On a Saturday night in New York City your music choices seem to be endless. Do I go see Galactic at Best Buy? Budos Band at Brooklyn Bowl? Or do you go see Sprocket? One of NYC’s fasted rising jam bands, Sprocket is a classic four piece featuring Thomas Thompkins (guitar), Dan Haller (bass), Nate Rosler (drums), and Angelo Milliano (keyboards). Sprocket came out jamming on the melodic original tune “What You Heard,” before tearing into “Headway” off their 2014 debut album Tropical Bushwick. The title track off of their album “Tropical Bushwick” begins as a classically composed song before breaking out into funky upbeat jam.
Sprocket jumped into a full blown jam segueing from originals “Shroud > POW” before breaking out their first cover of the night Phish’s “Wombat” which lived in a space between a tease and a jam before completing the unfinished “Shroud.” Haller and Milliano took the lead on Bob Dylan’s “Don’t Think Twice It’s Alright” before Rosler drove the set to a close with “Womp” another Sprocket penned track. For an encore the band pulled one more selection off of Tropical Bushwick the hard rocking “Trucks” brought the night to a close and left the crowd wanting more. You can see Sprocket next at Brooklyn Bowl April 21 or in Chicago on July 4 at the Hard Rock.
Tickets available for both shows, 4/21 Brooklyn Bowl here and for 7/4 Hard Rock Chicago here.
Setlist: What You Heard, Headway, Tropical Bushwick, Shroud > POW > Wombat >Shroud, Don’t Think Twice > Womp
Never miss a Sunday Show. Especially when Sunflower and the Seeds is opening at Brooklyn Bowl’s Jam Jar. It appears this seven-piece rock band from New Jersey gets tighter each time they play together and on this particular Sunday, the lucky seven’s seemed to be rolling. The band is comprised of Kyra “Sunflower” Schenck (vocals/acoustic guitar), Brittany Beckett (vocals), Victor Cornette (guitar), Karlee Bloom (keyboards), Joe Harris (bass), and Joe “Big Daddy” Huster (drums).
They kicked things off with “Sweet E” and “Trippin” that really showcased Schenk’s great pipes and Cornette’s fast paced guitar play. Beckett accompanied Schenk on the lead for an ensemble rendition of The Beatles’ “While My Guitar Gently Weeps.” Natalie Cressman (trombone, TAB) joined on stage for S&TS’s “Back Home” which was highlighted by a length and pungent solo. The band never lost a step and charged through “Harvest” > “Texar” with the same high octane spirit they had carried so far before being joined once again on stage by Cressman for a cover of The Who’s “Eminence Front” before the band rounded out the set with one more original tune “Moving.”
Tweed brought their high energy, livetronica sound from Philadelphia for a set of multi-layered, psychedelic dance music. AJ DiBiase (guitar/vocals), Joe Vela (drums), Jon Tomczak (synth/ vocals) and Dan McDonald (bass,/vocals) combined create a fresh genre they call jamchronica. Their heavy synth effects hypnotize as the progressive rock melody thrashes you on the dance floor. Tweed’s precision is key as the mood switches from interstellar swirl to dirty funk with continuous vocal harmonies.
Formula 5, a four piece jam band from Albany made up of James Woods (bass), Greg Marek (drums), Mike McDonald (keys) and Joe Davis (guitar) closed it out. Musically they are very talented and kept true to form in the “Phish” landscape of heady jams, space jams, and bliss jams. This set was highlighted by Elise Testone (vocals) and Natalie Cressman (trombone) sitting in on “Trampled Underfooot” with Elise’s crushing vocals and Natalie’s triumphant trombone solo. Then the band kept the crowd moving and the pace up with originals “Excalibur” and “Pedro” before seguing into crowd favorite Men At Work’s “The Safety Dance” which was highlighted by Mike McDonald. The band closed out the night with a stretched out jam that kept the set closing “Nu-Gen” going late into the night.
Despite the inner workings of this record, which we will necessarily get into, there is a brilliant simplicity to the DRKWV concept and sound. The entire project seems to follow the name-sake DRKWV vision: the melodies are spooky and menacing, drifting between spacey-drones and melodic tension and the funk lives in the jowls as opposed to the teeth. This guiding thought, paired with the distinct style of each musician, creates a world that exists in shadows, weaving storylines within tracks and as a cohesive album.
