Category: Regions

Rock and Roll Dominates The Great New York State Fair

With a wonderful start to The Great New York State Fair, we dug the rock and roll to bring more of what is to come. Already covering Days 1, 2, and 3, we couldn’t wait to get back out to bring you more of the outstanding line up scheduled for Fair attendees.

Bowzer’s Rock & Roll Party – Great NY State Fair Chevy Court

DAY FIVE – Rap, Rock , and Country Collide to an Explosive Show

Some basic musical math here – What do you get when you add Rap + Country + Rock & Roll? You get Kid Rock and Big Smo of course. Rocking the Grandstands on Day 5, this unlikely pairing of the Detroit rocker and Tennesee country star seemed a bit out of place, but this trend of marrying those artists from Motown and those from the country music capital of Nashville just seem to work these days. Big Smo came out and rocked the crowd getting them ready for the main event, Kid Rock. This guy has a presence and attitude I just wouldn’t mess with, adding to the reasons I think these two were the perfect pairing. Both are no nonsense, this is who I am, without apologies types. Delivering country in a hip hop rap style, Big Smo certainly has found a way to deliver his music his way, to an audience that eats it up.

As Kid Rock came out, he rocked the stage belting out hit after hit in his hip hop, rap, country southern rock style and he didn’t disappoint. Ever evolving, Kid Rock has made his mark on the music industry his own way with no excuses. With a career, including multiple hits, multiple awards, and such a diverse catalog of music for followers, he continues to grow in the music field, and also in his merchandising field with his hands into his latest venture of brewing up some “Badass Beer”. Kid Rock is about his fans. Taking a stand on increasing pricing for live show tickets during his 2013 tour, Kid Rock went against the current of increasing prices and all tickets were $20 with each beer was $4, and without fees associated if purchased through area Walmarts. This proved to be a huge success in increasing attendance and sales at shows, and putting the kibosh to out pricing tickets for regular joes who want to enjoy live concerts.

These two unlikely performers give the impression of being rebels, and going against the current upstream; however what you don’t see behind the scenes is they are two of the best business men in the business with talents of not only musical skills…but producing, acting, merchandising, writing, and so many other talents. This translates to the stage and the energy felt from this show once again solidifies that although genres may be completely different, entertainers unconventional, the music comes from the soul and no matter where it originated, and by whom, music is a unifying language.

DAY SIX – Rocking Around the Clock at The Great NY State Fair

Bowzer’s Rock & Roll Party. For those of you who are unfamiliar who Bowzer is, let me introduce you. Bowzer, also know as Jon Bauman, was part of the famous group Sha Na Na. Sha Na Na introduced new generations to the world of the 1950’s and 60’s, poodle skirts, and the emergence of rock and roll. As I looked around the full crowd sitting at Chevy Court, it was apparent that his charm and timeless tunes are still transcending generations and being enjoyed by those young and old. Bowzer & The Stingrays along with Rocky & The Rollers brought a few of their special friends to the Rock & Roll Party. Freddy “Boom Boom” Cannon, Johnny Cantardo (formerly of Sha Na Na), and the Duke of Earl Gene Chandler often joined Bowzer on the road over the years and on this day these gentlemen truly entertained the crowd with tunes such as “Lovers Never Say Goodbye” by the Flamingos, “Rocking Robin”, “Only Have Eyes for You”, and of course “Duke of Earl”. These spry young men still got it, and I must add Mr. Gene Chandler was one of the most dapper men I’ve ever seen with the greatest blue suede shoes ever made.

This was my first time seeing Jon ‘Bowzer’ Bauman live, and he didn’t disappoint. Being in the audience when Grease was first released in the theaters, his appearance in the movie was one of my favorite scenes of the whole film. The twist, the jitterbugging, and of course the Hand Jive was electric and timeless. If transcendence was a reality, I would have been right there with them. Those in attendance at Chevy Court received a free lesson and/or refresher course on how to Hand Jive, and as I looked around seeing the entire audience participating was a bit nostalgic.

http://www.youtube.com/watch?v=fY5pmzmiDO8?list=RDfY5pmzmiDO8

A little known fact about Jon Bauman: he is a classically trained pianist, studying at the acclaimed Julliard School of Music at the age of 12 in New York City. He treated the audience this day to a taste of Chopin’s etude in A- Flat Major, which was his mother’s favorite tune. Spectacular doesn’t begin to describe this moving performance. He is truly talented. His mother’s dream was to see him perform at Carnegie Hall. She was able to see this dream, as he joked  “Even if the music was ‘Shama Lama Ding Dong’.” Despite the humid temps and scorching sun, it was fun to watch these legends and the audience enjoy these timeless classics.

Over to the Grandstands on Day 6 we had The Wallflowers and Train. Opening to a full crowd, Jakob Dylan along with his band, The Wallflowers, came out ready to make their mark and leave an impression. Unlike their name, they certainly didn’t blend in like a wallflower, instead they stood out. Being the first time I’ve ever seen him, I found myself very drawn to Jakob’s unique voice. To me it was the perfect blend of the family tone with a Bruce Springsteen’esq sound to it. It was strong, yet sultry, and addictive; it a pleasant surprise. Taking the last few years to tour solo, Jakob was ready to get back together with the band and tour this summer. Being known as the son of a legendary musician has to be difficult. I admire and respect how he’s carved a sound and presence out for himself that makes him stand alone as the gifted musician he is. The first, but definitely not the last time I’ll catch a show with Jakob, for sure.

