On Sunday, Oct. 19, Buffalo’s Town Ballroom was treated to a timeless spectacle, in the likes of which metalheads have simply come to expect from the one and only GWAR. Only this time around, something very different was in the atmosphere. It was the kind of family-like atmosphere you’d typically feel around the Thanksgiving dinner table or at a Fourth of July barbecue.
On March 23 of this year, the band lost longtime frontman and friend, Dave Brockie, to an accidental heroin overdose. Since his passing, many have been skeptical about GWAR’s fate in the metal universe, but that didn’t stop an impressive crowd of loyal fans from storming the gates of hell to greet the “scumdogs” head on.
Many diehard GWAR supporters made themselves known with their signature white wife-beaters and tee shirts, featuring hand-drawn fan art and brandings, proudly displaying the words “Hail Oderus”, referring to Brockie’s stage name, in bold black Sharpie. The masses showed up early to take in the entire event from start to finish, not missing a single beat or a single excuse to mosh during the opening acts.
American Sharks from Austin, Texas, kicked off the night with a relentless assault of punishing chords, driving melodic vocals and pulverizing punk beats. For only a three-piece, they started the night off right, creating energy amongst the GWAR and Decapitated fans alike, paving the way for a night they’ll all remember for years to come. As it was my first time hearing them, I can say that they instantly reminded me of a cross between Danzig-era Misfits and Black Sabbath. I found it very refreshing, and from what I heard, the majority of the crowd seemed to agree. These guys even announced that they had a black and white vinyl for sale at their merch table, which fans could color in for a chance to win six hundred and sixty-six dollars; one of the most unique gimmicks I’ve ever heard from a band.
However, the infamous death metal tyrants, Decapitated, were another story all together. They got the crowd amped with their soundcheck by abruptly breaking into “Walk” by Pantera before moseying off stage to cast an ominious cloud over the night. Their well-received soundcheck was then immediately followed up by an eerie drum, bass, and guitar intro on a backtrack, which shook the venue to its core with overwhelming bass bombs. The overall feel reminded me of the beginning of a Ridley Scott film, before they quickly switched gears and started their first song. The same merciless death and thrash metal vibe their fans know and love was on full display, with all-powerful low growls courtesy of vocalist, Rafal Rasta Piotrowski leading the charge. The guys are currently promoting their latest album, Blood Mantra, which in my opinion is a must-listen for any old or new fans of death or thrash metal.
Then, finally, the “scumdogs of the universe” themselves appeared before an awestruck crowd, with theatrics meant to send chills down your spine. But despite their usual displays of blood, guts, alien monsters, and just downright gore, you still can’t help but get the impression that in the end, they’re just here to warm our hearts. Their songs are fun and energetic. Even their merch table caters to the masses with an array of comics, action figures, cartoon shirts and hoodies, and even onesies! That’s right! Want your newborn or toddler to be immersed in the GWAR universe right from the beginning of their lives, then check out their hilarious onesies. You won’t regret it.
As for their set, they covered their entire discography, treating us to classics as well as newer material off of their latest album, Battle Maximus. But more importantly, Buffalo was introduced to their two newest members, Blothar and Vulvatron. Now armed with two lead vocalists, Blothar, the “male barbarian from the distant past”, and Vulvatron, “the female cybernetic assassin from the distant future”, delivered an action packed set, complete with ritualistic sacrifices and blood-squirting breasts, courtesy of Vulvatron’s demonic tendencies. And although she didn’t make an appearance until much later in their performance, she clearly isn’t the type who needs to keep up appearances in order to maintain a commanding presence.
All in all, it was a great night and none left disappointed. I can only hope to have just as much fun and be just as captivated at future shows. Hail Oderus!
Growing up in the 70’s and 80’s, the popular music of that time was an eclectic mix for certain. The politically driven folk type songs of the 60’s were being replaced with a fun mix of Motown disco and R&B, a new wave of synthesized pop, Southern and hard rock, a cross over at times from country radio and adult contemporary to the top 40, heavy metal and punk rock bands, and a taste of what we commonly refer to today as rap. During this time we also saw an influx of pop and rock from across the pond. These English artists brought to us some amazing music, and a culture all their own. Vinyl albums were purchased for their artwork, and listened to from start to finish introducing listeners to not only the popular music, but the B side which many times was as good if not better than those songs chosen for release by the record companies. It was a pleasure being able to grow up during this era and be open to listening to so many genres of music. Trying to pick just one favorite during this time period is near to impossible. However there are several favorites that come to mind, one being Asia. and their Gravitas Tour.
I can remember well the summer I wore out my first Asia album. It was the summer of 1982 and I was just getting ready to begin my senior year at GHS. This was their first album, and as Asia hit the charts, each single released climbed the charts with record speeds. It was one of those albums that you could listen to from start to finish with the first song being as awesome as the next. There was something about the arrangements of synthesizer and percussion, mixed with the greatest lyrics and strings that made this rock and roll, classic and timeless.
