On a night celebrating 20 years of a free South Africa, The Swyer Theater at The Egg played host to a once in a lifetime show – Hugh Masakela and Vusi Mahlasela performing South African selections in an intimate setting. To start the night, Vusi Mahlasela took the stage alone, playing “Ubuhle”, a speedy bike ride after a slow climb on a guitar that sounded like a harpsichord with a hint of sitar. Joined after by Francis Fuster (percussion), Ian Herman (drums), Bakithi Kumalo (bass, who, along with Herman and Fuster kept a consistent beat throughout the night), Mongezi Ntaka (guitar) and finally, Hugh Masakela, the audience rose up to thunderous applause and welcomed the sound of South Africa to the stage.
Ubuntu, translated as ‘humanity towards others’, was mentioned for the first time this evening, prior to the song “Meadowlands”, featuring a jazz groove, Vusi’s vocals and Hugh’s trumpet. Hugh then spoke about how much of a privilege it was to play in Albany, and thanked Albany for their role in the anti-apartheid movement, likely referencing the 1981 protests against the South African rugby football team who came to Bleeker Stadium to play against a local club. Nods and rumbles of agreement echoed through the theater, as Hugh told us that tonight we would hear songs of love, protest, tradition, and revolution.
The legendary Mama Africa, Miriam Makeba, had her name invoked prior to “Thanayi”, pointing out that some form of beauty was to be found within all of us. Hugh performed in Troy, NY in the mid-90s with Makeba, a memorable experience that more than a few audience members chatted happily about in the theater lobby before and after the show. The cowbell intro to “Grazing in the Grass”, the most easily recognizable of the night’s songs, highlighted the trumpet once again as Masakela performed double-duty between the two instruments. “Weeping”, containing the melody from “Nkosi Sikelel’ iAfrika” (the South African national anthem at a time when South Africans could not sing their own anthem under apartheid), was one of the more passionate and emotional songs of the evening. The lyrics reference moving past the anger over apartheid, rather than seek revenge after years of injustice:
It doesn’t matter now / It’s over anyhow / He tells the world that it’s sleeping / But as the night came round / I heard it’s lonely sound / It wasn’t roaring, it was weeping
As Masakela said early in the evening, “Forgiveness – all men should wear it like a crown.”
The show continued with “Say Africa”, an active crowd sing-along; Johnny Clegg’s ode to Nelson Mandela, “Asimbonanga”, clearly a more emotional and life affirming song for Hugh and Vusi, followed by “When You Come Back”, which told the story of the gold trains that traveled from countries in south and central Africa to Johannesburg, bringing miners to work 16 hour days. Hugh imitated the train whistle and screech eerily well, the tone of his voice and the threatening pace of the beat conveying the passions towards the exploitation of labor.
Naturally, the final songs of the evening would be more upbeat, and with Masakela saying to the crowd “Shake your bootie for all those old geezers” (a reference to Mandela and those he was sentenced to life in prison with), the crowd rose up and danced, waved their arms and sang “Bring him back home to Soweto”. For the final ten minutes, there was nonstop music, dancing and band introductions. An encore of “Pata Pata” was prefaced with an apology from Hugh, “Sorry, but you have to stand up and boogie harder”, the band singing “Dance, dance, dance, what a party!” and sending the crowd out with broad smiles and beaming with energy.
Professing the philosophy of Ubuntu throughout the night, Mahlasela and Masekela mentioned its many elements – love, helpfulness, neutrality, variety, and the redistribution of morals, knowledge and skills – throughout their music, a common theme that tied the night, audience and band together.
Hugh Masakela and Vusi Mahlasela, The Egg, Albany, NY – October 7, 2014
Setlist: Ubuhle, Meadowlands, Thanayi, Miyela Afrika, Grazing in the Grass, Weeping, Say Africa, Asimbonanaga, When You Come Back, Stimela, Bring Him Back Home, Unomeva
Wicked Cool Productions and Hoplite announced this week a New Year’s Eve gathering of friends, family and eclectic, high energy artists to ring in the New Year at the Hudson Valley Resort & Spa in Kerhonkson, NY, the home of Rock n Roll Resort events. This one-day Winter festival/slumber party, hosted by Turkuaz finds the band and promoters have packing the 27 hours between doors on 12/31/14 and check out time on 1/1/15 with a broad range of music spanning multiple genres and the most user-friendly situation possible. Fans are offered many room, meal, beverage and VIP plan options, all adding up to a very special gala affair of great music, dancing, food, libations, festive attire, costumes, mirth, and likely a bit of mayhem.
