The Grassroots Festival of Music and Dance, taking place this weekend in Trumansburg, NY, is celebrating its 25th anniversary. What started as an event to raise funds for charity has evolved into the gem of the New York festival circuit.
Set within the Finger Lakes region, near Cayuga Lake and surrounded by the Taughannock Falls State Park, just 10 miles north of Ithaca the charitable, eco-conscious, music and art celebration will be held July 16-19.
Not only does Grassroots Festival of Music and Dance offer a stellar lineup year after year, and an interactive kids area, community based arts and crafts programs, and ties to charities — they work hard each year to move towards being a zero-waste festival. Every piece of table wear is compostable. Compost bins are located throughout the festival making it simple for festival goers to participate.
The charities that receive funding from Grassroots change from time to time but some of the most recent recipients include: Doctors Without Borders, State Theater of Ithaca, Ithaca Youth Bureau, Food Studies Institute, Sustainable Tompkins, Center for the Arts of Homer, Hospicare, Taughannock Soccer Club, and so many more. Grassroots is more than an annual festival to the Trumansburg community, its part of and an active participant of it.
With nearly 60 bands on four stages, this year’s lineup will have something for everyone, one of the characteristics of this festivals that ranks it so high on the list of ‘must see’ events in our area. The 25th anniversary headliners include: Donna The Buffalo, Steve Earle, and Trombone Shorty & New Orleans Avenue. Also appearing this year will be: Cabinet, Jimkata, Giant Panda Guerilla Dub Squad, John Brown’s Body, Sim Redmond Band, The Horse Flies, Thunderbody, Sophistafunk, and many more.
Tickets, both 4-day and single day options are still available online and at select ticket outlets, and at the gate for you late comers. Sadly, as it always does, inside camping is sold out, but there are still off-site camping options still available. Check the festival website for camping ticket details and availability.
NYS Music will be on site all weekend with live updates and highlights, follow us on social media for everything Grassroots. We are so excited to be a part of this beautiful event with all the other eco-conscious music lovers. See you there!
The godfather of Syracuse’s power-pop scene, Gary Frenay has released a new, full-length, solo cd titled, File Under Pop Vocal. A founding member of The Flashcubes, and Screen Test, two of the area’s most important bands in the late seventies and early eighties. Frenay is a six-time SAMMY Award winner and the first musician to be inducted into the Syracuse Music Hall of Fame twice, once as a solo artist, again as a member of The Flashcubes. A very prolific writer who honors the molds of Lennon and McCartney, Brian Wilson, Todd Rundgren and Elvis Costello, he has issued three solo albums, plus ten more by his bands and duo with fellow Flashcube and Screen Test member, Arty Lenin.
A two year project, File Under Pop Vocal is a collaboration with his longtime friend, Flashcubes drummer and producer, Tommy Allen. Tommy is producer and mixed all tracks at his NYC base, except #7 which is produced, arranged and mixed by Mark Doyle with drums recorded by Allen and #10 which is mixed by Ducky Carlisle, another Syracuse mainstay. Carlisle mastered at Ice Station Zebra in Medford MA.. Recorded in Syracuse, NYC, Boston and Tokyo, all of the songs here are by Frenay, besides #4 by Wilson/Rovell/Pamplin and #7 by Frenay/Doyle.
You can hear Tommy Allen on each track playing drums, percussion and a myriad of other instruments, plus lending background vocals. Together Frenay/Allen recruited some very big hitters to fill the vibe of each song, including the multi-talented Mark Doyle (guitars, keys, bass, etc.); guitarist Paul Carbonara (Blondie); Doug Worthington (Julian Lennon); mega-duo Pete and Maura Kennedy; Marshall Crenshaw (yes, that Marshall Crenshaw); longtime musical partner Artie Lenin; Japanese power-pop star Osamu Satoyama (Mayflowers); keyboardists Ed Vivenzio, Andy Burton (John Mayer), and Tommy Mandel (Bryan Adams); and Frenay’s son, multi-instrumentalist Nick Frenay (Nick and Noah). To get the proper individual credits, please see the actual liner notes. I’ll highlight some, but let the music talk through me for the most part.
‘Blue Topaz’ takes a big swing at the genre fence with a power-pop monster featuring a vocal hook that will make you believe Elvis is in the studio. When Frenay sings, “Let it shine for eternity, To remind us of, The way we felt on that day, I placed it on your finger, A blue topaz” and the harmonies and backing vocals soar, his voice clinches on the I in homage. It hits all of the bases with jangling guitars, a driving bass and Tommy’s pacing, this begs for the top to be down, clearing the romantic haze in a beautiful way, it’s just what happens under the spell of a muse. ‘Forgot How Good Love Feels’ follows in composition, but maybe a little earlier in the real story. It runs along at full pace, like new love does, it sprints, not wanting miss a stride. Until realization puts a shift on time and you float, slowly, in revelry. You know what I mean. ‘Our Eyes Have Voices’ is flat-out romantic and truly insightful, the strength of the topic combined with Frenay’s multiple background vocals tweaks at my influence alarm. Although I believe there is more than one influence at work on many of the tracks here, Frenay’s voice sings to them, expresses them with subtlety and individuality without waving a flag. His words and melodies move easily to the borders of his genre and reach beyond for tastes, his stories are real, it makes all of the difference. The musicianship and arrangement are pristine, distinct, clear and thoughtful. Nothing is more aurally pleasing than that.
Brian Wilson’s ‘It’s Like Heaven’ sounds like a Beach Boys/Beatles love child, played by Elvis Costello. Paul Carbonara’s slide is right out of the George Harrison play-book, Tommy’s drum sound is huge and the sweet backing vocals by Maura Kennedy and Nick Frenay carry Gary’s reading on a cloud. The production is like candy, surely the epitome of pop, and substantive of the album’s title, that continues track after track. ‘Winterview’ is a tale of reminiscence, an analogy of seasonal change and emotional cleansing. The Kennedys and Ed Vivenzio color the changes and fill the spaces so completely, along with Sam Crowes flute and Tommy’s string flourishes, they make the sadness seem palatable, though the feelings fade, they never quite go away. Frenay switches it up on ‘We Could Be Brothers’, an up-tempo power-popper that speaks to someone lost, but not forgotten. One of those meaningful people you lose track of over time, but don’t let slip your mind. Perhaps a new soul, that reminds us of an old soul. Osamu Satoyama’s guitar bites in all of the right places and Frenay’s voice exudes at the combination, his enthusiastic acoustic rhythm chimes in agreement. I can’t quite grasp it, but it’s either a high-plains western, eastern or a mix of both feels, either way it’s quite provocative.
