New Jersey thrash metal outfit Overkill unleashed their 17th album, White Devil Armory, a couple of weeks ago and could possibly be the best metal album of the year. It is a nonstop thrill ride from start to finish. Overkill has been overlooked for many years because they were never considered the “big four” of thrash metal. White Devil Armory makes the argument that it should be rebranded as such.
The album starts out with the intro “XDM” which is just a short but haunting instrumental tune. Then all of a sudden BOOM! the album gets in your face and makes your ears bleed with “Armorist”. Overkill has never sounded better and showed no signs of slowing down. Armorist is a song made to be played live.
The album never slows down. White Devil Armory continues to hold the pedal on the gas with “Down to the Bone” and “Pig” before going into the six minute bone shattering anthem “Bitter Pill” which is the lead single off the album. Dave Linsk’s guitar solos are groovy as hell and the vocals of Bobby “Blitz” Ellsworth are as fiend as ever. But what stands out the most is the drumming from Ron Lipnicki. My arms and legs get tired just listening to those drums pound.
Another track that really stands out is “Freedom Rings” a real thrash masterpiece as well as closing track “In The Name”.
Overall, White Devil Armory is an album that cannot be overlooked. Most deffinately a candidate for best metal album of 2014. Mabe one of the best thrash metal albums of the decade too. There are no light or slow tracks; It’s nonstop thrash, very heavy album. Overkill clearly has a lot left in the tank. It’s time to really reevaluate who the “big four” of thrash metal really are.
Released on compact disc this week by the Estate of Jerry Garcia comes Garcia Live Volume Four, the newest addition to the updated live release series hailing from Garcia’s bulging vault. The recording comes from March 22, 1978 at Veterans Hall in Sebastopol, CA and features a tour already well represented on official releases because of its crispy playing and plentiful jamming. The now defunct Pure Jerry series spotlighted the JGB’s March 18, 1978 early and late performances, as well as concerts from February and June on the Bay Area 1978 release.
This incarnation of the ‘Jerry Garcia Band’ is worthy of deep inspection and were together from November 1977 through November of 1978. In addition to Garcia the band included, John Kahn (Bass), Keith Godchaux (Piano, Vocals), Donna Godchaux (Vocals), Maria Muldaur (Vocals) and Buzz Buchanan (Drums). This performance also features future Garcia Band member Ozzie Ahlers sitting in for the final four songs of the second set. What makes this era so attractive to fans and archivists is the nimble and airy aesthetic of the group. Godchaux and Garcia provide the color to the tunes, spinning delicate and ornate webs of melody around one another. Kahn’s hide and seek bass playing is always a unique aspect of the JGB’s rolling mystical attitude and his relationship with the clean sheet drumming of Buchanan gives the tunes a flexibility not always available to Garcia in the Grateful Dead.
Garcia’s guitar tone during this era is also something of note. His famous Doug Irwin ‘Wolf’ guitar returned in the Fall of 1977 after putting away his touring Travis Bean guitar for technical issues. The ‘Wolf’ appeared refurbished and retooled with a big brassy tone, like a huffing and puffing psychedelic horn. Garcia’s vocals during this era are also some of the most emotive and expressive of his career. While his throat still contained a youthful exuberance, its continued maturity injected wisdom and inquisitive weariness to his storytelling. The Spring 1978 Grateful Dead tour the following month from this concert is well-known for Garcia’s emotional vocal performances, especially on the ballads. This new-found vocal investment may or may not be due to Garcia’s newly found love of Persian which is well-known for its effect on many artists vocal approach.
The concert begins with usual JGB show opener “How Sweet It Is (To Be Loved by You)” always a proper number to warm up the chops and rigid fingers. The swift and skillful group floats like a feather but drops musically like a melodic anvil. There was a full moon on this evening and its effect is immediately noticeable in the magical tides being created by the band.
One of the finest versions of “Catfish John” follows next in the set and is highlighted by both Garcia and Godchaux’s melodic explorations. Each nook and cranny of the song is searched for differing avenues of expression by the duo.
The preceding East Coast segment of the JGB’s tour had just concluded on March 19 and a definite contrast in vibe is felt with this introductory West coast performance. The first set floats along patiently, moving through three extended versions of elongated readings of Dylan’s ‘Simple Twist of Fate’, ‘Second That Emotion’ and a respectful and regal version of ‘The Night They Drove Old Dixie Down’. ‘Simple Twist’ clip-clop’s with a horse’s strut, Garcia lending his own special poignancy to the song with melodic interpretations of Dylan’s verses that draw out visual scenes not sketched by the original interpretation.
