NYS Music 20​16

Category: Features

  • Hearing Aide: Kiefer Sutherland ‘Down in a Hole’

    We all know Kiefer Sutherland from his starring roles in major motion pictures and tenured television career and on August 12, he joined the singer-songwriter realm with the release of his debut album, Down in a Hole.  Owning an independent record label with his friend and fellow musician, Jude Cole, has allowed Kiefer to work at close range with up and coming L.A. musicians for years.  Combine that with his life-long passion for music and good old fashioned Western country culture, and you’ve got a formula that takes us straight to the proverbial promised land.

    kiefer sutherland down in a hole“Can’t Stay Away” sees the album begin with a classic upbeat country theme that any lost boy can relate to; being hung up on another lover.  The female harmonization is immediately utilized, bringing a refreshing angle to a few of the 3 to 5 minute tracks that make up Hole.  Lugubrious slide guitar can be heard on “Not Enough Whiskey,” taking us away from the hustle and bustle of our usual bright lights, big city drag. “Going Home” provides a defiant edge for any young guns listening.

    “Shirley Jean” continues the ambulating pace of the album, perhaps referring to a past break up.  The production value is relatively high, and lyrically the songs manage to avoid some of the cliches that pigeonhole most popular country music today.  The title track leaves me personally with a true desire to cowboy up.  The coming weeks will tell whether or not Kiefer will be as big a hit in the studio as he is on the silver screen, but one thing is certain; he has staked a unique claim in the midst of desert saints, walking straight passed the phone booth and into the wild of country music.

    Key Tracks: Not Enough Whiskey, All She Wrote, Down in a Hole

    http://www.youtube.com/watch?v=BrHcMwKCtNw

  • Ladies Sing the Blues: The 24th Annual Chenango Blues Festival

    In 1956, Billie Holiday wrote her autobiography, Lady Sings the Blues. Sixty years later, Holiday would be pleased to know that ladies still sing the blues most impressively, as four female band leaders wowed the crowd at the 24th Annual Chenango Blues Festival, held August 19-20 in Norwich, New York. Davina Sowers of Davina and the Vagabonds, singer/saxophonist Vanessa Collier, sisters Tierinii and Tikyra Jackson of Southern Avenue, and Carolyn Wonderland all displayed powerful vocals and musicianship, as well as overwhelming stage presence that was met by thunderous applause from more than five thousand fans in attendance over two days.

    24th annual chenango blues festivalFestival attendees enjoyed perfect weather in a comfortable outdoor setting, and were treated to a variety of roots and blues music styles from more than a half dozen other outstanding acts, leading up to the headliner, New Orleans’ Anders Osborne.

    The festival began Friday evening, with the traditional free performances on the tent stage. The crowd grew quickly, with hundreds of fans setting up chairs and pop up tents on the lawn for the following day, as Central New York’s Funky Blu Roots played the fest’s first notes. Fronted by the husband and wife team of guitarist Mikal Serafim and bass player Nancy Giannone, the group included Tom Townsley on harmonica and vocals, drummer Phil Leone, and special guest George Rossi on keyboards. Serafim and Townsley traded lead vocals, backed by Rossi, on primarily original material of blues, light rock, and up-tempo numbers.

    Flying in from London the night before the show, exuberant Englishman Laurence Jones next took the stage for his first performance in the United States with his own band. Just twenty-four years old, Jones led his power trio, including bassist Roger Inniss and drummer Phil Wilson, through a high energy seventy-five minute set, featuring his brand new Ruf Records release, Take Me High, produced by the legendary Mike Vernon. Yet again, the Chenango Blues Festival secures its reputation for presenting the very best emerging artists for their Central New York debuts.

    Returning to the Chenango Blues Festival was Friday’s featured act, Davina and the Vagabonds. The group was a smash hit on the main stage in 2012. Due to return last year for Norwich’s Thursday Summer Music Series, that performance was canceled after the band was involved in a tragic accident on the day of the show. A man named John lost his life in that incident, and an emotional Davina Sowers dedicated her set Friday night to his memory. Piano, stand-up bass, trombone, trumpet, drums and four vocalists combine for rollicking, barrel house piano songs, a show-stopping cover of “I’d Rather Go Blind,” and her own crowd favorite tunes, including “Pocket,” “Start Running,” and “LipsticknChrome,” all from her release Black Cloud.

    Following the tent stage show Friday evening, fans were treated to a jaw-dropping preview performance by Saturday’s opening act, Noah Wotherspoon, at a small local tavern.

    At high noon on the main stage, Noah Wotherspoon, the 2015 International Blues Challenge Best Guitarist winner, led his trio through a set that included “Going to Mississippi” from his debut release Mystic Mud, and a handful of cover tunes. The diminutive Wotherspoon, who appears to be much younger than thirty-four, proved that a small band and a small guitarist sure can make a mighty big sound. In addition to gaining new followers, Wotherspoon and bandmates Rob Thaxton (bass) and Brian Aylor (drums) were unabashed fans of the other musicians, chatting up old friends and making new ones. Thaxton commented that he couldn’t believe all the talent he got to hear, and Wotherspoon had a smile a mile wide while talking to Carolyn Wonderland following her set.

