NYS Music 20​14

Category: Reviews

  • Donna The Buffalo Never Seem to Disappoint in Buffalo

    You know that feeling that is produced when your friends and family are around you?  The feeling of comfort and just pure positive vibes filling the room? This is how Donna The Buffalo, hailing from Trumansburg, NY, made the crowd feel on Saturday, February 8th at The Tralf Music Hall in Buffalo. It’s as if you’re at a backyard party hosted by the special people in your life. There was no opener on this night but they didn’t need one because DTB filled the entire nigh, getting fans up and moving with their 27 song set.

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    DTB started off the night with one of their most recognizable tunes in their catalog with “In This Life”. Jeb Puryear (guitar, vocals) with the very catchy intro and Tara Nevins (fiddle, accordion, guitar,vocals) accompanied with the equally snappy accordion intro got the entire crowd moving.

    One of Donna the Buffalo’s traits is not having a setlist before the show and feeding off what the crowd is interested in hearing. Several times Puryear and Dave McCracken (Keys) took notes from fans asking for certain songs and special birthday announcements. The ability to give the fans the ultimate experience and home type feeling is what DTB is all about. Kyle Spark (Bass) and Mark Raudabaugh (drums) rounded out the band and provided a very solid background to the sound that is DTB, one that is rustic and very authentic.

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    “40 Days and 40 Nights” is such a uplifting and excitable song from the moment Puryear strums the very recognizable intro. Closing the set with “No Place Like The Right Time” was a highlight of the night, one of the bands top singles and fan favorites to date. There truly is something magically between Puryear and Nevins and it shined bright with their first encore song, “There Must Be”. Nevins fiddle cuts through the crowd and the hearts of everyone and includes Nevins and Puryear on stage . The night was capped off by a growing single, “Working on That” off their most recent album, Tonight, Tomorrow and Yesterday and put the finishing touches on what was a great night filled with friends and concert family.

    Donna The Buffalo has some time to rest after three straight shows, and will be heading to The Virgina Key Grassroots Festival on February 21-22. Catch DTB when they headline The Great Blue Heron Music Festival on July 5-7 in Sherman, NY

    Setlist: In This Life, Temporary Misery,Tonight Tomorrow and Yesterday, One Day at a Time, Everyday, Love and Gasoline, These Are Better Days, I Just Don’t Wanna Be Lonely > Cornbread, I Love My Tribe, I Can Fly, Forty Days and Forty Nights, Broken Record, Ms. Parsley, Ancient Arms, In the Shade, No Sad Songs, Heaven on the Earth, What Money Cannot Buy, Deeds of a Few, Funkyside, Love Time, No Place Like the Right Time

    Encore: There Must Be, Chocolate 3-Step (Yeah You Right) > Gimme Just a Little Time, Working on That

  • moe. Celebrates The Wetlands 25th Anniversary with Friends

    The Wetlands Preserve may be gone, but it is far from forgotten, thanks to Pete Shapiro and The Capitol Theatre, which served as the location from which to pay tribute to the fabled venue on the occasion of its 25th anniversary. The former lower Manhattan club is still fresh in the many memories of the fans but especially the musicians who performed in lower Manhattan in the 1990s. A wide group, including Jimmy Herring, Nate Wilson, Reid Genauer, Conehead Buddha, Peter Prince, Chris Barron and many more joined moe. over the course of February 7th and 8th. It was a night where those fans who did frequent The Wetlands and those who know the venue just from the oral history of the Jamband scene combined to share in the legacy of the venue and make new memories.

    moe wetlandsThere is a great deal of history coming from The Wetlands, with extensive proof found in Wetlands Perserved, a must-see DVD. The venue lineup any given week was a who’s who of touring bands. Having moe. play for two nights and bring out friends served as a fitting throwback to yesteryear. When is moe. not moe.? When they have their friends playing with them on jam-friendly originals and a variety of covers on a special occasions such as this.

    Opening for moe. were The Ringers, featuring three guitarists – Jimmy Herring,Wayne Krantz, Michael Landau, bassist Etienne Mbappe and drummer Gary Novak. A full set of rockin’ blues with glorious jamming was a sight not to miss. Flawless rock and shred done right, but the set was all too short. We need more Ringers shows, simple as that.  In between the sets, video and photo footage was projected on the Capitol Theatre’s majestic walls; those in the balcony had a great view that aided the crowd in reminiscing.

    moe. came out to “New York City”, naturally, then dipped into the past with “Y.O.Y.” and “Nebraska”, and brought up Nate Wilson to play piano and organ on “Blue Jeans Pizza” and “Plane Crash”, where he recalled “Giorgio by Morodor” from Daft Punk’s Random Access Memories. Michael Landeau joined on guitar, as did Jimmy Herring for “Buster”, with a projection of the flying pig on the tour poster projected across both sides of the stage. To cap off an already stellar set, members of Percy Hill, Max Creek, Strangefolk and Aquarium Rescue Unit joined moe. for an instant classic rendition of “Sugaree”, rotating verses between them. What a closer.