The set closing “The Night They Drove Old Dixie Down” looks trough a misty window at battlefields of the past. Again, the song is stretched out and examined dynamically with the prime interpreter Garcia illustrating new meanings through his ariose guitar runs. This flexing version lends an emotional and introspective conclusion to the set.
The second set begins excitedly with a bounding tempo as the band introduces Jimmy Cliff’s “Harder They Come”. A kinetic groove is developed around Kahn and Godchaux’s quivering exclamations, equaling another rendition that is representative of an all time version. Garcia’s guitar is plump and round, his slithering runs hitting the central spot of the frets each and every time. These are not the speed runs, or aimless noodles that Garcia is sometimes guilty of when he may be feeling too good. These are concentrated and developed reconstructions of the melody, bent and shaped into original forms and readings. This is when Garcia is at his best. Sometimes the spaces between the notes are as uniquely expressed as the flexed one note holds. Garcia’s prowess as a rhythm guitarist which is often highly underrated is also of note in this version. Garcia scrubs until creating bubbles under Godchaux’s solo segment which in turn is sandwiched by Garcia’s solo picked excursions.
Keeping with the increasing energy of the second set comes another definitive reading with a stoic “Mission in the Rain”. Even though this song could be considered a ‘ballad’, here it sways away at a strutting clip. One of Hunter/Garcia’s finest songwriting moments, the song never quite felt right with the Dead, here it elicits a downpour of Garcia trills that reflect Godchaux’s misty keys, eventually building and thundering into a massive musical storm. Also highlighting this performance is the aforementioned Garcia vocal reading, full of tasteful over enunciation and additional push.
Part of the reason for the fame and strength of performances hailing from this era is attributed to the fact that Garcia had just released possibly his finest record with the Garcia Band. Cats Under the Stars was being supported by this tour and its songs formed cornerstones for Garcia’s repertoire for years to come. “Cats Down Under the Stars” and “Gomorrah” are played back to back here, true to the recently released studio versions but performed with the same glory and attitude of preceding numbers. Throughout the intervening years these songs would develop into ‘big’ numbers, road tested and matured due to constant playing.
Garcia Band favorite “Mystery Train” follows and as expected chugs along blowing steam. The tempo shakes like a railroad bridge with Ozzie Ahlers now sitting in on percussive piano according to the liner notes. The band cruises over crossings, under bridges and through American rock and roll landscapes on Buchanan’s choogling drums.
The smoky ‘reggae’ burn of the Hunter/Kahn number “Love in the Afternoon” is played next and brings thing back down slightly, until Garcia whips a lasso around the band and drags them into a nice mid song peak. Ahlers piano playing fits in perfectly and nary a lick is misplaced by his guest appearance.
The traditional “I’ll Be with Thee” closes the concert on a soulful and secular note. Garcia Band’s vibe was always based in American values, traditional ideas, and soulful renditions of classic melodies. Donna Godchaux and Muldaur lend their gospel voices in close harmony on this hand raising, hip swaying closing number.
The band returns for an encore of “Midnight Moonlight” which is the victim of an unfortunate tape cut at its conclusion. Most of the song is available, which is fortunate because like the Full Moon that shined outside the venue, this version is luminescent and celebratory, sending the assembled crowd to walk hand in hand across the lunar lit night.
The new GarciaLive Volume 4 is a worthy release from a well represented time in the Garcia Band’s history. Similarly to the Grateful Dead’s 1972, 1977 and 1990 tours, this era is highlighted through official releases because of its historic value, beautiful playing and unique instrumental prowess. The available soundboard recording is sweet sounding, well-balanced and loaded with delicate and powerful playing, all coming from an era filled with jaw dropping guitar fireworks by Garcia and sympathetic backing from the players.
Key Tracks: Mission in the Rain, Catfish John, The Harder They Come
So this is weird…. usually a band releases an album, then goes on tour in support of the album. Leave it to Phish to do the exact opposite. Last Halloween, Phish broke tradition of playing an entire cover set as their “musical costume” and instead debuted twelve new songs. The “Phishbill” announced the set as Wingsuit, and that it would be the foundation of the band’s new album. The upcoming Phish album has since been given the name Fuego after the opening track on the album.
