While Saturday October 10 was not their first rodeo, (or fashion show, as some say) the reggae revolutionaries of John Brown’s Body brought their musical stampede, including Grayak and Alex Gideon, to the Westcott Theater. Replete with trumpet, trombone and saxophone, their rich sound echoed through the theater as frontman Elliot Martin freely swayed with the music.
JBB’s horn section was the pinnacle of an evening of varied instrumentation from the three acts that graced the stage. One man band Alex Gideon opened first, relying solely on his guitar, looping vocals and sound effects he created live. The Syracuse native was surrounded by a sea of unmanned instruments assembled for the ensuing artists. The gadget dichotomy accentuated his minimalist setup, which could have lent him more credibility had his routine not been as lackluster.
Gideon played a few catchy covers including Joe Cocker’s “Feelin Alright” and Sublime’s ever-popular “Doin’ Time.” To these he injected his own beat boxing to the mix. And to his credit, Gideon generally selected songs well suited for his funky soul singing style, to which he could accentuate with just the right amount of gruffness when needed. Alas, despite a slew of somewhat catchy tunes, including his original track, “Cuse Town,” Gideon’s performance maintained a relatively stagnant energy, with beat boxing and looped sounds that carried minimal variation from one another.
Local folk/reggae group Grayak followed, performing to a room fairly well stocked with humans. Considering the band is fairly new to the scene, the crowd of roughly 200 was an encouraging sight. They played a mix of songs from their 2014 album Made of Light and their new album set to be released February 2016. After the first few songs, lead singer and guitarist Phil Grajko took a moment to graciously acknowledge, “I’ve been listening to JBB for years and it’s an honor to be playing with them.”
Grajko usually relies on sister Hannah Grajko for backing vocals, but amidst her absence, Jessica Brown of Root SHOCK, a reggae band which Phil Grajko is also a part of, filled the backup vocalist position. Having been performing together in Root SHOCK for several years, Grajko and Brown’s seasoned harmonizing capabilities definitely did justice to the Grayak tunes. Brendan Gosson switching between fiddle and mandolin, Blake Propst on upright bass and Tyler Dattmore on drums, completed the quintet.
Gosson frequently switched between his two stringed sweethearts, the mandolin providing much more of a staccato sound. During “Maya” a track from Made of Light, Grajko’s guitar work midway through the song had an almost Spanish-style appeal to it. The crowd, which wasn’t too shy to dance, really got moving for “Lovely Girl,” an uptempo number about a girl worth spending time with. Gosson brandished his fiddle once again for “Made of Light,” their title track and last song of the evening.
John Brown’s Body took over, with the horns providing a dramatic opening for “Step Inside,” the first song off their 2013 album Kings and Queens. It is a fitting song to open a set, as the lyrics urge, “Come one and all got to make the dancehall tight,” seeking to usher in participants to partake in the music and merriment. JBB transitioned to some heavier material, playing songs with themes more related to their namesake John Brown, a nineteenth century militaristic abolitionist who saw armed rebellion as the best means to ending slavery. While respecting Brown’s valiant efforts, their performance of “Empty Hands” provided a powerful peace offering to listeners, questioning the need for war, exclaiming “So look into the palm of my hand, no weapons/ No frustration or need for confrontation.”
“Plantation” followed, though it actually comes directly before “Empty Hands” on Kings and Queens. It recalls the trials of working on a plantation and living a life in servitude. The last two lines, “With a guitar we’ve a song warning you/ Give them all a way home.” It acts as a call for freedom, and perhaps the guitar serves as a nonviolent alternative to a weapon as a means of provoking change. Surging forward with messages of inspiration, Tommy Benedetti (drums), Dan Africano (bass), Jay Spaker (guitar), Jon “JP” Petronzio (keys), Scott Flynn/Alex Asher (trombone), Drew Sayers (saxophone), and Sam Dechenne (trumpet) rounded out the battalion. It was a battle well fought by all on stage that evening.
The darkness ascends quietly like a phantom upon the southern NY town of Binghamton, the dead leaves are falling, and there is a slight spine tingling chill in the air. It’s October! Is there a better way to usher in in the Halloween season than with the man who makes all your heavy metal horror dreams come true? Yes folks, that’s right Rob Zombie’s nightmarish heavy metal and mayhem show made a stop at the Floyd L. Maines Veterans Memorial Arena (formerly Broome County Arena) last week.
Fans of all ages were lined up at the venue getting into the spirit of the season. Some were dressed as ghouls and other grotesque creatures; there was even a very impressive Captain Spaulding walking amongst the concert goers! If you’re a fan of Rob Zombie, I hope you know who Captain Spaulding is.