    “Mexico” kicked off the second set, and moe.’s oft-used jam-vehicle for friends had yet another stellar showing, launching themselves into the rest of the night. Reid joined and led on vocals during this conversational “Mexico”. A surprise to many, Strangefolk’s “Speculator” kept Reid on vocals and was rocked out between Chuck, Reid, Al and Nate. In particular, Nate played the perfect accents of piano in “Speculator”, a song above all other Strangefolk songs that is greatly benefited by the addition of piano. It’s a good song. “Growin”, “She” and “The Road” rounded out the set, with a monstrous “Timmy Tucker” closing out the set. An encore of “Up on Cripple Creek” with Reid, Scott and Nate made for an ideal communal song to end the night’s festivities. This was a classic night that will be recalled vividly, and hopefully, repeated annually at The Cap.

    Bonus from the two shows! Pick up a FREE download of the weekend’s shows: February 7th and February 8th. Don’t miss out on these hot shows

    photos by Mike Geller

  • Influenced, an Artist’s Review: Umphrey’s ROCKchester

    For this Umphrey’s review we invited Aqueous‘s Mike Gantzer to sit in as guest reporter and cover one of his and Aqueous’s big influences.  

    In the Fall of 2007, I’d been strongly advised by my fellow band mate Evan McPhaden, (who’d been strongly advised by some guy he worked with) to check out a band I’d never heard of. They were playing on a Monday night at the Harro East Ballroom in Rochester, NY. I decided to go based on the pretense that this band “melts faces” and mostly that it was an excuse to see live music on a Monday night instead of doing schoolwork. Six years and 20 some odd shows later, its pretty safe to say that my face really hasn’t been the same, and it’s all Umphrey’s McGee’s fault.

    Something resonated with Aqueous when we first started seeing Umphrey’s. They did what we wanted to do: they grooved, they shredded, they listened to each other. The interplay between every member of that band is out of control, and that set an intense pace for us when we were defining our sound. Specifically for me, the aggressive but dynamic guitar approach was perfect, and I loved how Jake Cinninger and Brendan Bayliss worked as a unit. They sort of re-affirmed my belief that the best way for a band to function is to have every member completely cognizant of the others in the group, and to build every song or jam as one whole; a foundation that we have built our entire band around. Beyond the music, their general structure was fresh and innovative, and it always seems like they’re pushing the jam scene into new territories. (UM bowl, The Headphones and Snocones program, their music education program sUMmer school, etc…)

    It was only fitting that I found myself at the Harro East Ballroom seeing Umphrey’s McGee destroying the place in the very same fashion they had when I began my journey with them all those years ago (albeit with a significant upgrade to Jefferson Waful’s light rig, and probably double the amount of people in attendance). Although the Harro East isn’t the best room acoustically speaking, the band was still totally dialed in, and every nuance could be heard from the right spot in the venue.

    Umphrey’s McGee has mastered the art of the setlist, which in a way is like mastering the art of musical contrast. Given that their catalog is extensive and their musical prowess spans and draws from several genres, Umphrey’s has managed to consistently write setlists that showcase so many sides of the band, and they move seamlessly between those sides with mind-blowing segues and some of the tightest on-the-dime transitions you can imagine. This night was no exception, they seemed to have struck a perfect balance between three notable and specifically Umphrey’s-esque themes: prog, groove, and dance.

    Opening the show with a super aggressive “Padgett’s Profile” right into a burning “2×2”, it was clear that they weren’t taking any prisoners this Sunday night. After the incredible composed section that sounds something like Mozart with the distortion on 11, they opened the song up into a beautiful and patient but ever-building jam. This show in particular saw a lot more psychedelic moments than I’d seen Umphrey’s get into before, which culminated in several chill-inducing moments when songs finally peaked, and that tone was set early on with this particular rendition of “2×2”.

    The set continued on with a standard but excellent version of “Anchor Drops”. Short and sweet, this showcased super solid three part vocal harmonies, and some great and tasteful playing/phrasing by Cinninger. Moving into Safety In Numbers territory, a “Nemo>Sweetness>Nemo sandwich saw one of the most uplifting and triumphant peaks of the first set, and the final lyrics of “Nemo” always resonate deeply with me: “As many times as we’ve been there and back again, Now I don’t care if I’ll be no one in the end.”

    I was psyched to see the band touching on older material from the Local Band Does OK era, as they started up the super prog-y and air-guitar worthy “Water”. This particular composition is adventurous and intense; seguing through many driving peaks and valleys, and the band nailed this version, an impressive task with so many changes. The set came to a screaming close with the deep, slouchy groove “Smell the Mitten”. The guitar harmonies on this song are super playful and fun, and the groove built into a driving/dance-y jam that centered around Joel Cummins’ keyboard leads. There was some specific interplay between drummer Kris Myers and bassist Ryan Stasik that was really pushing the jam, and the song and set came to an epic end with a huge sounding riff. After proclaiming, “Thank you, we’re Joel Cummins and the Twitter Junkies”, the band exited the stage as Supertramp came on over the PA system.

