Category: Reviews

Shawn Mullins Returns to The Barn at Levon Helm Studios in Woodstock

“Keep It Goin’” – that seems to be the theme these days in The Barn at Levon Helm Studios in Woodstock, N.Y. In fact, one could say that it’s been the theme for many years prior leading up to the iconic Helm’s death in 2012. On November 6, the Georgia born Shawn Mullins kept it going by returning to the intimate studio in support of his latest release, My Stupid Heart, Mullins 9th studio release and 14th overall album dating back to 1992’s Better Days.

The American singer-songwriter, who swiftly acknowledged Helm at the start of the set, is best known for the 1998 single smash hit, “Lullaby” which reached #1 on the US Billboard Hot Adult Top 40 Tracks. Mullins was joined on stage, after “Twin Rocks Oregon” by Tom “Panda” Ryan to a house of nearly 100 or so middle-aged music lovers. Ryan ripped through 14 of the 17-song set on bass guitar providing near perfect harmonies on songs like “Beautiful Wreck” and the Sunshine State inspired “Pre-Apocalyptic Blues,” co-written by Ryan.

There’s a great deal of empathy and even more compassion in Mullin’s live performances these days and he appears to be at ease with where he is in his life, even if his personal past marital relationships have slipped away from him, they are used to fuel the song writing fire on My Stupid Heart. The 10-track release comes from a depressed place which makes it honest and heartfelt and is a record that is not overproduced and closely resembles his masterful live performance passion.

Opening for Mullins was Boston based songwriter Amy Fairchild who entertained on the acoustic guitar but was in her element when she ventured un-mic’d at the piano especially belting out the emotional, “It Won’t Be Mine.”

Setlist: The Great Unknown, Twin Rocks Oregon, Pre-Apocalyptic Blues, Shimmer, Lonesome, I Know You To Well, Sunshine, Ferguson, My Stupid Heart, Catoosa County, Light You Up, California, Ghost of Johnny Cash, Beautiful Wreck, Friday Night Fights At Al’s Place, Lullaby, To Beat The Devil*, House Of The Rising Sun^

* Kris Kristofferson
^ The Animals

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November 12, 2015
Hearing Aide: The Nth Power ‘Abundance’

It’s been a long time coming, but The Nth Power has finally delivered their debut album, Abundance, in all of its glory. The band has been around since 2012, and with a stacked lineup of musicians they decided to tour first and hit the festival scene to start growing a fan base. It’s almost unfathomable how they blew up as quickly as they did without an album for people to dig into, but that’s what happens when you’re this talented. Regardless, the wait is finally over! Abundance is being released Friday, November 13, and if you’ve been lucky enough to catch this special act, the album doesn’t fall short of showcasing all that they represent. Just as the band has done live, Abundance is mixed with touches of soul, R&B, funk, and jazz into their own self-defined genre of “Love” and few would disagree.

The band opens up with the strong and powerful overarching message, “Only Love,” evangelizing all that they stand for. It’s been quite sometime that a band has come with a message as potent and strong as The Nth Power bring to the table, both lyrically and through the non-verbal dialogue of their instruments. There is a deep feeling and they’ve really captured the essence of their message overall as it’s felt right from the opening of the album.

The band really puts the rhythm in R&B on the song “Right Now.” With a rhythm section as strong as this band has though, it’s no surprise. Nikki Glaspie [drums], Weedie Braimah [percussion], and Nate Edgar [bass] are all masters of their instruments and give this track some serious teeth that immediately dig in from the opening pattern. The bassist isn’t always called out, but Nate Edgar needs to be commended for his overall work throughout as he does a stellar job all over this record. While never trying to openly stand out with solos, he plays the support role to a degree most bassists could never reach while still churning out some complex lines in the process.

