Category: Capital Region

Nas Gives Albany a History Lesson at The Palace Theatre

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

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

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

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

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

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

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

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

October 6, 2014
A Sound Man – An Interview with John Chiara

The role of the sound engineer is overlooked during live performances, with attention given to the musicians performing on stage and the product of the lightning designer’s illumination. Having good sound is an important component to the live music experience in tandem with these two, and a factor that can ruin a show experience without the proper attention or sound engineer behind the board. Local sound engineer John Chiara from Albany Audio sat down with and provided insight into the local Albany music scene, hinted at what it would take for a potential new venue in the Albany area, and the challenges that are presented in running a sound business.

Pete Mason: Growing up in Upstate New York, what was the first music that piqued your interest?

John Chiara: I grew up in Amsterdam. I used to see bands like 805, Dove, and lots of Western NY show type bands so I developed a liking for high production acts even in the club scene.

PM: How did you first get into running sound?

JC: My first band had one microphone. I became the singer and the sound engineer at our first rehearsal! We purchased a solid state Bogen 3 input mixer/amp and 2 4 x 12″ column speakers with Paisley grill cloth.

PM: Over the past decade in particular, how have you seen the music scene in the Capital District rise and fall and rise again? Is it rising again?

JC: The scene has not been great since the late ’80’s. Most kinds of original music are not very actively supported by fans in the local bar scene. A few genres have ‘survived’. The hardcore bands pretty much support themselves, meaning that most band members actively attend other shows and can produce enough revenue to keep bands working, even though the actual audience makes up a very small percentage of the club going public. The Jam scene is really the only one that functions somewhat normally, meaning there is a structure that a local band can get into that allows them to profess from local to regional, and hopefully beyond.

Music mainly happens in restaurants so it usually is not the top priority for owners. Therefore they seek out less expensive and less risky options. Local party bands dominate for those reasons. Seeking out original music is not that popular so original bands, which are necessary for any real music ‘scene’ to exist, are not encouraged or rewarded and become a tough sell. I believe that a locally subsidized venue is necessary to revitalize the local music business. I have been working on this but right now the process is stalled until 2015.

PM: What issues does the Capital District face in trying to open up new music venues? Will we ever see a venue akin to the former Revolution Hall?

JC: The overhead of a for-profit music venue is pretty much overwhelming unless an investor gets involved for the sake of the music, understanding that it will take many years to establish a reliable reputation and clientele. Club Helsinki in Hudson is a good example. While not exactly a rock venue, the fact that they spent literally millions on the building, which may never be recouped, and host national acts show what’s needed to be competitive.

Revolution Hall was a unique situation, with me taking all that risk and while a great place to see shows could not generate enough profit to survive on its own, at the end it was actually at a place that I believe could have turned profitable, but ownership changes pretty much destroyed that possibility.

PM: In what way are sound guys a critical component to putting on a full live music experience, in a way that might not be obvious to fans?

JC: In my opinion, the ‘sound guys’ should be the most important and valued component of a live show as they are in direct control, hopefully, of what gets presented to the audience. Their first job is hospitality to the performers and making them feel comfortable so they can put on the best show possible. After that, they are supposed to then ‘perform’ themselves and contribute to the ‘magic’ of the performance.

A little aside here: this is what I see lacking in most performances, both local and national. I can’t count how many shows I attend and walk away thinking “Wow, the lights and video were really together and well done and the audio was, meh.” It’s a different skill set. The lighting and video can all bed pre-programmed to look and move in predetermined ways, but lived audio cannot, so the mixer must ‘perform’ as well. Most bodies behind the mixing boards got there because they were loyal employees that showed up on time and worked hard, .valuable traits but has nothing to do with having the knowledge and skills to mix music. Kinda like rewarding the busboy for 5 years of service by making him the Head Chef! I offer classes and private sessions to teach these skills at all levels.

PM: What bands that he has seen grow from the local scene into having the greatest potential?

JC: Phantogram, Eastbound Jesus, Sean Rowe, The Chronicles. I am sure there are others. Success is mostly determined by a good plan, ability and willingness to work endlessly, travel, work with good managers, booking agents and promoters, and being flexible enough to adapt to changing possibilities.

