Category: Show Reviews

Flashback: Frank Zappa in Poughkeepsie, September 21, 1978

One of the most legendary musicians and intense concerts to grace an Upstate New York stage took place in the fall of 1978 at the Mid-Hudson Center in Poughkeepsie. On September 21, 1978 Frank Zappa and his band appeared on stage for an extended fun and filthy evening of multifarious musical excursions. The circulating recording is a warm well-balanced line tape available through the efforts of an enterprising taper allowed to plug his rig into the soundboard.

The resulting document captures Zappa’s 1978 big touring band featuring, Zappa, drummer Vinnie Colaiuta, Arthur Barrow on bass, Ed Mann on percussion, Tommy Mars on Keyboards, Denny Walley on second guitar, Peter Wolf on second keyboards and Ike Willis on guitar and vocals. The 3,000 seat venue in the midst of the Hudson valley would bear witness to a diverse, virtuosic and musically offensive performance that is still reflected on and talked about by locals and hardcore Zappa fans alike.

The existing tape cuts in with the show already in progress midway through ‘The Deathless Horsie”. The ambient instrumental jam offers a moody warm up for the band as well as an opportunity for Zappa to introduce the band and greet the assembled crowd. Breathlessly the band enters a song that ‘doesn’t rock at all,’ “Dancin Fool”. The percussive ‘disco’ flavored track warms the crowd with an addictive groove and intense show opening breakdowns.

Stage favorite “Easy Meat” from Zappa’s Tinsletown Rebellion follows and spreads a horny groove down in which Zappa slips in a lubricated and penetrating solo display. Segueing deftly into “Honey Don’t You Want a Man like Me” things get sufficiently strange while riding the quirky edge of progressive arrangement.Continuing to move forward into the show without respite, “Keep It Greasy’ continues the musical innuendo containing a kinetic and slick groove orchestrated by Zappa’s numerous compadres.

Sufficiently warmed up, the sets first cool down period comes with the sideways soul and religious condemnation of ‘The Meek Shall Inherit Nothing’. Group vocals, slide guitar and honky-tonk piano support the sarcastic glimpse of religious zealots.

This featured set not only spotlights Zappa’s diverse musical arrangements but his increasingly ‘shocking’ and unabashed lyrical content. The collaboration of venue, era, set list and band, make this bootleg capture a must for any Zappa fan that was unaware of the recordings existence. “City of Tiny Lites” highlights some of the most aggressive soloing of the evening unfortunately cutting out before its conclusion and cutting in midway into the following “Pound for Pound”. Zappa unleashes shaded and dark soloing that eventually dissipates into a sweet guitar and keyboard dual melody quote that rolls together like a sticky bun in “City”. While the following instrumental, “A Pound For A Brown” expresses a jazzy sensibility and a thick spacey synth breakdown, showcasing the groups many improvisational talents.

Next comes one of Zappa’s most well-known tracks, “Bobby Brown” a single release in Europe, but not as well-known in the States due to the edgy sexual content. The main character of the song struggles with their sexual identity, played out through the lyrical playfulness of Zappa. A fantastic and humorous version of the melodically solid track is featured on this recording, a high point of the set. “Conehead” as well a highlight of this early segment of the concert emerges from “Bobby Brown” with a pointed and funky groove. Zappa takes a phased and patient solo break that contains some of his finest playing of the evening thus far. Crisp sustains and lightning fast riffing highlight the central part of this jam. When “Conehead” fades into dynamic rhythmic support, Zappa then introduces “something weird” taking a unique trip with the twofer of “Mo’s Vacation” and “Black Page #2”.

The rare “Mo’s Vacation” flies the friendly skies with syncopated bells, jumpy percussion and variegated statements that amazingly the band required no musical notation to play. The instrumental segues into “Black Page #2” another complicated and stratified musical arrangement that lends witness to the masterful musical mind of Frank Zappa at work. This particular movement embarrasses Zappa’s contemporaries due to its illustrating multiple and diverse levels of melodic expression and mastery of instruments. The song rises and falls over rocky waves of inspiration, jaw dropping in its crisp execution.

As “Black Page #2” fades into darkness Zappa begins a rap about the ‘preposterousness of rock and roll’ and asks the crowd if ‘they feel it’ also. Zappa then takes some body shots at Peter Frampton and mentions how a panty-sniffing Wagner composed some of his works. The slow and sure “I Have Been in You” begins and is beautifully sung/spoken in Zappa’s greatest dry, one-eyed wink, vocal attack. ‘I Have Been In You’ is a classic Zappa segment and one continuous laugh and highlight commentary on the state of rock and roll reality.

“Flakes” drops out of the sky suddenly, keeping its promises through a plethora of funky and complex riffs. The song pulses through multiple changes and commentaries on those certain people who cannot hold up their end of the deal. A solid version of “Magic Finger’s” rubs all the right spots while emerging from “Flakes” in a series of cascading licks while building the set to a ticklish peak.