Asia – Turning Stone Showroom
I had a chance to speak with Geoff Downes from Asia prior the show about their longevity in the business, their newest album Gravitas, and touring in America. We spoke of how New York seems to be the point of origin each time they kick off a tour. They’ve played the Turning Stone several times now. We also spoke of the huge success of their initial album Asia, that earned them two Grammy nominations. They were so excited with how America embraced them and the wonderful memories that went along with their initial tour. Since that day they’ve had the opportunity to travel world wide sharing their music with their fans and building memories as they toured. The first album set the bar high and held to encourage them to continue in their unique sound over the course of the next 30+ years as they played together. Even as they worked on solo projects and collaborated with other bands, they found themselves reuniting and continuing to record album after album. In 2013 the stress of touring with two bands at the same time, lead Steve Howe to the decision to retire from Asia and dedicate 100% of his work time to Yes. John Wetton returned at that time, and they immediately began recording Gravitas. Asia continues to play to audiences all over the world, some new fans, and many tried and true fans. They enjoy bringing their music to everyone, and spoke of how appreciative they are to still be able to play to their fans night after night.
I spoke to Geoffe about Roger Dean. Roger Dean was asked originally to come up with the album art for their self-titled debut album. The unique dragon he designed seemed to epitomize everything they were trying to accomplish with their music and became a signature look. We agreed that people tend to buy the albums not only for the music but for the wonderful artwork that came on the exterior. Geoffe pointed out that although the artwork is still here on CDs, it’s not the full size effect they used to be able to give listeners along with the vinyl. What they used to be able to offer to the listener was an entire package of their music, an experience. So as one would listen to the album they could scour the album, look at the lyrics, and experience the entire album in a unique way. They continued to feature Roger’s artwork on album after album, personally one of my favorite things about this group. They know when they’ve got something right, and they just continue to do that. Geoff and I agreed we could have talked for hours about all the experiences they’ve had over the years, but I thanked him for sharing his time and hung up with even more anticipation for the show the next evening.
As Asia took the stage the following night, I couldn’t help feel an excitement seeing one of my all time favorite bands for the first time play hit after hit, and found myself still knowing all the words and all the notes that were coming next. Their unique sound of percussion, electric guitar, keyboards, organ, synthesizers, and vocals meld perfectly together to bring you the unique rock sound that sets them apart from other bands of the time. Their songs can be heard over and over again still today in television, movies, and this timelessness is what gives them music longevity.
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To watch them live was an experience. Geoff floored me with his ability to play his 9 piece keyboard rig simultaneously, while John Wetton and Carl Palmer hit the notes with such preciseness you wondered if it was live or Memorex. The newcomer Sam Coulson added an edge with his electric guitar and solos and proved to me that Asia will withstand the test of time with new life, new music, and new fans as time goes on. The new album they are touring with, Gravitas, means dignity, seriousness, or solemnity of manner. Although it has a few of these serious traits, I think once you give a listen, you will agree that it’s purely magic, and proof that great music is timeless.
Setlist: Sole Survivor>Wildest Dreams>Time Again>Valkyrie>Voice of America>The Smile Has Left Your Eyes>An Extraordinary Life>Days Like These>Go>Don’t Cry>Drum Solo>Only Time Will Tell>Open Your Eyes> Heat of the Moment
LiFT Nightclub in downtown Buffalo sure picked the right guy to blow the doors off its grand opening this past Friday night. The club brought Audien to town who was fresh off his Sunday stint at TomorrowWorld and is generally blowing up as of late. His set was sandwiched between local support from Jesse Aaron & DJ3 who also added stellar performances to the night. Formally known as Rendezvous, the club changed names and moved uptown, settling in between Darcy McGee’s and Skybar on Franklin Street. The spot is a perfect one as it was near capacity for its kickoff.
Audien
The club is located on the second floor, but walking in, patrons were greeted with a friendly bartender named Sara who was keeping busy as nearly everyone stopped for a drink to start the night off before heading upstairs. The club itself had an exceptional layout with an array of lights spread throughout, a balcony if you wanted to step outside, and an elevated DJ booth that allowed everyone in the room to keep a close eye on the artists while they kept the music going.
First up was Jesse Aaron, and judging from the already assembled crowd, you would have thought it was the ten-year anniversary of the club and not its opening night. His set had bodies packing the dance floor and bouncing off one another as he got the night started on the right foot. The sound in club was exception and no matter where you were dancing, you could feel the music hitting hard. You could tell the crowd was ready to go and weren’t waiting for Audien who was up next.
As seamlessly as Jesse Aaron dipped in and out of songs, the transition between his set and Audien was just as smooth with many not even noticing the switch as they were deep into the music. Factory Nightlife, the promotion group who put together the lineup did a fantastic job as the three DJ’s fit together extremely well. As Audien’s hands touched down, the energy in the room reached its peak and his layering of classic and contemporary pulsated through the floor. He had complete control over the rhythm, slowing things down to a grinding tempo before building it back up to a peak full of momentum and drive. The slow rolling builds between the blissful highs and ambient passages kept the crowd transfixed. His remix of Michael Jackson’s “Slave to the Music” was so tight and its incessant beat propelled the night forward.
Thanks to Justin Bondi, here’s a video recapping the amazing night and the start of something great at LiFT! Check out his website here for more information.
As his set wound down, the energy was certainly not. DJ3, also known as Jillie Wags, was up and the crowd wasn’t going to let her off the hook. The near capacity crowd was staying the night until they were pushed out the door. Throughout her set you could feel her energy and the crowd parlayed that back, continuing to dance well past 2am. Speaking with her following her set, she said she played that night for her brother who passed away earlier this year after his 25th birthday in May. You could tell she was laying it all out as the set was dripping with emotion. It’s no wonder the majority of the crowd closed the place down and stayed the entire night.
