Category: Features

Interview: Popa Chubby – Go for the Raw Sound and Crank It Up

Popa Chubby, the long-time stage name for Ted Horowitz, has been playing a mean guitar for over 25 years. Fresh off of playing shows in Europe this past month, he returns state side starting off a winter tour this Friday Nov. 13 at 8pm at The Hangar in Troy with several other New York appearances on the schedule. Tickets for his show at The Hangar are on sale here.

His other New York shows include: Nov, 28 at Daryl’s House (Pawling), Dec. 12 (Christmas Concert) at Roulette Theater (Brooklyn), Dec. 31 at The Turning Point (Piermont), and Jan. 16 at Treme Blues & Jazz (Islip). Check out his full tour schedule here.

In anticipation for his appearance at The Hangar on Friday, Popa Chubby chatted with NYS Music about his music, playing guitar and his new double-live album, Big, Bad and Beautiful.

Steve Malinski: You’ve got a sound that’s quite your own, sort of a cross roads of blues, rock and roll with quite a level of musicianship.

Popa Chubby: Yeah man, I appreciate that. I started off playing rock and roll, metal, punk rock and speed metal before I got into the blues.

SM: And I’m sure growing up in New York City had and impact on your sound –

PC: – NY Hardcore! –

SM: – So what lead you to find the groove you have today?

PC: It was like 1980 – no, the late 1980’s and the hardcore scene had kind of dried up by that point. There was a lot going on and I just wanted to play. Somebody gave me a Muddy Waters record and I heard it and was like holy cow this is awesome. So I put a little band together. We started playing in bars around NY and it just took off. A couple of years later I had a big record deal with Sony/Okeh, made a record with Tom Dowd, then went to Europe and it’s just been going on ever since, for 25 years.

SM: I’ve kind of pinned your sound as a version of Blue Cheer with a big guitar sound.

PC: Well, I will take that as a huge compliment. I like to rock, man, you know. I like to crank it up. I’m into the raw sound so it’s definitely got a healthy aspect of rock and roll and punk in it for sure.

SM: Kind of like how Ted Nugent plugs directly into his amps and rips from there.

PC: (laughter) Yeah, the Nuge! Luckily he and I are nothing alike politically.

SM: I recently came across a video of you jamming out with Johnny Winter at his 70^th birthday celebration at B.B. King’s in NYC last year. How awesome was that for you?

PC: That was just a legendary night. Johnny’s 70^th birthday. He asked me to play with him. Ironically the first concert I ever saw was Johnny Winter. So it was a real monumental night for me.

SM: Was that the big highlight of your career so far?

One of Popa Chubby’s idols, Leslie West, at Bethel Woods (Woodstock 40th Anniversay) Aug. 15, 2009. photo: Steve Malinski/The Polytechnic

PC: One of them. There have been a lot of high points and that’s definitely one of them, on stage with one of my idols. I was really lucky too because he passed away shortly after that. It’s been quite a year. I’ve gotten to play with a lot of the guys I grew up listening to. Johnny Winter, Leslie West, just great stuff. It’s been awesome.

SM: You just returned from a Eurpoean tour that spanned five countries. What was that experience like?

PC: We did a month long European tour, myself and a band I’m working with called the Balkun Brothers out of Hartford, CT, a duo along the lines of the Black Keys…Blue Cheer, MC5, like the heavier side of blues rock. So we just killed it in Europe and now we’re coming back. It starts this weekend in Troy and I’m really psyched to be up there, I love the area. I’ve played I the Albany area for a long time and it’s gonna be great.

SM: Are the crowds over there in Europe much different than what they are like here?

PC: I wouldn’t say they’re different. It’s just… it’s just been awesome, so great. I’m just so lucky to be doing what I’m doing, man. I’m sitting in my studio right now and I’m looking at my wall with poster of a lot of my heroes. People like Hubert Humlin, and Leslie West is up there, and of course Johhny’s up there, Jimi Hendrix. I’m just so lucky to be doing what I’m doing. Really just happy to be playing music and guitar.

SM: So I’ve counted 24 releases that you’ve had in your career and you’ll soon be adding a 25^th – a live album. What can you tell us about that?

PC: A double live record, Big, Bad and Beautiful. I think in a large sense this is a career-defining record for me. It really sums up 25 years of work and it really came together, man. We recorded it last spring in France when we were on tour and I’m really proud of it. It’s 27 songs and it reflects a lot of my stuff – old, new, and in between. So I’m really happy about this record and it’s been great. It’s coming out on Cleopatra in January.

SM: I’ve never had a chance yet to see you live but from what I’ve heard of you since I first stumbled on you music at my college radio station
back in 2007 and from videos I’ve seen it seems like you have a deep passion for music. What’s so special about the blues and rock and roll to you?

PC: You know what, I can’t really speak for the blues and rock and roll, but I can speak about my music. It’s hard and it’s raw. It’s like…my music reflects what I grew up listening to. For me, like when punk rock came around, seeing bands like The Ramones and Richard Hell & The Voidoids, The Damned, and The Deadboys and stuff like that. There was an immediacy, that and the guitars would just rip your face off. And even seeing bands like Motörhead, Metallica and Black Sabbath, then going back to listen to people like Muddy Waters and Buddy Guy, it’s all got the same element to it. It’s like, no bullshit, man. It’s like, straight up.

