NYS Music 20​14

Category: Regions

  • The Mad Tea Party Jam: A Mason-Dixon Funk Fest

    From June 19-22, eager festival goers from up and down the East Coast jumped down the rabbit hole into The Mad Tea Party Jam. Down Tally Ho Lane, miles from the nearest town of Hedgesville, West Virginia, Ashton Farms sits among rolling Appalachian hills and has been the home to the festival since its inception in 2012. The party started Thursday and raged all weekend, driven by jazz, funk, and good ole’ rock n’ roll. It rained on and off all weekend, yet no one’s tempers were dampened.

    Thursday

    Turkuaz took the stage for the first nighttime set at 8 p.m. Thursday night. This Brooklyn band puts out huge sound. The band consists of two sax players, a guitarist, bassist, drummer, a trumpeter/synth player, and a synth player/guitarist. Then there are the ladies—both of whom shake the tambourine, sing, and shake it on down. The group’s uplifting jazzy funk started drawing people to the crowd as then sun came out just in time to go down. Playing to the crowd at hand, Turkuaz cranked up the weird meter for their sundown set; if Rick James and the Queen of Hearts hosted Mardi Gras, Turkuaz would’ve led the parade. Smiles were contagious and bodies were jiving as Turkuaz set the tone for a weekend that would be full of grooving and jamming.

    Pigeons Playing Ping Pong, a Baltimore 4-piece with 2 guitars, a bassist, and drummer, followed Turkuaz. Funk is their menu, and this band serves it up hot, whether you’re ready or not. They played a heavily psychedelic improvisational set, tightly casting out and reeling back in jams. Bassist Ben Carrey and drummer Dan Schwartz held the tempo while guitarists Greg Ormont and Jeremy Schon fed off each other as tunes poured out. Ormont’s hopeful singing pitch soared during a joyous rendition of their original song “Julia”. They closed the set with Tukuaz’s Greg Sanderson and, artist at large, Ron Holloway joining in on the tenor saxes as the Pigeons reminded everyone they’re just here to “F-U…N-K!”

    mad tea party jamNext up, Dopapod kept the funk ball rolling, playing upbeat, dark dance rock. A unique cover of Alanis Morissette’s “You Oughta Know” may have been the night’s highlight; the crowd sang the familiar lyrics as approving looks of surprised delight were shared with neighbors. The band welcomed their original drummer Mike Angelo on stage for “Roid Rage” and Ron Holloway came back out (this would be a theme all weekend) for a saxy version of “Priorities”. Guitar virtuoso Fareed Haque—who, along with Consider the Source’s Gabriel Marin, was one of two men rocking a double-necked guitar this weekend—offered his talents for a scorching version of “Bahbi”. For the set finale, the band played “Trapper Keeper” while TAUK drummer Isaac Teel relieved Scotty Zwang, Turkuaz’s Craig Brodhead took over on the guitar, and Consider the Source’s bassist John Ferrara manned the bass – combining to form Consider the TurTAUKapod. Rob Compa reappeared on guitar first, soon followed by Zwang, and the jam was kicked up a few notches. Ferrara stayed up with the rest of Dopapod, slapping an entrancingly fast and funky bass solo before handing off to Chuck Jones to end the 25 minute “Trapper Keeper” and a great first Dopapod set.

    Around 12:30 a.m., Dopapod stepped down and TAUK smoothly cut in on the neighboring stage. The instrumental quartet of Long Island natives represented the Empire State admirably and is sure to reach another level with the release of their new album Collisions in July. Drummer Isaac Teel, having already showcased his talent during a particularly technical section of “Trapper Keeper”, proved he is TAUK’s rock during their first set with his tight, snappy, concise style of delivering the beat. Alric “Ace” Carter also demonstrated his value on the keyboard; while the band constantly floated in an emotional, exploratory rock space, it was often Ace’s infliction on the keys that determined the mood a given song would take on—exulting or ominous, adventurous or reverent. While Teel and Ace were the backbone all weekend, Charlie Dolan shined on the bass and Matt Jalbert brought it all together on the guitar. The band’s chemistry was evident; they’ve been playing together for 10 years, dating back to middle school. Their powerfully raw rock left the crowd TAUKing at the end of night one.

    mad tea party jamFriday

    The first full day began with the sun sizzling and temperature edging toward the ’90s. The watering hole, which was within a five-minute walk from any campsite, was a godsend for campers. A drum circle ebbed and flowed on the far bank, people floated with their beers in the creek, and dogs splashed and swam excitedly. The watering hole provided a much-needed and inviting respite from the sun, and there was neither a shock nor a knot in the stomach when entering the water—just pure, pleasant refreshment flooding the body with each step deeper in. Scranton’s Primate Fiasco, which features a virtuosic fiddle playing front-man, played an upbeat afternoon set before the sound of Turkuaz started wafting down to the water; only the grandiosity of their jazz-funk soulshine music could have dragged festival goers from the watery nirvana, and it did. Back at the stage, the band’s chemistry was even more apparent in the daytime. Turkuaz’s members poured enthusiastic joy into their instruments which, in turn, emitted bright, upbeat vibrations that induced twisting hips and shaking arms. At all times, a few people sang, a horn or three blared, strings buzzed, and the percussion marched along, creating the perfect daytime dance party. Turkuaz heads out West during July, but returns to the Northeast in August and is definitely worth checking out (check out their tour schedule).

    TAUK’s second set followed, which was, again, thoroughly impressive. If you close your eyes, the four friends from Mon-TAUK will pick you up, bring you on a pioneering aural journey through outer space’s wild west, and send you back with a “whoa!” on your lips, all without singing a line. While the night before Dolan particularly stood out on the bass, Jalbert took on the persona of Master Shredder on the guitar during Friday’s set, as the sunshine apparently fueled him to lead the musical expedition. He poked and prodded along proggy scales, showing off talent that has helped the band earn play time on Sirius and spots at festivals including Summer Camp, Bonnaroo, and the Peach Festival. The downstate band left me wanting more and I now know not to miss the Collisions release party on June 19th at The Knitting Factory in Brooklyn.