As any effective first track should, “DARKWAVE” immediately sets the tone and clears up a few inherent questions. First of all, yes, “DRKWV” is pronounced “DARKWAVE.” Second of all, no, the clean tones of drums, sax and keys are not buried by effects or overproduction and third, yes, this shit is going to get weird. The track starts with spacey-synth drones (that make appearances throughout the album), interrupted by an uptempo drum line that is almost house music-esque. The next layer comes in the form of a hard-hitting, simple, bass line that begins with a tight tone and slowly oozes open to reveal a light-blue slime. Now aware of what you are in for, the tune resolves into opening synth drones and you settle into your chair, ready for the show.
The next song on the album, appropriately titled “Soundtrack” adds more narrative to the story, with a steady back and forth persistence that is almost meditative in nature, guiding the listener deeper underground perhaps with mild sedation. The journey takes place in a dimly lit elevator, burrowing into the cosmos, screeching past glowing rocks and space debris. When we arrive at the bottom, the doors open to a place where there is no light, only luminescence and maybe the occasional fire. Here we are greeted by “Count Chokulos,” the third track, who serves as a sort of concierge for this new world. “Chokulos” takes us through a funky-back and forth where the drums settle and groove nicely along Medeski’s persistent licks, heavy in conversation with Skerik’s minimalist sax notes.
Up next is “Datura,” arguably the most impressive composition and definitely a stand-out tune. “Datura” begins as gritty, arrhythmic ambient freak-out and turns into a distorted uptempo funk rally song, channeling reptilian allies in the fourth dimension. The drums are steady and heartfelt, and the keys dig their claws into our skin. The careening lines interact slowly, with a sort of insistent whale cry, before a blissful resolve (or at least acceptance), coming in the form of a sultry, ambling saxophone solo. The patient sax calms down the drums, until all parts blend together with familiar drones, and Medeski’s flowery piano part gives our brain the comfort it now deserves, as if nesting in a basket of cotton.
The following song, “Scars,” takes note of what we have experienced this far and moves forward with one of the most straightforward grooves of the album. “Scars” is most like a traditional MMW song in terms of funk and bouncing feel-good drums, with a healthy amount of organ wailing and a killer sax to wrap things up. Things don’t stay normal for too long, and the preceding “Hell Bass” comes in flying with some of the best drumming on the album, a sort of spazzy dance beat paired with fat, bassy synth notes. Just when you start to realize your room is a lot warmer than you thought it was, “Hell Bass” dives into an exception noise section; you’re lost in the cave and you have become delusional, thinking you see light but the room starts spinning until you can’t tell up from down.
We regain our bearings at “Gazselloni,” which I have to assume is named after a sneaky six-toed alley cat who struts around town listening to Wu-Tang in Beats by Dre headphones, while smoking a tobacco pipe. This is another great ‘rally’ track and carries a steady canter that is equal parts empowering and contemplative. “Gazselloni” is definitely the grooviest track on the record and moves heavy with a menacing confidence. Each player slides into their pocket, easing back a bit in favor of head-nodding textures. Then, Gazselloni (the cat – but maybe we are the cat at this point?) gets hit by a car at end of song and dies slowly. The final track, “Shmeeans Cuti” is possibly the first glimpse of real light on the whole album, shedding free any pretense with a world-music flavor paired with gospel church organ and big band feeling horn sounds.
DRKWV only has one tour date lined up so far, but with a stand-out freshman album like “The Purge”, it is no doubt fans will want more. The record is also available for purchase via Download, CD or Limited Edition Vinyl through The Royal Potato Family’s online store.
True to form, Michael Bolton brought his classy performance to his fans at the Showroom at The Turning Stone Casino.
With a full band and rich sound, he commanded the stage. His fans, of all ages, sang along with every song. Performing hit songs “Sittin on the Dock of The Bay” and “Said I Loved You But I Lied” just started the show. Bolton sounded amazing live. His voice so smooth, yet raspy. I could have listened to him all night!
The Showroom is the perfect setting for a show as personal and intimate as Michael Bolton’s performance. Hoping he comes back again soon.
When Tobias Jesso Jr. first started putting his songs up on YouTube as bedroom-made demos about two years ago, the recordings were rough, amateurish masterpieces. The simplicity of the songs was presented in a big, thrilling way, and people caught on pretty quick.
Jesso was signed to a Beggars-affiliated label, started recording with Chet “JR” White, and prepared to release one of 2015’s most anticipated albums. The final result, Goon, came out earlier this month – and unlike our first glimpse of Jesso via YouTube – the material on Goon shows sprawling instrumentation, skilled production, and an earnestly polished performance.
On his current tour in support of the new record, each performance features Jesso and his piano – nothing more. In fact, the piano that he brings to each show is the same one he uses at home in Vancouver.