The show opened with Rob Zombie’s drummer DJ Ginger Fish donned in a creepy skull mask showing off his DJ skills. DJ Ginger Fish spun some high energy mixes that included Rammstein, Pantera and even a mix of 50s Doo Wop. Even though he was struggling to keep his mask on the entire time, he still spun a very intense set that the crowd was into.
The lights go out, the smoke begins to roll out onto the stage that is adorned with classic Universal horror movie monster backdrops; 1000s of fans are chanting ZOMBIE! One by one the band quietly creeps onto the stage; John 5 looks terrifying in an LED lit gas mask that I can best describe as a robotic human fly; bassist Piggy D is sporting his Dracula look; Ginger Fish looks ready to dominate the drums; Rob Zombie slinks to center stage, his face hidden beneath a pile of hat and hair. The crowd erupts in a massive mosh pit with bodies flying in the air as Zombie and crew tore into their hit “More Human Than Human.”
Without hesitating they ripped right into “Superbeast” and “Never Gonna Stop (The Red, Red Kroovy).” The band delivered a super high energy set and even played a few covers including “Am I Evil” by Diamondhead and in the words of Rob Zombie, “Since we’re in NY, f@ck it let’s do it,” the band caught concert goers by surprise by unleashing a killer version of the Ramones’ anthem “Blitzkrieg Bop.”
The band took their bows, said thanks and left fans crazed and excited from their explosive performance! Overall, Rob Zombie and crew never disappoints!
Also prior to the show I had the honor and privilege to sit down and talk with guitarist extraordinaire John 5. John 5 was very welcoming, funny and sincere. We chatted about what inspires him as a musician, touring and his favorite horror movies. Check out the interview and enjoy!
Most bands find it difficult to keep finding new inspiration to put out records that don’t tarnish their legacy. This is especially true when they find themselves recording their ninth studio album which is the situation Coheed and Cambria find themselves with The Color Before the Sun. What’s interesting about this particular record is that it’s the first to not be a part of the overarching story that has been made up of their previous albums. The Color Before the Sun deviates from what has come before it, but not in musical quality. The band is as strong as ever and has put together another solid entry in their catalog.
The album kicks off with a strong and big power pop opener in “Island” which also happens to be one of the standout tracks. The album is definitely split between slower more emotional songs and the big catchy hook driven tracks. I couldn’t help but draw comparisons to Infinity On High era Fall Out Boy for their ability to blend multiple genres of music but retain that pop atmosphere. “Colors” brings things more in line with traditional Coheed sounds where as “Ghost” creates a great emotional midpoint to the album. The way some of the slower songs are structured shows off singer Claudio Sanchez’s voice as well as a little experimentation with the guitars. The band has been known to draw influence from prog music but this album definitely doesn’t go to that well often. This is much more of a straight forward album which isn’t a bad thing at all. The band still gets to show their musical chops but does it in a very pop radio friendly method. Sanchez’s signature higher pitched vocals cut through and he has a few standout moments showing off how much control he has over his voice.
Perhaps the best track on the record is “Atlas.” I can see this becoming a staple of their live show for years to come. Again it brings a big pop hook and gets the record back in an upbeat swing as it heads into its second half. The lead single “You Got Spirit, Kid” reminds me a lot of early My Chemical Romance which is a style of music sorely missed in 2015’s pop landscape. I know I’ve made a few references to Coheed sounding like other bands but make no mistake, this album is 100% them. It’s a testament to how they’re able to take influences from many styles of music and combine them into their own unique sound. They’re a band that when you hear them, you know it’s them. Few bands are able to do that these days and often finding themselves blending into the mix after an album or two. Even less of those bands are able to carve out a legacy and absolutely devoted fan base like Coheed and Cambria.
I have to pay special attention to the album closer, “Peace to the Mountain.” This song builds to a fantastic ending not just for the song itself but for the album as a whole. As the song comes to its finale, horns and strings come into play accompanying the full band. I love when pop and rock bands are able to pull this off. It’s tricky because many times it can come across as forced or even sounding bad as the band wanted to cram too much into one song. This track is an excellent example of the musicianship the band has to offer. The added elements here make this song feel big and important. It’s a great way to finish the record giving that feeling that the ride is now over.
I love the fact they were willing to stray from their bread and butter with the concept albums. I’m sure this allowed the band to feel a little less restricted but at the same time this isn’t a radical departure from what has come before. They’re still the same band. Maybe a little more simplistic in direction but again, that isn’t a negative. Far too often bands are condemned for making a record with a bit more simplicity in mind but many times this forces more creativity to come out. While this isn’t a crazy prog rock masterpiece, it can be just as hard to write a solid timeless pop record. Coheed and Cambria are still writing great songs and can be proud to add another fantastic album to their discography with The Color Before the Sun. If you’re a fan, you’ll want this and if they’re new for you this is a great entry point.
