Category: Special

The Fab Faux Celebrate 50 Years of The Beatles at The Egg

In terms of music we know today, there is no band more important in history than The Beatles. When these four young Englishmen came to New York in February of 1964, they changed the world as we know it. Since the beginning of the month of February, there have been numerous celebrations, shows, exhibits, talks, and performances dedicated to the boys from Liverpool, England. On Saturday, February 15, Albany ended their own week of celebration dedicated to the Beatles with a beautiful performance by The Fab Faux at The Egg.

The Fab Faux is comprised of skilled musicians who have worked with a who’s who of the music industry. The main five men are Will Lee, Jimmy Vivino, Rich Pagano, Frank Anello, and Jack Petruzzelli. On some nights, like Saturday, they bring out the four-piece Hogshead Horns, and the two-piece Crème Tangerine Strings. The first set this evening focused on the more acoustic side of The Beatles catalog. A rambunctious “Two of Us” kicked things off with a bang. “Norwegian Wood” saw Vivino bust out his sitar skills, while he let loose on his guitar during “Paperback Writer”. The Hogshead Horns added beautiful textures to “Penny Lane” and “Got to Get You into My Life.” A perfect rendition of “I Am the Walrus” including the Creme Tangerine Strings closed out the set.

In the second set, the band took it to another level. “While My Guitar Gently Weeps” was outstanding, and had the contribution of the late George Harrison, via soundboard, help out with the ending of the song. At the end of Vivino’s blistering guitar solo, he thanked George and Eric Clapton for the inspiration to a standing ovation. Will bounced around on stage all night like a little kid on Christmas Day, stating how he couldn’t be happier playing this music right now. For “Get Back” he climbed through the audience, never stopping his playing, and getting the crowd up and moving. Rich and Frank’s vocals were amazing all night. Jack took over the stage for “Oh! Darling” and wowed the crowd with a tremendous take on the classic Abbey Road song. The show ended with the ending medley from that album before a one-two punch of an encore of “Twist and Shout” and “Hey Jude.”

The band was in great spirits all night, joking between songs and showing nothing but smiles. The same thing can be said for the audience. There is something about the music of The Beatles, when played right, that there is nothing else to do but surrender yourself to the music and dance to it. Here’s to another 50 years of their music!

Set 1: Two of Us, I’ve Just Seen a Face, ‘Till There Was You, Nowegian Wood, Blackbird, And I Love Her, You’ve Got to Hide Your Love Away^, Mother Nature’s Son^, Things We Said, Nowhere Man, Tell Me Why, Run For Your Life, Paperback Writer, Penny Lane^, Got to Get You into My Life^, I Am the Walrus^*

Set 2: And Your Bird Can Sing, She’s a Woman, I Feel Fine, While My Guitar Gently Weeps, You Won’t See Me, Lady Madonna^, Ob-La-Di Ob-La-Da^, Baby It’s You, Ticket to Ride, Eleanor Rigby*, Get Back, Strawberry Fields^*, Oh! Darling, Revolution, Golden Slumbers^*>Carry That Weight*^>The End*^>Her Majesty

Encore: Twish and Shout, Hey Jude

^- with The Hogshead Horns
*- with The Creme Tangerine Strings

February 20, 2014
ABORTED Coming to Rochester, Albany in March

Belgian death metal veterans ABORTED are hitting the bricks in support of their upcoming release, The Necrotic Manifesto, launching an international tour on February 22.

ABORTED named Rochester and Albany among the cities they will pass through during their upcoming international tour. (Photo Credit: Aborted/Century Media Records)

The tour takes them through upstate New York, with stops in Rochester on March 30^th, at the Montage Music Hall, and a stop in Albany the following day at Bogie’s.

The Necrotic Manifesto will released on April 29^thby Century Media Records, and will be the band’s eighth full-length studio album. It will feature Jacob Hansen as producer, who is also known for his work with Volbeat, Heaven Shall Burn and Mercenary.

“I can’t believe we did it to be honest.”, stated front-man Sven de Caluwé, through his label’s press release. “We had a little over three months from start to master on this record– everyone really gave 300% on this record, and it was an absolute pleasure to work with Jacob once again, who really pulled the best out of all our asses.

“I can say in all honesty that ‘The Necrotic Manifesto’ is without a doubt the strongest record ABORTED has done thus far and could not be more proud of everyone involved in the project, stated de Caluwé. He continued to describe the CD as the band’s “most brutal,” and “technical” record from the band, in their nearly 20 years of recording.

Phlegethon, of Wormed, and Vincent Bennett, of The Acacia Strain, provide cameoi appearances on the CD with their vocals.

The album artwork was done by Par Olofsson (Pathology, Immolation, Immortal).”

Below is a track listing for the upcoming CD, along with announced tour dates.

The Necrotic Manifesto track-listing:

1. Six Feet Of Foreplay

2. The Extirpation Agenda

3. Necrotic Manifesto

4. An Enumeration Of Cadavers

5. Your Entitlement Means Nothing

6. The Davidian Deceit

7. Coffin Upon Coffin

8. Chronicles Of Detruncation

9. Sade & Libertine Lunacy

10. Die Verzweiflung

11. Excremental Veracity

12. Purity Of Perversion

13. Of Dead Skin & Decay

14. Cenobites

In support of The Necrotic Manifesto, ABORTED will tour North America together with Kataklysm in March/April 2014. The band will then return to Europe in May for a handful of release shows before heading into the festival season. See below for all upcoming tour dates.

