Category: Reviews

Celtic Women Emerald Tour Makes Their Final Stop in Syracuse

As the Celtic Women Emerald Tour crossed the nation, bringing to their fans a production chock-full of Celtic music and dance, those in attendance at The Landmark Theatre on June 8, 2014 in Syracuse, NY were honored to be chosen as the audience to close their eighty-eight show run.

Celtic Women, a production created in 2004 by Sharon Browne and David Downes, a former musical director of the Irish stage show Riverdance, features a cast of the most talented vocalists, musicians, and dancers who bring to audiences a celebration of Celtic culture through angelic voices, sounds of traditional celtic instruments, and dances from their beloved home of Ireland. With a mix of both traditional tunes such as “Danny Boy” and modern numbers such as “Sail Away” and “You Lift Me Up”, these ladies mesmerize you with their harmonic voices, while being accompanied by the some the most talented musicians on tour. Recently described by a fan as the “violin vixen”, Mairead Nesbitt commands the stage from the moment she steps foot on it. As you watch her perform, it’s as if she entrances you with her amazing fiddle playing; she leads you around the stage as though she is the Pied Piper of the fiddle, never to be able to take your eyes off her. Her energy and ease of playing while constantly moving astounds me each and every time I see the show. The Emerald Tour featured four highly acclaimed vocalists: Susan McFadden, Mairead Carlin, Lynn Hilary, and Lisa Lambe (who I must add was dearly missed at the Syracuse show by all her fans). Each of these women have mile-long resume’s under their belts for stage, screen, and recording. Each a star in their own right, however together, their voices, for a loss of a words, are angelic. The harmony, the rich mellow tones, the ease in which they sing, can only be what angels sound like.

This production is A+ when it comes to the lighting, the sound, the musical scores, the background musicians, the choreography, and the dancers. Too numerous to mention here, but each cast member deserves a standing ovation in their own right as they perform solely and together as a unit. They seamlessly fit together and it is apparent how much they respect and love working together. Always a crowd favorite is our friend, Anthony Byrne’s bagpipe solo of Amazing Grace, a number that never loses its emotion when played. It brings a tear, recalls a loved one, and always brings a standing ovation.

Another stand out moment during this show was the dance number with the three percussionists on the Cajon drums. As they accompany the “dance off” between Craig Ashurst and Nicholas Yenson, the choreography of this piece highlights the superior talents of both percussionists and dancers and makes it one of my favorite moments in the production. Again, I would be remiss not mention the amazing talent of these two dancers as they defied gravity throughout their numbers the entire show. Hands down though, it was the elaborate number “Mo Ghile Mear” in which the group really highlights and rises this production to award-winning status. As the ladies shine through with their angelic voices, the percussionists vie for your approval through a “drum off”, while the background musicians and vocalists accompany them, highlighting their notes and movements. Throughout this number, the entire cast is on stage holding your attention and demanding your respect as you sit agape at witnessing such superior talent.

[youtube http://www.youtube.com/watch?v=VcCVjiKfDk8]

As the production takes a few months off, they will once again hit the road as they tour Brazil and Europe this fall. With a few North American dates scheduled currently, keep note of new dates being added to towns near you as this is a must-see, spectacular production. We thank you Celtic Women for the chance to be your final show as you definitely brought down the house.

June 16, 2014
Booty Band Shows the Queen City How to Shake It

Last week, on the eve of my birthday, I decided to stay up late on a weekday, knowing that I’d have to wake up by 6am the next day to go to work. Yo Mama’s Big Fat Booty Band was in town though for their first show ever in Buffalo and I wasn’t going to miss it. Even with the exhaustive circumstances, what transpired that night invigorated me in a way not every concert does. Waking up the following morning, I felt alive, beaming with excitement, and still humming the notes from the night prior. I can only speak for myself, but throughout life, I am constantly chasing that kind of high from music, but was certainly not expecting it to this degree when I walked in to Nietzsche’s the night before.

As I approached the building, I still wasn’t sure what to expect. There is no adjacent parking lot, so you can’t tell if the venue is packed or empty for any show. Crossing the threshold, it was as though the doors had just opened even though I was unfortunately late to arrive. My disappointment in Buffalo for not showing up on a night like tonight – where a band was making their first appearance here – started the night off on the wrong note. Regardless of the crowd situation, on this particular Thursday, Nietzsche’s was the place to be as Yo Mama’s Big Fat Booty Band was ready to share their gritty funk with whoever showed up.

Changing their opening song on the fly, the band kicked things off with a new song in “Wake Yo’self”. This song will be featured on their upcoming album, so the only way to catch this one at the moment is live. The bass line throughout the song had a relentless determination to it that gave the crowd a reason to move right from its opening notes. As it propelled forward through thick and heavy waters, trombonist Derrick Lee Johnson and keyboardist Mary Frances, aka Mama Funk, highlighted his spaces with peaks of cutting tone. There might not have been the greatest turnout for their first show, but the band was determined to have a good time and make sure everyone else did too. Talking with the band after the show, I brought up how bassist Al Al Ingram’s tone is similar to the bass tone on Cake’s “The Distance”, but in a heavier and funky way. The band collectively laughed in agreement and shared how they actually had talked about covering that song on numerous occasions. The show was off to a great start and with a lot of people in attendance unfamiliar with the bands songs, this was the perfect choice as it immediately grabbed everyone’s attention.