PM: How did your sound business develop over time and what venues do you most enjoy running sound at?

JC: My sound business grew into Revolution Hall out of necessity. I have worked for other companies on and off over the years. I started a portable sound company a few years back and quickly found the local market. The musician side of the market was completely saturated and because of that no one was charging enough for actual sound gigs to generate enough to make it a profitable business. Most companies also do online sales, installations and other self contained projects that subsidize the actual live show work. While this makes sense financially for the business it is also a contributing factor to the overall, in my opinion, low quality presentations at local live shows.

I was not successful because my skills, making the music sound great, did not fit into that type of business plan, as crazy as that sounds. My explanation for this is a form of ‘trickle down’ skill sets. If the company owner is not an expert at certain skills, he probably will not value them as highly as someone who is. I am often asked what I think about live shows I attend. I explain my visualization of the situations like this. For me, it is like The Terminator, where there is a little checklist that comes up in my left eye and things get checked off as being good or bad. I can identify, in order of importance, what changes will make the most impact of the result. This overview comes from doing nearly 5000 shows and pretty much seeing it all and understanding what works and what doesn’t. I assume a chef eating at a new restaurant does the same thing. He tasters the dish and immediately rifles through all that ingredients in his mind and evaluates what needs to change. The hard part is when the cook in the kitchen only knows about using salt and pepper and the concept of a cupboard full of spices is lost. My experience tells me that even the use of salt and pepper is enhanced by knowledge of the other spices.

PM: What makes running sound for shows a rewarding experience?

JC: Having the performers and audience members enjoying a great experience. I have had some great shows lately that were greatly appreciated by all involved and resulted in others requesting training from me. Usually this comes from less experienced techs who actually realize the value of advanced knowledge. Their perspective is enhanced by the fact that they are not worried about job security so they can be honestly curious and willing to learn. I am lucky to do a wide variety of different kind of acts, and I believe that getting a gig doing sound for popular local cover bands, while overall financially viable and predictable, is a great recipe for stagnation, with no real pressure to improve your skill set and get progressively better at the job; kind of the ‘cubicle’ job of music mixing! Revolution Hall was great because I got to mix all kinds of stuff in and environment that I had control over. I could eliminate variables and concentrate on the music and performance. Most gigs are predominately making sure the gear gets set up, works, and that nothing breaks! Not exactly a creative environment!

PM: What are your favorite places to go for shows?

JC: I like the big theater at Proctors. I mixed a show there in August and it is a really good theater setup.

PM: What influences had the greatest impact in your understanding of sound and sound mixing?

JC: My main knowledge source is studio work. I read all the time but without the studio to actually practice what I learn, I would not be as comfortable and willing to take chances in a live setting. I try things live because I know from studio mixing what results should occur from certain actions. Most mixers who don’t practice their skills in a setting where they can check results will never push themselves. It really amazes me that the musicians all learn their instruments, practice their instruments, rehearse with the band, work on arrangements and parts, etc… and the person mixing the show, the person with direct control over how the performance is presented to the audience, usually never moves a fader except during a show! It really doesn’t make sense, but that is the norm. I think people think that the ability to comprehend a complex process, examine and judge all their variables of a live show, interpret how to put all these variables together into a coherent mix, in what is usually an inhospitable environment, is something that is just going to ‘come’ to them magically! I have NEVER seen an example of this! I teach private and group classes for live mixing and offer on site consultations and system service. This is a great starting point for bands running their own sound as well. Just email john@albanyaudio.com!

October 3, 2014
An Exciteable Crowd got into Vintage Trouble at The Hollow Bar

With an energetic 60s rock sound and a crowd that gave as good as they got, Vintage Trouble put an impressive performance September 28 at The Hollow Bar in Albany. Amid The Swing House Sessions Tour, in support of their latest album, Vintage Trouble drew upon influences that spanned genres that developed in the ’60s, including Little Richard, Albert King, The Rolling Stones and Smoky Robinson as they put forth a powerhouse 90 minute show.

