For a thursday night in Albany, New York, there sure was a good amount of rock and roll to be had. On Central Avenue in particular, where four small bands from New York state converged to bring a huge night of music. The End Men, from Brooklyn, kicked off their tour at their second home in Albany, before hitting the road for two solid weeks up and down the east coast.
The Low Beat has been bringing quality shows since it opened in February of this year. In the wake of Valentines closing, a staple venue in the Albany music scene, The Low Beat has filled that void, with the same ‘No Pepper’ adorning the stage and great beers and grub from the bar. (Check out our article on the iconic club closing it’s doors.)
Henry’s Rifle kicked off the night, with his one man talent barrage. John Pipino normally goes at it alone, with his trusty banjo and tambourine/stompbox suitcase combo bringing down and dirty roots rock to the stage. He was in good form, telling the crowd he was digging into some songs he normally doesn’t like to play, but was enjoying them anyway. A master at creating a singular atmosphere when he plays, it’s no wonder his new album (which will be released on Halloween of this year) is called “Barroom Weather”. With his huge, crooning voice sailing over the crowd, and his fast paced banjo strumming and later guitar picking, the show was given a proper send up from an act that needs to be experienced to be believed. Look for news on his CD release soon.
Next up was Charmboy, also from Albany. Both Henry’s Rifle and Charmboy are part of the ever growing Built4BBQ musician collective in Albany, which also includes The End Men as well. The traditional three piece of guitar, bass and drums is anything but, delivering high energy old school rock and roll in large helpings. They started their set with a massive psychedelic build up, which was kind of surprising considering the immediate rock set that followed. Easy parallels can be made to Elvis Costello and Television, but these guys bring some new vigor to that tried and true sound. Great sound from the board helped the crowd pick out the nuances like precision shuffle beat drums over screaming guitars, and a three part vocal attack. No nonsense rock and roll, as showcased by their originals and a great cover of “Heaven and Hell” by The Who.
The End Men played the third spot on the bill, and the bar was almost packed full at this point. When these guys come to town, the crowds continually get bigger and bigger, and soon we might not be seeing this band in the smaller clubs in the area. The awesome power of the sound this band produces is even more incredible when you realize they are, inherently, a two piece band. Matt Hendershot holds down a gritty blues rock guitar with searing, gravel dream vocals, while Livia Ranalli plays the meanest drums and percussion you have ever seen. Filling out the lineup for this tour is Matt Elia on tenor saxaphone, which brings an added warmth to the gritty rock and roll coming from the stage. At first listen, visions of Tom Waits, Jack White or Mark Lanegan might fill your mind, but The End Men deliver all that and more with their incredible vaudevillian, psycho circus rock and roll. Matt is engaging as frontman to this rag tag outfit, and definitely seems at home in front of a microphone. The vocal melodies between Matt and Liv resonate to your very depths, and draw you closer to the stage to sop up every last bit of musical juice they provide. This is what bands on the cusp of breaking into the big time look and feel like, so next time they come to this area, or an area near you, do not miss the chance to witness their raucous good time. They ended their set with a song called “The Wolves”, having epic trade offs between guitar and sax with the percussion keeping everything nailed to the floor.
Last of the night was Sun Voyager from NYC, and they put the perfect capstone on an already incredible rock show. Psychedelic with a hint of crazy riff rock, it was a little like watching the british invasion all over again. If you happened to walk into The Low Beat not knowing what you were in for, Sun Voyager would have convinced you that you were witnessing something prolific. Hints of The Black Angels and The 13th Floor Elevators permeate their sound, and their big sound washes over you with reckless abandon, showing the versatile sound that this club can handle. Another three piece band that blows you away with their talent and musicianship.
A final note: Touring is a tough business, and that statement hit harder than most for The End Men that night. Their tour vehicle lost it’s transmission two blocks from The Low Beat, right before the show. But because of Albany’s incredible music scene that boasts a true sense of comradery, this little band from Brooklyn was in good hands. The bartender got a mechanic on the phone immediately, friends and bandmates helped push their vehicle to the club. Our own Jim Gilbert offered up his van so that they could continue on their tour. Music isn’t just about the sounds that you create, it’s about the friendships and connections you make as well. No better place to experience that first hand then supporting your local music scene, and becoming part of that awesome collective yourself.
Good bands and fun times seem to come out of Texas a lot these days. American Sharks are a prime example of the type of music and tour ethos that can be attributed to bands like The Sword and The Black Angels.
After their head-turning set at Upstate Concert Hall in Clifton Park, NY opening up for Clutch, I got to sit down with Mike Hardin (bass/vocals) and Will Ellis (guitar) to talk about touring, the fast pace the band has been coming up in the music scene, and what it means to have a good time. This was also the second interview I got to do with local musician Dustin Alexander from Jesus Christ and the Hallucinogenic Allstars(JCHA), bringing a “in the trenches” point of view to this article. We hope to include more local musicians talking to touring musicians in subsequent articles at .