Mama Funk Leading the Booty Band

The band continued to light up the crowd with one heavy-hitting song after another. I’ve always felt that a smaller crowd can affect how a band plays in a negative way, but not these guys. On several occasions throughout the show, various members stepped off the stage and came right out into the crowd to dance. Mama Funk, Derrick Lee Johnson, and Al Al Ingram all took turns playing their instruments amongst the dancers in attendance and it really helped elevate the crowd’s overall response. Mama Funk specifically blew me away as her sweet and unassuming look was only a disguise. Throughout the night, she displayed her prowess on the keyboards as she supported the band through her various tones, ripped through solos, and constantly exuded a fun and free spirit that came out through her playful approach. It was all about a good time with her and the band as a whole and there was no shortage of those moments on this particular Thursday night.

The Booty Band played a variety of music from their catalog, but two covers stood out as I had never heard a band cover a hip hop song before in person. The band chose two Dr. Dre songs in “Let Me Ride” and “Nuttin’ Butt a G-Strang” – the latter being an obvious play on the famous “Nuthin’ but a ‘G’ Thang”. Both of these songs were instantly recognized by the crowd and hit me about as hard as the originals did when I first heard them. The songs had such a beautiful, funky flow to them, similar to the original, but felt right being instrumentalized. Adding layers of live and spacey keyboard runs made two already fine choices that much better. The funky rides down memory lane were complete with rap battles between Johnson and Ingram and choruses colored by Mama Funk. By sharing the vocal responsibilities on these two and others over the course of the night, the self-proclaimed “Mountain Gangstas from North Carolina” were able to flex to the style they were playing and showcase the voice that made the most sense.

John Paul Miller on guitar with Al Al Ingram and Derrick Johnson in the background

The Booty Band’s spirit was just contagious. As they wrapped up their set, the crowd was simply not ready to let them go. After some clamouring, the band returned with grins all over their faces, ready to keep the night going a little longer for the outpouring of appreciation. One person from the crowd yelled, “hey, we all have to work tomorrow, just play one more song.” It was clear that those in attendance didn’t care that it was already past 1am at this point and I couldn’t have agreed more; we all just wanted a little more before they packed up and left. The band obliged with two songs to close the night that featured some heavy grooves and some deep funky ruts. Drummer Lee Allen was blatantly abusive towards his drum kit during the finale, making sure that his talented band mates wouldn’t completely overshadow his own impressive skills; everyone in the crowd already knew this though as Allen drove the rhythm the entire night. This band is loaded with talent from the front of the stage to the back, and if you haven’t taken the time to listen to them or catch them live, you need to drop what you’re doing now and make some time.

On a final note, I have to take a second to outline the band’s genuine appreciation for their fans and that they get to wake up and play music everyday. I talked to both Derrick Lee Johnson and Mary Frances after the show, separately, and I thought it was interesting how they echoed similar sentiments when I asked them for their thoughts on the turnout. Mary Frances said, “”It doesn’t matter if there’s 20 people or a packed house, everyone deserves a good show”. While Derrick Lee Johnson said, “I get to do my passion every single night. Whether it’s 10 people or 10,000 people, I get to pick up my trombone every night and play.” Hearing this from two different members in an off-the-cuff conversation was a breath of fresh air. There’s so many acts nowadays that play for the money and fame and those are the same bands you hear have broken up because money and fame don’t happen overnight. After hearing this, I thanked both of them for having that love and passion for their craft and that definitely translated as they genuinely had fun on stage and you could tell that they enjoyed the night just as much as everyone that was in attendance. The money and fame will come to them in time, so long as they keep doing what they’re doing, people are bound to catch on. I know that next time they come around, everyone in Buffalo will be bringing a friend as they easily won over those who came to dance on a late Thursday night/early Friday morning. As for work the next day, I got by and I am indebted to these guys for kicking off my birthday in the best way possible – with an incredible, booty shaking display of live music!

Setlist: Wake Yo’self, @$$, Quick E, Funk Life, Let Me Ride*, Cancion de Fuego, Mama Feel Good, Sunday Afternoon, Sanchez, Shadows -n- Sunshine, Nuttin’ Butt a G-Strang (Nuthin’ but a ‘G’ Thang)*, 24/7, Naw Brah, Flea Bite, Trunk, Livin’ the Dream

* Dr. Dre cover

Photos by Cathy Bechle.

June 13, 2014
Destination: Mysteryland USA 2014

When Mysteryland USA was announced I was immediately interested in covering the event. I was excited that a multi-day music and camping festival was going to be held at the site of the original Woodstock festival and the fact that the music at Mysteryland would bear little resemblance to the original festival. ID&T, the company hosting Mysteryland, started as a hardcore record label in the late 1980s as dance music exploded in Amsterdam. By 1993, they had organized the first Mysteryland festival in Holland. In 2002, the festival switched to a day and night format. One of the goals of the festival is to promote friendship and inspiration, and this is accomplished by working with record labels and other artists to curate multiple stages, art installations and food and drink vending.

Mysteryland allows its guests to become part of a truly interactive environment, not knowing what exactly is going to happen next. You can meet people from the same place that you’re from, or from the other side of the globe. You can hear new music from acts you might not have heard of, or you can check out a favorite performer in a unique new setting.