Warmed up and ready to hit the stage, Train barreled through onto the stage like the force they are. Emerging in the 1998 with their Top 10 hit “Meet Virginia”, these guys came right back in 2001 with the Grammy award winning song “Drops of Jupiter” solidifying their place in history as a force to be reckoned with. Here we are 16 years later, numerous hits, numerous awards, and miles and miles of touring on the road, Train is now known as one of the most loved groups out there today. With Pat Monahan on lead vocals, percussion, harmonica, acoustic guitar, trumpet, saxophone, vibraphone, megaphone; Jimmy Stafford on lead guitar, mandolin, ukulele, slide guitar, backing vocals; Jerry Becker on rhythm guitar, keyboards, piano, Hammond organ, slide guitar, percussion, backing vocals; Hector Maldonado on bass guitar, rhythm guitar, percussion, backing vocals; and Drew Shoals on drums these guys belted out hit after hit, with audience members singing along and rocking the Grandstands as though a freight train was barreling through.

Set List – Calling All Angels > 50 Ways to Say Goodbye >If It’s Love > Get To Me > Meet Virginia > Bulletproof Picasso > What Is And Should Never Be > Look To The Sky > Bruises > Save Me San Francisco > Free > Angel In Blue Jeans > Marry Me > Wonder What You’re Doing For The Rest of Your Life > Soul Sister > Drive By > Drops of Jupiter > Dream On ( Aerosmith)

Night Ranger – Getting pretty good at the dodging and weaving amongst the crowd, I high tailed it over to Chevy Court just in time to see the end of Night Ranger’s encore performance of “Sister Christian”. Wow! They still got it. With the crowd on their feet cheering and singing along, I managed to grab a few shots for the readers to see these legends in action.

Building on the momentum that had started this awesome entertainment lineup at The Great NY State Fair, I couldn’t wait to keep this going and capturing all the events planned ahead, all the sights there to see, and of course all the foods yet to try. Stay tuned as brings you more coverage of the 2014 Great New York State Fair.

September 12, 2014
The Nth Power Shares in the BuffaLOVE in Buffalo

smackdab singer Jon Marc Johnson

If you’re hip to The Nth Power, you know that they preach the power of love and have become a musical sanctuary for that message. Drummer Nikki Glaspie took some time during their set in Buffalo and told the crowd, “The purpose is to share love with all of you and to share love with the world because there’s not enough.” When the band made their stop last Friday before their Saturday night Chill, the group and city came out to share in the compassion for one another.

With anything love related, you have to be careful not to get in too deep, too fast. So let’s take a step back and start at the beginning, where most love stories start. The Friday night began on the earlier side for typical Buffalonians with Jamestown’s smackdab starting things just before nine. The band has been an area staple for funk for quite some time now and really knows their own strengths, playing to them specifically at shows. The group is fronted by vocalist Jon Marc Johnson whose strength and power has the ability to draw you in. The rhythm this group has is like none other in the area as they’re anchored by thick cuts from bassist Ryan Ecklund and precision stickwork from drummer Daniel Witherspoon. Their music though has so many different facets and that’s largely due to the melodies that are being crafted around everything.

During one particular section, keyboardist Mark Cooper laid down a heavy synth section that propelled a psychedelic drift into a borderline metal tear. The group may be heavy on the funk side, but they dabble and take some exploratory jamming out into other areas right in stride. At times, the band would slide into some more jam-heavy segments that were slow and droney, conjuring up sounds that were akin to Pink Floyd and The Doors having a funky little baby.

It was the perfect pairing for the night as the band’s sound complimented The Nth Power’s well and the crowd enjoyed the smackdab set overall. If we’re back on the topic of love though, this was simply the first date and Buffalo was already tripping over their words in anticipation for more.

For a little taste of smackdab, check out a video of their song “First and Main” from their set. The video is brought to you by our friends at Buffalo.fm.

As The Nth Power took the stage, Buffalo gave a warm welcoming to the group being that it was their first appearance in the Queen City. After a few bars of an intro, the band dove head first into “Spirits”, easily an early favorite with its haunting melody and fat bass line. It might’ve been early on in the relationship, but this band was not shy about bringing it early on. Percussionist Weedie Braimah played off of the rhythm from Nikki Glaspie, adding an incredible range of percussive sounds to the overall color of the song. With no setlists visible, it seemed as though this band was just going to feel its way through the set.

The Nth Power’s Nick Cassarino and Nate Edgar

While the drumming from Weedie and Nikki was a powerful force in and of itself, it seemed the crowd couldn’t take their eyes off of the front of the stage where guitarist Nick Cassarino bobbed and danced as he plucked his strings and felt every note through the expressions on his face. His energy and presence alone had the crowd charged and equally feeling the same emotions that Cassarino was going through. The excitement he brought not only fueled the crowd, but the band seemingly fed off of it as well, engaging each of them deeper into the music. Love usually takes time to develop, but when you’re this passionate, you can quickly fall head over heels for what’s being created, and the crowd in Buffalo that night was all in.

Throughout their set, you could tell that the band was communicating through a romantic language that was in the music vernacular. At one point, Nick Cassarino asked each member how they were feeling to which each responded with a strike of a key or a hit on their drum. They were feeling good and the eye contact and shared smiles were an easy indicator from the beginning. Not wanting to leave the crowd out, Cassarino also asked the crowd, “Does it feel good to you?”, to which the crowd responded with a heartfelt scream.