Lead singer Ty Taylor channels Marvin Berry (think Back to the Future) and his cousin Chuck, engaging with the crowd, who quickly became the 5^th member of the band. Taylor has the stage presence of a 1960s band leader, and alongside Nalle Colt (guitar), Rock Barrio Dill (bass) and Richard Danielson (drums), put forth a sound that could have been made by another five or more musicians on stage – the sound was that big. “Low down Dirty Dog” had a rockabilly blues vibe, while “Pelvis Pusher” appropriately channeled Little Richard.

Mixing the show up with some acoustic songs, the break served to drive the crowd’s attention to a couple of ballads that reeked of pain and loss. The song titles alone in this middle part of the show – “Never Mine,” “Another Man’s Words,” “You Save Me” and “Still Always” could have been a part of a relationship exit interview. “You Save Me” was most notable for a Peter Gunn-esque bass line from Dill. “Run Like the River” had a (likely) Hollow Bar first – Taylor walked through the crowd, found his way up to the small balcony in front of the soundboard and sang to the crowd a most energetic call and response.

“Nobody Told Me” the ballad of the night, hinted at Smoky Robinson influence while “Strike Your Light” began with a tribal surf rock before moving into swing rock, giving a nod to Chubby Checkers “Twist” in both energy and music, leading to a college professor crowd dancing with abandon. The encore of “Total Strangers” found the band walking off the stage, once again through the crowd, serenaded by “Na na na na na na” capping an evening with a welcome surprise on a Sunday night in Albany.

Setlist: High Times, Blues Hand me Down, Nancy Lee, Low Down Dirty Dog, Pelvis Pusher, Never Mine*, Another Man’s Words*, You Save Me*, Still and Always*, Lo & Behold, Run Like the River, Nobody Told Me, Tear Drops, Strike Your Light
Encore: Total Strangers
*acoustic

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October 2, 2014
Five Finger Death Punch and Volbeat Deliver a Solid Rock Outing at Times Union Center

Rock music was alive and well at the Times Union Center on Saturday, Sept. 27. Two of the most popular heavy rock bands in the mainstream radio today, Volbeat and Five Finger Death Punch, brought the noise and the fun to a semi packed house of screaming fans. As the crowd waited patiently outside for doors to open, they were treated to choice rock and heavy metal covers by a group of young kids named Time Machine.

Promptly at 6:05, Nothing More from Texas and New Orleans took the stage. The crowd was sparse due to this early start time, but the ones that were there were ready for a whole night of rock. The four piece came right out of the gate with a lot of energy, lead vocalist Johnny Hawkins belting out his songs shirtless and shoeless. The second song of the night was started with a mouth-picked guitar solo, and the gimmicks didn’t stop there. They brought out a massive installation that housed a bass guitar, and the guitarist, bassist and eventually Johnny as well all percussively played the instrument to a crescendo. The final song started with a prerecorded bass line and ended with a weak drum circle. These antics probably do wonders in smaller clubs, but were somewhat lost on the arena audience.

Vinnie Paul of Hellyeah came out first, taking his throne upon his drum riser to monstrous applause. With the rest of the band in tow, Chad Gray, the vocalist (also of Mudvayne) whipped the crowd immediately into a frenzy, getting everyone to get on their feet for their title track off the new Hellyeah record, Blood for Blood. Chad really worked the crowd, using the whole stage and jumping up on the banks of PA’s to make his own catwalk to the audience. The new addition of Kyle Sanders on bass, formerly of Bloodsimple, was a great fit, and his bass work along with Vinnie Paul’s stellar drumming kept the whole set nailed to the floor. At one point, Chad told the audience that one thing he loves about New York is the mosh-pits, and we are all brothers and sisters, so if someone goes down, you help them up. This was an accidental foreshadowing of the end of the night.