On Friday May 23, 7,500 Holy Ground campers began celebrating Mysteryland USA 2014 at the Camping Circus stage, located within the Holy Ground camping area outside of the main festival venue. The music provided a nice backdrop as people arrived and began setting up their campsites. By the end of the day the camping area was packed out. Navigating through camp to the showers, portos, stage and vendors was tricky during the days as occasional rain contributed to the most traveled pathways between tents becoming extra soggy. During the nights it got even harder as the harsh light from the light towers placed around the campsite forced you to shield your eyes so that you could focus on what was immediately around you; having a small flashlight here was clutch. Although the daytime temperature rose above 70 degrees F, it cooled to near 40 degrees F at night.

Dancing under the tent of the Camping Circus stage Friday night provided a small preview of what was to come for the weekend when the festival officially kicked off on Saturday. The featured performance Friday was the official pre-party, Nicky Romero Presents: Protocol NY Reboot. Even in the cooler nighttime air, the dance floor under the tent got hot and sweaty as you moved towards the center of the crowd, and standing at the edge of the tent you could observe a noticeable difference between the ambient temperature and the heat generated by the party inside, moreso when the breeze picked up. The BangOn! NYC Boombox Van was parked not far from the Circus tent and played music into the night after campers had returned from the main stages, adding an extra dimension of sound and activity to the atmosphere in Holy Ground. I enjoyed John Dahlback and Don Diablo before Nicky Romero took the stage for a great high energy set, which turned out to be a good example of how his set would go on the Main Stage the next night.

On Saturday, I finally got to see the main festival venue. On the way in I took a small detour to visit the monument commemorating the 1969 festival. It is located past the main gate and looks towards the site of the stage and the field that the fans watched the show from. This field was decorated with many rows of flags and was named the Ceremony Field at Mysteryland. At the front of the field were several teepees, a fire pit, a small stage and a dancing circle. The official opening ceremony was held here, and featured members of the Red Hawk Council, which represents first nations and indigenous people of the Americas. The ceremony began with traditional native drumming and chanting.

A speaker from the Red Hawk council welcomed us to Mysteryland and explained how the native focus on the earth, honor, integrity, respect and love was reflected in the crowd and experience of Mysteryland. We were asked to think about what we want in life, and what we need from it. The happiness and peace that comes from the music and the dancing that we were going to participate in, and the friendships that we came with and the new ones that we were going to make, shows us that this is how Mother Earth wants us to be. After the speech, the Red Hawk dancers were introduced and they began to lead the crowd in traditional ceremonial dances. They showed us two different dances before a small rainstorm began and scattered the crowd. And this is how Mysteryland really began for me.

There was so much to do and see here that it was truly overwhelming. Once the music starts, one quickly realizes that they can stay at one stage for most of the day and experience the type of music they enjoy most. The tent stages – Big Top, The Sound of Q-Dance, and Spiegeltent were all full of people dancing and enjoying the sounds of pop, electro, hardstyle and experimental house. Like the Camping Circus stage, the Big Top and Q-Dance stages were under large tents. The Spiegeltent was a traditional Dutch portable venue constructed mostly from wood, and being inside it actually felt like being inside an actual building, which was unique here at Mysteryland.

The Vinyl Only stage was tucked into a stand of trees, and had an open air DJ booth at one end of a synthetic dance floor surrounded by stage rigging decorated with vinyl records. There was a small pavilion behind it that had many disco balls hanging from its ceiling. I really enjoyed this stage for its steady blend of house music.

Big Gigantic closed the Boat stage on Saturday. This was an open air stage in front of a small slope. The whole facade of the stage was fabricated to look like a sailing ship. The DJ booth appeared to be in the cabin in the center of the ship, and there were several pairs of large butterfly styled sails rising above it. Dance platforms were located on both sides of the DJ booth for those with backstage access. Big Gigantic was one of the most unique acts here because they use live instruments – drums and a saxophone – to provide rhythmic and melodic textures over a base of electronic sounds with styles ranging from jazz to hip-hop to dubstep.

Kaskade closed the Main Stage on Sunday. This stage was styled as a house of cards in an Alice in Wonderland theme. The DJ booth here was in a ML cutout in the center of the stage, with five towers of cards rising around it. The central tower was the tallest and featured a clock face at its top. All of the hour markers around the face of the clock read ‘NOW’. The finale at the end of Kaskade’s set was fantastic. After more than ninety minutes of driving electro with elements of pop, trance, moombahton and more, all of the lights within the card towers were flashing and pairs of laser lights were tracing multiple layers of colored wedges through the smoke above the crowd. And then the fireworks started. Small rockets were launched from within the crowd on the field in front of the stage, slicing through the layers of smoke and lasers and exploding in the sky above the festival. More fireworks were launched off in the distance to the left of the stage. The launching, whistling, expanding and exploding were all choreographed to the music and a farewell monologue to the guests of Mysteryland, reminding us that yesterday is history, today is a gift, and tomorrow is a mystery.

Mysteryland USA 2014 was presented as well as or better than most debut festivals. The rainy weather leading up to the festival contributed to some delays and under-performance of some of the technical and logistic aspects of the event, but on the whole the vibe was fun and positive and the music and art created an environment shared by more than 20,000 people for two days that really took you away from the day-to-day world. ID&T is already planning another Mysteryland festival for Memorial Day weekend in 2015 and is hoping to make it an annual event. I look forward to spending a few short days at Mysteryland in the future and finding it better than when I left it.