Nikki Glaspie of The Nth Power

It was easy to get swept away in the compassionate delivery of The Nth Power’s music. Each member added so much to the music itself, but also to the overall performance. Bassist Nate Edgar was another who you could physically see was feeling the music. As he swayed along to the beat, he would not only keep up rhythmically with Nikki Glaspie’s superb drumming, but also dance around the melody and support Nick and Nigel in where they were headed throughout a song. It’s a daunting task that Nate not only handled, but challenged the other band members at times with some colorful bass runs of his own.

When falling in love, there’s usually several factors that add up to the infatuation, and the same can be said about the band. It’s not just one member that does it, it’s their collective efforts that builds them up that high. At one point during their set, percussionist Weedie Braimah took a solo that really showcased his prowess and what he adds. The man was literally combing out a rhythm with his fingers on his djembe, pulling every possible note, yes I said note, that is possible through pure precision. A thrusting beat came barreling out of the solo with which drummer Nikki Glaspie and the rest of the band jumped on, bringing the remaining sitters to their feet. The band’s control over the mood and feel in the room was apparent as they could lift the crowd before gently laying them down. In the same way Cassarino’s axe could cut, his voice could simultaneously cull the deepest of woes with grace and pure empathy. Every part of this band fits together like a puzzle, filling in the proper gaps, while leave the right amount of space.

The Nth Power keyboardist Nigel Hall

The band wrapped up the lovefest with “Soul Survivor” as an encore, unleashing blinding rhythmic speeds and a guitar solo that was dropped like a bomb on the crowd. Since they initially walked off to a chant of “ten more songs”, I guess the band wanted to pack the power of ten into one. The power of love is strong and if you don’t know that, you need to check this band out and feel it for yourself. Leaving the venue, you could tell everyone still had butterflies in their stomach as they went through a rollercoaster of emotions and were walking on clouds being simply uplifted. There’s something special about this band and it’s amazing and exciting at the same time that this is only the beginning.

As mentioned earlier, “Spirits” was an early favorite from The Nth Power. Watch the video of the song here from that night:

smackdab:

The Nth Power:

After the show, The Nth Power was gracious enough to sit down with us for an interview. Here are some shots from after their set and the interview itself. We want to thank our friends at Buffalo.fm for all of the video from the night and to The Nth Power for taking the time. Buffalo and NYS Music love you right back!

September 12, 2014
Johnny Marr Bringing ‘Playland’ to Upstate New York and Beyond

Johnny Marr, known best for being a founding member of The Smiths, is about to release his second solo album Playland on Oct. 6 and is supporting the release with a nationwide tour.

Most notable for Upstate New York is the Tuesday Nov. 18 show at Upstate Concert Hall. Tickets are going to go on sale on Saturday Sept. 13 at 10AM and are only going to run you $20. This show is part of WEQX‘s 30th anniversary celebrations being the voice of independent music in the Capitol Region.

The only other Johnny Marr in New York shows will take place on November 12th at The Gramercy Theatre in New York City and Nov.15 at The Music Hall of Williamsburg in Brooklyn. Other shows in the area include Nov. 14 at The Stone Pony in Asbury Park, NJ and Nov. 16 at The Paradise in Boston, MA. Tickets for these shows will be going on sale Friday Sept. 12. Johnny is a tremendous guitarist and song-writer and all of these venues are a great way to see a talent such as his in such intimate venues. The first single from the album, “Easy Money” can be seen below.

September 12, 2014
Fitz and the Tantrums Electrify at Water Street Music Hall

Fitz And The Tantrums brought loads of emotion and punch to Rochester’s Water Street Music Hall on Sept. 2. Opening with “Get Away” the fans knew immediately that they were in for a high-energy show. Together, the voices of lead vocalist Michael Fitzpatrick and backup vocalist Noelle Scaggs created an undeniable heat that fired through the crowd.

Photo © Kelli Marsh

Fan favorites “Out of My League” and “Don’t Gotta Work It Out” had the audience singing every word across the floor and balcony. Fitzpatrick and Scaggs have an electric connection that buzzed through the air at Water Street. They kept the poppy pace going and the fans bumping from start to the encore finish. The catchy hits, “Moneygrabber” and “The Walker” closed out an enthusiastic performance.

Photo © Kelli Marsh

Setlist: Fitz and the Tantrums Water Street

Setlist: Get Away, Don’t Gotta Work It Out, Break The Walls, Breakin’ the Chains of Love, Keeping Our Eyes Out, Spark, Sweet Dreams, Out of My League, Fools Gold, 6am, Tell Me What Ya Here For, L.O.V

Encore: Moneygrabber, The Walker

September 11, 2014
moe.down 15 Goes out With a Bang as Festival Season Draws to a Close

As with all of the 14 years prior, this summer’s moe.down 15 festival held in Turin, New York was nothing short of a remarkable live music gala featuring acts from Upstate NY and across the country. This festival would not be in existence however, if it were not for moe. themselves. moe. has not only become a pioneer of the jam-rock genre, but the band has also influenced the festival scene like few others. Turin’s beautiful Snow Ridge Ski Resort has been the host of this event for 13 years now and has seen many different types of performers from all genres, but with one common theme… moe.!