    After getting TAUKed, regrouping was necessary. Luckily, the music could be heard clearly from any campsite, as well as from the Wonderland-styled VIP lounge that featured blow-up couches, disco lights, hanging tapestries, iced coffee, a grill that was constantly churning out dogs and burgers, and a small acoustic stage. The “Insecurity” guard in charge of policing the area, Andy, personified southern hospitality all weekend. When partiers would light up a cigarette on an air couch, he would wander over and, for a moment, a foreboding look would come across his imposing face. He could not pretend to be upset for long, though: “Come on, brother, you know the only rule by now!” From Andy’s first smile to his last beer, he exemplified a Mad Tea Party Jammer: friendly, jocular, and a proud part of the growing MTPJ family.

    The North Carolina-based Mantras played a heavy rock set from 7:00-8:30 p.m. Friday. The Mantras arsenal includes metal, psychedelic, funk, a hint of electronica, and generally equates to what can only be called good ole’ rock ‘n’ roll. They play a few shows in the Northeast from July 9-13 and at the Catskill Chill in September, and are recommended to anyone who enjoys the slightest head banging at a rock concert.

    mad tea party jamThe Pigeons put on another funk exposition on Friday, reigniting the dance party from 8:30-10:00. They will be jamming out in Saratoga Springs on July 5th for a post-Phish party and are always looking to increase the size of the flock.

    Many of the bands at MTPJ played multiple sets, which meant it was possible to miss the occasional set to explore the myriad of other sources of entertainment at this grown-up fantasy land. Dopapod’s second turn to the stage was a good time to explore the concert grounds. Fire dancers showcased their art in one corner as a small crowd always hovered nearby. A big, glittery Cheshire Cat guarded a labyrinth of art—Wonderland—in the middle of the music field, while painters set up easels just outside to watch the stage as the sonic landscape inspired the visual arts. Vendors skirted the outer edges of the field, creating a “V” whose point was straight out from the front of the stage, a few hundred yards up a slight slope, selling colorful clothes, handcrafted pipes, hacky sacks, quesadillas, and other creative goods and foods. Hoopers, families, and friends hanging out on blankets and lawn chairs created a loose-knit buffer between the vendors and the eclectically dressed crowd dancing at the stage— Thursday’s costume theme was “storybook”, Friday’s “Futuristic burlesque”, and Saturday’s “Summer solstice”.

    Papadosio was the most popular band to only play one set, from 11:30 p.m. Friday to 1:00 a.m. Saturday, and may have elicited the most dancing all weekend from the crowd. After two days of hard rock and heavy funk, a reprieve into ambient tunes with electronic touches was welcomed. The crowd collectively swayed as ‘Dosio sent out the only waves of electronic vibrations of the weekend. Papadosio’s unique sound is Ambien to the ears and produced a mellow melt-fest among fans; the tribal drums, smooth keys, subtle electronics, and plucky guitar induced pleasant, trancey swaying. The opening tune, “We Are Water”, concluded with a sampling from “Alice In Wonderland”—“would anyone like some tea?”—and more than a few “cheers” went up in the audience. The North Carolina based five-piece played songs like “Curve”, “Hippie Babysitter”, “Night Colors”, and closed their only set with an enthusiastic, 15-minute version of “Unparalyzer”.

    After ‘Dosio wrapped up at 1 a.m., The Werks treated Jammers to the first of three slamming sets they’d play in a 30-hour window. The weather broke and sprinkles fell from the sky as Tea Partiers werked out to good old-fashioned rock again. The highlight of the night, however, may have been delivered post-Werks. At nearly 4 a.m., ELM (Electric Love Machine) closed the day/night/morning with a filthy cover of Led Zeppelin’s “No Quarter”. The lead singer channeled Robert Plant in his prime for this haunting version that remained generally true to the Houses of the Holy original. Shivers shot down the spine as the beautifully twisted, evilly moving jam conjured up powerful emotions. The sprinkles falling from the sky turned into deluge, and huge raindrops washed away the grime that ELM cascaded from the stage. The party people still awake in the wee hours of the morning were really treated as the dogs of doom howled once more.

    Saturday

    A light rain lingered Saturday morning, but mostly cleared up by the time Threesound sang “Roll Away the Dew”, covering The Grateful Dead’s “Franklin’s Tower”. They also performed a heavy instrumental cover of The Beatles’ “Eleanor Rigby” before ceding the stage to Fletcher’s Grove, Kings of Belmont, and then The Shack Band. The People’s Blues of Richmond (PBR) trio invited up Ron Holloway and Isaac Teel to help create their funky blues sound with a southern rock twang. Nekoro Williams busted out the best drum solo all weekend while lead singer Tim Beavers, who is an amalgamation of Jack White and 311 frontman Nick Hexum, tore it up on the guitar and vocals.

    Following PBR, Ultraviolet Hippopotamus rocked out before Moogatu had their shot on the stage. They opened with Pink Floyd, closed with the Allman Brothers’ “Jessica”, and, in between, played a technically proficient cover of Umphrey’s McGee’s “Nothing Too Fancy”. Needless to say, Moogatu can hold their own. If ever in the DC/Virginia area, this band deserves a listen.

    Consider the Source took the stage at 8 p.m. Saturday, cramming as much talent into a 3-piece band as possible. Another NYC-based band, CTS transcends genres, blending progressive rock and jazz with Middle Eastern influences to create a powerfully unique sound. Bassist John Ferrara had already made his mark on Thursday night while slapping a mean solo with Dopapod, but double-necked guitarist Gabriel Marin and drummer Jeff Mann seized their opportunities to show off on Saturday. The majority of their 90-minute set consisted of all three members playing at mind-bending speeds with total precision. For CTS, that is the norm: rapid, technical jaunts into Middle Eastern psychedelic jazz-rock. I had to pull my jaw up from the floor when Fareed Haque joined the band (2 double neck guitars rocking the same stage) and Mann shifted over to his electronic drum kit. Luckily, this band calls New York home and there are plenty of opportunities to marvel at their proficiency when they are around.