June 13, 2014
Hearing Aide: Del Barber ‘Prairieography’

Del Barber is an extremely talented young songwriter, born and raised in the Canadian Prairies, a fact that quickly becomes evident in his lyrics. When giving his latest album Prairieography a first listen, the initial thought that came to mind was that this is your basic country album. But when delving deeper into the album, really hearing what the lyrics are saying, and researching information on the artist, it soon became clear that there is so much more to this album. The songs have a familiar resonance and structure, but there is a freshness to the sound. Following up on his three previous albums, Where the City Ends (2009), Love Songs for the Last 20 (2010), and Headwaters (2012), Prairieography paints a vivid picture of rural small town living.

The album is definitely not lacking in twangy pedal steel guitar, which is featured on every song, but the quality of the sound is unlike anything I had ever heard. That is because the reverb heard on the album was recorded inside a 150-foot grain silo! Produced by Barber and his loyal pedal steel player Bill Western, and recorded at Empire Recording in Winnipeg, “We had to disassemble the studio, scale the walls of the silo, hang microphones and a speaker,” Barber describes. “We amplified the instrument, like the pedal steel, into the silo and recorded again, then the track would have to be synched up with the song.” The effect obtained from this innovative recording technique was well worth the hard work and detail that most certainly had to be put in to achieve it. The accordion and mandolin also play important roles on this album (although they are a bit drowned out by the more dominant pedal steel). On “Peter and Jenny Lee”, the accordion comes in on the first waltz of the album, followed by “It’s Harder Than You Think”, which features real choppy licks on the mandolin, giving the song an almost reggae feel. On “Big Smoke”, if you listen carefully, you can make out audio sounds recorded from combines and augers, adding to the genuine country nature of this album.

Barber has a sweet pure voice, which at times is reminiscent of Jackie Greene, Chris Martin, and Jackson Browne. (For those of you who enjoy singing along with your CDs, Barber sings within a manageable range of notes for the average person to be able to accompany!) It is truly worth giving the lyrics a real hard listen. Although a bit dismal at times, with songs about the prices of grain going down (in fact, there is even a clip of a radio news show describing falling grain prices inserted in the middle of “Big Smoke”), and the necessity of having to either move into a big city to make a decent living, or sell out and get a job with the corporate oil company who has set up shop in town, Barber chose to end Prairieography on a somewhat more positive note with “White Lines and Taillights”, in which Barber creates beautiful harmonies during the chorus “I pray these wheels, they turn and never stop, till I make it home to you.” When listening to this album, you can’t help but get drawn in to the rural Canadian prairie landscape, feeling the struggles, as well as the joys, right along with Barber.

Del Barber has been quickly edging his way in to the U.S. Americana scene, having played several gigs throughout the mid-west in May, with some upcoming gigs in Texas in early June. The explosion of interest in this talented singer/songwriter was aided by an interview and video with Barber on CMTEdge.com on April 9, just prior to the release of Prairieography on April 15. If you are looking for a catchy yet deep country album with hints of Cajun boogie, folk, and even reggae, definitely give this one a listen.

Key Tracks: Living With A Long Way To Go, Walking In A Straight Line, Big Smoke

June 11, 2014
Hearing Aide: Tesla ‘Simplicity’

As Generation X approaches their 40s, many catch themselves reciting the Old Man’s diatribe, “Back in my time”. But, when the conversation gravitates towards music, it’s difficult to argue against those who wish to harken back to what was popular in the late ’80s and early ’90s. In that time, more so than now, a wide breadth of musical genres were represented on Top-40 radio stations – rap, r&b, blues, country (who the hell is Garth Brooks?), pop, new jack swing, grunge, and even Meatloaf came back from the dead. Before they tore down the Berlin Wall, every teenager in the United States would keep a blank tape cassette in his or her stereo and curse the DJ for sneaking a Guns ‘n’ Roses track past them, after having played Whitney Houston. I mean, who does that? Ah, but lest we forget hair metal and a band like Tesla.

Tesla is one of those bands that helped define the metal sub-genre often associated with power ballads, catchy guitar riffs and Aqua Net. The boys out of Sacramento peaked with the 1989 release of The Great Radio Controversy, from which “Love Song” was produced. An acoustic follow-up was released a year later, sending them back onto the charts with their rendition of the ’60s folk song, “Signs”. However, they peaked just prior to hair metal’s collapse around 1992 when Nirvana, Pearl Jam, Soundgarden and Alice in Chains changed the focus on mainstream music. It’s only with the recent popularity of Steel Panther, and radio programs such as Hair Nation on SiriusXM, has hair metal regained popularity.

Tesla, pictured above, is Jeff Keith (vocals), Frank Hannon (guitar), Brian Wheat (bass), Troy Luccketta (drums) and Dave Rude (guitar).

Tesla fans have eagerly awaited a new album ever since the band released “Taste My Pain” as a stand alone single last June. However, what seems to have fans most excited about Simplicity‘s release today is the promise of hearing the return of the band’s vintage sound.

And, that promise has been fulfilled.

Simplicity is an intimate conversation between Tesla and the fans who grew up listening to them. From the nostalgic sound of a needle making contact with a vinyl record to introduce the opening track “MP3”, to the following message sung through Jeff Keith’s trademark raspy voice in the following track, “Ricochet”, the listener is invited to a special reunion:

“So here we are, we’re back again/with a brand new record and ready to spin. We love our fans, want to make ’em proud/Slap it in! Turn it up loud!”