Most of the songs from the Halloween Wingsuit set made the cut and have been included on the Fuego album. “Halfway to the Moon” (a song that debuted live in 2010) was added as well. The album was produced by the legendary Bob Ezrin (of Pink Floyd fame) and the studio tracks sound much different than when they first graced listeners’ ears that Halloween night.
The title track “Fuego” kicks things off and is the beast and the potential improvisational behemoth of this album. It was the star during the Halloween set and the same applies to the album. The take from this track was recorded during a soundcheck at Boardwalk Hall leading up to the Halloween debut. The first jam segment features drummer Jon Fishman attacking his snare drum with a ferocity most mortals have never seen. Trey Anastasio (lead guitar, vocals) jumps on board and rips into an arena-melting solo. Phish tells us that “Inside your fuego, we keep it rolling” and this becomes the central theme for the rest of the song — fun, upbeat and easy to sing along with. The end has a smooth jam that stays within the confines of the song before slowly fading out. The possibilities for “Fuego” jams in the live setting seem limitless.
“The Line” takes the pace down and is a song about Memphis guard Darius Washington Jr. missing free throws at the end of the 2005 Conference USA championship. The song’s backup vocals and ending harmonizing are reminiscent of some of the newer U2 offerings. The lyrical concept of an enduring basketball heartbreak is admirable but the song has a cheeseball factor to it that is hard to ignore.
“Devotion to a Dream” picks things back up and has a poppy sound with a mainstream feel to it. The harmonizing vocals have a warm feel to them, adding some pep to the tune. This song seems better left for Trey Anastasio Band than for Phish. “Halfway to the Moon” follows and translates tremendously onto the studio recording. The song fits Page McConnell’s (keyboards, vocals) vocal range perfectly and his precisely-timed grand piano additions highlight this song. The addition of some vocal processing help give “Halfway” a Floydian dream-like feeling. Another track that has Phish fans dreaming of a big jam in its future.
“Winterqueen” and “Sing Monica” have contradicting live-to-studio translations. “Winterqueen” fell flat on Halloween but benefits from the studio setting, although still not a track that will be bringing people out of their seats anytime soon. “Sing Monica” (named just “Monica” during the Wingsuit set) was performed acoustically during its debut and the studio version misses a lot of that live, acoustic charm.
“555” is a huge star of the Fuego album. The Mike Gordon (bass, vocals) and Scott Murawski (Max Creek, Mike Gordon Band) penned piece is groovy, funky, and oozing with life. The addition of horns and backup singers make this a standout track that requires slow groove chair dancing. “555” is 555 times better than “Winterqueen”.
“Waiting All Night” certainly has a Bob Ezrin spin on it, and sends us back into the floating dream. It’s not often Anastasio’s vocals jump out at you but the passion he sings with on top of the harmonies in “Waiting All Night” is some of his best vocal work in years.
When “Wombat” debuted on Halloween, it was a thermonuclear explosion of awesomeness and funk that erupted that Boardwalk Hall crowd. The Fuego album version struggles to recreate the energy of that night and seems a bit too stiff. That is until the 2:12 mark when backup singers and horns inject “Wombat” with the swag it seems to be missing.
“Wingsuit” is the closing track of Fuego after being the opener during the Wingsuit set on Halloween. This beautiful song has an excellent blend of all four band members. Their four unique sounds complement each other to produce that distinct Phish sound. Anastasio closes the album (as he does many live shows) with another spine-tingling solo.
Recorded during Phish’s 30th year of existence, “Fuego” continues the band’s legacy of trying new things and pushing things forward. The infusion of Bob Ezrin is noticeably present and, when mixed with Phish, creates a sound that is very different from Phish’s other albums and worth a listen. All that is left is to see is how these songs grow on this year’s summer tour which kicks off July 1st in Mansfield, Massachusetts.
Linkin Park drops their sixth studio album, The Hunting Party, today; to a fan base already frothing at the mouth.
They promised something hard, and, yeah, do they deliver.
Their focus on electronic music is out the window. Instead, good ‘ol fashioned drums and guitar are brought back to the forefront, perhaps best showcased in the track “A Line in the Sand”.