KeyTracks: “Island” “Atlas” “Peace To The Mountain”
It has been three years since ALO last released an album. During that time, the band kept busy working on side projects and sit-ins with other artists. The result of that break is Tangle Of Time, their latest album, which was influenced by those side projects and other musical endeavors.
While Tangle Of Time starts out in a familiar manner, long-time fans of the band might notice a different feel to much of this album. “There Was a Time” starts the album off in a fun, laid back manner. A pair of songs, “Not Old Yet” and “Keep On,” seem to be influenced by Phish bassist Mike Gordon’s solo work. Fans of ALO’s 2002 album Time Expander will enjoy the dancy groove of “The Ticket.” “Simple Times,” a ballad about spending time with loved ones, and “Strange Days,” a folksy number to close out the album, both draw from a country and folk influence. Lyrically, many of the songs on this album speak of various aspects of time, such as reflecting on the past (“A Fire I Kept”) or looking forward to the future (“The Ticket”).
There are a couple low points, but Tangle Of Time is, overall, a fun album. The band is keeping their music fresh by drawing from new influences. Fans will notice the influences of folk, jazz, country, cajun and electronica on this album. It’s always refreshing to see bands and artists change up the styles of music on display in their repertoire. Tangle Of Time is just that.
ALO is currently on tour. Tickets are still available for many of their shows.
On Saturday, October 10, metal-heads from all over the Northeast made PPL Park in Chester, Pa., its final destination. PPL Park was host of this year’s Rock Allegiance festival which was sponsored by Monster Energy. Since the festival only lasted one day, it needed to have a lineup that would draw fans from all across the Northeast. The festival promoters couldn’t have done a better job at putting the lineup together because weeks before the event, PPL Park was sold out. With a lineup consisting of numerous bands that could have headlined, Rock Allegiance was set to be a success from the start.
Saturday’s forecast was perfect for the event, consisting of warm weather and sunshine. The beautiful day definitely helped fans get to the stadium early to get things started right after 11 a.m. With three stages going all day, there was something for everyone. The bands that opened the morning and early afternoon were no amateurs. Bands such as Unlocking The Truth who are still in their teens, took the Rock Allegiance Tent Stage and immediately demanded the circle pits to be started. That type of crowd control and confidence will definitely keep those youngsters going for a long time. Other bands such as Devour The Day and Red Sun Rising, kept the early afternoon rocking on the two stages set up inside the stadium.
From Ashes To New
The 3rd band of the day to take the Tent Stage was From Ashes To New. This band has been on the road with Five Finger Death Punch, Papa Roach and In This Moment, all who were also at the festival. From Ashes To New drew a huge crowd for their set time and they were phenomenal. It’s no surprise now why they were on the road with those other bands. The energy and style this rap-rock band was very refreshing because many new bands today go toward the scream vocals and heavy riffs.
Shifting to the main stages afterward, The Glorious Sons took the stage for a quick set of hard-rocking blues rock. They were definitely the band that stuck out the most, but not in a bad way. Although many fans weren’t there to see them specifically, The Glorious Sons got love from the respectful crowd. After they were done, all the attention shifted to Stage East for Nothing More. At this point, if someone hasn’t heard of Nothing More or hasn’t at least heard “Jenny” or “Mr. MTV”, they’re living under a rock. There hasn’t been a band moving up the ladder this fast in quite a long time. Lead singer Jonny Hawkins and the rest of the band put on one of the best live performances today. They’ve been on the road for quite some time now and are taking cities by storm. The crowd at PPL Park definitely could have gone for a longer set because 30 minutes was certainly not enough. The next band that played inside on Stage West was Atreyu, who just released Long Live on September, 18. This was their first album in six years and these guys got a huge welcome. This band may have been overlooked on the lineup due to all of the other big names, but Atreyu proved they still have what it takes to be on the main stage. Lead singer Alex Varkatzas spent most of the set down in the crowd getting up close and personal with people in the front row.
Nothing More
In the meantime while Nothing More and Atreyu were rocking the main stages inside, the Charm City Devils and Superheaven were playing over in the Tent Stage. After their short sets were done, Pop Evil took over back inside the stadium. Touring on behalf of their recent album Up, Pop Evil played a mix of material from their newest album and Onyx. Pop Evil is a band that works off of the crowds energy and they shined on Saturday. The band looked like they were having fun on stage and they sounded great. As soon as Pop Evil ended, the crowd ran over to the Tent Stage to catch a set from the Butcher Babies. The Butcher Babies are a heavy metal band fronted by Heidi Shepherd and Carla Harvey, two of the most metal chicks in the music industry today. These two ladies take control of the stage and put on an unforgettable performance. The girls jump all over the stage and get down on the crowd to sing with the audience. Anyone who decided to skip out on seeing their set missed an awesome show, but luckily the Butcher Babies are always on the road. Their newest release Take It Like A Man will surely keep them on the road for some time. Speaking of girls in metal, right after the Butcher Babies were done, In This Moment took over PPL Park. With a full stage production with costume changes, choreography and more, Maria Brink and the rest of the band proved why they are one of the top metal bands in the scene today. Although the band has a handful of albums now, their two most recent releases Blood and Black Widow have given them radio play and mainstream success. The crowd sang every word with Maria throughout the entire set. In This Moment seem to get better and better every time around and their performance at Rock Allegiance is proof.