Naturally, the ballads covering unrequited love like “Other Than Me” and “Burnout to Fade” are two of the stronger tracks on this release. It’s where they seem to shine the most, with less predictable rhyme schemes, the effort seems less forced. Perhaps the best example of musicianship from the group is saved for the last track “Till That Day”, with a Frank Hannon’s crying guitar lingering in the memory long after the song draws to an end. Of course, it, too, is a ballad.

If you’re interested in purchasing the album, simply click the respective links to buy via iTunes or Amazon.

Key Tracks: Other Than Me, Burnout to Fade, Till That Day

June 10, 2014
Not Your Average Summer Camp

This year’s Summer Camp Music Festival has once again proved itself as a one of the best music festivals in the United States, and Not Your Average Summer Camp. Over Memorial Day weekend, an estimated 15,000 people made the pilgrimage to the small town of Chillicothe, Illinois, for what can only be described as the experience of a life. Since 2001, Summer Camp has been one of the fastest growing festivals in the Midwest and this year was possibly the best one to date. Its seven stages and over 100 artists gave festival goers a non-stop feed of music with more options that one could wrap their head around. In the rare chance that those in attendance were not busy enjoying the music, there were countless other attractions to assure that they got the full experience.

Photographer’s Credit: © Jason Kaczorowski Photography
Website: http://www.jasonkaczorowski.com
Facebook: https://www.facebook.com/pages/Jason-Kaczorowski-Photography/162737378305

There are numerous music festivals across the country with impressive lineups and exciting activates, but what sets Summer Camp apart is its blissful vibe. As soon as you enter the grounds of Three Sister’s Park, you are overtaken by a warm comforting sensation that starts deep in the stomach and radiates throughout your whole body. Being at Summer Camp felt like returning home after a long absence, which is something I have rarely said in my festival going career. I was in the parking lot for less than five minutes and a group of people approached me with hugs and greetings of smiles and gifts. It was as if everyone around was an old friend, all of them more excited to see you than the last.

Photographer’s Credit: © Phierce Photography by Keith Griner Website: http://www.phiercephotography.com Facebook: https://www.facebook.com/PhiercePhotography

Activities for Scampers were endless, ranging from a festival wide Treasure Hunt, to musical workshops with some of the top artists in the country. The Soulshine tent was home to most of the weekend’s many events. For those interested in lectures or other educational activities, there were classes and workshops focusing on Permaculture, Cob Building, Composting, Hula-Hooping, Sustainability, and Solar Energy. In the entertainment department, there were performances by members of LCD Soundsystem, Here Comes the Sun Stereo, Floodwood, and The Everyone Orchestra. There was also an art gallery with live art performances, daily raffles for charity, and a Non GMO March. Possibly the most exciting of all were the three carnival rides, supplying campers with non-stop thrills!

Photographer’s Credit: © Abby Fox Photography
Website: http://www.abbyfoxphotography.com
Facebook: https://www.facebook.com/abbyfoxphoto

Though General Admission tickets only covered Friday to Sunday, Thursday was still an eventful night for those early comers. Starting off Summer Camp Music Festival 2014 was Soul Census, followed by a mix of folk and electronic music. The main events for the evening were Twiddle, Future Rock, The Ragbirds, Sun Stereo, and Upstate New York’s own, Floodwood. Floodwood is a folk/bluegrass band featuring Al Schnier and Vinnie Amico from moe.. For a fairly quiet first night, there was still plenty of fun to be had at Summer Camp.

The floodgates opened Friday morning as ecstatic festival-goers came from far and wide. By noon, Three Sisters Park was brimming with smiling faces and the music had only just begun; you could feel the excited anticipation in the air. moe.’s first set was nothing short of stunning. For over an hour and a half the quintet rocked their heavy jams to thousands of Scampers. With solos ranging from metal to psychedelic, this was perfect headliner to kick off the fest. More rocking jams were supplied by Umphrey’s McGee as they played the first two of their six sets. Umph Love was in abundance as the band exhibited their immense repertoire, including tracks off their soon to be released album, Similar Skin. Primus also reigned in a massive crowd for their one and only performance of the weekend. Les Claypool’s stellar bass playing was the foundation for the headliners unique funky yet dark sound. Besides moe., featured bands from the Upstate area were Jimkata and The Manhattan Project. Both bands are specialists in the electronic jam sector and represented NY well with their hot digital jams.

Photographer’s Credit: © Jason Kaczorowski Photography
Website: http://www.jasonkaczorowski.com
Facebook: https://www.facebook.com/pages/Jason-Kaczorowski-Photography/162737378305

Saturday was again a perfect festival day, with sunny skies and warm weather. Like the previous day, moe. and Umphrey’s showed they were unstoppable, playing another two sets each! Other must-see performances for the day were Lotus, Devil Makes Three, Mike Dillon Band, and The Werks. Each band seemed to be as good if not better than the last, spreading love and good vibes throughout Summer Camp. With warm hearts and bright eyes all around, it was not hard to tell that everyone in attendance was having the time of their life. There to show the true talent of New York State were Floodwood, Break Science, and the very popular Big Leg Emma. Big Leg Emma played a diverse set of some of their original grassy jam mixed with covers including The Beatles’ Hey Jude.