At Baby’s All Right in Brooklyn Friday night, Jesso shared this bit of information with the sold-out crowd of less than three hundred. “So… welcome to my bedroom!” he said laughing.
And that’s what his entire sixty-minute set felt like – hanging out with Jesso in a comfortable, intimate space while listening to him play stripped-down versions of songs everyone in attendance knew by heart. Between songs, Jesso would chat with fans, explaining how certain songs were written and answering questions shouted from fifteen rows back.
There’s a sense of incredibly palpable honesty that shows through Jesso’s music, and it became even clearer watching him from ten feet away. On paper, Jesso’s lyrics aren’t anything special; they’re not particularly complex and they represent fairly common themes and emotions, but they’re expressed in such an audibly genuine way that they become something completely different. It’s a seriously intriguing kind of music, and his personality is one component largely responsible for it.
Jesso’s current tour will run until mid summer, moving over to the UK, Europe, and ending at Pitchfork Music Festival in Chicago. Find tickets to upcoming shows here and stream the entirety of Goonhere.
To what was close to a homecoming show, hardcore veterans Biohazard and Sworn Enemy headlined a jam packed and spectacular night at Revolution Music Hall in Amityville, NY on March 27 to kickoff a brief US east coast run. There was also a special guest that played exclusively that night; Zire’s War, a new band lead by Life Of Agony guitarist Joey Zampella, who handles vocals and guitars. The night opened with sets from Diesel and Oath.
This was my first time at Revolution Music Hall. Make no mistake, this is a kick ass venue. It’s a pub with a small stage, a capacity of around 500, and a lot of cool monuments and posters to look at. The place has great sound, killer environment, and the best part, drinks and food are served during shows. And cleverly, they have curtains going around the front of the stage to keep closed between sets, which is not common at other similar sized venues around New York State.
The night started off with small set from Diesel, a local hardcore band from the area, who set the tone appropriately with six songs. Lots of energy, and very fitting to open for the headliners. Then the crowd was graced with a set from Oath, a metal band out of Hartford, CT. To be fair, as talented and entertaining this band was, they were out of place, however, the crowd was good to them.
Zire’s War was definitely a real treat to behold. If my research is accurate, this was the band’s second show ever, with their first being played back in October. They have no music released, just demos, but you can check out one of their songs here. I do believe this band will be big. It’s a lot different from Life Of Agony, certainly heavier than their later years. I don’t really know what to compare them to, I highly recommend to give them a listen and go see them when they announce more shows. Joey Zampella is a brutal vocalist and anchors a really talented band around him. They are clearly ready for more shows to play. The band started off with low tempo (but heavy) songs but finished with heavy, thrashier songs. The crowd absolutely loved them as did I. So be sure to follow this band close as 2015 rolls on.
After Zire’s War, Sworn Enemy ignited the crowd into a bloody knuckle fiasco. The floor erupted with dozens upon dozens of men slam dancing the fuck out of the venue. It did feel like a short setlist from Sworn Enemy, but there were some great fire starter songs in their set such as “We Hate,” “As Real As It Gets,” and their anthem “Sworn Enemy.” This band never disappoints.
Finally, Biohazard finished the night with a powerful set, playing songs from their first three (and best) albums. Kicking things off with “Shades Of Grey” and “What Makes Us Tick” they never fail to bring such a charismatic and energetic performance. I held the hope inside they would unleash new music, but obviously it wasn’t time yet. The big highlights of the set would definitely have to be “Urban Discipline,” “Love Denied,” and “Five Blocks To The Subway.” Even with some of the technical difficulties and other minor sound problems, they never let that get in the way of putting on a damn awesome show. They finished their set with their blockbuster anthem “Punishment” and their creed motto “Hold My Own.” Vocalist/guitarist Billy Graziadei thanked the crowd and said Biohazard will be back next year.
Overall a fantastic show for anyone looking to kick start their adrenaline or to get their hardcore jollies out of their system. My only complaint, it seemed like an awful long time to set up between bands, especially since every band minus Biohazard only played six to eight songs. But Revolution Music Hall is definitely a fitting venue for metal and hardcore shows. And now we eagerly await the next Biohazard and Sworn Enemy US tour, and the future of Zire’s War.
As the doors opened to the historic Capitol Theatre in Portchester, NY your expected throng of dead heads waiting outside to get a spot on rail rushed inside the venue. Little did they know they were going to be treated to a full-blown rock show by openers Lions On The Moon. When you read about a band comprised of four young men ranging in ages 12 to 16 you may think it is a gimmick, but these four are far from that. Formed in spring of 2014, the band – Brandon “Taz” Neiderauer (lead guitar, vocals), Nicky Dylan Winegardner (lead vocals, guitar), Dylan Niederauer (bass), Henry Thomas (drums) these four play with the precision and chops that you would expect from a veteran headlining band.