ABORTED tour dates:

Feb. 22 –          BlastFest – Bergen (Norway)

Mar. 27 –          Empire – Springfield, VA (United States)

Mar. 28 –          Sounds Asylum – Middletown, NY (United States)

Mar. 29 –          The Underground Arts – Philadelphia, PA (United States)

Mar. 30 –         Montage Music Hall – Rochester, NY (United States)

Mar. 31 –         Bogie’s – Albany, NY (United States)

Apr. 1 –             Middle-East – Cambridge, MA (United States)

Apr. 2 –             Palace Theater – Stafford Springs, CT (United States)

Apr. 3 –             St. Vitus – Brooklyn, NY (United States)

Apr. 4 –             Club Soda – Montreal, QC (Canada) *

Apr. 5 –             El Mocambo – Toronto, ON (Canada) *

Apr. 6 –             The Foundry – Lakewood, OH (United States) *

Apr. 7 –             High Noon Saloon – Madison, WI (United States) *

Apr. 8 –             Zoo Cabaret – Winnipeg, MB (Canada) *

Apr. 9 –             The Exchange – Regina, SK (Canada) *

Apr. 10 –           Pawn Shop – Edmonton, AB (Canada) *

Apr. 11 –           Republik – Calgary, AB (Canada) *

Apr. 12 –           Columbo Lodge – Kamloops, BC (Canada) *

Apr. 13 –           Rickshaw Theatre – Vancouver, BC (Canada) *

Apr. 14 –           Studio Seven – Seattle, WA (United States) *

Apr. 15 –           Jub Jubs – Reno, NV (United States) *

Apr. 16 –           DNA Lounge – San Francisco, CA (United States) *

Apr. 17 –           Ramona Mainstage – Ramona, CA (United States) *

Apr. 18 –           Mirror Image – Anaheim, CA (United States) *

Apr. 19 –           Joe’s Grotto – Phoenix, AZ (United States) *

Apr. 20 –           Tricky Falls – El Paso, TX (United States) *

Apr. 21 –           Marquis Theatre – Denver, CO (United States) *
Apr. 22 –           Riot Room – Kansas City, MO (United States) *

Apr. 23 –           Reggie’s – Chicago, IL (United States) *

Apr. 30 –           Magasin 4 – Brussels (Belgium)

May 1 –             Steinbruch Theater – Darmstadt (Germany) ***The Necrotic Manifesto release show w/ GORGUTS, MISERY INDEX***

May 2 –             Neurotic Deathfest – Tilburg (The Netherlands)

July 18 –           Boarstream Festival – Mulfingen (Germany)

July 19 –           Grindtastic Open Air – Mittelsinn (Germany)

July 21 –           Metal Days – Tolmin (Slovenia)

Aug. 1 –            Xtreme Fest – Albi (France)

Aug. 8 –            Party San Open Air – Schlotheim (Germany)

Aug. 10 –          Bloodstock – Walton on Trent (United Kingdom)
Aug. 14 –          Summer Breeze – Dinkelsbuhl (Germany)

Aug. 23 –          Kaltenbach Festival – Spital am Semmering (Austria)

*=with KATAKLYSM

ABORTED online:

http://www.goremageddon.be/

https://www.facebook.com/Abortedofficial

February 19, 2014
An Interview with Denise Parent of The Deadbeats

For years, Deadheads throughout the Capital District make the trip every Wednesday night to hear some good old Grateful Dead covers at Valentine’s on New Scotland Avenue in Albany, New York (and as of last week, at The Low Beat on Central Avenue). Any one who has attended a Deadbeats show can probably attest to the dedication and talent each member in the band brings to the table to keep the Grateful Dead alive in Albany. You may also likely know Denise Parent, drummer of The Deadbeats as well as many side projects throughout the Upstate music scene. had the opportunity to ask Denise some questions regarding her past within the music scene and her rise as one of the most well-known female drummers in Albany.

Jenni Rose Wilson: Tell us a little about yourself and how you got started in the music scene.

Denise Parent: I guess I think about how I got started playing music. My mother has been singing since I was in the womb, so I think it really rubbed off on me. She used to be involved in local musical troupes and I used to go watch her shows and regular rehearsals. My mother is a fantastic singer; therefore I had a great musical mentor. I started singing as a young girl and performed at my first talent show at 9 years old. I went on singing in talent shows and the choirs for years.

One day in high school I was sitting in class tapping on the desk with my pencil erasers, and my teacher yelled out, “Join a band!” (Thanks Ms. Molloy). It was like a light bulb went off! I went home and told my parents I wanted to play the drums. That Christmas my brother got me a snare drum and cymbal and I smacked that for about a year before asking my parents for a drum set. For my 17th birthday I got a little Pearl kit. I taught myself how to play by watching MTV, back when they actually played music videos. I joined my first band after playing in my room a couple of months. By 19 I had joined my third band and we played some gigs in the bars in and around Levittown, Long Island. I did take a few drum lessons over those years and learned how to read drum music and play a few necessary rudiments.