When you thought it couldn’t get any better, the heat got turned way up on Sunday… literally. The temperature was near 90 degrees at Summer Camp as music lovers convened for one last day of immaculate tunes. Sunday was the biggest day of the weekend by far, bringing in over 1,000 more Scampers. The day was packed with big names of all genres. Groups such as Yonder Mountain String Band, The Wood Brothers, Bassnectar, Gramatik, and Lettuce were all on the line up for the last day. Zac Brown Band and Trey Anastasio Band also blessed Summer Camp with two sets each. And of course, to close things off, Umphrey’s McGee and moe. each played a set, joining together for a short epic jam session. The shining lights from New York State for the day were Turkuaz and Auto Body from Brooklyn. Dopapod and Aqueous illustrated Upstate’s talent, each playing an hour of psychedelic jam-rock.

Photographer’s Credit: © Abby Fox Photography
Website: http://www.abbyfoxphotography.com
Facebook: https://www.facebook.com/abbyfoxphoto

An immense amount of work goes into putting on such a startlingly impressive gathering like Summer Camp Music Festival. Behind the scenes of all the fun, music, and art, was a volunteer staff of over 500 people who did everything from maintain a safe environment to sorting every single piece of trash generated by the immense crowd. Summer Camp’s Green Team was in charge of waste management at the festival, creating Earth friendly waste receptacles divided into trash, recyclables, and compost. All vendors also were required to use recyclable and compostable utensils and plates. Summer Camp is more than just a festival, it has become a movement for change and to bring awareness to important issues that affect us all. There was also a great amount of Non-Profit activity as well, mostly focused on sustainability and environmentalism.

For a seasoned festival-goer or a first timer, Summer Camp with leave you speechless with a smile on your face the whole way home. Three Sisters Park is the perfect venue for the fest and with the outstanding artist lineup, art, and weather, no one could possibly ask for anything more. Any chance there is to attend Summer Camp Music Festival is the chance of the lifetime and you are guaranteed not to leave disappointed. There is no festival with a comparable vibe.

You can download recordings from Summer Camp below.

The Motet, moe., Devil Makes Three, Slightly Stoopid, Fareed Haque & Mathgames, Bassnectar, Primus, Trey Anastasio Band, Future Rock

June 9, 2014
Hearing Aide: Umphrey’s McGee “Similar Skin”

For a band that has been around since 1998 and thrives mainly in the live setting, Umphrey’s McGee has pivoted focus ever so slightly with the release of Similar Skin, and in doing so, launched their own music label, Nothing Too Fancy Music.

Past albums have marked eras of the band’s collective psyche, such as Anchor Drops marking their presence as the next major jam band, Safety in Numbers recorded as band members began shifting outward from their familiar post-college surroundings, and Death by Stereo which followed the band’s rise and establishment of their influential prog-meets-jam sound. On Similar Skin, these children of the 80’s wear their heroes on their musical sleeve, channeling influences and well honed song-writing skills into their own unique sound, bridging two generations and putting forth their best studio effort since 2004’s Anchor Drops.

The first six tracks of Similar Skin set the tone for what stands to be Umphrey’s finest studio material. “The Linear”, leading with a haunting hook from Ryan Stasik’s recurring bass groove frames the song, while Brendan Bayliss’ lyrics are some of the his best in recent years: “I got a little more now that I had before, if you take it all back I’d still have more”, a forward-looking view on progressing through life.

“Cut the Cable”, opening with Bayliss singing the refrain alongside acoustic guitar, erupts into a fierce classic prog-rock song that could fit in among the sounds of bands from the 1980s who have a profound influence on Umphrey’s sound, one that is firmly rooted as their own on Similar Skin. Soaring guitar from Jake Cinninger adds depth to the track, with overlapping vocals from Bayliss rounding out what should develop and expand nicely in the live setting.

“Hourglass” has a pure 80s synth rock vibe, akin to Australian band Icehouse while “No Diablo” could double as a Huey Lewis and The News song. Title track “Similar Skin” begins with a tribal drum intro from Kris Myers and contains lyrics that spell out a maturing look at the world as the band enters their 16th year playing and writing music together. There is deeper meaning behind the line “We all begin with a similar skin / that will evaporate”, as Bayliss notes, “We’re all the same thing, come from the same place, will all end up at the same place. All this bickering and conflict in the world…does it even matter?”, an assessment that is both poignant and wise.

“Puppet String”, one of the best all-around songs Umphrey’s has written, finds its way from stage to studio, translating well and leaving an impression on listeners who may be used to 10 minute+ versions of this true rocker; the band is fully dialed in when reaching these peaks. While a bit hard and heavy, “Little Gift” has a hint of Def Leppard, particularly due to Jake Cinninger’s vocals. The hyper and at times erratic “Educated Guess” seems like an amalgamation, pieced together from leftover lyrics and riffs, and while complicated it is worth a few listens.

The arching guitar crescendos throughout “Loose Ends” are matched by soaring vocals. The heavy “Hindsight” has a Helmet-like guitar groove alongside Cinninger’s lyrics; Umphrey’s occasionally tries to be a metal band, but it doesn’t always work. Final track “Bridgeless”, a classic live number, is finally brought to the studio setting. With alarm-inspiring guitar riffs, “Bridgeless” is always a crowd pleaser when played live and works well to round out Similar Skin.