It’s difficult to claim that this is a return to Linkin Park’s earlier sound. In fact, it’s not. LP has gone from being a “theory” that initially incorporated traditional rock instruments with DJ record-scratching, to hip hop, to nu metal and to electronic. Each album release has contrasted in style from the last, often leaving some fans scratching their heads. Personally, I’ve found myself buying a CD, giving it a once over, only to have it sit on the shelf for a time before it ultimately grows on me. This rebellious manner by which they circumvent pressures from their record label to follow the status quo (of which Mike Shinoda has seldom shied away from referencing in previous projects – see also, Fort Minor) has served to be one of the reasons why the band has maintained relevancy since Hybrid Theory was released nearly 15 years ago.
With the release of Collision Course in 2004, LP paired up with hip hop icon, Jay Z. Ten years later, LP is pairing up with another rap legend on the track “Guilty All the Same”.
Rakim is as legendary as it gets in hip hop, busting out onto the sound systems of white suburbia with his smooth, lyrical flow in the mid ’80s when he was then paired up with DJ Eric B. In their prime, Eric B. and Rakim were considered by some experts to be the most influential duo in the history of the genre.
With “Guilty All the Same” you have the aforementioned drums and guitar, and you have Chester Bennington screaming in your ears, lending little hint to the gem that resides within. Two-thirds the way in, the tempo of the music slows and dims, a figurative bow to Rakim as he starts to operate. The R flows just as smoothly, with the same lyrical punch that he had nearly thirty years ago. Having him on the album only accentuates the greatness behind this project. The heavy and aggressive sound, along with collaborations involving Rakim, Tom Morello (Rage Against the Machine), Page Hamilton (Helmet) and Daron Malakian (System of a Down), makes this album an absolute must own.
You can purchase The Hunting Party through the band’s website, iTunes, Amazon, and your local brick and mortar store.
Key Tracks: “Until It’s Gone”, “A Line in the Sand”, and “Guilty All The Same”
Fuego, the first studio album from Phish in nearly five years, will be released by JEMP Records on June 24. Later that day, they will perform on ‘Late Show with David Letterman.” Phish recorded Fuego with legendary producer Bob Ezrin (Pink Floyd, Lou Reed, Peter Gabriel) last fall, as the band’s 30th anniversary approached. They memorably performed brand new songs for their Halloween ‘musical costume’ on October 31st at Boardwalk Hall in Atlantic City.
The songs for Fuego took shape during a series of visits to Phish’s longtime creative hub, The Barn, a rustic, reconstructed barn-turned-rehearsal/recording studio located outside Burlington, Vermont. There they explored dozens of ideas, which led to a notable shift in the band’s songwriting approach. While Fuego includes tracks that individual members brought to the table in usual Phish fashion, the bulk of the material was written by all four, working together at The Barn.
“For years, there’s been a distinct difference between how we did things live and how we did them in studio,” notes Jon Fishman. “But the way we go about things live, the way the musical ball is passed around, is now happening much more in the studio-not because we’re trying to duplicate how we play on stage, just because this is how we operate as a band, period.”
Fuego was recorded at Ronnie’s Place and Anarchy Studios in Nashville, TN, Fame Recording Studios in Muscle Shoals, AL and at The Barn in Vermont. A variety of background vocalists and horn players contributed to the album. The title track was recorded at Boardwalk Hall on October 30, as Phish prepared for the Halloween show.
Fuego – Track Listing
Fuego
The Line
Devotion To A Dream
Halfway To The Moon
Winterqueen
Sing Monica
555
Waiting All Night
Wombat
Wingsuit
Catch Phish on Tour this summer!
7/1 Mansfield, MA XFINITY Center
7/3 Saratoga Springs, NY Saratoga Performing Arts Center
7/4 Saratoga Springs, NY Saratoga Performing Arts Center
7/5 Saratoga Springs, NY Saratoga Performing Arts Center
7/8 Philadelphia, PA The Mann
7/9 Philadelphia, PA The Mann
7/11 New York, NY Randall’s Island
7/12 New York, NY Randall’s Island
7/13 New York, NY Randall’s Island
7/15 Canandaigua, NY CMAC
7/16 Clarkston, MI DTE Energy Music Theatre
7/18 Chicago, IL FirstMerit Bank Pavilion on Northerly Island
7/19 Chicago, IL FirstMerit Bank Pavilion on Northerly Island
7/20 Chicago, IL FirstMerit Bank Pavilion on Northerly Island
7/25 Charlotte, NC PNC Music Pavilion
7/26 Columbia, MD Merriweather Post Pavilion
7/27 Columbia, MD Merriweather Post Pavilion
7/29 Portsmouth, VA nTelos Wireless Pavilion
7/30 Portsmouth, VA nTelos Wireless Pavilion
8/1 Orange Beach, AL The Amphitheater at the Wharf
8/2 Birmingham, AL Oak Mountain Amphitheatre
8/3 Alpharetta, GA Verizon Wireless Amphitheatre at Encore Park
8/29 Commerce City, CO Dick’s Sporting Goods Park
8/30 Commerce City, CO Dick’s Sporting Goods Park
8/31 Commerce City, CO Dick’s Sporting Goods Park
Local favorite Dan Johnson recently announced an upcoming album that he plans to release on May 15th.
