Luke Bryan is set to top himself yet again with the announcement of his 2016 Kill The Lights Tour. He will be supporting his number-one album of the same name, Bryan’s fifth studio album, by bringing along special guests Little Big Town and Dustin Lynch.
The first leg of the tour will start in mid February and will roll through the Carrier Dome in Syracuse on April 9, 2016. No official date for ticket sales have been set but, according to his website, they will start to go on sale in November.
This tour announcement comes on the heels of his current single “Strip It Down” taking the number-one spot on the country music charts and on his two ACM Award nominations.
Bryan’s Kick The Dust Up tour is wrapping up this week, but you can still catch him live on Thanksgiving during halftime at the Dallas Cowboys game at AT&T Stadium.
I have always liked cheese, whether it’s a nice Brie, Jarlsberg, smoked Gouda, or even NY Cheddar; after all who doesn’t love cheese. Only made sense I would like a band named String Cheese Incident. Thought to myself, “wonder where that ‘incident’ part came from?”. Guess I would quickly learn, as off I went to my first String Cheese Incident show at Syracuse’s F-Shed, Oct. 21.
Normally covering rock, country, and bluegrass genres mainly, I was a little apprehensive if I would be able to do a review justice. After all these guys have been around for 22 years and have a huge following. Come on, selling out Red Rocks numerous times, who wouldn’t be a little bit nervous? I’m sure journalists over the years have written extensive bios, talked about recent releases highlighting just the right musical points, and critiqued their shows with expertise. If that’s they type of review you’re expecting, let me apologize now. This is a review through the eyes of a newcomer. These random thoughts and observations often go unnoticed to those that have been desensitized to their surroundings. So let me share with you, what this country gal noticed throughout the night at her first incident.
Merchandise sales begin in the parking lot. Bowls and pins, something for everyone. How enterprising.
My first friend I met inside was holding a stuffed cat named Kathy B. Really? (my maiden name was Kathy B!) #karmic
Lots of beards – ahhh.. not so different than country and bluegrass shows.
Lots of headbands – I like headbands. I should buy more headbands. I could pull off headbands.
Hey, I could have worn my glow in the dark devil ears too. #hindsight
I really should have worn pajama bottoms and my poncho – little overdressed in my dress slacks and work blazer.
Oh wow, a pink cowboy hat – feel at home now for sure.
Hey, there’s Jake the Dog from Adventure Time! Seriously, a guy is wearing a Jake the Dog costume – sweet – now I’m really overdressed. Hope he doesn’t have to pee half way through the show as he’s standing right by me.
Okay, any band that starts off with a fiddle solo is okay in my book – Love them already.
Holy shit they can pick and fiddle.
Okay, they have framed photos of their wife and kids on the amp – really love these guys even more now.
Light Show is amazing!!! Good thing lights don’t bother me or cause seizures of any kind. #dontchangeathing
Shit…reggae mannn! I want my flip-flops and a Corona now.
Bongos too? Be still my heart.
Fiddle players must all wear Bob Marley shirts!! I’m making it a law.
Did I mention he could really pick?
Oh hell yeah, 70’s funk is still cool.
Drums Baby.
Wow, thank you so much for putting both drum kits up on platforms. Photographers want to photograph you too.
Wow everyone behind me is jumping, should I be jumping? I would probably hurt myself if I jumped. #notcoordinatedenough
Every instrument is as strong as the other, nothing overpowers the other. Sweet. These musicians rock baby.
Okay, these lights that look like snow are as much snow as I want any time soon. #supercoolthough
Random cobweb making rounds in the crowd. Hope I don’t get caught in it. I am blonde you know.
Boy does Kyle look like my first boyfriend! Nah, couldn’t be.
I swear I just saw Russell Brand taking photos at this show. Wait, is Russell Brand now a photographer?
Tiny triangles make beautiful music.
Wonder what the crowd looks like from up on stage jumping up and down?
Sick guitar riff…wow. #mindblown
Slide Whistle?….OMG that was awesome. I could take up that instrument.
Never heard such smooth seamless transitions between genres in my life. Beautifully done guys.
Even sound board dude is jamming. Love when soundboard guys jam too.
Hey that one song has a Richie Vallens vibe.
New random friend “J” from north country – I was not taking dinner orders with my notepad but I will definitely have to try fries with mayo now.
Oh hell yeah you definitely pulled off those bell bottoms Mike Kang. #crushing
And I like that belt too.
I now want a Bob Marley playing soccer shirt.