‘It’s Your Heart’ sounds like it could’ve been written for a sixties chanteuse like Dionne Warwick, from Nick Frenay’s flugelhorn to Mark Doyle’s piano, organ, synth strings and electrics, it’s majestic like a single produced by “The Wrecking Crew.” The only track where another songwriter is co-credited, Doyle’s mix and arrangement are sublime. Gary’s voice is so emotive, his backing tracks and Riley Mahan’s layers produce all that is good in pop music; like ‘You’re Only Hurting Yourself.’ Doyle starts the string intro, Carbonara on the electric rhythm, it’s a little Philly Soul, it’s Doyle bringing the “Ambrosia” So. Cal. piano and Artie Lenin drops a perfect solo. Nick Frenay adds background vocals in a level at which I needed to consult the artist to be sure all of the voices were credited. Fantastic! Frenay’s songwriting is at once, striking and stirring, there’s an innocence with a wink, assertiveness with a smile and resolution in a nod.
‘Everything But Love’ and ‘Luckiest Man’ close out the CD in very individual ways. E.B.T. has the ring and jangle of Lenin’s 12 string and harmonies, bolstered by Tommy Mandel’s piano and organ. Then the guitars roll in, Doug Worthington and Marshall Crenshaw add individual flavor, but the bridge to the solo is unmistakably Crenshaw and Worthington gives a monstrous solo. It’s a flavor of “Pretenders”, pure pop gloss, seamless in its fab four proclamations and eighties vibe. Lucky Man finishes softly, but substantially. No rhythm section, just Frenay’s voice and acoustic, Doyle’s piano and synth strings with Nick’s flugelhorn, expressing why songwriters write, singers sing, why lovers cry. A song for his wife and muse, his dedication to love and good fortune. Written beautifully, performed in the only way it can be, truthfully.
Although I attempted to focus on the music itself, when you have so many important pieces involved, each needs to be credited somehow. The level of musicianship, song-writing and production put together here is as precise and thoughtful as any available today. The compositions are intelligent and bright, sweet and bitter, all unrestrained. Follow the links provided to hear and learn about Frenay’s past and present, I believe you’ll find them both exhilarating. Check his facebook page and his blog WE CONNECT for stories, history and anything else that may be found under File Under Pop Vocal.
Key Tracks: Blue Topaz, Winterview, You’re Only Hurting Yourself
A healthy mix of forty-somethings and millennials populated the brewery Friday night as Saranac’s Summer Concert Series continued with Everclear’s annual 90’s alt-rock tour, Summerland 2015. This year’s edition features, along with Everclear, Toadies, Fuel and American Hi-Fi.
It was an early start to the day for Everclear’s leader Art Alexakis and guitarist Davey French, making the local media rounds on WKTV and local modern rock outlet WKLL’s morning show, simply known as The Show. Everclear is touring in support of its new album Black is the New Black, released in April.
Everclear’s acoustic performance on K-Rock from the 1888 Tavern at Saranac – Photo courtesy of Patrick Curley
If you’re a child of the 70s, you’ve grown up with some wild changes in the musical landscape. You’ve seen the disco era, the punk era, the prog-rock era and college rock. Hip Hop and rap came of age with you. Hair metal came and went as grunge plunged the knife into its Aqua-Netted heart in the early-90s.
With the advent of the grunge movement, came a slew of bands and musical styles that could not be easily categorized. When someone doesn’t fit neatly into a genre, new categories are created. The 90s movement became known as Alternative. Bands of the Alternative era of the mid-90s grew to fame playing package tours such as Lollapaloooza, HORDE and the Warped Tour. Everclear’s Summerland Tour draws upon this concept. In 2012, Portland, Oregon’s own created what, for some, may be seen as a nostalgia tour, employing many of the biggest names of the mid-90s on the bill each year. The 2015 edition of the Summerland Tour brought four of these bands to the Saranac Brewery in Utica for a night of nostalgia and pure rock and roll.
American Hi-Fi kicked off the show, rolling through a quick set of their most popular hits, including “Flavor of the Weak.” The video for the song offers a parody of the classic documentary Heavy Metal Parking Lot. American Hi-Fi delivered a solid rocking set that gave the early arriving fans a taste of what was to follow.
Another Perfect Day
The Art of Losing
Flavor of the Weak
Wall of Sound
Stacy Jones and Drew Parsons of American Hi-Fi having fun on stage
This reviewer’s most anticipated band of the night was Toadies, who followed American Hi-Fi. They certainly didn’t disappoint. Toadies, a straight-up Texas rock and roll band led by Vaden Todd Lewis, played a high-energy set which also included a couple of roadies joining in on percussion during “I Burn.” Lewis’ lyrical style may be considered a bit creepy by some, and perhaps that’s why I’ve become such a fan. Lewis’ voice and enthusiasm hasn’t changed since my first time witnessing them at the inaugural K-Rock-a-Thon 20 years ago. This fan-shot video from Friday shows Lewis at his best.
Rattler’s Revival
Backslider
Happy Face
Push the Hand
Mexican Hairless
I Come from the Water
In the Belly of a Whale
I Burn
Possum Kingdom
Tyler
Lewis offered two options for the final song, “Away” and “Tyler.” The overwhelming choice from the crowd was “Tyler.”
Toadies setlist edited by Vaden Todd Lewis to show the audience’s choice of ‘Tyler’ as the closer.
Fuel, now with a revamped line-up from its early-2000s edition, followed Toadies with a set infused with its alt-rock radio hits that had the Saranac crowd singing along, culminating with their biggest hit, “Hemorrhage (In My Hands).”
