Category: Funk/Soul/R&B

Hearing Aide: Vulfpeck ‘Thrill of the Arts’

Thrill of the Arts, the debut full-length release from Vulfpeck is an entertaining score of influences —Motown, superfly funk, disco ballads, ’80s easy listening, other music your parents probably owned—and classically trained elements that mix confidently with technetronic effects. The result isn’t nostalgic or avant-garde, but geeky cool in its carefully composed yet vibrant sound; it’s revenge-of-the-nerds with soul-train swagger.

The four-man rhythm section formed at the University of Michigan—Jack Stratton (keyboards/drums/guitar), Theo Katzman (guitar/drums/vocals), Woody Goss (keyboards) and Joe Dart (bass)—self-produced the album through a 59-day Kickstarter campaign and open it with the appropriately named “Welcome to Vulf Records,” an upbeat symphonic theme song that signals it’s time to tune in, brassy saxophone solos and all.

Over the following half-hour, the band grooves through a variety show of offbeat instrumentals, starring guests like rhythm-and-blues vocalist Antwaun Stanley, who sings about the self-aware, TED-talk giving “Funky Duck,” and guitarist Blake Mills in the spaghetti Western rockabilly number “Rango II” that moseys on until mid-trail distortion time warps listeners back to the future. Mushy Krongold (Stratton’s alter ego) brings the 10-tracks to a close with “Guided Smile Meditation,” a spoken-word bit that uses outer-spacey synths to help visualize manning “mission control” and sends TOTA off with a “sense of smile spreading through the eyes.”

Most songs remain under the five-minute mark, but existing live footage reveals that these guys aren’t afraid to improvise and can deliver unexpected transitions with impressive precision. And they’ve also been known to cover a classic song or two like The Band’s “Up On Cripple Creek” and Stevie Wonder’s “Boogie on Reggae Woman” and will occasionally breakdown their instrumental configurations for the audience before jamming out. Vulf has yet to announce a tour schedule in support of the album; however, the band is booked for two nights at the Brooklyn Bowl on Nov. 21 and 23 and special guests are soon to be announced.

Vulfpeck‘s premiere feature compilation is dressed to thrill and proves that independent musicians in the 21st century can provide much more than studio session backtracks.

Key Tracks: “Funky Duck,” “Rango II,” and “Christmas in L.A.”

November 1, 2015
Hearing Aide: The Heard’s Self Titled Debut

There aren’t many bands that can immediately hop into the festival circuit and put together a decent following without an album, but somehow The Heard has accomplished just that. The funky Chicago-based seven-piece formed about five years ago when guitarist Taras Horalewskyj moved back home after finishing up his schooling at Berklee College of Music in Boston, MA. Fast forward to today and the band has finally released their debut, self-titled album and it is even better than one would expect who’s either seen them live or stumbled upon some of the amazing clips on YouTube.

The talented cast hit the studio with Orgone’s Sergio Rios producing. They wound up with an 11-song debut that is stellar from start to finish by any measurement. Upon talking with the group, they explained that Sergio had the band track the rhythm section (guitars, keys, drums, and bass) together, live in one room and recorded it to tape. The album reflects not only that spontaneous interplay, but more so than anything a sound that walks a perfect line between the raw energy of a live show and the clarity of a studio recording. You hear each member’s individual contributions, but it’s blended and delivered in a way that feels like you’re front row at their show and can feel their energy.

The album creeps in with a song appropriately titled “The Weight,” featuring a heavy bass line and provides a quick glance as to how these guys can lay down a solid groove. It’s apparent from the start how talented this group is as a whole with a stirring organ solo, rhythmic syncopation between the guitar and drums, and colorful horn melodies.

As the album progresses, we get a chance to hear how the band sounds with vocals added to the mix on the track “Gimme Gimme.” Even though this is the only song with vocals throughout, it doesn’t feel out-of-place. If anything, it’s one of the best on the album and fans can look forward to (hopefully) more since the male voice heard is none other than new keyboardist, Cole DeGenova. We’re also treated to the sweet background harmonies of Orgone’s Adryon DeLeón.