    Acts alternated between the main stage and the tent stage throughout Saturday’s schedule, and first up under the big top was Berklee College of Music trained singer/saxophonist Vanessa Collier. She started off with a funky tune that easily won the crowd over, and toward the end of the set, had one of the festival’s highlights, a walk through the crowd during an extended rendition of Joe Zawinul’s “Mercy, Mercy, Mercy,” made famous by his bandleader, Cannonball Adderley. Collier made a point of making eye contact with members of the audience, a very effective technique to keep fans engaged. It is up-and-coming debut acts like Collier, Jones, and the next act, Southern Avenue, that made the 24th Annual Chenango Blues Festival so special to its fans. Collier’s sax, vocals, and award-winning songwriting can be heard on heart soul & saxophone.

    Immediately following Collier’s set, Southern Avenue took to the main stage. Sisters Tierinii (vocals) and Tikyra Jackson (drums, backing vocals) along with Ori Naftaly (guitar) and Daniel McKee (bass) showed tremendous versatility playing blues, gospel, soul, funk, and more. Tierinii Jackson is a compelling vocalist, as showcased on a slinky tempo-changing cover of Prince’s “Kiss,” and accompanying McKee’s infectious bass on Bill Withers’ “Use Me.” The band spent time last month recording at the Zebra Ranch in Independence, Missouri, in anticipation of their debut release in 2017 on the prestigious Stax Records label.

    24th annual chenango blues festivalBen Hunter and Joe Seamons presented a unique glimpse of much older musical songs and styles, as the duo explained the origin of many of the songs, performed with combinations of guitars, banjo, fiddle, and harmonica, performed with a vintage microphone. Under the tent, the IBC award winners made listeners feel as though they were transported back to the early twentieth century.

    Curtis Salgado is a favorite vocalist of many blues/soul aficionados, and his voice paired wonderfully with the Hammond B3 organ handled masterfully by his keyboard player. The 2013 Blues Music Award Entertainer of the Year, singing to his ex in the time-honored blues theme of love gone wrong, explained “I learned more about the blues in two weeks with you than twenty years of B. B. King.” His latest recording, The Beautiful Lowdown featuring “Walk a Mile in My Blues,” is available from Alligator Records.

    Duke Robillard played a stripped down set of semi-acoustic material, accompanied by Bruce Bears on keyboard, and Brad Hallen on stand-up bass, in support of his 2016 Blues Music Award winning album, The Acoustic Blues and Roots of Duke Robillard. He will release Blues Full Circle, with special guests Jimmy Vaughan, Sugar Ray Norcia, and Kelley Hunt in September 2016.

    Canned Heat hit the main stage and got the crowd boogieing to the familiar strains of “Goin’ Up the Country.” Original members Fito de la Parra (drums) and Larry “The Mole” Taylor (bass, guitar) were joined by John Paulus (guitar, vocals, bass) and Dale Spalding (vocals, harmonica, guitar.) The band is touring in celebration of their fiftieth anniversary, and concluded with an extended version of their hit “Let’s Work Together.”

    Although she has played several times throughout New York State, Carolyn Wonderland’s first appearance at Chenango was eagerly anticipated, and she delivered a dynamic set to a raucous, sweaty, appreciative crowd. Backed by Bobby Perkins on bass and Kevin Lance on drums, Wonderland blew the roof off the tent early in her set with “Judgement Day Blues.” She was demonstrably thrilled to have guitarist Eric McFadden from Anders Osborne’s band (who sported a pink daisy shaped small scale guitar) join her for a couple of tunes, including “Two Trains.” The Austin, Texas based Wonderland paid tribute to her home state’s Freddie King, concluding her evening’s show with an incendiary version of his “Palace of the King.” I will go, and I have gone, a long, long way to hear this woman play guitar and sing. You should too.

    Anders Osborne stalks the stage like a party looking for a place to happen. Expressive, energetic, and engaging, it’s hard not to feel good when Osborne and his top notch band start making noise. Carl Dufrene on bass and vocals, Eric McFadden on guitar, and Tony Leone on drums are all renowned musicians with impressive resumes. Highlights of Osborne’s set included “Different Drum,” “Flowerbox,” “Fools Gold,” “Mind of a Junkie,” “Higher Ground,” “Lafayette,” “Back To Mississippi,” and “Louisiana Gold.”

    Two days, twelve acts, thousands of fans, a small army of critically important volunteers, and tremendous community support add up to twenty-four years of “Keeping the Blues Alive.” Congratulations to the 24th Annual Chenango Blues Festival for another unsurpassed success! I can’t wait ‘til next year.

  • Around the World in One Song: The Cross-Continental Story Behind Holy Forest “Africa Calling”

    From the lush green wilderness of Gambia to a Chelsea studio, here’s a story behind a 21st century cross-continental roots song by Holy Forest.