Fuel’s setlist:
Untitled
Time for Me to Stop
Bad Day
Shimmer
Puppet Strings
Soul to Preach To
Hemorrhage (In My Hands)
Brett Scallions delivering an awesome performance to Utica
Festival hosts, Everclear finished off the night with a set heavy on the hits as well as two new songs, “The Man Who Broke His Own Heart” and “American Monster.” Band leader Art Alexakis’ stock in trade is life experiences in his lyrics. Many of the band’s biggest songs are biographical in nature and Alexakis doesn’t shy away from speaking about these experiences. That, however, doesn’t take away from the fact that the man knows how to host a rock show. Alexakis knows the fans want to hear the hits and he didn’t disappoint. The show came to a close as members of American Hi-Fi and Fuel joined Everclear on stage for a rousing sing-along of Everclear’s “Santa Monica.” At one point during the finale, there were at least ten musicians on stage, with Fuel’s Brett Scallions and Everclear’s Alexakis trading vocal duties and sending the Saranac crowd home hoarse.
Everclear’s Early Acoustic Set Live on WKTV:
The Man Who Broke His Own Heart
Everything To Everyone
Early Acoustic Set Live on K-Rock:
The Man Who Broke His Own Heart
Wonderful
Evening Set at Saranac Brewery:
So Much for the Afterglow
Everything To Everyone
Heroin Girl
You Make Me Feel Like a Whore
American Monster
The Man Who Broke His Own Heart
Wonderful
Father of Mine
I Will Buy You A New Life
Encore:
Santa Monica (with members of American Hi-Fi and Fuel)
Everclear headlined the Summerland 2015 show at the Brewery
These four bands may not have seen their songs hit the charts in recent years, but the music they play is timeless rock and roll. There was a feeling of nostalgia in the air but there was also a let-loose feeling of a genuine rock show that belies the recent Billboard charts. Alexakis’ goal with this tour is to get the rock to the people and that is exactly what he accomplished Friday night. Everclear will be back in the area for a 2pm free show at Chevy Court during the New York State Fair on August 27th.
The Saranac Summer Concert Series continues to be one of the best tickets in the area. Upcoming events include Dark Star Orchestra, Slightly Stoopid and Zappa Plays Zappa in addition to their weekly Saranac Thursday outings. The brewery has made an effort to bring in top notch bands as well as ensuring the shows are finished at a time when concert-goers can still hit up the bars of the Brewery District for some post-show fun.
Mike Gordon is not your typical man. And when left to his own devices, things can get quite Gordon-y. The Phish bassist’s solo band made a stop in Baldwinsville, just outside Syracuse, at Paper Mill Island. The amphitheater resides on a small parcel nestled between the Erie Canal and the town center, tucked back behind an inn and a canal lock. If you blinked you might miss it. A perfectly weird spot for the perfectly weird Gordon. It was the band’s first outdoor show. As Gordon announced, “it’s nice to be out.” Though in the end, it might have been better to stay in. From the imagination of Mike Gordon, this outside out show featured a whole lot of visual enhancements, most of which were lost in the summer sun.
Mike Gordon Band – Papermill Island
The stage was almost entirely black. All of the instruments were either black or draped in black. The musicians were dressed in black with slight variation. Gordon wore deep red jeans, and his shirt was more of a dark grey. Once you went down the rabbit hole of noticing these details, you noticed it all seemed to be meticulously coordinated. Drummer John Kimock wore a striped shirt that perfectly matched the colors of Gordon’s jeans and shirt for instance. But why Gordon’s nails were painted white I couldn’t say. Scott Murawski‘s guitar and Gordon’s bass were custom made with LED lights in the neck that reflected through the bodies. Seeing them in action was somewhat reminiscent of the early 90’s Phish backdrops painted by Gordon’s mother. The walls displayed constantly moving graphics while lights lined the floor were flashing and spraying more color across stage. There was a lot to take in visually once the sun went down.
Additionally, there was a large interactive keyboard lining the front of the stage. When the keys lit up, audience members were able to hit the keys and play along with the band. After a very brief appearance in the first set, the keyboard came alive for most of a late-second-set version of “Voices.” (video below) The keys would light up in sections giving different audience members a chance to jam. Aurally, the results were mixed, but in person it was a boatload of fun.
This tour saw the additions of Robert Walter on keys and John Kimock on drums in Gordon’s band. Both members slid right into their roles with nary a hiccup. The band was tight and grooving every step of the way. And every song jammed. With lesser musicians this formula can grow tiresome, but with this outfit, it only got more interesting the further they went. They played a smattering of Gordon originals, a couple of Phish tunes, and a few covers to round it out.
The covers, two in particular, stood out as clear highlights of the night. Their take on the Flaming Lips’ “Are You a Hypnotist” started with excellent playing through the song portion, and dripped slowly into a oozing spacey jam while a Tron-esque bright green grid was projected along the walls. It was a “wow” moment, as the music went places I hadn’t thought possible from this side project. Then, to close the set, the band took on Here We Go Magic’s “How Do I Know.” The sunny and bright song burst out into a rocking jam driven by some relentless work by Walter and Kimock. The covers were so good, perhaps it pointed out a weakness of this band: songwriting. That said, Mike Gordon knows how to put on a thoroughly fun show that is both musically and visually engaging. I’m still smiling.
Setlist
Set 1: Different World > Another Door, Surface, Here Today, Say Something, Looking For Clues, Spock’s Brain > Different World
Set 2: Jones > Take It As It Comes, Sugar Shack, Normal Phoebe, Are You A Hypnotist, Voices, Face, How Do I Know
Portland born Folk artist, Todd Snider, brought his musically charged, humorous life stories to the Westcott Theater in Syracuse, on June 24, for his first show in central New York. Of what was supposed to be a duo with John Craigie, turned out to be a one-man show of Todd all by himself. News of why Mr. Craigie wasn’t playing or why he couldn’t make the show, was left unannounced but that didn’t stop the crowd from patiently waiting and thoroughly enjoying the only performance of the evening.