All and all, the three DJ’s put together an incredible night of music and the club played a great host as it kicked off its opening night. Clearly this is the place to be if you’re looking for solid electronic music in and around Buffalo. Factory Nightlife’s next show at LiFT will be NIGHTMARE ON FRANKLIN ST. on Halloween featuring EDX and local support from Jesse Aaron & Swagglerock. Grab your tickets here and make sure to check this place out if you’re ready to dance late into the night.
What has become an annual Syracuse holiday music tradition, the Salt City Waltz has added the moniker A Sound Check 35th Anniversary Celebration to commemorate Dave Frisina’s ongoing contributions to the regional music scene. For the first time with Salt City Waltz, The Levon Helm Studio Horns will be featured, the LHS Horns are: Jay Collins, Steve Bernstein, Erik Lawrence and the legendary Howard “Hojo” Johnson (Charles Mingus, Taj Mahal, Levon Helm, The Band for the original Last Waltz). Local stand-outs Joe Altier, Miss E (Missy Ragonese), Sean Patrick Taylor, Karen Savoca, and Pete Heitzman will be featured (among many others), also, fresh off his amazing performances on NBC’s America’s Got Talent, Syracuse native Jonah Smith completes the ensemble.
Through his long-running radio show Sound Check, countless time and boundless energy, Frisina is the definition of what is good in the regional scene. The CNY reading of The Band’s classic performance movie, The Last Waltz, has been announced for Saturday, November 29 at The Palace Theater in Eastwood. This remarkable work will highlight Syracuse’s music scene at one of the area’s most acclaimed venues, creating an event that is singular in its scope. This once a year event has sold-out in each of its prior performances and this year anticipates the same. With the intimacy of the venue and vibe created through musical and audience energy, SCW has come to be known as one of the hottest tickets of the year. SCW is scheduled on Thanksgiving weekend to echo the date of the original recording of the movie on Thanksgiving day 1976, which was billed as the farewell performance of the The Band.
Stacey Waterman, owner of DMR Booking Agency and Organizer of this event is thrilled to announce the event date and the incredible line-up of artists contributing. With Gary Frenay as Music Director, Syracuse’s own Los Blancos performs as The Band, accompanied by Joshua Collins on piano in a special homecoming performance from Louisville, plus a stellar compliment of local, national and native ‘cuse musicians.
Photo by Juan Junco
This is Waterman’s personal expression and cornerstone annually, she takes special pride in this event and if you’re aware of her skills, that says a lot. She is the driving organizational force behind a majority of the larger musical events in this area. She states, “The music of The Band has historic musical significance world-wide and the same reverence is given by many musicians and music fans right here in Central New York.”
Being held on Thanksgiving weekend allows the community to participate in a charitable sense too as St. Lucy’s Food Pantry will be on hand for Salt City Waltz’s Food Drive, collecting much-needed items to re-stock their shelves right after the holiday. Corporate sponsor, the Syracuse Crowne Plaza Hotel, is also collecting food donations through their many departments. Please join in on the collection as this is a big part of the community spirit of the event, yet another aspect of the whole production.
The Crowne Plaza is offering a “room and show” package for those traveling into town for the show as well as their sponsorship, along with media partner 105.9 The REBEL, Red Shoes Marketing, Meyda Tiffany and Saranac Brewery.
Waterman and her crew encourage concert-goers to purchase their tickets early, as another sell-out is anticipated. There will be no second show or change of venue to accommodate a larger crowd, the ambiance and intimacy of The Palace is essential to the overall vibe of the event. That, combined with the All-Star level of musicians participating make the Salt City Waltz a stand-out and stand-alone event annually.
Doors open at 7pm for the 8pm show, tickets are priced at $30 in advance and are on sale now at Sound Garden in Armory Square, The Palace Theater and online at upstate-shows.com. Salt City Waltz “Room and Show” packages include either a king or a double room at the beautiful Crowne Plaza Syracuse and two (2) tickets to the show. The package includes overnight parking, wireless internet and access to their fitness and business centers. That’s a $199 value for $159 + tax, for reservations call (315) 479-7000.
On October 11 and 12, 2014, a group of proud community members hosted the first Shuck ‘N’ Jive Mountain Bike & Music Fest in Newtown, CT. While the quaint New England town, which was placed under the national spotlight after the infamous shooting in 2012, carried on as normally as possible, an eclectic group of bicyclists, music fans, wine lovers, families and friends gathered in the woods a few miles away to live in the moment, dancing and singing, hiking and biking at McLaughlin Vineyards.
“Some people say it’s too soon,” Newtown resident Terrence Ford said before introducing funky five-some Kung Fu to an intimate and exuberant crowd to close the show Saturday night. “I say we’re right on time!”
As children ran freely and 20-somethings danced alongside 60-somethings, hope filled the field behind McLaughlin Vineyeards’ wine tasting room. The weather symbolized locals’ resolve: heavy raindrops fell from a gray sky as the music commenced and bikers hit the Grapes of Wrath mountain bike course Saturday; by the end of the day, however, the sun shined brightly and spirits soared high.
Bobby Paltauf and his band were the first of a slew of Connecticut musicians to take the stage. Wearing a mean face and wielding his axe, Paltouf tore though a bluesy rock set. With all eyes on Bobby, he ended the set with a dark rendition of “In The Hall of the Mountain King” that left me humming the tune for the rest of the day. While he may not be old enough to drive a car in most states—that’s right, he’s 15—Paltauf can already control a stage with aplomb.