Just the dropping of Volbeat’s backdrop as the crew set up the stage gained a massive response from the crowd. Fans were evenly split throughout the venue, half wearing Volbeat shirts, and half wearing Five Finger Death Punch shirts. With a slightly different sound than the rest of the acts, Volbeat came out to a rolling banjo track laden with guitars. The style of rockabilly mixed with hard rock is what makes this band so interesting, and also what makes the crowds just want to move and dance along to the music. Singer Michael Poulsen traded his time between three different mics set up on stage, and the rest of the band interweaved with him, all having a good time up there. New guitarist Rob Caggiano, of Anthrax fame, seemed right at home with this four piece band from Denmark, and was in a very unique position, playing these songs live and also producing them on their newest album, Outlaw Gentlemen and Shady Ladies. Micheal explained to the crowd that he was influenced heavily by Johnny Cash and Elvis, and it showed with his vocal capabilities, and his style, sporting a slick back hairdo and a badge on his guitar strap. They had an impressive light show to couple with their infectious party anthem rock and roll, and no one was in their seats by the time they welcomed a special guest to the stage. Jerry Only, from the legendary Misfits, walked out in full Misfits regalia, and the band went into a great rendition of AngelFuck.

By 9:30, the crowd was sufficiently amped up to welcome Five Finger Death Punch to the stage. A deafening bass drone ushered the band to the stage, and singer Moody growled at the audience while brandishing a bat. Jeremy Spencer, the drummer, was in full costume of a skeleton with LED lights throughout him and his drum set. The stage setup was simple, with light rigs behind brushed steel arches, but everything was used to it’s fullest, creating an immersive experience both visually and sonically. This five piece is much more aggressive than the previous bands on tour, with gigantic double guitar attacks and bottoming out low-end bass drops. The sound on the night was full of slight mishaps, with feedback being rampant through the other bands sets, and 5FDP having trouble keeping the ear-splitting double bass drum sounds from taking over the show. A very crowd friendly band, at one point they called out all the people in the audience who have served in the military, and then dedicated their cover of Bad Company to them all. They also brought on stage a bunch of children from the audience for a chance to spotlight the “next generation of metal”.

Mid-set, the band decided to take a completely different turn, first with a drum solo that bordered on electronic dance music, and then into two acoustic guitar ballads, bringing the mood of the show down considerably. But, this didn’t quell the raucous energy they had already instilled in the crowd, and by the time they launched into their first encore song of the night, the floor erupted again into a writhing pit. Moody stopped the song abruptly, seeing one of the fans being really hurt in the pit. He called out the audience member who he saw do the deed, and told the crowd that he would personally kick his ass, and would not finish the show until he apologized to the injured man, stating that this is what makes heavy metal look bad. “Where are the days of Pantera,” Moody scolded the audience, “when people would take care of one another.”

This one incident was not the face of the entire night though, by a long shot. Young and old were all in attendance having a great time, and the crowd seemed generally pleased with each performance. Other than this one bad moment, the show was met with consideration and a party-like atmosphere, truly showing what heavy music can do for people, as they use it for an escape or metal therapy to ‘get their aggression out’ through music.

October 2, 2014
Dopapod Kick Fall Tour off at Putnam Den

On this unseasonably warm Saturday night Sept. 27, people flooded into Putnam Den to see and hear some of the best live music around with Consider The Source and Dopapod. The vibe was chill, most people waiting for the bands to come on were talking about the music. This was a good sign of what was in store. There was a wide array of ages 18 and up (in some cases way up) but regardless of what age, everyone was there to get down and have fun.

Consider the Source, a power trio out of New York City opened to a packed room, which became more and more engulfed as the seconds went on. Starting with a slow melodic piece that was reminiscent of Pink Floyd; a treat to many in attendance and a good sign of what the evening had in store. The lead Guitarist, Gabrielle Marin, played a double neck guitar possessing many different effects; one emulating a horn which was out of this world. Fans were looking around to see where the horn layer was, which there wasn’t, it was just on the guitar, this was brilliant as well as impressive. The drums played by John Olsen, laid down a sweet groove to jam over, which usually the drum and bass do together. Which they did do to a point but the bass player, John Ferrara, had many solos of his own. Showing that this band was, well, a band. There is no real way to describe the sound of Consider The Source but ‘Thrash Jam’ could fit. They did just that, holding the audience’s attention while getting them ready for Dopapod.