    Excitement mounted as the band took the stage for the second set with the fan-favorite “Jajunk”, and nearly everyone in the place was air-guitaring along, myself included. As the band came away from the composed intro, this section saw a distinctive interplay between Bayliss and Cinninger in the form of a guitar line that served as the theme of that jam. Again, Umphrey’s pulled back the reigns and opted for some brief psychedelia before jumping into the Steely Dan-esque “Comma Later”. Another Joel-led jam found the band entranced in a deep dance groove. Percussionist Andy Farag’s role in coloring the music with tasteful and necessary additions really stood out here. As the jam came to a close, they built it into the instrumental “Space Funk Booty”, a dirty groove based on diminished chords and solid rock riffing, which came to a decently concise close. Bayliss commented on the crowd’s enthusiasm for a Sunday night, before kicking into a newer tune “Glide”. Stasik’s slap work served as the groundwork for a super funky, falsetto vocal-based dance machine of a tune, and the entire crowd responded by dancing even harder than before.

    Moving again into the Local Band Does OK catalog, the band jumped right into “Prowler>”2nd Self”, just as it is on the aforementioned album. “Prowler” featured a super quick tease of Van Halen’s “Unchained” by Cinninger, and both Cummins and Bayliss shined in this section, with beautiful, peaking solos. It’s worth mentioning again how they nailed these songs to a tee; especially given how many intense changes the songs have built into their respective structures.  As Umphrey’s started to draw the set to a close, they pulled out a “Dump City” on the crowd, and this might have been the highlight of the show. It jumped between a sly groove and some super heavy guitar riffs, and two things specifically stood out here. Initially, Jake took some super clean leads that were pretty shocking, very Jeff Beck-esque and tasteful. Secondly, the jam culminated in the ongoing theme of space and psychedelic jamming in the form of a super strange build out of a Myers/Farag solo that launched straight into the atmosphere. It was an odd mix of metal and space, and you could even see the band being surprised by what was happening. Out of nowhere, they pulled it back into “Dump City”, and it came to a raucous close. Bayliss noted that it got “Weird, almost like the Twilight Zone”, and the band appropriately closed the set with the 1982 classic rock hit “Twilight Zone” by Golden Earring, sung by Cinninger.

    Returning to the stage for the encore, they dropped into the shuffle beat/reggae influenced “Thin Air”, an interesting and fun choice, and promptly moved into a shifting section between a Latin samba feel with Bayliss leads, and a jazz feel with Cinninger leads. This built into a soaring duel guitar jam that ended with the classical “In the Hall of the Mountain King”, only to return to “JaJunk Part Two”. Cinninger proceeded to destroy everyone in the building with fiery leads, and the show came to an epic and final ending as the band thanked the crowd and walked off.

    This show achieved what every Umphrey’s McGee show achieves for me; I left feeling incredibly inspired. There’s a strong correlation between any member of Aqueous seeing an Umphrey’s show and new material forming quickly from us thereafter, and that has been a consistent pattern since we all first saw them, fittingly in this same venue. Face: successfully melted.

    Setlist
    Set 1: Padgett’s Profile, 2×2, Anchor Drops, Nemo -> Sweetness[1] > Nemo, Water, Smell the Mitten
    Set 2: JaJunk, Comma Later > Space Funk Booty, Glide, Prowler > 2nd Self, Dump City, Twilight Zone
    Encore: Thin Air > JaJunk

  • Particle Makes it Hot on a Snowy Day in Saratoga

    The neon signs that welcomed fans to Putnam Den were illuminated by falling snow landing on the glass. People huddled around the snow covered tables, smoking, trying to stay warm. The venue was very welcoming to the cold as leather couches sat in the middle of the room, giving off a cozy, warm, almost home-like feeling. People trudged in slowly and the floor became soaked in footprints as the perfectly lit room filled. Everyone who made it through the treacherous weather to get there prepared themselves for the great time that is a Particle party.

    John Wayne and the Pain opened the evening with their unique sound of Reggaetronic Dub. The mixture may sound abstract but when put all together a great sound was created. They pushed musical boundaries to the limits when they covered the Grateful Dead classic, “Wharf Rat”, a song that wouldn’t seem to fit this genre, but with these three musicians they made it work. Starting the song with Garcia like guitars licks and ending it the same way was a phenomenal feat, that very few could pull off.

    As Particle prepared to take the stage, fans who were milling around the room came to the center for what was sure to be a rager. The slightly tilted hats that have become a staple in the scene were out in full force as were the girls in their artsy skirts with drinks in hand. Clay Parnell (bass) and Brandon Draper (drums) started out the show with “Papa Delta”, a heavy drum and bass beat, getting the crowd going, warming their cold bones. The energy level was extremely high as guitarist Ben Combe and keyboard extraordinaire Steve Molitz joined the other two on stage. Molitz then led the drum and bass jam into the Chemical Brothers’ “Denmark”, a keyboard heavy dance track, with the crowd throwing their hands in the air, smiling, and giving each other high fives. Particle had arrived. Molitz was also hopping up and down to ensure the energy level was steady.

    Although the sound of Particle is keyboard heavy, the next track, “London Forces”, was focused on Combes’ guitar playing, building up and up until an explosion of sound emerged showing the versatility of the band. Covering Pink Floyd’s “Have a Cigar” was a treat for all, slowing the pace down a bit, allowing fans to catch their breath but still staying connected to the show. The beautifully covered song also showed the immense range Particle has in their playing ability. The party continued with more beats to keep the crowd moving, to keep them warm. This being only the second show with this rotation they were spitting pure fire and will continue to do so as the band’s chemistry grows.

