Category: Woodstock

Mysteryland USA Returns To Woodstock

With festivals all around the world slowly revealing 2015 dates, November 17 saw the announcement of 2015’s Mysteryland USA at the Bethel Woods Center For The Arts in Bethel, NY slated for May 22-24. This is the same venue of the original Woodstock. Line up has yet to be determined.

Mysteryland USA is the world’s longest electronic music and dance festival. This marks the second time in the festival’s 21 year history where it is being held in the United States. Here are more details via Mysteryland.us:

“After making a historic U.S. debut last year, the celebrated Mysteryland festival returns in 2015 for its second edition at Bethel Woods Center for the Arts, New York, the site of the legendary 1969 Woodstock festival and just a two hour drive away from New York City. Mysteryland is the longest running electronic music, culture and arts festival in the world, active since 1993 with international editions in Chile, the Netherlands and the United States. Taking place over Memorial Day Weekend 2015, Mysteryland’s second installment will expand to present an even more immersive festival experience, starting with new and improved campgrounds with increased capacity and camping options, plus more musical programming to offer campground visitors a full three-day festival experience.”

They also announced several camping and VIP options:

Holy Ground Camping: To create an even better camping experience, Mysteryland 2015 adds a new outdoor camping stage dubbed “The Pineapple Paradise” in addition to the return of the Camping Circus and BangOn! bus, for a total of three Holy Ground stages. An exclusive pre-festival kick-off party for Holy Ground campers will take place on Friday, May 22, 2015 from 2PM – 2AM, for a total of 12 hours of music, art and revelry. Additionally, opening parties called “The Breakfast Club” will kick off each day of the festival starting at 11AM to lengthen the weekend festival experience for all Holy Ground campers.

Mysteryland 2015 will also feature expanded Holy Ground camping grounds with increased capacity and more visitor facilities such as showers and restrooms. Free water stations will be available, providing hydration to campers, and gravel roads will be put in place as part of the festival’s mud-prevention operations. A revamped Plaza Central, the beating heart of the camping grounds, will expand to feature additional food and beverage options, plus more markets and outdoor and indoor seating.

Mysteryland offers multiple packages for the ultimate camping experience, including the introduction of “Easy Tents,” featuring a Mysteryland-branded pre-set up tent with a two-person airbed along with two sleeping bags, located in the Easy Tent section of the Holy Ground. The Easy Tent package includes either two Nomad Weekend tickets or two Bohemium Premium Weekend tickets for access to the festival and camping grounds.

Also newly available are Bohemium Premium Lodges: fully furnished luxury tents located in the Lodge Village and equipped with beds, power outlets, and interior lighting, plus access to free lockers, restrooms and showers exclusive for Lodge guests, as well as VIP parking.”

If you’re a MasterCard holder, you can purchase the presale tickets as early as December 3 here. Otherwise, the rest of the presale begins December 4. Check out the various tickets and camping packages here.

November 18, 2014
The Inaugural Woodstock Jazz Festival was a hit

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

Uri Caine

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

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

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

Chris Speed

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

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

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

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

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

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

*photos by Lois Dysard

October 11, 2014
Kesey’s Son To Bring Furthur Back

The quaint village of Millbrook, nestled in the geographic middle of Dutchess County, is no stranger to celebrities. Located no furthur than a 90-minute drive from New York City, it also boasts a population of less than 1,500 neighborly residents. Actor Matthew Modine and music artist Daryl Hall – both local residents – can often be seen visiting the local farm market, and do so with an apparent confidence they won’t be approached. As is life in the quiet village of Millbrook.

But, it wasn’t so placid in 1964 when Timothy Leary established residency at one of the local estates. The Dietrich Estate, its gatehouse can be viewed by those traveling NYS Route 44A, briefly served as headquarters to promote his “Turn On, Tune In, Drop Out” philosophy. What happened at the estate is recorded in Tom Wolfe’s 1968 novel Electric Kool-Aid Acid Test, which recounts the cross-country trip Wolfe took along with Ken Kesey and his Merry Pranksters, aboard the technocolored bus named Further .

The Dietrich Estate in Millbrook, NY, was a stop for Ken Kesey and his bus “Further” back in 1968. (Photo Credit: Steve Ainsley)

Now, Kesey’s family is planning on furthering the patriarch’s legacy.