Yeah, red and purple lights suck even worse when trying to take cell phone photos.
Hard rock riffs too? Heavenly guys.
Yep that synth sound was totally back to the futur-ish. Nice.
Uni pod for photos? Wonder if they are worth it to get those crowd shots?
Glow in the dark devil ears man playing a mean air guitar. Should have dressed up in devil glow-in-the-dark ears too. Wonder where he got them, as I really don’t have a pair.
Hats are in. Why don’t I wear hats more?
Kathy B. the cat is dancing so much.
I don’t care how blonde I am, I’m dancing.
Love how Kyle mimics each note he plays – makes me smile.
Yeah, bongos always make me dance – yeah total turn on.
So glad your first concert was Santana in Syracuse because all these years later, we got to see you.
I have been Incident-ed.
So I understand the ‘incident’ now. Incident means; likely to happen because of; resulting from. It is very likely that I once again will see another String Cheese show, causing many more ‘incidents’ to occur. Resulting from my first show, I will happily enjoy this band from this point further. Such a happy incident. Note to self, must find glow-in-dark devil ears and Bob Marley shirt before the next incident.
Set 1: Valley of the Jig, Eye Know Why, San Jose’*, Doin’ My Time > Chameleon, Love Is Like A Train > On The Road
Set 2: Colorado Bluebird Sky, Rhythm of the Road > Blackberry Blossom#, Stay Through, Joyful Sound, Colliding, Rollover
Encore: Rolling In My Sweet Baby’s Arms
* = last time played 8/2/13 (88 Incidents)
# = featuring “Back to the Future” Jam
[FinalTilesGallery id=’485′]
“When spring arrives epiphany/I’m still the last leaf on the tree.” As homage to the changing seasons, Papadosio has changed their musical hues from bright neon to softer, more organic colors in their fourth phenomenal studio album, Extras In A Movie.
Despite their label as a “genre-bending” group of musicians, Papadosio’s initial album releases of Observations and T.E.T.I.O.S. did in fact fall under one specific category- and that was electronic music. Yes, adoring fans may argue that they possess the improvisational capabilities inspired by jazz, progressive rock, and even jam rock to shape their melodic phrasing and musical transitions, and thus don’t belong under the same umbrella as electronic artists Skrillex or Bassnectar. However, I saw a dash of prog rock and a sprinkle of jazz for what they really were to Papadosio- and that is mere sensibility. I believed that to be labeled as a band that dismisses categorization, each style of music had to be crafted on an individual basis, incorporating the key elements and instrumentation of that style, yet somehow creating one inner voice over the entire work, as a subtle reminder of the single creator.
It wasn’t until the release of Extras In A Movie that I felt this proficiency in musical obscurity towards Papadosio, but I am confident that this album will break ground for many listeners, especially those who may not have approved of the band’s stylistic approach at first.
With an addition of some interesting sound effects, acoustic guitars, and tight harmonies, opening track “The Last Leaf,” and tracks “Epiphany,” and “Bypass Default” bring a strong introductory splash to the album, with an erratic yet satisfying mess of musical classes, ranging from styles of barbershop quartets to Pink Floyd to Awolnation. Anthony Thogmartin’s adaptation of vocal timbre throughout each track is complimentary and appropriate, while the surrounding band of Mike Healy, Rob McConnell, Billy Brouse, and Sam Brouse tend to throw in some instrumental surprises, most of the time in an effective and aesthetically pleasing manner.
The fact that the average track is about three minutes long throughout this sixteen track album speaks great masses as well- this album was created to defy the standards of recorded music, and the ideas were organized in this fashion to isolate and preserve the individual conception of each instance.
By writing, recording, mixing, and even video conceptualizing themselves, Papadosio has become the purport of the avant-garde composer, keeping the pillars of studio-induced creativity a strong part of their foundation. Their ability to showcase psycadelia-inspired electronic anthems like the album single “Glimpse of Light,” followed by the stripped down acoustic rawness in “Anima Mundi,” “Gazing the Great Oscillator,” and “Open” adapts Papadosio to any kind of setting, guiding listeners into an array of color, vibrancy, and authenticity. Along with developing their own voice, I also heard inspiration from other great genre gods, including Incubus, Genesis, and Daft Punk.
As part of their grand release, Papadosio has introduced a tour they’ve cleverly named Extras In A Movie Tour – Act 1. If that doesn’t leave you with a curiosity of what “Act 1” implies, I don’t know what will. I suppose the only way to find out is to hitch a ride on their tour, with stops at Irving Plaza, the Westcott Theatre, and Town Ballroom in November.