    Holy Forest Members: Jon Fine (Guitar, Bass, Keys). Ed “Preachermann” Holley, Sparlha Sparlha Swa, Morley, Tata Din Din Jobarteh, I’kyori Swaby, No Surrender and S.T. (Vocals). Tata Din Din Jobarteh, Youssoupha Sidibe (Kora). Morgan Harris (Guitar). Ebon Moss-Bachrach, I’kyori Swaby, Jesse Hofrichter (Keys). Jordan McLean (Trumpet). Martin Perna, Freddy Deboe (Baritone Sax). Stuart Bogie (Tenor Sax). Pierre Davis, Taagen Swaby, Sean Clete, Steven Heet, Sebastian Bauer (Drums). Matt Hauser, Marcus Burrowes (Percussion). Kristine Kruta (Cello).

    Have you seen a list of personnel this long and eclectic since Paul Simon’s Graceland?

    Recorded over three years in studios across Africa, New York City, Woodstock and San Francisco, Holy Forest is an ensemble is a melting pot of sonic and cultural abilities. And it adds up, too: only people of different religions, ages, ethnicities, nationalities and professional backgrounds can come together to make genre-bending music so whole, so variegated yet so astonishingly coherent. Unlike Graceland, not even one golden Hollywood party is brought into question. No, Holy Forest stays close to the matter in focus: love and distance.

    The genesis of Holy Forest takes you back to the lush green wilderness of mangrove swamps of that line River Gambia. Almost four years ago, musician and documentary filmmaker Jon Fine (the force behind Herbie Hancock’s Possibilities and Still Bill) took a trip down to Makasutu Forest, a woodland reserve in West Africa. Over the course of his visit, Fine connected with Tata Din Din Jobarteh, Gambia’s legendary 21-stringed kora player. When Fine heard Tata Din Din’s modernist approach to the strings, he immediately recognized the potential. Holy Forest was born.  Since, John Fine has been the primary guardian of the ensemble, fully immersing himself in production, performance, songwriting and collaboration for their self-titled debut. Fine used his career-long knowledge and connections to reach out to a number of critically acclaimed musicians, including members of Antibalas, singer-songwriter Morley, the Grammy nominated kora master, Youssoupha Sidibe and rising Gambian star ST. Among nontraditional musicians Fine tapped were the Brooklyn-based afro-punk band No Surrender, Bay area singer Sparlha Swa, and Harlem’s resident soul singer  Ed “Preachermann” Holley.

    Photographer/director Andrew Zuckerman, who had been working with Jon for years, allowed Holy Forest’s live band to rehearse in his Chelsea studio. Andrew then brought old friend, musician and music creative David Hoffman into the picture. Because of Hoffman’s connections in the indie-rock world (Hoffman is also the manager of chart-topping indie/alt rock band Joywave), he proposed the idea of an “Africa Calling” remix. Jacob Asher of Joywave (aka Benjamin Bailey) jumped at the opportunity.

    The result? Asher doubles down Preachermann’s vocals to add a near-visual depth to the track. He refines the sound unobtrusively, waxing on a resinous layer that doesn’t detract from the soul of the “Africa Calling.” Instead, the DJ and Joywave keyboardist lets the generous, woody warmth of the holy Gambian forest fall through onto a waterbed of trap beats, sealing it for radio and clubs alike.

    “Africa Calling” has traveled the world, filtering through the woods aligning narrow coastlines, to the speakers of boutique vinyl shops of East London only to find its way on to BBC Radio 6. Who knows where the destiny of “Africa Calling” lies? All we know is that it’ll continue breaking musical barriers, diving headfirst into Afrofuturism. And Asher’s remix is only another chapter to the Holy Forest story.

    Listen to the Jacob Asher remix of “Africa Calling” below:

  • Blink-182 Brings Classic Pop-Punk to the Lakeview Amphitheater

    Flinging toilet paper, throwing bras and shooting fireworks is just the beginning of the beautiful chaos presented by a Blink-182 show. On Aug. 23, All Time Low, A Day To Remember and Blink-182 presented the Lakeview Amphitheater in Syracuse, NY with nothing less than an outstanding rock show.24W_7120

    The show opened with Maryland natives All Time Low who gave a performance that left fans in awe. During their opening song, “Lost In Stereo,” guitarist Jack Barakat ran off stage and into the audience surprising hundreds of fans with pictures and high-fives.

    Barakat went out of his way to hit every part of the venue from the floor seats, to out past the lawn, while continuing to perform “Lost In Stereo.” As exciting as it was to watch, Barakat should have expected the fans that ran after him in droves trying to get his attention.

    “I grabbed some dude’s hand and he grabbed my ass,” said Barakat after he returned to the stage from being in the crowd. When returning, they played what was their best song of the night, “Weightless,” which showed off the most energy and excitement from the crowd.

    As an opener, All Time Low expressed their incomparable joy for being asked to be a part of the tour with Blink-182. Frontman Alex Gaskarth opened up to the crowd about how they started playing music in high school, and found their influence from bands like Blink-182.