To celebrate the 50th anniversary of Kesey’s cross-country journey, a Kickstarter venture is underway to bring the iconic bus back to life and tour the country again.

As of today, May 23rd, the initial goal of $27,500 has been surpassed. Part of the money is being used to refurbish the original 1947 bus, which will also serve as a “rolling recording studio with live FM broadcasting,” as stated on the family’s fund raising page. The rest, well, it looks as if they will be doing their best to recapture the “magic” from the ’60s. Their intentions are printed on Kickstarter, in bold face.

We expect a huge turnout in 2014 as we, with your financial help, show up in full Prankster style in various cities, parties, and the vibrant festival scene.

To which towns, cities, parties and festivals we will be able to bring the Bus and the Pranksters is entirely contingent on your generosity. The trip could be a few short weeks, or a few months, covering countless miles and many parties: it all depends on your contributions.

The more we raise over our target, the longer Furthur and the the Pranksters will be able to be on the road and recording the fun at every stop!

– Furthur Bus 50th Anniversary “Trip”

Zane Kesey and Derek Stevens

Unlike 1964, this 8,500-mile tour promises a multi-media experience that will include video streaming, Internet updates, along with the aforementioned audio recording. Pranksters will be hired as “extras” to star in the videos throughout the journey.

The original cross-country trek did involve filming, but the intent of releasing the footage as a feature film never came to fruition. Nonetheless, the bus trip, and the events surrounding it, became the stuff of legend. The Who released “Magic Bus” in the summer of 1968, in reference to Kesey’s bus. The Grateful Dead did the same in 1971 with their release of “The Other One”.

As magical and whimsical the eyes of the “Baby-Boom Generation” may view Kesey’s journey, it’s not shared by all. Decades after Kesey and Leary finally left Millbook in 1970, residents still talk about the past as if speaking of their own misguided, adolescent children.

The psychedelic parties at the Dietrich Estate came to an end, thanks in large part to then-Dutchess County Assistant District Attorney G. Gordon Liddy.

Before his involvement with the Watergate burglaries, Liddy made a name for himself for his unrelenting pursuit of Leary. He initiated numerous busts on the estate, leading to arrests for narcotics, public nudity, and lewd and lascivious behavior.

It is assumed with great confidence that Kesey will not be approached by the residents of Millbrook to be added as a stop on the latest tour.

May 23, 2014
Hearing Aide: Alan Evans Trio ‘Woodstock Sessions Volume I’

Recorded in one magical evening with a small studio audience and comprised of a straight take with no overdubs, the Alan Evans Trio‘s Woodstock Sessions Volume I is a timeless document of a musical moment of creation. Developed over the course of an intimate evening at Applehead Recording Studios, the recording retains the freshness of an improvised performance as well as the crispness of a studio recording. The magic is to be found in the communication between the players, who were unfazed by the recording machinery and luminescent red recording light. The trio successfully captured the live vibe and thick atmosphere of the concert experience.

Drummer and band leader Alan Evans immediately conducts the band through the 80+ minute set, beginning with a funktified and extended run through of the fuzzy and smooth, ‘They Call Me Velvet’. The power of the trio is on full display immediately as Beau Sasser’s organ saturates the air with the sound of multiple instruments. The thick, creamy funk of the band is their specialty. As they slide into ‘If You Want My Love’, guitarist Danny Mayer strikes out with classic James Brown chord structures, meeting with Evans’ emotive beats to equal a hip street walking ass shake.

The track ‘Thor,’ the subject of which is a guitar amp, fittingly features some nimble-fingered riffing by Mayer, touching on some of the fringes of acid jazz. The joy here is that the band is playing fully orchestrated and arranged pieces that contain uniquely original improvisational passages brimming with joyful attitude. ‘Have You Seen Him,’ contains themes that elicit memories of the grooviest ‘Shakedown Street’ with an envelope filtered guitar that works in conjunction with the drums while Sasser’s organ paints in long broad strokes.

‘Crooooz’ is a highlight of the set with a luscious groove that sets the perfect backdrop for more atmospheric organ excursions reminiscent of some earthy Jimmy Smith. The band keeps the marathon live recording moving forward breathlessly, changing tempos, keys, and vibes at the drop of a dime. The diversity of the band gets an airing with the ‘spoken word’ and classically jazzy, ‘What Happens In the Woods.’ Scattered and spacey drumming in conjunction with a star-dust guitar dressing provides the framework for Evans’ humorous story telling.