Todd’s artistry is not about the music, it’s about the story in whole. The lessons he learned from his travels, the wisdom he’s acquired from meeting strangers, past relationships and living on the road all have a say in how each show pans out. The diverse audience loves it though. From the moment Todd stepped on stage and waved his hat in the air to greet the crowd, everyone cheered in excitement to hear what he had to say. It was as if he had played in Syracuse many times before. For the following One-Hundred minutes, Todd played soft chords on his nylon-stringed acoustic guitar and told stories, which gave way to laughter, smiles and even some frowns.
Entertainment shows it’s face in many forms and Todd naturally entertained the crowd. He provided a unique and vulnerable show for everyone in attendance, aiming to show himself as an enthusiastic, opinionated, musical story teller of truth and tall tales. He accomplished just that and more as the audience was drawn into every detail that he presented about his time on this wonderful planet.
With a packed house, country duo Love and Theft took Syracuse by storm performing several of their hit songs while fans danced and sang word for word. The crowd begged for more throughout the entire show. Afterwards, Stephen Barker Liles and Eric Gunderson both took the time out of the set to share stories and memories with us.
Unlike most shows, the meet and greet was held after the performance. The duo spent so much time with each fan for autographs and photos that we didn’t get out of there until almost 1:30am. Every fan was impressed with their show and more importantly with the fact that these guys were just every day people sharing their love of music with the rest of the world.
Catch their next NY show Aug. 2 at Spiedie Fest and Balloon Rally in NYC.
Mark Doyle has released a two cd live performance by his ten-piece Guitar Noir ensemble project. The material is based on his trilogy of critically acclaimed solo albums, 1999’s Guitar Noir, 2001’s Out Of The Past and the follow-up to Guitar Noir, 2011’s In Dreams: Guitar Noir ll.In Dreams is presented in its entirety on disc one and highlights of the other two cds are performed on disc two along with a few surprise gems. One November Night was performed at Onondaga Community College’s intimate new Recital Hall on November 22nd, 2014 with Jason “Jocko” Randall at the F.O.H. helm and Dan Shaw handling recording duties. Doyle produced and mixed at Near Miss Studios, Jocko mastered the final product at More Sound. The pairing of Doyle and Randall have garnered multiple SAMMY Awards for Mark Doyle and The Maniacs, Doyle’s blues/rock band.
The carefully selected ensemble draws from a list of long-time collaborators, Terry Quill on guitar (former Maniacs), Edgar Pagan-bass, Bill DiCosimo-keyboards, Joshua Dekaney-drums/Roland Pads, all of (Grupo Pagan, Mary Fahl) and a stunning string quintet comprised of Ally Brown-1st violin/section leader, Shelby Dems-1st violin, Leila Dean-2nd violin, Claire Wilcox-viola and Kate LaVerne-cello. The quintet allows Doyle to flex his multi-faceted skill base as a producer/arranger, who states, “I’ve always loved doing string arrangements for recordings, and the idea of working with live strings has long been a dream of mine. The Guitar Noir concept particularly lends itself to this idea, so seeing and hearing it all come together in concert has been very rewarding.”
Doyle’s extensive history as a guitarist, pianist, composer, producer and arranger would take another several paragraphs to cover properly. I suggest spending some time on his website, there are some excellent stories on his discography page and his bio page spells out his history in depth. You can also go back on the NYS Music website and read other pieces I’ve written for Doyle and his works with Mary Fahl.
It was as if the Recital Hall was created for a concert such as this, amazing thought and skill has created an architecturally beautiful venue that is near perfect for audiences and musicians alike. It’s plush, with comfortable seating, excellent sight-lines and the sound, the sound! I was fortunate enough to attend the concert when ‘One November Night’ was recorded, this will be a chance to give it the ultimate respect it deserves. Many fans may think it odd to sit in a theater listening to Mark Doyle perform, but Guitar Noir is a totally different animal, instrumental, atmospheric and lush. This venue is perfect for Doyle’s voluminous abilities to be exercised and the audience to lean back and follow along with the nuances.
Doyle’s love of film noir/sci-fi/horror movies influenced his thematic choices throughout the recordings highlighted here, along with the Sixties theme from Out Of The Past. This is an artist who holds the fullest respect for where he comes from, where he has been, and who influenced his path on the way there. Anyone who has attended one of his shows knows the subtlety in how he expresses them and his affection for them. I highly suggest a good pair of headphones to catch each one.
‘The Perry Mason Theme’ opens the show with all hands on deck, Doyle’s guitar playing the familiar lines that everyone of a certain age knows. It’s brighter, then it breaks into a samba-jam with Edgar Pagan and his unmistakeable smile riding a sweet groove with counterpoint provided by his rhythm section mate, Josh Dekaney. The strings swell in and out as Bill DiCosimo’s keyboard flourishes fill the air, Terry Quill’s accompanying guitar licks double, then echo and harmonize with Doyle, their interplay is and always has been magical. As previously noted, the rest of the first set is dedicated to In Dreams: Guitar Noir II in its entirety. ‘Mr. Sandman’ is dreamy and slowed down, Doyle switches from harmonics to slide to pick, emphasizing tonal changes directly into another standard ‘All I Have To Do Is Dream’. While recognizable, these arrangements take on a new depth behind Doyle’s signature and accompaniments. This version is upbeat, sweet and hopeful, perhaps another chapter in his tome, written for the love of his life. Ray Davies’ ‘I Go To Sleep’ – familiar to many from the Chrissie Hynde reading – comes next in an atmospheric inversion, enough to call to memory the words; “I go to sleep, sleep. And imagine that you’re there with me. I go to sleep, sleep. And imagine that you’re there with me.”, spoken with a volume pedal and a little finger on the volume control knob on Doyle’s signature Stratocaster. The guitar solo at the end is worth the admission price alone. ‘Reve Noir (Dark Dream)’, the first of Doyle’s compositions, brings the theremin in with a haunting effect that is quickly softened by a ‘Dream A Little Dream Of Me’ homage lick. The strings are consistently perfect, performed with touch and emotion, never commanding, yet very present.