    Setlist: Papa Delta, Denmark, Hits, London Forces, Red Orchestra, Launchpad, Have A Cigar, New Song, Kneeknocker, W, Elevator, Below Radar, Axel F

    Encore: Pro, Sun Mar 11

    Prior to the show, I had the privilege of siting down with Particle members Steve Molitz and Clay Parnell before their recent show at Putnam Den.

    Jimmy Chambers: How has the sound of Particle changed as new members have joined the band?

    Steve Molitz: Different people bring different sounds and tones, but I don’t think the Particle sound changes that much. There is sort of this core thing that happens when the songs get played, I don’t want to say it’s bigger than the musicians playing it but it’s separate from the musicians playing it. The various musicians over the years have tapped into it. The songs are created with am end line, but by bringing in new musicians there is room for a song to grow, but always keeping that core intact. And it’s interesting playing with different players, because you get to hear what the interpretation of the song is. A great example of this is Clay (Parnell) on bass he interpreted a song that we have been playing for ten years differently than when it was written, and now we have a completely new sound to a song we have been playing for over ten years.

    JC: Clay are you pulling double duty with Brothers Past or are you mostly going to be focused on particle?

    Clay Parnell: Well in a sense I am. I mean Brothers Past hasn’t disbanded, we have a couple of dates lined up. But everybody in Brothers Past is doing really amazing things, Tommy Hamilton is out with the American Babies. Our keyboardist, (Tom McKee) is running a music school.

    JC: How did you end up joining an established band, when your are already in an established band?

    CP: Its funny, Steve and I, since both of our main projects were kind of in a lull I kinda had a lot going on, like I say I’m the man of a million side projects.

    JC: Like the Warren Haynes of bass.

    CP: Yeah, you know, Steve asked me what I was doing, and asked me about this, and I just went with it.

    SM: It all came about very organically, it started with just jamming on tunes in the studio, and just worked out. He heard the tracks and laid down his bass lines, and that was that. It all came together very well.

    JC: How did you get involved playing with Phil Lesh, and how did that experience impact your playing, because the Grateful Dead sound is a little different than the Particle sound?

    SM: I think he (Lesh) came to see Particle at the Cow Palace (San Francisco), I think, and shortly thereafter he asked if I want to play with Phil Lesh and Friends. I said yeah, but I never grew up listening to the Grateful Dead, I didn’t have their albums, I wasn’t familiar with their songs. So I told him I may not be the best guy for the job and he said that’s even better, that’s perfect! He was thrilled that I didn’t know the material because then I wouldn’t try to emulate anyone who has played it before me. You really made a good point when you asked how it influenced my playing, because I definitely learned a lot playing with theses different lineups.

    JC: Now that you have this formation in the band where do you see yourself going? About ten years ago I saw your name everywhere, Disco Biscuits shows, then it kind of died down a bit. But now you have this resurgence with Clay in the band this huge tour. Where do you see it going?

    SM: Yeah you’re right, right now we have like 40 tour dates on the books. This tour takes us down the East Coast and as far south as Texas. Then the next tour starts in Tahoe (Nevada) and works its way down to San Diego and out through Arizona, Utah, the Midwest, ending at Jazz Fest in New Orleans. So we’re definitely getting around, planning a big fall tour as well and finishing putting a few touches on the new album. As for the big picture, its kind of counterproductive to think about the future too far and that’s something I’ve learned being on the road for over 14 years. So I’m not really trying to get ahead of myself thinking where will we be in a year, five years. It’s more just thinking ‘I am so excited for the show we are going to play tonight’, and ‘I’m so excited for the show we’re going to play tomorrow night and so on’. Trying to play each night as it comes, live each moment as it comes. And have as much fun as possible doing it.

  • Umphrey’s McGee Rocked The F-Shed in Syracuse

    On Saturday, February 8th, Umphrey’s McGee showed up to play a high-energy show at The F-Shed in Syracuse, NY. The crowd filed in through the narrow doors leading to the converted market shed venue. Umphrey’s eased into their set with “October Rain” seguing into “The Linear.” They kept their music selections relatively relaxed and atmospheric in the first set.

    The set moved forward and the band launched into an epic version of “Wappy Sprayberry” in all its electro-jammy, hard rock-esque glory, including teases of Metallica’s “Wherever I May Roam.” Umphrey’s went on to close the set with a cover of Led Zeppelin’s “The Song Remains The Same.” The band did an unbelievably tight rendition of the tune, complete with guitar tones almost identical to Zeppelin’s. This setlist choice was certainly a challenging one to come through on, but Umphrey’s pulled it off with poise.

    The second set really kicked off the party. As soon as Umphrey’s busted into “All in Time” the crowd seemed to shift into full-on dance mode. Umphrey’s dragged this one out, going into “No Comment” and then back into “All in Time.” After a soft, inspirational and brief “End of The Road”, the band launched back into rage mode with “Room To Breathe” and “Puppet String” before closing the set with “1348.” The momentum they had built up during the second set carried over to the encore. Umphrey’s came out on fire with a cover of Van Halen’s “Hot For Teacher” in which the drummer Kris Myers sang the entire tune whilst keeping his heavy double-kick pattern. “Hot For Teacher” got a loud response from the audience that propelled the band to rock it even harder. Umphrey’s then finished up the night with a fun and steady version of “Front Porch.”