Winegardner led Lions On The Moon on electric guitar through “Where Did We Go Right” and “Only Fun,” two original tunes before switching over to his acoustic guitar for “On Your Feet.” From there 12-year-old guitar prodigy generally referred to by his nickname “Taz” took over on vocals for his original penned tuned, the self titled “Lions On The Moon” inspired by The Nth Power’s “Walk on Water.” Winegardner went back to his electric guitar for “Party Mardi Gras” which featured bassist Dylan Neiderauer laying down some smooth, deep, melodic bass lines. Lions On The Moon followed up with a soulful cover of Stevie Wonder’s “Higher Ground” propelled by Thomas’ fast rhythmic drumming. What came next seemed to be a treat equally appreciated by the audience and the young band as they were joined on stage by pedal steel aficionado Robert Randolph for The Allman Brothers’ “Whipping Post,” which featured a shredding guitar solo by “Taz” as he walked across the stage and played face to face with the veteran Randolph. Lions capped off their set with the original tune “Guitarmageddon” which sounded like it was penned by a group of young adults who still know how to have fun, not only on stage but in their song writing as well.
The headliner, Billy & The Kids, with only their third live performance as a supergroup, was put together by Grateful Dead drummer Bill Kreutzmann. Kreutzmann called on Tom Hamilton (guitar, Brothers Past/JRAD), Reed Mathis (bass, Tea Leaf Green), and Aron Magner (keyboard, The Disco Biscuits) to put a new spin on classic dead songs, and more specifically on this night songs from the classic Europe ’72 tour. The constant theme for the night was apparent right from the set opening “Cumberland Blues” each artist would add a little bit of their own style while keeping true to the original tune. Mathis took the lead right out the gate and seemed to be the stand out of the first set taking the lead on vocals for many of the tracks. Kreutzmann led his band through classic tunes “Tennessee Jed” and “Brown Eyed Woman” with Mathis taking the lead on vocals for both. “China Cat Sunflower” came next and led us through our first fully improvised jam of the night with Magner and Hamilton taking this one out for a long walk and bringing it back only to seamlessly segue into “Cassidy” followed by “I Know You Rider.” The group was finally joined on stage by announced guest for the night Robert Randolph who jumped right on his Pedal Steel and worked an instrumental version of “Not Fade Away.” Randolph then took the lead on the first set closer, and rarely covered Huey Smith’s “Rockin’ Pneumonia And The Boogie Woogie Flu.” This track was only covered by the Grateful Dead five times, all on their Europe ’72 tour.
The second set opened with just the core members of Billy & The Kids on stage with “Cold Rain and Snow” which had the crowd instantly back in the groove and singing along right out of the gate. It didn’t take long for Robert Randolph to join back on stage for “Dire Wolf” and “Sitting on Top of the World” which again featured Mathis working the vocals and his bass to steal the attention away from the rest of the band, they then segued into “Big River.” Randolph once again took the lead on “Hey Bo Diddley “> “Who Do You Love,” providing high kick dance moves and alternate lyrics “Just playing here with Billy & The Kids” shining a light on Kreutzmann who showed he hasn’t lost a step with a roaring drum solo and a smile ear to ear.
Mathis once again took the lead for “Ramble on Rose” before turning over the reigns to Hamilton on “Bertha” which featured the first stand-out keyboard solo of the night by Magner, showing everyone what he is truly capable of. Hamilton led the way through the remainder of the second set with “Loser” >” Deal” > “Loser” and “Casey Jones.” All five came back on stage for an encore performance of “Brokedown Palace” each member of the band took a turn with a verse before the drove it home with the full ensemble closing out the night. Fare Thee Well, Billy & The Kids will next be playing “Spring 1990” at Red Rocks amphitheater in Morrison, CO on April 20 and will return to the east coast for Peach Fest where they will be joined by Grateful Dead guitarist Bob Weir.