Bring Me The Horizon
One of the craziest crowds of the day had to be for Bring Me The Horizon. Even with a throat infection, singer Oliver Sykes made sure the crowd was left bloody with broken bones just as he demanded. The infection didn’t seem to affect Oliver one bit. The band was spot on and had the crowd in their control before they even took the stage. The fans waiting in front of the East Stage were definitely waiting for BMTH all afternoon. Touring in support of their latest release That’s The Spirit, Bring Me The Horizon has been packing venues left and right the last few weeks in the States. All of the momentum they’ve gained at the smaller shows seemed to explode at Rock Allegiance on Saturday. While Bring Me The Horizon played, new “supergroup” Saint Asonia played over in the tent. Fans of Three Days Grace and Staind were surely over in the tent watching Adam Gontier and Mike Mushok. Their self-titled album has been all over the radio since the announcement of the group and debut at Rock on the Range earlier this year. The original voice of Three Days Grace and axe man of Staind seem to blend perfectly together and have created something nobody expected. Their setlist was mixed with singles off their album and covers of Three Days Grace and Staind.
Even with all of the bands mentioned so far, Rock Allegiance was not even half over. After Saint Asonia, Jacoby Shaddix and the rest of Papa Roach took over PPL Park. There’s never a Papa Roach show were Jacoby leaves the crowd disappointed. The crowd for Papa Roach was definitely the most so far out of the day. The highlight of the set was when singer Maria Brink of In This Moment came on stage to join Jacoby in singing “Gravity”. Fans who caught the tour with FFDP, Papa Roach, In This Moment and From Ashes To Knew were definitely expecting this duet because they have been doing it nightly. Watching Jacoby and Maria sing the song together was one of the top moments of the day. During Papa Roach’s set, Hollywood Undead competed for audience in the Tent Stage. It was a hard decision to make for fans to pick one or the other. Papa Roach easily had the majority of the crowd, but the tent was still packed for the rap-rock band. The guys came out in their signature masks and carried on their performance like they weren’t competing with anyone.
Papa Roach
As the sun went down and the night grew cold, Five Finger Death Punch took the East Stage and got the crowd on their feet and moving. Even with a shorter then normal set, Ivan and the rest of FFDP put on a great performance with a mix of material from their catalog. Unfortunately, the band only played 2 new songs off their latest album, Got Your Six which were “Got Your Six” and “Jekyll and Hyde”. With such success on the charts, many fans were hoping for more of the new material then some of the older. FFDP has always been a band that supported the country’s armed forces and they showed their appreciation Saturday night. Ivan took one fan’s sign that read he had been deployed and had the entire band sign it. As usual, Ivan invited some youngsters on stage to rock out to their song “Burn MF.” During the song, Ivan high-fived the kids and gave them energy drinks, guitar picks and arm bands. What Five Finger Death Punch does for their fans and the troops is a prime example of how every band should be.
One of the best crowds of the day, hands down, belonged to Boston rockers Godsmack. Sully Erna is one of the best in the business when it comes to putting on a rock show. Sully makes sure the crowd is into the performance and if they’re not, he’s going to change that. The band recorded the song “Something Different” which is going to be used for a new documentary. During the song the crowd reaction was amazing to watch from the stands. Every person was jumping up and down singing along with Sully. Another highlight of the set was the usual “Batalla de los Tambores” with Sully and Shannon. For those unfamiliar with that song, it’s the dual drum instrumental where Sully and Shannon both play on their own drum kits and Robbie and Tony rock the bass and guitar. They play their own song while mixing in riffs from Metallica, Led Zeppelin, Rush, AC/DC and more. The night was closed out with a cover of Alice Cooper’s “School’s Out” and then their classic hit, “I Stand Alone”. Godsmack could have easily closed out the entire night, but there were still two more bands to go.
While Godsmack was rocking the stage on the right, the stage on the left was empty with the iconic Korn album backdrop from 1994. With the 20th anniversary shows being common recently, many fans were expecting Korn to play the entire debut album. The set started off in that direction with “Blind”, “Ball Tongue”, “Need To”, “Clown” and “Faget”. But once the band dove into the riff for “Here To Stay”, the crowd knew they weren’t getting the full album. Which for many seemed okay because at a festival there’s typically a mix of fans who want to hear more of the hits. Korn seemed to put on the best setlist of the night. The material they picked kept the crowd moving and it didn’t let up. The highlight was when “Shoots and Ladders” went into the ending for “Somebody Someone” and the crowd went absolutely nuts. Surprisingly Korn ended the night with “Freak On A Leash” and then announced that was their last song instead of announcing it ahead of time. Ending the set like that left fans begging for more as Jonathan Davis brought his wife on stage sharing with the crowd that it was their anniversary.