I had also been playing around with the guitar as a kid since my older sister played in the folk choir. I had fiddled around with it for years and before you know it I was playing some solo and duo guitar gigs at my brother’s café in Sayville. I kept all the gigs going until I moved up to New Paltz to finish college in 1993. It was there I met the Deadbeats. I started to play with them full-time in 1993 and we were going on the road and playing up and down the East Coast for a few years. We played in all size venues, from great little dive bars to colleges, festivals and music halls. Since then I have been playing gigs regularly. In late 1997, I left the Deadbeats and soon after joined Big Sister, an all female band from Woodstock, NY. Six months after I joined we got signed to Capricorn Records and then recorded a rockin’ CD called So Hi How Are You. We had a few years of playing great gigs like the Rock and Roll Hall of Fame, and we were even in Rolling Stone Magazine! That was a really great experience for me and I did have a lot of fun! Unfortunately, Capricorn went bankrupt and we lost our good gigs and our monetary support.

I was a lead singer in most of the bands I was in prior to this, and being a backup singer in Big Sister always left me wanting to sing leads again. It was around this time that the Deadbeats called me and asked me if I wanted to come back and play in the band. When I had been given the opportunity to sing lead again it felt really wonderful. I came back to the Deadbeats on NYE 2000-2001 and have been in the band ever since.

JRW: You have your hand in a number of different musical projects, can you tell us a little bit about each project?

DP: Currently I play in three bands, The Deadbeats, Hemingway’s Cat and Wild Piper. The Deadbeats is a staple in the Albany area, playing a ton of Grateful Dead and classic rock. Since I sing lead, we do Janis Joplin, Aretha Franklin, and other assorted female-singer songs. I love to sing Bob Dylan and Bob Marley, so we do a handful of their songs. Of course I also love singing anything by Jerry Garcia, since I have a true soft spot for singing soulful Gospel and traditional songs. The Deadbeats also have a good amount of original music, of which I sing some of the songs I have written. We have never played the same set twice, and we don’t use a setlist. Mike, Alex, Brian and I have developed a band that has an awesome following, and we do have a special relationship with the crowd every time we play.

Hemingway’s Cat is an all-original band from Woodstock. The music is very eclectic, with songs that sound like jazz, blues, reggae and an almost Middle Eastern feel. I joined that band about three years ago. I was mostly drawn to them because the music has a lot of great rhythms with high energy. When I first met the band they already had recorded a CD, and then we recorded a five song CD called Next to You. When we play we really raise the roof! I also really enjoy playing all of our own music for people who dance and smile while we do it! Wild Piper is an exciting new band, made up of some of the current and former Deadbeats, in addition to members of Raisinhead and Ominous Seapods. It’s a great mix of strong lead vocals, screaming lead guitar, the warm Hammond organ, the funky rhythm guitar all on top of a bass and drums powerhouse duo! Even though this band is in its early stages, the talent and song choices have already wowed audiences. It’s has that “new relationship energy” and we all have an appreciation for each other’s talent. I look forward to where we will go together.

JRW: What is it like being a female in a male dominated craft such as musical production?

DP: I admit over the years I have had a few funny experiences while playing in a band. I have met a bunch of men who have been open minded and wonderful. Of course there are those who tell me I’m pretty good for a girl. I know those guys are trying to be nice, so I see the compliment they are striving for. One night in the mid-90s, I was setting up for a Deadbeats gig in Monticello alongside Mike Johnson, the guitarist. Some guy came over and started talking to Mike, asking him what time the band would be starting and what type of music we played. They talked a little bit while Mike set up his amp and pedals. Then the guy turned to me as I was setting up the drums and asked when the drummer would be getting there. I thought it was a bit funny because I was actually setting up the drum kit when he asked me. I admit it wasn’t the first time I had been asked a question like that. This time I decided to have a little fun with it. Mike and I told him that the drummer was my boyfriend and would be getting there soon. I continued setting up my kit and did a little bit of a soundcheck. He came back over to the stage and said that I sounded pretty good. I laughed a bit with Mike and told the guy I was going to have to start with the band because my boyfriend would be late. I also told him that he taught me a lot, so I could probably be OK for a few songs. After playing a bit I felt guilty for pulling his leg and I came clean. He was very surprised at first, but then he was my biggest fan. Of course there are those other times that aren’t as funny, but I like to focus on the positive.

JRW: What instruments do you play and at what age were you introduced to them?

DP: I sing lead vocals and play drums at the same time. People always tell me they think it’s hard, but I guess I have been doing it for so long I really don’t even notice. Lucky me, I do feel blessed for being given such a great gift. I started playing drums when I was 16. I always tapped on everything as a kid. I used to take all the pots and pans in the house and put them all over my bed and then I would play them like a drum set with my chopsticks or pens, whatever I had handy. I had a lot of fun doing this until one time I was jamming out hard and broke the ball point off the pen. The ink went flying all over the pot and pans and my bed and the carpet and my mom was pissed! I can still remember her face! Fortunately we laugh about that now! Soon after it was clear that I had rhythm I got my first drum set. My parents would let me play anytime 10am-10pm. I would crank up my stereo and the fun would begin. My mom used to clean the house and dance around while I played. My dad would always compliment my improvements. I remember my mom being surprised that I liked reggae and gospel music. My parents were (and still are) very proud of me and were very supportive to my playing drums. When I was 17 I had a party at my sister’s house and asked my friends from school to play. I remember them playing the Beastie Boys and I just got so incredibly charged I knew I had to join a band!