Dopapod opened with “Indian Girls”, a very danceable groove layered by heavy beats provided by two percussionists and the bass. This one kept the energy that CTS left going, and even raising the bar. It was on and the party was just about to get into full swing. Dopapod took their groove to another level with “Brooklyn Bridge”, and by adding in vocals, this made their jams actual songs to sing along too, and many people did. Smiles were abounding as people sang along and a small sense of family was felt throughout the crowd. This showed they were not a one trick pony who could come out and lay down heavy beats and just move on to the next heavy track, which so many bands tend to.

The compositions of Dopapod were very complex. All four members of the band, including Adrian Tramontano from Kung Fu as a guest percussionist, were very intricate parts of these songs and everyone stayed tightly together, not losing a beat for a second. It may have seemed as if they were all over the place, but with a careful ear you could tell they were 100% on the same page. This was sheer brilliance. This led into a dark trance like groove keeping their overall sound, their feel, which isn’t very easy to do when shifting so drastically. With Dopapod’s heavy build ups, there was only one place for them to go: the peak. When they reached this peak it was second to very few. The lights went up, the crowd roared, and the payoff was well worth the wait. Eli Winderman’s keys and Rob Compa’s guitar took fans to another world, the world which is known as Dopapod.

October 1, 2014
American Music Festival for The Lake made a splash on September 20 and 21

One of the best ways to end the summer festival season was spent at the inaugural American Music Festival for the Lake, in Lake George on September 20th and 21st. The two day family event was a fundraiser to keep Lake George clean and free of invasive species while enjoying local vendors, amusement rides and fantastic music. The event took place at the new Charles R. Wood festival space, a cozy 2.5 acre venue which is the first of many projects for the area that will include a skate park, a playground, interactive environmental trails and more. A humble stage stood front and center with a small sectioned off VIP area with rows of fold up seats while most people enjoyed being spread out on their blankets.

Saturday

The festival weekend started at noon with local one man band, Rich Ortiz. His rustic vocals sang out original songs from his album, Face of a Lion, with a pedal bass at his feet that looped rhythm and melodies. Ortiz is a relaxed version of Keller Williams, as he sat on stage, casually serenading the crowd with an appreciative heart. His covers of John Prine’s “Angel from Montgomery” and Led Zeppelin’s “Thank You” were sincere and clean cut. The North & South Dakotas, a 5-piece northern rock band from Saratoga Springs, kicked up the afternoon a notch with their barnyard bluegrass. “Troubles of Me” a rebellious anthem with a pounding rhythm and growing chorus.

The classic American rock group, NRBQ (New Rhythm and Blues Quartet) was greeted with loud cheers as they started their set with fresh songs off their latest album Brass Tacks. NRBQ has been performing together for over 50 years and have stayed true to their fusion of rock, pop and blues. As fans shouted out requests, keyboardist Terry Adams reassuringly said, “Keep requesting them. We’re gonna play them all!” The entire set was upbeat with a variety of doo wop grooves especially for “Driving in my Car” and “Fighting Back”.

Paranoid Social Club made the trek down from Portland, Maine to give Upstate NY a taste of upbeat garage rock. With their band motto being, “At the Paranoid Social Club, we all fit in” most young adults can relate to their lyrics filled with angst, partying and finding the right girl, with swears blocked out for the family event. Their top international hit “Two Girls” was dedicated to all the swingers in the crowd with a catchy hard pop melody. Their set ended with ultimate party song “Wasted” with teases of Amy Winehouse’s “Rehab” for a high energy rock throw down.

Local rock stars Wild Adriatic made their set just in time after performing at the annual Lark Fest in Albany only a few hours earlier. With energy to spare, the boys came out blaring vocals and in your face rock that shook the crowd. Bassist Rich Derbyshire was his usual animated self as he roamed the stage and even ran through the audience without missing a beat. One of the highlights of the set was their rendition of Bill Withers “Ain’t No Sunshine When She’s Gone”, with an intense buildup and even bigger break down.