Korn
Once Korn ended, the entire Stage East crowd shifted to the right to be in front of the stage for Rob Zombie. Even though it was apparent some of the crowd had filed out after Korn, Zombie still had a huge crowd. Unfortunately due to smaller main stages, Zombie didn’t have the stage production some people expected. Even without his signature stage production, Rob Zombie and his band put on a hell of a show. The band came out with different costumes and instruments all night long. Guitarist John 5 was a crowd favorite because of his costumes and unique guitars.The night opened up with a White Zombie cover of “More Human Than Human”, which set the pace for the night. During the song “Sick Bubble-Gum” the band had huge balloons for the crowd to amuse themselves with while they chose sides with either Piggy D. or John 5 by chanting “Rock” or “Mother Fucker”. Rob Zombie always has and will continue to be one of the best entertainers in the music industry. Fortunately for fans in Chester, they got to see one of Rob Zombie’s last shows for a while. The band has been on the road for quite some time now and are ready to take a break from the road. Fans ended the night in Zombie style with fan-favorite “Dragula”.
Just as fans thought the night was over with a closing fireworks display alongside the Delaware River, Steel Panther was ready for the after-party under the tent. Three albums in, Steel Panther continue to have success with their parody style 80s hair metal. Not only did fans stick around for the after party, but many band members came out to watch Steel Panther. Watching side stage were members of Korn, Five Finger Death Punch, Nothing More, From Ashes To New and even more. Unfortunately, none of those guys got on stage to do any covers, which was surprising due to all of the guest musicians they usually get on stage. Regardless of whether they had guests on stage, Steel Panther put on a show that was perfect to end the day. The band had the entire tent rockin’ and laughing for the entire hour.
Rob Zombie
Not only did Rock Allegiance have an awesome day of music, it had some great choices for food and drink. Labeled as having “Gourmet Man Food” and craft beers on top of that, PPL Park had it all on Saturday. Throughout the stadium, there were your basic food vendors as there would be at any event there. On top of that were all the food trucks that the festival brought in. The best part about all of the options was that none of the lines got ridiculously long like they do at other festivals. The prices for everything were fair which helped keep concert goers wallet’s happy. Most of all, having options besides your typical hot dogs, hamburgers, etc was a relief. The same goes for the basic festival overpriced beer, Rock Allegiance made sure there were plenty of options. The festival was filled with plastic canning jars which were being used for a variance of alcoholic beverages. Considering the price of tickets and the experience festival attendees got in return, Rock Allegiance was an absolute steal. It was no surprise at all that this event sold out ahead of time and hopefully it will return again next year.
Southern “joyfunk” group CBDB recently released their EP The Fame, which melds pop and electronic jam influences to create an often warm and upbeat sound with hints of blues-rock.
Recorded at FAME Studios in Muscle Shoals, Alabama, the four tracks were recorded in one session. The six-piece jamband includes Cy Simonton (guitar & vocals), Kris Gottlieb (guitar & vocals), Glenn Dillard (sax/keys & vocals), Donald Deloach (percussion), Paul Oliver (drums) and David Ray (bass & vocals). The album was produced by CBDB and John Gifford III, mixed and mastered by Don Srygley, with Spencer Coats acting as assistant engineer.
The first number on the EP “Ground Score,” opens with a brisk guitar riff similar to the opening riff in progressive rock group Lee Terrace’s title track “Deep Blue.” Lively guitar makes way for Simonton’s crisp Michael Jackson-esque vocals. His less poppy, southern-infused singing weaves into the instrumental groove, at points almost seeming to compete with the instrumentation, but breaking off halfway through the track to make way for a playful exchange between guitar and saxophone. The rich saxophone evokes the same horn heavy influences carried throughout the theme music of late night comedy show Saturday Night Live.
“Echoes in the Room” provides a fulfilling swell of organ that blends beautifully with blues-rock guitar and Simonton’s lyrics, creating a song that ebbs and flows in intensity, seeming more purposeful than the other more jam-based tracks. The heavier guitar in the beginning of “A1A” sets the stage for what one might expect to be a pretty standard, well-layered jam. Guess again. Simonton’s angsty, whining vocals interject in ways that don’t comfortably blend with the song, leaving this pop/rock conundrum to ooze through the speakers like a giant melty cheese ball.