    Ron Holloway was likely the busiest man all weekend, offering his jovial presence and impeccable saxophone skills to at least a dozen bands during the festival. Despite the 80-degree plus temperatures, Holloway was as cool and crisp as an October breeze all weekend, undeniably at home on the stage. He expressed joyous, soul-massaging emotions with his sax the whole Jam. When Holloway led his band onto the stage, however, he shifted much of the spotlight to them. His guitarist tore off one of the best solos of the weekend while Holloway bopped in the background, with a lovely lady singing and dancing on either side of him. For over an hour, his band traded solos Saturday evening, energizing a throng of dancers that greatly appreciated Holloway’s groove-master presence for three days and nights.

    The Ron Holloway Band yielded the stage to The Werks at 11:00 p.m. Saturday as the festival was winding down. They have a new keys player who completes the band and, during MTPJ, The Werks were firing on all cylinders. Out of the gates Saturday, they set the stage ablaze with “Disco Inferno”, which transitioned into the grooviest “Duck Farm” the Appalachians have seen. Ron Holloway helped the band cover Three Dog Night’s “Fire Eater” before drummer Rob Chafin sang an emotional version of “You’re Not Alone”. Previous keys man Norman Dimitrouleas and Consider the Source bassist John Ferrara joined in on “Galactic Passport” and the set concluded with an intense “Onslaught” that raised brows and dropped jaws.

    There would, however, be one final “werkout” of the weekend; at 5 a.m. Sunday morning, the Ohio-based quartet came out to slap an exclamation mark on the festival. “Country Roads” finally drifted from the stage, igniting a full-out sing along, after which Chafin told everyone: “Look to your left; look to your right; hug both of those people. Share the love one last time that has been going around so strong all weekend.” The special moment seemed to stretch on, but ended abruptly when The Werks proffered a shifty, quick-paced “Mission Impossible” theme that had people boogying again. Most of The Mantras rotated in and back out during “G-Funk”, the final collaboration in what became colloquially known as “sit-in-city.” No one wanted the music to stop, but, at around 7 a.m. Sunday, hosts Elise and Taco, whose wedding anniversary the festival celebrates, came out to thank everyone for coming and pulled the plug on the music.

    The Mad Tea Party Jam is an incredible secret tucked away in northeastern West Virginia. Its proximity to the Mason-Dixon Line drew in a perfect mixture of Northerners and Southerners for an amazing weekend. There was a comfortably laid back demeanor common among festival goers, and southern hospitality was abundant from “Insecurity” guards, volunteers, Elise, Taco, and the many talented and humble musicians. On the other hand, there were enough Northeasterners with the inherent gusto to squeeze every last drop of jamming into an unforgettable weekend.

  • Ziggy Marley’s Rastaman Vibration Felt at Artpark

    Holding court above the Niagara River Gorge, Artpark in Lewiston, NY on June 25th was an idyllic setting for an evening of roots reggae featuring Ziggy Marley and his band, with Steel Pulse in support. A way laid back crowd was chilled out by the lush surroundings and a noticeably heavy ganja haze. After a smoky and celebratory set by Steel Pulse, the humid and heavy Summer evening brought an ambient island vibe created by the performed reggae ‘riddims’ and perfect weather.

    ziggy marley artpark

    Ziggy and his bridge bolt tight backing group set the thematic tone for the evening with the opening song “Love Is My Religion”. Prior to its beginning, Marley, head tilted back in a meditative stance, encouraged the assembled crowd to “Rebel with Love”. Marley often preceded his songs with a quote from their lyrics and a short rumination on their content. The collected crowd of Rastamen, college kids, Deadheads and happy families all slipped into a similar groove as Marley’s band played the crowd into a mellow mood.

    “Wild and Free” followed, Marley’s paean to marijuana, which Marley sang with great conviction, eyes shut, hand rising toward the collapsing sky. Marley stood at center stage in a flowing white top acting as a didactic freedom fighting Rasta, spreading his musical gospel message to the gathered masses. The group assembled around him, organically throbbing their way through dancehall, ska, rock, club beats and one drop, deftly and with attitude throughout the evening. Marley’s keyboardist also added some ‘toasting’ to the tracks, the Jamaican act of a DeeJay talking or rapping over undulating rhythms.

    ziggy marley artpark

    Marley likens his live concerts to fully formed stories told through the narrative of the individual songs. This evening was comprised of many essential chapters, each musical piece a solitary element constructing the fully fleshed out picture of the performance. The band premiered a nice chunk of the recent Fly Rasta release to great effect, the newer songs taking on additional unrealized details in their live renditions while nestled comfortably next to Marley’s previous work. The set also contained past Ziggy Marley glories played in addition to ‘Melody Makers’ favorites which had the crowd joining in with their own lyrical voices.

    The show started to hover above the ground when Marley decided to reach into his late father’s catalog of music for an ‘irie’ performance of “Lively Up Yourself”, one of a few of the elder Marley’s songs performed over the course of the evening, in addition to “One Love” and a penetrating, “So Much Trouble In the World”. During “Lively Up Yourself”, Marley gave a musical shout out to his famed Father with a, ‘Big Papa told ya so’ lyrical quote followed by great applause. These musical appreciations to his Father were so tasteful and natural, they fit perfectly into the natural flow of the show, unlike other ‘tributes’ to Bob Marley which often come off as contrived.

    As the concert continued and a veil of darkness dropped over the venue, the jamming got deeper and the dancing heated up; the reggae became more fluid and the rhythms more playful. Artpark was transformed into a sweaty dancehall maelstrom of love, dance, and Rasta vibes. All that was missing from the night were multiple bottles of Red Stripe being imbibed and some steamy sand.

    ziggy marley artpark

    “Black Cat” became a show highlight with Marley allowing his band to stretch out on the track, with his guitarists illustrating their improvisational authority. Similarly to his studio releases, Marley’s music takes on a plethora of insular, as well as pastoral and rural, themes, hence its huge web of influence and attraction to fans from all walks of life. Marley has accepted and taken on the role of disseminating his father’s developed message of love, peace, and freedom for the world as well as creating his own uniquely ‘Ziggy’ message.