Interview with American Sharks. Photo by Jim ‘JT’ Gilbert.
Jeff Ayers: So when did the band start? Where did the band come from?
Mike Hardin: Will and I started the band a while back in Houston, Texas.
JA: Are you originally from Houston?
MH: Sort of. We are kind of from a mish-mash of place, but we are all from Texas. The band kinda started when we were living in downtown Houston. Then we moved to Austin and that’s where we met Nick [Cornetti] our drummer. After that we went through a change and became a three piece, and that would be the actual beginning of the band. From then on we changed a lot.
JA: When was this?
Will Ellis: 2009
JA: How about musical influences? What influenced you to start this project?
MH: I listen to David Bowie. Only David Bowie. [laughs]. But, I’d say Roky Erickson was a huge influence. Roky Erickson and the Aliens, specifically, was a big influence on this band.
JA: Cool. First time I heard you guys, I thought I was listening to Motorhead and Red Fang fighting. I was instantly hooked.
WE: Awesome!
JA: You guys are already making waves. Speaking of Red Fang, you have done some tours with them, and you’ve played with The Sword, and now Clutch. How has the response for you on these tours been?
WE: Yeah, very positive. It’s been really awesome man. It’s slowly getting better and better, where we show up in cities we have never played before and people are there wearing out shirts and stuff.
MH: We were touring for a few years by ourselves, and you go to cities and no one knows who you are. Now we can come to cities and there are people coming out to see us play.
JA: Well that is the name of the game right? Specifically with this tour with Clutch, I think you guys are a great fit. How did that come about, for you guys to get on this tour?
MH: We toured with Clutch and The Sword last year. Basically, we are friends with The Sword, and Kyle[Shutt] is our manager, and he was trying for us.
WE: We asked him to nudge [Clutch] a bit, asked him to give them our music. He told them they needed to see us play, so when they came through Houston, they had us play one show with them. Next thing we knew we were going out on tour with them.
Jim Gilbert: Actually, the room we are in, The Sword once set off all the fire alarms and they claimed they were only using a vaporizer.
MH: [laughs] This has happened a couple of times being on tour with The Sword actually. Once, on tour with Clutch and The Sword, Clutch was playing and the fire alarms started going off–
WE: Yeah, that place was in Athens, Georgia (The Georgia Theatre), and it had burned down years before, so everyone in the place was freaking out thinking it was burning down again
JA: Thats hilarious, I’ve met those guys and they seem like fun dudes. Speaking of the future, you guys are coming back to Upstate Concert Hall opening up for GWAR. It’s the first tour without Dave [Brockie] too. How did that tour come about?
WE: I don’t really know! Our booking agent submitted us, and it just happened.
JA: Well that is going to be an awesome tour, and I’ll be back to see you guys then.
MH: Yeah, we can’t wait.
JA: So, right before this, you wrapped up a tour with The Whores, and now Clutch, and then GWAR. How many shows a year do you think you play?
WE: Probably over 200.
JA: That is living the dream. Are you predominantly touring the U.S.?
WE: Yes, just U.S. so far.
JA: Is there anything on the horizon for other countries?
MH: Nothing set in stone. We have things we are working on, but nothing we can talk about yet.
JA: What’s next for you guys after the GWAR tour?
WE: Take a nap. [laughs] We are going to start working on our next record. It’s tough touring in the winter, so we want to hunker down and start pushing through our second record.
American Sharks. Photo by Jim ‘JT’ Gilbert / JTGphoto.com
JG: [speaking of Nick the drummer] I got to ask, what is like being onstage with Animal from The Muppets?
MH: Ha! No one has ever called him that before! Animal! [laughs] He does do the drums like that. That is so hilarious. I’m going to tell him that for sure.
JG: I had to look quick a couple times to see if he was using a stick or a hammer.
JA: You guys have a great stage presence.
WE: I think Animal might be his favorite drummer actually.
MH: Oh dude! I didn’t know that!
JA: Well it shows [laughs] I ask this of a lot of bands, are there any bands you just can’t stop listening to at this moment?
WE: I’ve been listening to a lot of Roedelius, Arthur Verocai, and a lot of different chill stuff. Helps keep everything nice and calm.
JA: So when you get on stage you can rage it!
MH: I almost exclusively listen to David Bowie all the time
JA: I have to ask the obligatory question: pre-Ziggy [Stardust], Ziggy, or post Ziggy?
MH: All of it. Well like late 80’s through the 90’s, there is some really terrible shit in there [laughs]. But also, there is this band called Midnight, which is a newish band and they shred. If you like Motorhead, they are like an even crazier Motorhead. They played in Austin the day we left for this tour and I was so pissed I had to miss them.