The FAME EP can be found on cbdbmusic.com, iTunes, Spotify, Apple Music, YouTube, Rhapsody, Google Play, and Pandora.
Although Central New York is not the birthplace of Benny Mardones, to him it will always be home. This is why at least once a year, Benny will come home to play for those that have supported him throughout the ups and downs of his career. He shares his love of music, with those that love him most, his Central New York family.
It was 2010 when I first met Benny Mardones and learned his personal story of struggle and rebirth. Through the trials and tribulations of his life, he remains ever positive and graciously thankful to those that have helped him along the way. In addition, he always gives back to others as a way to pay it forward. Each year that he plays in Central New York, he also works hand in hand with charities that are near and dear to his heart to help them raise money for their cause. This year was no exception. This year he was able to support and help raise over $5,000 for the Clear Path for Veterans, a non profit agency that assists veterans reintegrate into their community.
Diagnosed with Parkinson’s in 2000, Benny Mardones has never let the disease define who he is, or what he will accomplish. Fighting the disease side by side with his loving wife, Jane, they make sure that life is liven to the fullest. It is this attitude and his continuous love of his fellow man that makes me proud to call him my friend.
Despite health concerns, Benny lives for music and wants nothing more than to share this love with his Central New York family. To him, it’s the best medicine possible. So when he said to his wife, he needs to come home, that’s all it took. When he approached his long time friend, Eddie Money, and asked if he could join him on this show, Eddie didn’t flinch. He was there in a heartbeat. How can anyone tell Benny no after all he does for others? The stage was set for a night to remember with dear friends filling the sold out Palace Theater.
Opening the show was Syracuse favorites Hard Promises. These talented musicians are crowd favorites all over New York. Opening the show in true rock and roll style singing a multitude of hits from the 80’s, it was their dedication of “Benny And The Jets” to Benny that set the tone for the night and rocked this sold out/standing room only crowd. Hard Promises definitely set the stage at The Palace Theater priming these adoring fans and getting them up on their feet and signing along into the night.
As Benny’s band began to play, Mardones made his way through the masses to take the stage as the cheers from his family resonated throughout the venue. Benny was finally home where he belonged. You could see it in his face. The sheer emotion I witnessed through the entire show moved me beyond words, and brought me to tears. Singing a few new songs from his recently released album, Timeless, a tribute to everything he loves about music. Completely fan funded through a Kickstarter Campaign, and recorded in Syracuse at Subcat Studios with his band, The Hurricanes, as well as a few lucky fans that sang back up, the long awaited project was finally ready to be shared on this night.
Singing fan favorites like “Baby Don’t” and “Way of the World,” Benny also mixed in some new releases as the show began. It was about half way through the show though that Benny relinquished the stage to his life long friend Eddie Money.
This charismatic performer was a joy to watch as he entertained us both musically and comically. Singing favorites “Baby Hold On To Me,” “Walk on Water,” “Take Me Home Tonight,” and “Think I’m in Love,” but it was Benny’s song “The Train Don’t Stop Here Any More,” that touched me the most. As Benny returned to the stage, the two belted out “Two Tickets To Paradise” and Eddie’s son Julian, joined them on drums as they sang, “Shakin.” That brought the crowd to the their feet dancing both on stage and off. As the night wound down, Benny closed with his signatures two songs that fans never let him leave without singing, the famous “Into The Night,” and “Sheila C.”
Although he’s known to his peers as “The Voice, Benny is also a master songwriter. As I listened to the final production of his Timeless album, I’m moved by several of these songs as they are truly written from the heart. As he played the Palace, he shared “Slip Away,” a rock and roll song that showcases his voice to a “t”, and “Me and Johnny Red,” a song about his love and hate relationship with Johnny Walker. But the one song that moves me every time I hear it, is definitely “Heart In My Hand.” He sang…
“I used to be, the kind of man, that had the world in my hand. And all along, I really knew, I loved the crowds, but I lived for you.
Like a fool, I played it wrong, and like the crowds, baby you were gone
And in the end, I used to die, from the same dream, oh every night.
Oh the curtain, starts to fallen, as you fade away aside another man, and I’m standing in the corner, with my heart in my hand.
So many friends, are not around, I need your love, I need it now. Don’t want to loose. Don’t want to be. Just another, another memory.
Oh the curtain, starts to fallen, as you fade away aside another man, and I’m standing in the corner with my heart in my hand.
I’m standing in the corner with my heart…
I used to be, the kind of man, that had the world in my hand “
Benny, from where I’m sitting, you still hold the world in your hands, and you live in the hearts of us all.
Many thoughts come to mind when one hears the name Miley Cyrus. Cyrus has made it clear to the world that she is no longer an innocent young girl, and this celebrity never misses an opportunity to stand out in a big way. She dropped an unexpected album on SoundCloud entitled Miley Cyrus & Her Dead Petz at the end of August. The album artwork is pretty striking featuring Miley’s partial face covered in glitter glue and the title in huge pink bubble letters.