Key Tracks: The Last Leaf, Epiphany, Bypass Default, Anima Mundi
The String Cheese Incident is celebrating their 20th year together as a band. The Rhythm of the Road Vol 2; Live in Las Vegas is a new release for October. This album is successful because the music explores the uniqueness that life can bring. Each member of The String Cheese Incident comes from a different musical background. These happy differences have lead to the marriage of many genres and twangy Colorado mountain bluegrass. This album is a live performance that exemplifies how sounds of music can all come together to create whirlwind imagery.
Imagine a bunch of road lovin’ country boys who play music. Along their travels meet a man with a bright twinkle in his eye. Graciously he invites them to a paradise in the caribbean- the place he was born. Right as he waved his arm in the follow me motion the young men were swept over by a soft salty wind. When the dreamy haze settles, they realize they have been instantly transported. Their toes rest on the sand in ‘San Jose’, a land entrancingly unfamiliar.
The imaginary cinema of travels inspired by SCI’s music continue in the back seat of a car. One close and personal view of just the side of a man’s face and his delicate reflection on the window. Outside of the window is the sound of the winds and the brown, American earth, passing by at fifty-five miles per hour, backroad. Nowhere to be but somewhere; excitement in the unknown of what lays ahead. The performance on ‘Desert Passage Jam’ is filled with bright expression of musical beauty and occasional slow rhythmic bongos create feelings of undeniable appreciation for life that surrounds us.
Key Tracks:San Jose, Got What he Wanted, Desert Passage Jam, Cedar Laurel, Dirk
While Saturday October 10 was not their first rodeo, (or fashion show, as some say) the reggae revolutionaries of John Brown’s Body brought their musical stampede, including Grayak and Alex Gideon, to the Westcott Theater. Replete with trumpet, trombone and saxophone, their rich sound echoed through the theater as frontman Elliot Martin freely swayed with the music.
JBB’s horn section was the pinnacle of an evening of varied instrumentation from the three acts that graced the stage. One man band Alex Gideon opened first, relying solely on his guitar, looping vocals and sound effects he created live. The Syracuse native was surrounded by a sea of unmanned instruments assembled for the ensuing artists. The gadget dichotomy accentuated his minimalist setup, which could have lent him more credibility had his routine not been as lackluster.
Gideon played a few catchy covers including Joe Cocker’s “Feelin Alright” and Sublime’s ever-popular “Doin’ Time.” To these he injected his own beat boxing to the mix. And to his credit, Gideon generally selected songs well suited for his funky soul singing style, to which he could accentuate with just the right amount of gruffness when needed. Alas, despite a slew of somewhat catchy tunes, including his original track, “Cuse Town,” Gideon’s performance maintained a relatively stagnant energy, with beat boxing and looped sounds that carried minimal variation from one another.
Local folk/reggae group Grayak followed, performing to a room fairly well stocked with humans. Considering the band is fairly new to the scene, the crowd of roughly 200 was an encouraging sight. They played a mix of songs from their 2014 album Made of Light and their new album set to be released February 2016. After the first few songs, lead singer and guitarist Phil Grajko took a moment to graciously acknowledge, “I’ve been listening to JBB for years and it’s an honor to be playing with them.”
Grajko usually relies on sister Hannah Grajko for backing vocals, but amidst her absence, Jessica Brown of Root SHOCK, a reggae band which Phil Grajko is also a part of, filled the backup vocalist position. Having been performing together in Root SHOCK for several years, Grajko and Brown’s seasoned harmonizing capabilities definitely did justice to the Grayak tunes. Brendan Gosson switching between fiddle and mandolin, Blake Propst on upright bass and Tyler Dattmore on drums, completed the quintet.
Gosson frequently switched between his two stringed sweethearts, the mandolin providing much more of a staccato sound. During “Maya” a track from Made of Light, Grajko’s guitar work midway through the song had an almost Spanish-style appeal to it. The crowd, which wasn’t too shy to dance, really got moving for “Lovely Girl,” an uptempo number about a girl worth spending time with. Gosson brandished his fiddle once again for “Made of Light,” their title track and last song of the evening.
John Brown’s Body took over, with the horns providing a dramatic opening for “Step Inside,” the first song off their 2013 album Kings and Queens. It is a fitting song to open a set, as the lyrics urge, “Come one and all got to make the dancehall tight,” seeking to usher in participants to partake in the music and merriment. JBB transitioned to some heavier material, playing songs with themes more related to their namesake John Brown, a nineteenth century militaristic abolitionist who saw armed rebellion as the best means to ending slavery. While respecting Brown’s valiant efforts, their performance of “Empty Hands” provided a powerful peace offering to listeners, questioning the need for war, exclaiming “So look into the palm of my hand, no weapons/ No frustration or need for confrontation.”