The Snow Ridge Ski Resort, nestled just outside of Turin, is a prime location for such a festival. The area is somewhat secluded, with several parallel ski slopes serving as the festival grounds. Though smaller than previous years, the camping areas are located on the slopes along either side of the main venue. The main slope serves as a natural stadium, where festivalgoers can look out over the grounds and the two stages at the bottom of the hill. Though sometimes a hazard during heavy rains, this past Labor Day served up just the right kind of weather for a festival. As to be expected at any festival, there was some rain, but it came briefly in the wee hours of the morning on Sunday and did not seem to cause any issues for campers.

moe.down is not just your run-of-the-mill festival. In times where festivals try their best to get as many artists as possible, sometimes with upward of one hundred performers, moe.down keeps their lineup small, allowing artists to play two or three sets. This may not seem like big deal, but for anyone who has attended, they know that it gives listeners the opportunity for much more depth in their musical experience. Instead of festivalgoers seeing new band after new band and getting a bit overwhelmed in the process, one can get to know a band over the weekend by watching multiple sets and seeing how versatile a band’s music can be and how they have evolved as a group.

On Friday, Aug. 29the music began just after 6pm, but most campers had gotten there much earlier, some even showing up a full day before the festivities started. It did not take long for the adjacent hills to turn into a small tent city, especially since the main campground space had been cut nearly in half compared to previous years, eliminating one whole ski slope as a camping option. Ohio’s The Werks kicked off the fest with the first of their three sets. This jam quartet played almost their entire repertoire, as they alternated sets with Lotus and moe. themselves. The Werks played many of their popular songs including “Duck Farm”, featuring high-energy solos from lead guitarist Chris Houser. One of the group’s most distinct elements in their music is the presence of the electronic synthesizer and sound manipulations, creating what has been called “Psychedelic Dance Rock”. Each set proved to be more impressive than the last with several cover,s including a great rendition of “Pink Panther” that was a real treat for all in attendance.

Jam seemed to be the only thing on the menu Friday night as Lotus took to the stage, asserting themselves as one of the powerhouses of the genre. With a unique hybrid of jam/rock and electronic dance music, Lotus never fails to keep the crowd on their toes and dancing wildly, even after the music stopped. Similar to The Werks, Lotus incorporates many electronic samples that can be enjoyed by everyone, from classic jam fans to younger drum and bass lovers. After the dueling Lotus and The Werks sets, the air became heavy with anticipation as the moment everyone had been waiting for drew near. Yes, of course, that meant none other than moe.! The Upstate legends made their way to the Mountain Stage for their first set of the weekend and all the moe.rons (the name given to the die-hard moe. fans) were in a frenzy. There was not an unsatisfied person in the venue as moe. performed a set that can best be described as a “Meat sandwich.” moe. began with their song “Meat”, a song with a heavy rock feel that is filled with screaming guitar solos, lightning fast bass playing, and intense percussion throughout. This was a common theme throughout the set, returning to “Meat” in the middle and then ending the night with one final mighty “Meat” jam. There would have been no better way for the band to open the weekend and really get the party started.

moe.down has two very special groups that are there to support festivalgoers of all backgrounds. The first is a women’s support group, the Yodeladies, who have a tent set up in the venue to aid women in whatever way they can. The other group, the Happy Hour Heroes, is also there for those who choose to remain drug and alcohol free and need support and information on that choice. Both groups get their names from moe. songs, “Yodelittle” and “Happy Hour Hero.” The festival grounds is also filled with many vendors selling their local and handmade goods, as well as ecofriendly products made of various recycled materials. Though there is not an art gallery on the grounds like some other fests, the Snow Ridge Ski Resort has ski lifts running all weekend for those wanting to get a better view of the festival. From atop the slopes, one can see the beautiful rolling hills and Western Adirondacks of the surrounding area and it is a perfect spot to catch the sunrise and sunset.

American Babies started things off on Saturday with two sets of their soulful rock and roll, with Conehead Buddha playing in between. Conehead is known for their large presence with eight musicians on stage, creating an extremely energetic sound that is a mix of ska and funk. moe. wasn’t far behind, playing their first afternoon set, which seemed to be a warm up for their double feature later in the night.

Though the weekend was mostly filled with jam/rock performances, one act that certainly set itself apart was Les Claypool’s Duo De Twang. Claypool is known for his following of what might be best called “eclectic and extraordinary fans”, and his music clearly shows why. Best known for his music with Primus and Oysterhead, his Duo De Twang was much different, providing a much more mellow bluegrass and folk/blues feel, covering Jerry Garcia and playing some traditional Canadian songs. There was something a bit off with Les that day however. Maybe it was his lack of fondness for the hippie crowd or something personal, but his loyal fans could easily tell something wasn’t right. At one point, mid-performance, he stopped after attempting some of his famous “fancy finger waggling” and apologized to the crowd saying, “the devil’s inside me no longer”, referencing his inability to play the bass like he used to. The rest of the set was rather odd, with a lot of talking about his life and what seemed to be a hint of sadness. He ended by playing his South Park theme song several times and “Jerry Was A Race Car Driver”, one of his hit songs with Primus, before stopping not a minute after he was scheduled to end. Many including myself were somewhat baffled and hope that the devil will find his way back into Les’ fingers once more.