The evening concludes with another highlight, the aggressive and powerful ‘Cosmic Hazeldust’, containing all of the impressive elements that make up the band and the recording. Slick keyboard exclamations, wildly on point guitar work, and the knockout punch of Evans thunderous drum kit.

Taken as a whole, the entire Woodstock Sessions Volume I plays out like a created storyboard, each musical excursion a beautifully created scene. Organically developed, yet tight and practiced, the album reaches numerous peaks and euphoric highs. The organ lines intertwine with the guitar melodies, playing off of the multiple rhythmic ideas of the drums. The recording captures music during its genesis as it’s developed by the minds and fingers of the players and disseminated to the hearts and ears of the listeners.

Key Tracks: They Call Me Velvet, Thor, Cosmic Hazeldust

Check out the full album here.

April 23, 2014
Sunday Sensory Overload with Mike Gordon at Bearsville Theater

Bassist Mike Gordon of Phish tackled an impressive tour, promoting his latest album Overstep all over the country – plus a show in Canada – all within a month before returning to Upstate New York to the Bearsville Theater in Woodstock. Nestled in the Catskills, the venue holds less than 500 people with multiple viewing areas of the stage in what feels like a luxurious half barn, half log cabin. The cold and damp spring evening didn’t keep fans away who know better than to miss a Sunday night show. As the lights dimmed, Mike Gordon took the stage with guitarist Scott Murawksi, keyboardist Tom Cleary, percussionist Craig Myers and drummer Todd Isler.

The lighting effects were ideal in an otherwise intimately dark setting. The lighting changed throughout the night, either synchronized with the music or completely off to focus a dramatic spotlight on Gordon and Murawksi. Everything on stage was used as an instrument, whether it was the actual instrument itself or the microphone stands, they all played a key role in a unique sound for the show. A mind game of shadows questioning your sight and perception, a recurring theme with Phish shows, of which Gordon is a master. Cleary led the way with vocals and strong keys for “Pretty Boy Floyd” that built up rockin’ harmonies along with a stand out, strung out, hi-bred Sitar solo from Myers.

Mike took a moment to encourage the crowd to start a mosh-pit; a “friendly, Ska one [and] not the one resulting in blood everywhere,” he joked.

After a brief intermission, the band was back on to start with a newer Phish song “555” with a recognizable melody that charged the crowd. One of the highlights of the second set was the jammed out versions of “Ether” and “Yarmouth Road” that had Gordon jogging and bouncing in place with a deep bass rhythm and alternating tempo. One of the coolest backgrounds was the scrolling city scape during the encore of “Cities”, clearly a big fan favorite. The entire show felt like a music video for an episode of the Twilight Zone with experimental jams that were unpredictable and forced the crowd’s attention to every detail. There was an eclectic blend of genres covered for everyone’s entertainment, with a variety of bluegrass, cosmic poetry and sci-fi jazz. Mike Gordon’s shows aren’t dance-crazed parties; they are a chance to appreciate the bizarre twist he and his band create on old and new songs alike. Gordon’s tour will end this week with stops at Tarrytown, Mass MoCa and finally, the sold out show at Higher Ground in VT. Try very hard to get tickets to any of these shows.

Mike Gordon, Bearsville Theater, Woodstock, NY – March 30, 2014

Set One: Couch Lady, Face, Peel, Mrs. Peel, Dig Further Down, Pretty Boy Floyd, Spock’s Brain, I’m Deranged > Take Me to The River Jam> Tiny Little World

Set Two: 555, Jones, Sailin’ Shoes> Ether, Yarmouth Road, Barton Hollow, Long Black Line

Encore: I Wish I Could Shimmy Like My Sister Kate, Cities

Download a recording of this show from Etree

April 8, 2014
A Love Fest in Bearsville: Robert Randolph and the Family Band

Valentine’s Day in Woodstock seemed like a perfect romantic weekend getaway, but what to do while in town besides eat, shop and enjoy the picturesque Catskill setting? Robert Randolph and the Family Band answered that question with a performance at Bearsville Theater to a vibrant, coupled crowd. The Compact warmed the crowd up with power trio guitar rock, highlighted by a some Herbie Hancock and a “Cissy Strut” jam appetizer.

