Walt Disney did it. William Shakespeare did too. It’s taking the metal of another one’s work, and spinning it into your own gold. It’s the alchemy of the creative mind. It’s declaring the statement, “I can take your idea, and make it better.” Cry to the Blind, a five-piece heavy rock band out of Rochester, NY, declared such a statement last month after walking into Oblivion Studios to record an already established hit. One month and more than 90,000 YouTube views later, the band has itself, what a growing contingent of fans and followers think, is gold.
“The past month or so has been pretty weird,” said Jon Lamanna, the band’s lead singer. Back in December, the band loaded up a studio video of their recording of Miley Cyrus’ mega-hit, Wrecking Ball. The reception to their hard rock version has been nothing short of exceptional, first leading to play time on local radio stations, and precipitating to national attention on Nikki Sixx’s syndicated show, and now satellite radio. It wasn’t long before they obtained mechanical rights from the copyright owner to allow them to perform and sell their version of the song.
“The energy and the excitement level at our shows, and online, are at a level I’ve never seen before. People just seem like they really believe in us now.”
It’s really inspiring to see.”
Rochester’s Cry to the Blind is basking in the glow of newly found attention. (Photo Credit: CTTB/Facebook)
The band has released three CDs independently since 2009. They are a heavy, modern rock band, who market themselves as a “therapeutic release” for their fans. They like to promote a “positive spin on the negative energy that surrounds us every day,” as stated on their Facebook page.
Jon explained that the inspiration to record the song came from a simple turn of his car’s radio dial, as he started his commute to work one November morning.
“The first time I heard the song, I thought it would make a great rock song. We’ve never done a cover. [This was] just a random idea. I texted Jesse (Maty), our guitar player, and said, ‘hey, have you heard that Miley Cyrus song “Wrecking Ball? I think it would be awesome as a rock song.’ He was like, ‘yeah, why not? Let’s give it a shot.’ He wasn’t into it as much as I was. But, when I polled the other guys in the band, they were really excited about it. .. As soon as we started rehearsing it, it sounded phenomenal.”
They changed up the second verse to make it rhythmic and heavy, which was (the band’s drummer), Jay Talarico’s idea. Together with Ryan Mcfaul on guitars and Kory Maclauchlan on bass, Jon said, “I think that’s what makes the song stand out.”
Since Cyrus released the song last August, Wrecking Ball has topped the pop charts in 13 different countries, including the United States. There have been a number of different cover versions released, including that from Rumer Willis, the 25-year-old daughter of actors Demi Moore and Bruce Willis.
Today, up to 40 radio stations, including Sirius Octane, is playing their song, and the positive feedback just keeps building. Jon said that the band has yet to be signed by a label; however, he says people who they’ve spoken to in the past, are coming back to talk.
“[We’re] pretty confident that things are going to continue to snowball in a good direction for us.”
Cry to the Blind play next at The Montage Music Hall in Rochester, NY on Saturday, February 15.
On June 14, 2009, I drove to Beacon, NY for the annual Strawberry Festival, an annual community event on the shores of the Hudson River. I attended at the suggestion of Pete Seeger, so that we might chat and conduct an interview regarding music festivals. The family event had well over 1,000 in attendance, roaming the park grounds, sampling local food, and enjoying the greatest Strawberry Shortcake you will ever have.
photo by Pete Mason
I arrived around 9 am, not wanting to miss Pete. He did say to talk to him before his “set” (three songs with children isn’t your typical musical set) so I didn’t sleep in on that. But there were two documentary crews there to talk to him, and they got his attention the moment he started walking from the edge of the parking lot into the park. I stood idly by, listening and admiring the then 90 year old Pete who was answering every question levied at him, for well over an hour between the two films. He played some songs, and at one point lost his balance and fell backwards off the log he was sitting on. He righted himself easily and went on with the interview, hardly shaken. This is the man who had all the windows in his car smashed in the Peekskill riots of 1949, while he was driving through a mob. Falling back on a log was nothing by comparison.