Henry Mancini’s ‘Dreamsville’, from The Music Of Peter Gunn precedes ‘Nightmare’, Artie Shaw’s “theme song”, placing dimension on this continuing dream sequence. Doyle’s guitar rises right through the middle of the mix, just on top, right between the ears, precisely where it belongs. ‘Dream Baby’, made famous by Roy Orbison, gets a slower pacing, without the country feel. Not “updated”, but a different take, a saunter of sorts, with Doyle’s slide work and picking dictating the step. The second Doyle composition, ‘Dream Tiger’, gets a bit electronic with sampling running underneath, triggers being pulled and layers upon layers of melody allowing Dekaney to hit it hard. His percussion skills and sound knowledge are flat-out amazing. The band is running at top form, ‘Darn That Dream’ is a late thirties jazz shuffle by Jimmy Van Heusen that reaches deep into Doyle’s cache of tones, throw in the strings and it could be misconstrued as his own composition. ‘Still I Dream Of It’ (Brian Wilson) and ‘In Dreams’ (Roy Orbison) finish disc one. The expression in Doyle’s guitar-voice rides along the melody lines, casually reshaping them, changing tones to define them. One last reference to history and the band is off to break, listening to a rising ovation from the sold-out audience.
The second set, or disc two, opens with ‘Tomorrow Never Knows’, the Lennon/McCartney gem from Revolver that brought the Indian feel to the experimentally minded band. Guitar Noir just rolls it, the Indian undertone as a drone, Doyle voicing the vocals through his fingers, pick and whammy bar. The Jazz Crusaders’ ‘Young Rabbits’ gives each member of the ensemble some individual space while staying tight to the groove of the original. The band doesn’t mind a little jazzy, funk stuff. The Boz Scaggs feel of ‘Invitation’ is such a classic sound. The theremin pushes through in parts, Doyle just soars, and the band is so far in the pocket that you can’t see them. ‘Guitar Noir’ expresses the virtuosity Doyle haunts this song with, the hollow-body whammy gives some surfer vibe, but the synth and pad parts are updated and push just slightly. The theremin entices like an old horror movie, just enough to keep you guessing until he tosses another emotive at you. ‘Out Of The Past’ is a monster. The Indian influences, both string and percussive, paired with the precision of the guitar work and tonalities, is just majestic. These two songs are Doyle’s personal contributions to disc two. It’s understandable why they’re the title tracks from the second disc’s featured albums.
The Doors’ ‘The Crystal Ship’ is a time establishing riff that is just as strong, if not more strongly expressed through six strings. It provides the vehicle to go back, while still moving forward through Doyle’s interpretation. The Beach Boys’ ‘Warmth Of The Sun’ is read in similar terms, lush with strings and keys, the lead gently overhead. Both are so heartfelt, they’re nicely paired in the set and the ‘Surfer Girl/I Only Have Eyes For You/In My Room’ interlude is signature material for Doyle, perfectly placed and segued, setting the stage for a new song to the ensemble. ‘Jive Samba’ by Cannonball Adderly takes the slow jazz feel and uses guitar for the horns while the string ensemble echoes back to them, the bottom is unstoppable even when Doyle lights it up strong. Then, DiCosimo, Quill, Pagan and Dekaney each get several measures of solo space and their introduction to the crowd. Sometimes it’s hard to pay attention to each individual while the band plays, wanting to absorb the whole presentation, but the crowd surely showed their appreciation for each. The set ends with a Stones/Beatles mash-up, consisting of ‘Paint It Black/Eleanor Rigby’. The Caribbean rhythm intro of ‘Paint It Black’ morphs into a rocky, upbeat chorus, then transitions into a searing ‘Eleanor Rigby’ with a Chick Corea like break. DiCosimo rips another organ solo while Quill and Doyle pounce on the top, firing to a dramatic end with the audience standing and yelling for more. The encore is a seasonal piece considering the recording date. ‘Have Yourself A Merry Little Christmas’ and ‘The Christmas Song’ had the audience smiling wide in understanding the moment they were just a part of.
While it isn’t considered professional or appropriate to personalize reviews, in this case and several others recently, these people are my friends. I’m very fortunate to have them. I write what I write because I want to, not for money, but for the love of music, especially when it’s made by people I respect and care deeply for. Check out more of Mark Doyle’s music on his website, youtube and his band, Mark Doyle and The Maniacs’ facebook page and website. There is a rich history there that continues to grow, it should be noted and explored, please do.
Key Tracks: Out Of The Past, Dream Tiger, Guitar Noir
In the photojournalism profession, there are certain things you hope to one day do in your career. Whether it’s covering a favorite band, or capturing the perfect shot, or interviewing someone you’ve revered over the course of their career, we all have that bucket list of wishes. As we get ready to welcome Heart to the Oncenter’s Mulroy Civic Center Theaters, June 30, I recently was able to check off one such accomplishment on my bucket list. Graciously agreeing to speak with our readers, I had the opportunity to interview one of the icons of rock and roll, Ms. Ann Wilson.
Ann Wilson – Heart
Ann and Nancy Wilson are known and revered as trailblazers in a predominately male field of rock and roll. Shattering the glass ceiling and overcoming adversities, Ann and Nancy not only blazed the way, they set rock and roll on fire. Over the years their music has spanned generation after generation, and their longevity can be attributed to their ability to touch their audience no matter what age they are. Recognized once or twice along the way in their successful careers, I found Ann so humbled by it all. Let’s recap a few of those awards: In 2013 they were inducted into the Rock & Roll Hall of Fame and in 2012 they were honored with their Star on the Hollywood Walk of Fame. They have had four GRAMMY nominations over the years as well as the Lifetime Achievement Award from the GRAMMY Foundation Northwest Chapter. They have been awarded the Lifetime Achievement from the VH1 Rock Honors, and the Image Award’s Lifetime Achievement for Excellence in Songwriting from ASCAP. They have exhibits in the Rock & Roll Hall of Fame Museum, the Electronic Music Project Museum, and the Grammy Museum. Needless to say, they’ve made their mark in the industry over their more than 40-year career and along the way grown in the “Hearts” of all their fans; myself included.
As I sat down to speak with Ann Wilson, I had to pinch myself. This was definitely a humbling experience and I wanted to ask the right questions that our readers would want to know. So I took a survey and a few of these questions can be found within.