SM: You’ve got a lot of shows coming up, including the one this Friday at The Hangar in Troy, Daryl’s House, Roulette Theater –

PC: – Yeah we do, man, it’s non-stop. We’ve got a lot, and in January we’re going back to Europe again. Business is just really kickin’ for me. We just got an offer for a festival in Juno, AK, then back to the west coast in the summer.

SM: With all these shows in your home state, do you have anything special lined up?

PC: I’m always happy to play in New York, man. Especially this time of the year – November, December – is when I’m local and get to play all my favorite shows. And definitely Troy/Albany is a hotspot for me. I’ve recorded a lot of records there, also in Saratoga back in the 90’s…oh man, I can’t even remember the name of the club! It might have been Metronome or something like that [The Metro]. But anyway we recorded Hit the High Hard One up there. So that region has always been really great for me and I’m really excited to get back up there to play. So it’s gonna be a great show. Thanks for taking the time to talk to me, I really appreciate it.

SM: Same to you, it’s been a pleasure.

November 12, 2015
Dave Rawlings Machine Cranks It Up In Buffalo

If you go see a Gillian Welch show, you’ll see her husband Dave Rawlings accompany her on guitar and vocals. If you go see a Dave Rawlings show, you’ll see Welch accompany him on guitar and vocals.

The difference is who’s driving. At a Welch show they’ll play mostly Welch songs, ceding the floor to Rawlings for a number or two. At a Rawlings show, the opposite. And most of the time, Rawlings will round out his band with a few more players. For the current tour they’re on, supporting Dave Rawlings Machine’s just released Nashville Obsolete, they were joined by Brittany Haas on fiddle, Paul Kowert on bass and Willie Watson on guitar, all who make appearances on the album as well.

Bedecked in head-to-toe denim, cowboy hats and long prairie dresses, they certainly dressed the part of the deep-rooted folk they were slinging. With an opening salvo of “Ruby,” “To Be Young (Is To Be Sad, Is To Be High)” and “Candy,” they came out guns blazing. Rawlings immediately showcasing his impeccable chops, with Haas entering as the clear and capable second soloist of the group.

Welch grabbed her harmonica for the next song but Rawlings had her return it. “Dave wants me to sing a bummer of a song,” she remarked as they kicked into “The Way That It Goes” off of her Harrow and the Harvest album. This was Rawlings’ show after all. Later in the set he would prompt Watson to swap out his guitar for a fiddle mid-song. “More fiddle!” like the conductor of his own folk freight train.

Everyone, not just Welch, got their turn in the shotgun seat. Watson sang a pair of songs off his Rawlings-produced album Folk Singer Vol. 1 and Kowert was featured on a traditional gospel tune. All members but Haas sang, though she got numerous turns to highlight her fiddle playing throughout the night. Her accompaniment and harmonizing with Rawling’s complicated solos was the secret additive making the Machine run extra hot.

The Machine was most certainly Rawlings’. His clean yet furious picking of his 1935 Epiphone archtop created a highlight-reel’s worth of material. The audience hung on every note, collectively holding their breath as the solos wound to a peak, producing an audible exhaust of CO2 once he made the turn. Just a simple guitar, no pedals or tricks, yet he was able to elicit a library of sound.

During the second set the band would accordion back and forth from the full five-piece down to a couple different trio configurations, and all the way down to the Rawlings/Welch duo for a take on “Sweet Tooth.” Back up to a trio with Watson on banjo, they worked a “This Land Is You Land” perfectly into “I Hear Them All” that turned into a big old singalong just as Pete Seeger would have wanted. Rawlings noted “It’s starting to sound like a real folk concert in here!” To keep the spirit alive they kicked into a Watson-led rendition of “Stewball,” in which the crowd helped balloon the quintet to a band of hundreds.

Early in the set an audience member cried out, “Doesn’t have to be now, but can you play that Dylan song?” Welch quickly retorted, “Which one?!” before Rawlings sought to take back control of his show by stating “We’ve descended into chaos.” But they did play that Dylan song, closing with “Queen Jane Approximately.” They closed out the show in big fashion, with Rawlings grinning widely and bouncing up and down like a rock star, through a blistering solo. It was met with, what wasn’t the first, or last, standing ovation of the night.

Dave Rawlings Machine let Welch take the helm again for an encore of her “Look At Miss Ohio” followed by an a cappella take on “Didn’t Leave Nobody But the Baby” that finally got Haas behind a mic. The crowd wouldn’t let the Machine stop working there though. After another relentless ovation the band was back again for a cover of The Band’s “The Weight.” Another chance for everyone to do some singing, except Haas of course, who ‘sang’ a verse with her fiddle instead. And with that, the Dave Rawlings Machine finally came to a rest.

November 11, 2015
The Revivalists Prove Size Doesn’t Matter in Albany

Upon pulling up to find parking outside The Hollow on November 5, I noticed a familiar face taking a solo stroll down Pearl Street. The late 20s/early 30s man was staring up at the many abandoned buildings that seem to colonize the area as of late. With a closer look, I realized the stranger was Zack Feinberg, guitarist of The Revivalists, the New Orleans based rock hybrid group I was about to see.

Photo Credit: Rocco DeCarlo, 2015

“Oh God, this place must look so lame,” I thought to myself.

Here is a band whose tour has recently included the likes of Telluride and Red Rocks in Colorado, various festivals including Kaaboo, a sold-out Halloween show at the 9:30 club in Washington D.C., and poor Zack here can’t even find a pizza joint open in downtown Albany on a Thursday night.