    “We started this band when we were just in high school and we had just found out about bands like NOFX, Blink-182 and Green Day, and all of those bands are basically the reason we are a band,” said Gaskarth.

    With some vocal issues to start off the night, Gaskarth stabilized his voice when singing the acoustic song, “Missing You,” which showed off his rich tonal quality, and less strain in his vocals.

    As excited as fans were to see Barakat out-and-about in the venue, during All Time Low’s closing song, “Dear Maria, Count Me In,” Gaskarth followed the trend by running with his microphone up the halls of the amphitheater and ending against the barricade of the lawn.

    Like every All Time Low performance, by the end of their set, the stage and their mic stands showed off a rainbow assortment of bras thrown on stage by young fans.

    Opening with All Time Low’s pop-punk style, the crowd was ready to hear five-piece rock band, A Day To Remember, fill the Amphitheater with their heavier sound.

    Starting their set with fan-favorite “The Downfall Of Us All,” dozens of beach balls were released into the audience, but this wasn’t the only thing shot out to the crowd during their set.

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    During their beloved song, “Right Back At It Again,” a man came out with a costume and a t-shirt cannon shooting shirts to fans the entire song. Besides the t-shirts, the band starting throwing out dozens of rolls of toilet paper during, “All Signs Point To Lauderdale,” which made the venue sparkle with the white rolls being thrown every direction.

    With t-shirts and toilet paper shot across the venue from song-to-song, fans were screaming from excitement. With all of the energy and smiles from their set, “Right Back At It Again” and “All Signs Point To Lauderdale”, became the most memorable parts of their performance.

    “How many people grew up listening to heavy music?” asked frontman Jeremy McKinnon before performing the popular, “2nd Sucks.” Although this was the heaviest song of their set, A Day To Remember also played their heavy, recent single, “Paranoia,” off of their upcoming release, Bad Vibrations out Sept. 2.

    A Day To Remember used their stage presence, performing abilities and outstanding stage effects to stand out as putting on the best performance of the night.

    As soon as punk legends Blink-182 took the stage, they immediately went into performing their ever popular, “Feeling This.” Blink-182, which now includes original members drummer Travis Barker and vocalist and bassist Mark Hoppus, were accompanied by their fill-in member, Matt Skiba.

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    Although there were attempts by Skiba to nail Delonge’s vocals in songs like “Stay Together For The Kids” and “Reckless Abandon,” these attempts backfired on Skiba. With vocal strains and pitch issues, Skiba struggled to stay true to the original vocal parts of songs. This being said, in songs like “Los Angeles” and “Cynical,” Skiba hit the nail on the head vocally.

    Despite their new album, California being released a few months ago, Blink-182 presented a diverse selection of songs that stretched across their discography for their set list. With their mix of performing older songs like, “Dumpweed” and newer songs like, “San Diego,” Blink-182 built their set list to accommodate fans of all eras.

    Possibly the highlight of Blink-182’s set was when Hoppus brought smiles to the faces of fans all across the venue as he decided to do a song entirely in the dark.

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    “We invite you to take part in rock and roll history, as you take out your cellular phones, turn on the flashlight feature, and watch in utter f-cking awe and amazement, as we perform this song entirely in the dark,” said Hoppus.

    Against what the crowd anticipated, the song that they went into performing was the minute long, infamous, humorous song, “Happy Holidays, You Bastard,” which after finishing the song, Hoppus said “You’re welcome” to the audience.

    Along with Blink-182’s traditional humor, before performing their hit, “Stay Together For The Kids,” Hoppus gave the audience a briefing of the upsetting nature of the song.

    “It’s so sad, you want to put on eyeliner, be alone in your room and listen to Taking Back Sunday and tell your parents to f-ck off,” said Hoppus.

    With fans of all ages attending and singing along to Blink-182, it is easy to see how influential of a band they are. Some fans, like 26-year-old Tatianna Davis, were seeing Blink-182 as a celebration. Celebrating her two-year anniversary with her boyfriend, Davis and her boyfriend attended the show together. “These are bands I grew up listening to that I absolutely adore,” said Davis.

    Blink-182 closed their set with, “Dammit,” but surprised the crowd by bringing out Landon Barker to close the set. By following the footsteps of his father on the drums, young Barker was the perfect close to the evening.

    The smiles on the faces of fans covered in confetti, toilet paper and dirt was priceless, which should be more than enough motivation to see a Blink-182 tour in a town near you.