Included in the bonus materials on the album are “Morning Song” and “Room to Breathe”, two songs that shine in the live setting and both of which work well in the studio. “FF” from a private show at last month’s Summer Camp, Bayliss’ commentary on “Similar Skin” and the isolated vocals of “The Linear”, among other studio gems, make the exclusive material well worth the pre-order. An interview with Scott Hannay, who makes 8bit versions of Umphrey’s songs, dubbed Umphrey’s McNES is linked in the bonus material, as well as an 8bit version of “The Linear”

Overall, Similar Skin has all the markings of a premiere studio album, with little to disagree with among these 11 tracks. If you’re interested in purchasing the album or checking out all of the various packages Umphrey’s is offering along with it, click here.

Key Tracks: The Linear, Cut the Cable, Similar Skin, Puppet String

Catch Umphrey’s McGee this summer in the Northeast:

August 2 – Bridgeport, CT – Gathering of the Vibes
August 7 – Burlington, VT – Maritime Festival
August 8 – Hampton Beach, NH – Hampton Beach Casino Ballroom
August 9 – Upper Darby, PA – Tower Theater
August 10 – Asbury Park, NJ – Stone Pony Summerstage

Official website | Facebook |Band blog | Twitter | YouTube

June 9, 2014
Hearing Aide: Let Go Daylight ‘Traditions Carved by Wounded Hands’

Traditions Carved by Wounded Hands, let go daylight’s first LP, drops on Saturday, June 14th.

Heavily steeped in the sounds of Black Sabbath and Led Zeppelin, let go daylight – they seem to market themselves in lower case – is an amalgamation of Troy musicians that have crossed over from several different bands to collaborate on this latest venture.

Let Go Daylight’s first LP since forming in 2012, Traditions Carved by Wounded Hands successfully captures a reminiscent flare to the aforementioned Sabbath, such as with the opening track of “Honey Wagon” or “Leave Me Be”. However, poised so close together at the beginning, it lends to some trepidation that the listener will be subjected to another Sabbath clone. But then, a funky bass guitar played by Mike Shudt leads us into the fourth track, “The Guts and the Glory”. As one continues to listen, you become more conscious of a transition into contemporary hard rock with “Let It Burn” to even toeing the line of punk. Ralph Renna’s bass to baritone vocals throughout the LP goes into Glenn Danzig territory with “A New Revolution”. However, a manic display of trippy guitar play by Dave White, accompanied with a strong performance by drummer Rocky Morey, at the introduction of “August Fire” showcases the band’s breadth of talent, but as it clocks in at under three and a half minutes, with a decrescendo to close out the album, I can’t help wanting more.

This four-piece band, though together for a relative short time, each is a veteran of his trade, having cut teeth with other bands (Last Call, Flate Broke, and Thrust). Nonetheless, they compliment each other well. After listening to this LP several times, you will start to hear a distinct sound germinated from the icons of the past and blossoming out with flashes of brilliance. Traditions is a good LP on its own, but it makes this listener perhaps more excited to hear how they progress further with their sound. If indeed the progressions realized throughout the chronology of this LP continue out to the next, that could be the makings of a standout performance.

The band drops the LP on June 14th, coinciding the release with a live performance at Dinosaur Bar-B-Que in Troy. If you’d like to listen to the album in full or purchase the album, click on the respective links.

Key Tracks: The Guts and the Glory, Let It Burn, August Fire.

June 9, 2014
Skrillex Heated up The Armory in Albany on his Mothership Tour June 3rd

The mighty Skrillex crash-landed his Mothership Tour at The Washington Armory in Albany last night with the help of DJ friends, Milo & Otis, What So Not, and DJ Snake. The Mothership Tour almost needs a dozen tracker trailers to carry all the lights and sound equipment, plus a massive generator to power up the unforgettable show. The vibrations you will hear and feel from the speakers on the Mothership Tour are similar to a pleasurable earthquake. Skrillex and the EDM genre as a whole attracts a special kind of crowd, mostly in their late teens and 20s, clothed with eye-catching neon, lots of glitter and brightly colored beads. The Capital District hasn’t been too fond of the raves hosted at The Armory for the past few months, but luckily this show went off stress-free.

The Milo & Otis duo was a great start to the night with fast paced dance beats and techno tunes that helped the ravers loosen up for the long night ahead of them. What So Not mixed heavy bass notes with soaring vocals that released an animal-like dark side into the crowd who ate it up. As the night progressed, the audience grew, and DJ Snake took the stage for a set of blaring techno and extreme lasers. DJ Snake got the biggest response out of the crowd when we started up his latest collaboration with Lil Jon, “Turn Down for What”. The rebellious chant got the masses screaming with their hands up in delightful angst.

After much cheering and being egged on by DJ Snake, Skrillex leapt on stage to do what he does best, melt faces and blow minds with his hard hitting electronic music. It was hard to tell who was having the better time, the ravers or Skrillex. His hands were all over his mixing tables, even standing atop of them as he amped up the crowd and leapt off just as the music would drop. The consistent climaxes kept everyone moving and the smoke machine blasts were also a crowd pleaser. The massive back drop was a rainbow of lights or showcased images of iconic pop culture; either way it went was a thrill to watch, especially to watch a slow motion of Family Matter’s Urkel and Full House’s Uncle Jesse break it down. Skrillex mixed fresh beats with popular songs that sent the crowd into a frenzy such as Damien Marley’s “Welcome to JamRock” and even the opening theme from The Lion King with a rising sun backdrop. He slams his entire body on that stage, supplies everyone with a powerful energy of music and compliments Albany on being the “hottest” stop on his tour, as it’s apparent that everyone is soaked in sweat. A Skrillex show has everything that young American’s are all about: loud music, robots, lasers and a carefree party attitude.