“Plantation” followed, though it actually comes directly before “Empty Hands” on Kings and Queens. It recalls the trials of working on a plantation and living a life in servitude. The last two lines, “With a guitar we’ve a song warning you/ Give them all a way home.” It acts as a call for freedom, and perhaps the guitar serves as a nonviolent alternative to a weapon as a means of provoking change. Surging forward with messages of inspiration, Tommy Benedetti (drums), Dan Africano (bass), Jay Spaker (guitar), Jon “JP” Petronzio (keys), Scott Flynn/Alex Asher (trombone), Drew Sayers (saxophone), and Sam Dechenne (trumpet) rounded out the battalion. It was a battle well fought by all on stage that evening.
The darkness ascends quietly like a phantom upon the southern NY town of Binghamton, the dead leaves are falling, and there is a slight spine tingling chill in the air. It’s October! Is there a better way to usher in in the Halloween season than with the man who makes all your heavy metal horror dreams come true? Yes folks, that’s right Rob Zombie’s nightmarish heavy metal and mayhem show made a stop at the Floyd L. Maines Veterans Memorial Arena (formerly Broome County Arena) last week.
Fans of all ages were lined up at the venue getting into the spirit of the season. Some were dressed as ghouls and other grotesque creatures; there was even a very impressive Captain Spaulding walking amongst the concert goers! If you’re a fan of Rob Zombie, I hope you know who Captain Spaulding is.
The show opened with Rob Zombie’s drummer DJ Ginger Fish donned in a creepy skull mask showing off his DJ skills. DJ Ginger Fish spun some high energy mixes that included Rammstein, Pantera and even a mix of 50s Doo Wop. Even though he was struggling to keep his mask on the entire time, he still spun a very intense set that the crowd was into.
The lights go out, the smoke begins to roll out onto the stage that is adorned with classic Universal horror movie monster backdrops; 1000s of fans are chanting ZOMBIE! One by one the band quietly creeps onto the stage; John 5 looks terrifying in an LED lit gas mask that I can best describe as a robotic human fly; bassist Piggy D is sporting his Dracula look; Ginger Fish looks ready to dominate the drums; Rob Zombie slinks to center stage, his face hidden beneath a pile of hat and hair. The crowd erupts in a massive mosh pit with bodies flying in the air as Zombie and crew tore into their hit “More Human Than Human.”
Without hesitating they ripped right into “Superbeast” and “Never Gonna Stop (The Red, Red Kroovy).” The band delivered a super high energy set and even played a few covers including “Am I Evil” by Diamondhead and in the words of Rob Zombie, “Since we’re in NY, f@ck it let’s do it,” the band caught concert goers by surprise by unleashing a killer version of the Ramones’ anthem “Blitzkrieg Bop.”
The band took their bows, said thanks and left fans crazed and excited from their explosive performance! Overall, Rob Zombie and crew never disappoints!
Also prior to the show I had the honor and privilege to sit down and talk with guitarist extraordinaire John 5. John 5 was very welcoming, funny and sincere. We chatted about what inspires him as a musician, touring and his favorite horror movies. Check out the interview and enjoy!
Sometimes a conversation enlightens you and broadens your ability to appreciate things even more so than you already do. This was the case after speaking with Darius Rucker. Known to most as the lead singer to the Grammy Award winning group Hootie and The Blowfish, Darius Rucker had already made his mark on music lovers nationally in the genre of rock/pop.
Why in the world would an artist of his caliber decide to switch genres and “go country?” How would the country genre accept him? What was the motivation behind this need to follow his musical journey down a new road?
I had an opportunity to speak with Rucker about his career, his beloved Charleston, South Carolina, and what motivated him to make this move towards what has become his true calling.
Kathy Stockbridge (KS): Hi Darius, thank you so much for speaking with us at NYSMusic. We are really looking forward to your shows here in New York and want to give you a warm welcome.
Darius Rucker (DR): Thank you.
KS: You were born and raised in Charleston, South Carolina. Were you raised in a musical household?
DR: Well everyone in our house sang. We sang a lot. Especially my mom. She sang all the time. And my sister as well. There was always music being played whether it was the radio or the big ol hi-fi we had. So yes, I would say it was a musical household.
