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Second Annual Taste of Country Music Festival at Hunter Mountain: Day Three

There we were, the final day of the Taste of Country Music Festival and what a spectacular day it was with sunny skies, warmer temperatures, and no sign of rain in the forecast. Perfect weather to end a perfect weekend. As I checked out of my hotel in East Durham, The Shamrock Inn. It had the amenities I needed, shower, bed, and electricity to charge up my camera, computer, and phone, but it had one thing I needed most of all, a bar directly across the street with more live music and a kitchen open till 2am. Yep, this girl didn’t mind the half hour travel through the windy mountainside, which I must add was spectacular. As I spoke with the campers throughout the weekend, they absolutely loved being there at Hunter Mountain.

Catskill Mountains – Taste of Country Music Festival

Day Three

The energy at the mountain seemed to be a little more passive this morning as I made my way through the vendors to select my breakfast of choice. It very well could be as the attendees were beginning to slow down from their two-day drinking binge, perhaps it was the sullenness they were beginning to feel with the approaching end to the festival, or perhaps they just weren’t awake enough yet. Whatever it was, it certainly was easier to maneuver through the crowd this morning to get this creation I had heard of the previous day at my favorite corn dog vendor. This creation was the best of all breakfast foods wrapped into one scrumptious delicacy. It was a breakfast sausage on a stick with a donut drizzled with syrup and covered with bacon bits. Yep, these carney chefs were geniuses when it came to hangover foods for these people, and myself who just appreciates anything with bacon.

Breakfast of Champions

As I made my way to the Ram Guts and Glory stage, the jealous stares at my purchase were evident as I pointed back towards my new vendor friend. With another stellar lineup in store I was really looking forward to the day’s shows. First up was Jessica Lynn, followed by Chase Rice, Tyler Farr, Thomas Rhett, Thompson Square, and ending this amazing weekend as no other could, Hank Williams Jr., aka Bocephus.

As Jessica Lynn took the stage, the crowd was sparse but, beginning to fill in, as this beautiful young lady with a full band behind her eased them into the day with some amazing music. Her sound was the perfect blend of classic country and modern country with hints of pop. With the accompaniment of the pedal steel guitar (played by her father), a fiddle, two guitars, bass, percussion, and even backup singers (one being her mother), her style was country classic, and her talent as a songwriter was apparent.

She sang songs she penned about girls in the music business, “Taking Over”, and about insecurities girls often feel about themselves in numbers such as “Pretty”. To look at Jessica you would think she was immersed in the country music business from the time she was born. After all, she had two parents who were also in the music business. However , this northern gal grew up in Yorktown Heights, NY and at an early age found country music, and life for this New Yorker was never the same. Her roots may be from the north, but this girl has a southern charm that goes on for miles.

Jessica Lynn -Taste of Country Music Festival

As Jessica’s show ended, next on the ticket was Chase Rice. Rice is one of Nashville’s superstars on the horizon as he has burst onto the scene as an independent artist and made huge strides in a business dominated by coorporate record labels. This handsome young man, who once played football for North Carolina and worked in a Nascar pit, is all about writing music. Although, he’s best known for his #1 hit song he co-wrote, “Cruise” that changed his life and propelled him into the spotlight, he’s quick to share his plans for the future and add to that catalog of musical hits.

When asked about the song he says “I am very appreciative of it, but I’m about a lot more than just one song”. That he is. Chase is currently touring with Dierks Bentley and has built a huge fan base across the country. Getting ready to release his next album Ignite the Night on August 19, Chase is living his life by his motto – “On a scale of 1 to 10, be an 11.” As he performed Sunday for the huge crowd that had amassed for him, he sang “Ready Set Roll”, and to this day he is still amazed how crowds sing along with him and know all the words despite the fact radio has never played the song.

His show was one of the most energized performances I had seen all weekend. With brothers City and Fence Tucker backing Chase up on guitar/bass, these two shred like no others with a duel pitting brother against brother, east crowd vs. west crowd to see who could yell the loudest. Chase Rice is a going to be a country super star, that I would place money on.