    I was totally entertained and extremely impressed with the overall quality of this show. The sound mix was crisp and clear for the entirety of the set and the lighting direction was done phenomenally. Umphrey’s showed their fans once again that they can do any style of music and still get the fans moving and grooving properly. The combination of the jam-band style, heavier hard-rock style and even some experimental electronic was infectious. This show further proves Umphrey’s resilience in the live music scene and begs each fan to come out to their shows time and time again whenever they pass through town.

    Umphrey’s McGee F-Shed Setlist:
    Set 1: October Rain > The Linear, Plunger, Booth Love > Out Of Order, FF > Wappy Sprayberry > The Song Remains The Same
    Set 2: Puppet String > Slacker, All In Time > No Comment > All In Time, End Of The Road, Room To Breathe > Puppet String, 1348
    Encore: Hot For Teacher, Front Porch

    Download the show here.

  • A Packed Upstate Concert Hall Welcomes Back Umphrey’s McGee

    Upstate New York only gets a few doses of Umphrey’s McGee in the cold of winter, but they sure heat things up at every stop. Kicking off their three nights in Upstate was a stand-out performance at Upstate Concert Hall in Clifton Park. The venue was packed, more so than it was last time the Chicago prog-rockers came to town, as the word has gotten out and Umphrey’s is becoming a draw who may have outgrown their usual Capital District stomping grounds.

    Umphrey's McGee Upstate Concert Hall

    A “Catshot” intro built up the crowd as the six members took the stage. These instrumental intros are unique to Umphrey’s and serve as an excellent way to give the show a rolling start. Picking up a pair of Headphones (more on that in a bit) just as “Phil’s Farm” got going, the solid 15 minute rocker built off “Catshot”, with Bayliss and Cinninger hitting great peaks with start/stops that gave a jolt to the crowd as they began a night of dancing.  “Miami Virtue” had Jeff Waful’s lights come alive in a dark jam before bleeding seamlessly into “Professor Wormbog”, which had some Boyz II Men acapella vocals thrown in for a curveball before returning to heavy prog funk.

    Warm lights accompanied “Morning Song” alongside Bayliss’ full flex vocals amid soaring guitar peaks. And if “Phil’s Farm” was the first blow of the night, “Mantis” held the knockout punch of the first set, clocking in at a shade under 20 minutes, with a “Jimmy Stewart” section, complete with lyrics.

    During the show, I had the unique experience to test out the new “Headphones and Snowcones” feature that is available all Umphrey’s shows this tour. Comfortable and easy to manage, these were quite frankly a welcome accessory to the show. Not only do you get to experience quality, soundboard sound, but the pristine audio environment that creates a 3-D experience for your ears. The sound is crystal clear, and if you have Tinnitus like I do, you can adjust the volume and prevent further damage, while keeping out that hiss that ultimately takes away from the music. The only drawback I can think of is the cost: at $40, plus refundable deposit, it might be out of budget for some, but you do get a UMLive download of the show, so it depends on your personal preferences for how you want to hear the show. Given an opportunity to try this again, I would certainly pay to hear the band sound the way it should be heard.

    Umphrey's McGee Upstate Concert Hall

    Opening the second set with “Miss Tinkles Overture”, Umphrey’s brought back a “Jimmy Stewart” jam with additional lyrics. The hard metal rock of Jake Cinninger and Kris Myers tore up “Tinkles”, which can serve equally well anywhere in a set, but stood out perfectly to welcome the crowd back. “Push the Pig” had a dark bass groove from Ryan Stasik, eventually leading into “Roseanna” by Toto. With Umphrey’s, you are virtually assured an 80’s cover and the rarer, the better. Looking around the venue, only the older fans seemed to know the song, mouthing some of the lyrics while the younger fans sang along only with ‘Rose-an-na!’

    Although it wasn’t jammed out, “Roseanna” did melt into a full band jam that pushed into the shred-metal of “Go to Hell” and then “Der Bluten Kat”. The last time Umphrey’s was in town, “DBK” clocked in at 30 minutes. This version ended up at only 27 minutes, not including “The Fuzz” that was sandwiched in between. There is no bigger jam vehicle for Umphrey’s than a solid “DBK” and it was great to hear another fantastic version.

    A second installment of ‘Hey, Remember the 80s?’ came in the second half of the encore with Kris Myers introduced as Glen Danzig (and Jake Cinninger heading behind the drum kit), as we were about to get the classic metal group’s “Mother”. Myers knows his metal and you haven’t heard a cover done with such accuracy, let alone a cover of Danzig, until you’ve heard Umphrey’s “Mother”. A hot show with electricity teeming throughout the crowd as they dispersed, fans began making plans for the weekend shows in Syracuse and Rochester, part of the luxury of Upstate New York’s proximity to great music towns.