Fortunately the Hollow was jam packed on this particular evening. A combination of the unseasonably warm weather and the rising popularity for the raw talent of the band. I felt at ease that “Smallbany” would at least provide an energetic crowd, ranging from backwards snap-back sporting college girls to business casual school district administrators who were attending a conference nearby.

Photo Credit: Rocco DeCarlo, 2015

To my surprise, our small city and relatively petite venue seemed to have provided an opportunity for the band to relax and have some fun. While initially pulled back, singer Dave Shaw literally let his impressively voluminous hair down as he bounced about the stage. At times he crouched down so close to the women in the front row, I could practically feel the heat coming from their blushing faces. Had he removed his shirt – as he is known to do – I would have questioned whether we were at a concert or an evening with the Chippendales.
With a few exceptions, the set was mostly tunes from their most recent album Men Amongst Mountains, providing plenty of solo opportunities for the horn section featuring Rob Ingraham on the saxophone and Michael Girardot on trumpet and keys. These two help provide the familiar NOLA sound, while the steel pedal guitar played by Ed Williams announced a twang all his own.

Photo Credit: Rocco DeCarlo, 2015

Shaw continues to woo the ladies by physically joining them in the crowd. Even Williams jumps up from his steel guitar to playfully ask “Why don’t you love me, baby” during “When I’m Able,” a song from their City of Sound album. This particular song provides room for improvisation and crowd interaction. Crystal clear notes rise from the keys, Shaw breaks out the tambourine and an intense faceoff ensues between Feinberg and Williams. These guys are clearly having a blast in Cap City.

After exiting momentarily to take a breath, the septuplet returned to the stage for an encore of “Need You,” an emotionally charged and powerful song from the new album. And finally the cherry on top of this Cajun sundae, the boys closed out the evening with Prince’s “When Doves Cry.” Although they weren’t dressed the part as they did for their Halloween show, the Revivalists nailed the cover while adding their own grit to this pop classic.

If the Revivalists were unimpressed with Albany, it certainly wasn’t evident by the intensity of their set. So there you have it – at least when it comes to cities and venues – size apparently doesn’t matter.

Setlist: Bullet Proof, Stand Up, Fireflies, Amber, Monster, When I’m Able, Keep Going, Fade Away, Criminal, It Was a Sin, Wish I Knew You
Encore: Need You, When Doves Cry

November 10, 2015
Third Annual Hulaween Reigns as Largest Festival Ever at Suwanee

There are moments in one’s life that will stay with them long after the music has stopped. The third and 2015 edition of Hulaween once again curated a festival experience for the ages. One that will be stuck in festival goers minds for a long time to come, until next year that is.

The third installment of Suwannee’s Hulaween Music and Arts Festival brought many new faces to Spirit of the Suwannee Music Park in Live Oak, FL. Having grown to over 21,000 attendees this year, it was the largest festival ever thrown at the site since it began hosting. Not without some slight growing pains, long lines on Friday for ticketing and entrance into the event quickly gave way to smiles and wide eyed amazement of what was in store for the weekend.

Hosted once again by The String Cheese Incident, Hulaween brought many other big name musical acts to the party, some for their first appearance at Suwannee. With a total of seven sets over the course of the weekend, including their Halloween “Ghoul Train” cover set featuring Wu Tang’s Gza acting as Don Cornelius, plowing through crowd favorites such as “Brick House,” “Boogie Man,” “Car Wash,” and “Dance to the Music,” SCI held nothing back, whipping revelers into a dancing frenzy at every opportunity.

A highlight at the Amphitheater Stage Friday was undoubtedly Primus, getting the crowd started with “Those Damn Blue Collar Tweakers,” they left it all on stage with favorites like “Mr. Krinkle,” “American Life” and the coveted “Jerry Was a Race Car Driver.” Their set was not without Les Claypool’s usual witty banter with the crowd, as well as some less usual songs like “Jilly’s on Smack” and “Salmon Man.”

Pretty Lights played to a majority of the attendees Friday night interspersing some new music into a set chock full of his trademark energetic glitch hop, with horns and keys aplenty. A highlight at the Amphitheater Stage on Saturday was Suwanee virgins Odesza who harnessed the crowd’s energy and magnified it into an incredible set of danceable electropop and chillwave grooves leaving everyone in a breathless sweaty heap by the end of their set. With many festivals opting for a relaxed schedule on Sunday’s to encourage a relaxed crowd, Hulaween had other plans.

After a tight bluegrass set by SCI on the main stage, the skyrocketing Griz took the amphitheater by storm announcing that it was the “Funkiest party in the galaxy until Lettuce takes the stage.” Hit after hit had a packed amphitheater crowd bouncing and gyrating until it appeared to form into one massive dancing organism. After String Cheese played their final set, Lettuce indeed brought the funkiest set of the weekend, playing new material off of their fourth studio album Crush. Many were seen looking for their jaws on the ground afterwards.

Closing Hulaween down were none other than livetronica pioneers Sound Tribe Sector 9. Once again the main concert field was packed with fans drawing from energy reserves to dance their hearts out for one finale set of music.

The expansion of Spirit Lake brought many new art exhibits and interactive sculptures, as well as the return of exhibits from previous years. With some stellar performances by Manic Science (Manic Focus X Break Science) and The New Mastersounds at the Spirit Lake Stage, the art wasn’t the only selling point.

Silver Wrapper Productions and The Spirit Of Suwanee Music Park have outdone themselves, once again. Time will tell if it’s possible to bring together a more impressive line up, a more perfect lay out, or a more incredible all around music and art experience together in one gorgeous package.