The Alpaca Gnomes
After the Alpaca Gnomes played an entertaining set that included covers of “Midnight Rider,” “Son of a Preacher Man,” and “With a Little Help From My Friends,” I meandered over to the McLaughlin Country Store for the wine tasting. Still early in the afternoon, I had the place to myself. Samples of the vineyards’ three whites and two reds came with detailed descriptions from knowledgable and friendly staff. Their most popular white, Blue Coyote, was crisp and smokey; a tart and dry red, Vista Reposa, was my favorite. Portions were more than generous and they refused to let me pay after seeing my “Media” laminate. Like the rest of Shuck ‘N’ Jive, everything about the McLaughlin wine tasting was pleasant.
The Z3
Feeling a bit warmer on a nippy mid-October day, the music also heated up as The Z3 took the stage, opening with “Fifty-Fifty.” The three-piece side project, consisting of Kung Fu guitarist Tim Palmieri, Alan Evans Trio organist Beau Sasser and Max Creek drummer Bill Carbone, played tunes spanning Frank Zappa’s career, often producing a magnificent sound that seemed to come from more than three musicians. Between funky covers, the guys sipped beers and told jokes to the growing crowd, clearly enjoying themselves as much as anyone.
Jen Durkin and the Business and Sons of F.U.N.K. were the next two scheduled acts. Durkin and her band came out first, but it didn’t take long for the Sons to follow. Rather than breaking up the sets, the bands shared the stage, playing continuously for nearly three hours and inviting nearly every musician on hand to join in. Artist at large Billy Iuso hopped up and ripped on his guitar as the sun finally came out. Highlights of the super-set came when Durkin belted “God made me funky!” and the Sons of F.U.N.K led Parliament Funkadellic classic “We Want the Funk”.
Sons of F.U.N.K and Jen Durkin and the Business
By the time Max Creek took the stage, the crowd had grown from a couple to a couple dozen to roughly a couple hundred. The Creek demonstrated why they’ve been playing strong for forty years, putting on an incredible set of music. Billy Iuso joined for a moving version of “Blood Red Roses” that they jammed on for over sixteen minutes. Keys player Mark Mercier proved looks can be deceiving; he appears more like an assuming veteran professor than a rock star, but the man was merciless on the piano all night. While much of the crowd, having floated along with the Creek before, sang along to hits like “I’ll Be Your Baby Tonight,” “Thank You (For Letting Me Be Myself),” and “Yes We Can Can,” I felt my eyes widen and jaw drop multiple times. There were a few special moments where everything except the clean and glorious vibrations of Max Creek was tuned out.
Max Creek
After their introduction from Ford, Kung Fu closed the night in style. Tenor saxophonist Robert Somerville blew into his hands a few times to warm them up before blowing up his instrument, then Palmieri literally jumped into the set, striking down on his guitar strings with the landing. Fresh off a recent string of shows with Dopapod, drummer Adrian Tramontano did not slow down or miss a beat back with Kung Fu; he crushed a solo between encores as many looked on in disbelief. Bassist Chris DeAngelis has a relatively quiet stage presence but plays a booming bass and Palmieri’s picking hand looked like it was moving in fast forward when they played “Hollywood Kisses” off new album, Tsar Bomba. The funk kept everyone grooving and warm as keys player Todd Stoops knew when to get down and when to get weird. Billy Iuso scooted in between Somerville and Palmieri at the end, adding an exclamation point to a great day and night.
Kung Fu with Billy Iuso
Shuck ‘N’ Jive was one of the family friendliest festivals and there did not seem to be a single hiccup in the first year music fest. Between the fantastic music, delicious wine, bike racing, and welcoming crowd, not much could go wrong. Even a damp morning could not dampen anyone’s spirits. I will be back next year to spend time with some of Connecticut’s finest musicians and friendliest citizens.
Pearl Jam has been around for nearly a quarter of a century, or to be incredibly precise, existed as a live band for exactly twenty four years. On October 22nd, 1990 Pearl Jam played their first show in Seattle. Exactly twenty four years later that story added a colorful page with a tour-ending, instant classic performance delivered to fans in the Mile High City of Denver.
One could reasonably assume someone in the band’s camp to be responsible with the keeping of such dates, but that would appear to be an incorrect assumption. Vedder explained the band learned about the anniversary the day before through, (from what I could gather) a fan-driven movement to commemorate the date in Denver. Known quantity or not, the weight of twenty four years was clearly on the band’s mind.
In our strange commemorative-heavy, hyper-consumerized culture, one of elongated player farewells, repackaged nostalgia (in premium, limited edition versions, natch), and manufactured celebrations of things that weren’t all that good in the first place, there is a simple and romantic beauty with backing into such a tribute. Having been long-removed from the day to day operations of PJ Internet fandom, I for one had no idea about any of this. It certainly explained #PJ24 and the many ‘Happy Birthday’ themed wares dotting the sold out arena.
“Welcome to the last night of the tour” – Eddie Vedder
This one was going to be special. Right from the onset there were hints. The first indication came even before the first notes of show opener, “Release”. The slow burning classic would soon unleash cathartic howls from thousands, but first a chipper Vedder welcomed and immediately starting leading everyone on. Pro tip: if Eddie Vedder makes a point of something – anything – odds are pretty good the guy will try to will it into being. If Eddie Vedder says that tonight might be a good show, one of the band’s best ever even, one best buckle up and prepare for the ride. He’s a masterful front man, able to froth excitement from eager crowds hanging on his every word.