    The stand out and title track of the new LP Fly Rasta signaled the beginning of the end as it was fittingly slotted to start the encore. Its message and imagery of flight not only applies to Rasta, but to all of those who respect the strength and love created and spread by reggae music. Its fundamental theme of finding yourself, respecting others, and of ‘One Love’ illustrates neither prejudice nor favorites. Marley’s ideal is that anyone and everyone can find the Rasta magic through the acceptance and enjoyment of reggae.

    ziggy marley artpark

    Ziggy Marley at Artpark was the type of concert one longs to be able to witness. Low on pushy crowds, obnoxious drunks and poor sound, this particular performance contained everything a fan could hope for when taking an excursion for live music, quality musicians, positive messages and a collaborative experience between band and crowd alike.

  • Hearing Aide: Mirk “Run”

    mirk_run

    Mirk, an Albany-based R&B band released their third endeavor, Run, and the melodies are already too catchy. The most accurate description of the seven piece band is evolutionary. Between the band’s first two albums, Love and Grind, and now Run, no element is subtle. Maybe Mirk says they’re “running out of time,” but this album is proof of the exact opposite.

    The band implemented many changes which are apparent from the first audible second of the album. Run opens with a ballad starting with new keyboard player James Rock and the band’s female backing vocalist Tara Merritt, whose voice is much more prominent – and rightfully so – than it ever has been before. Both Rock and Merritt are in high spirit and are set up to bring to the album the same energy of a dark, smokey bar room. This opening track, “Let it Go,” sets the intense, yet dynamic mood for the rest of the album.

    As such, the addition of James Rock on keys is critical to the round sound of this album. Rock may be young, but he lives up to his name. He gives Run a rock ‘n’ roll angle. He’s not afraid to overplay, to voice full, nearly obnoxious, uninterrupted chords. And that’s a good thing because this allows the rest of the band, especially guitarist Mike Thornton, and bassist Kate Sgroi to weave around this soundscape, and experiment with far more notes than Grind saw. Grind is no failure. It’s a great artifact, and a clear stepping stone, but it can be surpassed, as Run proves.

    Just seconds into this first track, “Let it Go,” lead vocalist Josh Mirsky comes in with the opposite of his usual trade: a backing vocal part to Merritt. He sings, “I ain’t got no money,” as a response to her aching voice, which might give a listener chills. Again, that barroom feel is heavy, but here the light fades up onto the rest of the band. They’re definitely not a mechanized backing track, either. They’re personable. They’re human. Instead of being “the band,” for a solo artist, the whole group works as a cohesive unit to bring an emotional element to the music, especially during “My City,” and “Marathon,” two previously released singles which made heavy use of Chris Russell’s sax.

    This is reminiscent of Mirk’s previous endeavors. The soulful element of this album appears especially in tracks like “Turn Me On,” which listeners heard on Grind, such as “Butterscotch.” On the other hand, the album also contains some of Grind’s driving rock beats – provided by Stephen Struss — on songs like “Torture.” However, old Mirk fans – including those who first heard Love – aren’t the only ones that will be pleased with Run. The album furthers the band’s ability to try new things. Lovers of experimental bands like Muse might enjoy the title track, “Run,” whereas Billy Joel fans will relate well to “Love Above” – and even this, and the next track, “Crowd Surf,” turn into hip-hop in the style of someone like Weerd Science. But no matter what you’re listening to, the prime mover of Run is the fact that Mirk is not sticking to a specific theme – they’re writing what they want to write.

    Run perfectly utilizes Mirk’s tried and true methods of mixed genre fun, with the evolutionary sounds of each instrument and vocal track. They are only getting better and we recommend seeing them in Albany before they’re out of town for good, because this band is only going to get bigger.

    Key tracks: Let it Go, Love Above, Marathon

    Run can be downloaded on iTunes, and physical copies are available on Mirk’s online store.

  • The Dream of the ‘90s Was Alive in Oneonta With Rusted Root

    There was definitely something magical in the air in Oneonta on Friday night, with summer being officially in full swing, and the help of the Oneonta Theatre, where not just one but two foot-stomping bands opened up for ‘90s icons Rusted Root.

    rusted root oneontaStarting right on time, prepared for a long night of diverse music, Soco Mojo with special guest and local legend, John Scarpulla took the stage. According to a fan/friend of Scarpulla’s, tonight’s gig was their first public appearance together. But boy, that was not apparent from their tight sound. Scarpulla has, in the past, played mainly solo or duo acts, which always allow you a glimpse into this singer/songwriter/guitarist’s musical mind. However his talent was demonstrated just as much when playing alongside Sojo Mojo, another local act based out of Oneonta.

    The band is comprised of a Hammond organ, electric guitar, bass, drum kit, and two percussion sets, with one of the percussionists (John Banks) doubling as a flutist. The one issue with having so many players on stage was that if you were sitting on the left side of the theater, vocalist and Hammond player Conor Murphy was so far over to the left that you could not see him. This  was especially odd when he started singing, and you couldn’t see where the voice was coming from, but the sound came through just fine, so that somewhat made up for not being able to see him.

    rusted root oneonta theaterBassist Bill Youngs really drove the band with his steady rolling rhythms, while young drummer Sebastian Green and percussionist Andrew Yerdon provided great creative back beats. Scarpulla’s voice kept getting more and more powerful as the night wore on, which blended quite nicely with Soco Mojo. Scarpulla mentioned that the group had CDs for sale, and for those who couldn’t afford to pay, he offered to throw them a CD for free! After doing a bit of scatting, Scarpulla introduced the band, then walked off stage while the rest of the band was still playing, allowing them to strut their own stuff for a bit before finishing off the set. Being that this was their first public appearance together, this band’s energy can only go up from here.