With a winter that just won’t quit in Upstate NY, it was a warm reception for bands at Trickshots Billards in Clifton Park on Saturday March 28. Thanks to Joelggernaut Productions, Trickshots has been getting quality heavy music shows for some time now, and this was no exception. The crowd topped out close to a couple hundred strong for the night, and was eager to receive the musical offerings from all the bands on the bill
Black Iron Prison
The show kicked off with the return of local heavy rockers, Black Iron Prison. Dual guitar assaults weaved in and out of precision rhythm section work. The band recently welcomed back their singer Eli Hargrave (ex – Skeletons In The Piano) to belt out guttural screams and wavering melodies alongside longtime guitarist and vocalist, Todd Hildebrandt. Eerie melodic passages were peppered into the heavy riff rock of each song to set the mood right for the entire night. After the show, I got the chance to talk with Eli, and he revealed the band is currently working on new material for an upcoming recording.
The Final SleepThe Final Sleep
Next to take the stage was The Final Sleep, from Albany. Huge sounds and even larger talents permeate this band, and washed over the growing crowd. Jeff Andrews (ex-Held Under/IronWeed) does double duty as one of the three guitarists in the band, as well as the main vocal of a three part harmony. He continues to bring his unique blend of Slayer-like growls alongside high octave melodies that hearken Iron Maiden or Judas Priest. The band played through their set with few stops, creating a fevered mood of heavy music that was thoroughly enjoyed by everyone in attendance. Epic songs laden with mountaintop guitar solos and intricate time changes make their music not only fun to listen to, but incredible to see performed in front of you.
Purifier
Purifier, also from Albany, rounded out the local talent on the night. This band has been working hard to bring their brand of doom and sludge metal to the area, and fully delivered at this show. Rich VanEgghen towers above the crowd even off the stage, and his presence is enhanced as he belts out the band’s signature tunes. They had a stellar sound for the five piece, and that was largely due in part to the quality sound engineer’s the club has to offer. Purifier is part of the local record label family, Magnetic Eye Records, and their music can be purchased there.
Gospel of the Witches
The main event, Gospel of The Witches, took the stage to a rabid crowd, all vying for a spot right in front of the stage. A few LED candle holders adorned the back of the stage, and an ominous air surrounded the stage as the members took to their instruments. The band was born as an idea from Karyn Crisis (ex-Crisis) and guitarist Davide Tiso (Ephel Duath), as they laid down the framework for the album Salem’s Wounds in a haunted house in Italy. With material written, the band filled out with touring members: bass and vocals Ross Dolan (Immolation), guitarist Bob Vigna (Immolation) and drummer Charlie Schmid (Vaura).
Upstate New York is incredibly lucky to not only get one of the two shows this band is performing after releasing their album on March 24, but was able to witness the FIRST show ever from this lineup performing the songs of Gospel of the Witches. You could tell the happiness exuding from Davide as the band ripped through an amazing set. Many people in attendance were fans of Karyn from her Crisis days, because that band made sure to play the Upstate New York area a lot. Talking with Karyn before the show, she expressed her love of this area. “One of the things I love about this area is the interesting mix of bands. They have all different types of influences, and that comes through in the music here. There are really open minded people, really creative people, so it was more of a community thing as well. There are always stellar musicians to play with, and a lot of good clubs with a lot of heart, that are all about the music. There is a very cool community of people to speak with, and share with. That is something very special I found about this area.”
The band was eager to play through their material, and tracks like “Mother” and title track “Salem’s Wounds” shone through as epic offerings from an incredible project. Karyn sang and screamed with equal measure, and the musicians all held their own. Bob lived up to his nickname (in certain circles) as the “magician”, playing heavy guitar riffs with flair and passion, igniting the crowd as the music drove forward. The band is working on finalizing a full tour or two, so stay tuned to their Facebook page. You can purchase Salem’s Wounds through Century Media, or in stores like Best Buy or Amazon.
Given twelve hours and the world-famous Abbey Road Studio 2 to work with, Umphrey’s McGee cranked out an album. The London Session,which releases on April 7, features ten tracks including some old gems, a few tunes off 2014’s Similar Skin, a Beatles cover and a new favorite. TLS showcases the band’s versatility; each track adds a unique element and, when stacked on top of each other, we get a glimpse into the multi-layered, ever-evolving and unmistakable visage of Umphrey’s McGee.
We have all made memorable achievements in half a day or less, whether it was writing that 20-page final paper, painting the entire upstairs, or completing all the holiday gift shopping. Umphrey’s McGee has one-upped us all.
“Bad Friday” debuted on the last day of 2013 and made the cut for that year’s Hall of Fame album. Its popularity hasn’t waned and its flow has grown smoother each time played live. The London Session opens with its studio debut, a succinctly smooth, groovy jam. The vocals are on-point and riffs show off Umphrey’s funkier side.