Official poster by Nychos
For a band known for epic live shows, simply tempting to hold a candle to ‘best ever’ status is a dangerous expectation. Hardcore fans are well versed on the shortlist of heralded dates that form Pearl Jam’s live canon. To tease such things, said candle better be a hot one, and without doubt, this was a Wednesday night in Denver when things got hot. Fire-breathing dragon spewing relentless inferno hot, who chews lava to keep cool kind of hot, and for three and a half hours Pearl Jam delivered the heat without question.
A spirited “Why Go” seemed like a clinic for how well Eddie Vedder can still do Eddie Vedder. He sounds better than ever. The last album’s title track, “Lightning Bolt” could be described as a “breather”. When you need a breather only five songs in, it was that kind of night. Not that it lasted. The hard driving machine gun guitars of “Mind Your Manners” followed, the latest Ed as punk rocker track.
Playlist craftsmanship was displayed nicely by linking thematic songs together. Exploring the individualist streaks of Christopher McCandless,Into the Wild’s “Setting Forth” was introduced after a soliloquy about “best friends you never met.” Ed welcomed the sister of the late McCandless who was in the room. An old B-side about outdoorsman survivalists, “Leatherman” followed. Later in the show covers “Mother” (Pink Floyd) and “Imagine” (Lennon) were paired in a tragic symmetry of ingrained despair vs pure idealistic hope. Trio of “Breath”, “Leash” and “Rearviewmirror” spoke to freedom, breaking out, encouraging the seekers to seek. These were songs that used to direct my teen angst, and they still deliver as aspirational escape.
I could go on about the songs. “Alive”, “Baba O’Riley” and “Yellow Ledbetter” closed out the night. Mike McCready then really closed out the night all alone on electric guitar playing the “Star Spangled Banner”. But the real story was the energy. For three and half hours everyone was on their feet. The band fed off the crowd and vice versa. Hard to imagine anyone who didn’t have a great time last night, but nobody less than the band themselves. It seemed the totality of the moment coming at tour’s end was well appreciated. This is as healthy a band as you’ll ever see, which shouldn’t really be a surprise given one of longevity’s enemies is dysfunction.
Over the last 18 years, I’ve seen my share of Pearl Jam. Many of those were truly epic performances that inarguably exist in the conversation of ‘best evers’: An insane, storm-soaked 1996 Randall’s Island show during the peak of the moshing era; The 1998 MSG show where “Breath” was taken off the shelf after intense fan lobbying. I feel confidently that Denver 10/22/2014 deserves a place on this list.
Twenty four years together and Pearl Jam remains a compelling group performing at an incredibly high level, but also a group playing with intensity as if they had something to prove. Should we be surprised at this point? Like a playoff team clawing and fighting for a win, leaving it all out on the field and using the energy of fans to propel toward victory. Especially near the end when there’s barely anything left, they’ll fight for everyone in the room. And the crowd knows it and encourages loudly to support. Even the people at the end, at the top of the arena, in the very last row get a taste, quite literally: Eddie sent them wine.
Setlist: Release, Low Light, Elderly Woman, Last Exit, Why Go, Lightning Bolt, Mind Your Manners, Setting Forth, Leatherman, My Father’s Son, Even Flow, Ghost, Present Tense, Do The Evolution, Eruption (Van Halen cover), Of the Earth, Given To Fly, Sirens, Don’t Gimme No Lip, Improv>Lukin, Porch
Encore 1: Future Days, Sleight of Hand, Imagine (Lennon cover), Mother (Pink Floyd cover), Last Kiss, Breath, Leash, Rearviewmirror
Encore 2: Once, Black, State of Love and Trust, Better Man, Wasted Reprise, Life Wasted, Alive, Baba O’Riley, Yellow Ledbetter>Star Spangled Banner
Many bands come and go throughout the years: some lasting briefly as a sort of novelty, some with long and hearty careers who only later drift away into touring to a tune of nostalgia, and everywhere in between. Sometimes the “going” part of that is mired by tensions in the band or some other misfortune but there are other times when a band simply won’t stand for apprehension in their ending and know when the time is right. This past year we saw Mötley Crüe sign an agreement to cease touring, therefore retiring as a band while the Crüe are still friends and the tours are strong as opposed to raising Devil’s horns from rocking chairs and adding new meaning to their song “Kickstart My Heart.”
Our story here takes us to Black 47, a band representing a ventricle of the NYC music scene. A bit more modest than crashing arenas but by no means lacking a fire, Black 47 has earned respect by their authenticity – doing things their own way, how they want, and on their own terms. After 25 years the band felt it right to disband this year while they are at a zenith with tight sounds and great vibes. The band will soon have come-and-gone but not before first bringing closure for themselves and their fans with an aggressive tour wrapping up next month and two new albums, Last Call (new material) and Rise Up!, a collection of some of the band’s protest songs.
Prior to their set at the Hudson Valley Irish Festival in Peekskill, NY, frontman Larry Kirwan joined ‘s Steve Malinski on the banks of the Hudson to share some of his insights to the band’s 25-year run and some of what has set Black 47 apart in the music scene.
Larry Kirwan (middle) singing “Living in America” with friend Mary Courtney (left) and bandmate Joe “Bearclaw” Burcaw (right) at the 2014 Hudson Valley Irish Fest in Peekskill, NY
Steve Malinski: You’ve got a pretty busy day with two gigs, so thanks for taking a few minutes here before your set.
Larry Kirwan: It’s a pleasure. What a beautiful setting here, right by the water.
SM: The big question on your fans’ minds when you announced last fall that you would be disbanding this year is why now, and why not in say, five years? What fell into place to make the decision come now?