“I’ve been recording a new album of original material here at the shack up in the brambly foothills of the Green Mountain,” stated Johnson in his latest press release. “It’s got eight original songs and a whole lot of tender loving care.
I’m including “Mercury 85″ which has been a hit at shows lately, as well as a couple others I think you’re gonna like,” added Johnson.
The album will be released on May 15th through Bandcamp – and like Radiohead, Johnson is letting fans dictate the price of this release. The name of the album was not revealed.
See below for upcoming shows:
Upcoming Shows
April 22 – Rosendale Cafe, Rosendale NY
April 23 – Olde English Pub, Albany NY
April 24 – The Rose and Kettle, Cherry Valley NY
April 25 – Old Union Hotel, Binghamton NY
May 4 – Skinny Pancake, Montpelier VT
May 17 – Bagitos, Montpelier VT
July 20 – Troy Pig Out, Troy NY
August 29-31 – Cornstock, Tunkhannock PA
Formula 5 is one of those hidden gems hidden within our borders of Upstate New York. The band generally calls Albany, and the surrounding area, home and has been lighting up that scene for a couple of years now. The band’s latest offering, Edging on Catastrophe, is the follow-up to their self-titled debut album that was released last year. From their debut to their sophomore release, the band has grown tremendously in their cohesiveness and general song writing capabilities. The new album as a whole spans many genres, yet keeps a tight flow between songs as they sonically weave their way in and out of each style. Throughout this album, you can hear the guys touch on funk, bluegrass, jam, electronica, blues, reggae, and many others, all while keeping a general theme throughout. The four-piece has developed their identity and this album really shows their comfort within that while still stretching into untouched areas.
The first song that grabbed my attention was “Pedro,” which really showcases guitarist Joe Davis’ skills as he leads the band melodically through this piece. This song illustrates another thing the band does well, which is understanding how far to push a jam. The guys have a great feel for how much is just right and your ears are continuously treated to that balance on this song and throughout the album. The band lays down a solid backing through the first few minutes of the song with a catchy little guitar riff and a chorus that opens up and allows the band to stretch out. As the song progresses, it continually picks up steam until around four minutes in when the band takes it over for some exploratory jamming. Their choices for both the effects on their instruments and overall ambient sound is spot on, providing a perfect and slow-rolling current for keyboardist Mike McDonald to show his skills while trading off with Joe Davis’ riffing. The closing minute of the song swells before relaxing and jumping back into the chorus, bringing it back full-circle and resolving the built-up tension.
My favorite song on the album immediately follows “Pedro” and is appropriately titled “Ride.” The song starts with some ominous keyboard chords before the bass and drums jump in, giving it an STS9-like feel right from the get go. The vocals and instrumentation on this song are layered perfectly and combine for a haunting and transfixing composition. The verses of this song remind me of Neil Young’s “Rockin’ In The Free World” and has the same internal pull that evokes raw emotion. The second guitar solo that starts around the four-and-a-half-minute mark comes out of nowhere as, leading up to this point, the song was still mellow and relaxed. The driving nature of the band combined with Davis’ playing launches you from the ground and into the outer atmosphere. He makes beautiful lines through the chord progressions and really adds color to the overall song before it slows down again, tucking away into this beautiful environment of ambient tones that’s both driving and relaxing at the same time. At around the eight-minute mark, you can hear a little Paul Simon “You Can Call Me Al” flavor from the keys before the band begins the haunting swell that closes the song. As the pace climbs, notes are blurred together and the beat continues to escalate before they drop you on your face, leaving you wondering where the ride left off.