I have been playing the guitar since I was a young girl. My sister gave me her classical acoustic guitar and I would play over all the songs on the radio. I didn’t really know many chords in the beginning, so I would play leads and sing a bit while I plucked around. I started to learn more chords and rhythms when I was around 15. I wrote my first song, on the guitar, “I Hate Goodbyes”, at 17. There is something so nice about being able to pick up my acoustic guitar and sing a song. Even to this day I love to do it. No setup required. No amplification necessary. I have played a few acoustic guitar gigs over my years Upstate, but these days I play the drums at my gigs.

JRW: What are your biggest musical and non-musical influences?

DP: My mother taught me how to sing. My father taught me how to work hard and be responsible for myself. My high school teacher told me to join a band. My religious upbringing has taught me to love people. Both my parents have taught me to thank God and to love and respect others. I tend to wear my heart on my sleeve, probably because I like to connect to other hearts around me. When I think about all my influences they are widespread. My first concert was Rush at Nassau Coliseum, and that blew my mind. Neil Peart was one of the most intricate drummers I had ever seen. I always loved watching Mick Fleetwood play, and felt like I could really understand his playing. I did notice that we both made some pretty funny faces when we got into it. I love both of the drummers in the Grateful Dead. Mickey Hart has taught me to lead with the toms and to stray from the form and see where it takes me. Billy Kreutzmann showed me how I can add beautiful color to the most basic beats, while holding a whole band together. I have always loved to sing Indigo Girls, Bonnie Raitt and Joni Mitchell songs. Over the years I have followed them and their music and really appreciate the effort they take in crafting a song, and how they sing it. I often get goosebumps when I listen to any one of their songs.

My last few years living on Long Island, my friend Dino Perrucci took me to see this great band called The Volunteers (who later became the Zen Tricksters). They really taught me the music of the Grateful Dead. I did used to go see a lot of Dead shows, but I got an intense 101 from seeing the Tricksters four nights a week for a few years. To this day I credit Jeff Mattson (who now plays with Dark Star Orchestra) and Dino for much of my musical influences. Jeff even gave me guitar lessons back in the day. Just last weekend I went to see him and Rob Barraco play in the DSO and remember how much I learned from both of them. I give them and the Zen Tricksters a lot of credit for helping me learn so much of what I still do today.

JRW: How do you handle mistakes during performances?

DP: If you had asked me that question 15 years ago I would have answered very differently. I remember a time when I would get very upset with myself and have a hard time remaining present to ease and grace after I had made a mistake. I would spend so much time focusing on the mistake that I would be kicking myself during the next few sections of the song. I would not be present to the beauty of anything, and really missed out on so much good. I got hung up on mistakes others would make too. I think I lost sight of all the good and got stuck in insignificance. After doing some helpful introspection and years of different sorts of self-help work, I’ve come to get a huge lesson that has impacted me in every aspect of my life. Nothing is wrong. Its all how I deal with it that really matters. Of course I am not perfect at anything, so accepting that I make mistakes has become easier and easier. And having compassion for me or anyone else that may make a mistake around me comes with that as well. Falling off the beaten path has led me to some incredible moments on and offstage. Of course I love it when I hit the notes well and play the drums spot on, but I welcome whatever I am presented with now, while looking to see what I can learn from it. It really is all good.

JRW: What are the biggest obstacles for a band and what is the hardest part about working in the music industry?

DP: I would love to be able to support myself by writing, recording and playing music. I think most artists I know struggle with being able to play music and travel to reach wider audiences, because it costs money. Therefore they need to have a side job to help them pay rent and eat, and whatever’s left may go towards a little tour. In most cases artists need to find a way to promote their music, and even though the Internet is very helpful for that, we still have to travel to different places to play for them.

JRW: How do you balance music with your life’s other obligations?

DP: Well fortunately my day job at Family Services does accommodate me playing music on a regular basis. I do appreciate having that job, because I recognize all the good that FS does. It also helps that I have a great crew of people that I work with. I also really love just being at home with Anne and all the animals! It does my soul a world of good.

JRW: What advice would you give to other artists who have less experience than you?

DP: I’m not sure I know all the right advice to give. I will say that keeping the joy alive is great for the soul in any regard. Remember the joy that making music brings you, and do it for that reason. I think it is incredible to connect with my band mates and make something special happen. It’s even more wonderful when others can appreciate it as well. Oh yeah, and learn how to harmonize. It works in life as well as in music!

February 19, 2014
Red Hot Chilli Pipers Turn The Heat Up in Syracuse

Despite frigid temperatures in Syracuse February 7th the city was on fire! Not only because our beloved Orangemen were setting the town on fire and leading their division in basketball, but because The Red Hot Chilli Pipers were setting the stage on fire at the Syracuse Palace Theater.

Red Hot Chilli Pipers

Opening the show in true Celtic Style, the Syracuse Scottish Pipe Band began the evening warming up the crowd with traditional sounds and a spectacular drummers light show. If you haven’t seen these folks, they are a band of approximately 36 pipers who have played locally and competitively since 1973. Truly a Syracuse gem and the perfect way to begin a show featuring the Pipers.

Syracuse Scottish Pipe Band

Second to take the stage was Hobo Graffiti, a local rock band, who gave the audience a taste of the rock and roll side of what the evening had in store. With Kris Wiechmann on vocals and acoustic guitar; Tommy Matkowski on 6 & 12 string acoustic guitars; Chuck Kahl playing upright bass; Kevin Dean playing bass, snare, cowbell, tambourine, and ride cymbal; and Heather Jones finishing out the group with vocals and guitar, this band gave the audience a taste of what they have deemed as their own style of rockabilly and dirty rock. Their strong vocals and amazing musical talents once again confirmed what a mix of musical talent is here locally in Central New York.