KS: What are a few of your earliest influences in music?
DR: Early on for me Al Green was just everything. I can remember being a little kid (around 4 or 5) and hearing his voice and hearing him hit those notes. I remember thinking ‘that’s what I want to do. I want to do what Al Green’s doing’. He, as well as Gladys Knight and the Pips. Then when I got a little older, like 6, 7, 8, or 9 I started really getting into AM radio and that’s when it just went across the board. The Opry shows, Kenny Rogers, or Cheap Trick. Anything I could hear (influenced me), literally anything.
KS: I, like many others, have followed your career since Hootie & The Blowfish days. You are one of those artists that have been able to successfully cross over from rock to country and you did it so seamlessly. Talk to me a little about that transition, and what made you decide to go from a very successful rock career into a new genre such as country music.
DR: You know, we had been touring for a while. We had been on the road pretty much every summer since we all got out of college. One of the band members mentioned that they didn’t want to do it every year any more. Ever since the late 80’s I was big into Foster and Lloyd. Then Radney Foster came out with his solo record Del Rio TX 1859, and I just remember hearing that record for the first time and after hearing that record I would tell anyone who would listen, that I was going to make a country record some day. I had never thought of singing it, until I heard that record. I just wanted to sing that record. I wanted to sound like that. I wanted to be that. So I said, someday when I get the chance I’m going to make a country album. When we decided to take a break, I was like, I’m going to make my country record. And to be honest with you I didn’t think I could get a record deal.
KS: Really?
DR: I wouldn’t have given me a record deal. I mean why? There was this African-American guy that just came from a very successful rock band, they had a great run and are out touring, so why would some country guy go ‘yeah I’ll give you a shot’? I wasn’t even looking for a record deal to be honest with ya. I was going to do it here in Charleston with my buddies. And then my manager got me a record deal with Capitol. It was fun making the record and then all the hard work started with the tour; going to 10o something radios stations, shaking hands, saying hey, and playing for six people in the cafeteria or the conference room, a lot of work but all in all it was fun. I had a great time and I’ve made some great friends who are still great friends on that tour. And finally we convinced them (the radio stations) that “Don’t Think I Don’t Think About It” was a song that they should play, so they did.
KS: I have to tell you, to me it seemed very seamless. It was one of those things that just seemed like it was meant to be.
DR: I think so.
KS: So right now you’re touring with your new Southern Style album, which is your fourth solo album. Talk to me a little about this new album and what you hope listeners will take away from it.
DR: I hope they take away how much fun I’m having in country music. The songs are always important to me, that’s why I write so many, and to come down to such a small number of thirteen when you write 50 something, it tough to decide but you want great songs on it. You can expect great country music on it because it’s a lot of fun,this album. And it’s been great playing it live and seeing the crowds singing along with the songs.
KS: Is it tough to choose which you decided to put on an album? And the others, do you say I’ll put these back here because I’ll put those on another album.
DR: We keep a lot of them, but some of them we try to get cut by other folks. Every record there are 50 songs I think are great, that I love, but I just can’t cut an album with thirty songs.
KS: Right, exactly. Now I have to say, for several years I lived in Charleston and it became “my happy place”. When you live there it becomes something very special to you. It’s rich with history, culture, architecture, and has a peace that is tough to put into words. When listening to “You Can Have Charleston”, I think you captured some of that emotion I feel towards the city. Talk to me a little about that song and some of the others from that album that focus on that area.
DR: Yeah, Charleston, that’s a great way to say it. It’s “my happy place” That’s a wonderful thing you just said because I think it’s the most wonderful place in the world. I’ve been a lot of places and this is where I want to be. I choose to live here. I can live anywhere in the world I want, but I choose to live here, because this is where I want to be. “You Can Have Charleston”, is such a great song. I love it. When Frank Rogers brought it to me, I thought to myself I wish it was a little more positive but the positiveness of the song for me is how much he loves the city and can’t believe he is leaving it. He loves her and he just can’t stand it, as that’s the last thing in the world he wants to do. That beginning verse with the topsails and the Clydesdale, that’s my life. That’s my city.
KS: In 2012 you had an experience where you joined Old Crow Medicine Show on the stage at The Grand Ole Opry where you sang a little song that was originally sketched by Bob Dylan and modified by Ketch Secor of Old Crow Medicine Show — Talk to me a little bit about that experience.