The Ball Drop is based on the concept of Rock n Roll Resort, a unique, intimate music experience designed by fans for fans and quickly becoming the ultimate music destination event for the festival lifestyle set. Rock n Roll Resort’s rising popularity is in many ways tied to the ideal setting of the Hudson Valley Resort & Spa, an expansive, inviting and intriguing grand resort nestled in Shawangunk Mountains of New York. Just 90 miles from New York City, the Hudson Valley Resort & Spa is sited on 400 wooded acres adjacent to Minnewaska State Park and surrounded by gorgeous Catskill views. Guests can enjoy the fitness room, arcade centers, jacuzzi, sauna and steam rooms, heated indoor pool, on-site shopping and more.
The lineup for The Ball Drop was put together with Hoplite and Wicked Cool Productions, featuring Brooklyn-based funksters Turkuaz; The Primate Fiasco, who will kick off the event; Mister F, who bring live electronic beats with force; the roots-reggae-punk sounds of Western Mass’s Danny Pease & The Regulators; Spiritual Rez, who bring an incredible reggae/ska/roots sound that is full of energy; Manhattan-based “Middle Eastern Sci-Fi-Fusion” band, Consider The Source, and finally Tauk, with heavy instrumental rock fusion to usher in the first morning of 2015.
Room packages, VIP Rockstar passes, and NYE tickets go on sale October 15th at rocknrollresort.com
The Rock and Roll Hall of Fame has announced their nominees for induction in 2015. Voting is now open at their website for fans to weigh in with their opinion. As usual, there will be much discussion over who has been left-out of the balloting, and why some of those included were selected. This year’s nominees include a wide variety of genres, continuing the sometimes confusing traditions of The Hall.
The Paul Butterfield Blues Band – American rock and roll collides with Southside Chicago blues. Chic – A powerful combination of groove, soul and distinctly NYC studio smarts. Green Day – Perennial punk adolescents, true to the basement and garage-rock band ethos. Joan Jett and The Blackhearts – A potent mix of hard rock, glam, punk and garage rock that’s relevant in any era. Kraftwerk – The foundation of all synthesizer-based rock and roll and electronic dance music. The Marvelettes – Motown’s first official Number One hit makers. N.W.A. – Massive influence, sonic power and boundary-smashing perspective. Nine Inch Nails – The sounds and sights of transgressive art launched into the mainstream. Lou Reed – Forty-plus years shaping the sound and the sense of contemporary music. The Smiths – Four band-mates, five years, four albums and a vast sphere of influence. The Spinners – One of the world’s most beloved R&B vocal groups. Sting – A singular worldview reflected in a broad musical palette. Stevie Ray Vaughn – A fiery show-stopper who influenced a generation of blues players. WAR – A steamy mix of blues and soul, rock and R&B, built on a strong Afro-Latin foundation. Bill Withers – A unique composer and vocalist, with songs that spoke for everyone.
The top five artists, as selected by the public, will comprise a fans’ ballot that will be tallied along with the other ballots to choose the 2015 inductees. There have been 29 previous Induction Ceremonies that produced a total of 726 people in the current Hall of Fame comprised of 304 Inductees, including 108 bands so far. Out of these, 18 have been inducted twice and Eric Clapton stands alone with three inductions.
Located lakeside in Cleveland, Ohio, the Hall of Fame has become a must-see destination for fans of music across the country and around the world. A pilgrimage to “The Hall” provides visual and auditory delights for fans of all genres of music.
(Band descriptions courtesy of The Rock & Roll Hall of Fame)
Legendary classic rock and hall of fame act The Who will be celebrating 50 years of music with an extensive 2 leg tour through most of 2015. Windmilling guitarist Pete Townsend apparently has big plans for the tour: “Trying to stay young. Not wearing socks. Growing a great big woodcutter’s beard. Might even wear a check shirt on stage and get a tattoo of a Union Jack. Always a fashion victim. But under no illusions. We are what we are, and extremely good at it, but we’re lucky to be alive and still touring.”
Will this be the last hurrah for the pinball wizards? According to Roger Daltry “This is the beginning of the long goodbye.” While that certainly leaves the true retirement date way up in the air, it’s probably advisable to get to one of these shows before the end is nigh. New Yorkers will have four chances to do so with dates in Uniondale (May 20) Brooklyn (May 26) Forest Hills (May 30) and a fall date at party central – Madison Square Garden (Oct 27). Tickets for leg one shows go on sale to the general public Oct 17th. Pre-sales are available via the bands fan club Oct 11, if you’re not currently a member you can sign up here.