    Soco Mojo 2

    Next to perform was none other than ’s March Madness contest runners-up Big Leg Emma! For the band’s first number, acoustic guitarist/vocalist Steve Johnson sounded particularly Rusted Root-esque, with his tremolo-like style of picking. Johnson’s voice was reminiscent of Alex Ebert of Edward Sharpe and the Magnetic Zeros, John McCrea of Cake, and former Yonder Mountain String Band frontman, Jeff Austin.  The wah-wah pedal and swirly effects used by mandolinist/vocalist/percussionist Charity Nuse were quite unusual (and awesome!) in terms of their usage on the mandolin, and her voice was lovely and subtle. The whole band was super tight, especially on their third number, during which the acoustic guitar, electric guitar, and bass were totally locked into each other in the best possible way. Each of their songs had a definite beginning, middle, and end, yet they also seemed to be able to simultaneously segue from one song to the next seamlessly.

    The band covered a couple of tunes that initially seemed like unlikely choices for a bluegrassy band to cover, but, believe it or not, they both seemed to lend themselves nicely to the genre – namely the Beatles’ “Dear Prudence” and Pink Floyd’s “Another Brick in the Wall”. Towards the end of their set, drummer Corey Kertzie played a super crisp drum solo, and then invited the percussionists from Soco Mojo to join him, along with bassist Miguel Morales. In this case, a little collaboration amongst bands went a long way, they sounded great together. For their last number, the true appeal of Big Leg Emma shined through with their ability to inspire a dance party! Charity reached down into the crowd and hoisted up some ladies to join her on the front of the stage to dance, and then slyly slipped back to her position as mandolinist/vocalist and continued to rock out with the band, leaving the dance party still happening in the front part of the stage. This band was the perfect choice of bands to open for Rusted Root, as they were able to get the audience energized enough to be able to keep up with Rusted Root for the remainder of the evening!

    The headliner of the night was Rusted Root, a Pittsburgh-based band whom defy genres. There was a nostalgic energy pulsing throughout the Oneonta Theatre, with fans psyched and ready to hear some of their old favorites, as well as see what the band has been up to recently. Having been playing together since the ‘90s, and touring relentlessly whenever they are not in the studio, the band is currently working on a new album due to come out next year. The band hopes to be able to record and produce independently with no record label. In order to accomplish this task, Rusted Root has started an indiegogo.com fundraising effort, in the hopes of raising $25,000 from fans to help fund their album. Their last album The Movement (2012) was also funded through a fan-funding campaign called “Fortunate Freaks Unite! We Are Rusted Root”.

    While the band obviously played songs off their latest and upcoming albums, they also threw in a bunch of their classics. At the very beginning of the set, before the lights even came up, percussionist Preach Freedom started playing drums that sounded so flawless that it was impossible to tell whether it was being played live, or if it was a recording! Opening with “Martyr”, a particularly energizing song to get people moving early on in the set, the band then moved into another classic, “Lost in a Crowd”, which was played with more of an electric sound than usual. Next, the band went into a couple of their new tunes, which had a different style and feel than their older material, including heavier bass and an overall increase in the level of “rock” within the music. Sensing that the audience was craving some more familiar tunes, Rusted Root pulled out an old school “Heaven”, then jammed out with a super long intro into “Laugh as the Sun”. The build-up leading into “Laugh as the Sun” created a nice effect, because it was tough to tell just from what they were playing what song they were going to go into – that kind of suspense seemed to get the crowd revved up. Next up was probably one of the more unique mash-ups I’ve heard in a while: “Cat Turned Blue”, Stevie Wonder’s “Superstitious”, and Bob Dylan’s “All Along the Watchtower”!

    Effectively interspersing their newer material with their classics throughout the rest of their one-set show, featuring a twangy version of “Rain” (heavy on the washboard) and a Middle Eastern-sounding “In Our Sun” featuring a simple three-note flute. Lead vocalist/guitarist Michael Glabicki did a Matthew McConaughey impression by quoting “All right, all right, all right,” they then played “Send Me On My Way”, one of their more popular numbers. For this one, electric guitarist Dirk Miller switched over to the recorder and Preach Freedom switched from his drum kit to hand drums. Ending their set on this soaring note, they encored with a familiar but possibly new tune, and then finished off with a particularly high-energy version of “Ecstasy”, which began with a very Santana-esque intro involving just the electric guitar and bass played masterfully by Patrick Norman.

    The Oneonta Theatre was definitely on fire with this show, including three amazingly talented yet diverse bands. Starting off the night with the funky blues rock of Soco Mojo joined by John Scarpulla, moving on to the Americana bluegrass stylings of Big Leg Emma, to the world rock jamming of Rusted Root. It was definitely the place to be to enjoy a wide range of music in a single night. Concert goers enjoyed running into a ton of familiar faces who came out from the woodwork to enjoy some nostalgic music from the ‘90s, and get your dance on! Be sure to check out all of these bands, and visit Rusted Root’s indiegogo site if you are interested in and able to contribute to the production of their next album.
    [youtube http://www.youtube.com/watch?v=l-BSr_1sSdw]

  • Primus Slaps Some Serious Funk on Gratwick Park

    There is just something really interesting about Primus and their unique style of music. It might be because of their frontman Les Claypool who isn’t exactly your normal guy. The way he slaps his bass, stomps his foot, or dances in a circle is only half of it. Whether donning his pig mask or telling his quirky stories, there is something that just grabs your attention and takes you on a strange trip with Claypool and his band. Primus packed the waterfront area of North Tonawanda’s Gratwick Park for the Niagara River Rocks concert series on Sunday, June 22.

    The band played through a number of songs which included favorites, “Wynona’s Big Brown Beaver”, “My Name Is Mud”, and “Jerry Was a Race Car Driver”.  Claypool, who always likes to narrate during shows, went on to tell a story about how he had thought about throwing himself over Niagara Falls that afternoon, but eventually decided that would probably be a bad idea. It’s a good thing, too, because if Sunday was any indicator, there is still plenty of fans eager to see what Claypool does next.