Hobo Graffiti

Under the cover of darkness, The Red Chilli Pipers took the room by storm with the opening song “Insomnia” demonstrating just what was in store for the evening. Traditional bagpiping music was not on the set list, instead the evening would be more than two full hours of the most non-traditional bagpiping you would imagine with the perfect bass, keyboards, guitar, percussion, and sound & lighting to accompany. I personally love when bands begin with a strong foot stomping number to bring the crowd to their feet first and foremost and trust me when I tell you, this was truly foreshadowing for what was to come.

Red Hot Chilli Pipers

They did not let off all night with constant playing and sound offs between bagpipers Willie Armstrong, who when not piping is saving homes and lives as a fireman; Craig Munro who has been recently featured playing in Disney’s movie Brave; and the crowd favorite Gordon “Dougie” McCance who constantly wins the pipe off as the others claim it’s not based on talent but on the cuteness factor during their “Tag Team Jig”. We also saw spectacular drum battles between Grant Cassidy who is referred to often as the as having the fastest hands in Scotland on the snare drums (aka the Ferrarri of drums), Steven Black on full drums, and Paul Jennings on cajon and bongo drums. These musicians are top notch and true performers giving the show of their life each and every night.

The music was a mix of their own and amazing covers of songs such as Coldplay’s “Fix You” and “Clocks”, Kings of Leon “Use Somebody”, ZZ Top’s “Gimme All Your Lovin”, War’s “Low Rider”, Snow Patrol’s “Chasing Cars”, and Journey’s “Don’t Stop Believing”. At one point and time they even had the whole audience up participating during C&C Muisc Factory’s “Everybody Dance Now”. With Alan McGeoch on bass, Gary O’Hagan on keyboards, and Ben Holloway on electric guitar the pipers and percussionists had the perfect accompaniment on each and every number.

It was however the encore number though of their newest release Avicci’s “Wake Me Up”, and crowd favorite Queen’s “We Will Rock You” that showcased each and every one of them as true artists and performers.

Syracuse could have been -50 degrees and these guys still would have melted every girls heart and heated up the stage like only The Red Hot Chilli Pipers can. I can’t even imagine on a hot summer day how anyone would survive one of their shows.

February 19, 2014
Bringing Back the Funk: An Interview with Jesus Coomes of Lettuce

Similar to Restless Leg Syndrome and sharing the acronym, a Raging Lettuce Show will cause an irresistible and uncontrollable urge to move your body. Funk might typically be an exercise in rhythmic synchronicity, but the way Lettuce does it conjures up words like relentless, entrancing, potent, and completely intoxicating. Their sound is composed of seven members whose sole purpose is to contribute to this runaway funk train that’s been taking down anyone in their way. The band is currently wrapping up their winter tour, but not before a stop in Buffalo, NY at The Tralf on Friday, February 21st. Their most recent album Fly has only built upon what’s made them so good: commanding beats, catchy melody lines, and stripped of anything that doesn’t add to the overall groove. Writer Jeremiah Shea got the chance to talk with Lettuce bassist Jesus Coomes about the band, a new album, and funk’s recent rise in popularity.

Jeremiah Shea: How did you get your nickname?

Jesus Coomes: I got that nickname from working in L.A. with DJ Quik. I was really devout with my lifestyle, my beard was long, my hair was long, and he just started calling me Jesus. After that, it caught on and everyone started calling me that.

JS: How did the band name come about?

JC: The name just kind of dawned on us. We were playing out at a lot of places and when we went to parties, we’d say to the band: “Let us play.”

JS: Explain the importance of the overall sound and feel of the band versus highlighting one particular member.

JC: Rather than having one person being the guy that’s standing out, we like to keep the perspective where the sound of all of us together is much more important than the sound of any us separately. We play our part in the band and when everyone plays their part and we’re vibin’ off each other, that’s what creates really good feel. It’s really just keeping the overall sound of the band being paramount to any individual.

JS: Lettuce came on the scene in the early 90’s, but didn’t record Outta Here until 2002. Why is that and what developed during that time period?

JC: Because recording an album is expensive! That’s one way of looking at it. Also, we formed in 1992, but didn’t really start playing a lot until 1994-1995. I think it’s good for a band to play the material live first before you go record it. By the time we went to record, we had played it so many times that we were able to record quickly. Instead of going into the studio and figuring out what you want to do, we could play as a band basically and get it almost all done live. We had to play out a lot of shows first before we could have something really great to record. I think that’s why it took from 1992 until 2000 to get that going; we were basically playing for a while.

JS: How does the band balance the band’s responsibilities alongside all of the side projects that everyone is involved in?

JC: It’s all about priorities. When you give your life to music, you always have a couple of things that are really important to you. We all have those things that we’re involved in, but we keep Lettuce high-up on that priority list. I think the amount of fun that we get to have when we play in Lettuce makes it easy. We’re also all good friends and keep in contact all the time. When all you do is music, you SHOULD have a couple of things that you’re working on I think. It’s not as hard as it might sound; when I’m not touring with Lettuce, I just go super hard in L.A. and write. You want to stay busy. We like to play music, so if there’s a day when we’re not playing music, we’re freaking out! It also keeps us fresh – when I haven’t played a Lettuce show in a while, it makes me really excited to play one.