As if the preceding display of music was not enough Zappa and band construct a medley of the “Yellow Snow” suite, containing the opening four tracks from Zappa’s 1974 Apostrophe LP. The crowd’s pleasure can be felt on the recording as the band pops into the shoulder swiveling “Don’t Eat the Yellow Snow”. The suite continues with carnival blues of “Nanook Rubs It,” “St. Alfonzo’s Pancake Breakfast,” “Father Oblivion” and “Rollo”. The aforementioned narrative is musically challenging, complex, shockingly funny and another piece in the long line of highlights from this performance.

Zappa introduces the players as “Rolo” ends, concluding the main part of the set in animated fashion. The crowd pleads for more, their enthusiasm apparent on the recording. Zappa states that this will not be your typical encore and tells everyone to sit down for another ‘tiny show’.

Zappa then digs into his “Mothers of Invention” catalog for an expansive rendition of “Little House I Used to Live In” from 1971’s Burnt Weenie Sandwich. A moody version, with room left for all band members to receive a spotlight segment. This is not your typical encore, but a mind expanding and twisted compositional display.

The show puffs out its chest for the next series of songs that not only pay witness to Zappa’s extreme abilities and guitar prowess but conclude the show in an awe-inspiring fashion. The aggressive pulse of “Tell Me You Love Me” “Yo Mama” and “Black Napkins” allow the Zappa orchestra to let it go. “Yo Mama” is the showcase for Zappa to deconstruct and build again the songs internal workings through his fretboard. The air gets thick, the music tense and Zappa’s guitar work dense as the arrangement allows for ample exploration. Guitar aficionado’s alert, the central core of “Yo Mama” is a clinic, an organic and tangible aural event.

The encore and performance concludes with ‘Black Napkins’ originally from Zappa’s 1976 record Zoot Allures. Similar to the preceding ‘Yo Mama’ this track allows Zappa to disseminate his guitar work in another context. The smoldering R and B groove ignites with Zappa’s round quivering notes, leaving only metallic shadow remains on the constructed musical bed. A series of punctuated ‘thank you’s’, and the show is over.

Zappa’s 1978 visit to Poughkeepsie, NY left an indelible mark on Zappa’s touring history, fans, and collectors as well the community at large. A muscular performance and collection of songs that through the foresight of tapers and of Zappa’s crew is now immortalized for future fans and musicians to enjoy.

October 14, 2014
The Inaugural Woodstock Jazz Festival was a hit

Music lovers from all walks of life packed Woodstock’s Bearsville Theater on Saturday, October 4 for the inaugural Woodstock Jazz Festival. The evening began with a highly entertaining piano set from GRAMMY nominee Uri Caine, which featured two sets including John Medeski on the organ; and concluded with an inspired cover of Bob Marley’s “No Woman No Cry” sang by Jack DeJohnette. The music rolled along for more than four hours and the man who dreamed up the festival, drummer Ben Perowsky, dedicated the festival to local legend Sonny Rollins.

Uri Caine

Uri Caine went on stage at 7:30PM and folks rushed to take their seats or claim standing room. Even the separate bar area was overflowing and, despite a chilly night outside, the cavernous, barn-like theater was warm with bodies packed tight. There were multiple drum sets, an organ and various other instruments on stage but the attention was focused on Caine seated behind a black baby grand piano. Caine’s vaunted resume includes a stint as the LA Chamber Orchestra composer in residence, more than two dozen recorded albums, and the aforementioned GRAMMY nomination for “The Othello Syndrome”; His modernization of Verdi’s Otello. While Caine paid homage to the classics Saturday night, a playful side twinkled through during his Bearsville set. Looking cool and tranquil behind the piano, it sounded like his left hand produced a number for a king’s chamber while the right played something more fitting for a Mississippi riverboat. His unique style had the audience tapping along on their legs or nodding emphatically. Caine’s enthusiasm was evident when he spoke between songs. He played until 8:30PM sharp and drew a huge standing ovation from the crowd.

After a short break, RedCred had their chance to show off. Consisting of tenor saxophonist/clarinetist Chris Speed, drummer Ben Perowsky, and organs/keys player John Medeski, the trio only took one brief break in the middle of a continuous hour-long set. At moments, the three played harmoniously with each other. Then, they would unceremoniously diverge down their own paths. Medeski oozed out thick, eerie notes while Perowsky utilized every surface of his kit— clicking on the snare rim, clinking a cymbal’s edge and blasting out rudiments on the high hat—and Speed belted out sensual sax licks. Just before they lost you in a dense jazzy jungle, they made eye contact and pulled it all back together seamlessly.

Perowsky on the drums with Medeski (L) and Speed (R) in background.

Chris Speed

Perowsky, a NYC native whose talent and exuberance rivaled each other onstage, deserves all the acclaim he received for being the event organizer. Medeski, whose genius is instantly evident in his thoughtful eyes, wowed everyone with his organ-izing. The set concluded with a Weather Report favorite, “Face On The Barroom Floor” which allowed Speed to showcase his ability and versatility, beginning with a clarinet solo and concluding on the tenor saxophone.

Everyone was eager for the last act. Each seat was claimed and extras were brought in; those standing shuffled on tip-toes for a better look at the stage as Jack DeJohnette, John Scofield, and Larry Grenadier joined John Medeski. Inspired by the musicians’ lofty presences, a ubiquitous awe fell over the room before an impromptu shush-off lightened the mood—someone in the crowd “shhh’ed” the audience, then another “shh” followed and another, until it sounded more like a bunch of leaky inflatables filled the theater than jazz aficionados.