Chase Rice – Taste of Country Music Festival 2014

Okay, now that the football player and his dueling guitarists had left the stage, out came a man after my own heart, Tyler Farr. I loved his southern twang, I loved his redneck tunes, I loved his camo attire, and I loved his beautiful ballad “Hello Goodbye” he wrote after finding his love in the wrong driveway. Those were all endearing qualities, but what I loved most about this guy? I loved how mid sentence he spotted the guy with the turkey decoy on his head and called him out as his new best friend. This man (Tyler, not decoy head) was awesome. All weekend long the turkey decoy hat made the jumbotron, garnered whispers, points, and high fives, and it floored me why no one else had noticed it from the stage.

After all, it was definitely not small or the norm, even with this rowdy bunch. Kudos Tyler on being one with your audience. His voice, a low sexy voice, with a rugged after tone – moved you no matter if he was singing about “Chick, Trucks, and Cold Beer”, how he was “Redneck Crazy”, or how she was the “Whiskey In my Water”. No matter what he sang, he nailed it. Perhaps this is because he’s actually a classically trained musician. The control he has over his voice, almost purrs as he sings. As many of these artists had done all week, he also performed a cover, this one was by Awolnation, “Sail”. His cover got the attention of everyone there and by the end of his set, Tyler Farr was my, new best friend.

Tyler Farr – Taste of Country Music Festival 2014

Up next was Thomas Rhett. Although Rhett was born into the country music world, his plans were not to follow in his famous father’s footsteps. Seeing what Rhett Atkins went through in the business, Rhett Jr. spent a good portion of his early years trying to decide which direction to take. No matter which way he turned, it kept leading him back to the music industry. Starting out as a songwriter, his songs have been recorded by the likes of Jason Aldean and Lee Brice, and Florida Georgia Line to name a few. It was only a matter of time this talented young man would begin singing his own songs and climbing the charts himself. As much as he is a talented songwriter and singer, he has a special charisma that translates to his audiences.

From the moment he took the stage, there was a good time to be had. Singing his hits “Get Me Some of That”, “It Goes Like This” and “Something To Do With My Hands” the crowd, going crazy for each song he sang, became part of his show. Quite literally as Thomas came out into the crowd to find someone to share the stage with. Didn’t take long to find Connor, a Brantley Gilbert doppelgänger, to come up on stage with him to finish out Garth Brook’s “Friends In Low Places”. Sometimes no matter how much we try to fight something, fate plays a part in it and this is a shining example of how Thomas Rhett was meant to be on the stage.

Thomas Rhett – Taste of Country Music Festival 2014

Next on the all-star billing was Thompson Square, a husband and wife duo who have been taking Nashville by storm lately. Relatively new to listeners, this couple is not new to country music or their journey to where they are today. Arriving in Nashville to pursue solo careers, the couple met the first week there and from that moment on have found together everything they ever dreamed of. Joining forces after marrying on the music front as well, this duo combined their aspirations, songwriting talents, and blend the best attributes of both to create Thompson Square.

Since Just Feels Good, their second album, was released, their schedule has been packed with a full year of touring and performing. When this couple hits the stage you feel their connection. You feel their chemistry on stage as they performed “You’re Everything I Shouldn’t Be Thinking About” and “Here We Go Again”. However it was their performance of “If I Didn’t Have You” that fans felt their passion in each other and the music they share.

As they began playing their final song “Are You Gonna Kiss Me Or Not” I looked around to see the first hand how contagious this love they share is with their audience. Couples dancing all around me just confirmed what an amazing team they are, and how worthy they are to be the first and only married couple to receive CMA Vocal Duo of the Year honors, in addition to multiple other CMA, AMC, AMA, and Grammy Awards and Nominations. Just proof that sometimes things are great on their own, but combine them and they are even better together. As a footnote, the award for line of the day was awarded to Thompson Square as they spotted a special guest in the audience and shouted out, “Is that Spiderman? Well it’s not a party until Spidey shows up”. Classic.