(From L to R) Nate Edgar, Nikki Glaspie, Nick Cassarino, Courtney “Jay’Mel” Smith, and Weedie Braimah

As the album progresses, the feeling of love and joy is thoroughly reinforced in the most uplifting way. The bands tightness and focus on this delivery is something that is a testament to the time they took before releasing the debut. While lyrics aren’t always included in the liner notes these days, Nick Cassarino’s beautiful words were chosen to be laid out. Paging through them in sync with the album, it is clear he put as much effort into them as the band collectively put into developing the music. Nick’s honest and introspective words and heartfelt delivery is matched by his impressive chops on his guitar. You can feel that the band really poured their heart and souls out throughout the musical journey.

The album finishes very strongly with the trio of songs, “Home,” “Soul Survivor,” and “Altar Call.” Each are distinctive in their own right, but make up a solid run to the finish line. “Home” is beautifully introspective, both musically and lyrically, while “Soul Survivor” is where the band takes the time to step away from the lyrics a little and focus on some of the incredible chops they have as musicians. That being said, the chorus on “Soul Survivor” is easily the most anthemic on the album as the band proclaims their ability to survive through hardship. It finishes up with “Altar Call” which could be the most underrated song on the album. The overall construct and ethereal beauty of it can draw out the deepest of emotions. The track is the only one without a lyrical presence and it showcases an elegant and subtle beauty to the band’s musicianship as they explore the meaning of love musically and express it without words.

Overall, Abundance is exactly how The Nth Power should’ve made their debut album. It captures their live energy and delivers on the messaging they’ve settled upon since they formed just a few years back. The musicianship and perspective are a fresh one and one everyone should welcome with open and loving arms. If there’s ever a time for a pick me up or a need for some uplifting, scoop up Abundance and take it for a spin.

If you’d like to pick up The Nth Power’s debut, click here. The band is currently on tour and making several stops throughout New York State in support of the new album. They will be in Woodstock at the Bearsville Theater on Nov. 14, in Buffalo at The Tralf on Nov. 18, and in Brooklyn at The Hall at MP on Nov. 20. Click the respective links to grab tickets and catch them live.

Key Tracks: Only Love, Home, Soul Survivor

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
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
Joe Louis Walker and Jay Geils’ B.B. King Tribute Impresses Hudson Valley Crowd

One of the Hudson Valley’s hottest nights for blues in 2015 took place this last week as Joe Louis Walker paid special tribute to the King with the help of Jay Geils and some newly inducted members of the NY Blues Hall of Fame at Paramount Hudson Valley.

A different kind of induction ceremony kicked off the evening, one far from a yawn-filled series of speeches. With Michael Packer at the helm, an all-star cast joined together on stage to do a five-song opening set with members of this group inducted into the NY Blues Hall of Fame between songs. For a group of musicians who may have only had limited time rehearsing with each other, the sound was solid and energizing. The inductees this year included Michael Falzarano (guitarist for Hot Tuna and New Riders of the Purple Sage), Rick Knapp (bassist for Walter Trout and Jimmy Thackery), Juma Sultan (percussionist for Jimi Hendrix), and producer Osten Harvey Jr. (a.k.a. Easy Mo Bee).

If the roof of the Paramount wasn’t smoldering after Joe Louis Walker’s first song it wasn’t long before it was on fire. As a tribute to the late B.B. King, the setlist included several of King’s songs along with some of Walker’s originals. The set started off with “Friends” and included “Let Your Hair Down,” “She’s Got Eyes Like A Cat” and “Come Back Baby.” Aside from Walker’s incredible mastery of the blues guitar whether screaming at the 24^th fret or playing slow and heavy, the rest of the talent on stage combined for an even compliment, especially Vanessa Collier’s sax solos received by standing ovations.

About halfway through the set Jay Geils joined the set, a guitarist well-rooted in the blues despite his more well-known musical persona with the J. Geils Band. Educated as an engineer, Geils took up a career in music instead and had plenty of stories to share about his start in the blues after accepting his award in a surprise induction into the NY Blues Hall of Fame including some anecdotes about Buddy Guy. In the spirit of the tribute to B.B. King, Geils did not hesitate in saying that the way today’s blues is played can be attributed to King’s style.