DR: Oh that was so great. Those guys have been so great to me. We had played the Opry two or three times together where we played “Wagon Wheel”. I can remember after I cut it and started hanging with those guys, I was talking to Ketch and he said ‘I heard your version of it and I love it’. I was like ‘thank you, that means a lot’. Their version is just perfect. And he was like ‘I realized when I wrote that song a long time ago I was going to have to play that song for the rest of my life. So you better look out, because you are going to have to play that song for the rest of your life’. Sure enough, he’s right. Every time I play a country show, I play that song. It’s so cool to have a song that iconic, and to just be a part of that song and the greatness of that song, it deserves to be in the Library of Congress. It will always be one of those american classics. Long before I remade it, it was just a perfectly great song. Written by two guys at two different times of their lives, and is just a wonderful piece of work.
KS: The interesting part of this is that the original lyrics were just a few lines jotted down by Bob Dylan and then Ketch Secor picked up and expanded upon it making it the iconic tune we know today. That song has actually taken you on quite a journey. Talk to me a little about when that song hit and what happened afterwards.
DR: We released it, and then all of a sudden it took off. It took off. You know, we play it everywhere and people love it, my fans just love it. It was one of those songs that you stand out of the way and let it happen.
KS: I can remember the night you received the Grammy for it. It was an amazing evening for you and the song. That same year you were invited to become a member of The Grand Ole Opry. Talk to me a little about that evening.
DR: When I first met with Mike Duncan to sign my record deal I told my management I want to play The Opry as much as I can because it’s important to me to some day be a member of The Grand Ole Opry. I want to be a part of that family. And we did, and we worked hard and when they asked me to be a member of The Grand Ole Opry that was probably the first moment that I thought ‘okay, this is really happening. I’m really a part of country music’, and it was a great feeling. It is truly amazing to me that they kept that from me for a month. My kids knew for like six weeks and didn’t tell me that.
KS: How did they do that? That’s so impressive.
DR: Yeah, they were like 8 and 12 back then, and they didn’t tell me. You’ve got to be kidding me? I’m there and I’m singing my song, and Brad (Paisley) comes up and he says that to me, and I look over and all my friends and family are there. I was like ‘wow, how did you pull this off?’ It was great!
KS: That’s wonderful. And speaking of wonderful, for some that may not know, each year you get back together with the guys from Hootie & The Blowfish to reunite to perform. Tell my readers why this is so special.
DR: Oh it’s a big thing for Charleston. There are people who have seen us for years around the country, some may live here, some even plan vacations around it. They come down to Charleston for the week, see our shows, and in turn we get to help our community. The great things we get to do, for example, the roundup where we get kids and give them haircuts, and dental exams, and eye exams, shoes, backpacks, and all the school supplies they need. And all of this comes from that show. So we keep doing it so that we can help out.
KS: Now you’ve done a Christmas album, Home For The Holidays. What prompted that particular album?
DR: Well I’ve been asked several times by people if I had thought of doing a Christmas record. I had thought about it, but didn’t think it was time. So last year when it was brought up, I thought it was time. So we sat around and we said ‘let’s make something old school’ like those Christmas records we used to listen to. So we tried to make something cool and laid back, and great cool arrangement. I’m so proud of that record, so proud of it.
KS: As a journalist I have this long list of people I’ve always wanted to interview, such as yourself. Who is on your bucket list, what is something you still would like to accomplish?
DR: Ohhh…good question. Lots of crazy stuff. I still want to be on the big screen at The Superbowl, I still want to meet Sir Paul McCartney, I still would love to be in a Martin Scorsese movie, see I want crazy stuff.
KS: Seems doable to me and I hope you can do all of those things! Thank you again so much for speaking with us and we can’t wait to welcome you to our area this October.
As I hung up the phone, I couldn’t help but feel like I had just made a new friend. What a great guy. What an honestly true human being. I had already felt a kindred spirit with him being that he’s from “my happy place”, Charleston, South Carolina. After our conversation though and learning so much about him as a person, as well as an artist, I truly admired his spunk, his vision for his life, dedication to achieving his dreams – TWICE, and his overall genuine demeanor.
It was a few weeks later after I conducted this phone interview that I had the chance to watch another interview Darius Rucker did with Dan Rather for his show, The Big Interview. I saw once again the same genuinely decent person speak of his journey, sharing intimate parts of his struggles, his losses, and victories. When asked by Dan “Why do you think it’s working for you in country?” Darius replies, “..I think the main reason is that people realized how real it was for me. It wasn’t about money. It wasn’t about trying to be a superstar. I was going to do this in the basement with my buddies. It was about the music. I wanted to be country. I wanted to play country music”.