JS: There’s a lot of overlapping members within Royal Family Record’s various bands; is it possible we get to see a full Royal Family Tour in the future?

JC: Oh yeah – you never know what we’re going to do; that’s for sure.

JS: You can hear funk’s influences in a lot of genres these days, but it seems like there has been a rise of bands lately that just play a pure form of funk – bands like Lettuce, Kung Fu, Orgone, Dumpstaphunk, etc. Why do you think that is?

JC: I want to be completely egotistical and say it’s because we’ve been playing funk! Lettuce has been going around playing funk at all of these festivals for so long that somebody must have heard us. You know, I really don’t know why though, but I’m happy about it. I think it’s just a lot easier these days to just get your ear on some dope shit! You used to have to search out that music, but now it’s a lot more accessible and easy to find.

JS: How does Lettuce continue to evolve while still staying true to funk’s original roots?

JC: I mean, for me personally, the key is to not be bound by a genre. When you think of a genre, they’re all creations of some dude who probably didn’t play music. It’s just a way to try to say this band sounds like that band, and that’s bullshit! We keep that genre stuff out of our minds and just worry about playing good music.

JS: Can we look forward to another Lettuce album in the near future? It’s been two years since Fly came out.

JC: We’re going to be working on it. We did two songs in the studio and we’re going to release those, but I can’t speak on that. We have stuff that’s already recorded and the album is in the works.

JS: What’s the best part about playing in Lettuce?

JC: It’s such a blessing to get to play music and be in a band that people enjoy; it’s honestly a dream come true. There’s nothing better in my life than having people appreciate what we do. It’s so dope!

February 19, 2014
Buffalo and Aqueous…A Love Affair

It has been unbearably cold in Buffalo this winter. Last Wednesday, Aqueous and The Mantras brought setlists that centered around the theme of “Love” and things were more Kate Upton inside of Nietzsche’s than the Roseanne Barr we have been experiencing outside of it. After an excellent first residency, could Aqueous build upon the great foundation they laid down the first week? The Mantras gave them a running start by pumping up a much larger crowd and Aqueous was certainly up to the task.

The Mantras are an excellent six-piece band from Greensboro, North Carolina that had the place rocking from the moment they hit the stage. The Mantras’ set featured excellent originals as well as welcome renditions of Umphreys McGee’s “Hurt Bird Bath” and Michael Jackson’s “Beat It”. With their progressive rock sound that somehow doesn’t deny their southern roots, The Mantras connected with the Buffalo crowd. It is safe to say that when The Mantras finished their set, Nietzsche’s was buzzing with excitement.

The theme of the second Aqueous residency show was the broad theme of “Love.” Aqueous chose a gutsy opener of Haddaway’s “What is Love” that quickly segued in and out of the hard-hitting Aqueous original, “Eon Don”. The “Eon Don” segments of this back and forth sandwich provided some new territory for the usual straightforward rocker. After it finished, the crowd was primed for the fan favorite “Origami.”

“Origami” would show the crowd that it was business time during “love night.” From the dream-like intro, this “Origami” was one for the books. Taking their time and exploring new paths in the intro allowed the drop into the composed section of “Origami” to take flight. When it hit, the place exploded and many heads were sent banging. The jam would come firing out with high energy before almost grinding to a halt. Changing pace and varying the intensity of sound are two weapons that Aqueous has solidified into their jamming arsenal. Following the halt, Nick Sonricker (drums) would provide an upbeat rhythm that the band slowly built on. Not rushing into a peak allowed the band to find a gorgeous soaring groove. The second jam would center around a minimalist playing of the “Origami” theme before it became Godzilla eating every piece of origami ever created.

The second nod to the night’s theme would be The Beach Boys’ “Wouldn’t It Be Nice” that brought the lightheartedness back after the hard-hitting “Origami”.

After the short cover, Aqueous would be right back on the heavy improv, crafting a 24-minute version of “All-In”, which has done the exact of opposite of what I have done after hitting 5’9”… grow. “All-In” has come from humble beginnings to become a jam monster. The last couple of performances seem to have set the bar higher and higher each time out. When Aqueous dove into another minimalist jam, they began infusing hints of reggae and funk. Had Darth Vader been in attendance, he would have said, “The groove is strong with this one.” The patience that the band displayed set up the final annihilation. The slow groove transformed into a Mike Gantzer (guitar, vocals) and David Loss (guitar, vocals, keyboards) shred fest, that reached peaking heights that few jams fail to find. After a short return to the “All-In” theme, Evan McPhaden (bass) lead the band back down into the groove. Loss moved to the keyboards and the dance party continued. This “All-In” was the clear highlight through the halfway mark of the Aqueous Nietzsche’s residency.

After 24 minutes of “All-In” fire, Aqueous smartly decided to take things down a notch, and revert back to the Love theme. With Keith Allen (guitar) and Julian Sizemore (keyboards) from The Mantras joining Aqueous on stage, Marvin Gaye’s “Let’s Get It On” would be the centerpiece of this love affair. Loss would have the task of the legendary Gaye vocals. While he sounded nothing like Marvin Gaye, Loss sang with everything he had and owned the stage, making it a fun rendition. The real star was Allen, playing a gorgeous-sounding slide guitar that perfectly rang out through the bass groove.