After a good laugh, DeJohnette, who has played with the likes of Miles Davis, Pat Metheny, Herbie Hancock and many others, led the show from behind his drum set as the group covered music made famous by Davis, John Coltrane, and Frank Sinatra. DeJohnette conveys emotion through the drums as well as anyone and does not lack in speed or creativity. He played complex fills and kept obscure time while playing “Inspired By Tony Williams”. He teased the crowd, slowly building up the solo before finally letting loose to everyone’s delight.

Throughout the set, Medeski mouthed each note as he alternated banging on his backless organ and the baby grand while his foot, dancing along frantically, seemed in danger of flying off its leg. Scofield, meanwhile, rocked his guitar into acquiescence, drawing emotional lines from it. During “I Fall In Love Too Easily” he decided it was shredding time. The band followed Scofield’s lead as he kicked in the wah pedal and belted out slick runs, launching them into the heaviest jam of the night.

Bassist Larry Grenadier attacked his upright, plucking its strings fervently and deftly. With DeJohnette backing him on the drums, Grenadier busted out a mind-boggling solo in the middle of “Promise.” The only time his hand strayed from bass strings was to push his glasses back onto his nose, but even that action seemed part of his time-keeping. Medeski and Scofield smiled on admiringly before joining back in to fill the theater with a full, rich sound. The whole set was electric and reached a climax when they concluded with DeJohnette singing “No Woman No Cry”. While the majority of the night was dedicated to instrumentals, the audience was ecstatic to hear the Bob Marley cover and nearly everyone sang along.

The inaugural Woodstock Jazz Festival proved to be a huge success. Woodstock’s Bearsville Theater provided a comfortable and intimate setting and the musicians did the rest, playing late into Saturday night. The event was run smoothly and one can imagine the night’s honoree, Sonny Rollins, would be proud to know so many people enjoyed an evening of jazz together in his honor.

*photos by Lois Dysard

October 11, 2014
Hugh Masakela and Vusi Mahlasela Celebrate South Africa at The Egg

On a night celebrating 20 years of a free South Africa, The Swyer Theater at The Egg played host to a once in a lifetime show – Hugh Masakela and Vusi Mahlasela performing South African selections in an intimate setting. To start the night, Vusi Mahlasela took the stage alone, playing “Ubuhle”, a speedy bike ride after a slow climb on a guitar that sounded like a harpsichord with a hint of sitar. Joined after by Francis Fuster (percussion), Ian Herman (drums), Bakithi Kumalo (bass, who, along with Herman and Fuster kept a consistent beat throughout the night), Mongezi Ntaka (guitar) and finally, Hugh Masakela, the audience rose up to thunderous applause and welcomed the sound of South Africa to the stage.

Ubuntu, translated as ‘humanity towards others’, was mentioned for the first time this evening, prior to the song “Meadowlands”, featuring a jazz groove, Vusi’s vocals and Hugh’s trumpet. Hugh then spoke about how much of a privilege it was to play in Albany, and thanked Albany for their role in the anti-apartheid movement, likely referencing the 1981 protests against the South African rugby football team who came to Bleeker Stadium to play against a local club. Nods and rumbles of agreement echoed through the theater, as Hugh told us that tonight we would hear songs of love, protest, tradition, and revolution.

The legendary Mama Africa, Miriam Makeba, had her name invoked prior to “Thanayi”, pointing out that some form of beauty was to be found within all of us. Hugh performed in Troy, NY in the mid-90s with Makeba, a memorable experience that more than a few audience members chatted happily about in the theater lobby before and after the show. The cowbell intro to “Grazing in the Grass”, the most easily recognizable of the night’s songs, highlighted the trumpet once again as Masakela performed double-duty between the two instruments. “Weeping”, containing the melody from “Nkosi Sikelel’ iAfrika” (the South African national anthem at a time when South Africans could not sing their own anthem under apartheid), was one of the more passionate and emotional songs of the evening. The lyrics reference moving past the anger over apartheid, rather than seek revenge after years of injustice:

It doesn’t matter now / It’s over anyhow / He tells the world that it’s sleeping / But as the night came round / I heard it’s lonely sound / It wasn’t roaring, it was weeping

As Masakela said early in the evening, “Forgiveness – all men should wear it like a crown.”

The show continued with “Say Africa”, an active crowd sing-along; Johnny Clegg’s ode to Nelson Mandela, “Asimbonanga”, clearly a more emotional and life affirming song for Hugh and Vusi, followed by “When You Come Back”, which told the story of the gold trains that traveled from countries in south and central Africa to Johannesburg, bringing miners to work 16 hour days. Hugh imitated the train whistle and screech eerily well, the tone of his voice and the threatening pace of the beat conveying the passions towards the exploitation of labor.