Umphrey’s changes gears with “Rocker Part 2,” which also debuted on New Year’s Eve (2007) and has only been previously featured on a Hall of Fame album (2010). This song may exemplify the band as well as any one song on the album. It opens with warm piano parts, features high-energy percussion, and ends with heavy shredding.
The album’s tone shifts quickly again as the next three tracks originated on Similar Skin. Number three is an acoustic, yet fairly straightforward version of “No Diablo.” The acoustic arrangements added to the next tune, “Cut the Cable,” give it a folksier feel than its Similar Skin version and make it one of the most interesting new takes introduced in TLS. The fifth track, “Out of Order,” possesses one of the album’s supreme jams during its final two minutes.
Perfectly situated in the middle of TLS is “Glory.” Listen to it, take a deep breath, and listen again. If you’re having a bad day, listen twice more. You’re wont to find a more aptly titled song. The staple of live UM shows loses none of its triumphant splendor when brought to the studio for the first time.
“Plunger,” which is often a vessel into deep, heavy jams during live performances, comes next. TLS version is relatively tame, but perhaps the song that epitomizes Umphrey’s most on the album. With an upbeat tempo and similar vocal arrangements, “Comma Later” brings us back to the funky feel that “Bad Friday” opens the album with. The final original track on the album, “Eat,” delves once more into UM’s darker side.
The London Session concludes with an homage to the band that made Abbey Road famous, a cover of The Beatle’s “I Want You (She’s So Heavy).” A fan-favorite UM cover, the tune is an exclamation point at the end of a brilliantly produced album. Umphrey’s puts its own mark on the song while honoring the original. The first cover to make an UM studio album is the final piece to a diverse and delicious album.
Less than a year after dropping Similar Skin, Umphrey’s McGee have unleashed another fantastic album that highlights UM’s versatility and originality. Whether your prefer their upbeat dance tunes, heavy rockers, folksier ballads, or prefer a cover, The London Session packs it all into ten tight tracks.
It doesn’t matter if you were a child of the ’60s, ’70s, ’80s, ’90s, or the new millennium, you will be hard pressed to find someone who doesn’t know who the Eagles are. There are only a handful of rock songs that I catalog as classic rock and roll. These are the ones that have had the ability to pass over generation to generation only gaining popularity and momentum each time played. “Hotel California,” written by Don Felder, Don Henley, and Glenn Fry is one in this category.
Don Felder Turning Stone Casino
It was with eager anticipation that together with a packed audience on March 24, The Turning Stone Casino welcomed Don Felder and his star-studded band to the Showroom. As I awaited the show to begin, you could feel the audience’s excitement and eagerness to begin their evening. After all they knew they were in the presence of a musical legend.
Don Felder, best known as lead guitarist of The Eagles, is one of rock and rolls leading guitarists of all times. Inducted with his bandmates in 1998 in the Rock and Roll Hall of Fame, Don Felder has been recognized as one of the elite musicians and songwriters of all times. When talking with a friend recently about The Eagles, he stated that in all of their music, “there was not one throw away lyric”. I agree wholeheartedly. As I sat listening to the music this evening I couldn’t help but notice the lack of pomp and circumstance on stage. There were no fancy sets, no logo backdrops or drum kits, no fancy lighting, and not even a merchandise table set up outside the doors. Tonight’s show wasn’t about anything but music. I contemplated this, how indicative of this generation of musicians and songwriters. At the time their music was popular and their tours crossing continents, it was only the lyrics and composition of music that brought the feelings. Visual effects were nice, but not necessary. Lyrics had a message, musical composition featured the talent of each instrument, and the combination of the two together evoked emotions. So as I sat there enjoying this show, I became part of the music in a new way that today’s audiences don’t often see. It’s a shame really that many will not see or appreciate music without all the visual effects to carry the point across.
With that aside, for those of you unfamiliar with Don Felder, shame on you. Don began his musical journey at the age of 10 when he traded a handful of cherry bombs for a used guitar. I do believe he got the better end of that trade, or should I say, we did. You see, this trade was prompted by, who other than, Elvis Presley as Don watched him on The Ed Sullivan Show. Mental note, I wonder how many of today’s artists began their musical journey after seeing an artist on the Ed Sullivan show?
Growing up in Gainesville, Florida, Don learned guitar and played throughout his teenage years with his childhood friend Stephen Sills and Bernie Leadon. There must have been something in the water down there in Gainesville. In Don’s high yearbook his band’s photo was featured along side his friend Tom Petty’s band. In fact, Don actually gave Tom Petty guitar lessons. It was also during this time he learned slide guitar from friend Duane Allman of the Allman Brothers. Forget the Fountain of Youth, I want to drink from their musical water fountain.