    All Time Low Setlist: Lost In Stereo, Love Like War, Dancing With A Wolf, Six Feet Under The Stars, Backseat Serenade, Something’s Gotta Give, Missing You, Weightless, Dear Maria, Count Me In

    A Day To Remember Setlist: Downfall of us All, I’m Made of Wax Larry, What Are You Made of?, It’s Complicated, 2nd Sucks, Right Back At It Again, Have Faith in Me, All Signs Point To Lauderdale, Paranoia, All I Want, If It Means A Lot To You, The Plot to Bomb the Panhandle

    Blink-182 Setlist: Feeling This, What’s My Age Again?, Family Reunion, Rock Show, Cynical, First Date, Down, I Miss You, Bored To Death, Built This Pool, Dumpweed, Stay Together For The Kids, Reckless Abandon, San Diego, Not Now, Violence, Kings of the Weekend, Dysentery Gary, Happy Holidays, You Bastard, Los Angeles, Carousel, All The Small Things, Brohemian Rhapsody, Dammit

  • The Disco Biscuits Tear Up New Amphitheater at Coney Island Boardwalk

    After putting the run on hold last year, The Disco Biscuits revamped City Bisco this summer and relocated to the biggest and brightest city of them all, New York City.  On April 18 and 19 the band performed at Irving Plaza in downtown Manhattan, playing back to back heaters that included fan favorites “Therapy,” “Confrontation,” and “Kitchen Mitts.”  Friday the 19th also saw the band debuting a new original, “The Champions.”  Switching locations but losing no momentum, the Disco Biscuits moved the party to the new Ford Amphitheater on the Coney Island Boardwalk for the final night of the run, Saturday August 20.

    disco biscuits coney islandIt was an interesting scene, seeing Disco Biscuits heads mingle among the usual weekend patrons of Coney Island.  Roller coasters whipping past, the wafting smell of the salt water battling for dominance with the odor of the famous boardwalk hot dog, and good ol’ White Castle Express.  It reminds you of a time past, but the New York City energy is still unmistakably crackling up and down the worn boards just as much as in the asphalt a few boroughs away.  The Ford Amphitheater opened its doors at 6PM, revealing state of the art facilities and high quality monitors flanking the stage.

    The Hungry March Band provided a nice introduction for the Biscuits, with members of the headlining act slowly joining as the March proceeded into a familiar melody.  Both acts broke into “Spectacle,” and as the Biscuits began to take over the groove the Hungry Marchers exited stage left.  Jon “The Barber” Gutwillig seemed to have some intonation issues during the opener, stopping abruptly to re-tune during the noodley 11/8 time section.  He wasted no time getting his mojo right back in line however, as his solo during “¿Donde?” melted more than a few faces.  The song was extremely put together considering the last time they played it live was September of 2010.  Keyboardist Aron Magner provided a surreal acoustic piano introduction for a stunningly tight “The Very Moon,” which gave way to an absolutely raging “Tempest.”  The segment transitioned into a flawless inverted “Digital Buddha,” continuing seamlessly into the funk section of “The Very Moon.”  Seguing into the end of “And the Ladies Were the Rest of the Night” would complete the unfinished version from the previous evening, as well as bring the set to a dramatic close.

    The Biscuits chose the Beastie Boys classic “No Sleep Till Brooklyn” as a perfectly apt opener for the second set, giving a nod to the Hip Hop titans as well as the location of the evening’s show.  Having only played it out one other time in October of 2009, bassist Marc Brownstein seemed positively giddy to play an anthem from one of his childhood influences.  “Run Like Hell” provided back to back covers for the last set of City Bisco.  Without a single standalone song the entire set, the boys seemed to get into the pocket and stay there for a few songs after “Run Like Hell,” playing off of each other effortlessly but effectively.  “Cyclone” seemed an obvious choice considering the name of the local minor league baseball team who’s stadium was about a quarter mile down the board walk and was a complete shredder.

    Allen Aucoin’s drum rolls were so pristine that it actually hurt a little.  An inverted version of “Crickets” got everyone on their feet, but an inverted “Aquatic Ape” sort of quelled the vibrations building from the previous jams.  Some thought it was a strange choice considering the previous and forthcoming compositions: the end of “Bernstein and Chasnoff” seemed to lack following such a down tempo diddly.  Coming back out for the encore with “Highwire” was sort of a slap in the face for some fans after a weekend of song choices that left us on our toes; “Highwire” being the epitome of the opposite concept.

    After yet another weekend of unexpected bust outs and crazy set list arrangements, Bisconauts both tenured and amateur have a lot to look forward to.  The Biscuits have proved that they’re back on the right track, 2016 seeming their comeback year.  They’ll be headlining this upcoming Saturday, August 27 at Imagine Festival in Atlanta, as well as two nights in September at the Great North festival in Maine.  This should give curious jam fans plenty of time to relax with the Disco Biscuits.  And remember…they nasty, but they good.

  • Hearing Aide: Coheed and Cambria ‘The Color Before the Sun Deconstructed’

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    Progressive rock band Coheed and Cambria launched their newest album, The Color Before the Sun, on October 16th, 2015; but recently released a deluxe edition of the album, Deconstructed on August 19.

    The Color Before the Sun Deconstructed is a companion deluxe edition to Coheed and Cambria’s newest album, under the same title (minus Deconstructed). The new title is ironic, because Deconstructed puts on bleeding display a thirty track mausoleum that gives sinew and muscle to an already great skeleton. Nothing about this edition is deconstructive.