Kathy Stockbridge (KS): Thank you so much for agreeing to talk with our readers. We are so happy to have Heart coming to the central New York area. You have been one of the most influential women in rock and roll history. You and your sister have made every list possible hailing you as trail blazers in this field. When it come to breaking the glass ceiling as women in a predominately male genre, you forged the way for so many females that wanted to be like you. Being in the forefront who motivated YOU to pursue your dream in music and sculpted your love of rock and roll. Who were some of your earliest influences.
Ann Wilson (AW): You’re welcome. Well one of my really early influences would be someone like Judy Garland. You know, that’s who my mother listened to, but the people that influenced me to do rock and roll were not women, they were all men. They were The Beatles and The Rolling Stones, and people who were being played on the radio back then. Then later on it was Deep Purple, Led Zepplin, and Pink Floyd, and all those people that populated the airwaves back then is what really turned me on, and got me into it.
KS: You mentioned that your mother listened to Judy Garland. I read somewhere that your mother was a very strong woman and could be considered a feminist. How did she encourage you and your sisters when it came to pursuing your career choices?
AW: I think that our mother was pretty suspicious of the music business. She considered it to be the fake and phony tinsel world; a scary world especially for two of her three daughters to enter into. But she wanted us to be happy and wanted us to find a bliss and follow it. Yeah, she was happy about that part. She used to not have any problem with offering up her advice about how to survive in the entertainment industry though, which I always thought was pretty interesting since although she was a smart woman, she had no experience in it. She just saw what happened to Judy Garland and said, watch out, don’t do that.
KS: You had some major obstacles you had to overcome over the years along the way. What were some of those obstacles that came up and you hurdled them with no problems whatsoever.
AW: Haha, hurdle them with no problem? Well that didn’t exist. In the very beginning of course there was a level of sexism that wouldn’t be acceptable today. That was the first hurdle. Then along with that came credibility. “Are women trying to do rock and roll even credible or are they some kind of cartoon character?” That was the biggest hurdle at first. And then after that..all the typical ones like ageism, body image, like all those that people face. Only somewhat amplified because it’s in entertainment. But the thing is if you really love and are focused on what you’re doing and that’s your main focus, than you can always look at that and center on that and some of that stuff can go by without really screwing you up too bad.
KS: Absolutely … kinda like you had to do twice as much as the next male artist to get to where you were.
AW: Yes, but backwards and in high heels, right?
KS: And you did it! Along the way, who was there for you before you were famous that you would say thank you to? The one person that made a difference in your career?
AW: I would have to say my parents. My blood family. Our older sister and my parents were the ones who were most there for us and our friend, Sue Ennis, she was there too. And the original lineup of the Heart band was a tight and committed little unit so we were all there for each other.
KS: You have played with some amazing musicians over the course of your career. What are some of the “stand out” moments, moments that resonate as “ah ha/oh wow” moments for you?
AW: Getting to go into the studio at all and make a record was a big “oh wow”, and the whole thing expanded from just different levels of it. First you play a big club, then you get to play a big outside show, then you might get to open up for someone big in an arena, then you get to headline the arena yourself. As it climbs, there are just bigger levels of “oh wow” I guess. Then there are some moments like you get your first gold album, then you get to star in a rock video, then you have to deal with all those problems we talked about a minute ago. Those are “oh wow” moments too when you say, “okay this is what I signed up for … oh wow.” Then in later years I think moments like being inducted in the Rock & Roll Hall of Fame, that was big. Then playing for the President at the Kennedy Center Honors was very big. That was pretty great, yeah really great.
KS: Did you deal with phobias at all like stage fright in the beginning? I know like for myself, I still have to sometimes take a deep breath and begin as I do an interview such as this with yourself, as I get a bit nervous.
AW: Oh thank you. There were times when I did have fears before going on stage. But after a while both Nancy and I learned that is just really so counterproductive. I mean if you allow yourself to fall into that, really your just looking at yourself. You’re not going out there and putting out and getting into it. So we learned different techniques you know like breathing and just being more mindful about being in the moment. So to answer your question, I rarely have any nerves now before I go on. But I do want to be awake and alive up there. I don’t ever want to be just acting it out or holding it in.
KS: Do you feed off of the audience in that moment?
AW: Oh yes, totally. It’s all about that!! If you feel like they’re not there or they’re drifting, or looking at their cell phones, or yawning, or something you take it personally. And then when they’re there and everybody is up on their feet and loving it, and you see peoples eyes are full of excitement, then it really does affect you. It helps you be excited, and then therefore they’re more excited. They factor a lot.
KS: Not sure if the readers are aware but in the 90s you played a part in the Seattle music movement. Talk to me a bit about those years, the grunge movement, and how you all had a hand in that.
AW: Well, I don’t know if we had a real hand in the grunge movement. I would say that if anything we were involved in the 80s in the big bombastic movement in the 80s which grunge was a reaction to, partially. We did live here then, and when we came in off the road when the 80s were over, we just kinda melted into the music community and made friends with a lot of those guys who were being sought out by the record companies. Suddenly Seattle was the place for the record guys to go and like put on their plaid shirt at the airport and come try and find people. And there were a generation or two down from us who were having a big struggles with singing and drugs. The music community was pretty close at that point and we found ourselves hanging out a lot. There were hard times with people dying and people really fading, and so there was a support system there that was really really cool. We would get up on stage at each others shows locally and there was some really great people involved in that scene. And they didn’t appreciate the title “grunge” either.
KS: I think the movement grew more after the fact. I think in the moment, it was the “hip” thing. But people didn’t appreciate truly it till it was over.
AW: I think that’s probably the way it is with most movements. Like even the hippy movement, when the rest of the world finds out about it, it’s really over. And that’s how it was here.
KS: You folks were playing music for years. You started playing in the late 60s early 70s, during the end of the hippy movement, and then continued through and had such a long lasting career. What do you think your longevity is attributed to? And how do you see your music progressing through those times?
AW: Back in the 60s I was still in high school and at art school so I wasn’t really performing professionally until the mid 70s. But from the mid 70s till now has been nearly 40 years, and it’s just been a time continuum focusing on something I just really love to do. And sort of whitewater rafting the music industry changes.