Before an encore, all of the performers from the induction ceremony set joined Walker and Geils for a call-and-response shuffle tune. It was a true display on stage of what lies at the base of being a musician, getting together with a bunch of others and having nothing but fun in making music. The encore brought just Walker and his band along with Geils back. Reeling on the power of the end of the set, the crowd took advantage of the Paramount’s coziness and gathered on their feet close to the stage. Possibly an unplanned encore, Walker and Geils took a moment to discuss the structure of what they were about to play. Planned or unplanned, it closed out the night with a strong finish.

As one of only four of these B.B. King tribute shows Walker and Geils were touring with, it was truly a treat to have one of their stops in the lower Hudson Valley.

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November 5, 2015
Aqueous Tackles Dark Side of the Moon During Sold Out Halloween Run

Pink Floyd’s Dark Side of the Moon is arguably one of the most technical and well-produced studio albums of all time. Recorded at the famed Abbey Road Studios in London, the sessions involved some of the most advanced recording techniques of the time including multi-track recording and tape loops, all of which are now customary by today’s studio standards. Among its legend is the haunting and eerie synchronous connection with the MGM classic The Wizard of Oz. So when Buffalo based groove rock quartet Aqueous announced it would be Dark Side of the Moon hosting a night dedicated to the cinematic classic during the second night of their homecoming Halloween run, many fans wondered exactly how these two magical worlds would collide.

To the delight of their fans, Aqueous laid out a seamless and perfectly executed second set on Halloween night– Dark Side of the Moon in its entirety, while dressed as the cast of the Wizard of Oz.

It’s was the band’s first foray into a multi-day Halloween run and they tackled two separate themes; Back to the Future on Friday night and The Wizard of Oz for Saturday’s Halloween festivities. The weekend was a hit among the band’s hometown fans, selling out both nights at Buffalo Iron Works. The overall feel of the weekend was just what you would expect -whimsical, magical and strange – and well worth the $20- two day price of admission.

Funktional Flow kicked off both nights with stellar sets. Their brand of funk/rock/reggae fusion feels organic at its best moments. There is almost an underlying Americana folk vibe to their smoothest reggae inspired vibes. Original tunes like “Moonlight Tide” and “Leaving Town” showcased the band’s new direction since the addition of Joey Lewis (guitar) and Matt Lester (keys) this past April. To say that the version of Funktional Flow fans saw this weekend is a vast improvement on its former self in almost an understatement. The line-up addition have the band going in a positive direction musically.

“The type of music we play really calls for the line-up we have now and it has helped us grow exponentially,” noted bassist Ben Whelan. “With the addition of Joey and Matt we truly feel as though we gained brothers not just band mates. It really has been a great time growing with them and having them add their flavor to the mix. It doesn’t always go that way with new additions so we are really blessed in that aspect!”

Their new confidence spilled over into some fun covers including Phish’s “Lizards” and Stevie Wonder’s “Sir Duke”. Funktional Flow closed out their weekend with a stunning rendition of Aqueous’ “Warren in the Window”. Aqueous would later return the favor with a powerful version of “Mulligan’s”, a Funktional Flow fan favorite.

Funktional Flow is slated to release a new full length album this winter. The band looks to tour in support of the new music with a multi-city tour that will take their sound out of Western New York and more towards the Northeast states.