    The first part is The Color Before the Sun as it was originally released. If you haven’t yet heard the album, I recommend starting here as it gives context to everything else. “Island,” the first song kicks off the whole album with the sounds of a New York City subway fading into a simple pop rock song, yet effective allegory for not wanting to be stuck in one place. Following suit, songs like “Atlas,” “Eraser,” and “Colors,” hold ground as a thematic, and strong foundation for the rest of the album.

    It is the first album that Coheed has put out to not feature a storyline related to the Amory Wars, the collection of a book and four graphic novels on which Coheed and Cambria’s concept is based.

    Instead, the lyrics represent a sense of quiet introversion, personal responsibility, fatherhood, and growth. While Sanchez, in the past, has said that his lyrics are metaphors for things that go on in his own life, mostly having to do with relationships, this album’s lyrics are to be taken literally.

    As for musical bravery, I cite that while every other Coheed album features what I can really only describe as “progressive rock weirdness,” this one has has few true complexities attached. Instead, TCBTSD features a very stripped down, bar chord, standard tuning, Dad rock feel, but they manage to make it work. At first listen, I must admit my aversion to this. How dare my favorite band change their sound to something so simple? But I can’t fault someone for wanting to write what they want to write. Through this mindset, I’ve come to admire this album as much as the rest. So maybe it is not as layered or as weird as Good Apollo I, but that is exactly the point. TCBTSD was meant to sound stripped down, straight-forward, and unencumbered by the weight of somewhat of an overload, just like its literal lyrics.

    If, at this point, you’re thinking that this is a lot of information at once, you’re right. Coheed has always left on the table enough material to give the party something to talk about all night. This brings me to another thing I loved about TCBTSD: you don’t have to be familiar with anything Coheed related to enjoy it. TCBTS stands alone in its own lane; anyone is safe here.

    So what else stood out? A whole lot, such as “Here to Mars,” a sappy, but cute love song released as a single. That last chorus/bridge, in which Sanchez and co. scream “…and we’ll never let you go…” on repeat gave me chills and is most assuredly to be a crowd pleaser, as the live aspect of Deconstructed shows.

    Further notable, the use of more acoustic guitars on this album than the last ones. “Ghost,” and “Peace to the Mountain,” are almost creepy in sound and may remind one of Good Apollo I‘s “Wake Up,” one of my personal favorite songs by Coheed. Likewise, both of these songs particularly showcase Sanchez and guitarist Travis Stever’s compatibility as co – musicians and guitarists. Both songs feature a “weaving” guitar pattern and solidify the musical relationship. The ballad of Sanchez and Stever has always inspired me as a musician. In said terms, I think in previous albums they’ve made a great couple whose company you enjoy, so to speak, but by this one, they’ve gone from dating to married. “Ghost” is the best example of this.

    And let’s not overlook the rest of the group. Zachary Cooper joins the ranks on bass once again (this is his third effort with Coheed, the other two being The Afterman: Ascension and Descension). Similar to the last two, Cooper brings technically refined precision to his position while giving the listener heart. I’ve always admired Coheed’s use of bass guitar. While many rock bands keep their bassist on a leash, it’s almost as if they told Cooper before recording, “Hey, buddy, go fucking crazy.” Good. But that’s not all.

    You know how a lot of people think there is always that member that any given band would not be the band without? Take, for example, an image of the Rolling Stones without Keith Richards, would they still be The Stones? Maybe not.

    I admire that this is really not the case for Coheed. Save Cooper, the band has a longstanding lineup, and even Cooper meshes so well with the rest of the group that he might as well be a veteran.

    But Coheed has a secret weapon. Perhaps the most unique member is Josh Eppard, or Weerd Science as he appears in each hip hop solo album he’s made. What can I say about a hip hop musician playing drums in a rock band? A whole lot. He’s also contributed to keyboards and backing vocals in the past.

    At first glance, Eppard’s drumming style is true to hip hop: minimalistic, but groovy and effective, matching perfectly with Cooper’s bass playing.

    To the dismay of many fans, Eppard departed from Coheed and Cambria after Good Apollo I to Afterman, meaning that he was absent for two albums: they were Good Apollo, I’m Burning Star IV, Vol. 2: No World for Tomorrow (usually referred to as No World for Tomorrow to avoid confusion with From Fear Through the Eyes of Madness). During No World for Tomorrow, Coheed was joined by Foo Fighters’ drummer Taylor Hawkins, and then Chris Pennie (ex – The Dillinger Escape Plan) for its subsequent tours and next album, Year of the Black Rainbow. Josh Eppard returned for the Afterman.

    Although both Eppard-absent albums were great (even considered classic to some fans), the void of Eppard could not be filled by other drummers, no matter how great (come on, The Dillinger Escape Plan is ridiculous), but Eppard’s reunion with the band solidified a lot of diehard fans’ feelings about their favorite band. I think this is because Eppard adds that simple factor that makes The Color Before the Sun/Deconstructed non – facade. It’s kind of like what the Edge adds to U2, or Keith Richards to the Rolling Stones. None of these guys play anything overly complicated, but for some reason, the position cannot be held by anyone else. An X – factor, maybe. Or maybe Eppard is what gives Coheed it’s soul, where Sanchez gives it body.