The Who 2015 Tour
LEG ONE
Wed, April 15 Tampa, FL at Amalie Arena
Fri, April 17 Miami, FL at American Airlines Arena
Sun, April 19 Jacksonville, FL in Jacksonville Veterans Memorial Arena
Tue, April 21 Raleigh, NC in PNC Arena
Thu, April 23 Duluth, GA at The Arena at Gwinnett Center
Mon, April 27 Austin, TX in Frank Erwin Center
Wed, April 29 Houston, TX in Toyota Center
Sat, May 2 Dallas, TX in American Airlines Center
Tue, May 5 Kansas City, MO in Sprint Center
Thu, May 7 St. Louis, MO Scottrade Center
Sat, May 9 Louisville, KY KFC Yum! Arena
Mon, May 11 Nashville, TN in Bridgestone Arena
Wed, May 13 Chicago, IL in Allstate Arena
Fri, May 15 Columbus, OH in Nationwide Arena
Sun, May 17 Philadelphia, PA in Wells Fargo Center
Wed, May 20 Uniondale, NY in Nassau Coliseum
Fri, May 22 Atlantic City, NJ in Boardwalk Hall
Sun, May 24 Uncasville, CT in Mohegan Sun Arena
Tue, May 26 Brooklyn, NY in Barclays Center
Sat, May 30 Forest Hills, NY in Forest Hills Stadium
2015 TOUR DATES – LEG TWO
Mon, September 14 San Diego, CA in Valley View Casino Center
Wed, September 16 Anaheim, CA in Honda Center
Sat, September 19 Las Vegas, NV in Colosseum at Caesars Palace
Mon, September 21 Los Angeles, CA in STAPLES Center
Wed, September 23 Oakland, CA in Oracle Arena
Fri, September 25 Portland, ORModa Center
Sun, September 27 Seattle, WA in KeyArena
Tue, September 29 Vancouver, BC in Pepsi Live at Rogers Arena
Thu, October 1 Calgary, AB in Scotiabank Saddledome
Sat, October 3 Edmonton, AB in Rexall Place
Tue, October 6 Saskatoon, SK in SaskTel Centre
Thu, October 8 Winnipeg, MBMTS Centre
Sat, October 10 Minneapolis, MN in Target Center
Tue, October 13 Milwaukee, WI in BMO Harris Bradley Center
Thu, October 15 Chicago, IL in United Center
Sat, October 17 Detroit, MI in Joe Louis Arena
Mon, October 19 Toronto, ON in Air Canada Centre
Wed, October 21 Toronto, ON in Air Canada Centre
Fri, October 23 Pittsburgh, PA in CONSOL Energy Center
Sun, October 25 Newark, NJ in Prudential Center
Tue, October 27 New York, NY in Madison Square Garden
Thu, October 29 Boston, MA in TD Garden
Sun, November 1 Washington, DC in Verizon Center
Wed, November 4 Philadelphia, PA in Wells Fargo Center
On a night celebrating 20 years of a free South Africa, The Swyer Theater at The Egg played host to a once in a lifetime show – Hugh Masakela and Vusi Mahlasela performing South African selections in an intimate setting.
To start the night, Vusi Mahlasela took the stage alone, playing “Ubuhle”, a speedy bike ride after a slow climb on a guitar that sounded like a harpsichord with a hint of sitar. Joined after by Francis Fuster (percussion), Ian Herman (drums), Bakithi Kumalo (bass, who, along with Herman and Fuster kept a consistent beat throughout the night), Mongezi Ntaka (guitar) and finally, Hugh Masakela, the audience rose up to thunderous applause and welcomed the sound of South Africa to the stage.
Ubuntu, translated as ‘humanity towards others’, was mentioned for the first time this evening, prior to the song “Meadowlands”, featuring a jazz groove, Vusi’s vocals and Hugh’s trumpet. Hugh then spoke about how much of a privilege it was to play in Albany, and thanked Albany for their role in the anti-apartheid movement, likely referencing the 1981 protests against the South African rugby football team who came to Bleeker Stadium to play against a local club. Nods and rumbles of agreement echoed through the theater, as Hugh told us that tonight we would hear songs of love, protest, tradition, and revolution
The legendary Mama Africa, Miriam Makeba, had her name invoked prior to “Thanayi”, pointing out that some form of beauty was to be found within all of us. Hugh performed in Troy, NY in the mid-90s with Makeba, a memorable experience that more than a few audience members chatted happily about in the theater lobby before and after the show. The cowbell intro to “Grazing in the Grass”, the most easily recognizable of the night’s songs, highlighted the trumpet once again as Masakela performed double-duty between the two instruments. “Weeping”, containing the melody from “Nkosi Sikelel’ iAfrika” (the South African national anthem at a time when South Africans could not sing their own anthem under apartheid), was one of the more passionate and emotional songs of the evening. The lyrics reference moving past the anger over apartheid, rather than seek revenge after years of injustice:
It doesn’t matter now / It’s over anyhow / He tells the world that it’s sleeping / But as the night came round / I heard it’s lonely sound / It wasn’t roaring, it was weeping
As Masakela said early in the evening, “Forgiveness – all men should wear it like a crown.”