photo by Pete Mason
Then it was my turn. There wasn’t a queue, and he had no handlers to speak of, so I waited for my moment. I saw his grandson Tao Rodriguez-Seeger was nearby, letting his grandfather handle his own interview and affairs on his own accord. If you make it to 90 and are still this able-bodied and aware, there is no need for a publicist to say when the interview was over. Pete handled all his own publicity and look how far that got him.
photo by Pete Mason
When I saw an opening, I walked up to Pete and said “Pete, I’m Pete Mason, I wrote you a letter and you said to come here and talk to you about music festivals.” He looked at me, then off into the distance, closed his eyes and said ‘Oh yes. OK, well, let’s walk and talk, I have to play music soon.” And we were off, walking at a slow, but steady pace for 15 minutes while we chatted. Now, I’m 6’2″ and Pete was a tall and imposing 6’4″, and I was fumbling with my questions, partially because I was talking to Pete Seeger and partially because he was a little larger than life. He had a John Muir/Mark Twain vibe, in the sense that both are best recalled in their later, white hair years, but also for their place in a specific part of American Written History: Muir with the environment, Twain with his humor and Seeger with his music. Like them, Seeger was grounded and charismatic, with a somewhat reserved personality, and he focused on the music and history which he readily shares with others. After a couple questions, I was relaxed and it felt like a conversation with Everyone’s Grandpa.
Pete Mason: What is the first event that you recall playing music at?
Pete Seeger: I never expected to become a musician. In 1939, 70 years ago, I was asked by a friend’s aunt to sing some of my songs to her class at school for $5, an impressive sum of money. It felt like stealing but I kept looking for an honest job and kept singing though at schools and camps, and as kids got older and went to college, one of the most important jobs in my life was to go from college to college to college to college in the 1950’s, and even thought the John Birch Society and KKK tried to stop me, all they did was give me free publicity. It was the most important job I ever did because I could have kicked the bucket in 1960 and now a whole batch of younger people picked up where I left off – Bob Dylan, Carol Oates, Sandra Lee, Joni Mitchell; I don’t have to get my records played on the radio, or get jobs on the side.
PM: What do you recall from the Peekskill event in 1949?
PS: It was closed down by police and right-wing opponents in 1949. It is referred to as a “concert” but was outdoors and included several performers [Seeger and some of the Weavers, who were on the pop charts at the time]. There was no encampment as far as I know, but 20,000 people showed up for the event from all over the East Coast. I think you can consider folk music of that era analogous to pop of 20 years later.
photo by Pete Mason
PM: Regarding the community aspect of festivals and the atmosphere that is present when folks come to a festival, how does the festival atmosphere differ from ordinary daily life and regular gatherings, and what does it say about festivals?
PS: E.F. Schumacher wrote “Small is beautiful” and Hawken wrote “Blessed unrest”. How did the largest movement in the world come so quickly? What is this movement? It doesn’t have a name. Little things are going on, 100’s of festivals and now 1,000’s of festivals and now 10’s of 1000’s of festivals going on all throughout our country and through much of the world. I really do believe that these little things are going to save the human race. Big organizations tend to get power hungry and they can be co-opted by people with money and a million little things. Big becomes a bad thing, and the establishment doesn’t know what to do about these things. Did you ever hear of the Spirit of Beacon day?
PM: No
PS: It was the result of a race riot from years ago. More than 14,000 people showed up in a town of 10,000 – it boasts diversity and everyone takes part – Muslims from their Mosque, Indians, Jews, the whole town. Now it starts with a big parade for a few hours up and down Main Street. A few years ago, women from India took part. My father was a musicologist and he would have loved it.
PM: In the event music festivals generate crowds that are there for the scene more than the music, what can be done to revert back to the roots of music festivals?