    I emphasize so much the rest of the band (besides Claudio Sanchez) because although Sanchez is the primary writer, Coheed has a specialty in the department of live shows, a concept of live shows are kind of lost these days in a world of streaming, especially amongst Millennials and Gen Y. I have no data to back this up, it’s just what I’ve unfortunately noticed, and I doubt many would argue. However, bands that actually perform – I mean with real, or mostly real, instruments and few samples – know that it can take years before the live show is perfected.

    For this reason, the second part of Deconstructed stands out as another form of bravery to me: it’s a set of live soundboard recordings. To my knowledge, it’s all unedited, containing no autotune or deep effects. I admire the bravery it takes for a band to release something to the open world with its mistakes still nailed, naked, to their crosses, especially in the modern day of digital perfection. There is anything wrong with digital perfection, but a true live performance can send chills down the listener’s spine in a way that a studio recording usually cannot. They loaded a number of old classics onto this part, such as fan favorite “In Keeping Secrets of Silent Earth: 3,” the title track of their second album.

    The real twists come in the live interpretation of songs off their newest album, such as “The Audience,” or “Atlas.” This is why I emphasize the rest of the line up besides Sanchez. The band works together in the live setting so perfectly. It’s almost unfair, and as someone who loves playing in live bands, I’m jealous.

    Other great moments included their performances of “Sentry the Defiant” (from Descension), and “Here to Mars,” (from The Color Before the Sun). These songs both reinforce the band’s live prowess.

    In the next part, “Big Beige/4th Street Demos,” we hear a more intimate side of the band. I love the way that this section shows an honest look into Coheed’s writing process. I especially enjoyed the way that they included bonus tracks that did not make it onto the album, such as “Bridge and Tunnel,” a Simon and Garfunkel – type spot that I wish had made the main album.

    Thirty songs deep, Coheed and Cambria has really outdone themselves, bar chords and all.

    I’m not exactly sure how to rate this one. It has a hopeful air to it, it’s a fun listen, and it’s different from other releases. Other reviewers have even called it “a bold step.” I concur, and I add that it is definitely worth a few listens of all thirty tracks.

    Key Tracks: Colors, Ghost (main album), Peace to the Mountain, (4th Street / Big Beige Demos), Everything Evil (Live Soundboard Bootlegs)

  • Festivalgoers Let Their Soul Shine During Second Half of The Peach

    Saturday and Sunday at The Peach Music Festival in Scranton, PA was more of the same weather wise with scorching heat, humidity and powerful storms that would delay several sets in the evening. Despite the elements, festivalgoers all across Montage Mountain appeared to be in better spirits for the later half, perhaps due to an acceptance and understanding of these factors, but more likely due to the outstanding music delivered to their eyes and ears. Headliners like Trey Anastasio Band and Umphrey’s McGee delivered top notch sets on Friday and Gov’t Mule and new supergroup “RB&B” brought the festival to a truly satisfying close on Sunday.

    Jim Houle Photography - Umphreys McGee - Peach Fest - NYSMusic-55

    New York’s own Sister Sparrow and the Dirty Birds swooped onto the main stage early in the afternoon. Arleigh Kincheloe and brother Jackson, along with the rest of the birds energized the mountain with their soulful yet funky performance fans have come to love.

    The afternoon also welcomed back Tom Hamilton to the Grove Stage with his band American Babies. Hamilton is a talented songwriter and although his presence in Thursday night’s Pink Floyd Electron set was nothing short of jaw dropping, the change of pace with the lively Americana feel to his afternoon set is exhilarating as well. Also during this time, metal rockers Brown Sabbath slayed over on the Mushroom Stage. Their frontman is as comical as he is talented, addressing the crowd as “motherfuckers” in between sets. As the name suggests, the Austin based band covers the catalog of Black Sabbath, but they do so with horns and Latin-style percussion for a unique experience both metal heads and hippies can appreciate.

    The darlings of the festival scene, Twiddle, brought a massive crowd to the Mushroom Stage mid-afternoon on Saturday. This would likely have been a massive pool party like that of Pigeons Playing Ping Pong the day before, but the wave pool was closed. No matter though as fans packed the area to witness the rising stars welcome Russ Lawton on drums and Ray Paczkowski on keys, both from Soule Monde and TAB, join the band for “White Light.” Bassist Zdenek Gubb proved himself to be MVP of the set with powerful and funky bass playing that could be felt at the very top of Montage Mountain.

    Jim Houle Photography - JRAD - Peach Fest - NYSMusic-24

    The highlight of Friday afternoon was Joe Russo’s Almost Dead. Because the Grateful Dead means so much to so many people in the community, it’s no wonder their set drew such a massive crowd to the main stage. Joe Russo and friends bring a thrilling and welcomed update to the classics so many of us have come to cherish. Their set included greats like “Eyes of the World,” “The Wheel” and a full and powerful “Terrapin Station.”