This was the first of many trips to Bearsville Theater and the location is ideal, only a little over an hour drive from Albany and right off the main road with ample parking, even with an excess of snow taking up spots, but understandably so after this eternal winter. The venue has a cabin in the woods architecture but inside its far more than that. A sunken bar so as not to block the view of the view of the stage, which was unfettered via glass windows, making for optimal sightlines to the crowd in the bar. Limited reserved seating upstairs provided a great view but downstairs among the crowd, dancing on the floor were the majority of the crowd. Randolph’s howling, and screaming pedal steel guitar squealed as he and his band took the stage for an all too short 90 minute set.

Following a warm up instrumental, The Family Band tore into “Amped Up”, one of the many highlights off of 2013’s Lickety Split, and gave the crowd an electric charge to begin the night. Seated at first, then standing up for some of the songs that took a more aggressive touch, Randolph was mellower but still gave off an energy that fed into the crowd. This was the breakout Bonnaroo star of 2002, but with more restraint and focus. The result: a honed sound and showcase of the beauty of the pedal steel as well as what you can do when you possess a great deal of talent in the instrument. Randolph’s cousin, Danyel Morgan, held grooves down on bass and quickly escalated the beat as Robert sped up the lead. A variation on the Wetlands classic “The March” brought the quartet into sync in one of the few composed parts of the evening.

It wasn’t “La Grange” but it was damn close. Pouring ZZ Top into “Shake Your Hips” included Robert inviting the ladies in the audience to dance on stage, an ever-welcome staple of a Randolph show. Deep instrumentals and a sit-in with an unknown guitarist preceded the closing “I Don’t Know What You’ve Come to Do”, with Danyel’s high-range vocals setting the crowd a foot. Between the pedal steel’s shrieks of joy and Danyel’s passion, you couldn’t find a better closing song for the sweat-inducing set.

An encore of a slow Randolph-led jam deferred to Ted’s Jam, wrapping up the show just after midnight. Altogether, it was a perfect Valentine’s Day with The Family Band. The only thing that seemed amiss – one of their biggest hits is “I Need More Love” but it wasn’t played on Valentine’s Day? The show had no complaints, but it felt like a missed opportunity on second glance. Nevertheless, Robert Randolph and the Family Band have a unique and rounded sound that is second to none. You can catch them in Syracuse on March 20th at The Westcott Theater.

February 21, 2014
Robert Randolph and the Family Band are Bringing the Love to Bearsville on Valentine’s Day

Looking for something to do on Valentine’s Day in Woodstock? Whether you’re single or not, Bearsville Theater is the place to be as Robert Randolph and the Family Band bring their signature pedal steel dance party to town.

Fresh off his latest album Lickety Split and producing The Slide Brothers debut album, Robert Randolph is a sacred steel virtuoso, having made his mark for over more than 15 years, starting in the New Jersey/New York City area and spreading out to play Bonnaroo and dozens of other festivals, as well as opening up on tour for Eric Clapton, and that’s the short-short version of his musical resume. Seeing Randolph and his band in action will ignite your hips and get things shaking in no time. Expect a wild night in Woodstock

Doors at 8, show at 9. Reserved balcony seating is available for $45 and General admission tickets are $35. Pick up tickets for Robert Randolph here.

As a bonus offer, pick up tickets to Robert Randolph & The Family Band on Friday and The Blind Boys Of Alabama on Saturday and save $10. Click here to pick up tickets to both shows.

February 12, 2014
In Memoriam: Pete Seeger

Folk music legend and activist Pete Seeger died this morning at 94. An activist, teacher, singer and influence on generations of musicians, Seeger dedicated his life to music, playing a banjo that read “This machine surrounds hate and forces it to surrender”. He was pre-deceased by his wife of 60 years, Toshi Seeger.

A lifelong resident of New York, Pete Seeger learned folk music from his father, Charles Seeger, and in turn influenced musicians from Bob Dylan to Joan Baez and Bruce Springsteen to Tom Morello. His musical impact and influence is far-reaching and encompasses songs that few identify with Seeger, for other musicians made their name with his words – Dylan, The Byrds, and Peter, Paul and Mary, to name a few. Pete Seeger spent a lifetime writing and teaching music to anyone and everyone, always with a positive outlook on the future, instilling in all the hope and courage to do the right thing and stand up for one another.