LK: Well, I actually had the decision come to me on stage in Buffalo exactly a year ago and the band was just sounding so good then. I’d always wondered how Black 47 would break up, and when we were on our way back from Buffalo I was thinking, “maybe this is the time to go, when you’re sounding good and everything is together still.” We decided to do one last album of original songs, Last Call, and to go out playing new stuff too. So it all just kind of came together and it seemed like the right time to do it. I’m not even sure what I’m going to do, but I didn’t exactly know what I was going to do before Black 47 either, so we’ll see.
SM: What’s the emotion like with the band now that your final show is quickly approaching?
LK: You know, I think everyone is a little nervous about it. It’s pretty momentous to play with the same guys for 25 years – we’re so close as friends, there are no problems internally in the band. But yeah we’re all a little nervous, apprehensive. But the amount of love we’re getting from people all over the country as we travel around is great and people have been telling us how much the band meant to them and what particular songs meant to them, what particular CDs got them through rough times or whatever. So there’s a lot of emotion out there. But this is it, November 15.
SM: Yeah, and when I met Bearclaw [bass] at your Garcia’s gig in Port Chester he mentioned this year is like the nail in the coffin for Black 47. Do you think though that you guys might get the itch to come back and do a sort of low-key show in a few years, just for fun?
LK: No, I don’t think so. It’s better to just do it and finish so your brain is free to think about what’s next. If we were thinking of that, the why break up at all, you know? We have a big following. We could keep playing but it just feels right to go at this point. I don’t see that we would get back together again.
SM: So with it being a done deal, what’s next for everyone? Have they figured that out yet?
LK: Y’know, I don’t think so. We’ve been too busy to figure anything out with the number of gigs we’re doing and the new CD we have, Rise Up, the collection of political songs, and the amount of interviews you have to do for each gig nowadays. I’ve just been really busy. I know what I’m doing immediately after – I’m going to Ireland for a week. I think I’ll start doing solo gigs in February or March. But I want to clear my head from the whole music scene because I manage the band too, so it’s a huge space in my head I gotta keep. I do a number of other things but Black 47 has always been my number one priority. So, just in a certain sense, not having that “to-do” is like having a vacation at this point. I don’t think I’ve taken a vacation in 25 years! Even when I am on vacation it’s always there – thinking about writing a new song or I have this-or-that to do. It’s been 25 years of non-stop going for me. I don’t get home from a gig and it’s over – it keeps going on.
SM: Last Call is an album that seems like it was recorded as a sort of going away present for your fans. Did you have any special intents behind the album, or did you approach it as simply the next recorded collection of new Black 47 material?
LK: Yeah I did. I thought it would be a really good idea to make it more from a musical point of view rather than from a lyrical or song point of view, so I got the guys a lot more involved with the arrangements and allowed the band to stretch out musically because we do that on stage all the time. But sometimes in the studio you’re trying to make things concise for radio play, although there’s no real radio play anymore for anyone, anywhere. So there was that. I also wanted to capture… I’ve been writing a history of Irish music because I’ve seen it and I was dealing a lot with different sounds and I really wanted to capture a New York sound. We’ve always been known as a New York band, and there was a whole sound in New York in the late 60’s and early 70’s and I wanted to tap back in to that particular type of sound. So there were a numbre of different things on my agenda as a producer. But, whether that worked or not, I’m not sure!
SM: One of the tracks, “The Night the Showbands Died,” struck me as the most profound, given the emotion and the way the music and lyrics worked together. What was your motivation behind that song – did you have a connection to The Miami Showband?
LK: Yeah, I did. Fran O’Toole, the lead singer, wasn’t exactly a friend but I knew him and he was very encouraging to me starting off in music. It was just a real shock. Steven Travers, who I’ve been in touch with over the years, was in the band too. He told me about the different things that were happening. There was a British officer who showed up at that point, so it did seem like there was a collusion going on that the Loyalists and British for whatever reason wanted to kill a band. Up until then showbands and musicians had been off-limits for anyone on either side. So that night kind of ended the showband era too – although it was ending already that sort of put the nail in the coffin. Showbands worked five to six nights a week and once they couldn’t go into the north of Ireland anymore, then it was the end of the showbands; the end of a whole scene. I also wanted to capture a little bit of a David Bowie sound because Bowie’s early stuff had influenced me a lot. Yeah, it’s a tough song – it really gets into you when you’re playing it because you’re talking about people you knew who died and didn’t need to die. I think it kind of sums up a certain way the whole Troubles in the north of Ireland – how people who are not political (and the Miami Showband were totally non-political) get caught up in something and get swept away in the same way committed people do.
SM: In the last 25 years you’ve played something around 2,000 or 2,500 shows. Are there any that stick out as particularly memorable (or bad)?
LK: Many of them are memorable. You know, we never allowed a show to be bad. We’re often under rough circumstances but the band is just so committed to the music and to having that moment… There’s always a moment in a Black 47 show when things click. It’s almost like sex – it’s orgasmic at that point. So you’re always waiting for that to happen. Let’s face it, musicians don’t have pensions or 401(k)’s or anything like that so everything you’re going to get from a performance you’re going to get at that moment. So, there’s always been that angle. You know, I suppose something else that stands out is playing with famous people – Neil Young at Farm Aid and Willie Nelson, and Johnny Cash. But the one that strikes me the most was this one that was crowded at Paddy Reilly’s which is a small bar that we started off playing at. When I first wrote “James Connolly” and the feeling from that song… It was the first time we were doing it, we didn’t really know it. Paddy Reilly’s is always rowdy. So as we went on with the song it got deadly quiet and when we finished the song there was total silence and everyone knew something had happened because that was the first time we had introduced the middle part with the dialog in it. We all knew something great had happened. The song is still a classic Black 47 one. So, there’s big gigs, and small ones where there’s bound to have something memorable happen – they’re more important to me than the big ones.
