and addressing sound investments to build an adequate retirement nest egg. Here, Yankovic takes a Crosby, Stills, Nash and Young tune and affects your brain somewhat differently than a contact high, intoxicating listeners with annoying corporate buzz phrases. Any white-collar worker is nodding his head to this right now.

Mandatory Fun is Al’s 14th release, and by far his masterpiece. Like Warner Brothers through Looney Tunes, Yankovic is able to tie in current events with references to the past, allowing listeners from multiple generations to enjoy.

Key Tracks: Word Crimes, Mission Statement, First World Problems

You can purchase Mandatory Fun through most retailers. For more information please visit his website.

July 25, 2014
Hearing Aide: Jerry Garcia Band ‘Garcia Live Volume Four 3-22-1978’

Released on compact disc this week by the Estate of Jerry Garcia comes Garcia Live Volume Four, the newest addition to the updated live release series hailing from Garcia’s bulging vault. The recording comes from March 22, 1978 at Veterans Hall in Sebastopol, CA and features a tour already well represented on official releases because of its crispy playing and plentiful jamming. The now defunct Pure Jerry series spotlighted the JGB’s March 18, 1978 early and late performances, as well as concerts from February and June on the Bay Area 1978 release.

This incarnation of the ‘Jerry Garcia Band’ is worthy of deep inspection and were together from November 1977 through November of 1978. In addition to Garcia the band included, John Kahn (Bass), Keith Godchaux (Piano, Vocals), Donna Godchaux (Vocals), Maria Muldaur (Vocals) and Buzz Buchanan (Drums). This performance also features future Garcia Band member Ozzie Ahlers sitting in for the final four songs of the second set. What makes this era so attractive to fans and archivists is the nimble and airy aesthetic of the group. Godchaux and Garcia provide the color to the tunes, spinning delicate and ornate webs of melody around one another. Kahn’s hide and seek bass playing is always a unique aspect of the JGB’s rolling mystical attitude and his relationship with the clean sheet drumming of Buchanan gives the tunes a flexibility not always available to Garcia in the Grateful Dead.

Garcia’s guitar tone during this era is also something of note. His famous Doug Irwin ‘Wolf’ guitar returned in the Fall of 1977 after putting away his touring Travis Bean guitar for technical issues. The ‘Wolf’ appeared refurbished and retooled with a big brassy tone, like a huffing and puffing psychedelic horn. Garcia’s vocals during this era are also some of the most emotive and expressive of his career. While his throat still contained a youthful exuberance, its continued maturity injected wisdom and inquisitive weariness to his storytelling. The Spring 1978 Grateful Dead tour the following month from this concert is well-known for Garcia’s emotional vocal performances, especially on the ballads. This new-found vocal investment may or may not be due to Garcia’s newly found love of Persian which is well-known for its effect on many artists vocal approach.

The concert begins with usual JGB show opener “How Sweet It Is (To Be Loved by You)” always a proper number to warm up the chops and rigid fingers. The swift and skillful group floats like a feather but drops musically like a melodic anvil. There was a full moon on this evening and its effect is immediately noticeable in the magical tides being created by the band.

One of the finest versions of “Catfish John” follows next in the set and is highlighted by both Garcia and Godchaux’s melodic explorations. Each nook and cranny of the song is searched for differing avenues of expression by the duo.

The preceding East Coast segment of the JGB’s tour had just concluded on March 19 and a definite contrast in vibe is felt with this introductory West coast performance. The first set floats along patiently, moving through three extended versions of elongated readings of Dylan’s ‘Simple Twist of Fate’, ‘Second That Emotion’ and a respectful and regal version of ‘The Night They Drove Old Dixie Down’. ‘Simple Twist’ clip-clop’s with a horse’s strut, Garcia lending his own special poignancy to the song with melodic interpretations of Dylan’s verses that draw out visual scenes not sketched by the original interpretation.

The set closing “The Night They Drove Old Dixie Down” looks trough a misty window at battlefields of the past. Again, the song is stretched out and examined dynamically with the prime interpreter Garcia illustrating new meanings through his ariose guitar runs. This flexing version lends an emotional and introspective conclusion to the set.

The second set begins excitedly with a bounding tempo as the band introduces Jimmy Cliff’s “Harder They Come”. A kinetic groove is developed around Kahn and Godchaux’s quivering exclamations, equaling another rendition that is representative of an all time version. Garcia’s guitar is plump and round, his slithering runs hitting the central spot of the frets each and every time. These are not the speed runs, or aimless noodles that Garcia is sometimes guilty of when he may be feeling too good. These are concentrated and developed reconstructions of the melody, bent and shaped into original forms and readings. This is when Garcia is at his best. Sometimes the spaces between the notes are as uniquely expressed as the flexed one note holds. Garcia’s prowess as a rhythm guitarist which is often highly underrated is also of note in this version. Garcia scrubs until creating bubbles under Godchaux’s solo segment which in turn is sandwiched by Garcia’s solo picked excursions.

Keeping with the increasing energy of the second set comes another definitive reading with a stoic “Mission in the Rain”. Even though this song could be considered a ‘ballad’, here it sways away at a strutting clip. One of Hunter/Garcia’s finest songwriting moments, the song never quite felt right with the Dead, here it elicits a downpour of Garcia trills that reflect Godchaux’s misty keys, eventually building and thundering into a massive musical storm. Also highlighting this performance is the aforementioned Garcia vocal reading, full of tasteful over enunciation and additional push.

Part of the reason for the fame and strength of performances hailing from this era is attributed to the fact that Garcia had just released possibly his finest record with the Garcia Band. Cats Under the Stars was being supported by this tour and its songs formed cornerstones for Garcia’s repertoire for years to come. “Cats Down Under the Stars” and “Gomorrah” are played back to back here, true to the recently released studio versions but performed with the same glory and attitude of preceding numbers. Throughout the intervening years these songs would develop into ‘big’ numbers, road tested and matured due to constant playing.

Garcia Band favorite “Mystery Train” follows and as expected chugs along blowing steam. The tempo shakes like a railroad bridge with Ozzie Ahlers now sitting in on percussive piano according to the liner notes. The band cruises over crossings, under bridges and through American rock and roll landscapes on Buchanan’s choogling drums.

The smoky ‘reggae’ burn of the Hunter/Kahn number “Love in the Afternoon” is played next and brings thing back down slightly, until Garcia whips a lasso around the band and drags them into a nice mid song peak. Ahlers piano playing fits in perfectly and nary a lick is misplaced by his guest appearance.

The traditional “I’ll Be with Thee” closes the concert on a soulful and secular note. Garcia Band’s vibe was always based in American values, traditional ideas, and soulful renditions of classic melodies. Donna Godchaux and Muldaur lend their gospel voices in close harmony on this hand raising, hip swaying closing number.

The band returns for an encore of “Midnight Moonlight” which is the victim of an unfortunate tape cut at its conclusion. Most of the song is available, which is fortunate because like the Full Moon that shined outside the venue, this version is luminescent and celebratory, sending the assembled crowd to walk hand in hand across the lunar lit night.

The new GarciaLive Volume 4 is a worthy release from a well represented time in the Garcia Band’s history. Similarly to the Grateful Dead’s 1972, 1977 and 1990 tours, this era is highlighted through official releases because of its historic value, beautiful playing and unique instrumental prowess. The available soundboard recording is sweet sounding, well-balanced and loaded with delicate and powerful playing, all coming from an era filled with jaw dropping guitar fireworks by Garcia and sympathetic backing from the players.

Key Tracks: Mission in the Rain, Catfish John, The Harder They Come

July 25, 2014