The show continued with “Say Africa”, an active crowd sing-along; Johnny Clegg’s ode to Nelson Mandela, “Asimbonanga”, clearly a more emotional and life affirming song for Hugh and Vusi, followed by “When You Come Back”, which told the story of the gold trains that traveled from countries in south and central Africa to Johannesburg, bringing miners to work 16 hour days. Hugh imitated the train whistle and screech eerily well, the tone of his voice and the threatening pace of the beat conveying the passions towards the exploitation of labor.
Naturally, the final songs of the evening would be more upbeat, and with Masakela saying to the crowd “Shake your bootie for all those old geezers” (a reference to Mandela and those he was sentenced to life in prison with), the crowd rose up and danced, waved their arms and sang “Bring him back home to Soweto”. For the final ten minutes, there was nonstop music, dancing and band introductions. An encore of “Pata Pata” was prefaced with an apology from Hugh, “Sorry, but you have to stand up and boogie harder”, the band singing “Dance, dance, dance, what a party!” and sending the crowd out with broad smiles and beaming with energy.
Professing the philosophy of Ubuntu throughout the night, Mahlasela and Masekela mentioned its many elements – love, helpfulness, neutrality, variety, and the redistribution of morals, knowledge and skills – throughout their music, a common theme that tied the night, audience and band together.
Hugh Masakela and Vusi MahlaselaSetlist: Ubuhle, Meadowlands, Thanayi, Miyela Afrika, Grazing in the Grass, Weeping, Say Africa, Asimbonanaga, When You Come Back, Stimela, Bring him back home, Unomeva
If you’re in the Tar Heel State this December, be sure to have yourself a Muley little Christmas, Christmas Jam XXVI that is.
Gifts come a little early as Warren Haynes26th Annual Christmas Jam is scheduled for Saturday, December 13. The renowned guitarist has hosted the event since 1989, donating the proceeds to charity; Habitat for Humanity has been the beneficiary since 1998. While Warren brings his soulful guitar-playing Upstate to Hunter, NY for Mountain Jam every summer, his hometown of Asheville, North Carolina gets him during the winter holiday season. Haynes’ relentless work ethic and benevolent personality have helped the event grow each year and Christmas Jam now takes place at the 7,500+ seat U.S. Cellular Center.
Kreutzmann’s new super-group, Billy & The Kids, features The Disco Biscuits’ keys/piano guru Aron Magner, Tea Leaf Green bassist Reed Mathis, and American Babies’ Tom Hamilton. Magner and Hamilton’s chemistry was recently on display at Catskill Chill, where they played with fellow Disco Biscuit Marc Brownstein and Lotus’s Mike Greenfield as Electron. Magner also sat in during Hamilton’s American Babies set for a fantastic cover of the Dead’s “New Speedway Boogie;” with Kreutzmann running the show and Mathis joining in, fans can expect a killer set.
Country Music Hall of Famer Vince Gill makes his inaugural trek to Christmas Jam in 2014. Gill has a GRAMMY award for each finger and toe on his body and will add a twang of country to the Southern rock show. Drive-By Trucker Jason Isbell, whose own award collection includes this year’s Americana Music Awards for Artist of the Year, Song of the Year (“Cover Me Up”), and Album of the Year (Southeastern), brings his talent to Asheville as well.
The initial lineup is rounded out by Hard Working Americans and The Revivalists. Like Billy & The Kids, Hard Working Americans is another all-star band, consisting of singer/songwriter Todd Snider, Chris Robinson Brotherhood’s Neal Casal on the six-string, Widespread Panic’s Dave Schools on bass, Derek’s younger brother Duane Trucks on drums, Jesse Aycock on the steel guitar, and Chad Staehly on keys. Their 2014 self-titled debut album features 11 cover songs, and Asheville is their penultimate scheduled stop on a national tour. The Revivalists is a New Orleans group with a brass section and a huge sound. The band plays soulful funk that sparks dance parties. Christmas Jam is their final stop on a national tour reaching 20+ cities.
The aforementioned musicians alone would put on an incredible show, but there will be many more artists announced in the coming weeks. Pre-sale tickets go on sale October 13 and regular tickets become available October 17. They always go fast, so be sure to treat yourself to a happy holiday by joining Warren’s incredible event.
The Fleetwood Mac reunion tour has just begun and already has been expanded well into 2015. The shows will feature the return of long time member Christine McVie whom – sans a quick two show stint in 2013 – has not been active in the band since 1998. The North America centered tour will run at least into April of next year with dates all across the US and Canada.