It Ain’t A Party Till Spidey Shows Up

As the sun began to set, and the festival prepared for its final act, concert goers seemed a little more subdued awaiting the legendary Hank Williams Jr. Growing up in Murfreesboro, TN instilled a few country customs one never outgrows. These include the love of cornbread, barbecue and sweet tea, the appreciation of clogging and square dancing, and the sheer awe of country greats such as Hank Williams, his son Bocephus, Loretta Lynn, Patsy Cline, Conway Twitty, Johnny Cash, and so many more that graced the Grand Ole Opry stage.

No matter how far north you go, you always hold dear to your heart those country basics. So the anticipation of seeing Hank Williams Jr. in person was surreal in a way for this gal. Those in the audience seemed to share this belief as well. The crowd wasn’t the rowdy, on your shoulders holding beer up in the air bunch that had been having a good time all weekend. No, this bunch was perhaps the same group, but they were a buzz with a respectful excitement of suspense now awaiting Hank Williams Jr. to take the stage. Without keeping the crowd in suspense any longer, Hank Williams Jr. took the stage, and from that moment on that man had your attention. Not quite sure what was to be expected, but without any reservations, this man far exceeded what I imagined.

Hank Williams Jr. – Taste of Country Music Festival 2014

As Hank Williams Jr. began his set, you knew immediately that this was a man who made no excuses, didn’t apologize for who he was, and took full ownership of his beliefs, his life choices, and career. He truly was an original outlaw. As he performed numbers throughout the evening the audience gained an insight into what makes Hank tick. Raised in a household with frequent guests who gathered around the dinner table and piano, Hank’s momma, Audrey, couldn’t understand why when Hank got into music he kept gravitating towards that rockabilly sound.

Perhaps it was because Johnny Cash, June Carter Cash (his godmother), Jerry Lee Lewis, Fats Domino, and Elvis Presley didn’t play old-fashioned country or gospel type music, when they came over. No, they banged those keys and rocked the house, and this was what Hank wanted to play. In a career that has seen more number one albums, singles, awards, and continues to thrive today, the man on stage was a living legend. As he began playing his hits such as “Women I’ve Never Had” “A Country Boy Can Survive” and “All My Rowdy Friends Are Coming Over Tonight”, the crowd cheered and clapped and Hank fed off of this and just got better and better with each number.

Hank Williams Jr. – Taste of Country Music Festival 2014

Because Hank has had such a successful and long career, he has the options of traveling or not traveling. He is selective when it comes to shows, so when he was approached, he said it was a no brainer to come to see us at Taste of Country Music Festival. It was on a mountain that once held one of the all time great festivals, was great hunting and fishing country, and offered a Remington Arms factory right up the road. What was to decide?

Hank Williams Jr. – Taste of Country Music Festival 2014

As the show progressed I was truly amazed at this man’s versatility. Hank Williams Jr. is quite a musician as well as an amazing singer. At one point he was sharing his love and respect for Fats Domino, as he played the piano and sang “Jambalaya”. The next minute he was performing Johnny Cash’s “Walk The Line”, and you would have sworn it was Johnny himself singing it. Then he went into one of the best mash-ups of Lynyrd Skynard/ZZ Top/Aerosmith that I’ve ever heard. All the while he shredded, strummed, tickled the ivories, and rosined up his bow – he did so with a new brim each and every number. This man is a classic. He had a hat for his guitar numbers, a hat for his rock numbers, and a hat for his honky-tonk numbers.

As he played throughout the night, I believe my favorite moment was hearing him talk of how he had been approached by a lady who had always wanted to see his father play, however didn’t have the chance to make it in time, so he dedicated a number to her. As he sang to her “Lovesick Blues” you could see Hank Williams live on through his son, through country music, and through the never-ending love and adoration of his fans. As Hank Williams Jr. played the evening, this sentiment held true for him too. As he closed out the festival, joined on stage by Tyler Farr and Thompson Square, fans knew they had just witnessed a piece of history not often seen.

Hank Williams Jr. – Taste of Country Music Festival 2014

As the curtain called, the set began to be torn down, the buses filled with gear, the shuttles filled with passengers ready to go back to their cars in the lots and hotels surrounding the mountainside, festival goers were left with an afterglow of sorts from the amazing weekend they just experienced. I must commend the event organizers, planners, volunteers, and staff for an amazingly seamless event. The security team was top-notch, diffusing anything that may escalate into a problem so that everyone there was safe and had a good time without incident.