PS: (Laughs) Well, take this stage for example. This stage here is small, you can have not so much noise, sit up right and close to the music.
photo by Pete Mason
PM: What do you think gives music its power to change and bring about the good in people?
PS: Nobody can say exactly. I like to say that all the arts, music, the visual arts, acting and dancing arts, cooking arts, and I believe sports, will save the human race because they can leap over barriers, religions, leap over barriers of race, politics. Rugby was one of many ways of resolving conflicts in South Africa, because both blacks and whites love rugby and whites felt they were playing their (white) game.
PM: Can you shed any light on that feeling you get when you play music, and how the feeling and music can change over time?
PS: Well, music does affect your opinions. Plato is supposed to have said “It’s very dangerous to allow the wrong kind of music into the republic.” There is an old Arabic proverb, ‘When the king puts the poet on his payroll, he cuts off the tongue of the poet’, so throughout the ages, people in power have liked to control music, they used to throw songwriters in jail throughout history, and were assassinated.
PM: What are they afraid of?
PS: Ideas which might threaten their control. Aesop only told fables which were African folk stories to the Greeks, but some of his folk stories got too close to home, and the people who ran Athens ended up by assassinating him, executing him.
As part of its ongoing NY Living Legacy Project, The Egg Performing Arts Center will explore the 50th anniversary of The Beatles’ arrival in New York with a number of performances and related events from February 6 through 15.The celebration will include a series of multi-media events in eight area community centers and be highlighted by two performances at The Egg.
The festivities begin with eight multi-media lectures held in various venues around the Capital Region. Led by ethnomusicologist, Beatles scholar and Skidmore College Professor Gordon Thompson, the program, entitled “She Loves You – The Beatles and New York” will explore the impact of the British invasion on New York, led by The Beatles in February 1964, their historic concert at Shea Stadium, John Lennon’s NYC connection and discuss how their music continues to be an inspiration to composers and performing artists today.
In addition to historic film clips, recordings and photos, the program will be highlighted by live, solo piano interpretations of Beatles classic songs by Cole Broderick. Well known for his jazz, classical and original piano stylings, Mr. Broderick devoted nearly two years of his life painstakingly interpreting some of the group’s most beloved songs on his recent recording “A Solo Piano Tribute to The Beatles.” These events will take place from February 6 – 13 and are free and open to the public at the locations listed below.
SHE LOVES YOU – THE BEATLES AND NEW YORK
Thursday, February 6, 7 PM: Guilderland Public Library
Friday, February 7, 7 PM: Albany Institute of History & Art
Saturday, February 8, 2 PM, Schenectady Public Library
Sunday, February 9, 2 PM, Clifton Park-Halfmoon Public Library
Monday, February 10, 7 PM, The Arts Center of the Capital Region
Tuesday, February 11, 7:30 PM, Saratoga Springs Public Library
Wednesday, February 12, 7 PM, Crandall Public Library
Thursday, February 13, 7 PM, Bethlehem Public Library
The duo will kick off the American Roots & Branches concert series with Sony Landreth on the electric guitar and Cindy Cashdollar on Dobro and lap-steel. Landreth hails from Louisiana and is a known as “the King of Slydeco”, for his strong Cajun musical styling. He has appeared on albums with Eric Clapton, Gov’t Mule, Little Feat and Jimmy Buffett. Cashdollar is one of our own, calling Woodstock, NY home, where she learned to play from such bluegrass legends as John Herald, Paul Butterfield, Levon Helm and Rick Danko of The Band. She is a five-time Grammy award winner and was the first female to be inducted into the Texas Steel Guitar Hall of Fame.
Tickets for Sonny Landreth and Cindy Cashdollar are $28 and are still available at The Egg Box Office at the Empire State Plaza, by telephone 518-473-1845 or online. Don’t miss this opportunity to experience blues music like you have never heard it before.