    Setlist
    Set 1: Catshot > Phil’s Farm, Miami Virtue > Professor Wormbog, Morning Song, Crucial Taunt, Mantis
    Set 2: Miss Tinkle’s Overture, Push The Pig > Rosanna > Go To Hell, Der Bluten Kat > The Fuzz > Der Bluten Kat
    Encore: The Weight Around, Mother

    Download Ed Guidry’s recording of the show from Archive.org

    • Umphrey's McGee Upstate Concert Hall

  • Hearing Aide: Irv Lyons Jr. “I Love the Night”

    Oneida Nation Native Irv Lyons Jr. has just released his debut album, I Love the Night. Lyons’ three-man band hailing from Camillus, New York has a vintage Rock & Roll sound crossed with Americana love songs.

    Irv Lyons JrThe trio consisting of Mike Casale on bass, Jim Bianchi on drums, and Irv Lyons Jr. on lead guitar and vocals, combine for an unforgettable album of love songs that are filled with passion and some psychedelic sound effects.

    Lyons is no novice to Americana music however; he is part of another better known group called The Fabulous Ripcords who have a similar style incorporating blues, Latin, and roots music.  Irv Lyons Jr.’s ten-track debut should solidify his name in the Americana Romance genre.

    The opening track, “Wanna Be With You”, is a solid tune about a burning yearning for that dream women. All he asks is that through night and day, rain or shine, she will always be by his side. The song then goes into an amazing jam section where Lyons’ guitar solo, reminiscent of Carlos Santana, leaving the listener stunned. “Like A Machine” conveys Lyons’ insatiable urge to be with the woman he loves. From her hair to her perfume, everything reminds him of her unconditional love.

    Irv Lyons Jr“Slide” is a driving rock song about being lost in a world without the love he once knew and all he wants to do is drive, leaving all his worries behind. “Why Can’t We Live Together” is a slower ballad expressing the sadness and confusion behind a problem that has troubled couples since the beginning of time. His love is unstoppable, but he just can’t bear to live without her.  “Rude” is a fiery number about an impudent girl with a bad attitude and no manners that no man can stand.

    “If You Love Me” is an acoustic jam featuring an unknown female vocalist. The song asks that if a person could love another so much, how could they keep doing those terrible things. All they want is to be treated right by the person they love. “Strong Hold” is another tune about a deep love featuring the female vocalist, but this time things are going a little rough. The only answer is to hold on tight and try and make it better. “Bedroom Eyes” is a fast paced number about making love to a dream woman. The distorted vocals makes for a psychedelic sound that adds a distinct flare to the album. “Be My Baby” is another acoustic jam with distorted vocals that stands out from the rest. This unique song tries to persuade a woman to give Lyons’ a chance to show how he can be better than her other man. The final and title track on the album, “I Love The Night,” reveals Lyon’s Latin influence with a fast groove and a message of how serene and blissful the night can be.

    Irv Lyons Jr.’s new album can be purchased on Amazon or CD Baby. You can follow the band online via Facebook and ReverbNation.

    Key Tracks: Be My Baby, Like A Machine, Wanna Be With You

  • Decades Night Becomes Dancing Night: Aqueous at Nietzsche’s, February 5th

    In over 30 years of live music at Nietzsche’s Buffalo, no band has ever been granted a residency, until Wednesday February 5th, 2014 when Aqueous secured a month long gig at Nietzsche’s where they will play themed shows every single Wednesday night with various opening bands. Wednesday was “Decades Night,” so both Aqueous and Baltimore based Pigeons Playing Ping Pong (PPPP) brought some celebratory cover songs to the party.

    Aqueous decades nightPigeons started the night off strong with their excellent brand of funk/improv. Coming out hot with the perfectly named “Upfunk”, PPPP got the crowd grooving from the first note. Both “Decades Night” covers of Steppenwolf’s “Magic Carpet Ride,” and Michael Jackson’s “Don’t Stop Till You Get Enough” were well adjusted to the band’s style and fit perfectly in their set. Pigeons did a great job injecting the crowd with energy and setting the stage wonderfully for Aqueous.

    Aqueous decades nightSelling out Nietzsche’s has become old hat for Aqueous. Tonight was a difficult night for people to make it out to Nietzsche’s. With a storm that dropped 10 inches of snow and a late Wednesday night gig, Aqueous was still able to bring in a crowd of around 150. Those brave 150 would leave the two hour set happy, appreciative, and tired from dancing.

    Aqueous opened the run with the newly penned “Complex ii” that has seen some growth already during its short life. The first Decades Night themed cover would appear after just one song. Aqueous closed “Complex ii” and immediately released The Doors “Break on Through” (60’s); the energy in the building would never slow from that point. Two more Aqueous originals with some exploratory jamming would set things up for the 70’s decade cover. The Bee Gees “Stayin’ Alive” gave the Nietzsche’s crowd a chance to show off their disco moves that they have watched their parents do at weddings.

    Once again two more Aqueous originals followed, including an excellent “Aldehyde.” Next it was time for the 80’s decade cover. Covering a-ha’s “Take On Me” was an excellent choice and the clear highlight up until this point of the show. However, this was no laughing matter. The crowd was in a frenzy grabbing each other, singing the cheesy lyrics and basking in the fun.