I commend them on their top-notch staff that was hands on from day one and had every detail possible covered, beforehand and as it arose. They were efficient, professional, courteous, and always striving to make the event the best for everyone involved from the performers to staff, to media, to attendees. I can’t imagine how 2015 will live up the standards of 2014’s Taste of Music Country Festival. Oh wait, maybe you can get Tim McGraw to headline.

Headlining 2015 Taste of Country Music Festival

July 4, 2014
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!”

Next 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.

Friday

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.

The 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.

July 3, 2014
LIVE: Rising Again with New Lead Singer, Chris Schinn

Being the new guy is never easy. Try filling big, famous shoes. LIVE was one of the most popular grunge bands in the 1990s; I wasn’t the only one who was seriously bummed when the band split under some vague and ugly circumstances in 2009. Those of us paying attention were pleased to hear that the band was going to march on, but eyed the new lead, Chris Schinn with a decent amount of skepticism. And really, who wouldn’t? Anytime the new guy gets up on stage with an iconic group of performers, the fans’ critical eye gets super sharp. Most of us stubbornly refuse to accept lead replacements of super awesome bands, even if they are a great fit.

Schinn told us, when we sat down with him in Verona, that he’s been guilty of the same thing. But then he saw Alice in Chains perform with William DuVall (replacing the original lead, Layne Staley). When he left that show, not only was he sold on the “new” Alice in Chains, but he also thought to himself, “I could see myself doing that.” A short time later, he was. Before I saw him perform with LIVE during the Summerland Tour in 2013, I was seriously doubtful that the band could live up to my expectations without Ed K. I’m a fan of Ed too, so I went in with the same skepticism of a kid meeting their new step mom. But, WOW. I was not disappointed. I’m not the only one; Schinn told us about a fan who approached him after a show to tell him that she drove hours to that show fully prepared to hate him. But in the end, the opposite happened: she fell in love.

Schinn said that unlike the challenge of selling his acceptance to old LIVE fans, fitting in with the Chads and Pat was easy. Naturally, he was a LIVE fan in the 1990s (his favorites then were Operation Spirit, Pain Lies on the Riverside, and Lakini’s Juice). He also knew the guys personally; his former band, Unified Theory, actually opened up for LIVE during the Distance to Hear tour. Schinn and the rest of LIVE share responsibility for song-writing, many laughs, a good amount of patience — patience that I’ve been lacking actually as a fan. I’ve been eager to hear what they are up to, but they have taken things REALLY slow. It’s already been a couple of years since Schinn joined the group, and their first album together, The Turn, isn’t due out until October 2014. They wanted to make it good; get it right. They are using a lot of the same folks who have worked with LIVE in the past, including Jerry Harrison and Tom Lord-Alge, so we can expect the same quality of material found on Throwing Copper.

On stage Schinn adds his own style to the show while bringing the audience close enough to LIVE-as-we-knew-them. Admittedly, there is a different energy that flows from the songs of old. LIVE’s established fan base expects to hear the old, popular stuff, and that’s Schinn’s key to their hearts. But when LIVE played their new music the vibration kicked up a notch. Schinn promised us four new songs during the performance at Verona, and noted that whereas a lot of LIVE’s previous work included references to water and rebirth, the newer material is harder, with many references to fire. Schinn’s favorite current LIVE song is “Siren’s Call”, the lead track on their new album, and it is awesome, and I’m not the only one who thought so. Schinn says, and I agree, to “give it a listen.” The Turn will be released in October and LIVE will promote it on tour. Dates will be announced on the bands website and related social media sites.