Even at Seeger’s 90th birthday concert on May 3, 2009 at Madison Square Garden, he was still teaching music. With a star-studded lineup to play his songs and more, Seeger talked history while teaching the audience the harmony to “Amazing Grace”, guiding the crowd through extended verses of the American original.

Agile even in his 90’s, Seeger never showed signs of retiring or slowing down, even making an appearance at Farm Aid in September 2013 at Saratoga Performing Arts Center. A surprise appearance, Seeger sang “The Hammer Song” and “This Land is Your Land”, adding in a new verse: “New York is my home, New York is your home. From the Upstate mountains to the ocean foam. With all kinds of people, yes, we’re poly-grown (sic), New York was meant to be frack free”, keeping his environmental activism at the forefront of his life. Mixing politics with music might be risky for some, but for Seeger, it was a day at the office.

His left-leaning views brought the ire of Joseph McCarthy and the House Un-American Activities Committee (HUAC) in the 1950’s, when Seeger refused to testify and answer questions on his alleged communist beliefs. Seeger did not flinch during the Red Scare, despite death threats to him and his family. What was an effort to overshadow his legacy and silence his voice were fuel to the fire that burned inside. In the decade that followed, Seeger’s songs became an anthem of the turbulent 1960’s, making him a harbinger of change. Never slowing down in his activism and music, he performed well into his 94th year.

In 2009, as I began work on a book on music festivals I made a list of musicians I wanted to seek out for their input on the oral history of festivals that were not part of historical records. I sought out Seeger, feeling he must have a trove of stories on past events and festivals that took place in the middle of the 20th Century. Upon discovering his mailing address, I wrote him the letter below. To my surprise, he replied! He wrote back,

“Pete – I know almost nothing about festivals except Newport 1959-1969. I’m also swamped with work. If you want to come to one of our little free waterfront festivals in Beacon I could spare a 1/2 hour. Try the Strawberry Festival June 14 or the Corn Fest August 9th. Hastily, old Pete”

Undeterred and excited to have a conversation started with Seeger, I wrote back and told him I would see him at the Strawberry Festival (you will never eat better Strawberry Shortcake). This time, he sent his form letter with a note “Pete – see you June 14. I’ll be there AM. After my “set” it’s too crowded. I go.”

His reply, while reassuring and led to a walking interview, isn’t what drew me in. It’s not every day you correspond with an historic musician. It was the middle paragraph where he encourages involvement and activism, quite convincingly.

“I urge you: Stay well. Keep involved. Don’t give up. The agricultral revolution took thousands of years. The industrial revolution took hundreds of years. The information revolution is taking only decades. If we use it, and the brains God gave us, who knows what miracles may take place. Some of them already have.”

Seeger’s legacy will live on for generations, through music, through the Clearwater, through activism and protest, and above all, through hope for a better tomorrow.

“People ask, is there one word that you have more faith in that any other word, and I’d say it’s participation. I feel that this takes on so many meanings. The composer John Philip Sousa said ‘What will happen to the America voice now that the phonograph has been invented? Women used to sing lullabies to their children.’ It’s been my life’s work, to get participation, whether it’s a union song, or a peace song, civil rights, or a woman’s movement or gay liberation. When you sing, you feel a kind of strength; you think, I’m not alone, there’s a whole bunch of us who feel this way. I’m just one person, but it’s almost my religion now to persuade people that even if it’s only you and three others, do something. You and one another, do something. If it’s only you, and you do a good job as a songwriter, people will sing it.” – excerpt from the well-written narrative of Seeger’s life, The Protest Singer (Wilkinson 2009), including his testimony before HUAC and how his father’s music shaped his life. A must read.

January 28, 2014
Hearing Aide: Waydown Wailers “State of the Union”

Woodstock Records’ new release of the Waydown Wailers and their debut album State of the Union is sure to be a successful premier for the new band. Waydown Wailers are a new mix of old sounds, bringing together classic rock and the blues with a jamband twist. Similar to other bands produced under the Woodstock Records label, the Wailers consists of soothing layered instrumentals paired with lyrics that some might call ‘Freedom Music.’ The band seems to have a variety of influences that range from the Grateful Dead to AC/DC, with music having anything from soft folk intros to twangy country guitar.