Saturday’s jams were far from over though, with up-and-coming festival favorites Twiddle playing three sets on the get.down stage. The trio’s endless jams explored the limits of jam, rock, and some of their own renditions of the classics, including a medley of “Somewhere Over The Rainbow” with their song “When It Rains It Poors”. Between Twiddle’s sets, the late ’90s Gypsy punk rockers Gogol Bordello showed they still have all the energy they did fifteen years ago. The crowd was belting out the lyrics with the band to “Break The Spell” and “Wunderlust King”, and then finishing the set by yelling “Goodbye Forever!” as the band exited the stage in a dramatic fashion.

moe. came in with a bang, starting off with “Bullet” and its lyrics, “We are all waiting, for the main event.”, but it was obvious that this was in fact it. They were later joined by the Conehead Buddha brass section with moe.’s song “Nebraska” before ending their second set. Before the third and final set of the evening began, moe. guitarist Chuck Garvey took center stage to thank all who helped make the festival possible and all those in attendance for coming out. He finished by saying just how special moe.down was to him and the band, and that it was the highlight of their year. The third set saw some variation, starting off slow and bluesy and then morphing into a lighter Caribbean feel with Rob switching basses and Al getting out his double neck guitar. Then, for a very special solo, Chuck broke out a talkbox, an instrument used by Peter Frampton that allows the player to manipulate an instrument’s sound by using a plastic tube held in their mouth. Towards the end of the set, the Conehead Buddha horns reentered with a Paul Simon cover and “Threw It All Away”.

All the moe.rons were partying extra hard Saturday night and into Sunday morning, despite the filling in of “The Ditch”, an iconic part of the moe.down festival. There were even a few sorrowful chants of “Where’s the ditch?!”, but there were still a good number of people paying tribute to it by dancing atop the mound of gravel that now stands in its place. It seemed that most people were still asleep at noon when Wild Adriatic began their first set. Slowly, people made their way to the venue for Jerry Douglas Band’s bluegrass led by Jerry himself on the dobro. Staying on a somewhat blues theme, Soulive took to the Mountain Stage. The band is made up of Alan Evans of Alan Evans’ Playonbrother, his brother Neal who is typically seen with Lettuce, and is led by guitarist Eric Krasno, known for his work with Lettuce as well. The band played several songs off their album Rubber Soulive, and you could tell by the look on Krasno’s face that his sweet yet sorrowful solo during their cover of “Eleanor Rigby” came from somewhere deep within.

There was more in store for the bluegrass lovers at the fest with Al and Vinnie of moe. performing with one of their side projects, Floodwood. The group made their first appearance on stage at moe.down several years ago, bringing together veterans of the string-band world for this all-star ensemble. The moe.rons were especially excited to see their favorite moe. musicians and they burst into applause as mandolin player Jay Barady jumped down into the crowd for a solo during “It’s A Long Way To Virginia”.

It was right back to the electric jams after Floodwood, with O.A.R.’s rock and Americana tunes. The band covered Sublime’s “Pawn Shop” and ended with an incredible medley of “Revolution” and Bob Marley’s “No Woman No Cry”. Upstate’s own, Aqueous performed two sets, playing “Can’t Stop, Won’t Stop” just to make sure that no one in the crowd was thinking about going home early. Their groove-rock was a perfect recipe for dancing, letting festivalgoers let loose one more time before the weekend was over. Aqueous’ set was nothing short of over the top intensity as the mountain resonated with their infectious rhythms and solos.

It was then finally time for what could be either called the best or worst moment of the weekend… moe.’s final sets. After ending their second to last set with “Water”, the crowd didn’t budge as all the moe.rons made sure they locked down their spot for the second jam. Aqueous played for only about 30 minutes before giving way to moe. to finish things off. It was all about Chuck for the final set and the crowd could not be kept quiet. He led things off with “Puebla” and soloed for what seemed like an eternity, shredding every note as if it would be his last. There were only about five songs, each about fifteen or twenty minutes long, but it was an outstanding exhibit of the musicians’ impressive endurance. The guys took a short break to announce this year’s moe.down Mayor as the infamous “Rex”, much to Rob’s dismay, before returning to their final song. It seemed only right that moe. ended moe.down 15 singing the words “I’ll find my way back to you” from their song “Rebubula”. You could tell that the crowd wanted more, but the were only left with fireworks as they smiled thoughtfully, thinking about the unforgettable weekend that they had just taken part in.

It was another great year for moe.down and the moe.rons with good vibes and good music supplied all around. The Snow Ridge Ski Resort was happy to be home to moe. and we hope it will continue to host this great Upstate fest for many years to come.

All Photos by: Chris Cleary

FRIDAY

SATURDAY

SUNDAY

September 11, 2014
Hearing Aide: Ryan Adams

“Nothing much left in the tank/ somehow this thing still drives/ forgot what it needed/ but somehow it still survives” sings Ryan Adams on “My Wrecking Ball”.

On his self-titled album, Adams has so far gone into rekindling the flame of a past romance that he burns himself in the process. With a Robert Smith sense of emotional claustrophobia, he irrationally vacillates between holding on and letting go, insisting “it’s a slippery slope hanging around a wishing well”. Unlike his past records Easy Tiger and Cardinology, that are doused layers of almost too-slick production, his vulnerability is well translated into his no-frills self-produced live sound, which serves as an elaborated albeit less embellished sequel to the 2004 “Come Pick Me Up”.