Mister F with special guest Tweed had Red Square in Albany all warmed up during one of the coldest weeks of the year on Saturday January 25th. Tweed is a self proclaimed psychedelic blend of funk, rock and electronic – and they were just that. For an opening band there was such an immense amount of energy from the stage and within the crowd that it is certainly evident that these guys could have easily been the headliner. Their keyboard set up was extremely impressive, and Jon Tomczak eased the synth into each song organically, creating a layering of electronic among the drums, bass and guitar. Each member in the band contributed great skill and talent within every facet of each song. These boys are certainly an up and coming band to keep your eye on for the upcoming festival season, and a must see band within the jam community.
Hometown boys Mister F took the stage once again with a great energy that exuded into the crowd and had everyone moving. Each member of Mister F holds such an immense amount of talent that these boys can literally do no wrong. They showed great versatility as individuals and varied their setlist from funk to harder guitar riffs and a more rock and roll sound, to jammy and electronic pieces that truly showed their capabilities as a band. Matt Pickering and his brother Ben Pickering stay completely in sync within the rhythm on drum and bass, even when Matt takes lead vocals on many of their songs. Andrew Chamberlain tears apart intricate guitar solos as if the guitar is second nature to him and Scott Hannay blends everything together on the keys and synth. At one point during the night Hannay left the keys to pick up the guitar, only further showing the amount of talent and capability these guys have as musicians. Mister F has definitely put their work in as an up and coming band in the past few months and are now easily considered one of the best acts to see locally, or at music festivals this summer.
Setlist: Everything You Say, Vocoder> Answer the Dawg> Vocoder> Oasis> Hedgehod, Get Used To It, Busters Revenge> Eye Level> Busters Revenge, Deal Breaker, The Flu (by Lettuce), Treadmill, Jump The Shark, Oh My Dayum, Unisex Collider
As the morning of July 28, 1973 revealed itself, the ground beneath the Watkins Glen, New York State concert site was preparing to hold the weight of 600,000 musical travelers ready to rock and roll. The largest gathering for a rock festival was about to take place with a legendary bill of bands that would play extended and legendary sets. After the previous evenings ‘warm up’, the groups as well as the crowd were primed for an all day event. Pleasant but humid New York Summer festival weather settled hazily across the bronzed crown of hippies slightly threatening summer storms. The awe inspiring event about to take place would make history in not only musical but social ways, the smoky remnants of that afternoon still smoldering in the annals of rock history.
The Grateful Dead took the stage promptly at noon to an introduction by Bill Graham who exclaimed, ‘From Marin County to Watkins Glen, the Grateful Dead!’ Blasting into an excitable ‘Bertha’ the Dead ran through a typical, that is to say, well played and amazing set of first set classics. The set is brimming with a typical East coast high energy, building to then detonating on a psychedelic pinnacle with the set closing ‘Playing in the Band’. Slithering through the some of the more familiar themes of the era, by half way into the jam Lesh and Garcia are exchanging husky scrubs and bombs, while the rest of the band is tied into a kinetic and electric fast paced groove. While not reaching the extravagant peaks of the jam from the night before, this is a thick and gooey ‘Playin in the Band’ from an era with many stand outs.
Following a marathon ‘China/Rider of epic proportions comes ‘Eyes of the World’, the peak of the second set and of the Dead’s performance for me; the post verse jam contains a plethora of melodic statements from Garcia, with the song morphing into a swelling and pulsating improvised drift. From fifteen minutes on, Garcia plays like a man possessed and hits on several syncopated grooves that band responds to in kind touching on the delicate spaces explored during the previous day’s sound check, before falling back into the recognizable ‘Stronger That Dirt’ theme. Garcia then deliciously liquefies the band into Weir’s well timed and well placed ‘Sugar Magnolia’. Observed as an entire piece of work the Grateful Dead played an amazing two days of music at Watkins Glen, a testament to their constant journey to strive for the golden note.