Upstate fans can look forward to a triple dose of Mac and McVie with dates in New York City (Jan 22 Madison Square Garden) Uniondale (Jan 25 Nassau Coliseum) and Buffalo (Jan 31 First Niagara Center). Tickets to all these shows are bound to sell out, so if you want to catch this rare reunion of one of classic rocks greats, do not delay.
Fleetwood Mac 2014-2015 Tour
10/10 – Boston, MA @ TD Garden
10/11 – Newark, NJ @ Prudential Center
10/14 – Pittsburgh, PA @ Consol Energy Center
10/15 – Philadelphia, PA @ Wells Fargo Center
10/18 – Toronto, ON @ Air Canada Centre
10/19 – Columbus, OH @ Nationwide Arena
10/21 – Indianapolis, IN @ Bankers Life Fieldhouse
10/22 – Auburn Hills, MI @ The Palace of Auburn Hills
10/26 – Ottawa, ON @ Canadian Tire Center
10/31 – Washington, DC @ Verizon Center
11/01 – Hartford, CT @ XL Center
11/10 – Winnipeg, MB @ MTS Centre
11/12 – Saskatoon, SK @ Credit Union Centre
11/14 – Calgary, AB @ Scotiabank Saddledome
11/15 – Edmonton, AB @ Rexall Place
11/18 – Vancouver, BC @ Rogers Arena
11/20 – Tacoma, WA @ Tacoma Dome
11/22 – Portland, OR @ Moda Center
11/24 – Sacramento, CA @ Sleep Train Arena
11/25 – San Jose, CA @ SAP Center
11/28 – Inglewood, CA @ The Forum
11/29 – Inglewood, CA @ The Forum
12/02 – San Diego, CA @ Viejas Arena
12/03 – Oakland, CA @ Oracle Arena
12/10 – Phoenix, AZ @ US Airways Center
12/12 – Denver, CO @ Pepsi Center
12/14 – Dallas, TX @ American Airlines Center
12/15 – Houston, TX @ Toyota Center
12/17 – Atlanta, GA @ Philips Arena
12/19 – Ft. Lauderdale, FL @ BB&T Center
12/20 – Tampa, FL @ Tampa Bay Times Forum
01/16 – St. Paul, MN @ Xcel Energy Center
01/17 – Lincoln, NE @ Pinnacle Bank Arena
01/20 – Grand Rapids, MI @ Van Andel Arena
01/22 – New York, NY @ Madison Square Garden
01/24 – Atlantic City, NJ @ Boardwalk Hall
01/25 – Uniondale, NY @ Nassau Coliseum
01/28 – Providence, RI @ Dunkin’ Donuts Center
01/31 – Buffalo, NY @ First Niagara Center
02/03 – Toronto, ON @ Air Canada Centre
02/05 – Montreal, QC @ Bell Centre
02/07 – Uncasville, CT @ Mohegan Sun Arena
02/08 – Newark, NJ @ Prudential Center
02/11 – Des Moines, IA @ Wells Fargo Arena
02/12 – Milwaukee, WI @ BMO Harris Bradley Center
02/14 – Chicago, IL @ Allstate Arena
02/17 – Louisville, KY @ KFC Yum! Center
02/18 – Cleveland, OH @ Quicken Loans Arena
03/01 – Austin, TX @ Frank Erwin Center
03/07 – Charlotte, NC @ Time Warner Cable Arena
03/08 – Knoxville, TN @ Thompson-Boling Arena
03/11 – Little Rock, AR @ Verizon Arena
03/12 – Oklahoma City, OK @ Chesapeake Energy Arena
03/15 – Charlottesville, VA @ John Paul Jones Arena
03/17 – Greensboro, NC @ Greensboro Coliseum Complex
03/18 – Nashville, TN @ Bridgestone Arena
03/27 – St. Louis, MO @ Scottrade Center
03/28 – Kansas City, MO @ Sprint Center
03/31 – Wichita, KS @ INTRUST Bank Arena
The building once sat as an abandoned Fleet Bank until a vision, the spark of an idea and a push for arts and cultured community events came to fruition through the eye of WAMC President and CEO, Dr. Alan Chartock. The grant funded venture became a reality when it opened its doors in September of 2002 with Branford Marsalis Trio as the very first guests. As an extension of WAMC, a public broadcast radio station, The Linda provides a unique and intimate concert space and performing arts studio.
The goal was to expand the station’s ability to provide on-air performances both live and recorded. The Linda is a performance space, a broadcast studio, and a cultural arts center. Programming includes music, film, workshops, debates, and community events. A focus being on the local exposure to notable filmmakers, actors and musicians with genres such as roots, classical and jazz, The Linda is a perfect listening room. The Linda was affectionately named after long-time supporter of WAMC, Linda Norris, however, let it be known that it is correct only to refer to the space as The Linda – WAMC Performing Arts Studio.