Another standout on the album is “Knight Life.” The groove and intensity slowly builds over the course of the song, before things turn dark around the halfway point. The transition to the heavy bass focus is backed by an eerie organ and a stumbling drum part that pushes the track to a climax before its abrupt ending.

While all but one track are mostly instrumental, the band does a great job at giving songs their proper structure. On “Safari Time” you can feel the verse transition to a pre-chorus before diving into one of the best choruses on the album. The momentum and power it creates is balanced and intensified by the other riffs in the song. The bluesy piano solo is reminiscent of the group’s Chicago heritage and blends beautifully with the funk groove.

For a band’s debut album, one could easily mistake the chemistry and energy The Heard put forth with a seasoned group’s veteran release. The production quality captured and the band’s natural knack for putting together monster groove will leave you with a feeling of hope of where this kind of trajectory will take them. Only time will tell, but for those unlucky folks who haven’t Heard, run over to their SoundCloud page now and stream the album in its entirety.

Key Tracks: Gimme Gimme, Knight Life, Safari Time

October 26, 2015
Hearing Aide: The New Mastersounds ‘Made for Pleasure’

With any genre of music, there are different sub-genres and blending of tastes and styles. Within the loose categorization of funk, there are not many that are as classy, clean, yet fun and inventive as The New Mastersounds. Like a veteran athlete who you expect to always play well, the Mastersounds never disappoint in the live arena or on any of their releases. Earlier this month, the group released their tenth studio album, Made for Pleasure.

The album was produced by guitarist Eddie Roberts and was recorded in New Orleans. The band put together a short video on the making of the album that is available on YouTube, here. The title, as explained by Roberts, defines what the band stands for and why they create the music they do. He says, “We make music for our own pleasure and for other people’s pleasure. It’s about sharing energy with an audience, whether it be live or listening at home.”

Diving in, the band gets right to it on the title track which kicks things off. There’s no extended intro or build up; it feels like a page out of their live show where they trim the fat and provide something you can immediately dance to. The bouncing guitar lick provides a solid ground for both drummer, Simon Allen, and keyboardist, Joe Tatton, to jump off and show their chops. As with any classic NMS tune, this is catchy, but rides a simple and compelling groove. It’s like watching a professional athlete and thinking how easy they make things look.

It’s hard to pick out a few songs to talk about on this when the collection is best digested start to finish with all that they offer. That being said, bassist Pete Shand’s work really shines on the soulful “Enough is Enough.” The addition of the rare vocal appearance fits perfectly and something they should explore more of in future releases. Another highlight with a vocal is “Joy,” which is appropriately titled as it sums up the mood the soulful feel-good riffing expressed musically and in the lyrics. The NMS are really good in this sonic arena and this song’s direction in particular stands out above some of their more laid back work.

© 2015 Jim Mimna

In terms of The New Mastersounds instrumental bread and butter, it’s hard to say if the band has ever put together a song as great as “Sitting on my Knees.” The songs subtle approach is contrasted with Eddie Robert’s lead work that aggressively attacks the soft-spoken sonic undertones in perfect harmony. The band collectively reaches this swelling peak where you can feel each member pouring their heart and soul through their hands into the notes and rhythm. It’s like they all want to scream, but without a voice, they do so through their instruments. Robert’s bending and attack beautifully exemplifies the struggle and conflict felt within the song.

“Pho Baby” is another instrumental gem that is as silky smooth as they come. The band has a quiet discussion here with their instruments, each speaking at a different pace, yet collectively producing some interesting lines. The climax of the song before it hits its final resting place touches on some amazing chords and tension produced by Robert’s soloing efforts. It’s all comes together effortlessly it seems for this band. It’s easy to picture them jamming on some chord progressions and finding some beautiful melodies like the close of this song.

All and all, the album is just another example of how this band can do little wrong. They are constantly in touch with their roots and influences while blazing forward into the future in parallel. The effortlessness in which they play can be attributed to their chemistry, but you can truly feel the endless love they poured into this release.

Key Tracks: Joy, Sitting on My Knees, Pho Baby

October 25, 2015
Hearing Aide: Soule Monde ‘Smashed World’

The latest from keyboardist Ray Paczkowski and drummer Russ Lawton‘s funk duo Soule Monde is a short, but well worth your time, EP, Smashed World, with five tracks to cover a wide range of funk.