KS: You’ve stayed true to yourselves and your sound. You’ve not succumbed to the different genres to stay popular. In fact I see you fluctuating between a rock sound and a kinda folky rock sound throughout all the years. I attribute that to your longevity and ongoing popularity over the years and through several generations. My son who is a teenager and he and his friends, they all know who you are. Demonstrating the generational span. But your talents do not end there. You mentioned you were in art school. You recently put out a book where you illustrated the entire book as well as wrote with your sister both that one and your memoirs in Kicking and Dreaming. Was that therapeutic to you to get that all out on paper? What was the motivation for that book?
AW: Yeah, doing that book was a little like being in therapy. We just wanted to “from the horses mouth” tell our side of the story, because there is so much of the story that gets told for us and is sort of misinterpreted. Especially in the early days when there were no women really doing rock, there were a lot of people going that this is how they should be stereotyped. So I think we felt it was important to set the record straight and show what it was like for us. And we worked with Charles Cross who is a great writer, and wrote a great book about Kurt Cobain, and another great one about Jimi Hendrix. He is from here in Seattle so he kinda had a clear understanding of Seattle musicians. A real first hand knowledge of them. So that’s why we chose to work with him.
KS: You also are in the process of putting out a children’s book. Talk to me a little this project and your illustrations in the book. You are extremely talented, you sing, you play, you write, you draw, you do everything!
AW: Well thank you. The book came out of the lyrics to the song “Dog & Butterfly” obviously, but to make a full book out of a set of lyrics you have to expand on it. So that’s what we’ve set out to do is make a bigger story out of the visual of the dog chasing the butterfly, and the metaphor of a person chasing after their dreams. So it’s for the kids, but it’s also for the lucky adult who gets to read the book a hundred times to the child, because having done that myself I know how much I really appreciated the books that my kids loved that I read to them that were well done.
So we’ve tried to do that, and make it a worthwhile story. Has a little moral that if you keep going after something and you keep at it you’re patient, it may come to you. There’s a really good chance of it coming to you.
KS: You do so much, what is your favorite part of the work you do. Do you find that one creative outlet tends to call to you more than another?
AW: My favorite part is singing. The actual act of singing itself. All the stuff that surrounds it, and nothing against interviews I like doing them, but the actual getting out there and being one with the melody and physicality of singing is what I really like the most. It’s spiritual to me, it’s more than just getting up there and screaming. It’s way more than just getting out there to make money or having lifestyle maintenance, ya know. Yeah, yeah that’s my favorite part.
KS: Throughout your entire career you’ve been recognized on the Walk of Fame, The Rock & Roll Hall of Fame, but for all of that that you have been recognized what strikes me as most poignant is all your work with charitable organizations. Talk with me a little about these organizations you feel passionate about and why you lend your name and time to these causes.
AW: Well, if you care about the world and you feel like a participant, I think artists should be participants. If someone comes to you and they say “I’ve got this project and as part of the outreach for awareness we’re doing this album or we’re doing this show,” then that is like nail on the head. That is what I know how to do and that’s what I can give. So that’s why we’ve contributed to different causes in the past; the trafficking, the LGTB’s, and all the different things that we’ve done all are important.
KS: If I were to sum up your career in one paragraph, what would you want your legacy to be?
AW: I think that a really important part of it is, and not to harp on the gender thing constantly, but it’s important that rock music and that art in general not be delegated to one gender or the other. It’s about equality and that’s one of the biggest things that Nancy and I would like people to remember when they look back on us.
KS: If you were to have a sound track of your life, what would you name it?
AW: “Hope and Glory” (which is also the name of her 2007 solo album)
KS: At the end of the day you made so many sacrifices along the way, to you were they worth it? Is there anything you would do differently?
AW: The sacrifices are worth it. Definitely. I think if I had to do anything differently, I probably wouldn’t have gone to so many parties in the 80’s. I think I would have been a little bit more mindful of my physical health. Other than that, it’s really when you go back and see that one thing leads to another, and one decision you makes something happen which makes the next thing happen, I don’t think it’s really important to say “would I change anything?” Because you can’t.
KS: I feel the same way. I think everything we do throughout our lives molds us to who we are and those decisions (at that time) we felt were right. Ms. Wilson it was so nice talking to you. Thank you so much taking the time to speak with us and I look forward to your show in Syracuse. And as a music photojournalist, this was truly a highlight of my career so thank you. And let me thank you as well for forging the way for so many women that have followed you and your sister in rock and roll.
AW: I enjoyed this, thank you. And I really appreciate your thoughtfulness.
So as I hung up the phone I basked in an afterglow of the conversation and all that it held. Ann Wilson was a generous, thoughtful artist that truly loves music and everything about music. I get the impression along the way she had to battle so many adversities, that it caused a certain mistrust with not only those in the industry but media as well. But I bow to her as she hurdled all those difficulties and blazed a new direction of music for women. In the beginning I felt her apprehension in our interview, and I could tell that she was cautiously choosing her words, but as time went on I felt that it became a conversation between us and that perhaps she trusted that my intentions were genuine. I was so humbled by the conversation, and had to seriously pinch myself a time or two to make sure it was actually occurring. Going in to the interview I was a huge fan of hers just by what I knew about her, but after speaking to her I became a big fan of hers as a person. The shear talent this woman possesses in all creative mediums is amazing. I got a sense of gratitude that over the years she’s survived the challenges, and celebrates now that in the end gets to just play the music she loves to the audiences that she so loves. So glad she persevered and came out the other side to enjoy the part that feeds her soul.
I am truly looking forward to celebrating this music and this week with the band that changed the face of rock and roll forever. It’s time to just enjoy the moment and celebrate the music with the queen of Hearts, Ms. Ann Wilson.
I can’t express to you music lovers just how important it is to support your local talent. Without the support of us, many of these talented artists fall between the cracks and have nowhere to go.
Unfortunately, the music scene is losing another great local band because local venues just won’t open their doors and give musicians the exposure they deserve – Loose Cannon. I can’t tell you how many times I have heard Syracuse-area venue owners or managers tell a band that they couldn’t play there because they were from Oswego County. I just don’t see the logic in that. I mean seriously, several Syracuse bands are welcomed with open arms in other county venues. In my opinion, “You’re not from Syracuse” is a poor excuse.