Though there are no harmonicas on this album, there are prevalent traces of how dizzyingly happy this relationship once made him in his hesitation to move on. From the raw lyrics of “Shadows” to the palpable anguish in “Am I Safe”, Adams plays the part of a man who has drowned himself in a relationship to the extent he has lost perspective. He is in limbo, engulfed in nostalgia induced from taunting memories. On “Kim”, you can find him scratching a name on the wall of a Sycamore tree, and you too can hear names ringing like false alarms. Part reverie of love, part haunted account of a paradise lost, he is human, lost in limbo. “I can’t stand/ can’t let go/ underneath my feet it’s miles/ Nowhere to go”.

Shadows of his 2004 album Love Is Hell also linger on this record in the way his ability to maintain balance is eradicated. However, he trades in the extra fuzz and greasy guitar work for catchy melodies in straightforward arrangements. He is even ready to the play the fool to renounce time and retrieve the past on closer track “Let Go”: “Cross your fingers behind your back and lie to me/ Tell me it’s ok and you’ll fix everything.”

As wonderwalls rise and fall and leave him without hope of redemption, there is barely an illusory entity left of Adams. As he sings on the leading single,”Gimme Something Good”, it’s like ‘there’s no tomorrow/ barely yesterday’. Ryan Adams fans, this album might not be as radio friendly as Gold, but you’re definitely in for something good. This album delivers.

Key tracks: My Wrecking Ball, Kim, Let Go

Ryan Adams’ self titled album is available for download now.

September 11, 2014
Brooklyn and Albany combine as The End Men kick off their tour at The Low Beat

Thursday, September 11th, the rock will invade Albany at The Low Beat. From the ashes of Valentines, this new venue over on Central Avenue has risen, and has already brought some great live acts to the area. This night aims to be no different, as some locals and some out of town bands will help send off The End Men on their two week tour of america.

Photo by The End Men

Henry’s Rifle, straight out of Albany, will bring his one man, dirty rocking banjo music to the stage. Fresh of of the Muddy Roots festival in Tennessee, and poised to drop his brand new album, “Barroom Weather” very soon, his rackus, infectious sounds will surely brighten your day and get you ready for the night.

Sun Voyager, out of Orange County New York, will be slinging psychedelic garage rock licks at the audience in full helpings. Usually hitting the Brooklyn scene, it will be a treat to see them in Albany, alongside such luminaries of local rock and roll. They are part of King Pizza Records, and definitely check out their Bandcamp if you haven’t already.

Charmboy, another Albany based band, are a product of the no nonsense rock and roll of the 70’s and they are proud to produce guitar laden rock without gimmick or pretense. Tight riffs and tasty jams will feed the hole in your soul where rock and roll lives. They will be sure to do what they do best; melt faces and hearts alike with their pure inspiring music.

The End Men Fall Tour

The End Men, from Brooklyn New York, definitely call Albany their home away from home at this point. Joining up with the fine collective of musical folks at Built4BBQ, they have made the pilgrimage upstate a number of times to great crowd response. The two piece, though rumoured to be rounded out by a mysterious saxaphone player for this tour, bring an incredibly huge sound with them wherever they set up shop. They have been tearing up stages in America as well as Europe for over four years now, and they show no signs of taking a break. Each time they come to this area they try out new material, engage the crowd on and off the stage, and make for an immersive experience full of their own brand of psycho dirty blues laden rock and roll.

Show starts at 8PM at The Low Beat, for only 5 dollars. Check out the Facebook event.

September 10, 2014
First Listen: Ocupanther ‘III e III’

is happy to share the first listen of Ocupanther’s new single “III e III”. Ocupanther hails from Rochester and first came onto the scene in 2011. Three of the four members of this quartet played together for years as regional touring band Pia Mater.

A change in direction for that band and the addition of long time friend and shred wizard Mike Pantano birthed Ocupanther. Data Stretching will mark the third studio release for the band after 2012’s Troncoso and 2013’s Progressor. Keep an eye on for a full review of the new release and enjoy “III e III” while you wait.

Upcoming Ocupanther dates:

Sept 13th – Night Lights Music Festival – Sherman, NY

September 26th – Temple Bar & Grill – CD Release Celebration – Rochester, NY

Oct 2nd – Tralf Music Hall w/ Giant Panda Guerilla Dub Squad – Buffalo, NY

Oct 7th – Montage Music Hall- w/ New Mastersounds – Rochester, NY

Oct 18th – Westcott Theater w/ Electron – Syracuse, NY

Nov 1st – Lovin’ Cup’s Hallo-Palooza – Henrietta, NY

Nov 21st – Flour City Station – Rochester, NY

September 10, 2014
Hearing Aide: Black 47 ‘Last Call’
One last musical statement. One more dance on the New York City skyline. One last call for Black 47. New York’s Black 47 released Last Call on March 4, 2014 and it is just that: their last call.

After 25 years the band made a decision to stand down while they are still going strong and to reinforce that fact made a final musical statement with a solid 13-track album.

For the loyal Black 47 fan and new listeners alike, Last Call beckons the ears into a fire of music still burning strong 25 years after the band’s first recording. It’s fresh, relevant, and not repetitive while keeping strong roots in Irish heritage. By no means does it sound like the band has plans of standing down following this album; however it does bring things full circle by incorporating a little bit of everything from the styles the band has composed with over their career – rock, punk, reggae, and even a splash of Latin music for something new. In line with the band’s Irish Republican sympathies, the lyrics on some songs are not shy on political and social commentary.