The Band’s set started at 6:00 PM after the Dead’s extended four and a half display concluded and became an amazing cross section of their legendary career, peppered with unique instrumental interludes specific to the Watkins Glen performance. Opening and romping joyously through ‘Goin Back To Memphis’, the Band’s music captured the feel of the festival perfectly through its pastoral imagery and down home instrumentation.
This is rock and roll, country blues distilled to its very essence; it doesn’t get much better than this! During these early moments of the Band set, the low point of the festival weekend occurred as a skydiver unfortunately missed their intended mark and perished on the grounds. As an addendum, there was a supposed ‘official’ release of the Band’s set from Watkins released in 1995, but after inspection and discussion it was revealed that this collection was/is a fraud and contains only two actual tracks from the event. The only way to hear the performance as it was is to hunt down one of the circulating audience recordings that exist in decent quality.
This concert takes place in the middle of a year of rest and uncertainty for the Band. Looked at historically, the concert is a towering peak in the landscape of the Band’s performing career. The songs are tight, dynamic and rise and fall like a high speed run down a country gravel road. Garth Hudson is especially on his game laying down a plethora of breezy and inspirational keyboard flourishes that would culminate with his divergent solo spot “Too Wet Too Work’. Danko and Helm are locked in tight, and the vocals of Manuel, Danko, and Helm wrap around one another like a snaky gospel revival. After rocketing through a series of exciting high tempo tracks including ‘Loving You Is Sweeter That Ever’, and a drunken romp through ‘The Shape I’m In’, the group is eventually forced to leave the stage for twenty minutes because of threatening inclement weather. During the jam on ‘Endless Highway’ prior to their leaving, the crowd can be heard on the recording discussing and preparing for the incoming thunder storm. The ‘fly on the wall’ aspect of this field recording is especially entertaining.
Levon Helm’s remembrance of this moment in his autobiography is that the group left the stage as the weather descended, gulped some Glenfiddich whiskey and watched Hudson return to his keyboard for his orchestral spotlight, ‘Genetic Method’ in this case driving away the rain in the process of the extended solo. Titled ‘Too Wet To Work’ in the case of this performance, Garth traveled through numerous musical landscapes, teasing dynamically, improvising, until the weather dissipated and the Band returned to the stage, slamming into a celebratory ‘Chest Fever’, that in Helm’s words would be forever ‘burned into his memory’. The crowd claps in time with the musical waves, a highpoint of the afternoon. The remainder of the Band set burns through an aggressive and elastic instrumental and then momentous and extended versions of smoldering rock classics like ‘Holy Cow’ and ‘Saved’, as well as crowd pleasing renditions of ‘Cripple Creek’ and ‘Life Is A Carnival.’ Absolutely legendary, the monumental nature of the day as well as joy emanating from the stage translates well to the field recording I am enjoying.
By the time Allman Brothers Band hit the stage at 10:00 PM, the almost one hundred acre concert site had become a swamp, and the happily soaked crowd swelled with anticipation for the upcoming musical onslaught. Opening with the recent for the time ‘Wasted Words’, the band is cooking from the get go with Betts and Allman dueling through vocals and slide guitar over the syncopated groove. The band receives a second introduction after the opener because Bill Graham wanted to make sure every band had each individual member introduced to the crowd. The Allman’s then swagger through beautifully crafted versions of ‘Come and Go Blues’ (featured on official release ‘Wipe the Windows, Check the Oil, Dollar Gas’) ‘Blue Sky’, ‘Jessica’, ‘You Don’t Love Me’, among others. Recent additions Chuck Leavell and Lamar Williams fill in admirably on keys and bass respectively. Leavell and Betts especially have developed an intense chemistry, bouncing hearty melodic ideas off each other throughout the show, with their interplay on ‘Blue Sky’ being a highpoint worth of inspection.