The crowd had greatly doubled for the headlining act of Robert Randolph and the Family Band with many folks upgrading to VIP for a closer standing view. Led by pedal steel guitarist Robert Randolph, the soulful rock music filled the air with an abundance of love and happiness. Going off their latest album, Lickety Split, “Amped Up” did exactly that, amped up the crowd with fast paced funk and plenty of pedal steel riffs from Randolph. Bassist Danyel Morgan and cousin to Randolph, took the lead for Stevie Ray Vaughan’s “The Sky is Crying” with R&B vocals and bluesy bass line. As the music started to pick up pace again, vocalist and littler sister, Lenesha Randolph joined in to testify and sing out strong ballads while Robert Randolph beat his slide guitar with a tambourine and shaker. One of the most surprising moments of the act was RR inviting fans on the stage to play guitar with him, the first being too cold, the second was a hot shredder and the third was Terry Scoville from Upstate’s own Capital Zen to win over the crowd. RR was feeling it as he stomped his feet, nodding his head in approval at the flowing groove. As the jam ended, “Shake Your Hips Baby” started up and brought dozens of girls of all ages on to the stage for a blowout dance party. With the evening coming to an end, fireworks shot up overhead and the band played a tear jerking rendition of “America, The Beautiful.” Saturday had gone by flawlessly despite the overcast skies with folks eager to return for more music and fun the next day.

Sunday

A complete 360′ change for weather brought plenty of sunshine, blue skies with a perfect breeze that welcome back folks to the 2nd day at the American Music Festival at Lake George. Sunday’s theme was “Country Music” with another lineup full of talented musicians from all over the USA. The day started with Stony Creek Band, a stable of Upstate NY music that has been around for over 40 years. Joking that the festival never said which country, the band performed an upbeat paradise inspired from Zimbabwe. After their long run together, it’s no wonder they explore even create their own musical genres such as Celtic disco and cosmic cowboy. A slight change in the schedule brought Rich Ortiz back to the stage for a few acoustic numbers with a stand out cover of Phish’s “Possum”.

Travelling all the way from Mississippi, the 6-piece folk band known as Rosco Bandana performed a set of captivating indie psychedelic blues. Jackson Weldon picks apart the electric mandolin like a gentle storm as Emily Sholes strikes the keyboards and is captivating with finger cymbals. The gypsy music instills a sense of southern pride with the foot stomping and haunting harmonies. Up next was, Girls Guns and Glory who are not as intimidating as their name may lead on but still no one to mess with. The four piece Boston bluegrass group are a mix of 50s rock with new age country as their songs are about truck driving and mishaps with the world of eBay. Lead vocalist and guitarist Ward Hayden has a unique range of vocals, including a crowd pleasing yodel.

Claire Lynch felt right at home in Upstate NY where she was originally from Poughkeepsie in what she calls “Yankee land”. A petite southern belle with an voice that has earned her the title of “Female Vocalist of the Year” to the International Bluegrass Music Association. Joined by Nickel Creek’s stand up bassist Mark Schatz, mandolinist Matt Wingate and fiddler Bryan McDowell, they created a set of old fashioned acoustic country music. Lynch’s voice floated lightly above the crowd with songs like “Humming Bird” and the old mountain tune of “Paul and Peter Walk” but trembled for the heartbreaking solider tribute of “Dear Sister”.

Last but certainly not least, headliners New Riders of the Purple Sage closed out the festival with their vintage and timeless jams. NRPS were a spin off of The Grateful Dead with original members Mickey Hart, Phil Lesh and Jerry Garcia who soon fully committed to The Dead with NRPS gaining their own identity and sound. The group now includes original members David Helson and Buddy Cage with Michael Falzarano, Ronnie Penque and Johnny Markowski. The group performed a song collection from over their decades and decades touring together. Poking fun at yesteryear’s technology, they introduced “I Don’t Know You” as taken from their first album. The set was full of their classic tunes like the southern sweetness of “Louisiana Lady”, “Rocky Road” and a wild “Panama Red”. They still have a timeless sound as their harmonies are gentle with sturdy guitar riffs and sharp rhythm. The night concluded with a Grateful Dead “Ripple”, a familiar favorite among the crowd who had no problem singing along.

The American Music Festival was a solid way to close out the summer season. One of the key factors of the festival was the impressive sound quality and top notch lighting that highlighted the talented national and regional acts on stage. There is nothing more American than enjoying the scenic Upstate NY area with live music and local vendors while supporting a good cause. Here’s hoping that Lake George continues to host this family friendly and music loving festival next year!

September 30, 2014
Hugh Masekela and Vusi Mahlasela Celebrate 20 Years of South African Freedom at The Egg

South African legends Hugh Masekela and Vusi Mahlasela head to Albany on October 7 as part of the Rhythm International series at The Egg. These two musicians are freedom fighters and renowned musical icons in South Africa and beyond, and this night they will celebrate the 20th anniversary of the end of apartheid with a special concert.

Hugh Masekela is a legendary jazz artist who hit the top of the pop charts in 1968 with “Grazin’in the Grass” and Vusi Mahlasela – simply known as ‘The Voice’ in South Africa – is celebrated for his distinct, poetic, and optimistic songs. Separately, they are two of the most powerful performers on the planet – and together a tour-de-force.

Tickets are $34 and are available at The Egg Box Office at the Empire State Plaza, by telephone at 518-473-1845, or online.

September 30, 2014
The Sea The Sea Wash Ashore at The Low Beat Tonight

Their single, “Love We Are We Love,” from their title track released in February has been spun at radio stations across the country and their album has been met with accolades from NPR and No Depression. The duo, The Sea The Sea, bring their brand of interconnectedness to the 518 for a show at The Low Beat Thursday, October 2nd. Be sure to check them out as they have relocated to the Albany area and they intend to become very active with the music community.

Their tale is a mystical story of fate and a series of mishaps that ultimately brought them together. It was by coincidence Mira Stanley held a sign with Chuck’s (E. Costa) name on it during a songwriter’s showcase years prior. Figuratively, it was sign. They didn’t reconnect again until almost five years later after each had been through their own trials. Borrowing their name from Xenophon’s Anabasis, a Greek tale of soldiers returning home, the name The Sea The Sea became their own battle cry of joy! Weaving storyline lyrics and an unmatched harmony, the folk power duo dig deep leaving the listener with an enlightened sense of Universal themes of love and faith. Great Mutations will open tonight’s show. Tickets available at the door.

September 30, 2014
Film Review: ‘What’s In My Baggie?’ a Look into the Bunk Police and the ever Growing Drug Culture

For years there has been a significant presence of drug use at live music concerts and festivals. Rules and regulations may be placed in attempts to crack down on the buying and selling of illegal substances, but like it or not the drugs do not stop flowing. Up until the past few years there was really no safe way to know what you were purchasing. The main idea behind the “Bunk Police” is that people are going to take drugs no matter how many rules, laws or restrictions the general public are given. If there is going to be drug use, why not make sure it’s safe?

Recognizing the extreme lack of awareness with recreational drug use, Bunk Police founder Adam Auctor took a near death experience to realize that life is short and should be handled with the utmost care. Up until very recently Auctor has remained completely anonymous, not out of fear for repercussions through law enforcement, but instead the backlash from drug dealers for taking customers and money out of their pockets. In some ways Auctor is a true revolutionary amongst the music scene for creating a way to reduce the overdoses and deaths and increase the knowledge when consuming potentially harmful chemicals. No matter how seasoned or knowledgeable one may think they are in the world of illicit substance, it only takes one bad batch to put you over the edge. The Bunk Police is setting out to eliminate that constant “what if”. In some ways The Bunk Police has completely revolutionized music festivals world-wide.

The documentary “What’s In My Baggie?” gives a first hand look from the perspective of patrons, law enforcement and members of the Bunk Police. Numerous times throughout the documentary you are shown many individuals who purchased what they thought to be Molly or MDMA, and after testing their substance with their Bunk Police test kit found they had Bath Salts or an unrecognizable drug. Recently national news has picked up on the unsafe conditions of music festivals nation wide. From Electric Zoo to Bonnaroo, there are overdoses and deaths and there is no shortage of finger-pointing. Festivals that have been around for years are slowly slipping into the shadows after they make national headlines for having patrons over dose and die on what was thought to be MDMA. People are now beginning to question if music festivals are even safe to begin with. Many believe that by handing out drug testing kits you are potentially influencing individuals to take drugs, where in reality by taking away the drug testing kits the room for fatality and injury due to substance use is immeasurable. One way or another people need to know what they are putting into their bodies. At any given point an individual could find any drug they wanted any where they wanted almost instantaneously. This is why the work that The Bunk Police has done with its readily available test kits is astronomically huge for the safety of patrons at music festivals.