November 9, 2015
Dead & Company Albany – Much More Than Expected

Photo by Henya Emmer

Dead & Company was an idea that to most, floating on an initial thought, may have been hard to conceptualize. To a very large amount of the Grateful Dead community there was a vast amount of skepticism around how it could be possible for John Mayer to find his place as the lead guitarist for an adaptation of the Grateful Dead, involving three of the ‘Core Four.’

To many of his faithful fans, Mayer could do no harm. However, even those who bridged the gap between Mayer fans and Deadheads would likely respond that Mayer may be most likely to have what most would see as a tenuous grasp of the Dead musical lingo. After all, John Mayer had little knowledge of the depths of the Grateful Dead library until he signed on to this project. On October 29 in Albany, NY, Dead & Company officially began their first tour.

Fast forward a little over a week, five live shows into what seemed like an experiment. This newly created band called Dead & Company takes the stage at Madison Square Garden for the sixth show of their first tour; a free show to those lucky enough to score a ticket in a small number of lotteries between sponsoring names like American Express and Headcount. One could tell from the initial sounds of what would turn into a “Shakedown Street” opener that this experiment had completely transitioned into a band that had found their groove.

The communication among the bandmates was obviously fluid; they were on the same page. The first set was solid and showed great signs of how this band has matured in a short period of time. From the first show, it was clear that there was confidence in each individual player, but from the first moment of the first set on November 7 there was an immediate indication that all involved were working as one, including the crowd.

Three of the ‘Core Four’, Bob Weir, Mickey Hart, and Bill Kreutzmann, were joined by three other musical monsters, John Mayer, Oteil Burbridge, and Jeff Chimenti, and moved deftly through a quick, hour-long first set, bringing home in strong fashion songs like “I Need a Miracle,” “Cold Rain and Snow,” and “Jack Straw.” The quick set brought up thoughts of whether this free show was going to be a layup for the band and allow them to have a brief two sets, while still keeping their fans happy.

Then came set two. A strong and long second set is something anyone would be looking for and even more so after a short first set, and what was sought after was certainly delivered. Bobby, John and the crew came out and fired off with “Help on the Way” and from there they could not be stopped. One amazing rendition of what could now be seen as age-old jam band tunes flowed into the next.

Jaws were dropped multiple times as Mayer and Burbridge conveyed just how hard they have worked to contribute to this next step in Grateful Dead adaptation. Dead & Co. gracefully and masterfully presented the crowd with a wonderful, heartfelt “Franklin’s Tower,” sung by Mayer, and really showed what potential they have with a “St. Stephen,” that caused the fans to erupt in cheers multiple times. This second set, which was nothing short of magical, flowed through eight continual songs that ended with “Drums>Space>The Other One,” before a break in the action was taken. The set was capped off with Bobby warming the audience with “Stella Blue” and a seamless transition into “Not Fade Away,” which did not seem to end until the band came back out for encore. The crowd just could not be silenced, clapping the drum cadence and continuing to sing, “You know our love will not fade away!”

When the boys did return for encore, everyone was announcing what song they expected for encore and even those who did not guess right were not disappointed. Dead & Company finished off their sixth show of the tour, the third at Madison Square Garden, with an unbelievable “Brokedown Palace.” Everyone has heard Bob Weir sing that song many times. However, hearing John Mayer contribute to the singing with Bobby was something that brought a free concert, filled with such fun and emotion, to a very happy ending.

Setlist:

Set One: Shakedown Street > I Need A Miracle > Cold Rain & Snow, Tennessee Jed, They Love Each Other, Jack Straw

Set Two: Help On The Way > Slipknot! > Franklin’s Tower, He’s Gone > St. Stephen > Drums > Space > The Other One > Stella Blue > Not Fade Away

Encore: Brokedown Palace

November 9, 2015
Everyone Got Their Mag on At Magnolia Festival

Stephen Foster wrote what became the Florida state song “Way Down upon de Swanee Ribber Far faw Away.” That is where Magnolia Festival lies and October 15-18 marked the 19th annual Magnolia Fest being held at The Spirit of the Suwannee Music park in Live Oak Florida. The park spans over hundreds of acres and has sustained a reputation for being one of the most gorgeous places in the south hidden right in the middle of the pan handle, between Tallahassee and Jacksonville. Every year thousands of music festival enthusiasts patiently wait the time to return to the Suwannee to “Get their Mag On,” and that is what many did.

It truly was a surreal weekend of music and fun. One thing can absolutely be agreed on, the weather was perfect. There was always a cool breeze, fair amount of warmth from the sun hidden under all the beautiful Spanish Moss and absolutely no rain. The perfect atmosphere to set the stage for funky bass lines, smoking fiddle solos, and some of the most soulful singing ever heard.

The Lee Boys kicked off the festival by setting the bar quite high! Between the powerful guitar solos to the thumping bass the boys played a set with such high energy no one could stand still. Their melodies soared up to the trees as they sang “Testify.” Band of Heathens not only boasted great harmony vocals but also featured two lead guitar players. It seemed after every song it was time for a different guitar.

The Congress set the mood for a soulful night under oak trees. One of the highlights of the set was a tasteful rendition of the classic “People Get Ready” and just about everyone in the audience joined in the singing. The voices echoed against the trees and filled the amphitheater with beautiful voices. The Motet and their upbeat funky dance music made for the perfect late night dance party under the stars. This band really had the perfect amount of finesse and sass, each solo spontaneous and sensationally crafted.