Smashed World features two live tracks. “Allah Uya” breaks from Soule Monde’s usual drum/organ duo featuring Mihali Savoulidis (Twiddle) on guitar. The song starts out with a light, bouncy feel that gradually gets heavier as the three play it out. “Tango,” the other live track, starts out very organ heavy, reminiscent of Garth Hudson’s organ work with The Band. It then moves into a steady groove with an Eastern European feel to it.

The three studio tracks couldn’t be more different from each other. “Influence” is a jazzy number that features some great interplay between Paczkowski and Lawton with both taking the lead at various points. “Must Be Nice” starts out with a slow funk tempo that gradually evolves into a dirty, danceable groove, keeping that slow funk. Finally, their funky cover of ZZ Top’s “La Grange” closes out the EP.

The theme behind Smashed World, as with much of Soule Monde’s work, is funk and more funk. The close relationship between Paczkowski and Lawton is evident throughout. They are masters at listening to each other and then building off the other’s work. Paczkowski’s organ fills out the sound, giving the songs a full band feel, while Lawton’s drumming is not simply there to keep the rhythm. Fans of funk and jazz would enjoy this EP.

Paczkowski and Lawton are currently on tour with the Trey Anastasio Band. Soule Monde will be opening for Twiddle on New Year’s Eve at Higher Ground in South Burlington, Vermont. Tickets are still available.

Key Tracks: Must Be Nice, Tango, La Grange

Find Soule Monde on Facebook.

October 24, 2015
Hearing Aide: CBDB ‘The Fame EP’

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.

Key track: Echoes in the Room

October 13, 2015
Hearing Aide: Turkuaz ‘Digitonium’

The nine piece funk phenomenon known as Turkuaz are releasing a new studio album Digitonium on Oct 2. The 23 track album is a mature testament to the bands growing sound that continues to push the boundaries of funk with heavy ’80s influences. The album is full of instrumental segues of experimental melodies that set the stage for evolutionary funk tunes with classic, raw Turkuaz energy. Digitonium is built upon layers of exploratory themes, characters and repetitive lyrics that get the listener to pause, rewind and think outside the album. It’s the future of retro pop funk.

While the entire album is thoroughly enjoyable, some songs are sure to be stand out favorites. “Nightswimming” has that familiar Turkuaz pop rhythm, blaring horn build ups and catchy chorus that is sure to make it a big hit when performed live. “Percy Thrills The Moondog” explodes out of the speakers in true Turkuaz nature of slamming guitar riffs and crashing cymbals, complete with growling, barking and howling.“Doktor Jazz” has groovy bass plucking with rain fall synth melody and haunting, echoing vocals that give it a mad scientist toe tapping vibe. One track with possibly the heaviest 80s sound is “European Festivity Nightmare” with dark lyrics set to an upbeat digitalized street rhythm that sends the heart racing like Talking Head’s “Psycho Killer”. Digitonium is the ideal listen for any pre-party or when you are just ready to share in the groove.

In celebration of their new album, Turkuaz will perform a two night run at Brooklyn Bowl in their hometown of NYC on Sept. 29 with Polyrhythmics and Yo Mama’s Big Fat Booty Band on the 30th with the PitchBlak Brass Band on both nights. You can pick up a copy of Digitonium at their merch table at any of their many fall shows across the country or download online via iTunes on Oct. 2.

Key Tracks: Nightswimming , Percy Thrills The Moondog, Doktor Jazz

Fall Tour Dates:

09/29 – Brooklyn, NY – Brooklyn Bowl**+
09/30 – Brooklyn, NY – Brooklyn Bowl*+
10/01 – Boston, MA – Paradise Rock Club*
10/02 – Ardmore, PA – Ardmore Music Hall*
10/08 – Phoenix, AZ – Last Exit Live
10/09 – Joshua Tree, CA – Joshua Tree Festival
10/10 – Flagstaff, AZ – Orpheum Theatre
10/11 – Albuquerque, NM – Marble Brewery
10/14 – Kansas City, MO – Knuckleheads***
10/15 – Ozark, AR – Phases of The Moon
10/16 – Ozark, AR – Phases of The Moon
10/17 – Denver, CO – Cervantes Masterpiece Ballroom****
10/20 – Missoula, MT – Stage 112
10/21 – Moscow, ID – John’s Alley Tavern****
10/22 – Boise, ID – The Reef****
10/24 – Placerville, CA – Hangtown Halloween Ball
10/25 – Placerville, CA – Hangtown Halloween Ball
10/28 – Bend, OR – Domino Room****
10/29 – Seattle, WA – Tractor Tavern****
10/30 – Portland, OR – Wonder Ballroom****
10/31 – Eugene, OR – HiFi Music Hall****
11/04 – Fort Worth, TX – The Live Oak Music Hall
11/05 – Austin, TX – Spider House Ballroom
11/06 – Houston, TX – Last Concert Cafe
11/07 – New Orleans, LA – The Parish at H.O.B.
11/10 – Birmingham, AL – Zydeco
11/11 – Atlanta, GA – Aisle 5
11/12 – Charleston, SC – Charleston Pour House&
11/13 – Jacksonville Beach, FL – Freebird Live&
11/14 – Boca Raton, FL – Funky Biscuit&
11/15 – Tampa, FL – Crowbar Live&
11/18 – Charlotte, NC – The Rabbit Hole&
11/19 – Raleigh, NC – The Pour House&
11/20 – Richmond, VA – The Broadberry
11/21 – Baltimore, MD – Baltimore Soundstage

* with Yo Mama’s Big Fat Booty Band
** with Polyrhythmics
*** with Roxy Roca
**** with The Quick & Easy Boys
& with The Fritz
+ with PitchBlak Brass Band

September 30, 2015
Fishbone to Play The Hollow in Albany

Los Angeles born ska and funk pioneers Fishbone will make a stop in Albany tonight at The Hollow with guests Downtown Brown as part of their current U.S. tour.

After 25+ years of making music, the band is continuing to reach into new territory with their most recent project, a mockumentary video series that picks up where their 2010 documentary, “Everyday Sunshine,” left off. The video project also comes on the heels of Fishbone’s latest album, Intrinsically Intertwined, released in April 2014.

Fishbone.

On top of their prolific career (17 album releases) and notable collaborations (Gwen Stefani, Flea, Chuck D, etc.), Fishbone is still intertwined in a notorious, long standing lawsuit in which a fan sued the band for 1.4 million after lead singer Dr. Maad Vibe landed ontop of her after, what one can only assume to be, a stage dive of historic proportions. As a result, your patronage for this show effectively fights the good fight for rock and roll, in addition to witnessing what is sure to be a kick-ass concert by American ska moguls.

The show starts at 9 p.m., with doors at 8 p.m. Michigan based ska-punk-experimental-funk Downtown Brown will open the show, as part of their own national tour. Tickets are $20 in advance and $22 at the show.

Fishbone w/ Downtown Brown, Wednesday, September 16, 8 pm doors / 9 pm show, $20 advance / $22 day of show, The Hollow Bar and Kitchen, 79 N. Pearl St Albany NY

September 16, 2015
Catskill Chill Preview: One Last Dance at Minglewood

As the summer festival season draws to an end, next week’s Catskill Chill Music Festival which takes place September 18-20, a week later than it is usually held, also marks an end of an era. The 6th annual festival, which has grown in popularity each year, will be the last one held at its original home of Camp Minglewood in Hancock, NY before the party moves elsewhere next year.

Fittingly, upstate NY jam legends moe. will serve as musical headliner and Particle, the only band to play every Chill, will close out the weekend in grand fashion along with help from a number of other guests and friends.

This year’s festival also offers a number of other intriguing musical collaborations as this seems to be a theme for the weekend. In addition to their own sets on Sunday, Dopapod and Turkuaz will be combining forces on Friday night and recreating a night at Studio 54. Shwizz and Fikus will follow their Saturday sets with a joint one featuring musical selections from the ‘80s before the Chillfam All-Stars perform what is sure to be an entertaining tribute to Herbie Hancock. This isn’t even the only All Star band of the weekend as the Stratosphere All-Stars, featuring members of Lotus, Particle and Digital Tape Machine, will help usher in the Saturday night dance party.