With that being said, I’d like to say farewell to the amazing, talented group of guys from Loose Cannon. Hopefully things will turn around in the near future, and these bands that have had to call it quits will be able to rejoin the music scene. Until then, I beg all of you to get out there and support your local artists and voice your opinion to these venue owners/managers.
moe. continued its 25th anniversary celebration with two shows at its hometown Saranac Brewery Friday and Saturday night. Old friends and new were on hand, as well as a brand new Saranac Double IPA named Hoppy Hour Hero in their honor.
moe. Saranac Brewery
Friday’s big surprise was the return of original moe. drummer Ray Shwartz. Shwartz left the band following the band’s Fatboy album in 1992. Current drummer Vinnie Amico graciously stepped aside while Shwartz sat in for the moe. classic “Don’t Fuck With Flo.”
Saranac brewed a special batch in honor of the hometown boys’ return to the brewery for a pair of shows June 19-20.
The weekend had a mini-festival vibe about it, with Twiddle opening Friday night and Cabinet and Kung Fu joining in Saturday. Additionally, Shnier and Amico’s side project Floodwood took to the Celtic Harp stage following Friday’s show, and the legendary Ha Ha the Moose did the same Saturday night. Ryan Montbelau was another post-show option for fans at Lukin’s just up Varick Street.
moe. Saranac Brewery
moe. spent little time getting to the down and dirty on Friday, opening with “Tailspin” into “Bearsong” followed by the introduction of their new beer and the tried and true Saranac theme song “Happy Hour Hero” (for the record, as an avowed beer snob, your author made sure to grab a growler of the Hoppy Hour Hero from the Tavern. This is one of Saranac’s best outings, in this reviewer’s humble opinion).
Friday night’s setlist
Set I: Tailspin > Bearsong, Hoppy Hour Hero, Mar-DeMa > Y.O.Y. > George > Lazarus
Set II: Don’t Fuck With Flo*, Tubing The River Styx > The Pit > meat., White Lightning Turpentine, Blue Jeans Pizza > Downward Facing Dog
Enc: Billy Goat, Low (Cracker cover)
Notes: * with original drummer Ray Schwartz
Saturday saw Cabinet kicking things off with its blend of bluegrass and jam. Truly appreciative of the Utica love, they made an appearance in the merchandise tent following their solid set.
Kung Fu followed and proved to be a formidable act to follow. They brought the funk promptly at 6:30 and proceeded to move many a booty in the Saranac crowd. If you haven’t had a chance to check out this fusion quintet, it is highly recommended. They blend Hancock’s Headhunter-era fusion with James Brown funk and some Zappa thrown in for good measure.
moe. hit the stage Saturday with a rousing “Captain America” to engage the huge Saranac crowd. Over several years of shows at this venue, this one ranked among the highest attended.
moe. Saranac Brewery
An easy ride through “Akimbo” was followed by “Not Coming Down” which seemed to mock the few sprinkles that started falling from the sky midway through.
By far, the highlight of the night was the guest appearance of Tim Palmeiri and Rob Somerville of Kung Fu during “Silver Sun.” The addition of the sax invigorated this newer song and Palmieri’s guitar battles with Garvey and Schnier were the stuff of moe. legend. Check out this YouTube clip for just a scant view of what was truly something to behold in person:
Following a quick set break, moe. returned with “Okayalright” which segued seamlessly into “32 Things.” The boys were on their game here. Aside from the Kung Fu sit-in, this segue ranked as one of the high points of the show.
If there were any doubt that twenty-five years in, these guys are tired of the game, this was quickly laid to rest with an epic “Recreational Chemistry” encore to finish the run. Derhak was at his best during this twenty-seven minute version of their classic and while some fans bemoaned the fact that this one has been frequently played on this mini-tour, it’s tough to argue with the intensity of the version played Saturday night.
Twenty-five years in and moe. is still playing with the energy and fervor they did back in their club days. A weekend such as this was a celebration of moe. A celebration of all that they have given their fans all these years. A celebration of their roots. It was evident that they had a grand old time in their old stomping grounds this weekend. What would you do for freedom?
Saturday’s setlist
Set One: Captain America > Akimbo, Not Coming Down > Wormwood > Skrunk, Loser >(nh) Silver Sun*
Set Two: Okayalright > 32 Things, Nebraska, Time Ed, Wind It Up
Encore: Do Or Die, Recreational Chemistry
* – w/ Tim Palmieri on guitar & Robert Somerville on sax from Kung Fu
A two year project, File Under Pop Vocal is a collaboration with his longtime friend, Flashcubes drummer and producer, Tommy Allen. Tommy is producer and mixed all tracks at his NYC base, except #7 which is produced, arranged and mixed by Mark Doyle with drums recorded by Allen and #10 which is mixed by Ducky Carlisle, another Syracuse mainstay. Carlisle mastered at Ice Station Zebra in Medford MA.. Recorded in Syracuse, NYC, Boston and Tokyo, all of the songs here are by Frenay, besides #4 by Wilson/Rovell/Pamplin and #7 by Frenay/Doyle.
Unlike most shows, the meet and greet was held after the performance. The duo spent so much time with each fan for autographs and photos that we didn’t get out of there until almost 1:30am. Every fan was impressed with their show and more importantly with the fact that these guys were just every day people sharing their love of music with the rest of the world.
The carefully selected ensemble draws from a list of long-time collaborators, Terry Quill on guitar (former Maniacs), Edgar Pagan-bass, Bill DiCosimo-keyboards, Joshua Dekaney-drums/Roland Pads, all of (Grupo Pagan, Mary Fahl) and a stunning string quintet comprised of Ally Brown-1st violin/section leader, Shelby Dems-1st violin, Leila Dean-2nd violin, Claire Wilcox-viola and Kate LaVerne-cello. The quintet allows Doyle to flex his multi-faceted skill base as a producer/arranger, who states, “I’ve always loved doing string arrangements for recordings, and the idea of working with live strings has long been a dream of mine. The Guitar Noir concept particularly lends itself to this idea, so seeing and hearing it all come together in concert has been very rewarding.”