The centerpiece of the Allman’s extended set is the mammoth performance of ‘Les Brers In A Minor’ which bookends a pulsating and dynamic drum duet by Jaimoe and Butch Trucks, the second of the performance following an aggressive ‘You Don’t Love Me’ duet. Each member gets a chance to express themselves as ‘Les Brers’ like its distant cousins ‘Jessica’, and ‘Liz Reed’ navigates a series of death defying twists and turns while solving a series of delicate melodic mysteries. Rock and Roll veteran Chuck Leavell’s extended dance with the black and whites is a pleasure to behold and spreads out a plush carpet in which the band uses to step into drums. This song represents a powerful and confident jam by the retooled group, asserting their ability to move forward while still respecting their past brothers Duane and Barry. Betts guitar lines range from syrupy amber licks to sharp stinging fly bys, the central pole in which the group revolves.
The Allman Brothers set concludes with ‘Whipping Post’, hoped for, expected, and played like a runaway freight train headed down a dark track. Peak after peak is reached the crowd is astonished, amazed and taken to a unique place by the music played. The weekend ends bombastically, well past midnight following the Allman’s set when members from all three groups return to the stage for Summer Jam. Sincerely sloppy, and at moments stunningly brilliant the music continues into the dawn. Rick Danko appears first to drunkenly croon into the mic momentarily and quite endearingly, soon to be joined by Garcia, then Manuel and eventually Betts, Lesh, Allman and others for some more lengthy jamming to conclude the massive weekend of music to the crowds delight.
The music drifting from the stage meanders for a bit before falling into the highlights, ‘Not Fade Away’, ‘Mountain Jam’, and’ Johnny B Goode’, a momentous and special way to conclude the Summer Jam. The ‘Not Fade Away’ is pleasant enough, but the twenty plus minute ‘Mountain Jam’ the follows elicits speeding clouds, percolating rivers, and joyous wilderness romping. Garcia is especially active, intertwining and responding to everyone on stage. Betts and Garcia together create richly constructed summits during their journey, pausing at scenic overlooks that dance with collaborative playing by all of the principals on stage. The musical movement comes as a defining musical statement for the weekend, an instrumental climax, a joining of ideas and people and a perfect example of the magic available through collaborative musical interplay and willing participants.
Watkins Glen, Summer Jam 1973 is not only notable for its collection of an amazing group of musicians, but for its eclectic collection of fans. The collaboration between the two of these principals combined for a historic and alchemic weekend combining music and experience. The encapsulated moment in time for this weekend will never be recreated, but fortunately forever enshrined on recordings and in the memories of the participants.
“Three bands, three sets, no repeats” is how they billed it and I couldn’t have said it better. On Saturday, January 18th, the Grateful Dans, Workingman’s Dead, and The Maniacs brought their tributes of the GratefulDead to the Tralf Music Hall in downtown Buffalo. Each band had their own unique take on the legendary band, with multiple generations of fans in attendance, ready to dance the night away.
Grateful Dans had a laid back approach and got the party started with the fan favorite “Wharf Rat”. Danny Lynn Wilson (lead vocals/guitar) was backed by a band that looked to be playing with one and other for quite a some time. Grateful Dans also incorporated a different approach with background vocalist Amy Svensson playing flute alongside select tunes. Danny Sturner (vocals/keys) played with a lot of enthusiasm starting off “Big Boss Man”, noting “This is one of Pig Pen’s.” You can checkout the Grateful Dans at their next event ‘Back to the Hotel’ on February 15th at the Broadway Hotel in North Tonawanda.
Workingman’s Dead recreated the closest sound to the original Dead. The crowd came alive and the energy in the room really showed it. Kevin Barry (lead vocals/guitar) had the uncanny ability to vocally sound so much like Bob Weir, leading some to think he may have been on stage with them. Mike Hogan (vocals/guitar) nailed down the late Jerry Garcia’s sound so well it was bone chilling. Rick Ruhmel (Keys) was a very strong player, and along side Mark Chamberlin (Bass) really filled out songs nicely. Devin McDonnell and Rob Oshei didn’t seem to miss a beat on drums and you could tell these six guys on stage were a very tight band. They opened with “Scarlet Begonias”, and once into their second song “Jack Straw”, they really lit the fire. The Workingman’s Dead were able to get the crowd really moving with their renditions of “Harder They Come”, “Birdsong” and “Gimme Some Lovin’”. The crowd looked to dance with the same energy and enthusiasm as if they were at an original Dead show. The Workingman’s Dead will be live again tonight, Thursday, January 30th at Nietzsche’s in Buffalo.