    Aqueous followed next with their original tune “Skyway” before seguing into the last cover of the night. The 90’s cover of Britney Spears “Baby One More Time” came out of nowhere. If you had that as your office pool choice for the 90’s decade, please provide visual evidence. Unfortunately, Britney was not around to shake it for us, but guitarist Dave Loss handled things like a pro. Luckily for us, Dave decided not go the sexy teenage schoolgirl route, instead he helped turn the cover into a funky take on the teeny-bopper classic. The crowd ate it up, everything was weird and perfect at the same time. An outstanding jam concluded “Baby One More Time” before the band returned to “Skyway” which finished up the set.

    The encore choice of the rarely played “Dig It Good” capped the night while staying true to the jamming spirit of Aqueous’ core. Smiles, laughter, and happiness were certainly the dominant emotions of the crowd as the exited Nietzsche’s. Just a reminder, this was only the first of the four residency shows. See you next Wednesday for the “Love” themed set and opening band from North Carolina, The Mantras.

    Aqueous Residency Remaining Dates at Nietzsche’s:
    Wednesday, February 12 with The Mantras
    Wednesday, February 19 with Broccoli Samurai
    Wednesday, February 26 with Big Something

    Setlist: Complex ii>Break On Through (Doors), Dave’s Song>Gordon’s Mule, Stayin Alive (Bee Gees)>Kitty Chaser, Aldehyde>Take On Me (a-ha), Skyway>One More Time (Britney Spears)>Skyway

    Encore: Dig It Good

  • Hearing Aide: Wild Adriatic’s “Big Suspicious”

    Rock and roll trio and Saratoga Springs, NY natives Wild Adriatic have a new long player titled Big Suspicious. This current collection is hallmarked by a plethora of imposing guitar licks, resounding rhythms, and vintage vocal approaches. The band is sincerely ‘no frills’ rock and roll and the blueprint to their art is an organic approach to song creation and presentation. The secret lies in the bands simplistic yet virtuous approach to their music. The band is made up of guitarist/vocalist Travis Grey in addition to bassist Rich Derbyshire, and drummer Mateo Vosganian.

    Wild Adriatic

    The LP ranges thematically from swampy blues to pop soul, with the unpretentious and diverse vocalizations by Travis Gray, a highlight of the set. The marriage of the groups tight instrumentation in addition to the vocal melodies equate to an album that unabashedly shares its influences as well as putting a unique spin on these influences.  You will find no jam band sensibilities on this record; the band constructs succinct, well developed and orchestrated rock music. This is not to say there is no extended jamming by the band, just that there are no wasted notes or aimless improvisations, every note and melody has a purpose.

    The adamant opening of the record begins in earnest with the mountainous one-two punch of ‘Can’t Be Your Man’, and ‘Mess Around’.  The band elicits early Humble Pie on this opening track through the swampy central guitar licks and grimy group approach. In contrast the following ‘Mess Around’ which rides on an accelerating stomp that sounds if it draws its influence from early ZZ Top with its boogie chugging attitude. This is serious juke-joint ass shaking music.  An additional note on ‘Mess Around’ is the addition of some swinging horns that act as a welcome addition to the song not an unneeded gimmick as can often be the case these days.

    ’40 Days 40 Nights (Hard Times)’ again brings to mind Steve Marriott and Peter Frampton’s Humble Pie excursions. Its dual keyboard and guitar ascending riff grabs you by the collar and says, ‘Listen up!’ It’s refreshing to hear a modern band stay true to the roots of their influence and just play some heavy rock and roll. No window dressings here, no unnecessary effects, just some pals blasting away on electrified and aggressive riffs and melodies.

    A song like the following ‘Tight Grip’ identifies the band as being able to be classified along with the same rockers that enjoy a band such as Gov’t Mule. There is an edge to their music and an aggressive nudge of the elbow to the listener by the attitude presented. The only respite from the barrage of weighty blues and rock licks in the first half of the album is the soul soaked ‘Holding You’ that swings with a contemporary R and B feel and original instrumental attack.

    The ability of the group to swing between poles of influence is well documented on the collection with the expansive and catchy ‘Cooperstown’ acting in contrast to the balladry of the preceding tune. Falsetto vocal melody lines inject the song with a lightness that balances its metallic instrumentation. The pounded blacks and whites of the keyboard in addition to distorted guitar strikes add up to a dynamic and well preformed song that accentuates that groups songwriting strengths.

    ‘Lose My Mind’ is a highlight of the collection. Alternating between a gently picked acoustic guitar line verse and a fuzzy apocalyptic chorus that creeps along like a boot stuck in the mud. This song would nestle nicely on the ‘B’ side of many 1970’s rock single releases exhibiting all of the historic hallmarks of the music created in this era.

    Again, the band dynamically hits the switch moving into a soul review with a reading of the song ‘Walk For Miles’. Vocalist Travis Gray really stretches out on the last half of the record, channeling Rochester, NY and Foreigner front man Lou Gramm with a clean but versatile vocal approach. The keyboards also seem to play a more prominent role in this latter half of the record with feathery Hammond flourishes on ‘Lonely’, and the piano being in the forefront on the groovy ‘Heavy Soul’. The horns also return on ‘Heavy Soul’ in addition to some velvety backing vocals that equate to a smooth ride through dramatic soul changes.

    The album concludes on the song ‘Woe’, a funky low key affair that rolls on a drippy wah-wah accompaniment and the wordless foundation setting vocal line. Uniquely different from the songs that preceded it, ‘Woe’ shines on a light on the bands ability to express uniquely different approaches to the foundational genres of influence the band holds close and that form the basis of their music. The song and the album conclude with a wordless group chant sung and supported by hand claps and the tracks swinging melody.

    Wild Adriatic’s new recording Big Suspicious is a collection created in the fiery coal chamber of rock, soul and blues. The record keeps its feet rooted firmly in the spheres of influence from which the basis of all music is created. The group’s confidence and attitude is expressed through the recording and is passed on to the listener through their excitable representation and eager dissemination. Gripping keyboards, distorted guitars, and crisp howling vocals paint the portrait of heavy blues and classic rock and roll on display for the eager listener.

    Key Tracks: Mess Around, Cooperstown, Lose My Mind

  • Behemoth’s “The Satanist” — Scary, yet Spectacular

    It would be easy to start (yet another) album review by saying how great The Satanist was, how influential Behemoth is in metal, and how the Satanist may easily be one of the best albums of 2014 — already; but in truth, these claims can be debated. But at the end of the day, this album will go down as one of Poland’s more experimental, and certainly bravest, efforts.

    There is something interesting about a band who, time and time again, has taken every opportunity to blaspheme religious beliefs and shock every listener, new and old.

    Likewise, the lyricist who surprises even the most hardened follower is one worth reading. It is obvious — or at least very convincing — that Nergal, who wrote most of the lyrics on this album — is trying to revoke the position of Jesus Christ as the go – to guy, but as violent as this poetry is, is as alluring as each tune.

    Instrumentally, the album is certainly different from their last record, Evangelion. Its dynamics were established right off the bat as the trio, comprised of Nergal (Vocals and Guitar), Orion (Bass), and Inferno (Percussion) opened the album with “Blow Your Trumpets, Gabriel,” which features the sounds of trumpets and horns along side the slow moving, but dramatic track. Although loud guitar play is absent on this track, and it possesses a minimalist approach on drums, the song showcases Orion’s ability to handle the bass, a job for which he is certainly qualified.

    Inferno’s prowess behind the drum kit is not stifled either. He has not slowed down since Zos Kia Cultus, but he has only improved on his ability to make the songs more convincing. Even on “In the Absence ov Light,” which switches speeds multiple times, Inferno excels at his ability.

    Nergal, too, has only played to his strengths, but even pulled a few old stops. Listeners will notice the use of acoustic guitar on certain tracks, a concept which was popularized upon the release of “Demigod”. He is a perfect team player, never interrupting the flow, and always being apparent enough for the audience to understand each note low and high — which can be a problem with “fast” metal bands.

    If Nergal actually said that “most U.S. death metal bands are boring, generic, and uninspiring,” he didn’t let the absence of talent stop him from creating something spectacular, but he has had a way with words recently.

    Between fans and angry religious pundits, Behemoth has been the center of legal and public attention. In their home country of Poland, the band experienced a part of the extent of the power of the Catholic Church therein, when lead vocalist Nergal, after tearing pages from a Bible, threw it into the crowd and instructed attendees to “burn it…piss on it.”

    It is quite unclear, then, whether the lyrics were written from an honest perspective or for shock value or both. For example, “I believe in Satan, who rend both heavens and Earth; and in the Anti-Christ, His dearly misbegotten…” (Messe Noir) might cover Nergal’s actual religious convictions, as he has previously been outspoken about his Pagan leaning. On the other hand, some lyrics appear to try to be offensive to religious people: “Voice ov an aeon, Angelus Satani. Ora pro nobis Lucifer, You alone have suffered…for thine is the kingdom, and the power forever…” (Ora Pro Nobis Lucifer). However, some lyrics make the listener question “what could be?”

    Specifically, the writer instructs Abraham to “…Raise the dagger…And slit the throat ov thy only son. Reverse the history ov man. Fuck and reset the world.” From here, the lyrics become only more violent, sexual, and even downright scary.

    Otherwise, the lyrics flow in somewhat of a story, fulfilling the old joke about death metal being like an English class. Knowledgeable listeners will have to type in some references on a search engine.

    From a vocal standpoint, this album maybe one of their best since Demigod, which called into question the standard practices of extreme vocal recording. Nergal uses a full range of “screamed” or “growled” vocals, layering one atop the other, singing, and even spoken word in, “In the Absence ov Light,” in English, Latin, and Polish. The day the album came out, many fans complained that the vocal style was a lot different than Nergal’s usual performance — hear Evangelion for the difference. The problem with this complaint is that Nergal’s style has always been experimental, even from the first album. Vocally and lyrically, one thing remains clear: the word Evangelion typically refers to a particular message of great importance. If their last few efforts were warm ups and teasers, this album is the word.

    Due to its nature, this album will welcome listeners and freak them out at the same time, but that is not necessarily a negative thing. An open mind will certainly help with reception of the sounds, but there will be few albums like this in the near future.

    Behemoth will be at the Irving Plaza in New York City on April 29th. Apparently, Lucifer just is not big right now in Albany. Maybe next time, guys?