    Setlist: Here Comes The Bastards, Moron TV, Fisticuffs, Groundhog’s Day, Over The Falls, South Park Theme, Lee Van Cleef , Jilly’s On Smack, Mr. Krinkle, Eleven, The Heckler, American Life, Wynona’s Big Brown Beaver, My Name is Mud, Over the Electric Grapevine, Jerry Was a Race Car Driver, Harold of the Rocks, Too Many Puppies

  • Gypsy punk With Gogol Bordello Coming to Burlington, VT

    Gogol Bordello 2013 Press Photo

    Gogol Bordello is bringing its Gypsy punk craziness to the Higher Ground Ballroom in Burlington, Vermont on July 11 and 12.

    The band plays a rousing form of punk rock heavily influenced by gypsy music and punctuated by lead singer Eugene Hutz’s thick Ukrainian accent. Hutz’s first American home was Vermont, after his Ukrainian family left their home following the Chernobyl nuclear meltdown and shifted through a string of Eastern European refugee camps.

    Their website includes an interesting artist’s statement that describes their mission:

    “Gogol Bordello’s task is to provoke audience out of post-modern aesthetic swamp onto a neo-optimistic communal movement towards new sources of authentic energy. With acts of music, theatre, chaos and sorcery Gogol Bordello confronts the jaded and irony-deseased.

    We chose to work with gypsy, cabaret and punk traditions. It’s what we know and feel.”

    The band released its sixth studio album in 2013, Pura Vida Conspiracy, and they have been touring around the world since then to promote it. They are just getting off a two-month-long jaunt through Europe, and they’ll be in Burlington after a few gigs in Canada.

    Higher Ground is located at 1214 Williston Road in South Burlington. For tickets or more information, go to www.highergroundmusic.com.

  • Albany County DA Serves Pete Nice The ‘Gas Face’ Over Taxes

    Apparently Peter Nash’s status as rap’s “Prime Minister Pete Nice” does not exempt him from paying New York state taxes.

    The Albany Times Union reported that the Clifton Park resident and retired rapper pled guilty to misdemeanor criminal tax fraud in Albany County Court Tuesday, July 1.

    Nash did not attempt to use his rap moniker to avoid taxes, but the Albany Count District Attorney’s Office said he must pay the Empire State $13,101 in back taxes, penalties and interest. He will also be on probation for three years, the district attorney’s office said. He will be sentenced on Aug. 26.

    As Master of Ceremonies for the group 3rd Bass, Nash released three albums between 1989 and 1991, two of which went gold. “Pop Goes the Weasel!” a track directed towards Vanilla Ice’s unwelcome a popularity in rap circles, reached No. 1 on the U.S. Billboard rap charts. 20140702-065339-24819854.jpg

    Nash subsequently quit the music business and devoted his time to baseball history and memorabilia.

    According to several published sources, Nash owned a memorabilia shop in Cooperstown, and authored a book titled Legends of Brooklyn’s Green-Wood Cemetery.

    His baseball endeavors also include attempts to secure property for an official grave site of Negro League players.

    Nash was involved in litigation in 2009 with an auction house relating to the authenticity of baseball memorabilia he consigned for sale which resulted in him signing a court order admitting to having committed fraud.

    Robert Van Winkle was not approached for comment.

  • Second Annual Taste of Country Music Festival: Day One

    Well if there was ever any question as to how northerners feel about country music, all doubts were laid to rest June 13, 14, and 15 – as more than 40,000 ready to party, country music fans flooded the Catskill Mountains with their tents, coolers, cowboy boots, cowboy hats, and American flags in tow for the Second Annual Taste of Country Music Festival.

    Second Annual Taste of Country

    Sponsored by Taste of Country Music, organized by Townsquare Productions, LLC, a collaboration between Townsquare Media Group and Chet-5 Festivals. The Festival was held at the beautiful Hunter Mountain Ski Lodge, in the heart of the Catskill Mountains in Upstate New York. The setting and choice of seasons couldn’t have been better to celebrate the festival.  With a lineup that looked like the guest list from the country music awards show, I was caught up in the flood of anticipation for what was to come over the next three days.

    Friday – Day One

    Although the festival opened Thursday with a few special performances for the early arrivers. Friday was officially the start of the festival and the lineup was stacked, starting with Gwen Sebastian opening the main Ram Guts & Glory Stage, followed by Blackjack Billy, Eric Paslay, Brantley Gilbert, and closing out the night with one of my favorite country musicians, Dierks Bentley.  Inside at the Bud Light Stage, Ms. Ashley Winters, Gwen Sebastian, and the Timothy Chance Band entertained those taking cover from the weather conditions. Which did its best to put a damper on the show by the end of the night with a downpour.  However, tried and true die-hard country fans didn’t budge. What’s a little mud on the boots after all?  Wasn’t anything new to them.  Bring it on, and bring on the weekend.  They were ready.

    Friday Fans at Taste of Country Music Festival

    As I meandered my way through the mountainside towards the festival, cell coverage was sketchy for this gal and as the GPS gave out, I found myself at the end of a dead-end dirt road.  Realizing this truly wasn’t the way to Hunter Mountain and thinking to myself what a great country song this would be, I turned myself around and found my way to the mountain just in time to make my way up to my parking place and inside to the main stage just as Blackjack Billy was going on.  A little disappointed to have missed Gwen Sebastian’s set, I heard from those around what a great performance she had and vowed to catch her next time she came up this way.