The small space brings the artist and listener together in a way that creates an engaging experience. Often, there are CD signings following a show. Being a 210-seat facility, the experience is intimate and personal. A highlight of The Linda is that shows are scheduled early enough so that folks are out to enjoy the club scene, which is beginning to take shape on Central Ave with Pauly’s Hotel and The Low Beat next door. The Linda is located on a section of Central Ave that is a very diverse part of town with multi-cultural restaurants nearby. Being that a large focus of The Linda is connecting arts and culture with the community, the locale is perfect. There is a small cash bar and The Linda is available to rent.
No matter your own personal intention for visiting The Linda, whether it is a comedy show, a political debate, a music event or a play, you will like what you hear.
In the world of hard rock and heavy metal, there are drummers, and then there is Vinnie Paul. Starting up his first project in 1981, which would soon become the game-changing metal band Pantera, Vinnie has been delivering crushing drum beats for three solid decades. When tragedy struck in 2004 while playing with Damageplan, it was unclear if Vinnie would ever play drums again. But you can’t take the music out of the man, and soon Hellyeah, a veritable metal supergroup, was formed in 2006 with Vinnie once again behind the kit. interview
On the recent Five Finger Death Punch and Volbeat tour, Hellyeah brought their incredible sound and heavy presence in support every night. When the tour came to The Times Union Center in Albany New York, I was lucky and honored to be able to talk with Vinnie about the road, the band’s newest record, and the future. Because of a scheduling error, Jim Gilbert and myself were rushed into a small back room with a broken cooler and a chair, and were warmly welcomed by rock royalty.
Vinnie Paul (Hellyeah, Damageplan, Pantera) and Jeff Ayers (NYSMusic)
Jeff Ayers: So how has this tour been going? I’ve been following you on social media, it looks great.
Vinnie Paul: Absolutely awesome. One of the favorite tours I have ever been a part of. Every band is different from each other, and unique from each other. It’s been sold out, or nearly sold out every night, and it’s a great opportunity for us to play to a lot of people that have never seen us, and to play to people who have seen us before. It’s just been awesome man. Five Finger and Volbeat have been treating us great, and we are all really good friends, everybody gets along, so everybody’s having a great time.
JA: That’s great. Speaking of social media, you really do a lot on the internet.
VP: I try to keep the fans informed as much as I can.
JA: You definitely do, and speaking from people who came up in the music business before all that, was that easy for you to pick up, or did it take some getting used to?
VP: You just have to catch up, you know? Back in the day it was word of mouth. “You gotta check this band out”. This guy went and told this guy, and that guy went and told these girls, and those girls went and told their friends. Five people told ten people, and that is how it spread. Nowadays you can touch so many people with just a touch of the button, it’s incredible.
JA: Recently in the press, Gene Simmons said Rock is Dead. Your band, and this tour, is direct opposition to that statement. In your own opinion, what do you believe is the current state of rock music?
VP: I think Gene was speaking from a different perspective. We are talking about, if you wanna look at the bands that are still headlining huge festivals and stuff, it’s still KISS, it’s still Motley Crue, it’s still Metallica. It’s the same bands that were doing it fifteen or twenty years ago. There hasn’t been any bands that have stepped to the forefront to be as big as those bands. So that’s where his perspective is coming from. But as far as rock and metal being dead, there is no way it will ever die. It is the greatest form of music there ever was, people love it and still support it. Sometimes it goes through phases of more popularity or less popularity, unfortunately with all the downloading that goes on it is harder and harder for artists to tour, especially young bands that are just coming up. But there are still people who are out there fighting, we are here, Five Finger is here, Volbeat is here, there are a lot of great bands out there doing this. I’m not going away from it. It has changed a ton from when you would buy Pantera albums, and not CD’s and all that, but you either get in line with or you fucking fall by the wayside.
Album Cover
JA: Very true. As a drummer, and from maybe a non-metal area, what are some of your lesser known influences? Maybe something that drives you from the beginning of your career, or music that you have found as your career has taken you places?
VP: I’m a fan of any kind of music except hip-hop. Hip-hop just doesn’t do anything for me. I grew up listening to a lot of country and western, a lot of David Allan Coe, Waylon Jennings, and stuff like that. And, you know, all the bands from Texas; Kings X, Stevie Ray Vaughn, Edie Brickell and The New Bohemians, all that stuff was really influential and good to go watch at an early age. I don’t think there are any big ‘secrets’ as to something in my [music] vault that you don’t know anything about. I love female singers. I like Christina Aguilera, and I like the Heart sisters. Lzzy Hale, from Halestorm is an amazing vocalist, Pat Benetar, so maybe that’s something people didn’t really know.