Aqueous chose to place its newest song “20/20” after “Let’s Get It On”. Reaching the 12-minute mark in only its second performance, “20/20” continues the trend of Aqueous songs that have big open-ended sections for jamming.

The set would conclude with “Marty”, an instrumental take on “I Will Always Love You” by Whitney Houston, and “The Median”. The band had placed a net full of red balloons on the ceiling prior to the beginning of the show. During the line in “Marty”, “red balloons are falling from the sky” they were released and served as party favors during the closing trifecta.

After a set that thrilled the crowd, the encore would not disappoint. James Taylor’s “How Sweet It Is” would be the last Love cover before seguing into “Pictures” and a reprise of “What is Love”, which segued back and forth multiple times. It felt as if the two had became one song and finished the night on yet another highlight.

Mixing smart and unpredictable covers, Aqueous engaged the roughly 200 people in attendance for two and a half hours. This Aqueous set gave everyone a chance to sing along and have some fun, yet provided some serious improvisational music. Missing either of the next two Nietzsches show would be a big mistake.

Of note, the band was dressed in shirts and ties, except for Evan who was shirtless except for a bowtie. That is all I have to say about that but I am told that the ladies loved it.

Setlist: What is Love>Eon Don>What is Love>Eon Don>Origami>Wouldn’t it be Nice>All In>Let’s Get it On>20/20>Marty>I Will Always Love You>The Median>Marty

Encore: How Sweet it Is>Pictures>What is Love

Remaining Aqueous at Nietzsche’s Show Dates:

2/19 with The Broccoli Samurai (Willy Wonka Theme)
2/26 with Big Something (Mystery Guest Theme)

February 19, 2014
The McLovins to Shine Beautiful Lights and Jams on Garcia’s at The Capitol Theatre February 20

Hartford based jam/rock group The McLovins will be shining some beautiful lights on Garcia’s at The Capitol Theatre February 20^th as they host a CD release party for their latest album Beautiful Lights.

Their fourth full-length studio album, Beautiful Lights, is also the first release written by the band’s current lineup. Produced by Ant Krizan (Spin Doctors), the album marks a turn in the band’s sound and approach to writing. Jake Huffman (drums/vocals) tells that the band, whose members are still in college, has taken a more structured and mature approach to crafting the album. That, however, does not take away from the live performances for which they are recognized and promises for a strong live performance of tracks from their new album after coming off an 11-stop tour in the Southeast last month.

The McLovins have evolved immensely since they gained notoriety from a 2008 basement cover of Phish’s “You Enjoy Myself” posted on YouTube. They draw on eclectic influences to create incredible live performances with intricate improvisation and harmonies. This stage presence has rewarded the band with several festival appearances including Gathering of the Vibes, Mountain Jam and Bella Terra, among others.

Tickets are $7 in advance and $10 day of and available here. Doors: 6pm; Show: 9pm.

Check out the official video for the song “Birthday” off of Beautiful Lights here:

February 19, 2014
Tim Reynolds and TR3 Rock The Tralf

The Tralf was packed with loyal Dave Matthews Band followers everywhere and you could hear the banter all around the venue. It was a chance for the loyal fan base to catch longtime DMB collaborator and more recent a regular member of the group in action, TR3.

Tim Britt opened up things with his acoustic guitar and a microphone. Britt is heavily influenced by Dave Matthews and it could be seen throughout his act, particularly in his heavy rhythm guitar playing. Britt is also somewhat of a one man band as he creates sounds and loops them while playing over them in a very similar style to Keller Williams. His cover of Gorillaz “Feel Good Inc.” is amazing to listen to but yet even more amazing to watch him go through the setup of the song with his loop pedals. It’s no reason Tim was awarded Best Solo artist for two years in a row in Buffalo. Britt was joined on stage with Steve Amuso (guitar) and Rocco Amuso (Saxaphone) from the band Of The Cuff.

Tim Britt Setlist: Would’ve Could’ve Should’ve , Planes, Two Times Sick, Feel Good Inc., Up In The Air, Old Friend, Breakdown, The Days

There may have been a lot of DMB fans in attendance trying to get a glimpse of Tim Reynolds (guitar, vocals) but they didn’t expect to be amazed in such a way. TR3 has so much different elements in their show that it is truly amazing to see how three people command one stage. Reynolds is such a great guitar player and has the ability to play so many genres and make it look effortless. TR3 started the night off with a classical acoustic instrumental called “Lonely Woman” and soon after weaved through the night with jazz, funk and rock songs. Reynolds is really a master of the guitar, yet very humbling at the same time. It was very apparent Reynolds was having such a good time on stage with the group as well as the audience with the smiles throughout the night. Mick Vaughn (bass, vocals) and Dan Martier (drums, vocals) are very solid backing up Reynolds as most trios do. Vaughn was a true crowd-pleaser with some of the funkiest dance moves seen on a bassist in sometime. “Cave Man” proved to be an interesting instrumental that was played in the dark as the band whore only lights on their heads to look like eyes in a cave. TR3 even showed how well they can play other songs and make it their own, covering “Aqualung” by Jethro Tull really got the entire crowd going and really fueled the finish of the show.