The Upstate New York band is a four man crew consisting of brothers Christian and Dave Parker on rhythm and lead guitar, Conner Pelkey playing bass, and Michael “Scruffy” Scriminger on drums. Dave Parker is the lead singer and songwriter of the group and his brother Christian says “Waydown Wailers wouldn’t have the same effect without my brother’s great ability to take a song and give it life.” The album was producer by Aaron Hurwitz, better known as Professor Louie of Professor Louie and the Crowmatix, veterans of Woodstock Records.

The title track off the Waydown Wailers album starts with a classic Rock & Roll guitar riff joined by a driving rhythm section. “State of the Union” is exactly what it sounds like, a song about the current state of affairs in our country and the truth behind the politicians that run it. This is a freedom song from a past era, but the message is as relevant now than ever before. “The Man” is another story about the heartlessness of big government with a big guitar solo section that finishes the song in extremely energetic fashion and compensates for vocals that leave something to be desired. The closing song “My Girl”, is one of the highlights, from the debut album, although the vocals could be stronger, but the Jam-Rock sound the song provides is outstanding. Filled with funky bass and psychedelic guitar solos that sound like they belong in the festival scene, “My Girl”, is a perfect finish to a strong first album.

Key Tracks: State of the Union, The Man, My Girl

The Waydown Wailers new album can be found on iTunes and Amazon. You can follow or contact the band themselves through their website, Facebook and Twitter.

January 15, 2014
Mountain Jam X Announces Initial Line Up

Mountain Jam X and Radio Woodstock have announced the 2014 initial line up for the tenth annual festival at Hunter Mountain June 5-8. Organizers have included favorites from years past in celebration of its tenth year. As expected, festival resident Gov’t Mule will make an appearance delivering classic hits, covers and new songs from recently released Shout!

Bob Weir and RatDog will return since making an appearance in 2008. RatDog features Jeff Chimenti, Steve Kimock, Jay Lane, Robin Sylvester, and Rob Wasserman. First time performer to Mountain Jam, Pretty Lights will take the late night programming to a whole new level. Released in 2013, A Color Map of the Sun garnered a 2014 Grammy nomination for Best Dance/Electronica Album. An additional headliner is still to be announced.

Brothers Seth and Scott Avett will return to Mountain Jam for their 4th time following appearances in 2010, 2011, and 2013 and the release of their latest Magpie and the Dandelion, which reached number five on the Billboard 200 during its first week. The Avett Brothers are becoming a staple of Mountain Jam. Husband and wife duo, backed by nine of the finest musicians, Tedeschi Trucks Band returns after 2013 release Made Up Mind debuted at number one on the Billboard Blues Chart.

Damian Marley will bring his unique blend of reggae and dancehall to the Mountain Jam stage for the first time. Founding member of Wilco and Uncle Tupelo, Jeff Tweedy will also make a debut appearance. And, of course, it would not be Mountain Jam without Michael Franti and Spearhead. Franti will make his ninth appearance.

Mountain Jam X will kick off Thursday night with Dark Star Orchestra and a special two-set performance by Umphrey’s McGee to include a spectacular light show. The late night is unrivaled. In addition to Pretty Lights, world fusion dance and performance group Beats Antique, afrobeat band Antibalas and Jackie Greene round out the late night program.

Included in the initial line up is Chris Robinson Brotherhood, Trampled by Turtles, Blitzen Trapper, Anders Osborne, as well as Lucius, Valerie June, The Ghost of a Saber Tooth Tiger (ft. Sean Lennon & Charlotte Kemp Muhl), Sister Sparrow & The Dirty Birds, Moon Taxi, Reign Wolf, Jonathan Wilson, The Weeks, Treetop Flyers, Sean Rowe, Connor Kennedy, Citizens Band Radio, The Dough Rollers, and The Paul Green Rock Academy.

Early Bird tickets will go on-sale this Thursday, January 16th, at 10am EST and will offer tickets at up to 25% off day-of-show prices. 4-Day and 3-Day Passes will be available with and without camping, as well as Jammer (VIP) Passes, Super Jammer Passes and the brand new Ultimate Jammer Pass Package. Single Day tickets will be offered in the spring.

Mountain Jam

@MountainJam | Facebook

January 15, 2014