Friday Night’s Aqueous set proved to be the more upbeat of their sets. In true Back to the Future form, they opened the festivities with film’s theme song “The Power of Love” and closed the night with an Aqueo-fied version of the film’s other Huey Lewis and the News tune “Back in Time”. The set was packed full of high energy moments including “”Don’t Do it”, “Strange Times” and “Underlyer” as well as a version of “Aldehyde” complete with a horn section featuring Justin Lackie on saxophone and Pat Allison on Trumpet. In addition, Aqueous pulled out a rare live version of Dr. Brox from the bands 2012 release “Willy is 40”. The evening continued to be full of surprises, as the band teased both the Chordettes classic “Mr. Sandman” as well as Metallica’s “Enter Sandman” before crashing into a fast paced and edgy version of “Origami”. Of course, the band played tribute to the film’s classic school dance musical moment with their own versions of both the Penguin’s “Earth Angel” as well as the Chuck Berry classic “Johnny B. Goode”.

Saturday night, Aqueous brought the best qualities from the Wizard of Oz to the evening. Both the music and the atmosphere were strange and dark with brilliant pops of technicolor whimsy throughout the night. The first set opened with a mash-up style version of the MGM Wizard of Oz intro and Somewhere Over the Rainbow before melding into a more mellow but groovy version of “Kitty Chaser (Explosions in the Sky)’. Aqueous filled the night’s first set with a powerful collection of original material including “Eon Don” “King for a Day” and a non-stop “Complex Pt.1” into “Wandering” into “Complex Pt. 2”. Matt Harris (saxophone) joined the band on stage to a jazzed out version of the Oz classic “If I Only had a Brain.”

As set two loomed, the room was buzzing with rumors that the band might play Dark Side of the Moon. So when the sounds of the albums iconic opening track “Speak to Me” ushered in the second set, the crowd seem to watch in disbelief. Harris returned to the stage for saxophone duty while Funktional Flow’s Joey Lewis came on board for various guitar work. During “Great Gig in the Sky” the crowd was brought to their knees by vocalist Sarah Jane, who’s haunting and perfectly emoted vocals were the highlight of the set. Adding to the ambiance was the incredible lighting from Craig Freudenthal that only elevated the overall experience.

Aqueous returned with a brief encore that included a stunning version of the Elton John classic “Goodbye, Yellow Brick Road” before ending the weekend with “All In”.

Beyond the sheer technical skill and flawless timing, Aqueous executed pure confidence while accomplishing a feat that many musicians simply couldn’t execute. The talent and precision it takes to perform Dark Side in its entirety in real time didn’t go unnoticed or unappreciated by anyone in the attendance. And the stunning part of it was that Aqueous simply made it look easy.

If this weekend’s shows are any indication, the results are proving that Aqueous is poised to be the band to see on next summer’s festival circuit. The addition of Tom Vayo behind the drums has given Aqueous a more polish and precise sound. It appears and sounds like the band has taken the last few months to fit his style neatly into their musical mix.

“Tom has to be one of the most creative, languid, and definitely dynamic drummers I’ve come across- we’ve spent the last few weeks on the road getting to know each other on a deeper level musically (and personal level really), and I don’t think any of us could be more excited about what he’s bringing to the AQ sound,” noted Aqueous guitarist Mike Gantzer.

Gantzer also went on to acknowledge the changes. “The improvising has been getting deeper and deeper, and every night feels like a new adventure. It’s been awesome and I’m excited to see where it’ll go, if it’s that on point in such a short amount of time! Tom’s also an awesome, fun, silly dude and having him around has pushed the fun level over the top too, which is just as important.”

And for Aqueous, the fun part seems to go without saying. This weekend proved that while they take themselves seriously as musicians, they don’t take themselves too seriously. And that’s what Aqueous fans seem to know, the band isn’t just there to make music, they are also there to be part of the fun.

Fans looking to relive the weekend or simply wanting to hear it for the first time are in luck. Dan Brace of Sonic Farms Studios was on hand this weekend to track both Friday and Saturday night.

After returning home from a three week Southeastern run to play Halloween at home, Aqueous jumps back on the road hitting Michigan on November 4^th. Their remaining fall dates have them making their way out west to Colorado before heading to the Northeast where they will kick off the new year on January 1^st, opening for one night of Twiddle’s three day new year’s run in Burlington, Vermont.

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November 5, 2015