Setlist: The Way Around, Iris, Top, All Over You, Siren’s Call, Pain Lies on the Riverside, Operation Spirit, Beauty of Grey, Dolphin’s Cry, Rattlenake, Freaks, Don’t Run, Selling the Drama, Lightning Crashes, I Alone, 6310 Rogerton Encore: Lakini’s Juice, White, Discussion

July 3, 2014
Hearing Aide: Mastodon “Once More ‘Round the Sun”

The most recognizable aspect of the music of Mastodon is that their music is not recognizable for a particular aspect. Yes, they have their trademarks, such as unusual lyrical themes, shared lead vocal duties, and a wide variety of musical abilities and sounds. Much like a band such as Phish, there is no actual way to boil this band down into one particular genre because each album sounds different. Their newest album, Once More ‘Round the Sun, is absolutely no exception. In fact, the band is taking you Once More ‘Round the Sun, but you’re going in a different spaceship — in terms of the sound.

It was clear by the release of the album’s first single, “High Road,” the new album would be a further progression into their hard rock side. The album is certainly a way to find a new market. In the single, the band delves into the most “metal” sound they reach the whole album. The song features a driving chorus with emotionally laden chords, but still features Mastodon’s harmonic, trademark vocals from Crack the Skye, or even Blood Mountain. The track’s vocals, mainly delivered by bassist Troy Sanders, are produced much like Jill Janus’ on Huntress’ Spell Eater, the same is true for “Chimes at Midnight” but will be appreciated by fans of evolutionary hard rock, such as Led Zeppelin.

The album’s title track is musically a polar opposite. It features the “weaving” guitar patterns, achieved by Brent Hinds and Bill Kelliher, first featured on an early track the band wrote, “Joseph Marrick,” but casts an evolutionary shadow on “Joseph.” The song is clear evidence that Mastodon’s songwriting has taken an evolution. This is clear because their use of vocals is prevalent. For the second time, drummer Brann Dailor takes a drivers’ seat role, balancing vocals and drumming. In perfect time, each member of the band contributes to this aspect, never failing on their harmonies or blend. Further, vocal editing and pitch correction is less than prevalent.

While the vocals should receive high marks, so should the instrumentation, which is borne of the combination of experimentation and the band clearly not limiting themselves to one school of thought. For that reason, this album could be enjoyed by many music listeners, especially anyone who likes music in the range from something as heavy as a band like Lamb of God, to a band as soft as Clutch.

One of the key, defining aspects of this album is the fact that it follows Mastodon’s trend: each album is a transition into another genre. For instance, Remission and Leviathan featured mainly guttural and unclean vocals, whereas Blood Mountain marked a new era of accessibility for people who did not listen to Mastodon, or heavy metal. This led to Crack the Skye, which proved that Mastodon had a far more progressive side, into The Hunter. Now, the band sounds a lot less frantic. The tunes are all very accessible. You can sing along, show your friends, and rejoice in the fact that heavy metal and hard rock are far more diverse than they used to be, and this was a major complaint for long time Mastodon listeners who misunderstand the works of Mastodon.

Because Mastodon’s sound has changed so much over the years, they can’t really be classified into a genre. Most people would agree that “heavy” bands like Alter Bridge could be categorized. While this is not negative, it is simply the music that they wish to write. For Mastodon, the case is different. They prove that they want to write more than just sludge metal, or prog rock. For Mastodon, music is a great experiment in which the performer is allowed to explore his or her musical polarities. Therefore, it is not possible to make an argument against Mastodon’s ever – evolving sound, as that is exactly the point of the band. Because of this, going Once More ‘Round the Sun is an amazing journey.

Key tracks: Asleep in the Deep, High Road, and Halloween.

Once More ‘Round the Sun can be purchased on iTunes, on Mastodon’s website, and in stores.

July 3, 2014
Second Annual Taste of Country Music Festival: Day Two

As day two began at Hunter Mountain’s Taste of Country Music Festival, festival goers certainly didn’t allow the torrential downpour on Friday night to hinder their spirits in any way. Perhaps the other spirits on hand played a part in that. Perhaps it was just this crowd was tough and didn’t care about sissy things like a little adverse weather conditions. With a clear forecast up on the mountain for the day, this crowd was locked and loaded, okay not quite loaded yet, but they were there and the fun had begun.