Naturally, the final songs of the evening would be more upbeat, and with Masakela saying to the crowd “Shake your bootie for all those old geezers” (a reference to Mandela and those he was sentenced to life in prison with), the crowd rose up and danced, waved their arms and sang “Bring him back home to Soweto”. For the final ten minutes, there was nonstop music, dancing and band introductions. An encore of “Pata Pata” was prefaced with an apology from Hugh, “Sorry, but you have to stand up and boogie harder”, the band singing “Dance, dance, dance, what a party!” and sending the crowd out with broad smiles and beaming with energy.

Professing the philosophy of Ubuntu throughout the night, Mahlasela and Masekela mentioned its many elements – love, helpfulness, neutrality, variety, and the redistribution of morals, knowledge and skills – throughout their music, a common theme that tied the night, audience and band together.

Hugh Masakela and Vusi Mahlasela, The Egg, Albany, NY – October 7, 2014

Setlist: Ubuhle, Meadowlands, Thanayi, Miyela Afrika, Grazing in the Grass, Weeping, Say Africa, Asimbonanaga, When You Come Back, Stimela, Bring Him Back Home, Unomeva

Encore: Pata Pata

photos by Andrzej “Andre” Pilarczyk

October 10, 2014
Hugh Masakela and Vusi Mahlasela Celebrate South Africa at The Egg

On a night celebrating 20 years of a free South Africa, The Swyer Theater at The Egg played host to a once in a lifetime show – Hugh Masakela and Vusi Mahlasela performing South African selections in an intimate setting.

To start the night, Vusi Mahlasela took the stage alone, playing “Ubuhle”, a speedy bike ride after a slow climb on a guitar that sounded like a harpsichord with a hint of sitar. Joined after by Francis Fuster (percussion), Ian Herman (drums), Bakithi Kumalo (bass, who, along with Herman and Fuster kept a consistent beat throughout the night), Mongezi Ntaka (guitar) and finally, Hugh Masakela, the audience rose up to thunderous applause and welcomed the sound of South Africa to the stage.

Ubuntu, translated as ‘humanity towards others’, was mentioned for the first time this evening, prior to the song “Meadowlands”, featuring a jazz groove, Vusi’s vocals and Hugh’s trumpet. Hugh then spoke about how much of a privilege it was to play in Albany, and thanked Albany for their role in the anti-apartheid movement, likely referencing the 1981 protests against the South African rugby football team who came to Bleeker Stadium to play against a local club. Nods and rumbles of agreement echoed through the theater, as Hugh told us that tonight we would hear songs of love, protest, tradition, and revolution

The legendary Mama Africa, Miriam Makeba, had her name invoked prior to “Thanayi”, pointing out that some form of beauty was to be found within all of us. Hugh performed in Troy, NY in the mid-90s with Makeba, a memorable experience that more than a few audience members chatted happily about in the theater lobby before and after the show. The cowbell intro to “Grazing in the Grass”, the most easily recognizable of the night’s songs, highlighted the trumpet once again as Masakela performed double-duty between the two instruments. “Weeping”, containing the melody from “Nkosi Sikelel’ iAfrika” (the South African national anthem at a time when South Africans could not sing their own anthem under apartheid), was one of the more passionate and emotional songs of the evening. The lyrics reference moving past the anger over apartheid, rather than seek revenge after years of injustice:

It doesn’t matter now / It’s over anyhow / He tells the world that it’s sleeping / But as the night came round / I heard it’s lonely sound / It wasn’t roaring, it was weeping

As Masakela said early in the evening, “Forgiveness – all men should wear it like a crown.”

The show continued with “Say Africa”, an active crowd sing-along; Johnny Clegg’s ode to Nelson Mandela, “Asimbonanga”, clearly a more emotional and life affirming song for Hugh and Vusi, followed by “When You Come Back”, which told the story of the gold trains that traveled from countries in south and central Africa to Johannesburg, bringing miners to work 16 hour days. Hugh imitated the train whistle and screech eerily well, the tone of his voice and the threatening pace of the beat conveying the passions towards the exploitation of labor.

Naturally, the final songs of the evening would be more upbeat, and with Masakela saying to the crowd “Shake your bootie for all those old geezers” (a reference to Mandela and those he was sentenced to life in prison with), the crowd rose up and danced, waved their arms and sang “Bring him back home to Soweto”. For the final ten minutes, there was nonstop music, dancing and band introductions. An encore of “Pata Pata” was prefaced with an apology from Hugh, “Sorry, but you have to stand up and boogie harder”, the band singing “Dance, dance, dance, what a party!” and sending the crowd out with broad smiles and beaming with energy.

Professing the philosophy of Ubuntu throughout the night, Mahlasela and Masekela mentioned its many elements – love, helpfulness, neutrality, variety, and the redistribution of morals, knowledge and skills – throughout their music, a common theme that tied the night, audience and band together.

Hugh Masakela and Vusi Mahlasela Setlist: Ubuhle, Meadowlands, Thanayi, Miyela Afrika, Grazing in the Grass, Weeping, Say Africa, Asimbonanaga, When You Come Back, Stimela, Bring him back home, Unomeva

Encore: Pata Pata

October 10, 2014
The Sea The Sea and Great Mutations dive into Albany

On a Fall October night in Albany at The Low Beat, two local bands took to the stage to show that the music scene in the area is alive and well. The Sea The Sea, with openers Great Mutations played their first and third live shows of the area, respectively, and made new fans to those who were in attendance. Three piece act Great Mutations, from Troy, started the evening off with some easy-going rock tunes that would sound perfect on the California coast. Their songs were well written, both musically and lyrically. The beginning of their set saw some trepidation from the band, but by the end of the set their confidence oozed through the music. Lead singer and guitarist Matt Thouin said after the set that the band likes to mainly record and haven’t looked into playing live shows, but hopefully this will change as the band showed off a lot of potential in their 40 minute set.