Throughout the rest of the album, the band does a tremendous job of really engaging the listener with a wide array of music styles, terrific lyrics, and overall top-notch musicianship. If you want a snippet of how talented these guys truly are, take a listen to “Timmy’s Dream,” as the minute-long jam really shows how polished their sound has become in their short existence. I will be the first to admit that I haven’t had the time to check these guys out up until now and I now fully regret that decision. It’s baffling to me how such a young band could put out an album of this caliber; whatever the formula is, it’s dialed in right with these guys and other bands need to take note. Edging on Catastrophe is edging on being the catalyst to a very successful future.
Upstate New York’s Formula 5 have announced the release of their sophomore album Edging on Catastrophe. A more ambitious project than their debut album, it contains 13 tracks total and has a run-time of near 75 minutes. Recorded at the beautiful Edie Road Recording Studios in Argyle, NY, Edging on Catastrophe seeks to illustrate the progression of the groups song-writing and album-crafting, while continuing to satisfy the group’s ever-expanding palette for different musical styles. They also bring to the table a new bassist in James Woods.
Sprinkled into this album are various musical styles including bluegrass, folk, funk, reggae, and electronica, among others. This album incorporates a more cohesive feel with each track thoughtfully blending into the next through the use of re-occurring melodies and lyrical themes throughout. The appearance of acoustic guitar, violin, saxophone, trombone, an increased use of synthesizers, instrument and studio effects provide for a more polished final product. Guitarist and songwriter Joe Davis echoed this sentiment. “I’m really excited for people to hear the growth we’ve had over the last year. I feel this album is much more complete than our last and I think that will be clear right from the very first track. We explored a lot of new territory this time around in the studio and I’m extremely pleased with our effort.”
Album release shows will be held on April 18th at Red Square in Albany, NY with The Hornitz (Boston, MA) and Suitable Groove (Albany, NY) opening the show, and April 19th at The Monopole in Plattsburgh with locals North Funktree opening.
The April 19th Formula 5 show also marks the debut of new bassist James Woods joining the band with his fretless bass and a root in jam and improvisation. “It feels great to be a part of a band which not only appreciates the bass but also a band that works as a whole. Every instrument is adding equally to deliver music, not just a spotlight for a single person.” Joining the band has proved seamless for Woods, a Lake George native. “Being a new member to this group I’m exited to add a fusion edge to the sound, constantly piece together original ideas and bring the fretless tone back and into local music.” Added Woods, “It’s not every day that you can link up with some new musicians and throw together a Jeff Beck song in a few minutes.”
Keyboardist Mike McDonald follows suit with the excitement of Woods’ addition to the band. “We are extremely excited for the next chapter of Formula 5. What immediately drew us to James was his interesting style and bass tone. He plays a fretless jazz bass and immediately brought a new feel to our style of improvisation and groove. You will notice this change instantly, but we feel this is a great opportunity for us to evolve as a band, continue to write interesting new material and push the boundaries of what we want to do as a band. James will be a key component of really pushing us there.”
North Creek, New York natives, and Adirondack roots rock band Decadence,are heading off to California to work with Waylon Jenning’s son, Shooter Jennings on their next album. Shooter will help produce the album.
In September of 2013, the band had the chance to play alongside Shooter Jennings and others like Chase Rice, Lainey Wilson, Drew Baldridge and Frank Foster at the Cottonstock in Monroe, Louisiana.
The band has also opened for Nashville Pussy, Jayke Orvis and the Broken Band, The Mallet Brothers Band, Underhill Rose and Woody Pines to name a few.
Decadence has been playing regularly all over New York State. Most notably down in New York City at venues like the Shanghi Rock Hotel and Tammany Hall. They have also done a string of shows out-of-state in Tennessee and Florida.
Decadence’s style of music is a fusion rock meets blues and country.
Their debut album “Love Loud” was released in June of 2012. While in Nashville, Tennessee, the band recorded their current EP “Tales From The Mountain,” which was recorded at Ocean Way Studio in September of 2013.
Two tracks off the current EP “Too Much Fun” and “Dogtown Cadillac” have received airplay on many radio stations with a positive response from listeners.
When talking about the new album, band member Katy Cole says “We’re bringing back the good things about music. It’s not just country, rock, blues and jazz. It encompasses so many genres.”
Cole also states that the album will be released on BCR (Black Country Rock) Los Angeles and that the band will undergo a name change to “Last Daze.”