A strength of the album in its composition is a tightness that can be heard in the rhythm section. This is an element that hasn’t been much of a focal point of a Black 47 album since Home of the Brave 20 years ago. Frontman Larry Kirwan encouraged Joe Burcaw to be more upfront with his bass lines on the recording, something that’s particularly noticeable on “Let the People In” featuring a short slap-bass breakdown in the middle of the song. “Just go for it Bearclaw!” was Kirwan’s attitude on it. On each song, it is hard to miss how much this element adds to the overall experience of listening to the album, filling out a rich and robust sound. In fact, it makes listening to the album with the volume dial turned up one more notch rather fun.

It is worth mentioning one of the key elements that has defined Black 47’s sound over the years. On Last Call, the trombone, sax, uilleann pipes, and flute lines are not shy in defining their role in the arrangements. Whether fast-paced technical licks that weave in and out of each other or subtle harmonies that compliment the core of the band, this section is plays a vital role in the sound of the album.

Black 47 has always been open about their music, encouraging recording and photography without restriction. Furthermore, they share their lyric and chord sheets online along with other notes and commentary on their own music. Kirwan has written a few of his own remarks and stories on each track of Last Call which can be found here. While you can check out the song stories, here are a few of our thoughts on the tracks here at :
1. Salsa O’Keefe: A Latin-inspired tune that gives a fun tale of a Puerto Rican/Irish woman living in the Bronx who “steams up the neighborhood” with her Irish half. Nice and smooth it’s a great song to break the Last Call ice on a first listen.
2. Culchie Prince: From Burcaw’s punching groove bass intro, we’re quickly lead into a jig with Joe Mulvanerty’s pipes that sets the scene for the story of a chap from the outskirts of Dublin (a “culchie”) and a working class girl from Dublin.
3. Dublin Days: A fairly simple straight-ahead rock tune, “Dublin Days” plays along the lighthearted theme as a follow-up to “Culchie Prince” by talking about the nighttime college scene there. It makes you want to spend some time hanging out in Dublin.
4. US of A 2014: What’s not to want about the American Dream? A longer-than-typical day of work at a desk job fresh out of grad school? Black 47 makes their political/social statement about the younger generation entering the workforce and state of affairs surrounding it with the lyrics presented mostly in a spoken word/rap style.
5. The Night The Showbands Died: The most profound song on the album, it tells of the Irish Showband scene in the 1970’s before diving into the tragic events of the Miami Showband Massacre on July 31, 1975. The arrangement of the song, musically and lyrically, makes it ring far. The ascending guitar riffs accented with trombone, sax, and pipes create a solemn tone overlain with lyrics about the innocence of the showband music scene. A faster break in the song gives a feeling of chaos as we hear a frantic exchange between the Miami showband and UVF members before returning to the chorus from earlier in the song.
6. Johnny Comes A Courtin’: How about some Irish reggae? Taking a stab back at Cromwell’s dealings with Ireland in the 1600’s, Black 47 gives us a story of a young Irish woman sold off as a slave to harvest sugar cane in Jamaica, only to find love with an African slave and unable to consult her father back home for advice. This is a clear nod to the early days of reggae/ska.
7. Let The People In: Let’s call this one flute-funk, driven by a funky bass line and featuring a breakdown of slap-bass and a flute solo.
8. Lament for John Kuhlman: This one is a short instrumental, but a curious mind would question the meaning behind it. A pretty little tune introduced by a music box, this one is short tribute to a collaborator and friend of Fred Parcells (trombone). Its placement before “St. Patrick’s Day” makes it feel like an introduction to that song.
9. St. Patrick’s Day: This one drives fast with half-time feel choruses that will make you want to get up and dance like it’s St. Patty’s Day in the Bronx.
10. Queen of Coney Island: This is one of the musically easier listening tracks on the album featuring some jazz-rock overtones, melodies driven by the horns, and a brief soprano sax solo from Geoff Blythe at the peak of the song. It fits well in telling the story of the “queen.”
11. Shanty Irish Baby: Syncopated rhythms and a simple bass line give a dash of slow/relaxed rockabilly that fits well with the lyrics that express the love for a simpler woman than the uptown champagne-sippers.
12. Ballad of Brendan Behan: Black 47’s final recorded tribute to a notable Irish figure, this time writer, poet, and Irish Republican Brendan Behan. You’ll want to raise a pint in Brendan’s honor as you listen to this one.
13. Hard Times: A song that has stood the test of time since first written for the middle class by Stephen Foster in 1854 and recorded by many, Black 47 leaves us with “Hard Times” as their last ever recorded studio track. Perhaps a phrase Black 47 wants to ring on their legacy, hard times come again no more. Black 47’s take on this tune makes it rank amongst the many great versions out there.
Last Call is an album with its heart as much in New York as it is in Ireland – a testament to a pond-spanning musical bridge Black 47 has created in the rock genre between Ireland and the States. It is an album Black 47 fans are thankful for – one more genuine collection of new songs before they part ways. Black 47 may soon be a thing of the past, but Last Call is a bastion of music and prose that will help carry on their legacy.

Key Tracks: The Night the Showbands Died, Culchie Prince, Johnny Comes A Courtin’

Black 47 wraps everything up on November 15^th at the B.B. King Blues Club in Manhattan with less than two dozen scheduled shows before then, including one at the Irish 2000 Festival in Ballston Spa, NY this Saturday September 13, one at Connolly’s 45th Street location in Manhattan on September 27 and at the Towne Crier in Beacon on October 26.
September 10, 2014
The New Mastersounds and Orgone Meet in the Middle

One band from Leeds, England and the other from Los Angeles.