Whether you love or hate the EDM scene, Skrillex is a must see act. It’s empowering to watch any artist do what they love, but with Skrillex, you can appreciate his audience control and interaction. His stage presence is almost as big as the bass bombs he drops. Here’s hoping the Capital District will continue to host these EDM events for respectable ravers seeking a bizarrely fun journey into the livetronica world.

June 6, 2014
Hearing Aide: Ziggy Marley ‘Fly Rasta’

Ziggy Marley’s new musical offering Fly Rasta combines many of the essential elements that make up Ziggy Marley as a Rastafarian, music artist, and the son of a legend. The multifaceted record reaches to the ends of the musical spectrum, touching on pop, roots, reggae, funk and soul. Marley easily navigates through numerous genres and influences, referring to his sonic hybrid appropriately as ‘Ziggy’ music.

Now past the age reached by his famous father, Ziggy’s discography has now arrived at its natural maturity, taking on all aspects of Marley’s philanthropist pursuits in its content and context. The album expresses the basic tenants of Rastafarianism, love, respect, hopefulness and nature through childlike expressionism uncluttered by pretense or unneeded obscure lyrical references. There is a consistency of focus on the record that is retained regardless of the thematic or genre excursions undertaken.

The opening track and single, ‘I Don’t Want To Live on Mars’ begins with a straight pop/rock hook that dissolves into an addictive funk groove. Marley expresses that he does not want to leave earth, nor does he have to, regardless of man’s progress or Earth’s natural disasters. This is not his father’s Reggae, this is a celebratory creation built around the integrity of Marley’s past life experiences and his forward thinking compositions that defy simple classification.

The title track spins like a vintage dancehall groove from 1960’s Jamaica. Supported by vocal assistance from ‘U-Roy’, Marley pays his respect to and reminds his fellow ‘Knotty Dread’s that it’s time to soar. The groove is relentless, a steady heartbeat of the soul, disorienting, a pounding organic dance groove with a directive for Jah people to rise.

The album is a grower, similar to the plentiful green Ganja fields of Jamaica that stretch toward the hot Caribbean sun. It soaks into the listener’s skin after repeated listens like salty ocean air. A testament to its divergent styles continues with the luminescent ‘Lighthouse’, a straight forward, but alluring, rock ballad that sits on a muted reggae guitar nestled into its 4/4 beat.

‘Sunshine’ and ‘Moving Forward’ use archetypal reggae as their launching pad, sunny compositions rooted in Ziggy’s natural element, draped in horn lines and unique guitar melodies. ‘Sunshine’ features a ticklish sitar solo midway through the track, adding a unique texture to the song.

‘You’ is one of the songs that perfectly illustrates Marley’s unabashed combination of musical and world elements as the song moves from ‘One Drop’, to a funky Hammond organ breakdown, and then through slick and smooth soul middle eight. Resinous wah-wah’d guitars and slick backing vocals, in addition to start and stop rock break downs, makes this one of the finest arrangements on the LP.

Photo credit: Roxanne Haynes

The intimate ‘So Many Rising’ paints a troubadour on the beach at dusk, singing to the world through the deep, dark, and reflection of the night sky. Unadorned hand drums and an acoustic guitar are the only instrumentation on this song of hope and encouragement, clearly understood through its transparent and woody arrangement.

‘I Get Up’ follows and features sister Cedella Marley, adding her sweet vocal abilities and family support to the track about battling through every day issues and living in and for the moment. Warm descending bass lines and alternating horns tickle the melodic sense of the song.

‘Your My Yoko’, and ‘Give It Away’ close the album on a positive and grooving note. ‘Your My Yoko’ is a testament and tribute to women as a support system, muse and as representative Earth Mother, through a syncopated major key arrangement. The closing song, ‘Give It Away’ fittingly concludes and bookends the record with a delicious ‘riddim’. The song begins with soft vocals crooned by Marley that explore the melody of the track. The tune then moves into a gently undulating reggae groove that then suddenly shifts into a circular funk for the songs central change. ‘Only if we give it away, can love be love’ is the concluding message and a simple note to leave behind after the experience of the record.

Ziggy Marley has now reached the point in his successful career where his legacy is in place and he has grown into his substantial shoes. The music he is disseminating to the world is truly his music, created by and stamped with his aesthetics. Marley is proud of his history and his roots, but does not let it overwhelm his need for discovery and creation. His lyrical voice expresses a proud and historic awareness, but never a pretentious or didactic attitude. It seems Marley has reached a sun-drenched plateau of confidence and security where he can develop new and interesting ways of communication through the re-imagining of the medium of reggae.

Key Tracks: Fly Rasta, So Many Rising, Give It Away

Ziggy Marley will be performing on June 25^th at Artpark in Lewiston, NY in support of Fly Rasta. Steel Pulse will be supporting Ziggy at this performance. Tickets are available for $6.00, $11.00 and $26.00, with gates opening at 4:30.

June 5, 2014