TR3 Setlist : Lonely Woman, New Solutions, See You In Your Dreams, Non-Violent Approach, Evathing I Believe, Highway, Sweet Spot, Missle Comin At Ya, Kool, All Over The Place, Running From People, Caveman, Victory Express, Lips Like Sugar, Dracula, Showbiz Kids, ICU, Industrial Complex, Aqualung, Mercury Direct
Encore: In The Zone

Tim Britt and Friends

Tim Reynolds and TR3

February 18, 2014
Lettuce and The Monk Dropped The Funk on The Westcott Theater

On Sunday February 9th, Lettuce, The Monk and DJ Kraz graced The Westcott Theater stage. It was flurrying snow outside, but that didn’t deter the dedicated live music fans of Upstate New York from coming out on a Sunday night to get their fill of face-melting funk.

DJ Kraz got the night off to a grooving start by spinning some classic funk records from the 70s and 80s and some hip-hop from the 90s. The Monk came out next and played a set that warmed the crowd up nicely for Lettuce. The Monk’s set included a cover of “Seven Nation Army” by The White Stripes and songs that spanned the genres of funk, rock, Latin, reggae, blues and jazz music.

photo by Leah Corbett

Finally, Lettuce, the heaviest funk band out there, took to the stage with their rage-faces on. The band is made up of 7 all-star musicians: Eric Bloom (trumpet), Erick Coombs (bass, vocals), Adam Deitch (drums, vocals), Neal Evans (keyboards, vocals), Eric Krasno (guitar, synth), Adam Smirnoff (guitar) and Ryan Zoidis (alto sax). The band launched into an intro jam that included short segments of covers, one of which was “N***** in Paris” by Kanye West & Jay-Z. Then Lettuce dove straight into a track off of their latest album, Fly, entitled “Madison Square.” This song has hard hitting yet suspenseful note sustains and a horn arrangement that begs the listener to dance like crazy. Lettuce’s front of house engineer dialed the mix in perfectly, as you could clearly hear each instrumentalist in the band. After playing an intro of “The Message” by Grandmaster Flash, the band laid down a fat version of “By Any Schmeeans Necessary.” After a couple more tracks from their second studio effort, Rage, the band threw it way back in time with “Nyack.” This song off Lettuce’s first album, Outta Here, is the fastest song they’ve ever written and requires serious communication amongst band members to play properly. Lettuce absolutely killed this classic track and thoroughly satisfied all the long-time Lettuce fans in the audience.

The band did a few more from Fly and then brought up Alecia Chakour on stage to sing some thunderous lead vocals. Anybody in the audience who felt the show was lacking vocals was taken aback and turned their focus back to the stage. Alecia sang soulful lead vocals on the following three tracks, which were “What Do I Have To Do”, “Clean Up Woman” and “Afraid To Try.” Lettuce continued on, playing a couple of brand new tracks and eventually closing the set with the horn-driven “Lettsanity”. Lettuce got off the stage and the crowd was yelling and screaming “We Want Lettuce, We Want Lettuce…”. The band got all of about two minutes to take a break before the crowd had forced them back onto the stage with the chant. Lettuce came back out with Alecia Chakour on vocals for a burning hot cover of Syl Johnson’s “The Love You Left Behind.” Everything seemed to come together perfectly on this one, the vocals and horns complementing each other while the guitars, bass, keys and drums held down a tight groove. Lettuce closed their set with an intense 10 + minute version of “Blast Off” that boasted extensive solos from drummer Adam Deitch and keys player Neal Evans.

The crowd played a huge part in making this show as fun and exciting as it was. Everyone was dancing like crazy for the entire set and they really fed the band with their energy. Lettuce responded by throwing down a two hour set of exhilarating funk music. Overall, this was a fantastic night of high-quality, live music complete with funky dance beats, ripping horn solos, wet bass lines and everything you’d expect from the most powerful seven-piece funk band in existence.

Setlist: Intro>Madison Square, By Any Shmeeans Necessary, Speak E.Z., Nyack, Fly, Bowler, Slippin’ Into Darkness, What Do I Have To Do, Clean Up Woman, Afraid To Try, Yakitori, Phyllis, Lettsanity

Encore: The Love You Left Behind, Blast Off

Download the show here.

February 18, 2014
Photo Gallery: Saranac Lake Winter Carnival 2014, Part 1

What’s more fun then a parade of frozen leprechauns, fire breathing dragons and ladies doing synchronized dancing with lawn chairs? Add in sideshows of frying pan tosses, frigid golf, Frisbee flings, fireworks and free music and you have the annual Saranac Lake Winter Carnival 2014.

This 10 day event is set in the “coolest” town in the US, Saranac Lake, located up in the Northern Adirondacks. Initially started in 1897, it is complete with crowned royalty, an ice palace and a theme which changes yearly. This year’s theme was deemed “The Celtic Carnival”, and having been crowned the second best Winter Carnival in the world by National Geographic Traveler, it’s a hidden gem in our own backyard. Buttons that celebrate the carnival theme are designed by Gary Trudeau, the creator of the comic strip “Doonesbury” and a true Saranac Lake native.

For the duration of the festival, live music spills out of the small bars and venues performed by local favorites and touring regional bands. Notable acts include Sophistafunk, Conehead Buddha, Tim Herron Corporation and local favorites, The Blind Owl Band and Lucid highlight the musical festivities. Break the chill and come up to Saranac Lake for Winter Carnival 2014.

February 18, 2014