The image looks like a still taken from her “Dooo It!” music video, which has upward of 11 million views on Youtube. The 22-year-old is not afraid to be unique with regard to her image; eccentric might be a modest adjective.
This album is quite different from the other albums she’s released, especially because she released the album on a non-paid platform. Perhaps she wanted to distribute content gratis as a way to thank her loyal fans, or maybe it was simply an experimental work she didn’t want in her “real” discography. Furthermore, the album is not marked with the Parental Advisory notice for explicit content for the subject matter and numerous F-bombs, which could be problematic if it weren’t on a free distribution platform.
The instrumentation on the album combines acoustic and non-acoustic instruments, including electronic intergalactic sounds in “Space Boots.” And in “Something About Space Dudes,” the rough acoustic guitar is juxtaposed with electronics, making for a unique mix. It’s definitely apparent that The Flaming Lips helped produce this album with the vocal distortion and various production elements.
Miley has no filter, and she doesn’t seem to care what people know about her, good or bad. She likes to have fun smoking pot and drinking alcohol. The two shortest tracks on the album, “Fuckin Fucked Up” and “I’m so Drunk” respectively indicate the more adult habits, and they are similar to the substance-induced works by The Beatles. The recordings sound as though she is in these altered states.
The subject matter is truly all over the place; she sings about guys and sex, pets she used to have, and space dudes she’s encountered while being high. “Bang My Box” and “Fweaky” are quite dissimilar in style. The former is upbeat and catchy, while the latter is a slow ballad, but her detailed desire for sex is evident in both. There are a few emotional tracks, including one that starts with a little monologue detailing her feelings. “I Get So Scared” is a gorgeous track with a simple guitar part and percussion. She explains how she might not get over her last relationship, and how she wants her new relationship to be similar. She’s pretty transparent with her fans.
“Pablow the Blowfish” is the best track on the album. It’s hilariously emotional as she details how much she misses her pet fish and how difficult it was to see her friends consuming sushi.
Overall, this album is truly a work of art. It’s not focused on one single concept, and has a great variety of song styles. This star is definitely taking a new creative direction that will keep fans interested and looking for more.
I first encountered Beirut midway through a listening session of a good friends of mine’s playlist entitled “When I’m Thinking About The World.” It was the title track of their new album No No No. Immediately I was engulfed in a wave of auditory euphoria. It had everything I wanted in a tune: catchy, yet unique, drums, light chords, and a horn section— a seemingly essential ingredient for a hit in the indie music game. The short and sweet LP is easy on the ears but heavy on the heart.
Zach Condon, the project’s front man, has admitted in numerous interviews that this album is the result of a lot trials and tribulations. Having went through marital and mental troubles, Condon retreated to a simple sound of Full-bodied piano chords paired with quiet vocals. Its low budget style must have made it easy to record as the band was in and out of the studio quickly.
Lyrically, the album is quite spacey, yet it played to my emotion side with ease. I really enjoy the lack of hook-based songs. On my first listen, Condon really kept me guessing on the direction the tracks were taking. That feeling was epitomized in the albums final track “So Allowed”. It was the lovely bow by which Condon packaged No No No.
Although Condon has been taking flack for a so-called “Bland Album”, I think it was anything but. This album is the end result of an emotional journey. So to the fans who expected another album like “The Rip Tide”, the last album from Beirut, I suggest that you take a look at the man behind the music. This is No No No’s Zach Condon, a man who has been in the pits and is ready for a new day.
At its core, Blitzen Trapper is, and always has been, a rock band. All Across This Land, released last Friday, is first and foremost a rock record, and probably their most focused effort yet. As has been the case for most of their career, the music on this latest album is heavy on the influences, some more apparent than others.
Blitzen Trapper is able to combine these and morph them into something unique. They’re like the Frankenstein’s monster of rock bands. Taking bits and pieces from music’s past and stitching it all together to create a new whole. It is possible to pick it apart and figure out where each piece originated from, but it would be futile, and in the end would ruin the result. It’s best to accept it for what it is, and not try to attack with pitchforks and torches.
Speaking of torches, the album swings open the gates with the bombastic barn burning title track. From there, the music slowly fades from classic rock to classic country over the tight 40-minute set. Over the course of the 10 tracks, each one slowly picks up some twang and loses a little of the rock attitude. Acoustic guitars replaces electrics, pedal steel and banjo appear, the drums mellow and soften until they eventually disappear completely in the album-closing “Across the River.” With autobiographical songs, tales of loss, and rock songs about rock music, the album hits it’s sweet spot in the gooey center. It is here that the rock and folk blend beautifully, and that is where Blitzen Trapper has always shined brightest.