If a band on this bill isn’t collaborating with another one, there’s a good chance they’re pulling double duty and performing multiple sets. Consider the Source will be doing both an acoustic and an electric set on Friday and Twiddle will be performing a set of Grateful Dead covers in addition to a set of their own Saturday night.

Other notable performers this weekend include upstate NY’s own Aqueous and Solaris as well as Lettuce, Zappa Plays Zappa, The Motet and Electron.

Catskill Chill is known for its home of Camp Minglewood and the purely intimate setting it provides with summer camp style cabins for lodging close to all the stages and designated camping areas strewn between them all. RV parking is also available for $150 and the festival offers both VIP ticket purchases and upgrades. In addition to an incredibly packed musical docket, there’s also Open Mic sessions being offered on Saturday and Sunday afternoons as well as yoga classes.

Tickets for $195 and one last chance to experience one of the true hidden gems of the festival circuit can be purchased here.

September 11, 2015
Roots Reggae Groups Root SHOCK and Mosaic Foundation Dig Deep and Bare Their Souls

The room was swarming with movement Saturday, August 29, at Funk ‘n Waffles downtown with Root SHOCK and Mosaic Foundation. The quintessential roots reggae mixture of djembe and melodica tones reverberated throughout the cozy, recently carpeted space. Lead vocalist Yao Foli of Mosaic Foundation expressed an exuberant passion for social issues close to his heart, proclaiming how the power of love is an important mechanism for effecting positive change.

Combining sequences of fluid dance moves with strings of powerful words, Foli’s band mates melodically bolstered his noble messages, adding a grace to a performance whose content could easily be formatted as a stripped down, straightforward public speech calling citizens to action.

Between songs, Foli offered positive pearls of encouragement to his audience. “To free Africa we must free ourselves” and “Love knows no boundary my brother.” Foli knows how to make his audience feel welcome and powerful all in one breath. Working up a decent sweat through all of his dancing, Foli brandished a small white towel to pat his face dry during song breaks, a testament to his hard work and dedication on stage. Mid-performance, Foli stepped to the front of the stage, grasping the mic with his other arm outstretched, getting as close to the crowd as possible, standing not only before them, but with them. Foli is not just a showman, but a leader and organizer in his own right, as his spirit brings people together to share a love of music and spread positive messages.

Following Mosaic Foundation, Root SHOCK delivered their own high-powered compendium of positivity. Bringing uplifting messages to an already revved up crowd. Opening their set with the always awe-inspiring love ballad to lead vocalist, Jessica Brown’s mother, “Sweet Reunion.” Prompting fans to reflect on and cherish their own familial relationships. Brown’s striking, soul-grasping vocals and incredible range continued to command the crowd. Daring them to dance harder and cheer louder during a bouncy performance of the upbeat “Sunlight of a Brand New Day.” The lyrics challenged listeners to “Live the life you want to live, love to live the life you want to give. Give the love you want to feel, the kind of love that empowers and heals.” The high-energy atmosphere fostered a connectedness and comfort level allowing several liberated spectators to remove their shoes, showing off some fancy footwork, toes unrestricted.

A crowd favorite cover of indie pop group Miike Snow’s highly danceable “Animal” continued to sustain movement as Brown took to the tambourine with guitarist Phil Grajko assisting on vocals. A rendition of “Rough Cuddle,” a song Grajko recorded with fellow reggae group Morning Sun & The Essentials, describes a dreamily mysterious and thought-provoking woman figure who asks, “what’s stopping you from seeing more?” This question is perhaps meant to awaken listeners and remind them to be more aware and present in their own lives.

A Stevie Wonder cover of “Master Blaster” followed, during which Grajko is known for sporting a set of shades as an ode to the beloved musical legend. Root SHOCK finished off their set with the more reflective Stephen Marley cover of “Pale Moonlight,” which tenderly recounts a love that has since been lost. Both reggae groups took the room on an awakening emotional journey where observers could connect more with themselves, the people around them, and reflect on their relationships with society as a whole.

September 5, 2015
Show Number One: Chicago and Earth, Wind & Fire at SPAC, August 29
After years of radio play and later, jam band covers from the extensive catalog of both bands, I was finally able to see Chicago and Earth, Wind & Fire. Performing together and separately at Saratoga Performing Arts Center on Saturday, August 29.