JA: Lots of great music. Pat Benetar is actually going to be [in Albany] very soon. So this just hit me, because you mentioned David Allan Coe, how did the album that you guys did [Vinnie, his brother Dimebag Darryl and Rex Brown from Pantera] with David Allan Coe come about? What’s the story behind Rebel Meets Rebel?
VP: Well it’s really crazy. Like I said, my brother and I used to hear him [a lot], he was one of my mom’s favorite country artists back in the day. My brother went over in 1999 to see David Allan Coe play at a place called Billy Bob’s in Fort Worth, Texas. So, you know, we always would take our Pantera CD’s and DVD’s with us to pass them off to people, and Dime actually stood in line, the meet and greet line, for David Allan, and he stood there with like a hundred people and he was at the end of the line. So when he got up to David he said “Hey man, I know you don’t know who I am or anything, but I play in this band Pantera and I love your music, and I wanna give you a DVD, and maybe we can get together and write some songs sometime.” So Dime gave him his phone number, and the next day about eight o’clock in the morning, Dime said his phone rang, and he said there was this country dude on the phone and [laughs, in his best David Allan impression] “Hey man, this David Allan Coe” and Dime was like David Allan Coe? At eight o’clock in the morning? What’s going on?
Jim Gilbert: I would not think he would be up at eight in the morning.
VP: Yeah, right? [laughs] But he was like, “I just watched this DVD you gave me man, and you guys are like the fucking Beatles of fucking 1999 man! When are we gonna get together and start writing some songs?” That is basically how it happened. So he came into town, and everytime he would come to town after that we would write a few songs with him. This happened like four times and by that point we had enough stuff for a record, and we finished it. At that time, we were doing Damageplan, and the fans were really confused as to what had happened with Pantera, and we didn’t want to confuse them further, so we put it on the shelf. Then, after the horrible thing that happened with my brother, it took me about eight months to get my life together, and the first thing that came to me was man, Dime was really proud of that album, and I gotta get it out for him, you know? It was really important to me, so I started my own label and put it out, and it did really well.
JA: Yea, I love that record.
VP: Thank you. Honestly, it was the first true collaboration between a heavy metal outlaw band and a country outlaw together. Some people had done it with a single or something, but that was the first full length record.
JG: Also, country music influencing metal right now, is so popular, there is such a blend.
VP: Yeah there is a great crossover there, for sure.
JA: So back to Hellyeah. Blood for Blood, marks in my opinion, the best, most coherent version of the band to date.
VP: Thanks man.
JA: Did you guys go into the studio with that mindset, or was that born from the recording process?
VP: Well, we felt like we got back on track with what we wanted to do, and what the fans wanted us to do, being a metal band. The first two records were really experimentally, doing things outside of what we had done with Nothing Face, Mudvayne and Pantera, and songs like “Alcohaulin’ Ass” and “Hell of a Time” were songs that wouldn’t work in those bands. So once we got that out of our system, we got back to doing what are roots are, which is metal, with Band of Brothers. Once we finished the Gigantour last year with Megadeth and Black Label Society, we felt like we pulled the heavy fans back in. We wanted to get in the studio and make the best record of our careers. At that time, that is when we realised that Greg [Tribbett] and Bob[Zilla] didn’t have the same vision or focus, and they both had serious personal issues that were taking away from the band, so we parted company. So myself, Tom [Maxwell] and Chad [Gray] wrote the entire record with a brand new producer [for us] Kevin Churko, and he really understood the vision we had and we made the best record we ever made, so we are really proud of it.
JA: You should be, it is a really great record. You said that the track “Say When” is the first time you have written a drum part that extreme since the Far Beyond Driven days. Do see more parts like that in the future?
VP: Yeah man, especially with the direction we are going, it allows for more drumming, and heavier stuff. Like I said, the other records, the earlier Hellyeah was more rock and roll influenced, so it required me to be more of a back beat on things. Going back in the metal direction, it gives me more freedom as a drummer to tear it up and do more.
JA: Awesome! What’s next for Hellyeah after this tour?
VP: Well we have a long tour to go, this is only the tenth show! [laughs]. So this goes until November, then we will be off until New Years Eve, with a show I can’t talk about yet, and then next year is a whole year of touring. Definitely a tour of the U.S., Europe again in the spring, we will be going to South America, Japan, all that and non-stop touring until probably October next year, then back to the studio and do it all over again!
Better By Morning is the creation of Jake Brooks (vocals, guitar, bass, keys) and Johnny Gravitt (Lead and rhythm guitar), they’ve released their first EP You Say. It’s aptly titled as many listeners will have much to say after hearing this.