JG: Be honest, have you[Will] ever walked in on Mike in the bathroom painting a Bowie lightning bolt on his face?
MH: [laughs] Yea and we lock eyes in the mirror
WE: [laughs] No I haven’t!
JA: I am now going to throw the questions to Dusitn, a local musician from this area
Dustin Alexander: The first thing that always comes to mind is how do you toe the line between partying and having fun on tour, and feeling better the next day? Having to play night after night, how do you maintain that?
WE: I just smoke weed most of the time.
MH: Yeah. But also, to be honest, partying and playing can spiral out of control really fucking fast. People say that, and you go “Haha, VH1 Behind the Music”. It doesn’t seem real to you until you are in it, and you can see the effects [this lifestyle] can have on you. Personally, I had some very negative experiences with alcohol. Be responsible. All of the sudden you can realize that you haven’t been sober in a year, and that is not good. I feel like I’m going to die. Not in a “I’m tired” way, but in a real, I am dependent on getting drunk when I wake up until I fall asleep. That is now O.K. That happens and that’s real, and you don’t think about that [when you are starting out].
WE: You get on each other’s nerves and stuff, you are on edge because you are hungover, and you are cooped up with everyone. It’s best to choose your party nights wisely, and I mostly drink maybe a couple beers a night, and just smoke a lot of weed.
DA: I feel marijuana is almost a performance enhancing drug for touring anyways. I mean sore muscles, can’t get sleep, a little nervous? That will take care of it!
MH: [laughs] Yeah, yeah.
DA: You have pretty aggressive vocals, and to do that night after night, is there something you do to prep, or cool down?
MH: I try to drink at least a gallon of water a day. More if I can, but I am a notorious voice loser. Also, I need to get sleep. If I don’t get enough sleep, I’ll lose my voice, and that sucks. Sleep is probably the most important thing in my opinion.
DA: How do you deal with that, when your voice kicks out and you are on tour?
MH: You get pissed off. It can be pretty embarrassing when you are playing in front of a packed house and you can’t sing. It can be a little frustrating.
WE: Usually whenever his voice does give out, we get to a place so he can get some sleep, and then it can come right back.
MH: I think people don’t put enough thought behind getting sleep. If I get a full night’s rest, I’m great. I normally do, I try for a full eight hours a night. I think it works wonders, because I rarely get sick.
JG: Where do you guys get sleep on tour? Do you get hotels, or the van?
WE: It depends on the tour usually. We try to get hotels, because when we crash at people’s houses, a lot of people want to hang out and talk to you all night. We might have an eight hour drive the next morning and we won’t get enough sleep. So we have to drop a little money [for a hotel] to make sure we get our rest.
MH: When you are on tour with a band like Clutch, they have a bus. So they route the tour based on that. All of us would rather spend money on a hotel than laying in a ditch because we flipped our van because we were so tired. It’s not worth it.
DA: A question about your bass rig. Are you running through and overdrive pedal or anything?
MH: Oh yeah! I use a pedal called the assmaster. [laughs]. It’s like B: assmaster. It’s made by Malekko. It’s 250 dollars, so it’s a little pricey, but it’s totally worth it. It’s the best thing I’ve found.
DA: Yeah it sounds thick, and you weren’t losing anything in the mix. It sounded gnarly.
MH: It has a really great bass boost on it, and you can make a lot of adjustments on it too.
DA: I play bass and sing at the same time like yourself. Do you find that singing sometimes gets in your way, because you might want to play a heavier bass line, but you have to worry about singing too?
MH: Oh for sure. But most of the time, the way we try and write music, it by simplifying and making it a little more accessible. Especially being a three piece, I don’t have to be [so busy]. As long as the bass is driving and thick, I can leave the other stuff to Will, because he has magic fingers. But I know what you mean, because sometimes there is a part in my head that I want to play, but I can’t because I’m doing a lot of singing there as well.
JG: Where did the idea for short songs come about, most of your songs top out around two or three minutes.
MH: The thoughts complete at that point. We don’t have to keep dragging on.
WE: We try to cut all the bullshit out of the writing.
MH: The Beatles, they were writing two minute songs, and they were great. The Ramones as well. Why should we try for more if we can get out what we want in that timeframe.
American Sharks at Upstate Concert Hall. Photo by Jim ‘JT’ Gilbert / JTGphoto.com
JG: You guys are on tour 200+ days a year, can you give us one hilarious story from the road?
MH: We were on tour with The Sword one time, and we were going through Albuquerque, but we weren’t playing there, so we all stayed there for the night. I don’t know if you have ever been there, but it is a crazy kind of city, there is definitely something in the air or the water. We get a hotel and all get rooms on the same floor right next to each other, and we are going to party all night. So we go to this strip club, and get kicked out. [laughs]. Well first Kyle from The Sword gets kicked out of a bar, in the beginning of the night. We were already loaded and they wouldn’t serve him and they are like “Get out of here!” So we show up and Kyle is in the streets so mad, screaming “Let me back in” and another dude from the bar is apologizing profusely because he knows he is in The Sword. So we go down to this strip club, and we are hanging out, doing strip club stuff, you know, and how does the rest of this go?
WE: We had a guy on tour, our camera guy, and I was gone at another bar when they first got to the strip club. When I showed up, there was this woman trying to stab our camera guy with her stiletto, and everybody’s holding her back and she’s screaming about money. Apparently he got one dance, and she said it was like five dance, and the bouncers are telling everyone to get out. So I acted like I wasn’t friends with any of them, and sat down at this other chair and finished my drink.
MH: So we were pretty wasted and we met all these people from Albuquerque and we all went back to our rooms on the top floor and had a raging party. All the classics that you would do if you were, say Van Halen, we did all of those things. I literally fell to the carpet at one point and passed out.
Upstate NY band The Garcia Project has been on the move lately and wowing audiences from the East Coast to the West with their recreation of Jerry Garcia Band shows for the ’70s, ’80s and ’90s. The Garcia Project has come from playing little festivals in Upstate like The Strawberry Jam to Fiddlers Picnic and has gained a strong following in their home state. There’s just something about seeing this band live, you can’t help but close your eyes and kick off your shoes to spin barefoot in the grass wherever they are playing the sweet music of Jerry Garcia.
The band recently spent some time on the West Coast [home to the Grateful Dead] where they celebrated Jerry’s 72nd birthday at the Jerry Garcia Birthday Celebration in Santa Cruz, C.A. where they opened for and sat in with Los Angeles Grateful Dead legends, Cubensis. While in California the band was also invited to be VIP guests of the Jerry Day celebration in San Francisco – a huge honor to any GD family member.
This year’s Jerry Jam in Bath, N.H. was another milestone for the Garcia Project, not only were they the Friday night headliners but they had none other than JGB’s Melvin Seals sitting in on the keys for that event. The show can be heard on the Live Music Archive – https://archive.org/details/TheGarciaProject2014-07-25
With such success this past summer the band will be looking forward into the Fall season with a main stage appearance at this year’s Wormtown Music Festival in Greenfield, M.A. Sept. 12-14, where they will be opening up for Dopapod and Max Creek. Making their way from the side stage to the main stage is an accomplishment bands strive for when first starting out and the Garcia Project has made the leap and audiences are welcoming them with open arms.
If you haven’t seen this band yet and you are a fan of JGB or the Grateful Dead, you must get out to see them – and run, don’t walk to their next appearance. You can catch them on Sept. 20 where they will be opening for New Riders of The Purple Sage at the Autumn Equinox Festival at Page Farm in Croydon, N.H. They will return to the Capital District to play the Rustic Barn in Troy, N.Y. on Sept. 27 with special guests Knot Dead. The band will then head to Glens Falls on Oct. 24 for a special evening at the Wood Theater where they will recreate a classic JGB show for fans. This band is on the move and a must see for any Dead Head. For more show dates please visit the Garcia Project online.
NYS Music recently had the opportunity to speak with Mik and Kat from the Garcia Project about why they were drawn to Jerry’s music and where they find their inspiration.
What was it about Jerry’s music that drew you to it, specifically?
Kat: I think the thing that initially drew me into his music was the affect it had on people. I kept meeting these folks that seemed to be living life with a different perspective. They were seemingly positive, carefree, and excited about life. It was like the old saying goes, when you see someone having a good time, “I’ll have whatever they are having.” I had to look into this music and community and see what it was all about.
Mik: I found the Jerry Garcia Band in 1988 and fell in love with the song choices that the band played and the incredible, beautiful guitar tone that Jerry had. Jerry had a way of showing emotion through his guitar playing and singing that I just never heard from anyone else. Also, the warmth of the fans at a Jerry Garcia Band show was infectious. It was a place where you could go and relax, let your hair down, talk to other like-minded folks and enjoy the music. There has not been anything else quite like those experiences.
When were you introduced to Jerry Garcia’s music – his or the Dead’s, what circumstances surrounded it?
Kat: Before I was a Deadhead, I met someone who mistook me for one. I had no idea what a Deadhead was and not very familiar with The Grateful Dead’s music. So, of course, this made me curious. I inquired and they brought me to a show soon after. I felt at home right away and started dancing immediately. This is not only unusual when a person doesn’t know the music, but i had not really danced in public before to any music. It was a freeing experience. I was in awe at people’s kindness, openness, and concern for each other as strangers. A very eye-opening night, seeing for the first time that society could be different from I knew it to be.
Mik: I listened to The Grateful Dead, Pink Floyd, Led Zepplin, The Rolling Stones and The Beatles throughout High School in the late eighties. In 1987, right after I graduated, I went to see The Grateful Dead with my HS friends in Rochester, NY. It was at Silver Stadium and the ride there was filled with anticipation! When we hit Rochester, I saw a sea of people dressed every kind of way, in every kind of color. We parked and walked around and talked with everyone that we could and eventually went into the show. I saw a huge speaker system with scaffolding on the end of the field and a huge american flag tarp was laid on the field (to cover the wires, etc?) They were pumping Sgt. Peppers on the pa system and everyone inside was just having a blast! I made my way up to the front of the stage, past the flying marshmallows and frisbees. I really thought to myself that “The Grateful Dead” were not a band that performed, it was much more than that….we were all part of the show. Then the band came out and opened the show rocking. I was hooked.
Along with Jerry, who would you say are your most significant influences?
Kat: It’s hard for me to narrow that list down to any reasonable degree. I take my inspiration from all singers with soul, past and present, from all genres of music. When I am studying a new song, I listen to every version of that song I can find. I search for every person singing it on YouTube and Archive.org. I look for the current really good bands and singers out there and see what they’ve done with it. I always find and listen to the original version, if it’s something Jerry covered. Then, I take that inspiration and knowledge and figure out what my take on it is.
Mik: Hmmmmm. Let me think about that.
Why did you decide to focus on JG instead of the GD as a whole?
Kat: The Jerry Garcia Band music always felt special. It touches hearts, soothes souls, and eases minds. Manifesting love and good vibes together is so important. People come in weary and leave rejuvenated by gathering together and helping create the community, and the music. I feel so grateful that i got to experience these shows, the community, and the consciousness while Jerry was still around. If we can create an atmosphere and play this music so that people can still gather and hear it, and be even a little bit as happy and inspired as we were with Jerry’s band, then it’s a mission worth pursuing.
Thanks for asking 🙂 <3
Mik: I had been playing Grateful Dead music for years. I never really tried putting together a band that played Jerry Garcia Band stuff…It was kind of like a holy grail to me. Once we started down this path it became apparent I needed to perform this music and people needed to be a part of it as well. There are new fans that never got to see The Jerry Garcia Band and older fans who miss it as much as I do. If we all get together and make a show happen, it is an amazing experience. Currently, we are performing actual classic set lists (shows) from the ’70s, ’80s and ’90s. We do the same songs and perform with the inspiration from listening to the old shows. It’s not a note for note thing, but more of a feeling and vibe.
Thursday, September 11th, the rock will invade Albany at The Low Beat. From the ashes of Valentines, this new venue over on Central Avenue has risen, and has already brought some great live acts to the area. This night aims to be no different, as some locals and some out of town bands will help send off The End Men on their two week tour of america.
Photo by The End Men
Henry’s Rifle, straight out of Albany, will bring his one man, dirty rocking banjo music to the stage. Fresh of of the Muddy Roots festival in Tennessee, and poised to drop his brand new album, “Barroom Weather” very soon, his rackus, infectious sounds will surely brighten your day and get you ready for the night.
Sun Voyager, out of Orange County New York, will be slinging psychedelic garage rock licks at the audience in full helpings. Usually hitting the Brooklyn scene, it will be a treat to see them in Albany, alongside such luminaries of local rock and roll. They are part of King Pizza Records, and definitely check out their Bandcamp if you haven’t already.
Charmboy, another Albany based band, are a product of the no nonsense rock and roll of the 70’s and they are proud to produce guitar laden rock without gimmick or pretense. Tight riffs and tasty jams will feed the hole in your soul where rock and roll lives. They will be sure to do what they do best; melt faces and hearts alike with their pure inspiring music.
The End Men Fall Tour
The End Men, from Brooklyn New York, definitely call Albany their home away from home at this point. Joining up with the fine collective of musical folks at Built4BBQ, they have made the pilgrimage upstate a number of times to great crowd response. The two piece, though rumoured to be rounded out by a mysterious saxaphone player for this tour, bring an incredibly huge sound with them wherever they set up shop. They have been tearing up stages in America as well as Europe for over four years now, and they show no signs of taking a break. Each time they come to this area they try out new material, engage the crowd on and off the stage, and make for an immersive experience full of their own brand of psycho dirty blues laden rock and roll.
Show starts at 8PM at The Low Beat, for only 5 dollars. Check out the Facebook event.
A small congregation of people waited outside of Upstate Concert Hall on Tuesday, July 22nd. Much smaller than one might suspect, on a night helmed by gypsy punk band Gogol Bordello. But, more people did show for the performance as the night went on, possibly in part for the ‘Upstate Common Sense’ on tap behind the bar, instilling in the 500 plus crowd a feeling of liquid camaraderie. Gogol Bordello has a reputation for bringing a combo platter of life together for an all-inclusive party atmosphere, and by the end of the night, this was exactly the case. The gypsy punk band, with members from all over the world, brought quite the spectacle to Clifton Park once again.