After The Motet it was time to head over to the Porch Stage, located near vendor row between the Amphitheater Stage and Meadow Stage. The crowds gathered close for the sweet mountain voices of Nikki Talley and Jason Sharp. The duo tour regularly but hail from the Asheville area and recently released Out from the Harbor and included many of the songs in their set that night. It is really wonderful to see two musicians compliment each other so well. Sharp’s smooth guitar solos create the ideal accompaniment to Talley’s full vocals. Talley puts down her guitar and picks up her claw-hammer banjo. She plays a rendition of the old time tune “Railroad Boy.” the song creating a pleasant tension in the audience as everyone lingers on the lyrics.

Closing out the evening back on the Amphitheater Stage was Boston’s own Lake Street Dive. The band truly packed a punch into the evening with their powerhouse set. Lead singer Rachael Price has a voice with such fidelity. It is incredibly relaxed, soulful and you can hear the joy she lets out when she performs. She and bassist Bridgette Kearny compliment each other in a way that most musicians can only dream of. Towards the end of the set they played a fun version of Annie Lennox’s “Walking on Broken Glass,” resulting in a very well-deserved standing ovation.

Friday was yet another beautiful day, and taking the Amphitheater Stage was Grits and Soul, a duo featuring Anna Kline on guitar and vocals and John Looney on mandolin and vocals. They are currently working on recording a new album to be released in 2016, and it will be fun and exciting to see the results. Later in the afternoon the Habanero Honeys took the stage inside the music hall. The band is typically comprised of Cathy Lee, Beth Judy, and Tom Nelly, and today welcomed Stef Lee, Jeff Sachs, and Bobby Burns from Sloppy Joe as well as Nikki Talley. The super group played a variety of original songs and Beth Judy also recited a couple of poems while being accompanied by Nelly and members of Sloppy Joe.

The Meadow Stage was the place to be for driving bluegrass this afternoon. Del McCoury is without a doubt a bluegrass legend and his vocals are undeniable with one of the tightest bands in the bluegrass world alongside him. For the more progressive bluegrass fans, the “boys” as they are fondly referred to performed an amazing jam filled set back at the amphitheater following their meadow performance. Most bluegrass fans would agree that this band continues to uphold the traditions of bluegrass but at the same time release a new energy to their own brand of new grass.

Finally, it was time to make the trek back to the Meadow Stage for the Grammy award winning husband and wife team, Susan Tedeschi and Derek Trucks, the heart of Tedeschi Trucks Band. Susan Tedeschi’s vocals are comparable to the blues legend Bonnie Raitt. To say that Trucks is a phenomenal guitarist would be a great understatement. After seeing Trucks as a member of The Allman Brothers Band, it is refreshing to see Trucks leading his own project and accelerating into musical success. Packing a loud punch, The Tedeschi Trucks Band is complete with a full horn section and back up singers.

Closing out the evening was another set from the Motet. However when their set concluded the night was not over. One of the most unique things about Magnolia fest is that when the stages end for the evening the music does not stop. There are two campground stages on the festival map which welcome campers to come jam in their camps until the early morning hours. Slopryland hosted by the band Sloppyjoe from Wisconsin is famous for their Halloween decor. Upon approaching the campsite campers are dazzled by over a hundred illuminated Jack O’lanterns hanging from the trees. The Jack O’lanterns in the picking tent were vivid sculptures this year depicting a plethora of facial expressions, while the Bill Monroe shrine is also a favorite place for the pickers to congregate. Don’t be surprised to see many stage performers there swapping solos and sharing new original songs. Between Slopryland and The Bill Monroe Shrine, a great time is guaranteed. Each are different, but both are a picker’s paradise.

Back from the Brink performed at noon on the Amphitheater Stage. The band features father and daughter Steve and Lyndsay Pruett, two musical virtuosos who bring it to every ensemble they perform in. The Pruett’s play with a sort of musical telepathy and it is apparent that their connection is the result of many years of practice, dedication, and mutual support. I spied a few teary eyes when the lead singer’s own daughter was guest featured and sang a lovely version of Brandi Carlile’s “The Eye.”

Late in the afternoon it was time to go see Grammy award winning Steep Canyon Rangers, recently famed for having recorded and toured with Steve Martin, performed an exceptional set. Rapid fire fiddle and banjo solos arose throughout the set, while midway through the set, John Stickley and Jeff Austin were invited to sit in for the remainder of the set. This made the perfect segue for Austin’s own set shortly after.

One of the hidden gem’s of the festival was New Orleans own Grammy Award winning Rebirth Brass Band, started thirty two years ago and well known from HBO’s Treme. They have been giving their true brass sound to the world all these years but never forgetting where they are from. The best part of their set is when they did a great rendition of “When the Saints go Marching Home” in honor of their beloved New Orleans Saints.

At last it was time for the headlining Avett Brothers! It was especially exciting to see Tania Elizabeth of The Duhks tearing it up on her violin and harmony vocals. The Avett’s played hits such as “Murder in the City” and “The Prettiest Thing,”while the night concluded with the traditional Saturday night dance party with Magfest staple band “Donna The Buffalo.”