Taste of Country Music Festival 2014

Day Two

Having the hindsight to write down the directions vs. relying on cell powered GPS today, I made my way to the mountainside in no time flat, with enough time to meander around and see the festival goers, vendors, food sources, and fun to be had away from the stages. As I approached the entrance, a random festival goer high five’s me and immediately I become one with the crowd again, despite my lack of tent, cowboy hat, and/or red, white, and blue attire; this girl did have her cowboy boots on though. We belong to a gang, one that loves to hoop and holler, one that doesn’t mind getting a little dirty, cold, or wet, and a group that loves their country music and those that sing to us.

As I scoped out my attack on today’s culinary cuisine, a few of the sites beckoned me with their wafting fragrances. Tough as it was to decide between loaded potatoes, barbecue, hot dogs or hamburgers, fried macaroni and cheese, potato pancakes, alcohol infused donuts (which I would love to try next time I’m not working), watermelon, and so many more choices too numerous to list here, I made my decisions. I would start off with the Asian noodles as a healthy light fare, and later follow-up with the bacon wrapped corn dog.

As the crew began to set up the stages for the day’s performances I couldn’t help feel the energy already building for the day’s stellar lineup. Up first was Jamie Lynn Spears, followed by The Cadillac Three, Charlie Worsham, Leah Turner, Craig Morgan, Randy Houser, and the headliner and one of country music’s icons, Brad Paisley would finish the night out right. Wishing the line to the chair lift wasn’t so long so I could get a panoramic view of this crowd and the goings on, I had to put off as there just wasn’t time before the first performer took the stage. As I hiked the hill to scope out the crowd, I took note that the crowd around the Ram Guts and Glory Stage was starting to fill in, which was my que to hightail it back to my spot for the shots I needed to capture.

Up first was Jamie Lynn Spears, best known as an actress on several Nickelodeon shows, and sibling to her famous sister, Brittany. The crowd seemed apprehensive to what they would be in store for, but open-minded enough to welcome her with cheers and encouragement. Jamie had been out of the lime light now for more than six years focusing on her soon to turn 6-year-old, daughter Maddie. During this time, Jamie did some soul-searching and being from the south and loving country music, she began writing with a team that included Chris Tompkins, Liz Rose, Lisa Carver and Luke Laird.

With their expert guidance, she learned the art in putting your heart and soul into words that translate to messages through her songs. As she began to sing, as good of an actress she is, this definitely is her calling She has the perfect country voice, the perfect stage presence, and showed this audience what raw talent she has in this business. She definitely proved herself and laid to rest and doubts the audience may have. As she sang songs from her current list of music and covers she won over the audience. However it if they didn’t love her yet, when she brought out her daughter to have the audience help her sing “Happy Birthday” to her, she won them over then. Look forward to seeing more from this artist in country music as she grows with this country music family too.

As Jamie left the stage, next on the days lineup was a band called The Cadillac Three. As they took the stage, this trio of musicians stole my heart and rocked my world. You couldn’t help relating to these guys as you felt like you were in the presence of Wayne and Garth from the movie Wayne’s World, which I’m sure they get all the time. However, once past the initial doppelgänger recognition factor, Jaren Johnston, Neil Mason and Kelby Ray got your attention in a whole new way. The energy they had during their set was off the charts.

As they performed all I kept thinking was they were a party on stage. Their hillbilly rocking, southern rock style was reminiscent of ZZ Top meets Lynyrd Skynyrd meets Molly Hatchet meets Charlie Daniels, meets .38 Special. This wasn’t country music, this was rock and roll folks. Their performances incited the audience and made for some of the most fun I had to date this weekend. As a photographer first and foremost, I just love bands that move around the stage. Things that always make for great photos were everything they offered in their show; long crazy rock and roll hair to whip around, a drummer that stood up and above his set really getting into the beat, and reflective glasses to show off the insanity their music was inciting.

The Cadiallac Three – Taste of Country Music Festival 2014

If you haven’t taken a look at these guys yet, please do. You may have heard Keith Urban’s #1 single “You Gonna Fly”, which was co-written by Johnston, but it’s only the tip of their talent as their music that is worth a listen to. Numbers such as “Tennessee Mojo”, “Back It Up”, and “The South” substantiate their stronghold they will wreck on the country music world.