The Maniacs closed out the night of Grateful Dead music at the Tralf Music Hall with continuing energy. Hitting their stride with several fan favorites including “Playing In The Band” , “Uncle Johns Band” and “Shakedown Street”, Mark Hitchcock (Drums) was clearly the heart of the band and his energy with the band and the crowd was evident, coming out from behind the kit to the front of the stage. Bryan Staddon is an incredible guitar player and played well to the crowd, clearly enjoying what he was doing. Dennis Reed Jr. on the rhythm guitar was well rounded and along with Gavin Petrie and Tony Petrocelli completed a well playing Dead tribute band. The Maniacs bring their tribute to the Dead on February 7th at the Forum on Maple Rd, show at 9pm.
There are bands that just don’t know when it is appropriate to hang it up. Tuesday, however, people witnessed Mötley Crüe‘s Vince Neil, Mick Mars, Nikki Sixx and Tommy Lee in a Hollywood hotel at a signing ceremony for a “cessation of touring agreement” and their retirement.
The terms of the agreement are to take effect after what has been dubbed their retirement tour, which is to start later this year and conclude in 2015. In legal terms, once the tour ends, each member has agreed to never tour as Mötley Crüe again.
Livenation announced that general sales for tickets will start this Friday, with some tickets being made available for as little as $15.
This is not a time to mourn or cry. This goes for a celebration to a band that said, “Let’s do it our way.”
Mötley Crüe started out of Los Angeles’ Sunset Strip in 1981 to reach the successes of multiple Las Vegas residencies, car commercials, Hot Tub Time Machine, a New York Times bestseller, 80 million records sold, and famous girlfriends galore before all was said and done more than 30 years later. If Sex, Drugs, and Rock and Roll was in the dictionary, there, you would see “Mötley Crüe.” This band has done it all.
“If I was playing at small clubs and county festivals in front of a small crowd with just one or two original members, THEN I would be sad,” said Nikki Sixx, founder, main song writer, and the brains of the Crue operation. Which is why 2014 is a good time to call it quits.
Upstate New York is fortunate enough to have shows scheduled in Darien (CT), Saratoga, and Syracuse. Sharing the playbill will be legendary rock artist, Alice Cooper giving everyone in New York the last chance to FINALLY experience what a Mötley Crüe show is all about. And, it gives fans a chance to bid farewell and say “thank you” one last time.
Anyone who is a fan Mötley Crüe, or even if you’re NOT a fan of them, but are a big fan of rock and roll and metal should read the book The Dirt to really get a taste and an appreciation of how far this band has gone to reach success, and understand the hardships of being in a dysfunctional band.
Tommy Lee has been doing his thing as a DJ and has done some experimental music along the way.
Nikki Sixx seems to have struck thunder twice with his alternate band Sixx A.M., while Vince Neil is still touring with his solo band and releasing material.
Mick Mars deals with ankylosing spondylitis. According to the National Library of Medicine, Ankylosing spondylitis is a long‑term type of arthritis. It affects the bones and joints at the base of the spine where it connects with the pelvis. These joints become swollen and inflamed. Over time, the affected spinal bones join together. Despite his condition, Mars has some musical calibrations of his own.
In all fairness, The Crüe has nothing more to prove. It has all been done.