Personally, I can’t wait to see his upcoming show and see my new Charlestonian friend rock the country music as he has rocked all the music he’s performed all these years. I strongly urge you to take in one of two shows he will be playing here this month in New York to see what I’ve seen. He will play Oct. 22, at the Oncenter War Memorial in Syracuse. Then he will trek on down the road to Albany on the Oct. 23 where he’ll play once again at the Times Union Center. Joining him on his Southern Style Tour are newcomers David Nail, and Cam. Both amazing artists that are blazing up the charts with hits.
If I had to describe Darius Rucker I would tell someone he’s a musician that is truly a risk taker, a trail blazer, a door opener, an odds beater, a hard worker, and a genuinely kind man. It was my pleasure interviewing him, and I can’t wait to see this low country fella tear up the stage living the dreams he always wanted and playing the music that was always in his heart.
Although Central New York is not the birthplace of Benny Mardones, to him it will always be home. This is why at least once a year, Benny will come home to play for those that have supported him throughout the ups and downs of his career. He shares his love of music, with those that love him most, his Central New York family.
It was 2010 when I first met Benny Mardones and learned his personal story of struggle and rebirth. Through the trials and tribulations of his life, he remains ever positive and graciously thankful to those that have helped him along the way. In addition, he always gives back to others as a way to pay it forward. Each year that he plays in Central New York, he also works hand in hand with charities that are near and dear to his heart to help them raise money for their cause. This year was no exception. This year he was able to support and help raise over $5,000 for the Clear Path for Veterans, a non profit agency that assists veterans reintegrate into their community.
Diagnosed with Parkinson’s in 2000, Benny Mardones has never let the disease define who he is, or what he will accomplish. Fighting the disease side by side with his loving wife, Jane, they make sure that life is liven to the fullest. It is this attitude and his continuous love of his fellow man that makes me proud to call him my friend.
Despite health concerns, Benny lives for music and wants nothing more than to share this love with his Central New York family. To him, it’s the best medicine possible. So when he said to his wife, he needs to come home, that’s all it took. When he approached his long time friend, Eddie Money, and asked if he could join him on this show, Eddie didn’t flinch. He was there in a heartbeat. How can anyone tell Benny no after all he does for others? The stage was set for a night to remember with dear friends filling the sold out Palace Theater.
Opening the show was Syracuse favorites Hard Promises. These talented musicians are crowd favorites all over New York. Opening the show in true rock and roll style singing a multitude of hits from the 80’s, it was their dedication of “Benny And The Jets” to Benny that set the tone for the night and rocked this sold out/standing room only crowd. Hard Promises definitely set the stage at The Palace Theater priming these adoring fans and getting them up on their feet and signing along into the night.
As Benny’s band began to play, Mardones made his way through the masses to take the stage as the cheers from his family resonated throughout the venue. Benny was finally home where he belonged. You could see it in his face. The sheer emotion I witnessed through the entire show moved me beyond words, and brought me to tears. Singing a few new songs from his recently released album, Timeless, a tribute to everything he loves about music. Completely fan funded through a Kickstarter Campaign, and recorded in Syracuse at Subcat Studios with his band, The Hurricanes, as well as a few lucky fans that sang back up, the long awaited project was finally ready to be shared on this night.
Singing fan favorites like “Baby Don’t” and “Way of the World,” Benny also mixed in some new releases as the show began. It was about half way through the show though that Benny relinquished the stage to his life long friend Eddie Money.
This charismatic performer was a joy to watch as he entertained us both musically and comically. Singing favorites “Baby Hold On To Me,” “Walk on Water,” “Take Me Home Tonight,” and “Think I’m in Love,” but it was Benny’s song “The Train Don’t Stop Here Any More,” that touched me the most. As Benny returned to the stage, the two belted out “Two Tickets To Paradise” and Eddie’s son Julian, joined them on drums as they sang, “Shakin.” That brought the crowd to the their feet dancing both on stage and off. As the night wound down, Benny closed with his signatures two songs that fans never let him leave without singing, the famous “Into The Night,” and “Sheila C.”
Although he’s known to his peers as “The Voice, Benny is also a master songwriter. As I listened to the final production of his Timeless album, I’m moved by several of these songs as they are truly written from the heart. As he played the Palace, he shared “Slip Away,” a rock and roll song that showcases his voice to a “t”, and “Me and Johnny Red,” a song about his love and hate relationship with Johnny Walker. But the one song that moves me every time I hear it, is definitely “Heart In My Hand.” He sang…
“I used to be, the kind of man, that had the world in my hand. And all along, I really knew, I loved the crowds, but I lived for you.