SM: Are there any notable people, in music or otherwise, that you’ve met or worked with who have had an influence on you?
LK: Joe Strummer was a huge fan of the band which was amazing to me because I was a huge fan of The Clash. One night at the same place (Paddy Reilly’s) I was playing and had my eyes closed while playing a solo. I couldn’t get the solo right so I kept doing it over and over and you could do that in Black 47. Songs don’t have to be a certain length or whatever. I finally opened my eyes, kinda got it right finally, and Joe Strummer was the same distance as you are to me [a few feet] looking at my fingers and it was like… Joe Strummer?! I almost fell over backwards. So we became friends and he was very instrumental in getting Black 47 some of the gigs out of the Irish pubs. We had wanted to keep it in the Irish pubs and have people come to us rather than go through the CBGB system, which I’ve been through many times before. But Strummer was saying “You have to play this place, you have to play that place” and he would go to those places and say “here’s these guys” and I would be turning him down all the time. Finally the guy from Wetlands, which was a great club in New York, said to me “for God’s sake just do the gig to get Strummer off my back!” Then I said “oh, Strummer’s doing this!” Everyone was calling us for gigs and it was because of Strummer.
SM: One that that’s different about Black 47 is that you have a totally open policy on photography and recording, even more liberal than a band like the Grateful Dead. What’s your philosophy on that?
LK: Well, every show is different. We do a different set every night so we just felt that if you want to capture it (we’re not going to capture it), then why can’t you do it? We’ve spread all over the world that way too. A friend of mine was walking over the Charles Bridge in Prague one day and he heard “Funky Ceili” playing live from some gig we were doing and someone had sent him a tape of it – it was on a cassette. So the music spreads that way too. But we always just felt that, you know, why not? Music in a certain sense is free and what we do hope is that, if someone does tape, they go back and buy a CD or whatever to get more of a pure sound. Also, the CDs keep the band going because the merch is just so important for any band. So I’d advise your readers that if you really want to support a band that they buy one of their CDs because that will make up for a budget shortfall that the band might have. That’s the best way to support live music.
SM: What’s your hope for people to take away from Black 47 once it’s all done?
LK: That we were a band for the moment and we did it exactly the way we wanted to. We never bowed down in any sense to commercialism. We just played exactly what we wanted to play. We fought the good fight I think, dealing with the British problem in the north of Ireland, being for the troops and totally against the Iraq War when no one else was. So we made all the stands. I always thought we were on the sides of the angels and we did it even though it cost us gigs all the time because we were outspoken. Certain places didn’t want us because they thought there would be protests against us or whatever. So we just did it our way. And, I think we have chronicled New York in particular and the US and Ireland over the last 25 years. If you want to know what was going on, you could just go to the Black 47 songs and you’ll know what we were thinking at that particular point in time.
SM: As a follow-up to that, with being so outspoken on political and social issues, have you met a lot of resistance?
LK: Oh man, physical resistance, yeah. Physical, mental, everything. Financial. The Iraq War between 2003 and 2006 was a nightmare for Black 47 because we had the songs from the Iraq album and every night we would do them and people would get up and walk out or smash CDs or stick their finger in the air and complain to the venues. But I always felt that it is patriotic to resist your government if you think the government is doing the wrong thing rather than just go along with it. That to me is nationalism, where patriotism is standing up for what you think is right even if it is not the popular view and Black 47 – that’s how we’ve done it. We probably would have had a little more success if we were more middle of the road, but we didn’t choose to be. I think Black 47 will become a bigger band when the band is finished actually because we stood for certain things and now it’s up to other people to do that. I don’t really see many bands coming in and doing that. So, I think there will be a nostalgia there. Well, not nostalgia but people will be interested in the band after we’ve gone, even more so than before. We’ve had plenty of attention.
SM: Well, after all that you’re still here 25 years later!
LK: Yeah, and that’s amazing to me because I never thought about that. I think one of the things I’m looking forward to is to let some of the memories come back in because for me, I’ve been at the center of this vortex – of this storm almost – of Black 47 for 25 years. There’s never been a moment down, always been very much stormy. Creatively it’s always been great which is a storm in your head too. So I think I’m going to take a couple of months and just let the whole thing sift in. I’m writing this history of Irish music and the last chapter will be this ending of Black 47.
Black 47 bowing one last time for Connolly’s in NYC, September 27, 2014
SM: One last parting though. If there was one Black 47 song, or album, that you could lock away in a time capsule for 1,000 years and have it listened to again when it is opened, what would it be?
LK: I think the “James Connolly” song. I didn’t really ever think of the songs… There were so many Black 47 songs. I just met a guy over here in the park who said his favorite song has always been “Orphan of the Storm” saying it meant so much to him and I’m thinking ‘wow that’s great!’ So different songs… songs are like children. If you work with them and you have them, they’re always important to you. But I think the “James Connolly” song – for one thing it’s radical and it’s a radical point of view at a time when the whole country is just so right-wing that it’s necessary to be there. But from a creative point of view, having the whole inner dialog in the song and what it’s meant to people (the song) over the years – I think I’d go with that one.