The show opened with the raucous energy of Man Man from Philadelphia. Experimental rockers at their core, they descended onto the stage with a wall of sound and main singer/keyboardist Honus Honus presiding over the crowd in a sparkling hooded cape and his trademark mustache. With a hurried explosion of notes, Man Man started their set with what sounded like the middle of it. Cheering along at full intensity immediately, the crowd fell right in step. The four-piece switched instruments constantly, and between horns, strings and percussion, they welcomed the masses into their chaos. Pow Pow the drummer acted as de-facto conductor for the band and the audience, keeping the White Stripes meets Frank Zappa vibe at peak energy the entire set. By the end, the crowd was hungry for more.
The crowd exemplified the feeling of the night — the idea that no matter who you are, you would belong, here, at this show. People shirtless with multicolored LED gloves, or fedoras over dreadlocks, or metal shirts and ripped jeans, all were welcomed and more. The lights dimmed and the crowd coalesced into one singular being, eager and willing as Eugene Hutz, the leader of Gogol Bordello, took the stage. He vocalized the feeling of the night and asked the audience, “Where did we leave off last time? Let’s pick it up right there.” He started the show alone, with a single spotlight for the aptly titled “Illumination”, with the entire band joining him by the end. They played their dirty, infectious gypsy grooves in expert fashion, from a band honed by constant touring.
The sound was great, allowing the crowd to pick out all the intricacies of the band, from the extra percussion, to the accordion and violin solos, to the subtle, but powerful, five-part vocal harmonies. The presence of Pedro Erazo and Elizabeth Sun, the band’s MCs, extra percussionists, and hype man and woman, add to the deliberate crowd control that Gogol emits. At one point, Hutz anointed the congregation with a bottle of wine as he sang “Immigraniada” and brought the audience to a fever pitch. They left the stage, and not a soul moved, waiting for instruction to proceed. The show had stripped the audience down to it’s innocence, and the band came back to emulate this, starting their three song encore with “Lost Innocent World”.
One thing can always be certain of a Gogol Bordello performance: it will be an experience to remember. One of the hardest working bands in the business, and it shows, they continue to enthrall audiences and provide tasty morsels of world-class rock, punk and folk to keep the audience eating right out of their hands.
Photo by Jim ‘JT’ Gilbert
Set List: Illumination, Ultimate, Rise Again, Wonderlust King, Dig Deep Enough, Other Side of the Rainbow, Companjera, TC Hustle, Immigraniada, Mishto, Rise the Knowledge, Malandrino, Purple, Pala Tute, Sun Is On My Side, Not a Crime.
Encore: Lost Innocent World, Alcohol, Think Locally.
Jackson Browne announced his solo acoustic tour today – dates will run throughout July and August. is excited to say that NY will get four dates on that tour. Advance tickets will go on sale Wednesday April, 9th at 10am. Visit for tickets and tour info.
Your first opportunity to see the legendary singer/songwriter will be August, 5th at Nikon at Jones Beach with special guest John Fogerty.The August 5th show will also feature Browne with his full band, while the entire tour will feature Browne performing songs from his entire catalog and a varying set list each night.
August 11th the band will play Buffalo’s summer concert series at Artpark in Lewistown, NY. August 13th – the Landmark Theatre in Syracuse, NY and August 14th at the Palace Theatre in Albany, NY.
The Times Union Center in Albany, N.Y. made an official announcement today about what they are calling, ‘a historical event’ – Paul McCartney is coming. The 2:30 PM press conference was held to add the venue to the list for Paul McCartney’s Out There tour. McCartney will play the Times Union Center on July 5th.
Tickets will be on sale through Ticketmaster, at 10 AM, on Monday, Apr. 14.
As part of its ongoing NY Living Legacy Project, The Egg Performing Arts Center will explore the 50th anniversary of The Beatles’ arrival in New York with a number of performances and related events from February 6 through 15.The celebration will include a series of multi-media events in eight area community centers and be highlighted by two performances at The Egg.
The festivities begin with eight multi-media lectures held in various venues around the Capital Region. Led by ethnomusicologist, Beatles scholar and Skidmore College Professor Gordon Thompson, the program, entitled “She Loves You – The Beatles and New York” will explore the impact of the British invasion on New York, led by The Beatles in February 1964, their historic concert at Shea Stadium, John Lennon’s NYC connection and discuss how their music continues to be an inspiration to composers and performing artists today.
In addition to historic film clips, recordings and photos, the program will be highlighted by live, solo piano interpretations of Beatles classic songs by Cole Broderick. Well known for his jazz, classical and original piano stylings, Mr. Broderick devoted nearly two years of his life painstakingly interpreting some of the group’s most beloved songs on his recent recording “A Solo Piano Tribute to The Beatles.” These events will take place from February 6 – 13 and are free and open to the public at the locations listed below.