Meeting in Buffalo last Wednesday, Orgone and The New Mastersounds packed The Tralf for a soulful throwback with a good helping of funk thrown in for good measure. With one making the far trip east across the U.S. and the other coming west across the pond, Buffalo was treated to a perfect pairing of solid musicianship all on one stage.

Frontwoman Adryon De Leon

Orgone kicked things off, and while they may have opened the show, this is FAR from your typical opening act. The band came onstage Wednesday night and laid it right out for the Queen City, jumping into a tight melody that rode along the rhythm and combined to pull at people’s feet and sway their hips. The band blends funk and soul in a very classic, yet powerful way, emitting a surplus of energy that immediately powered the crowd. The Wednesday night audience was sparse at the release of the first note, but had the floor covered by the time the song wrapped up.

Singer Adryon De Leon joined the band onstage after the start, gracefully stepping up to deliver her powerful voice. She didn’t let the crowd have it right out of the gate, opting to ease in with a soulful, yet jazzy hook. Her full capabilities were quickly realized by the city’s funky fans. The diva commanded the stage with her presence and elevated the already incredible musicians who backed her.

The band was able to walk around the venue before the show started without many noticing, but that is sure to change after the performance they put on. The sitters were soon standers and standers quickly became dancers. Their sound was the catalyst to a shift in energy in the room. Other music websites must not have caught an Orgone show yet, because this band is without a doubt worthy of a mention when talking about the Top 10 Current Funk Acts if you’ve seen them live.

The enthusiastic crowd that filled the place on Wednesday let the band know how they were feeling during any lull in the action, screaming and encouraging the band to keep it up. Orgone’s throwback sound was refreshing and deeply intoxicating. The way the instruments played off of De Leon’s voice left many with eyes closed, fully embracing the sound. In retrospect, the West Coasters damn near stole the show.

De Leon sat out for a few songs, allowing the rest of the talented group to share in some of the spotlight. All around, this is a special mix of people, from guitarist Sergio Rios to percussionist Chuck Prada who ripped a solo all his own earlier in the night. As De Leon stepped back out though, her quickly developed fan group cheered her back on. Her multifaceted approach was showcased through her ability to groove through low-end melodies and belt out highs that sent the crowd reeling.

Keyboardist Dan Hastie

Before finishing their set, guitarist Sergio Rios said, “That’s what it feels like to love.” Surely it was a setup though as the blistering solo he saved for the final song completely blindsided the crowd. He just let us have it, throwing everything he had through the six strings of his guitar. With how powerful of a set overall, and especially in closing, this band put on, it wouldn’t surprise me if Orgone packed the same room on their own next time they come back.

The New Mastersounds were up next and did not have an easy act to follow. Guitarist Eddie Roberts’ suave and dapper attitude was quickly exuded though as he setup, letting everyone know that they were up for the challenge.

Kicking the night off, the band immediately showed the crowd their stripped down and organic approach, while simultaneously filling the room and proving the old adage of “less is more” to be true. With little to no introduction, the band went from the first song into “Dusty Groove”, leaving only a rhythmic reset in-between. This may have been the first date of their U.S. tour, and also the first time they had played together in over two months, but the crowd would have been oblivious if the band hadn’t told them. The four-piece from across the pond settled in rather quickly with no visible rust.

Drummer Simon Allen and bassist Pete Shand were tightly synced from the start, becoming even more intertwined as the show wore on. Their direction provided a moving treadmill that the other two members had to jump on with their melodies. While the lengthy break might be a detriment to some bands, The New Mastersounds seemed to be actually using the reunion to their advantage with an excitement you could feel through their music.

In true testament to how rhythmically tight this band is, Eddie Roberts played a tambourine with his foot as he started the opening line of “Morning Fly” through his ’65 Gibson hollow body guitar. As Eddie ripped through jazz scales, Simon built the beat while the remaining members would join for support. The undeniable swell captivated the whole room and pushed everyone to dance harder into the night. It was as though the band just picked up their musical conversation right where they left off. And just like a renewed friendship has those exciting moments, so too did this night with the entire band sharing smiles with the crowd when they would particularly nail a segment.

As individuals and collectively as a band, their simplistic approach utilized spacing as tension that fought an incessant rhythm. By laying back, the band drew your ear in and allowed the music to breath before taking off again. As they launched into the opening track “Old Man Noises” from their latest album Therapy, the band brought an unmatched ferocity to whatever song they damn well chose. Organist Joe Tatton threw his heavy Hammond overtones out into space while Eddie took that same foot he used for the tambourine and turned it loose on his wah pedal, creating a tremelo effect on an incredible rendition of that song’s solo.

Many people were caught deeply entrenched in the music throughout the night. The positive and soul-quenching material was absorbed by everyone who happened to venture out and written across their faces even after it came to a close. It may have been a trip for both bands, but the crowd was thankful for the night of music and everything the bands put forth on stage. As for the battle of who had the better set, well, it would be a tie in this writer’s eyes, but you can decide for yourself…

Thanks to our friends at WNYmedia Network, we have audio of both band’s full sets:

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All Photos by Thomas Sgroi

September 10, 2014