After a short break The Sea The Sea played their first Albany show. Duo Mira Stanley and Chuck E. Costa played a great set of folk-rock that had signs of deep space and jamming thrown in for good measure. The Sea The Sea’s name, which means ‘a cry of joy’, came from a Greek tale of soldiers arriving to see the ocean and exclaiming the words and Mira and Chuck sing their songs with such joy that the name fits perfectly. Their harmonies at times soared over the music with their dreamy lyrics and made everyone in the venue focus on what was being sung instead of the music that was being produced.

With only one album to their credit, The Sea The Sea decided to surprise the crowd and play a set mostly composed of brand new music that no one has heard yet and hopefully will make the second album the band plans on recording will living in the Albany area once again. The one song they played from their first album was the title track “Love We Are We Love” and it gave the group a moment to not worry about the new material and let them go zone in on the music. The rest of the music throughout the night was wonderful as well. The best new track was “Drunken King” near the end of the evening. The haunting track has Pink Floyd vocal wailing from Mira, while Chuck sings straight forward and plays the keys. The minimal music in the song lets the lyrics really be the forefront of what the listener is hearing throughout the song.

With two guitars, a harmonica, a drum set, a keyboard, and two voices, The Sea The Sea put on an hour-long set that seemed to go by too quickly. Though the music is not what one would consider busy, it melds perfectly with their voices to create a beautiful sound-scape that gets caught in your head and doesn’t want to leave. The band is now once again living in the Capital District and should be playing regularly around town. The small crowd at The Low Beat for the show were won over by show’s end. Hopefully as more shows pop up for The Sea The Sea, the crowds for this great duo continue to rise like the tide.

October 8, 2014
The Disco Biscuits give it to The Mann

The Disco Biscuits came to the Mann Center in Philadelphia for the last night of City Bisco Saturday September 27, accompanied by Risky Disco and Giorgio Moroder. If you’ve never been to The Mann Center, you should put it on your radar. Similar to New York’s beloved SPAC with lots of space and rolling hills of grass to lay out on if needed, it retains better sound quality and (at least for Biscuits) most of the pavilion is GA seating. From the top of the hill you can also see the beautiful Philadelphia skyline which is definitely a plus.

photo by Andrew Blackstein

Upon entering the concert, each patron was given a City Bisco baseball card as part of an official art installment called “What Summer Sounds Like” that was created by illustrator Alex Fine. Each card features the band members on the front with little facts on the back such as what year the band formed, and a trivia question about HeadCount. This trading card installation added a fun, whimsical vibe to the experience as soon as you entered the gate, and gave a reprieve from the extensive and slightly invasive search.

In a stroke of luck for Biscuits fans, Orchard Lounge, the originally scheduled opener had to cancel and The Disco Biscuits stepped in to play as their alter ego The Perfume. A Perfume set is when the band plays their own songs in a different style of music, as if another band was covering them. They started early, around 7 o’clock and the crowd was sparse but excited. The band came out and people settled in to dance. Guitarist Jon “Barber” Gutwillig came out dressed to impress with a bright red velour jumpsuit that looked like it could be made out of velvet.

The styles of each song of The Perfume set were interesting and varied, ranging from a dub style “Mindless Dribble” to a garage band punk version of “Kitchen Mitts”, a definite highlight. They started with a Devo-style “Frog Legs” that turned into a disco dance party that was perfect foreshadowing for Giorgio Moroder. “Frog Legs” got the crowd moving right away with a version of the song that would fit right into the soundtrack of Saturday Night Fever. From there they got their reggae on with the aforementioned dub “Mindless Dribble”. A Wa-wa “7-11” and raucous “Pilin’ it High” came after that really amped up the crowd. The beauty of a Perfume set is that it was so different I didn’t realize that they were ending their set with “Kitchen Mitts” at first. So much so, that I left my spot to get a drink. As I walked across the back part of the venue I recognized the song so I stopped to revel in it and saw a mosh pit.

The second set started with an outfit change, Gutwillig coming out in a black shirt and white pants. Musically, it started and ended with “Little Lai”, with keyboardist Aron Magner trilling notes on the keyboard, while Gutwillig followed suit on guitar. A cohesive jam followed with each player adding their share, but with Magner and Gutwillig taking the reins. The transition into “Caterpillar” was pretty flawless and took the crowd on a musical exploration of the darker side of electronic jam music that The Disco Biscuits do so well. The drummer, Allen Aucoin, lead the pack on this one like a drumming machine.

The theme of the second set seemed to be about delving the crowd into musical chaos then pulling us out of the darkness by juxtaposing upbeat, dancey tunes. This can definitely be heard as the band went from “Caterpillar” into “Little Betty Boop”. The set ended with a subtle and funky “On Time” back into “Little Lai” that had Gutwillig wailing pretty hard on guitar to end with a flourish.

Set break featured Giorgio Moroder, also known as “the godfather of disco” who came all the way from Europe to unleash his beats on our American ears. At 74, Moroder threw down harder than most people in the crowd. His music had us flashing back a few decades, remixing songs that he produced such as Donna Summer’s 1979 hit “Bad Girls” and 1984’s “Never Ending Story” which he composed. He also remixed the contemporary “Fancy” by Iggy Azalea which was unexpected and awesome. After Moroder’s performance every member of the band turned into the 80s kids that grew up with his music. Moroder is so legendary he had a hand in making his own theme song…Daft Punk‘s “Giorgio by Moroder”. They were star struck in the biggest way because without Moroder, the disco in Disco Biscuits wouldn’t exist.

The third Biscuits set commenced with a fan requested “Crickets,” the beginning of which was slow and sexy as always. It eventually worked the crowd up into a frenzy as the song progressed. The song alternated between high energy peaks to lows riddled with bass bombs thanks to bassist Marc Brownstein. After “Crickets” they played a faced paced “42” into Conspirator’s “Orch Theme”. The first half of the third set focused more dark, heavy electronic jams, some of which didn’t really go anywhere. Seldom played “Aquatic Ape” developed into a break beat jam that really showcased Aucion’s skills. “42” rounded off the set with a happy and upbeat ending.

“Helicopters” worked really well as an encore, encapsulating the energy of the show into one song. It had everyone out of their seat, dancing and yelling lyrics at the top of their lungs. It was the perfect nightcap to end the show on a high note with Gutwillig slaying the guitar. Overall, the energy of both the show and the crowd were great meaning the Biscuits rocked Philadelphia out right.

October 7, 2014
Tweedy Traverses Past & Present at Buffalo’s Town Ballroom

When Jeff Tweedy took to the storied stage of Buffalo’s iconic Town Ballroom this past Wednesday it was clear that he had nothing to prove. The alt country, alt rock, alt convention pioneer had once again cut a detour into the sonic highway he’s been paving for the better part of the last three decades. This time with his newly formed band , Tweedy, and a repertoire of fresh yet strangely familiar songs that left the audience craving Uncle Tupelo, longing for Loose Fur, begging for Wilco yet somehow completely immersed in the journey at hand.

Tweedy consists of Jeff on guitar and lead vocals, long-time friend/collaborator and down-right dynamite musician – Darin Gray on bass, the fabulous Jim Elkington on guitar, and the multitalented, multi-instrumentalist Liam Cunningham. Oh, and who better to round off the new lineup than Tweedy’s 18-year old son Spencer on drums? He has grown up quite a bit since his appearance behind a kit in Sam Jones’ 2002 I Am Trying to Break Your Heart – A Film About Wilco. Stands to reason, Spencer was 6 at the time. He has come a long way since then, and so has dad.

Tweedy took the stage armed with new material from their recently released 20-track, 74 minute debut album Sukierae – an album whose title is fittingly the nickname of Jeff’s wife & Spencer’s mother, Suzie Miller. The band kicked things off with a viciously beautiful 14-song set of masterfully developed songs that somehow felt Jeff Tweedy influenced, yet altogether Tweedy the band. Highlights of that set included the melodic, “Summer Noon”, the heart-wrenching yet charming, “Nobody Dies Anymore” and the drum-forward ever-shifting, “Diamond Light Pt. 1”. The band remained focused throughout the first set, with very little of the slightly awkward, yet adorable banter that Jeff has been known to strike up with his audiences over the years.

Then the gloves came off…

Turning to his son and offering a hug, Jeff suggested the band take a break and the lighting crew dim the stage. It was time in the program for Jeff to dig into his immense catalog and perform some choice numbers on his own. Just he and those beautiful acoustic guitars that he plays so effortlessly. The crowd sang along softly and mostly in key in their very best Jeff Tweedy voice – “I am an American aquarium drinker, I assassin down the avenue”. For the next hour, Jeff delighted all in attendance with songs of familiarity from his time with Uncle Tupelo, Loose Fur and Wilco. Classics like “Jesus, etc.”, “Hummingbird”, “I’m the Man Who Loves You” and “A Shot in the Arm” were included in the 12 song set. All interlaced with the type of crowd interaction that has become an irreplaceable aspect of the Live Jeff Tweedy Experience. “Free Bird” was requested prompting Jeff to explain his elaborate plan to form a coalition to rid the World of those who shout “Free Bird” at any live performance. Whistling solos were met with large applause which led to…more whistling solos.

When the band re-emerged, Jeff had everyone in the audience right where he always does, wrapped tightly around his finger. “Thank you Buffalo, you are hands down the best audience we’ve had on this tour” yelled Jeff. “We’re off to Michigan tomorrow and well, we don’t want to leave. We could play this room every night.” The 5-song encore featured yet another new melodic Tweedy song, “Please Don’t Let Me Be So Understood”, covers of Mavis Staples’ “Only the Lord Knows” and Doug Sahm’s “Give back the Key to My Heart”, “California Stars” from Jeff’s Mermaid Avenue Project and “Acuff-Rose” from the Uncle Tupelo vault.