After graduation, Don found himself in Boston with good friend Bernie working in a recording studio. It was working with Bernie that he was introduced and hired to accompany The Eagles on slide guitar for their new song “Good Day In Hell”. That’s all it took. Immediately following that session, Don Felder became the new Eagle. With a country sound at that time, Don’s input helped to bring the band new audiences with his added rock and roll edgy style in their new music.
As both composers and writers, the team of bandmates churned out hit after hit. How could they not with each and every member having such talent. Individually they each were a storm of musical genius, however together they were a musical tornado. Shortly after Don’s joining the band, they wrote and produced their legendary album Hotel California. Coming to the guys with his musical demo of Hotel California, they sat down and gave lyrics to what would become one of rock and roll’s most memorable songs of all time. With Don and Joe Walsh’s guitar solo at the end of Hotel California, it is no wonder they have been considered one of rock and rolls greatest guitar teams ever. The lyrics evoke a sense of mystery and drama that metaphorically represented to them a time in the music business that sucked them in, however as much as they may want, they could never leave. Well at least for a few more years that is. In 1980 The Eagles broke up. Working individually on successful careers, it was in 1980 after “Common Thread” was made that we saw the original bandmates reunite for the “Hell Freezes Over” live performance for MTV. It was on this live performance we get a glimpse into Don’s original Spanish flavor in his guitar solo at the end of the Hotel California. A live rendition that is absolutely one of my favorites.
This reunion became short lived however as differences still continued, and amongst lawsuits and hard feelings, the band split for a final time. This however hasn’t held Don back. Working in the industry with legendary musicians like the Bee Gees, Diana Ross, Barbara Streisand, Stevie Nicks, and Kenny Loggins to name a few, Don’s music continued to find it’s way to the recording studio, movies, and television. He is known for his work with Gibson and in 2010 they honored him with two signature reissues of the Don Felder Hotel California 1959 Les Paul and the Don Felder Hotel California EDS-1275 guitars. This avid guitar collector has never sold any of his guitars, and this photojournalist would love an opportunity to one day see this extensive collection and photograph it. A girl can dream!
Moss has not grown on this rock and roller however, touring extensively over the years with bands such as Styx and Foreigner, and even penning a New York Times Bestselling book, “My Life in The Eagles (1974-2001). This therapeutic non-fiction allowed Don to tell his side of the story as well as move onward and upward, which he has so graciously done.
As he and the band took the stage last evening, I couldn’t help feel as though I was in the presence of greatness. Joining him was an elite group of the most talented musicians in the world. On bass we had Shem von Schroeck who played with Kenny Loggins and Ambrosia, on drums/percussion was Chris Ralles who played with Pat Benetar, on keyboards was Timothy Drury who played with The Eagles and Whitesnake, and last but not least was the one who helped keep Don on his toes on guitar, Greg Suran. Greg was lovingly referred to as the “young whippersnapper” and who has played with Joe Walsh, the Goo Goo Dolls, and the B52’s. Yes, the stage was peppered with some of the most amazing musicians in the world.
As Don began his set with Already Gone and One of These Nights, the crowd began to warm up. It was the third song into the set though that took me by surprise. Don asked, who in the audience liked Stevie Ray Vaughn? Hello, who doesn’t like Stevie Ray Vaughn? It was at this moment I realized this man’s extensive vocal and musical talent far exceeded what I expected, as he rocked the crowd playing Pride And Joy. I could have left at this moment completely satisfied, however I’m glad I didn’t because as the night went on, and the songs played on, he only got better and better. In fact I must make note and tell you this. Sometimes a musician sounds wonderful on an album and then live his voice can be strained and not sound quite a clear. This was the exact opposite for Don. I cannot tell you how impressed I was with his vocals. His voice is so very smooth, so very strong, and so very melodic that I’m shocked he wasn’t front/lead vocals on more numbers for The Eagles.
As if my musical crush couldn’t get any larger, the man has a sense of humor to boot. That’s the equivalent to a musical hat trick for me; voice/musicality, stage presence/audience attention, and humor. Yep, I was over the moon happy to be covering this show and bringing this to my readers, as Don teased how he wrote the song Tequila Sunrise about his new friend Jose’. Jose’ Cuervo that is. It was on this particular song that I took note of how well this group harmonized together. Then came Seven Bridges Road. For anyone who has seen Don’s live show, you will know exactly what I’m talking about here. Originally as a warmup song vocally for the group, I would say that they surpassed warm up right to red-hot. Wow! Again, did I mention how well these men harmonize together? Thank you. That is all I can say about this song. Thank you.