While they capture their sound very well in the studio, Blitzen Trapper is still a band best enjoyed on the stage, where their energy comes unharnessed and pushes the music to greater heights. Currently touring in support of All Across This Land, they’ll make two stops in New York State this weekend. Saturday night they’ll be at the Town Ballroom in Buffalo. Jesse Malin, who was slated to appear at the Waiting Room was just moved to this bill along with the support from that show. So it will be a 4-act evening starting around 8pm, with The Domestics and Matthew Ryan getting things started. Then Sunday night they’ll be appearing at New York City’s Bowery Ballroom with the Domestics opening at 9pm.
Oct 9 Horseshoe Tavern Toronto, ON
Oct 10 Town Ballroom Buffalo, NY
Oct 11 Bowery Ballroom New York, NY
Oct 13 The Sinclair Cambridge, MA
Oct 14 Johnny Brenda’s Philadelphia, PA
Oct 15 Black Cat Washington, DC
Oct 16 Cat’s Cradle Carrboro, NC
Oct 17 The Loft Atlanta, GA
Oct 18 Exit / In Nashville, TN
Oct 19 Saturn Birmingham, AL
Oct 21 The Parish Austin, TX
Oct 22 Club Dada Dallas, TX
Oct 23 The Opolis Norman, OK
Oct 24 Bottleneck Lawrence, KS
Oct 26 The Bluebird Theater Denver, CO
Oct 27 The State Room Salt Lake City, UT
Nov 9 HiFi Music Hall Eugene, OR
Nov 11 SOhO Restaurant and Music Club Santa Barbara, CA
Nov 12 The Observatory San Diego, CA
Nov 13 Teragram Ballroom Los Angeles, CA
Nov 14 Don Quixote’s International Music Felton, CA
Nov 15 The Independent San Francisco, CA
Nov 16 Sweetwater Music Hall Mill Valley, CA
Nov 17 Humboldt Brews Arcata, CA
Nov 19 Neptune Theatre Seattle, WA
Nov 20 The Biltmore Cabaret Vancouver, BC
Nov 28 Revolution Hall Portland, OR
JBB’s horn section was the pinnacle of an evening of varied instrumentation from the three acts that graced the stage. One man band Alex Gideon opened first, relying solely on his guitar, looping vocals and sound effects he created live. The Syracuse native was surrounded by a sea of unmanned instruments assembled for the ensuing artists. The gadget dichotomy accentuated his minimalist setup, which could have lent him more credibility had his routine not been as lackluster.
Gosson frequently switched between his two stringed sweethearts, the mandolin providing much more of a staccato sound. During “Maya” a track from Made of Light, Grajko’s guitar work midway through the song had an almost Spanish-style appeal to it. The crowd, which wasn’t too shy to dance, really got moving for “Lovely Girl,” an uptempo number about a girl worth spending time with. Gosson brandished his fiddle once again for “Made of Light,” their title track and last song of the evening.
“Plantation” followed, though it actually comes directly before “Empty Hands” on Kings and Queens. It recalls the trials of working on a plantation and living a life in servitude. The last two lines, “With a guitar we’ve a song warning you/ Give them all a way home.” It acts as a call for freedom, and perhaps the guitar serves as a nonviolent alternative to a weapon as a means of provoking change. Surging forward with messages of inspiration, Tommy Benedetti (drums), Dan Africano (bass), Jay Spaker (guitar), Jon “JP” Petronzio (keys), Scott Flynn/Alex Asher (trombone), Drew Sayers (saxophone), and Sam Dechenne (trumpet) rounded out the battalion. It was a battle well fought by all on stage that evening.
The album kicks off with a strong and big power pop opener in “Island” which also happens to be one of the standout tracks. The album is definitely split between slower more emotional songs and the big catchy hook driven tracks. I couldn’t help but draw comparisons to Infinity On High era Fall Out Boy for their ability to blend multiple genres of music but retain that pop atmosphere. “Colors” brings things more in line with traditional Coheed sounds where as “Ghost” creates a great emotional midpoint to the album. The way some of the slower songs are structured shows off singer Claudio Sanchez’s voice as well as a little experimentation with the guitars. The band has been known to draw influence from prog music but this album definitely doesn’t go to that well often. This is much more of a straight forward album which isn’t a bad thing at all. The band still gets to show their musical chops but does it in a very pop radio friendly method. Sanchez’s signature higher pitched vocals cut through and he has a few standout moments showing off how much control he has over his voice.
It has been three years since 
Many thoughts come to mind when one hears the name Miley Cyrus. Cyrus has made it clear to the world that she is no longer an innocent young girl, and this celebrity never misses an opportunity to stand out in a big way. She dropped an unexpected album on SoundCloud entitled 
Zach Condon, the project’s front man, has admitted in numerous interviews that this album is the result of a lot