Sunday’s at Magfest are always bitter sweet. Some of the best music is heard Sunday afternoon but even the greatest of things must come to an end. Keller Williams and Grateful Gospel brought an unforgettable show to the table. Featuring the soul singers from William’s ‘More than a Little’ touring band, the group played an extensive array of songs from The Grateful Dead in a gospel style. Melvin Seals of Jerry Garcia Band fame ripped on the Hammond B-3 and truly helped transform Grateful Dead classics into a rejoicing experience for all. The festival ended with another great set by Donna The Buffalo, which included many guests including the infamous Jim Lauderdale, who performed festival favorite “Except for That One Time” and kicked up the energy to a whole new level. That is what is means to ‘Get your Mag On’ as many veterans confidently say. Magfest is a Southern tradition rooted in music, community, and love. It is the venue for people from all walks of life to unite in one of the most beautiful places in the world, set up camp and celebrate music. It has been an exhilarating nineteen years and the festival family hopes for many more exciting Magnolia fests in years to come. You do not have to wait for Magnolia Festival next year to appreciate this amazing park. Check out Musicliveshere.com for plenty of upcoming events.

November 8, 2015
Mavis Staples and Joan Osborne Bring Solid Soul Through Schenectady

The Solid Soul Tour pulled through Proctors in Schenectady this past week and it was surprising to see the show not as highly attended as one would hope. Mavis Staples and Joan Osborne were both in fine form though and played as if the Solid Soul show was a complete sellout. Both artists of course are no stranger to the stage, as Mavis has been going since the 50’s and Joan the early 90’s, but this is the first time these wonderful leading women have gone out together. The pairing is perfect as both of them at heart are blues based artists and share a love for the genre.

The Solid Soul show was about two hours long and had no set break as Joan used Mavis’s band for her set. Rick Holmstrom played some impressive guitar during both sets and was clearly in control of where the music went. He shined bright during Joan’s set on the Bill Withers song “The Same Love That Made Me Laugh” and during Mavis’s set on “Can You Get to That.” Stephen Hodges, who has toured with so many amazing artists, held down the drums with such ease all night and was complimented by Jeff Turmes on the bass, who also has an impressive resume of artists he has toured with.

Both sets were short, but Mavis and Joan included many funny stories and put their great voice on full display. Joan noted how happy she was to be back in the area, as she used to play The Capital District when she was a nobody playing in tiny little clubs. Before Bonnie Raitt’s “Angel of Montgomery,” Joan talked about how she was nervous to do one of her songs, but after seeing her friend Susan Tedeschi do it at Jones Beach this past summer, she thought to herself “Why not give it a shot?” She also couldn’t hold in how happy she was to be sharing the stage with Mavis, as she was a major influence when she was younger and a major part of music history. During “One of Us” you could hear a pin drop in the theater and after that a rousing set ending “I Can’t Let It Get Me Down” with a “Rolling on the River” tease brought the crowd to their feet.

Mavis soon strode onto the stage with a smile on her face, after being introduced by backup singers Donny Gerrard and Vicki Randle, and gave the crowd a one two punch of “If You’re Ready (Come Go With Me)” and “Slippery People.” Mavis welcomed the crowd and talked about her love of The Talking Heads and David Byrne in general. Mavis seemed to be battling a cold all night, but her voice was still just as strong as ever. She was happy to be in Schenectady, though she had trouble saying the city’s name all night, and told the crowd as much many times. The band turned Proctors into a church for the gospel ending of “We’re Gonna Make It” and had people finally get out of their seats and dancing. She also noted that though she continues to get older and can’t do the moves Joan does on stage, while proceeding to try, she will never “be old.”

As the show was winding down, Mavis brought Joan back out for a great roll through “Down By the Riverside” that had the two singers trading verses, smiles, and hugs. A short break before everyone came out for the encore let the audience get up out of their seats and applaud in utter appreciation for the legendary member of The Staples Singers. After everyone came back out she made sure the band got their appreciation and introduced each member before going into “I’ll Take You There.” The entire audience sang right back to Mavis throughout the extended version that ended the evening. With smiles on the faces of each person in the building, Mavis, Joan and the band left the stage to a thunderous applause.

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November 8, 2015
Hearing Aide: ‘Damn Country Music’

What could possibly make a Friday better? Well, the official release of Tim McGraw‘s 14th studio album, Damn Country Music of course. Just in time for the upcoming holiday season, Big Machine Records released the highly anticipated album this week. The record was produced by McGraw and trusted collaborator Byron Gallimore, and proves to be yet another album chock full of hits.

Tim shares the opening number with his first-born daughter, Gracie, in an upbeat country tune with a Celtic vibe of a tin whistle in the background; outstanding. Gracie’s sultry undertones match her father’s voice perfectly, and the tiny glimpse into their relationship at the end is super endearing. He also kicks up some dust with friends and co-collaborators Big & Rich on what’s sure to be a hit for them, “California”.

To McGraw, the album’s title track is reflective of the entire record’s tone and his musical journey thus far. “When I recorded Damn Country Music, it was one of those electric moments. It speaks to a passion and being at a crossroads in your life when you make that decision to pursue it knowing you might pay a heavy price,” says McGraw.

Damn Country Music’s lead single, “Top Of The World,” has been rocketing up the country radio charts since its out-of-this-world debut in August. The song’s widely-viewed lyric video features an intimate look into McGraw’s life as he surveys various personal photos and memories.

The release of Damn Country Music will cap off an exceptional year for McGraw, which began with a critically acclaimed & trending performance of “I’m Not Gonna Miss You” from Glen Campbell: I’ll Be Me at the 87th Academy Awards on February 22. In April, McGraw was included on TIME 100 – Time Magazine’s list of the 100 most influential people – and narrated the ESPN Films & SEC Network documentary Shaq & Dale, which detailed the enduring relationship between basketball icon Shaquille O’Neal and his former Louisiana State University coach Dale Brown.