    Blackjack Billy at Taste of Country Music Festival

    For new fans of Blackjack Billy, this amazing group is the partnership of Rob Blackledge and Noll Billings who moved to the Nashville area to pursue solo careers, however it was after meeting each other and partnering with Jeff Coplan that they had realized that they found the right mix to showcase their talents.  Individually they have their own unique sound, however it’s the combination of what these individuals bring to the table that put them over the top.  Throw in drummer, Brad Cummings, and the energy they brought to the festival was off the charts.  With songs, “Get Some”, “Got A Feeling”, and “Drink Along” these guys turned up the heat for the crowd and got them rocking.  But it was their mashup of  – Jason Mraz’s “I’m Yours”, Nelly’s “Must Be For the Money”, throw in some classic Journey, and  finish it out with Lil Jon’s “Get Low”  and the crowd was on the verge of pandemonium.  What’s unique about this group is their unique sound, their showmanship on stage, and their genuine desire to take time out for their fans. In between sets as the stage was being set up for another act you could find Noll Billings out in the crowd signing caps, shirts, and whatever was thrown his way while also taking selfies.  A relatively new band, but definitely one to watch for in the future.

    Brantley Gilbert at Taste of Country Music Festival

    As Ashley Winters went on the inside stage, it wasn’t long before Eric Paslay was set up and out entertaining the hyped up crowd.  Wishing I could be at two places at once, I stayed put as Eric began his set.  The one thing that stood out immediately with Eric was his songwriting talents.  You hear all the time of artists who travel to Nashville, LA, and New York to become stars.  However part of the internship into this select group includes playing numerous gigs every time asked no matter where, and writing song after song, many that end up being someone else’s hit. With songs like “Angel Eyes” Paslay showcased his impressive resume of melodies for the audience demonstrating to them his talent with words.

    Second Annual Taste of Country
    Dierks Bentley

    But after hearing a few other melodies such as “Barefoot Blue Jean Night” and “Rewind” it was apparent that this multi talented young man was destined for a long and successful career both writing and recording. Ending an absolutely outstanding setlist was his current hit “Song About A Girl”.  As Eric so bluntly puts it, country music isn’t always “about tailgates…about bonfires…about souped up cars, water towers, or drowning in a bottle of Jack – it’s a Song About A Girl”.  With the debate of how country music has changed over the years, this song brings to light how country music has evolved and covers all topics.  Just because it’s not the same as what it was generations before, doesn’t mean country isn’t country any more.  For decades subject matter for country songs tends to follow these guidelines – Some songs are let’s have good time Friday night songs, some are love songs, some are break-up songs, and some are family songs about home and the farm.  No matter what the subject matter is though, Eric Paslay I guarantee will put it to words and music, and make it a country hit.

    Second Annual Taste of Country
    Eric Paslay

    As the night grew darker, the weather began to look ominous, a storm was brewing.  As if on que, out came Brantley Gilbert, a 29-year-old from Jefferson, Georgia wearing biker boots, blue jeans with a chain hanging out his pocket, a white tank top, ball cap, piercings, and rings that could definitely break your nose with one hit.  With a microphone handle that looked like brass knuckles, this bad boy had our attention. It was apparent that this outlaw definitely makes his own rules, and I looked forward to seeing if his music reflected this attitude as well.

    As Brantley performed, the audience began to see another side to this tough guy.  He was charming, he was patriotic, he was chivalrous.  All in all he was one outstanding young man who stood for what he believed in and made no excuses.  His music was the same.  I could see all the influences of life and music he  had inside, come out in the music he wrote and performed.  He sang of family, friends, love, and country.  His music was the perfect marriage of country and southern rock n’ roll, the kind you have to crank up in your car, and this music was delivered with a sultry raspy country twang that came across super sexy and powerful.

    Second Annual Taste of Country
    Brantley Gilbert at Taste of Country Music Festival

    As he performed the hit “Dirt Road Anthem” which he co-wrote and was recorded by Jason Aldean, “You Don’t Know Her Like I Do”, and “Small Town Throwdown” you were wrapped up in the wave of energy both on stage and off as the audience began to respond.  As he shared stories behind his music, fans got a sense that this young man was destined for greatness.  His stage presence, his energy level, his sheer talent, all are indicators that this man is a name to remember.

    Take amazing songs, add in a bit of southern country bad boy, a splash of patriotic charm, and a whole bunch of energy and talent and it’s understandable how he has more than 823K followers on Twitter and more than 3,000,000 on Facebook.  As he closed out his set with his number one hit “Bottoms Up”, the 2013 ACM’s Best New Male Artist Award recipient gave festival goers a peek of what is to come for this young man. Brantley Gilbert is definitely a name that will go down in country music history.

    Second Annual Taste of Country
    Brantley Gilbert at Taste of Country Music Festival

    As Brantley left the stage, the act everyone had been waiting for all day was up next.  Headlining the first night of the Taste of Country Festival was multiple Grammy, CMA, and ACM award-winning artist, and Grand Ole Opry member, the one and only Dierks Bentley. Bentley, currently touring in support of his latest album, Riser, had a magnificent stage set up. With so many number one hits to choose from for a setlist, it was bound to be a complete hour of amazing music.

    This family man outdid himself this time as each number demonstrated the depths he went in finding the words to express his feelings.  These raw emotions found an outlet through his songs, each representing loss, love, and life he had recently been going through.  His talent is more than just a pretty face and honey twanged voice.  He grows with his music.  He’s not afraid to put himself out there or stand up for what he wants in life.  As he began to play, you could see a part of him in numbers such as “Drunk On A Plane” in which he shows his sense of humor and his other passion in life, being a pilot.

    The truly personal song “I’ll Hold On,” which gives an insight into his character and what means the most in his life – family, love, and music.  Sharing moments on the road, displaying family and friends in a video projecting behind him and the band, he sang “Every Mile A Memory”.  I’m always impressed by the production of these tours and his light show was actually another piece of the band accompanying him on each number.

    As he played  “Got A Lot of Leaving Left To Do” the ambient lighting  left you feeling a bit melancholy, as the low twinkling lights helped set the mood. As he began singing “Counting Stars,” one of the songs recently performed with One Republic at the festival, I thought to myself what a perfect pairing these artists were bringing out the best in them and their songs.  Covers continued with two more crowd favorites with a rendition of both Bon Jovi’s “Living On a Prayer”, always a crowd pleaser, and one of my personal favorites, “Hey Brother” by Avicii.