Next on the bill was newcomer Charlie Worsham. Relatively new to this audience but definitely not new to the business, this talented young man has years and years under his belt of music experience. He began playing piano in kindergarten, and then after seeing bluegrass banjo player, Mike Snider, at Opryland began learning the banjo. Years later he would join him onstage at the Opry accompanying him on his own banjo. This multi talent young man didn’t quit at the piano and banjo, each year he would learn another new instrument.

This versatile young man found himself at Berkelee College of Music, where he fine tuned his craft in instruments and writing and since has toured and collaborated with such stars as Miranda Lambert and Taylor Swift. On his newly released album Rubberband you will hear further collaborations with country music greats, Vince Gill and Marty Stewart, who join him in “Tools of the Trade”. This young man was a total crowd pleaser from the moment the audience saw him. Out of the norm for most musicians, he came out to the audience prior to his set to meet fans and sign autographs. You see this after the fact at times, however beforehand is generally not the norm. Signing and talking with them for a good long time, he eventually had to stop as his band beckoned him back to the stage to start the set.

Already developing a relationship with this audience, this continued as he totally countryfied this crowd with his amazing banjo and mandolin playing tunes. As if they couldn’t love him more, he decided today was the crowd and day for his first ever “body surfing”. This totally rocked as he was passed from front to back to the soundboard and high fives everyone the entire time. During his set he pulled up a young lady from the front and serenaded “Happy Birthday” to her as she blushed and gushed over him. Yes, Charlie Worsham was a crowd favorite.

The Cadillac Three – Taste of Country Music Festival 2014

As Leah Turner took the stage, her raspy country voice was a nice example of female representation in the male dominated country music business today. Leah originating from California was by no means a surfer type, in fact she was representing the California cowboy/cowgirl clans. One area of country music often forgotten about as Bakersfield, CA, which has given us some of country’s greatest artists, such as Buck Owens, Dwight Yoakum, Marty Stewart, Creedance Clearwater Revival, and Merle Haggard to name a few. About an hour outside of LA, Leah was raised on a farm in Morongo Valley with horses, goats, and chickens.

This young lady had been around cowboys her entire life as her father has been on the rodeo circuit for years. So country music was in her soul. After working in LA with well-known producers, David Foster and Humberto Gatica, she realized her heart was in country music, and shortly thereafter bought her one way ticket to Nashville to realize her dreams. The one thing you noticed about this country gal was she was no sissy. She had a strong presence, strong voice, and I’ll kick it country attitude. As she sang some of her new tunes like “Take The Keys” and “Bless My Heart” from her EP Leah Turner, she showed us she had followed her true path. Show casing her strong voice even further were her covers of Beyonce’s “Single Ladies” which pumped up the female crowd attendees, and her cover of John Fogerty’s tune “Proud Mary” which truly accentuated her strong vocal skills and stage presence.

Leah Turner – Taste of Country Music Festival 2014

Next up was Craig Morgan. As I looked around the audience, his popularity was apparent. It was a blanket of people everywhere. Opening the set with his hit “International Harvester”, he immediately got the attention of the crowd and from that point on sang hit after hit. Numbers such as “A Little Bit of Life”, “Wake Up Loving You”, and of course his hits “Redneck Yacht Club” & “That’s What I Love About Sunday”. This down home family man has found success just being himself. With a resume that is as diverse as it gets, it demonstrates one thing about Craig, that he is a people person that cares about making life better for others no matter what the job. Beginning as an EMT, he then spent ten years in the military, went on to being a contractor, sheriff’s deputy, and even worked at Wal-Mart. The one thing though that tied all these jobs together?

No matter what he was doing or where he was going, music was his passion and played a part in every aspect of what he did. This dedication continues into his personal life as he is an avid outdoorsman, husband, and father to four children. He continues with his dedication to community and causes such as those serving in the military. He has had an extensive singing career for years, and the one thing he continues to do is grow with his music. He’s at a point in his career now that allows him the ability to feel confident enough to uncover raw emotions in his songwriting that reflects a piece of him in each song.