This will be one last time to “Shout at the Devil,” so catch Mötley Crüe with Alice Cooper in upstate New York at any of the following dates:
Aug. 26 – Saratoga Springs, NY – Saratoga Performing. Arts Center
Aug. 31 – Darien Center, NY – Darien Lake Performing. Arts Center
Bogies executive, and Albany scene heavyweight, Mike Valente recently put out a call for donations to the renowned club for what he calls a “facelift.” The proprieter is seeking help in the tune of $10,000 to cover overdue upkeep costs and miscellaneous upgrades.
Specifically, Valente noted that the money would cover a leaking roof, bad floors, and general “rejuvenation.” And as any band who has played there knows, new mic stands would be great.
An account was established at gofundme.com to administer donations.
The 30-year old-club has gone into decline, and as Valente wrote, “there are some costs and expenses that go beyond our reach.” He further explained that he has never seen a profit off of the shows put on at the club — even those that have featured renowned talents as Black Flag and Born of Osiris. All money goes into expenses such as staffing — who have donated time before because of their love of the music over the tight finances, add Valente.
As such, the financial woes have clipped advertising for shows.
Located on Albany’s Ontario Street, Bogies is one of the most important venues in the scene, especially for up – and – coming bands. To keep it running, is a necessity.
Within the first 24 hours, $890 was raised by 29 donors. Anyone wishing to donate to the cause can do so here, either publicly or anonymously:
The Chronicles continued their winter residency at Red Square on Thursday, January 23rd and paid tribute to musical legends Earth Wind and Fire with special guest Michael Wooten.
The Cedric Burnside Project opened up the event with longtime friends Cedric Burnside on drums and guitarist Trenton Ayers, who together make a Mississippi funk party parade. It’s no mistake that Cedric was born into music as his grandfather is North Mississippi blues legend, R.L. Burnside and started touring with him when he was 13 years old. The duo brought Mardi Gras to Upstate NY with soulful singing, swampy guitar riffs and fast paced tempo, a foot stomping good time. One of the highlights was when the duo brought up members from the Chronicles to sit in on “White Lightening”, bringing the flair of jazz and pure rock and roll. Burnside and Ayers had permanent smiles on their faces and so did everyone in the crowd, here’s hoping they come back soon.
The Chronicles welcomed Michael Wooten on lead vocals and guitar to join in their tribute to the mighty Earth, Wind and Fire. The set exploded with a funky “Getaway” followed by the popular hit and crowd pleaser, “September.” Wooten added a strong, mature tone to the group with his voice, hitting those ever famous high and low notes. It was fantastic to hear the classic brass melody from, Jeff Nania on Saxophone and Bryan Brundige on Trombone played with soulful execution. “Shining Star” got the most cheers the moment, guitarist Justin Henricks and Wooten strummed those strings and everyone began to sing and get down.
After the Earth Wind and Fire set, the crowd seemed a bit restless and not ready to call it quits just as the night and music was getting started. “We are just about to rage now,” Henricks assured the fans as they boys started their set with a smooth “Mr.Magic” with light yet complex key solo from Paulie Philippone. Andrae Surgick showed great control as he effortlessly slammed on the cymbals and drums. Closing out the set was “Village Living” extra heavy on the bass bombs thanks to Daniel Lawson. A break in between songs during the show gave the Chronicles’ sound guy a chance to mention to the audience that at 5 am, pretty much right after this set, the band was flying out to California for the weekend to play a gig before the Grammys and recording an album. The Chronicles have a supportive fan base in the Upstate NY area and it’s thrilling to watch them stretch their sound to new places across the country.
Don’t miss The Chronicle’s last show of their residency this Thursday, January 30th at Red Square when they pay tribute to J Dilla, with The Big Mean Sound Machine opening the show at 9pm.
Setlist: Getaway, September, Jupiter, Fantasy, Let’s Groove, Can’t Let Go, Shining Star, Way of this World, Can’t Hide Love , Mr. Magic, Purple Diesel, Mr. Clean, Scrasbourg, No War, Village Livin