From start to finish the documentary is nothing short of phenomenal. It does a great job of getting a broad spectrum of different perspectives as well as showing the ins and outs of drug trade throughout festivals. It is refreshing to finally see these issues that are plaguing the music scene be brought to light to hopefully raise questions and awareness to the drug culture that is ever-growing.

[youtube http://www.youtube.com/watch?v=dYzmZ1IU4zY]

September 29, 2014
Interview: Vintage Trouble, Set to Take Over The Hollow and the World

This Sunday, Sept. 28 Vintage Trouble will be coming to The Hollow Bar in Albany, N.Y. This four piece rock n’ roll blues band hailing from California have been touring the country for a few years now, at times being asked to support major acts such as, The Who, Bon Jovi, and the Dave Matthews Band.

In a phone interview earlier this week with NYS Music’s Jim Gilbert, all four members were excited to play Albany and share their music with the Capital Region. “We’ve been touring non-stop for three and a half years now, just getting off the ‘Summer of Trouble’ tour and extending it to the ‘Swinghouse Acoustic’ tour that we are on now.” Vintage Trouble has toured the world and plays around “200 shows a year, but up to 260 if you include radio stations” and other similar media outlets. The even played the Jay Leno Show four times in one year.

When asked how he is able to continuing to sing every night with the brutal tour schedule, lead vocalist, Ty Taylor explained, “By not thinking about it. Stress is horrible and if you think too much [you could cause the issues]. Drink plenty of water and [practice] mental control.” He went on to say that he, “relies on the microphone to do its job” and trusting the mic allows him not to strain too much.

While the band is getting well-known for its initial release, The Bomb Shelter Sessions, drummer Richard Danielson reassured us that the band has been, “writing on the road and we have a lot more than those 10 songs. We have three-quarters of the new album done and other songs to fill two hours.” Stops on this tour can hear potentially up to 20 or more songs in a night, that will surely leave them craving for more.

People began to hear about them from these support gigs and began to arrive early to hear the band blaze through their short opening sets. With front man Ty Taylor moving about the stage like a mix between James Brown and Roger Daltrey, Nalle Colt soloing all over the songs, and Rich Barrio Dill and Richard Danielson holding down the rhythm section, the band is a sight to see and a pleasure to your ears.

It was this energy that attracted acts such as Bon Jovi, Lenny Kravitz and even The Who, to include them on European legs of their tour. Bassist Rock Barrio Dill said they were “only going to be in the UK for three weeks, but ended up staying for seven months because these opportunities kept coming up”. All the touring and travel, “cultivated a lot of new material.”

Taylor proudly went on to say that Vintage Trouble is “an independent band. It cost us less than $1000 to make the record. We couldn’t do a world release, [so it was slow to hit some countries.] It was released only a year ago in Japan and debuted at #4. It took three years to get around the world, but like my mother always said ‘patience is a virtue.”

While Vintage Trouble just went into a recording partnership with Blue Note Records, the label is giving them a lot of freedom. There is a mutual feeling of pride in releasing their own work, but it is nice to have a big brother helping them out. However, recording is only a part of the equation. Rick emphasized that “we consider ourselves a live band first. Wherever we take it, we will be a live band.”

Starting out at Harvelle’s Blues Club in Long Beach playing a weekly residency in a place with “true old blues energy” the locals dubbed it Trouble Tuesday. In fact, a friend of the band called the ever-growing weekly audience, “TroubleMakers”. That name stuck and fans from around the world have joined the TroubleMakers. With nearly 12,000 in their Facebook group, Nalle added, “the band stays in touch daily with the group.”. It is also THE place to go to find out about the pre-show parties and after show events, as well as interact with like-minded fans.

Tickets are currently on sale now. The show starts at 7PM with The Soul Selector Tom PaPa Ray. Make sure to come out for this show and end the week with some rock n’ roll medicine.

September 24, 2014