Songs such as “If Not Me” and “We’ll come Back Around” signifies the depths he went to, to address ideals and experiences in life he drew from. His success and longevity however come from his ability to mix it up and covers such as Justin Timberlake’s “Drink You Away” and Foreigner’s “I’ve Been Waiting” were perfect examples of Craig being Craig. His set flew by, and the sea of people gathered cheering confirmed his popularity at this years Taste of Country Music Festival.

Craig Morgan – Taste of Country Music Festival 2014

If any artist was to receive an award for their performance at the show this year, hands down it would be Randy Houser. As Randy took the stage, unbeknownst to anyone in the audience, he and keyboardist, John Henry Trinko, literally just arrived. Somewhere out in Pennsylvania was the rest of the band, the gear, and a broken down bus. Not quite sure how the crowd would react, he began his acoustic set. As he shared with the audience how he is a songwriter first and foremost, he began his set. Best known for his “Honky Tonk Badonkadonk” song recorded by Trace Adkins, Randy’s portfolio of work is much more serious as he writes mainly about life experiences. As he played song by song, no one noticed there wasn’t a band behind him.

Between him and John Henry, they had it covered. Randy told the audience how it felt as though we were all sitting in his living room or on his porch, sharing a beer, and listening to music together. And that is how it felt. This acoustic set was amazing. His voice was all the crowd needed. It wasn’t the pomp and circumstance they loved about Randy, it was his voice, his message, his music. As he sang “Started With A Goodnight Kiss” and “Running Out of Moonlight”, the audience loved him more and more. However they really were on his front porch as they joined in on his cover of Garth Brook’s “Friends In Low Places”. He didn’t need all the special effects. A keyboard, a guitar, and his voice was all that necessary to bring the show.

Randy Houser

As Randy left the stage, Dee Jay Silver pumped up the crowd with his mixes of country tunes keeping this complete wall to wall crowd at bay during set change. Pure genius as this crowd was completely pumped up and ready for the highlight of the evening, Brad Paisley.

Brad Paisley – Taste of Country Music Festival 2014

As Brad Paisley took the stage, the most spectacular light show ensued along with a full lineup on stage, and full set list of hits to share. Brad best known for his numerous number one albums and hits, and charming sense of humor brought that along with an extensive catalog of music to choose from. Even though he was promoting his new album, Moonshine In The Trunk, with today’s current hit “River Bank”, he shared out of the treasure chest of other albums with numbers such as “This is Country Music”, “Online”, “Ticks”, “Mud on the Tires”, and “American Saturday Night”.

Through the modern miracle of technology, Brad was able to perform his duet with Carrie Underwood, “Remind Me”, as her image was projected in a hologram right there on stage. He was awarded the best line for the night as he told the crowd “…this is the most fun you’ll never remember you had…” Brad always has come across as a decent human being, and this was solidified as I saw him sign and hand a guitar he had just finished playing to a small boy right in the front of the stage. Who does that right in the middle of their act? Brad Paisley does. Truly a superstar and all around decent guy.

Brad Paisley – Taste of Country Music Festival 2014

As the night came to a close up to the top of the mountain the spectacular light show finished out the night as the fireworks display went off. Yep, Day Two lived up and beyond Day One. Surely Day Three, would be anti-climatic. Or would it?

July 3, 2014
Hearing Aide: 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.

July 2, 2014
Tesseract Parts Ways With Vocalist

Tesseract, British progressive band, have parted ways with their vocalist, Ashe O’Hara, and will be rejoined by their former vocalist Dan Tompkins.

The band said in an official statement via their Facebook account that O’Hara’s departure was amicable, and that Tompkins’ returning performance with the band will be July 5, at Sonisphere. Tompkins will also perform vocal duties on the band’s in-progress third album; similar to his vocal duties on the Concealing Fate EP and One.

As Tompkins is also a member of Skyharbor, he made note, via his Facebook of the fact that the two bands would not interfere with one another, he will remain a full-time member of both projects.

July 2, 2014
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.

Starting 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.

Bassist 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.

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]

July 2, 2014
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

July 2, 2014
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.

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.

July 2, 2014