Joining them on this EP are Roy Stein on drums of, My Plastic Sun and Jet Black Berries and Johnny Cummings, organ on tracks 1 & 3, also a member of My Plastic Sun and Jet Black Berries, their live performances feature Bradley Paquet (bass) and Kyle Squires (drums). Stein and Cummings come to the band through Nazareth College where Brooks is a student and Stein a Professor and Director of the Music/Business program, quite the interesting combination. Stein was enlisted to help finish the EP after their previous drummer departed and the multitalented Cummings was introduced to the equation by Stein. Together they’ve created a frankly stunning first release, bolstered by the nimble ears and fingers of Cody Niver at CGI Studios in Ontario, N.Y. and Tim Lynch at The Recording Company, Albany, N.Y. Track 2 was mastered by Joe LaPorta at Sterling Sound and the balance by Cody Niver at CGI Studio. Deftly talented artists’ each, the end result is even, yet dynamic with an underlying impulse for a number 11 on the volume knob.
If you have any knowledge (and you should) of Stein and Cumming’s work in their bands My Plastic Sun and Jet Black Berries, you’ll know these are two of the most remarkably talented individuals working from the Rochester area. To have them participate and speak as highly of Brooks as they do says volumes of what is in store from Better By Morning. Like Cummings, Brooks is a multi-instrumental talent, his voice is both commanding and sensitive, its depth belies his age. The band hails from lovely Saratoga Springs, N.Y., so having surroundings that inspire are certainly falling in their favor. The strength of his musical partnership with Gravitt is clearly evident and they’ve set a high bar for themselves. The hallmark of great pop and rock are big guitars, Gravitt provides the needed licks to accentuate and power the sweet melodies. Better By Morning has implied that planning for another EP is already in the works, but that’s for later, let’s get right to their current offering.
While they’ve chosen “alternative” as the box to click genre wise, the songwriting duo of Brooks/Gravitt prove it’s much more than that with their lyrical and musical flexibility that conjures the energy of an early U2 with Coldplay intellect and diversity. The opener “Bird Won’t Fly” really lays it out there with a solid hook, soaring vocals and a driving rhythm, immediately listenable and repeatable. “Sell” has a Franz Ferdinand feel, the syncopated guitar and layered harmonies rise and fall into the breathy verses.
“Hearts” is pure melodic power-pop in spades, it hits on every cylinder from the call and respond vocal to the rich instrumentation. The mix is so even that the bass pushes the melody line while the drums pacing is bright and on top of it, swelling with the guitar and urging the emotive delivery from Brooks. Very dynamic and well-engineered. “Pages” sounds like the built-in single, the catchy guitar riff, the easily assessable lyric, it pushes, bounces and urges motion within the listener. Trademark stuff for well-hewn power-pop.
The closer, “Change Your Mind” gives Gravitt a chance to really cut it loose and get outside of the box a little. While his subtlety throughout the earlier songs is within the formula and fitting, there’s always space and frankly need, for that signature riff. I’d like to hear more of it. The restraint demonstrated by each player throughout is admirable, they obviously have the chops to run-over each other trying to grab the limelight. It shows a great deal of maturity and thoughtfulness to avoid that trap and work as a cohesive unit.
Key Tracks: Sell, Pages, Change Your Mind
I believe there is a ton of room for growth with Better By Morning, I also believe that there is another personality they take on when they play live. They’ve just announced an opportunity to see just that at Bug Jar in Rochester on November 11. Details on the show and their EP are available at their many social media and internet outlets, their website, facebook, twitter
Ubuntu, translated as ‘humanity towards others’, was mentioned for the first time this evening, prior to the song “Meadowlands”, featuring a jazz groove, Vusi’s vocals and Hugh’s trumpet. Hugh then spoke about how much of a privilege it was to play in Albany, and thanked Albany for their role in the anti-apartheid movement, likely referencing the 1981 protests against the South African rugby football team who came to Bleeker Stadium to play against a local club. Nods and rumbles of agreement echoed through the theater, as Hugh told us that tonight we would hear songs of love, protest, tradition, and revolution.
The legendary Mama Africa, Miriam Makeba, had her name invoked prior to “Thanayi”, pointing out that some form of beauty was to be found within all of us. Hugh performed in Troy, NY in the mid-90s with Makeba, a memorable experience that more than a few audience members chatted happily about in the theater lobby before and after the show. The cowbell intro to “Grazing in the Grass”, the most easily recognizable of the night’s songs, highlighted the trumpet once again as Masakela performed double-duty between the two instruments. “Weeping”, containing the melody from “Nkosi Sikelel’ iAfrika” (the South African national anthem at a time when South Africans could not sing their own anthem under apartheid), was one of the more passionate and emotional songs of the evening. The lyrics reference moving past the anger over apartheid, rather than seek revenge after years of injustice:
