Category: Media

The Pretty Reckless Sells Out the House of Blues Cleveland

Cleveland, home of the Rock and Roll Hall of Fame, hosted The Pretty Reckless who performed for a sold out crowd at the legendary downtown Cleveland House of Blues on Saturday, November 12.

The popular rock band The Pretty Reckless, led by the gritty, soulful and mysterious female singer, Taylor Momsen is currently on their fall 2016 headlining tour in support of their latest album, Who You Selling For, just released less than a month ago on October 21. Supporting The Pretty Reckless on this tour are the bands, “Them Evils,” a three piece in your face straight up rock and roll band from Huntington Beach, California and “The Holy White Hounds”, another kick ass rock band hailing from Des Moines, Iowa.

The Pretty Reckless proves rock is definitely alive and kicking with this, their 3rd studio release following their stunning success of their 2014 album Going to Hell. With her signature raspy, gritty yet soulful vocals, Momsen throws a different smoky-sultry twist on this new album with enchanting and mesmerizing vocals. Although evolving and experimenting on this new album, the bands growth is apparent through their eclectic songwriting, 70’s riffs and signature hooks. The band, formed in 2009 with Momsen on vocals, Ben Phillips on guitar, Mark Damon on bass and Jamie Perkins behind the kit, still put on a kick ass and entertaining rock show. Their sound remains reminiscent of 1970’s rock with a flair of Zep thrown in along with early Heart and maybe a Stones influence. However on Who You Selling For the band is breaking out to define their own unique sound. Their stage show was not at all flashy or showy, with only mood lighting for most of their 60 minute set. The band however is not about theatrics or wild stage shows, they are first and foremost, all about their music.

Opening the night was the band Them Evils from Huntington Beach, California. This band was a very unexpected surprise. They played a 30 minute blistering set from 7:45 to 8:15 and could have played longer as the set seemed to fly by with mega energy and killer rock tones. Lead singer and guitarist Jordan Griffin sported a black Gibson Explorer played through a vintage Orange amp and his guitar tone alone set the mood back to a vintage gritty 1970’s rock and roll vibe. His vocals were nothing short of, well, killer. Jordan has amazing stage energy and presence, as does the rest of the band including bassist Jake Massanari and drummer David Delaney. I heard classic Sabbath tones along with a mix of Led Zeppelin, Motorhead and AC/DC. Massanari and Delaney owned the bottom end rhythm section with a thumping, yet groovy beat and drive. Them Evils are definitely a rising band to be reckoned with with their blend of modern and classic rock. Included in their short but solid set were originals “Untold” and “Have One on Me” as well as an amazing cover of AC/DC’s “It’s a Long Way to the Top (if you wanna rock n roll)” and Motorhead’s “Ace of Spades” to close the set. Keep an eye and both ears on Them Evils as the are making big waves in the modern rock in roll world despite having one foot in the 1970’s still in terms of their sound. Check out their website.

Up next was the four piece rock band, The Holy White Hounds from Des Moines, Iowa. This band, in keeping with the feel and sound of the night, were again, not overly flashy or flamboyant on stage, but put on a kick ass energized show with a ballsy, gritty sound with some killer effects by simply using vintage effects pedals. The band has been climbing steadily since 2005 working their way up the ladder paying all the dues and sweating it out night after night showcasing their unique rock sound with influences of Nirvana, The Pixies, and Queens of the Stone Age all while defining their own sound with infectious hooks and riffs. The Holy White Hounds merge a blend of classic rock, grunge and punk for a totally unique sound. Touring in support of their current album Sparkle Sparkle, the Hounds consists of members Brenton Dean on lead vocals and guitar, Ambrose Lupercal on bass, Seth Luloff on drums, and James Manson on guitar. Their set included original songs “Switchblade,” “Blind,” and “Oh Mama.” Again, despite having been around for over a decade, this is another great rock band on the rise to keep an eye out for. Check out their website for more info.

Assuming most of the hundreds of fans that started lining up outside the House of Blues on a chilly Saturday night in Cleveland had never heard of the two opening bands, If they chose to enter the club when doors opened at 7 p.m. they definitely got a taste of good old straight up with a gritty kick ass rock and roll welcome.

At 9:45 p.m. by the stage left clock, The Pretty Reckless took the stage and the sold out crowd went wild with a deafening roar as Momsen casually walked out on stage along with her band mates with her trademark wavy, dirty-blonde hair and a slightly different rock star look than the her norm, wearing black skinny pants, long black boots and a long black leather coat over a dark shirt. The dark tone and look set the mood for their set. Illuminated by only a few dim spots and blue back lighting, the tone was dark but the sound was huge. The Pretty Reckless, touring in support of their most recent studio album Who You Selling For, opened with “Follow Me Down,” their 3rd consecutive number one hit from the 2014 album Going To Hell. Next was an older classic, “Since You’re Gone” from their 2010 album Light Me Up. The band may have wanted the fans to focus solely on the music as their stage presence was ominous and dark with some vintage looking and only necessary mood lighting with the music speaking volumes about how this band has evolved. Momsen knew how to work the crowd in an intimately powerful and commanding fashion as they continued through their set with “Oh My God” and “Hangman” next. Philips was brilliant on guitar as he played his crafted riffs and longer solos from the new material on his beautiful Gibson ES-335. Damon and Perkins were equally as impressive, although again, not flashy, on bass and drums providing a solid, gut felt low and and driving back beat as they plowed through the set effortlessly with a gritty heavy under-toned rock and roll and hypnotic groove at times and a driving all out rock beat at others. The Pretty Reckless continued through their hour set playing other hits including “Prisoner” from Who You Selling For, “Sweet Things,” and “Heaven Knows” from Going to Hell which had the sold out crowd about blowing the roof off the place with their singing along. The Pretty Reckless closed the night with “Fucked up World” also from Going to Hell.

The Pretty Reckless continue their 2016 headlining tour along with Them Evils and The Holy White Hounds as they are proving to be one of the best female fronted bands going as they are taking no prisoners, kicking ass and taking names wherever they go, just leaving a fun and dirty kick ass rock and roll sensation wherever they travel. They continue their U.S. tour into December before heading across the pond to take Europe by storm in January 2017. It is going to be an excellent new year for the Pretty Reckless and their world-wide fans!

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November 15, 2016
HeadCount Presents “Soundtrack to History” at Brooklyn Bowl

Tuesday night saw, what seemed like, a never ending election style end to the tune of some funky, improvisational music at this photog’s favorite small NYC venue, Brooklyn Bowl. It was here that HeadCount presented a “Soundtrack to History” via the Everyone Orchestra. Hosted by Matt Butler, Everyone Orchestra is an ever changing cast of musicians who are conducted through a dry erase board and crowd participation.

This evenings cast for Headcount’s “Soundtrack to History” was no slouch, and included Marc Brownstein, Steve Kimock, Marco Benevento, Karina Rykman, Mihali Savoulidas, Vinnie Amico, Jeremy Salken, Jay Jennings, Chris Bullock, Natalie Cressman, Jans Ingber, and, unannounced for the second set, Robert Randolph. What a list… apologies if I missed someone.

As you can tell from the gallery below, the Bowl had televisions tuned in to the election, offering a unique vibe to say the least. There were cheers, jeers, eyes locked high to the walls and not at the stage, and nearly everyone on their cell phone. Not a reflection of the music in any way, as this was my favorite EO show I’ve caught over the years, exceeding expectations to be quite honest. Feel free to make your own call as the show is available on YouTube.

November 11, 2016
Another Spectacular lespectacle @ The Paper Box

On Saturday night at The Paper Box in Brooklyn, lespecial held their annual mini-festival to the delight of hundreds of lucky fans in attendance. After meeting dozens of friendly freaks in the crowd, I regretfully realized that I was one of the rare guests taking part in my first lespectacle. While I was unable to locate a coat check in the eerily, yet vibrantly decorated venue, it was clear from the very beginning that I would need to check my concept of reality at the door.

Starting around 9pm, Connecticut based producer, Tsimba was spinning his intricate form of otherworldly music to a prematurely spun-out crowd. During this opening act, it was clear that the energy of the room was already sky high and not coming down anytime soon. Tsimba’s bio describes his music as “sounds that could manifest anywhere in the universe” and while no one on the floor appeared to be a qualified astronaut, the dance moves suggested some spacey exploration.

After the short and sweet DJ set, Gene Shinozaki of The Beatbox House popped out of the crowd to show off his amazing talent. I have heard many variations of beatboxing in my life ranging from legends like Doug E. Fresh and Biz Markie to my drunk white friend at a frat party in college, but Shinozaki introduced me to sounds that I did not know were possible to create with one human mouth. His ability to tackle genres like dubstep while looping underground hip-hop beats was fantastic.

Other members of The Beatbox House joined Shinozaki along while the oddly-dressed crowd of music lovers circled around them. Light on the treble, the group segued into their abbreviated version of Meghan Trainor’s “All About That Bass” before dropping into something that sounded like Plinko chips on The Price Is Right. The House’s first performance of the night came to an end, but they were set to appear several more times before the end of the event.

lespecial bassist, Luke Bemand, filled in as the MC of the night and introduced the next group, Ross Jenssen, as one of his favorite bands in the world. The “Ross” part of the Connecticut trios name is Brian Ross on bass. The “Jenssen” half is Jules Jenssen on drums and the “just right” third bear in between the two of them is Sam McGarrity on guitar. Their mostly instrumental set had the occasional spoken word sample thrown in for good measure, but the crowd will be talking about this performance until next year’s lespectacle. Ross Jenssen opened up with the introduction to “Perspiration” off their debut album, Phrases.

Interstellar travel seemed to be the theme of the night as the first few songs reminded me of a spaceship about to blast off into outer space. Songs like “Curmudgeon” and “Hell or High Water” begin with a haunting yet tranquil groove before launching into heavy, raw and unfiltered rock and roll. It is a sonic wonder how the same band weaves an original like “Illumination” into a set filled with head banging madness as this tune may be appropriate for deep meditation at a yoga studio.

Ross Jenssen’s chameleon-like ability to adapt to different genres makes them a hard act to compare or even describe for that matter, which is why they had the crowd in the palm of their hands all night. “Rabble Rouser” creates an electronic sludge that leads to a danceable darkness toward the middle of the jam, yet prior to entering this disco-dungeon, the trio covered “Ten Tonne Skeleton” by Royal Blood to the delight of a music-loving room. After closing with the topically appropriate “Afraid of Americans,” I searched the room for the insane guitar-shredding McGarrity to learn more about the mad scientist’s lab where he got his hands installed.

An incredibly humble musician in a world full of Trumps, I found Sam backstage crushing a slice of pizza before taking five minutes to speak with me. He gives all the credit to founding members Ross and Jenssen for allowing him to jam with them back in 2013 and then join them on their album “Phrases.” After he became “somewhat of a permanent member” he describes his musical influences and the strong connection that members of lespecial and Ross Jenssen have shared since playing together and going to shows in high school. I mentioned how some of their sound reminded me of a darker version of a prog-rock jamband and one example that came to mind was Umphrey’s Mcgee. Much like Jake Cinninger of the Chicago-based jam monster, Sam explained how from an early age he “loved to shred.” “I’m gonna do that, that sounds cool, I want to do that,” he wildly proclaimed before mentioning how much stronger of a player he has become since joining Ross Jenssen and practicing daily.

After the The Beatbox House finished improvising with “Can’t Feel My Face” by The Weeknd, it was finally time for the main event, lespecial. Guitarist Jonathan Grusauskas held down a powerful solo during one of the band’s most popular songs “Fruit Dance Wolf.” I would have felt completely satisfied with their set had they just played that song, but there was still two full and fiery sets to go when they brought out their first guest, Jesse Stocker on flute for “Skull Kid.”

The appropriate set placement of this tune worked well with the central decor of the night as skulls, antlers, and post-Halloween props were set up throughout the stage and venue by designer The Reliquarium. Speaking of antlers, “Third Antler> 4th Antler Improv” found their way into this first set madness after the trio covered Nine Inch Nails’ “Piggy.” Prior to the event, I predicted some band collaborations due to the overwhelming talent on the bill and lespecial did not disappoint when calling upon Gene Shinozaki for some improvisational beatboxing assistance on stage before “Pressed for Time” closed out this jaw dropping first set.

In order to stimulate some other senses before during and after lespecial, Vin Pugliese was put in charge of the intense lighting and visuals to make everything look and feel as good as it sounded. Set two was off to a thunderous and spooky start as the boys took a stab at their Fela Kuti arrangement of “Harambe Zombie” to honor a fallen hero. While there were no dicks out during their rendition of the afro-beat classic, there was black magic in the air as the band and the zombies in the crowd became one.

The tribal beat presented one of the highlights of the entire night for me until just two songs later lespecial annihilated a cover of “Frizzle Fry” from the iconic Primus album. Bemand proved to the crowd that his chops were among the best in the business as he channeled Les Claypool in this creatively mind-blowing anthem. The band kept an eclectic mix of covers coming with Skrillex’s “With Your Friends” and “Fade” by Kanye West. The first set began with a track off their newest album, Omnisquid and in a similar fashion, “Squid Rising” ended the show.

While lespecial was technically finished performing for the night, the now masked trio reemerged as Robert Jacob Max’s Supersillyus Lifeband took the stage. The shadowy and mystical super-group has been an ever-changing phenomenon since its early conception years ago. The Lifeband was heavy on the jam and risk-taking improvisation while still keeping the crowd moving as we gained an hour thanks to an end of Daylight Savings in the outside world. A psychedelic journey through extraterrestrial soundscapes took the Paper Box for one last ride before sending us back into reality in the streets of Brooklyn.

After my first lespectacle, I discovered a kaleidoscope of all things that are right with Brooklyn. A melting pot of different subcultures coming together to create something new during a time when almost everything seems to be remade. The musicians, the visuals, the art and the audience all worked together to create something great instead of trying to make it “great again” which will lead to even stronger and thought-provoking lespectacles in the future! I will see you there.

November 10, 2016
Lotus Completes Halloween Weekend in Buffalo

Lotus completed a two night run in Buffalo October 29-30 with a Space Disco Theme on Halloween, complete with the Town Ballroom’s giant Disco Ball shining on a crowd who were dressed to impress.

The room filled in shortly after Jimkata took the stage to a sold out show. Lotus followed and absolutely crushed the room and blew the roof off the place.

October 29 Setlist
Set 1: Middle Road, I’ve Been a Fool (Toy Guns), Uffi, Destroyer, Bubonic Tonic>In the Bliss>Bellwether
Set 2: Fearless, Ashcon, 128>Philly Hit>Did Fatt>128, Turquoise, Greet the Mind
Encore: Sodium Vapor, Age of Inexperience

October 30 Setlist
Set 1: Nematode, Opo, Arupa>Sift>Mikesnack>Hammerstrike, Eats the Light
Space Disco Set: Space Disco Intro Story>Snooze 4 Love>Stellar Triangulation*>Bizarre Love Triangle>Giffards Airship*, Sextant*, Ra Ako St>Life on Mars>Like a Prayer>Get Lucky
Encore: Jump Off, Disappear in a Blood-Red Sky
*original music written for Space Disco Set

Check out live download here for night 1 and night 2.

November 10, 2016
Intimate Night with Allen Stone at the Musikfest Cafe

On October 10, 2016 Allen Stone got up close and personal with his fans at the Musikfest Cafe in Bethlehem, PA with Jason Holt on the drums, Steve Watkins on the keys and Moorea Masa as a back up singer. This venue succeeded in creating an intimate environment for Allen Stone to share his music and personal life stories with everyone who attended.

This intimate night with Allen was called “My Favorite Songs, Favorite Stories” which perfectly described the night, sharing many great stories about his journey as an artist including his travels to paris and spontaneously sky diving with his friends, trying rice tempura balls for the first time, opening for Stevie Wonder and his personal insight on life and love. If you haven’t heard his music yet, or seen him on stage check out his music and upcoming shows here.

November 8, 2016
Clutch uses Psychic Warfare to sell out Upstate Concert Hall

For a band that gets little to no radio play in the Capital Region front man Neil Fallon and the other members of Clutch had a sold out Upstate Concert Hall on its feet singing every word to every song Saturday night.

There was no light show and no gimmicks. Clutch is a straight forward kick you in the teeth rock band and that is just what they did as they ripped through their seventeen-song set. They opened the show with the crowd favorite “Burning Beard” and didn’t stop until the last song, “X-Ray Visions,” off their latest release Psychic Warfare.

Neil Fallon tells just as much of a story with his vocals as he does with his movement, like a king holding court with spastic movements and commanding vocals, he owns the stage every second he is on it. Fallon’s vocals as well as the rest of the band are just as crisp and clean live as they are on their recordings. You must see Clutch live to appreciate their genius.

Show openers Kyng are a solid three piece from Los Angeles who really got the crowd going. They tore through their eight-song set from their three albums. The crowd at UCH really responded to the band and they showed their appreciation by hanging out at their merch booth for much of the night.

After Kyng left the stage Zakk Sabbath, Zakk Wylde’s Black Sabbath tribute band, invaded UCH and played the music of the gods. I believe that there was just as much anticipation for this band as there was for Clutch. They tore through six classic Sabbath songs with the highlight of the night for me anyway was when they completely tore up “War Pigs.” If there was anyone to front a Sabbath tribute band the lead Berserker himself is more than capable to wear the crown that Ozzy possesses.

Kyng setlist: Burn the Serum, Trails in Veins, Pushing & Pulling, Pristine Warning, Self Medicated Man, Breathe in the Water, Electric Halo, Falling Down

Zakk Sabbath Setlist: Children of the Grave, Snowblind, Supernaut, War Pigs, Into the Void, Fairies Wear Boots

Clutch Setlist: Burning Beard, Decapitation Blues, Crucial Velocity, Noble Savage, The House That Peterbilt, Sucker for the Witch, The Face, A Quick Death in Texas, The Soapmakers, Firebirds!, Cyborg Bette, Power Player, Passive Restraints, Cypress Grove, X-Ray Visions, Encore: Spacegrass, The Wolf Man Kindly Requests…

November 4, 2016
moe. Treats Philly to a Tarantinoe. Dance Off

Tarantinoe. Halloweenoe. The Fillmore in Philadelphia hosted moe.’s annual halloween bash this past weekend, featuring two back-to-back nights of movie-themed fun. After last years epic Star Wars theme, the band and their crew knocked one out of the park with a celebration based on movies and characters of Hollywood writer/director, Quentin Tarantino. Tarantino‘s gruesomely violent and detailed story writing presented the band and crew with an incredible amount of inspiration for set lists, costumes, and stage design.

Leading into Friday evening, moe. held a special one-hour meet and greet at The Foundry, a smaller venue located above the Fillmore, giving fans a chance to hang out with the band and enjoy some of their signature Saranac Hoppy Hour Hero beer at special pricing, including some specialty cocktails named after a few of moe.’s songs. Shortly after, fans dressed in various character outfits began to fill the venue in anticipation for the party to begin. The stage, subtly dressed with red velvet crowd control rope, stanchion posts, and a popcorn machine gave the appearance of a movie theater. Some lucky guests in the front row were even treated to some buttery popcorn as they patiently waited.

Within moments, Vinnie, Chuck, Jim, Al, and Rob all appeared on stage dressed to impress as the five main Reservoir Dogs, with black suits, sunglasses, and narrow ties. Moe. then kicked off the two-night event with the popular surf tune “Misirlou” the opening song to Pulp Fiction, before playing an alternate version of their own song “Crab Eyes” called “Crazy 88.” The three front men did a miraculous job re-writing lyrics to their own songs to fit the story line of some of Tarantino’s most popular movies. Next up was “Django,” an original score by Al, which he recorded and submitted to the producers of the movie Django Unchained. Although the song was liked and considered for the movie, it never made its way to the final cut. Closing out the first set with a crowd pleasing “Stuck in the Middle” from Reservoir Dogs, the group followed with a simply altered yet hefty version of “meat,” titled “gimp.”

The best surprise of the evening was Vinnie Amico singing “Magic Carpet Ride” which segued into a lyrically altered “Bear Song” before reprising the ending of M.C.R. Dialogue samples from Pulp Fiction were in abundance both nights as “Buster” began with a conversation clip between Jules and Vincent Vega about how filthy dogs and pigs are. The dancing continued as the guys jammed into “Jazz Wank” with a slightly altered but tasty “Four” following before finishing the set with an energetic “Pussy Wagon.”

To everyone’s delight, Al appeared for his usual encore announcements dressed in a sparkly gold dress with matching blonde wig. The dress appeared to look quite uncomfortable as Al suggested that everyone give props to women, he then proceeded to blow the lid off of The Fillmore with “WooHoo” from Kill Bill and “Godzilla” to close out night one.

Night two exceeded expectations with better attendance, more costumes, and higher energy than the previous show. Front of House Sound Engineer Steve Young and the crew, did a smashing job on creating a visually and purposeful set which included a chopped up Cadillac, separated into two pieces. Repainted and polished, the front and back of the caddy lit up with color-changing LED lights while the headlights and brakes lit up in sync with different sections of the songs. Stuffed with a cooler full of beverages for the band, the trunk provided some fun entertainment. A camera linked to the video screen on stage hid behind the cooler capturing moments of the guys smiling, waving, and showing off their beer cans to the crowd. The immensely thought out detail also included personalized “moe.ron” license plates with moe. stickers neatly stuck to the bumper, two walls designed like Jack Rabbit Slims restaurant and Crown Pawn Shop from Pulp Fiction, and a window cutout that displayed the bands’ extra guitars like they were for sale. It was a job well done, for sure!

The first set began with “Battle Without Honor Or Humanity” from Kill Bill and without huddle, the group blasted into a power-driven “Annihilation Blues.” Bringing back the cool surf energy, the group played out The Centurions’ “Bullwinkle Part II”. Chuck cleverly changed “Shoot First” into “Shot Marvin,” before they rocketed through “CalifornIA,” and closed out the set with a thrilling “Head” turned into “ear.”

After leaving enough time to mingle, have a drink and hit the bathroom, the house lights dimmed and a hilarious video montage of the band acting out a murderous gangster scene entertained the audience until moe. emerged to the stage with new costumes, appearing as if they just committed the slaying backstage. While Jim and Rob simply added masks to their black suits, Chuck morphed into Jules Winniefield, Vinnie into Vincent Vega, and Al into Jackie Brown (once again wearing a dress). But the dress didn’t stop Al from firing on all cylinders that night, especially while singing “Girl You’ll Be a Woman Soon” to the solos in during the “Vinnie Vega” and “Budd.”

The funkiest dance number of the evening was “Jungle Boogie” which featured a collage of Samuel L. Jackson samples, interestingly timed by Jim. A laid-back instrumental jam helped the band lead into “Watching Pulp Fiction,” finishing up the last segue of the night. Starting with an audio clip from the movie, moe. rounded up the second set with “Kill Bill,” the altered version of “Billy Goat.”

For the last hurrah of the weekend, contestants for their “dance off” twisted around stage as the band played “You Never Can Tell,” to remake the iconic Jack Rabbit Slim’s dance scene. Audience cheered to whom they thought was the best, thus eliminating one pair at a time to become the winners of the grand prize, a band-signed bowling pin and their own table at the side of the stage to enjoy the last song. Moe. then finished off strong with a lengthy rocking “Recreational Chemistry” before thanking everyone they possibly could for making the weekend so special, especially the fans.

See the band-made video clip from the show on their Facebook page.

Friday Set – 10/28/16

I: Misirlou*, Crazy 88^, Cissy Strut, Django#, Stuck In The Middle**, gimp.^^

II: Magic Carpet Ride*** > Wolf Song^^^ > Magic Carpet Ride***, Buster > Jazz Wank > Four > Pussy Wagon^^^^

Enc: Woo Hoo****, Godzilla

* FTP (cover – Dick Dale) > Pulp Fiction
^ alternate lyrics Crab Eyes
# FTP (original – al. song)
** FTP (cover – Stealers Wheel) > Reservoir Dogs
^^- alternate version of meat.
*** FTP (cover – Steppenwolf) > Reservoir Dogs
^^^ alternate lyrics for Bearsong
^^^^ alternate lytics for Paper Dragon
**** FTP (cover – 5.6.7.8.’s) > Kill Bill

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Saturday Set – 10/29/16

I: Battle Without Honor Or Humanity* >(nh) Annihilation Blues, Bullwinkle Part II**, Shot Marvin^ > CalifornIA > ear.^^

II: Girl You’ll Be A Woman Soon***, Vinny Vega^^^ > Rumble**** > Budd^^^^ > Jungle Boogie% > Watching Pulp Fiction#, Kill Bill#

Enc: You Never Can Tell%%, Recreational Chemistry

* FTP (cover – Tomoyasu Hotel) > Kill Bill
** FTP (cover – The Centurions) > Pulp Fiction
^ alternate lyrics to Shoot First
^^ alternate lyrics to head.
*** FTP (cover – Neil Diamond) > Pulp Fiction
^^^ alternate lyrics to Timmy Tucker
**** FTP (cover – Link Wray & His Ray Man) > Pulp Fiction
^^^^ alternate lyrics to Bring You Down
% FTP (Kool & The Gang) > Pulp Fiction
# alternate lyrics to Stranger Than Fiction
## alternate lyrics to Billy Goat
%% FTP (cover – Chuck Berry) > Pulp Fiction}

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November 3, 2016
Phish Pay Tribute to David Bowie on Final Night of Vegas Run

There are many reasons to venture to Las Vegas – gambling, award winning restaurants, shopping, swank hotels, and of course, the numerous live shows that decorate the Strip. But it is rare that one band would attract 16,000+ fans to travel to Las Vegas for four nights of music and revelry throughout Sin City, and that is where the allure of Phish stands above and beyond others.

Arriving the night before the musical madness began, the air was electric with Phish fans peppering the hotels along the strip, heading to Brooklyn Bowl to check out The New Deal and The Disco Biscuits, and settling in for a very long weekend of music. There is so much that Vegas offers, so adding in a quality dinner with friends, hopping on the High Roller, partaking in the west coast only delicacy of In-n-Out Burger, renting a cabana by the lazy river at MGM or trying your luck at the tables were competing with preparing for Phish each night, for these are not shows you just show up to at 7:30 pm. Fans likely had packed schedules thanks to Phish each night and selecting what to do during the day thanks to this cornucopia of the usual Vegas offerings.

Yet when it’s getting close to showtime and you’re ready to wander through MGM Grand towards the Garden Arena, passing top notch restaurants and shops along the way, the energy becomes palpable and that familiar buzz that you only find outside a Phish show makes an appearance. You’ll find this in any city Phish plays in, but when you have one of the greatest live bands ever performing in America’s Playground, the experience is unique with vivacity and vibes that are truly sky high.

October 28th kicked things off with “Martian Monster,” and the next two nights that followed featured opening songs from the 2014 Halloween album Chilling Thrilling Sounds of the Haunted House. A surprise set two opener of “Crimes of Mind” stunned the audience, while a 25 minute “Golden Age” took the cake as the jam of the night, with “Simple>Light” not far behind. Saturday’s show featured an hour long second set segment “Mercury > Piper > Scents and Subtle Sounds > Tweezer > I Always Wanted it This Way” that had no let up and brought out one song that was left off Big Boat (Mercury) and one new Big Boat track that fans had been clamoring to hear live (I Always Wanted it This Way.) Sunday’s first set was littered with energetic jam vehicles “Ghost,” “Chalkdust Torture” and “Stash,” while the second set “Down with Disease” and “Birds of a Feather” that opened the set took fans on a 37 minute psychedelic journey deep into Type II jamming. However the “Harry Hood > Have Mercy > Harry Hood” was the big surprise of the night, dropping a rarely played song (the first in 5 years) right in the middle of one of Phish’s oldest compositions.

Then there was Halloween. The popular rumor that was afloat for weeks beforehand, and even given some credence over the summer from those in the know was that Phish would perform David Bowie’s The Rise and Fall of Ziggy Stardust and the Spiders from Mars, perhaps with an orchestra. When fans arrived, they received a PHISHBILL featuring the iconic cover of Bowie’s album, with each Phish band member’s face photoshopped onto Bowie’s over four separate bills. Fans dressed as Bowie took particular joy in seeing the cover, flipping the page open and seeing that yes, Phish was about to honor Bowie. High fives, gleeful smiles, joyful tears and utter amazement were seen in the faces of nearly all fans as they walked in with PHISHBILL in hand, prepared for music history to be made.

Halloween started with “Carini,” throwing fans off from the expected number off Chilling Thrilling, but “Your Pet Cat” followed to keep the theme running. There was not a moment in the set where things slowed down until “Petrichor” appeared late in the set, with mixed reactions throughout the crowd akin to the mixed reactions towards its inclusion on Big Boat. But the first set was just the appetizer; the second set was the meal we had waited all day to gorge on.

The entire performance of The Rise and Fall of Ziggy Stardust and the Spiders from Mars, with six strings, three backup singers (Celisse Henderson, Jo Lampert and frequent collaborator Jennifer Hartswick) found Phish embracing the album fully and diving in deep for a performance that delivered in every way. Starting with a powerful “Five Years,” and ending with “Rock ‘n’ Roll Suicide,” Phish poured everything into each of the 11 songs. “Starman,” with Mike Gordon leading on vocals, let the children boogie throughout the arena, arms outstretched and singing along with each word. Trey put down his guitar and put forth an impressive vocal performance on “It Ain’t Easy” with Jennifer, Celisse and Jo driving home the powerful tune, while Page stepped away from his piano for “Ziggy Stardust,” Trey nailing the solo and fans air guitaring and fist pumping through one of the most memorable tracks on the album. “Suffragette City,” soundchecked on The Tonight Show with Jimmy Fallon earlier in October, was the most rousing number of the night, pure rock ‘n’ roll from start to finish. But the finale of “Rock ‘n’ Roll Suicide,” sung by Trey sans guitar, was the most powerful number of the night, with the refrain “You’re not alone” sending waves of chills through the audience.

The third set brought out the heavy jams and pushed the envelope for fans dancing their way through the ninth and final set of the run. A dark “46 Days” led to “Sand,” which was followed by “Twist” that led to a drums segment with the full band surrounding Fishman’s kit and Trey on the marimba lumina. An 11-minute “2001” had hints of Bowie’s “Fame” and was the dance highlight of the night. Closing out the set was “Slave to the Traffic Light,” as good as you can get for a weekend closer, followed by an appropriate acapella encore of Bowie’s “Space Oddity,” with no follow up needed. Fans and musicians will look back at the Halloween show as a banner moment in rock ‘n’ roll history as one of the greatest live bands ever paid immense tribute to one of the greatest and most unique musicians ever.

Twist drums jam #phish

A video posted by pete mason (@phanart) on Nov 1, 2016 at 1:19am PDT

Setlists via Phish.net

October 28, 2016
Set 1: Martian Monster, No Men In No Man’s Land, Dogs Stole Things, Beauty of My Dreams, Destiny Unbound, Limb By Limb, Home, When the Circus Comes, Steam > The Wedge, Cavern, Walls of the Cave
Set 2: Crimes of the Mind, Golden Age > Simple > Light > Twenty Years Later > Blaze On, The Squirming Coil
Encore: Bouncing Around the Room, Bold As Love

October 29, 2016
Set 1: The Birds, Kill Devil Falls, 555, Roggae, Gumbo, Lawn Boy, Wilson, Maze, Wingsuit, More
Set 2: Mercury > Piper > Scents and Subtle Sounds[1] > Tweezer > I Always Wanted It This Way[2], The Horse > Silent in the Morning > Golgi Apparatus
Encore: Shine a Light > Tweezer Reprise
[1] No intro.
[2] Trey on Marimba Lumina.

October 30, 2016
Set 1: The Dogs, Ghost, Funky Bitch, Chalk Dust Torture, Army of One, Heavy Things, How Many People Are You, Stash, Theme From the Bottom > Suzy Greenberg
Set 2: Down with Disease[1] -> Birds of a Feather , Fuego, Miss You, Harry Hood -> Have Mercy -> Harry Hood > A Day in the Life
Encore: Character Zero
[1] Unfinished

October 31, 2016
Set 1: Carini[1], Your Pet Cat, AC/DC Bag > Free > Possum, What’s the Use? > Wombat, Tube, Wolfman’s Brother, Ass Handed, Petrichor > Run Like an Antelope[1]
Set 2: Five Years[2], Soul Love[3], Moonage Daydream[4], Starman[3], It Ain’t Easy[5], Lady Stardust[6], Star[5], Hang On to Yourself[5], Ziggy Stardust[7], Suffragette City[5], Rock ‘n’ Roll Suicide[4]
Set 3: 46 Days > Sand > Twist[8], Meatstick > Also Sprach Zarathustra > Backwards Down the Number Line > Slave to the Traffic Light
Encore: Space Oddity
[1] Lyrics changed to reference Trey’s shirt.
[2] Phish debut; With Sylvia D’Avanzo, Alisa Horn, Todd Low, Antoine Silverman, Alissa Smith, and Hiroko Taguchi on strings; Trey on acoustic.
[3] Phish debut; With Sylvia D’Avanzo, Alisa Horn, Todd Low, Antoine Silverman, Alissa Smith, and Hiroko Taguchi on strings and Jennifer Hartswick, Celisse Henderson, and Jo Lampert on backing vocals; Trey on acoustic.
[4] Phish debut; With Sylvia D’Avanzo, Alisa Horn, Todd Low, Antoine Silverman, Alissa Smith, and Hiroko Taguchi on strings and Jennifer Hartswick, Celisse Henderson, and Jo Lampert on backing vocals.
[5] Phish debut; With Jennifer Hartswick, Celisse Henderson, and Jo Lampert on backing vocals.
[6] Phish debut; Trey on acoustic.
[7] Phish debut.
[8] Trey on Marimba Lumina and Mike and Page on percussion.

November 3, 2016
Photo Gallery: Dopapod and Pigeons Playing Ping Pong Funk Saratoga Up

Dopapod and Pigeons Playing Ping Pong brought their tour through Upstate New York Wednesday, October 26th, arriving at the Putnam Den to a packed house prepared for a night of dancing, spectacular lighting and more than 3 hours of flowing funk and prog rock.

Highlights from Pigeons Playing Ping Pong’s set include the ending trio of “Spacejam > The Hop > F.U.,” while Dopapod had a monster trio of their own: “Present Ghosts > Priorities -> Vol. 3 #86” and “Onionhead” with “Like a Ball” sandwiched in between.

Stay tuned for a NYS Music in Motion interview with Dopapod next week.

Pigeons Playing Ping Pong Setlist: Too Long, Julia, Fun In Funk, Burning Up My Time > Funk E Zekiel^ > Burning Up My Time > Offshoot, Whoopie, The Liquid > Upfunk, Spacejam > The Hop > F.U.
Notes:^ Unfinished

Dopapod setlist: Psycho FABA intro>FABA*, Present Ghosts > Priorities -> Vol. 3 #86, Trickery, Super Bowl > Onionhead^ -> Like a Ball > Onionhead% > Nuggy Jawson
E: Nerds#

*contained Psycho Nature teases
^contained teases of Run Like Hell, YYZ, Thunderstruck, and Like a Ball
%contained Nuggy Jawson tease
$contained NBC teases; the band also went into the outro of Pink Floyd’s “Sheep”
#Greg Ormont from Pigeons Playing Ping Pong sat in on Tequila Girl banter

October 28, 2016
Foreigner Opens Their Much Anticipated Acoustic Tour at the F.M. Kirby Center in Wilkes-Barre, PA

The legendary multi-Grammy and American Music Award nominated band Foreigner, who has over 80 million worldwide album sales and remains one of the best selling and recognized bands of all time, made the much anticipated premier of their 2016 acoustic tour opening at the F.M. Kirby Center in Wilkes-Barre, PA on Friday October 21, 2016.

Foreigner announced earlier this year that they would be kicking off a month long acoustic tour running from October 21st through November 19th with a special and historical stop at the famed Carnegie Hall in New York City. However, Wilkes-Barre, PA would be the launching point for this long awaited, intimate, stripped down acoustic tour.

There were no drum risers or drum kits, multi tiered keyboard stands, stacks of amps, electric guitars or the highly energetic full impact punch of a regular Foreigner show which typically includes lots of stage energy, running, and jumping along with guitar and drum solos. Instead, the atmosphere was very intimate and relaxed with six white stools lit with moody spots, several acoustic guitars on stands and a few tables with water bottles waiting for the band. The table next to Kelly Hansen, lead singer, had a few hand held percussion instruments he used throughout the set.

Scheduled for an 8 p.m. start time, guests started arriving at the historical venue around 6 p.m. where the VIP guests were treated with a special meet and greet with the band before the start of the show. Most guests interviewed related a sense of being a part of a special night and feeling the venue and band members themselves made them feel like they were part of the show, relaxed and humbled being a part of the premier of the acoustic tour.

At 8 p.m. Foreigners tour manager Phil Carson walked out on stage to the sold out crowd at the F.M. Kirby Center and announced the band. As the band members walked out waving and giving peace signs to the crowd, Mick Jones, one of Foreigners founding and only original member, walked out and greeted the audience with two hands waved overhead. The audience was going wild over the fact that Mick was in attendance for tonight’s performance. Mick, who has not toured regularly with the band much this summer, was definitely a nice surprise for all the Foreigner fans. All the band members seemed to sense the excitement and anticipation of the crowd and the historic significance their performance would have on the audience with a feeling of grace and gratitude shared between themselves and the crowd.

After the warm greeting, the band made their way to their respective chairs on stage from left to right, Michael Bluestein on a Kurzweil electric piano, Bruce Watson on guitars, mandolin, Dobro, banjo and more, Mick Jones on guitar, Kelly Hansen on vocals, Jeff Pilson on bass and guitars and Thom Gimbel on guitars, flute, sax and bass.

Kelly and Mick each said a few words thanking the crowd for being a part of this special intimate and emotional night, about the inception of the acoustic album largely giving credit to bassist Jeff Pilson before beginning their first song of their fifteen song set, “Double Vision.” The band performed flawlessly, as expected, giving the crowd a different flavor on this Foreigner classic hit. Mick got into a little singer-songwriter mode for the next song talking about when he first came to the “Big Apple” in the 1970’s after being in a few bands prior to forming Foreigner in 1976 with former lead singer Lou Gramm. He discussed the inspiration for the next song, “Long, Long Way From Home,” which featured Thom Gimbel on amazing saxophone. Next up was the popular song “Say You Will.” At times throughout the night, the band had emotional and intimate interactions with the crowd talking about the history, the members and inspiration for the songs. This being the 40th anniversary of Foreigner made it even more special as Mick talked about the ups and downs, trials and tribulations and various band members over the last 40 years.

Throughout the night, the mood was fun and relaxed with some joking and a bit of roasting of some band members by each other. Again, there was nothing fancy in regards to stage theatrics, lighting, lasers, smoke machines or loud electric amps and guitars – just the music and the stories. Really, in all respects, the only thing that came through was the music and the personalities of the band in a real and emotionally felt manner. The music was spot on and flawless with the acoustic guitars, electric piano, Bruce’s Appalachian flair on the guitar, mandolin, banjo and some amazing fret work on the dobro during the song “Girl On The Moon.”

Above all, the harmonies were pure, smooth, silky perfection. Being stripped down without the loud distraction from the electric guitars, synthesizers or drums, the vocals were really the pinnacle of this acoustic set that blended well with the instruments.

The band, in keeping with the traditional Foreigner stage show, again brought out a local choir to join them on stage for their 1984 number one hit, “I Want To Know What Love Is.” However this time was different for two reasons. First, again, it was an all acoustic unplugged set. Second, instead of a local high school, Foreigner this time chose a local adult choir to join them onstage for the acoustic rendition of this timeless classic. The Wyoming County Chorale from Tunkhannock, PA joined Foreigner onstage for the second to last song of the evening. I’m sure by this point most of the audience at the F.M. Kirby Center had goosebumps not only from this amazing vocal/acoustic rendition, but from the unforgettable experience of the entire night. Closing out their set, again in keeping with Foreigner tradition, was the #3 song on the 1978 Billboard Hot 100 chart and certified platinum hit, “Hot Blooded.”

In the course of music history, many things stick out in the minds of the fans. Things like their first concert, meeting their favorite band or simply catching a guitar pick or drumstick thrown from stage. The premier of this Foreigner acoustic tour at the historic and intimate F.M. Kirby Center had to be one of those moments for many of the fans in attendance. The fans left sensing the different, real and graceful side of the band and their music heard in a way that will surely leave lasting memories.

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October 27, 2016