I am still surprised that I hadn’t seen either of them in the past, but a co-bill for the two bands that presented the bands in a ‘Don’t worry, you won’t miss a moment’ manner was as ideal as you can get for a late summer show at SPAC. The audience filled nearly every inch of the SPAC lawn with chairs for an incredible night of ’70s and ’80s funk and soul. Here’s my take on my first time seeing Chicago and Earth, Wind & Fire.
- Both bands came out at the start of the night together singing “Got to Get You Out of My Mind” by The Beatles.
- Incredibly, and despite having 20+ musicians on stage, you can hear the sound clear as day. Great mix.
- Bassist Verdine White from Earth, Wind & Fire asked “Is there a Chicago/Earth, Wind & Fire dance party in the house?” and it was too cheesy to not laugh.
- Heavy ’70s soul groove with these two bands on the stage. You figure they had to share bills together back in the Nixon/Ford/Carter years.
- The stage is symmetrical with pianos, drums and horns spread out evenly – not a bad angle in the house.
- When Robert Lamm said “We had no idea we would be around this long,” I nodded my head in agreement. It’s even more surprisingly the band has toured every single year since they first formed.
- “Boogie Wonderland” – people were dancing or sitting – they couldn’t figure out what to do. Regardless, Earth, Wind & Fire was the set to dance to.
- After a few tunes, and knowing they had to be saving “Shining Star” and “September” for the encore, I realized I do not know much Earth, Wind & Fire and need to go through the full catalog soon.
- A solid mix of live footage and photos from the past were seen on the video screen throughout the set.
- The SPAC lawn was not that bad. Phish fans, myself included, complain about the sound on the lawn. Definitely not an issue tonight. I regretted not bringing earplugs.
- Band intros went on for a while, then they introduced the three original members of the band, Philip Bailey, Maurice White and Ralph Johnson.
- I know these songs, but not the titles, the result of years of casual radio play.
- Maurice can hit some HIGH notes!
- “Let’s Groove” was a perfect closer
- After a short set break, I realized I hadn’t been to SPAC with both my parents, ever. Last time I was here with my mom, I saw Huey Lewis and the News in 1989.
- “I’m so happy that you love me.” Sometimes, the song titles just write themselves.
- I’d estimate that half of this crowd had Chicago and/or Earth, Wind & Fire songs as their wedding reception music.
- Hell, half of this crowd had to make out/get laid to any of these songs. This is baby-making music for Boomers.
- “You’re the Inspiration” is such a dad rock song, if dad is serenading mom.
- Chicago covers “I’m a Man” by Spencer Davis Group. One of my favorite all time rock songs and it has had a second life this whole time. This is awesome. If I wasn’t a Chicago fan before.
- The drums section in “I’m a Man” was unexpected and impressive. This provided a perfect counterbalance to the overly mellow “Inspiration.”
- I have my mom’s copy of Chicago Transit Authority and she’s not getting it back.
- “Street Player” is a damn fine and energetic disco era song. Someone start covering this, please.
- Some of these songs do sound the same when played in succession. “Hard to Say I’m Sorry” is the spring from which all others grow.
- People are snuggling. This is cute.
- “Saturday Night in the Park,” was pretty spot on for being in Saratoga Spa State Park on a Saturday night. It’s like they were waiting all week to sing it here.
- Random pockets of dancing popped up throughout the crowd intermittently for Chicago, a band best enjoyed from a seat.
- No matter the song, someone in the crowd knew it and sang along. We all sang along at some point.
- “September” and “Sing a Song” started the final songs of the night, getting everyone back up again.
- “Does Anybody Really Know What Time it is?” was sweet and preceded “Shining Star”, leaving enough time for…
- “25 or 6 to 4” – I have loved this song since first listen when I was maybe 12 or so. It might be the first time I ever heard it played live, outside of a high school holiday concert in 2005. Beyond that, only teases from jam bands. Hearing this live was a treat.
- I need to get Chicago and Earth, Wind & Fire back into my life – two fantastic bands crossed off the list.
September 2, 2015