    As anticipated, his set list was amazing, full of hit after hit, his production with lighting, sound, and videography paired perfectly, and to end the evening was another favorite, “Settle For A Slow Down”.  He nailed it.  His live performance lived up to any expectations festival goers had.

    Second Annual Taste of Country
    Dierks Bentley at Taste of Country Music Festival

    As the night came to an end with pouring rain coming down on each and every attendee, it didn’t seem to matter as I passed smile after smile.  I couldn’t imagine this event getting any better than tonight’s performances and wondered if this was the climatic  highlight to the weekends event. Could Day 2 live up to the first day?  Stay tuned for Day 2’s coverage and highlights with NYS Music.com’s part two of the Taste of Country Music Festival at Hunter Mountain.

    Taste of Country Music Festival
    Eric Paslay at Taste of Country Music Festival

  • The Best of Phish at SPAC Top 10 Moments

    After 14 amazing shows since 1992, Phish is returning to SPAC on July 3rd, 4th and 5th to celebrate the start of their summer tour and America’s birthday in the process. We asked fans what some of the top moments of Phish at SPAC over the past 20 years were, and here are what they came up with.

    Phish SPAC 10) La Grange bustout 7/8/12

    After 13 years without the ZZ Top classic, SPAC was blessed with a set closing “La Grange” in a summer of bustouts.

    9) Massive storm just before the 8/16/09 show & Llama>Moma opener

    Maybe you got stuck in the downpour outside the gates, maybe you were lucky to be in the pavilion or under cover already when it hit. The rain was torrential and the Llama>Moma made up for it immediately.

    8) Tweezer Reprise opener/encore 6/19/10 

    Phish can be funny sometimes. Having not ended with Tweezer Reprise the night before, they opened with it at SPAC, and for some reason, closed with it too. Because why not?

    7) Harpua with ‘I Kissed a Girl’ 8/16/09

    This was a fun moment – getting a tour-ending ‘Harpua’ and Fishman singing a Katy Perry song. Only Phish.

    6) Sabotage  in honor of MCA 7/7/12

    RIP MCA

    5) Psycho Killer 7/6/12

    Amid all those bustouts in the summer of 2012 came one of the most sought after Phish covers, nestled comfortable inside a “Tube”

    4) Mike’s Groove 7/10/94

    Mid-second set went a little something like this: Mike’s Song -> Low Rider -> Mike’s Song > I Am Hydrogen > Weekapaug Groove. That monster Stash in the first set bumps this show up a few notches on principle alone.

    No video exists of this show, so enjoy some audio from Phishtracks.com

    3) DWD -> Free > Poor Heart > You Enjoy Myself 6/26/95

    Three ‘highly recommended’ jams, according to Phish.net, plus a little bluegrass mixed into the start of a monster second set, just as Phish was expanding into amphitheaters.

    2) ASITHOS > Piper -> Jibboo 6/19/04

    This show’s second set gives 7/8/12 a run for its money, and rightly so. Some of the finest jamming to come out of the 2004 tour, although that isn’t saying a lot. Still, this was a gem if you were there.

    1) The Entire Second Set 7/8/12

    This setlist pretty much says it all – nonstop playing for more than an hour. Oh and they encored with YEM. Easily one of the best if not the best Phish show at SPAC.

    Set 2: Axilla > Light > Twist > Kill Devil Falls -> My Friend, My Friend > Swept Away > Steep > Piper > Free > Kung > Harry Hood > Cavern > David Bowie

  • Fox Fest Blows Up CNY Festival Scene In Year 5

    As Fox Fest approaches year five of its festival run, the growth of the event in its own right is noteworthy.  What began as a blending of three friends’ annual parties, has now taken on a scale enviable by many regional festivals. Located in the pastoral hills south of Syracuse, Fox Fest is a non-profit event that annually donates its proceeds to honorable charities; this year’s proceeds will go to the Cpl. Kyle R. Schneider Foundation, a local Marine who lost his life serving our country in 2011 while in Afghanistan.

    The festival is organized by George Ryan and Kelly Nichols, held on their property in Navarino, and sponsored by a large group of local businesses, residents and attendees. There’s a full professional production provided by Wizzard Sound Corporation including staging, PA system, and lighting, while local food vendors like Limp Lizard BBQ provide food and refreshments at reasonable rates. It’s a family-friendly event that allows camping, coolers full of whatever you choose, and the open space to enjoy yourselves while security by Onondaga County Sheriffs keeps things safe, but not restrictive.

    Each year, Fox Fest tries to bridge musical genres, bringing a little bit of a taste for everyone while keeping to a high standard of performance that matches their event. Previous headliners have included Childhood’s End – A Tribute To Pink Floyd, Vinyl Albums – LIVE, Frostbit Blue and local favorites Emerald City. This year’s roster features the return of TJ Sacco and The Urban Cowboys, Dave Porter (the former front man of regional legend and national recording artists 805) with his bass and drum robot, Bob, ‘80s metal monsters Three Inch Fury, and the remarkable Tiger and Off The Reservation as headliners. With twelve solid hours of music, including eight bands and three acoustic acts to play during change-overs, Fox Fest is easily one of the most musically diverse events of the year.

    The event will be held on Saturday, August 2 at 3242 Fox Road in Syracuse, from 12:00 pm until 12:00 am. Admission is gained through a donation to the event which gets you entrance and an event t-shirt that functions as your ticket. $24.00 pre-pay includes the t-shirt or $25.00 at the gate with no t-shirt. Call or text 315-382-5896 OR e-mail bruddyryan (at) hotmail.com or gryan (at) billrapp.com and they’ll send you a form or even fill it out for you! The donation deadline is coming up fast (July 11), and you don’t want to miss out on “the biggest backyard party of the summer”, so get your donation in soon to join a couple thousand of your closest friends!