Continuing to bolster his film career, McGraw starred in Disney’s Tomorrowland in May before kicking off his wildly successful Shotgun Rider tour in June. The tour thrilled thousands of fans and awarded mortgage-free homes to veterans through McGraw’s partnership with Operation Homefront & Chase in more than 30 cities throughout the summer. The tour concluded on September 19 in Irvine, CA to a sold out crowd.

Photo by Danny Clinch

Not sure how he fit in recording an album of this caliber, but we are sure glad he did.

Damn Country Music Standard Tracklisting:
• Here Tonight (ft. Gracie McGraw) – Perfect opening song featuring his first-born daughter Gracie. His smooth country sound blends perfectly with her warm bold undertones and gives a depth to the song.
• Losin’ You – This is an amazingly well written song. Through words, Tim paints the backdrop and tells a story of lost love. This is a great country song.
• How I’ll Always Be – This snappy upbeat diddy describes the simple pleasures in life of a man who knows who he is and what he finds important. ” I’ll always be a fan of old stray dogs and guitars playin’; One room churches, back road walks, and front porch swingin’; Sunset skies and bonfire nights, I love the simple things; That’s how I’ll always be”. Think that says it all. I absolutely loved the percussion and the great guitar riff within this number.
• Damn Country Music – Tim sings of the passion surrounding the life a musician. The constant dedication it takes is all rolled into a ballad of the love affair he has with country music and the ups and downs in the career as such. This is a perfect reflection of the cannon ball jump musicians make to follow their dreams.
• Love Runs – Love walks you to….and the lyrics within bring definition of what is the essence of a relationship. But it’s the love runs through your veins that is so strong and confirms the love you know, will be a forever love. Loved it. Number one hit for sure.
• What You’re Lookin’ For – This ballad tells of an admission and realization. This mellow tune is an acknowledgement of a love that just isn’t right. We have all been there, and Tim’s ability to deliver a sad song of love, just makes you weak in your knees.
• Top Of The World – The first release on the album came this past August and didn’t take but a minute to climb its way into the charts and our hearts. Would say that Tim McGraw definitely sits on Top of the World.
• Don’t Make Me Feel At Home – This number has a very old-fashioned country flavor of the George Jones era. Loved it. A must listen track.
• Want You Back – WOW! All I can say is, you can have me back. Definite hit. (drops mic)
• California (with Big & Rich) – This collaboration with Big & Rich rocks your country boots off. It’s one of those songs you hear, and you immediately pull your beau out to the dance floor. Fun and upbeat. Loved it.
• Humble and Kind – My hands down favorite on the album. It’s a conversation; one that brings me back to so many I’ve had throughout the years with my momma, my grandma, and my pop pop as they teach me how to be the best person I can be in life. Truly a number that everyone will relate to and love as well. So beautiful. The arrangement on this number must get a shout out as well as it is spectacular. Can’t wait to see this one live!

For those that purchase the Deluxe Edition, you will be treated to the following extra tracks as well.
Damn Country Music Bonus Tracks (Deluxe Edition):
• Everybody’s Lookin’
• Kiss A Girl
• Country And Western

This album has a great energy to it. It is a perfect mix of both upbeat and ballad; every song is a hit; and every song has substance. With some of the most talented writers in the business working with Tim, their words are made into stories and Tim delivers them magically and perfectly. A lot of scuttlebutt has been made in the industry claiming that commercialism has taken over and strayed country music from its roots. This album reflects a bit of those roots within, and gives the listener a taste of what country music is all about; the stories of life, love, and loss. I predict that this album will one of Tim’s biggest selling albums. I give it a definite two thumbs up. I believe it’s substance was a compilation of all that Tim’s endured over the years on the road and in the business. Tim’s was able to deliver an honest and heartwarming album, while standing tall and true is a direct reflection to his character and talent. A must purchase. I know I will.

Key Tracks: Want You Back, Humble and Kind, California

November 7, 2015
Meet Your NYS Music Staff: Writer Ally Dean

Ally Dean deeply believes in the magic of unicorns and fairies. She also believes music’s confluence of sound soothes and satisfies the soul in ways no other remedy could muster. Born and bred in Rochester and moving to Syracuse to attend the State University Of New York College of Environmental Science and Forestry (go stumpies!), Ally has inhabited the Upstate/Central New York area for her entire existence. She graduated with a B.S. in Environmental Studies and a minor in environmental writing and rhetoric. With her diploma lazily collecting dust on a bookshelf, she dove into the intoxicating realm of music writing.

From her early high school days spent blasting classic rock in the car with the windows down, live music was a recreational mainstay. Since then she has surveyed nearly every genre, favoring bluegrass, reggae and funk. When not listening (and dancing) to music or slinging espresso at Recess Coffee, Ally can often be found frolicking in a local park and checking under rocks and in small dark holes for her elusive ethereal friends.

Ally has been fortunate enough to witness the performances of such acts as Stevie Wonder, The Black Keys, Foo Fighters, Neil Young and Crazy Horse, Rush, The Rolling Stones, Phish, Queens of the Stone Age, Misfits, Fitz and the Tantrums and Glass Animals among some bigger names. She also thrives on supporting local and underground bands, hitting up neighborhood music venues on the regular. Her musical bucket list includes Fleetwood Mac, Gary Clark Jr., Alabama Shakes, Bjork, Arcade Fire, and just about every other band ever.