SHE LOVES YOU – THE BEATLES AND NEW YORK
Thursday, February 6, 7 PM: Guilderland Public Library
Friday, February 7, 7 PM: Albany Institute of History & Art
Saturday, February 8, 2 PM, Schenectady Public Library
Sunday, February 9, 2 PM, Clifton Park-Halfmoon Public Library
Monday, February 10, 7 PM, The Arts Center of the Capital Region
Tuesday, February 11, 7:30 PM, Saratoga Springs Public Library
Wednesday, February 12, 7 PM, Crandall Public Library
Thursday, February 13, 7 PM, Bethlehem Public Library
The wait is OVER! Get ready for the BIGGEST Rock On The Range 2014 ROTR ever! Now expanding to 3 full days of music starring Guns n’ Roses, Avenged Sevenfold, Kid Rock, Five Finger Death Punch, Slayer, Staind, Motorhead, Seether, Chevelle, Alter Bridge, Black Label Society, Killswitch Engage, Mastodon & many more!
This year’s event will be held May 16, 17 & 18 at Columbus Crew Stadium in Columbus, OH. The nationally renowned festival, part of the World’s Loudest Month Festival Series, is centrally located in the heart of the country and has annually drawn huge weekend crowds since its inception in 2007, including a sold-out crowd of over 103,000 fans in 2013.
Weekend ROTR passes including Field GA, Stadium GA, hotel and VIP packages and a stadium 4-pack go on sale Friday, January 24 at 10:00 AM (ET). Additional details about the variety of ticketing, hotel and camping packages can be found at RockOnTheRange.com. Visit the website, www.facebook.com/rockontherange and www.twitter.com/rockontherange.
Go to Rock On The Range for the complete 2014 line-up, ticket details & more! We can’t wait to see all our Rangers in OHIO this May!
It was the Summer of 1973, the ‘Hippie movement’ of the 1960’s still existed, but only in isolated pockets, tucked way in the dusty cobwebbed corners of the counterculture. Groups like the Grateful Dead, Allman Brothers Band, and The Band were still playing to crowds that held tightly to the ideals of the mid 1960’s, which the groups themselves still carried on through their music.
The bands were also undergoing personal changes reflected back at them through their audience. All three bands and more than 600,000 of their fans would descend on Watkins Glen for one of the largest concerts in recorded history.
The genesis for 1973’s Summer Jam began as a brain storm by promoters Shelly Finkel and Jim Koplik who had discussed and planned on setting a line up for the ages. After seeing members of the Allman Brothers Band sit in with the Grateful Dead at a Summer 1972 concert at Roosevelt Stadium the seed was planted to bring together an astronomical set of musicians for a gathering to rival even Woodstock, boy, would they be surprised.
The decision to bring The Band on board came by the promoters asking the Dead and Allman’s which artist they would most like to have join them on the bill, the decision was easy and unanimous. Plans were put in place and and set in motion. Roughly 150,000 tickets were sold at $10.00 a piece for the show, large by any standard of measurement. To everyone’s surprise, by the evening prior to the concert that number of intrepid travelers had already showed up to the festival site. By show time on July 28 the number would exceed an estimated 600,000 fans.
Often overshadowed by other festivals in the annals of rock history, the show became something different than originally planned, but ended up being remembered fondly by all participants. The concert also seemed to signal the end of an era, ushering in a time where festivals became corporate interests instead of private excursions into the unknown. Soon to be gone were the days of Monterey, Woodstock, and the Isle of Wight, properly concluding with the biggest of them all ‘Summer Jam,’ situated smack dab in the middle of New York State. Two of the principal performing artists, The Grateful Dead and Allman Brothers had recently lost founding members, Pigpen for the Dead in March of 1973, and Duane Allman and Barry Oakley for the Allmans in 1971 and 1972 respectively. These deaths caused a restructure and reassessment of both bands musical futures which at this point seemed somewhat uncertain for both groups.
The Band on the other hand was also hanging by a thread because of personal issues regarding publishing, as well as substance abuse seeping into the fabric of the group. The ‘Summer Jam’ acts as a celebration of the recent past for the artists involved, as well as a signpost to an unknown future. For the Grateful Dead, the festival featured one of their usual blistering 1973 sets, in addition to an perfectly encapsulated instrumental journey tagged as one of their finest, hailing in true Grateful Dead fashion from the sound check. The Allmans played an extended and crisply executed set featuring new songs from their retooled line up and fiery soloing from Dickey Betts. Robbie Robertson has often been quoted that the Watkins Glen set was one of the legendary performing moments by the boys, and will go down in history as one of their best.