Formed in 1998, Decadence/Last Daze is Jen Gadway (vocals, guitar, mandolin), Katy Cole (vocals, guitar, piano), Chris Schempp (lead guitar), Matt Dower (drums) and Mick Changelo (bass guitar).
The name Freekbass is startling and inviting all at once. Is this a a freak with a bass? A bass that sounds freaky? From the first time I heard Freekbass and saw Heaadtronics perform at The Big Up in 2010, I was wholly impressed, not because Bernie Worrell was on keys and DJ Logic was spinning, but because Freekbass was stealing the show and made his presence on the stage known, complementing the others while not overshadowing them. This studious and exemplary approach by Freekbass has led to Everybody’s Feelin’ Real,his latest album and one that features special guests and a wide array of bass-fueled funk.
The result of a successful Kickstarter campaign, Sherman says Everybody’s Feelin’ Real “ended up being way above and beyond what I expected.” Sherman notes that the crowd-sourcing method for funding the album was a great success and the backers who supported him hold greater weight than the funding itself. “The real special part was having this community of folks who are emotionally invested into the project like you are. It brings a new kind of intensity and energy to the project. I highly recommend it for any artist.”
This summer, Freekbass heads out on the road for Particle-Freekbass Tour with Headtronics/Particle keyboardist Steve Molitz, and fans of both can expect some sit-ins during each band’s set. They’ll be on the road from April 10th through the 23rd playing shows throughout the Midwest. More dates can be found on Freekbass.com. Headtronics, always a fun show to see, particularly at festivals, and there should be some dates later in festival season with the trio. Click over to see footage of Headtronics from The Big Up 2010.
Now about that album. Everybody’s Feelin’ Real takes a commanding lead out of the gate with the blaring horns of “Rise”, a party starting groove, plus synthesizer courtesy of Razor Sharp Johnson from Parliament-Funkadelic and Bootsy Collins’ Rubberband and vocals from Kim Manning, Jennifer Hartswick and Freekbass. “Victoria Thunder” and thick 70s funk from Johnson’s keys recalls Sly Stone with a Red Bull chaser, giving it some extra kick. The title track has a slower paced groove with a deep grind to it, followed by Skerik’s signature horns on “Mama’s Like a Cowboy”. The instrumental “Fish Like a Man” is full of thick, heavy bass and carries over to “Never Enough”, with whispered lyrics from Jennifer Hartswick that accentuate the gritty sound, repeating “Stop the pain, don’t hurt the game, it’ll never be enough”, a great mantra with heavy bass augmentation.
“Battery”, with JHa’s voice creates a very pleasant ear worm as she stretches out every letter of “Baaaa-Terr-Eeee’, smooth and sultry like Adeline Michèle of Escort. Fans of Bernie Worrell will love “Go Up”, driven by synth via Johnson, making Everybody’s Feelin Real a family reunion of sorts for P-Funk members, including Kim Manning and Executive Producer of the album, Bootsy Collins. The short instrumental “John” bridges “Go Up” and the final track “Fly”, the latter of which blasts off with a cosmic groove, a great cap to a top notch funk album. Over 10 tracks, Freekbass is both a freak with a bass and plays a bass that gets freaky. Enjoy yourself some of Freekbass’ funk on Everybody’s Feelin’ Real.
New Jersey thrash metal outfit Overkill unleashed their 17th album, White Devil Armory, a couple of weeks ago and could possibly be the best metal album of the year. It is a nonstop thrill ride from start to finish. Overkill has been overlooked for many years because they were never considered the “big four” of thrash metal. White Devil Armory makes the argument that it should be rebranded as such.
Most of the songs from the Halloween Wingsuit set made the cut and have been included on the Fuego album. “Halfway to the Moon” (a song that debuted live in 2010) was added as well. The album was produced by the legendary 
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Sprinkled into this album are various musical styles including bluegrass, folk, funk, reggae, and electronica, among others. This album incorporates a more cohesive feel with each track thoughtfully blending into the next through the use of re-occurring melodies and lyrical themes throughout. The appearance of acoustic guitar, violin, saxophone, trombone, an increased use of synthesizers, instrument and studio effects provide for a more polished final product. Guitarist and songwriter Joe Davis echoed this sentiment. “I’m really excited for people to hear the growth we’ve had over the last year. I feel this album is much more complete than our last and I think that will be clear right from the very first track. We explored a lot of new territory this time around in the studio and I’m extremely pleased with our effort.”
The result of a successful