It was a beautiful journey through Jeff Tweedy’s personal history and musical history. Blended perfectly for a stellar performance in a legendary place.

Setlist: Nobody Dies Anymore, Flowering, Summer Noon, World Away, New Moon, Pigeons, Desert Bell, Why Why Why?, High As Hello, Fake Fur Coat, Diamond Light Pt. 1, Hazel, Love Like a Wire (Diane Izzo cover), Low Key

Solo: I Am Trying To Break Your Heart, One Wing, Reservations, New Madrid (Uncle Tupelo), Please Tell My Brother, Hummingbird, The Ruling Class, Passenger Side, Jesus, Etc., Misunderstood, I’m the Man Who Loves You, A Shot in the Arm

Encore: Please Don’t Let Me Be So Understood, Only The Lord Knows (Mavis Staples cover), Give Back The Key To My Heart (Doug Sahm cover), California Stars, Acuff-Rose

October 7, 2014
Nas Gives Albany a History Lesson at The Palace Theatre

Nas celebrated the 20th anniversary of his famed debut LP Illmatic at the Palace Theatre in Albany on Friday October 3, 2014, the unofficial kick-off of the tour. The previous night he played at Rochester’s Main Street Armory, but it was not the full show, as the film “Time is Illmatic” was not shown at the venue. Albany got the full treatment and the crowd loved it. Fans spanning from teenagers to 50-year-olds packed the sold-out show and made their way to their seats as the lights dimmed at 9:15 p.m. and the film started.

This film not only gives the history of the album, but Nas’s family history. In the beginning of the film Nas states how “he just wanted to be something” and throughout the story, every person interviewed said how they knew Nas would rise out of the Queensbridge housing projects to do something special. Growing up in the projects was hard for Nas and his brother Jabari, especially after their mother kicked their father out of the house. His father, Olu Dara, was a jazz musician when he was younger and made sure that Nas learned the importantance of music and as a child he played with the instruments that were laying around the house, slowly sparking his venture into rap. Fannie Ann Jones, his mother, raised him and his brother afterwards and the brothers both expressed a lot of grief over her passing.

As the film went on, some in the audience got a little restless, but a vast majority quietly sat in their seats, watching and listening to the tale of how this great record came to fruition. Notable names in the hip-hop community, such as Kendrick Lamar, Erykah Badu, Pharrell, and J. Cole, all held the album in high regard and how it has always been apart of their lives since it came out in 1994.

The great Dr. Cornel West also spoke how the album not only was great for hip-hop, but also how it was great for young black men to hear a man not just rap, but also send a message and talk about his feelings. Illmatic is notable for how Nas expressed his anger against the crack epidemic and the poor neighborhoods of Queensbridge. He wasn’t just rapping to make a living, Nas was rapping to be heard. The film’s archival footage of a young Nas rapping in front of New York crowds is astonishing to watch as he takes over everyone’s attention in a matter of a few verses.

The movie ended with Nas talking about how the album was his philosophy and a way of life. Despite dropping out of school in the 8th grade, Nas was happy to state that he was still teaching himself lessons and rules about life on his own and didn’t drop out and disappear into jail or death, like many of his friends did along the way. Once the film ended, the crowd began to roar as the screen lifted up and “The Genesis” began playing. Nas slowly strode out to the stage to one of the most raucous crowds that the Palace Theatre in Albany has ever seen. Many people walked down the aisles to the stage, people were standing on chairs to take pictures, and there was even a woman on her boyfriend’s shoulders for a song. The whole scene, although chaotic, was just another part of the celebration for the album and no patron got out of hand.

Nas was all smiles for the hour or so he was on stage. Going through the entire album front to back, Nas gave everything he had into the songs. “N.Y. State of Mind,” “The World is Yours,” “One Love” and “Represent” really drove the crowd crazy. During the performance, he thanked producers and collaborators of the album as well as those who inspired him to make the record.

Only being a short drive to New York City, he continued to thank Albany for coming out and embracing the album. Nas thanked those who made the trip Upstate to Albany for the last New York show of the tour. A double shot of “Hate Me Now” and “Made You Look” closed the evening out after he finished up Illmatic.

With the whole evening over it felt like the crowd wanted more, but walking off stage with his entourage and DJ, Nas left the building and nothing but smiles could be seen on people’s faces. History had been served and embraced by Albany. It’s not every day that you get to hear a legendary album played front to back and get the history behind it. Nas’s Time is Illmatic Tour is one for the record books and is not to be missed.

October 6, 2014
Kickin’ it Country with Colt Ford and the Country Swagg Band

Syracuse’s own Country Swagg Band, opened for Colt Ford at Toby Keith’s Syracuse, Friday night September 26. Performing covers of big stars such as Jason Aldean and Luke Bryan, Country Swagg brought their “A” game to get the party started. As always, they did not disappoint. The show was packed with high intensity and yes, lots of fun too.