SM: Larry, thanks a lot for talking with us. It was great to hear everything you had to share.
LK: My pleasure man, thanks so much for having me.
With less than a month to their final show at the BB King Blues Club in NYC on November 15 (which is sold out), Black 47 only has a handful of appearances left including one last Upstate NY stop at the Towne Crier Cafe in Beacon, NY on October 26. Check out Black 47’s tour listings for details on their other final regional shows (with tickets still available) in the coming weeks at Wantagh, NY, Bergenfield, NJ, and NYC.
Southside Johnny & The Asbury Jukes played a rocking two hour set at The Egg on October 18. Although the venue wasn’t sold-out, everyone who was in attendance was either dancing in the aisles or dancing in their chairs. Southside played songs spanning his whole career and even took requests from the crowd. He was in a joking mood, mentioning how Buffalo has the worst snow in the world, New Jersey will transform Ebola into lobster like creatures because of their pollution, and how it’s impossible to find your way into The Egg itself. With more than 40 years under their belt, Southside and The Jukes show no signs of slowing down anytime soon.
Set 1: Angel Eyes, Forever, This Time Baby’s Gone for Good, Walk Away Renee, Harder Than it Looks, Key to the Highway, Strange Strange Feeling, Take it Inside, Rhumba & Coke, Got Me Where She Wants, This Time It’s For Real, Without Love, Some Things Just Don’t Change, On The Beach, Talk to Me, Working Too Hard, Passion Street, Fever, Trapped Again, Havin’ A Party
Encore: Ooh Poo Pah Doo, I Don’t Want To Go Home, Hearts of Stone
I could sit here and type a review of Pink Talking Fish who took Pink Floyd’s Dark Side of the Moon this past Saturday, October 18 at The Cutting Room in New York City and played it straight through while weaving Phish songs and Talking Heads song into the mix. I could tell about the smart pairings of “Life During Wartime” followed by “Time” and “The Great Gig in the Divided Sky”, where the “Great Gig” was sandwiched inside “The Divided Sky”. Or I could express how flawlessly the show sounded, far from rehearsed but fully in sync throughout the night, playing to an enthusiastic the crowd that danced harder with each segue in and out of selections from three historic bands.
But I think it’s best if you see them for yourselves this Friday at Putnam Den in Saratoga Springs. Pink Talking Fish never disappoints, period. Tickets are $12 at the door and Cosmic Dust Bunnies open at 930pm.
Setlist: Speak To Me>Breathe>Bathtub Gin>On The Run>Life During Wartime, Time>Breathe Reprise>Divided Sky>Great Gig In The Sky*>Divided Sky, Money**>Swamp**>Money**>Us And Them**>Tweezer>Any Colour You Like>Psycho Killer>Makisupa Policeman/Brain Damage Mashup>Burning Down The House>Eclipse*>Tweezer Reprise*
Encore: Crosseyed And Painless>Echoes>Catapult>2001>Moon Rocks**>Ghost>Echoes>Crosseyed And Painless
Béla Fleck and Abigail Washburn arent just virtuoso banjo players – they’re also husband and wife. Together, Fleck and Washburn employ the relatively rare 3-finger and clawhammer banjo duet to create an explosion of musical white heat. Add in Washburn’s voice and you have a night of musical magic waiting for you at Troy Savings Bank Music Hall on Friday, October 24.
These two banjoists have mastered the deceptively intricate art of the duet. Their performances embrace a diversity almost unthinkable – coming from just two banjos and one voice. Washburn’s beguiling composing, playing and singing blend with Fleck’s riveting and virtuosic musicianship to create music both unique yet familiar in texture.
Fleck is a 15-time Grammy winner who has collaborated with Chick Corea, Oumou Sangare, Zakir Hussain, Edgar Meyer, Dave Mathews, Earl Scruggs, and the Buffalo Philharmonic Orchestra for his Banjo Concert ‘The Impostor’. Washburn’s banjo has taken her far beyond the usual old-timey comfort zone, musically and geographically. An alumnus of Uncle Earl, the powerhouse all-female stringband, Abby’s adopted second homeland is China, and her music resounds with echoes of Appalachia and the tidal wave of emerging Chinese cultural influence.
Tickets for Béla Fleck and Abigail Washburn at Troy Savings Bank Music Hall are $25-42 and can be purchased at the box office or online.
Growing up in the 70’s and 80’s, the popular music of that time was an eclectic mix for certain. The politically driven folk type songs of the 60’s were being replaced with a fun mix of Motown disco and R&B, a new wave of synthesized pop, Southern and hard rock, a cross over at times from country radio and adult contemporary to the top 40, heavy metal and punk rock bands, and a taste of what we commonly refer to today as rap. During this time we also saw an influx of pop and rock from across the pond. These English artists brought to us some amazing music, and a culture all their own. Vinyl albums were purchased for their artwork, and listened to from start to finish introducing listeners to not only the popular music, but the B side which many times was as good if not better than those songs chosen for release by the record companies. It was a pleasure being able to grow up during this era and be open to listening to so many genres of music. Trying to pick just one favorite during this time period is near to impossible. However there are several favorites that come to mind, one being 
But I think it’s best if you see them for yourselves this 
These two banjoists have mastered the deceptively intricate art of the duet. Their performances embrace a diversity almost unthinkable – coming from just two banjos and one voice. Washburn’s beguiling composing, playing and singing blend with Fleck’s riveting and virtuosic musicianship to create music both unique yet familiar in texture.