November 6, 2015
The Milkman Cometh: An Interview with Ray Paczkowski

Ray Paczkowski, the bearded, bespectacled Vermonter behind the keys in Trey Anastasio Band, and is a hard man to track down. Having first played with TAB in the summer of 2001, ‘The Milkman” has been a staple of Stage Left, holding down the organ, clavinet and keys and adding funk to the well-rounded sound of Anastasio’s side-project.

Paczkowski is also one half of the duo Soule Monde, alongside drummer Russ Lawton, whose funk blend infuses jazz elements and Brazilian and World music themes for a full bodied sound.

Currently on Fall Tour with Trey Anastasio Band, Paczkowski and drummer Russ Lawton recently released a new EP, Smashed World. This June at a music festival in the Berkshires, Ray found time to sit down and have a conversation with NYS Music about his music.

Pete Mason: How did you get your name “Milkman?”

Ray Paczkowski: I worked on a dairy farm for 10-12 years when I was first in Vermont, doing gigs and milking cows. Trey always thought that was funny.

PM: When did you first start playing piano?

RP: I took piano lessons as a kid and started playing out in various projects. I always wanted to just play piano but you can’t haul a piano around, and digital pianos I just hated. Then I started hearing Jimmy Smith, (John) Medeski, and those guys and the sounds that they were getting out of that instrument, it was just so cool and I found that the Hammond has the same quality as a piano and everyone is different and every night there’s some kid of sound that pops out and that’s when I started doing it. A guy I worked with had a Hammond and just said take it.

PM: When was this?

RP: Early ’90s

PM: How did you get on Trey’s radar along with the Vermont musicians that have made up Trey Anastasio Band, particularly on your first tour in Summer 2001 with fellow Vermonters Jennifer Hartswick, Dave Grippo and Andy Moroz?

RP: I was in a band for a long time called Viperhouse and the lead singer, Heloise Williams, did some work with Trey, and we were kind of on a similar circuit, Phish had just started taking off, like we would be playing a club and they’d be next door in the arena. We would see them all the time, it’s Burlington, it’s a small musical community. I would play with Vorcza, a jazz trio and Trey would come listen to it and when he decided to put a band together, he asked me to do it.

PM: What was that first meeting like?

RP: We were doing a gig with Viperhouse in Winston-Salem, NC at Ziggy’s and they were playing next door in the arena. We went over to their show, they came over afterwards and he mentioned that he was thinking of putting a band together and said if I was ever interested and I said ‘Yeah’, but never really thought about it after that. A year later he showed up at a gig I was playing and asked me to do it. I thought about it for like five minutes and said ‘yes’ (laughs).

PM: What were those first shows like for you on the Summer 2001 TAB tour?

RP: It was at a whole other level with bigger shows, a full crew, and it was kind of bewildering going from just driving around in a van to a full scale operation. It was really fun with such a big band, and at that time I was playing in a trio and they had a much smaller sound, so fitting into that thing (with TAB) it was interesting, it was really cool. It was more orchestrated, I don’t know what the word would be exactly. I liked everyone and the music was great.

PM: Did you and drummer Russ Lawton know each other before playing together in Trey Anastasio Band?

RP: We had met here and there but I only knew him as a drummer. I didn’t meet him until we were playing together.

PM: So Soule Monde formed directly out of TAB?

RP: Yup.

PM: What were you seeking to create with the side project?

RP: I live in Vermont and Russ and his family had just moved here, and they were in the next town over. He called me up one day and said “I know this place that has a Hammond organ, let’s go there and make some shit up.” So we did, just kind of went from there. That was maybe 2008 or so.

PM: One of your first shows was a late night show in a cabin at StrangeCreek Campout. It was an unknown performance, knowing that two musicians in TAB were performing under the name Soule Monde, making for an intimate performance.

RP: I remember that, that was one of the first shows. We would just play at this place in Vermont and just make shit up.

PM: And now you’ve gotten to the point where you have songs and a wide array of compositions, have released one self-titled album and plan to release a new album this fall (the recently released Smashed World)

RP: Yeah we’re at a ‘one album every three years’ pace these days.

PM: How did Trey come to sit in with Soule Monde at Iridium Club in New York in May of 2014?

RP: It was just kind of random, we were driving to New York and I thought ‘Let’s call Trey, see if he’s around and wants to come to the show.’ We thought maybe we’d see him and hang out a little bit. He said “Mind if I bring my guitar?” I’m never one to ask, ‘Hey, come sit in with us?’ so he came down and played the whole second set. It was great!

PM: How has Soule Monde been on tour and the audience response over the past few years?

RP: We don’t travel much, do a lot of local stuff, like Disc Jam, that has a close range to Vermont, but the response has been good all around. With the new album, we’re trying to push it up to the next level, whatever that might be. It’s been really good and people are coming out. I think that not many people know the name Soule Monde, who or what it is. It’s really a factor of just hammering on the name even though we’re not on the road a lot, months out of the year.

PM: You and Russ being out of Vermont and knowing the local scene, and even the more rural areas, are there any musicians in Vermont that people should know about?

RP: I know a lot of players that are involved in various things, from folk type stuff to soul. I know a lot of musicians, but not so much the bands they are in. There’s a lot of good shit coming out of Vermont.

PM: Is there any music that you are listening to right now that is catching your ear?

RP: I have a 15 year old daughter and she turns me onto all this electronic type stuff.

PM: There must be an interesting connection between that genre and playing keys.

RP: It’s a cool genre, I don’t know that much about it. As far as listening to music, I’m a radio guy. When I’m traveling around, I’ll scan through things and if you’re in any area with college radio, you’ll get this weird stuff and find some new music.

November 6, 2015