Like a fool, I played it wrong, and like the crowds, baby you were gone
And in the end, I used to die, from the same dream, oh every night.
Oh the curtain, starts to fallen, as you fade away aside another man, and I’m standing in the corner, with my heart in my hand.
So many friends, are not around, I need your love, I need it now. Don’t want to loose. Don’t want to be. Just another, another memory.
Oh the curtain, starts to fallen, as you fade away aside another man, and I’m standing in the corner with my heart in my hand.
I’m standing in the corner with my heart…
I used to be, the kind of man, that had the world in my hand “
Benny, from where I’m sitting, you still hold the world in your hands, and you live in the hearts of us all.
Recently at Club Metronome in Burlington, musical worlds collided when Phish drummer Jon Fishman collaborated with members of Cattle Decapitation, King Parrot, Black Crown Initiate and Dark Sermon, merging for a performance under the name Garbage Dick.
A photo posted by Derek Engemann (@derekfuneral) on
While we await video of this odd performance, go see Cattle Decapitation on tour with Cannibal Corpse as they play several shows across New York state this month including:
DrFameus proved himself a chameleon of sound, opening for Particle at the Westcott Theater Sept. 23. Allen Aucoin’s one-manned music machine fluctuated from synth and high hat driven 80’s dance to more lazy and free-flowing experimental jazz, pulling samples from Fergie’s “London Bridge” among other unexpected sources. Producing a beat reminiscent of the bass heavy pulsations in Die Antwoord’s “I Fink U Freeky” kept the crowd alert, as they made efforts to sift out other familiar rhythms and samples.
Aucoin’s laptop acted as an instrument as much as the drum kit set up before him. Frequently looking over at the small screen to his left, pressing buttons perfectly in time with the music, he was effectively conducting a mini techno orchestra. “Cold Step” commenced with haunting piano effects, showcasing the DJ-drummer hybrid in a swarm of heavy energetic percussive and techno sounds. At the end of Aucoin’s set, a gentleman brandishing a solid black guitar case sauntered across the room, having plenty of space to breakdown and boogie with the crowd not exceeding thirty spectators.
The Particle crew followed on stage, delivering a slew of zippy electro grooves. Guitarist Ben Combe, with body pivoted forward, scrunched facial expressions and fingers scrambling across the fretboard, plainly indicated his full mental immersion. Keyboardist Steve Molitz demonstrated his own enthusiasm, purposefully pressing specific keys while giving raised eyebrows to the crowd as if to say, “How do you like this?” His effects often produced sounds synonymous to the grand majesty of Manheim Steamroller’s epic instrumental holiday ballads.
Clay Parnell (bass/vocals) and drummer Allen Aucoin rounded out the four-man crew. With their powers combined, the band performed a collection of songs that were as distinctive as a litter of Dalmatian puppies. Their music activated the perfect environment for listeners to zone out but still manage to feel stimulated with high-speed instrumentals and enthusiasm exuding from the musicians.
My first friend I met inside was holding a stuffed cat named Kathy B. Really? (my maiden name was Kathy B!) #karmic
The String Cheese Incident is celebrating their 20th year together as a band. 
JBB’s horn section was the pinnacle of an evening of varied instrumentation from the three acts that graced the stage. One man band 
Gosson frequently switched between his two stringed sweethearts, the mandolin providing much more of a staccato sound. During “Maya” a track from Made of Light, Grajko’s guitar work midway through the song had an almost Spanish-style appeal to it. The crowd, which wasn’t too shy to dance, really got moving for “Lovely Girl,” an uptempo number about a girl worth spending time with. Gosson brandished his fiddle once again for “Made of Light,” their title track and last song of the evening.
“Plantation” followed, though it actually comes directly before “Empty Hands” on Kings and Queens. It recalls the trials of working on a plantation and living a life in servitude. The last two lines, “With a guitar we’ve a song warning you/ Give them all a way home.” It acts as a call for freedom, and perhaps the guitar serves as a nonviolent alternative to a weapon as a means of provoking change. Surging forward with messages of inspiration, Tommy Benedetti (drums), Dan Africano (bass), Jay Spaker (guitar), Jon “JP” Petronzio (keys), Scott Flynn/Alex Asher (trombone), Drew Sayers (saxophone), and Sam Dechenne (trumpet) rounded out the battalion. It was a battle well fought by all on stage that evening.