In spite of prior planning by the promoters and authorities leading up to the evening of the concert, roads and highways were still backed up for a hundred miles, stores in Watkins Glen and surrounding areas were wiped of groceries and beer, and over 150,000 folks were waiting at the 95 acre concert site a night early. Routes 14 and 17 were gridlocked, and even secret back road entries were congested with abandoned cars, forgotten ground scores and backpacking travelers making their way to the festival site.
The day of July 27found the band’s arriving, scoping out the situation, and standing slack jawed at the amount of people already at the festival site. Legend tells us that when Robbie Robertson guitarist of The Band inquired about a sound check in preparation for the expansive outdoor venue, all three bands decided to do the same thing that evening and make it a mini performance. What happened next is the stuff legends are made of. All three bands played beautiful sets to the lucky early arrivals. The Band ran through a couple of their well know classics as well as jamming on a few unique instrumental grooves that harkened back to their days as The Hawks, when they were still playing Toronto bars and clubs.
A crushing ‘The Night They Drove Old Dixie Down’ opens the ‘rehearsal’ and is answered by encouraging crowd feedback. The instrumental groove the group break into following ‘Dixie’ is jump started by Danko’s smooth fretless bass flourishes and the rest of the band falling in line with a jumpy Levon Helm swing. Robertson’s Stratocaster draws blood with its stinging ring cutting through the somewhat marginal sound quality. Another jewel of the practice session is the rare Danko sung version of ‘Raining in My Heart,’ a bit jagged, but oh so charming.
The Allman’s followed and also ran through a rough and ready sound check that was made up of a few songs planned for the next evening including ‘Ramblin Man’ and ‘One Way Out,’ short but sweet when compared to what would follow. When the Grateful Dead approached the stage for their ‘rehearsal’ segment little did the band or assembled throng know what they were in for.
The Grateful Dead’s ‘soundcheck’ appeared as two sets lasted an hour and a half, but according to many opinions and in true Grateful Dead fashion possibly outshines the next day’s ‘official’ performance. The bonus being the performance circulates in pristine quality unlike songs from the other participants of the concert. The unique improvised instrumental jam that preceded ‘Wharf Rat’ is an anomalous display, never to recreated, and is one of those magical Grateful Dead moments made for the time in which it was born. The jam appeared years later on the official release box set So Many Roads, proof of its distinguished standing in the Dead’s long and varied history.
Prior to the sound checks first highlight ‘Bird Song,’ Phil Lesh states ‘This whole thing is a fraud, we’re really clever androids,’ as they band prepares to levitate off of the ground. ‘Bird Song’ comes skipping in, riding with Kreutzmann on the humid Summer evening breeze. Succulent and patient Garcia and Lesh probe the soft cloudy edges of the jam, floating in space. Expansive yet slightly tentative, the ‘Bird Song’ jams wings are lifted by the gusts of inspiration starting to stir.
After polished and well played versions of various first set classics, including a big fat ‘Tennessee Jed’, the band finds itself in one of those sacred spaces, where the music eventually plays the band, and all bets are off. The unnamed jam grows from silence, quietly, pensively, with light cymbal hits and the guitarists peeking around corners probing into darkness. Lesh increases the intensity with some fuzzy chording; Weir gives the musical drift a tangible shape with perfectly timed strums. Lesh then begins to drone and detonate, the band turns into particles and star dust, breaking apart, and then coagulating as a Garcia led jam rises from nothingness. Billy K catches on, Garcia sets the rhythm and the band achieves lift off. Slick, smooth and jazzy, the band improvises idea after idea. Weir strikes out with nervous lush rhythmic ideas, Phil hides and seeks, and Garcia peels off layer after layer of juicy skin revealing the jam’s plump and succulent center. The band sinks their teeth deep into the music creating one of their finest moments in front of the lucky crowd who descended early upon Watkins Glen that Summer night of 1973.
An endless stream of collaborative ideas pours from the group like the icy waters raging through the shady tree lined Watkins Glen only a few short miles away. Some of the melodies are familiar, some are brand new, some mix and match like oil and water, some blend like paints on an artists pallet. One of the finest musical moments in the Grateful Dead’s long and storied history has just occurred, thankfully captured for posterity. An audacious beginning to a concert event that hasn’t even ‘started’ yet! The jam eventually dissolves into a fitting and lucid ‘Wharf Rat,’ the previous journey to arrive there filled with drama and intrigue.
The Dead portion of the soundcheck concludes with a solid but anticlimactic ‘Around and Around’, that leaves the assembled throng looking to find a place to sleep, and prepare for the following days awe inspiring display of music, stamina, and mother nature, that would extend to extravagant lengths. The following day would start at 10:00 AM and conclude very early on the morning of July 30th, history was going to be made and if you read part II I will try to recall that day in words. Look for the rest of this feature on Summer Jam 1973 soon, and prepare to dive into the ‘official’ day of the concert, and witness the magic still waiting to happen.