Lead guitarist, Tim Horst, just amazes me with that guitar. It’s hard enough playing it while in front of you, but he plays it backwards and up behind his head. During a sweet sentimental moment just after singing “Say Yes” written by lead vocalist Mike Johnson, he professed his love for his new bride of two weeks to the crowd. The fans, of course, just ate it up. Nothing like a country fairytale. The crowd sang along to every song and showed their support for this local country group; several Country Swagg T-shirts were even seen in the sea of people.

Country Swagg Band

Georgia native, Colt Ford hit the stage with his bass thumping mix of country/rock and hip hop to a huge crowd of fans ready to bring down the house. Colt Ford and his guys showed their love of the USA through some of their music and of course the American flag that hung from Colt’s shotgun mic stand. They saluted our veterans and troops with heartfelt lyrics that brought a few tears to the fans. Then it was back to the high energy, chest thumping bass that just takes control of your body and you’re unconsciously dancing away. He was set to party all night. Ford rocked the stage all while showing the crowd his fancy footwork and shaking his hips – reaching into the crowd grabbing cell phones to take selfies, handing them back to aw struck fans was the highlight of the evening.

Another highlight of this performance was when he asked the drummer for a stick and reached out into the crowd handing it to a young boy. Following that, one of the crew members approached the boy with a stack of picks. The smile on his face was priceless. Such a class act;
Ford sang of everything country, farmers to home cooked meals and truckers and hot country girls. They knew how to party and strike a chord in every fan there. The guys left the stage only to come back out to a chanting crowd to perform a cover of Eminem’s song “Lose Yourself”. Then they saluted the crows and America, all bowing together while Colt Fold raised his mic stand and waved the American Flag.

Colt Ford

October 5, 2014
ROCtober Kicks Off With The Kings of Metal: Judas Priest

Retired? Definitely not. Fans in Rochester lined up around the block on a beautiful, early autumn evening in Rochester to catch the eponymous demigods and kings of metal Judas Priest kick off their world tour. The band had previously announced their retirement in 2011, but thankfully decided that the metal must live on. Despite multiple lineup changes over the years, most of the band’s core remained intact with head screamer Rob Halford, guitarist Glenn Tipton, founding member Ian Hill, and long-time drummer Scott Travis. Joining them to replace the departed K.K. Downing would be Richie Faulkner formerly of the Lauren Harris band.

Kicking things off, reportedly (repeatedly on stage by Steel Panther themselves) for a $50 paycheck, was Los Angeles, California’s Steel Panther. Well known for reviving the once stagnant metal scene on the historical Sunset Strip, Panther’s show falls somewhere between Motley Crue and your mom’s worst freaking nightmares. Featuring songs like “Asian Hooker” “Gold Diggin’ Ho” and “17 Girls in a Row,” the band had the audience simultaneously head-banging and laughing their asses off for their hour set. Don’t worry guys, we were laughing WITH you, not at you.

As set break ensued, the black-clad masses rushed to grab a smoke or a cold Labatt’s while the time of the legends entrance drew near. A mishmash of an audience with as many gray maned old timers and grizzled bikers as excited youngsters. A giant Priest banner shrouded the stage as fans surged – and in many cases stumbled – towards the front. The house music suddenly blared the Black Sabbath metal anthem “War Pigs” as palpable excitement ignited throughout the throngs of attendees. The curtain dropped and the true kings of metal broke directly into the last and first songs respectively from their brand new 2014 release Redeemer of Souls – “Battle Cry” and “Dragonaut”. With such a rich history of 40+ years of albums, it’s refreshing and a sign of huge cojones to see Priest engaging the crowd with brand new material right off the bat and throughout the night.

After some brief and apropos banter from Mr. Halford, the band continued with two tracks from the bands impressive catalog – 1982’s “Devil’s Child” and 1976’s “Victim of Changes” – before continuing to showcase their new material with “Halls of Valhalla”. One more new song would make an appearance – title track “Redeemer of Souls” – before the band finished out the set with a grand m/etal finale of hits. ’84s “Jawbreaker” had the crowd in a signing, headbanging frenzy and everyone’s favorite “Breaking the Law” only amped the energy up to new levels. Naturally, no Priest show is complete without a Harley revving across the stage and this one would be no exception with Rob revving his bike fittingly to the tune of “Hell Bent for Leather”.

As the clock approached midnight, the band came out for a quick encore and bid the well satiated crowd adieu. Forty (plus) years of metal and this band shows no signs of decay. We can only pray (to the devil) for 40 more. Sad you missed the fun? Our ROCtober article has all the big shows coming to town, so get off your couch and go see some live music!

Steel Panther Setlist

Pussy Whipped, Party Like Tomorrow is the End of the World, Asian Hooker, Tiger Woods, Gold Diggin’ Ho, Girl From Oklahoma, Community Property, Eyes of a Panther, 17 Girls in a Row, Gloryhole, Death to all but Metal, Party all Day

Judas Priest Setlist

Battle Cry * > Dragonaut, Metal Gods, Devil’s Child, Victim of Changes, Halls of Valhalla, Love Bites, march of the Damned, Turbo Lover, Redeemer of Souls, Beyond the Realms, Jawbreaker, Breaking the Law, Hell Bent for Leather

Encore: You’ve Got Another Thing Coming, Living after Midnight

* Intro only

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October 4, 2014