I sat listening to these songs, one right after another, of hit after hit; Those Shoes, Witchy Woman, The Long Run, Heartache Tonight, and Life In the Fast Lane. Let me tell you, it was a set list of some of the most famous rock songs of all times. However it was an original call Girls In Black that really impressed me. This song truly rocked. Was one of my favorites of the night.
As the crowd cheered for an encore, the band took the stage for one of my personal favorites “Take It Easy”. I found myself amongst those standing and singing along like a teenage groupie. Then out to the stage came the double neck guitar. Yep, we all knew what was coming, and deliver he did. Was a highlight in my career, I must say, to see Don Felder with that double neck guitar performing Hotel California within a few feet.
As the song ended, and the crowd came to their feet chanting and clapping, I knew that this show was truly special. Don brings his passion of music to audiences sharing with them one heartfelt performance. No matter how many are in the audience, he brings you an intimate performance without pomp and circumstance. This toned down, music first approach showcased not only the songs sang, but the musicians singing them.
For more information on Don’s Tour Calendar, please visit donfelder.com to see if they will be coming to a venue near you.
Sprocket jumped into a full blown jam segueing from originals “Shroud > POW” before breaking out their first cover of the night Phish’s “Wombat” which lived in a space between a tease and a jam before completing the unfinished “Shroud.” Haller and Milliano took the lead on Bob Dylan’s “Don’t Think Twice It’s Alright” before Rosler drove the set to a close with “Womp” another Sprocket penned track. For an encore the band pulled one more selection off of Tropical Bushwick the hard rocking “Trucks” brought the night to a close and left the crowd wanting more. You can see Sprocket next at Brooklyn Bowl April 21 or in Chicago on July 4 at the Hard Rock.
Tweed brought their high energy, livetronica sound from Philadelphia for a set of multi-layered, psychedelic dance music. AJ DiBiase (guitar/vocals), Joe Vela (drums), Jon Tomczak (synth/ vocals) and Dan McDonald (bass,/vocals) combined create a fresh genre they call jamchronica. Their heavy synth effects hypnotize as the progressive rock melody thrashes you on the dance floor. Tweed’s precision is key as the mood switches from interstellar swirl to dirty funk with continuous vocal harmonies.
As any effective first track should, “DARKWAVE” immediately sets the tone and clears up a few inherent questions. First of all, yes, “DRKWV” is pronounced “DARKWAVE.” Second of all, no, the clean tones of drums, sax and keys are not buried by effects or overproduction and third, yes, this shit is going to get weird. The track starts with spacey-synth drones (that make appearances throughout the album), interrupted by an uptempo drum line that is almost house music-esque. The next layer comes in the form of a hard-hitting, simple, bass line that begins with a tight tone and slowly oozes open to reveal a light-blue slime. Now aware of what you are in for, the tune resolves into opening synth drones and you settle into your chair, ready for the show.
Up next is “Datura,” arguably the most impressive composition and definitely a stand-out tune. “Datura” begins as gritty, arrhythmic ambient freak-out and turns into a distorted uptempo funk rally song, channeling reptilian allies in the fourth dimension. The drums are steady and heartfelt, and the keys dig their claws into our skin. The careening lines interact slowly, with a sort of insistent whale cry, before a blissful resolve (or at least acceptance), coming in the form of a sultry, ambling saxophone solo. The patient sax calms down the drums, until all parts blend together with familiar drones, and 
This was my first time at Revolution Music Hall. Make no mistake, this is a kick ass venue. It’s a pub with a small stage, a capacity of around 500, and a lot of cool monuments and posters to look at. The place has great sound, killer environment, and the best part, drinks and food are served during shows. And cleverly, they have curtains going around the front of the stage to keep closed between sets, which is not common at other similar sized venues around New York State.
After Zire’s War, Sworn Enemy ignited the crowd into a bloody knuckle fiasco. The floor erupted with dozens upon dozens of men slam dancing the fuck out of the venue. It did feel like a short setlist from Sworn Enemy, but there were some great fire starter songs in their set such as “We Hate,” “As Real As It Gets,” and their anthem “Sworn Enemy.” This band never disappoints.
Overall a fantastic show for anyone looking to kick start their adrenaline or to get their hardcore jollies out of their system. My only complaint, it seemed like an awful long time to set up between bands, especially since every band minus Biohazard only played six to eight songs. But Revolution Music Hall is definitely a fitting venue for metal and hardcore shows. And now we eagerly await the next Biohazard and Sworn Enemy US tour, and the future of Zire’s War.