    As was the trend each evening at Peach, Mother Nature made her presence known with continuous flashes of lightening that would come with strong winds, rain and thunderstorms forcing The Lennon Claypool Delirium to prematurely end their predictably spacey yet original set. Fans took cover under the Pavilion as the first part of the storm passed overhead flooding the floors under their feet. Once passed it was finally time for the great Trey Anastasio Band to hit the stage. The pavilion, now packed with fans, housed tunes like “Cayman Review,” “Magilla,” “Gotta Jibboo” and “Money Love and Change.” As soon as “Sand” started to pick up, Anastasio was forced to tell fans to once again seek cover due to more severe weather. Once given the all clear, TAB returned to the stage to pick up “Sand” where they left off. Later in the set, Trey shared the story of how former TAB trombonist Jeff Cressman left the band to play with Santana. When Trey asked him who might replace him, Cressman suggested his daughter Natalie.  Jeff was then welcomed to the stage and the father-daughter team thrilled the crowd together during “Push on Til’ the Day” to close one of the best sets of the entire Peach weekend.

    Jim Houle Photography - Trey Anastasio Band - Peach Fest - NYSMusic-43

    Umphrey’s McGee gave the best musical nightcap of the weekend with their latenight set on the main stage Saturday night. The lightshow in the Pavilion was spectacular and the music was on point. The progressive rockers from Chicago played older songs from their catalog such as “Wappy Sprayberry” as well as a cover of Prince’s “Controversy,” a song they first covered in Minneapolis the day after the legendary singer’s death. “Puppet String” included Hall and Oates’ “I Can’t Go for That” and Pink Floyd’s “Another Brick in the Wall” teases. Fans beat on the back of the seats within the Pavilion; the sound dragging the band out for a thrilling encore of “In the Kitchen” into “Glory” and ending with a reprise of “Puppet String.”

    Sunday was the return to struggle city for many campers packing up their belongings to hike off the mountain and return home. Lines seemed to move faster and despite it being the fourth day of the festival, people were in good spirits.

    Sunday began with a special ‘Wake up With Warren Haynes’ acoustic set that featured Gov’t Mule numbers “Beautifully Broken,” “Raven Black Night,” and “In My Life.” The set would not have been complete without the delivery of some Allman Brothers Band tunes to commemorate the festival’s beginning. Haynes played “Old Friend” and “End of the Line,” two ABB songs he contributed to. Warren returned for a two-song encore beginning with Van Morrison’s “Into the Mystic” and Gov’t Mule favorite “Soulshine” to the delight of thousands.

    Jim Houle Photography - Govt Mule - Peach Fest - NYSMusic-38

    Not more than a year since the Black Crowes called it quits, founding member Rich Robinson is taking his solo career to new heights. The Rich Robinson Band performed Sunday at The Peach. In addition, Robinson was welcomed to the stage to join Blackberry Smoke and later on with Gov’t Mule.

    Blackberry Smoke is a southern rock group with bluesy guitar riffs and country music undertones not unlike that of the Allman Brothers Band. The set featured originals as well as a down home version of Led Zeppelin’s “Your Time is Gonna Come.” Robinson joined the quintet for The Black Crowes’ “Wiser Time,” in which he delivered a thrilling guitar solo.

    With Gregg Allman canceling a week prior to The Peach due to illness, a supergroup was formed to fill in the time slot he was scheduled for Sunday afternoon. The group consisted of Joe Russo, Marco Benevento and Oteil Burbridge. The trio delivered a unique set that was largely a jazz-fusion jam in which the talents played off one another with ease, a nice segue to the headlining guest packed performance by Gov’t Mule. After a few Gov’t Mule tunes including “Mule” and “Game Face” with a “Mountain Jam” tease, Rich Robinson was once again welcomed back to the stage for a Crowe’s signature song “Sometimes Salvation.” The encore included “Come and Go Blues” with Charlie Starr, Brit Turner and Brandon Still of Blackberry Smoke before Oteil Burbridge joined the stage once more to aid in Allman Brothers’ classic “Dreams,” before ending the festival with a triumphant “Whipping Post.”

    The fifth annual Peach Music Festival was legendary in its own right with world class musical acts, a stunning yet difficult venue, and memories fans would take with them for the rest of their lives. The spirit of the Allman Brothers Band was alive and well and we are happy to hear Gregg Allman is on the mend.

  • Disturbed and Breaking Benjamin Tour Raise More Than 10,000 Fists at SPAC

    Capital Region area rock fans came out on a beautiful Tuesday summer night, at the Saratoga Performing Arts Center, and had their faces melted off by one of the best rock lineups that have been assembled for a tour run. Fans were not only treated to some of the best bands in rock and metal today, all four bands have very recognizable frontmen. Metalheads had the pleasure of seeing Adam Gontier and super group Saint Asonia, Myles Kennedy with Alter Bridge, Ben Burnley and his band Breaking Benjamin, and Mr. oh wah himself, David Draiman of Disturbed.

    Breaking Benjamin SPACThe co-headlined Disturbed/Breaking Benjamin tour, not only saw four of todays best frontman, fans were also treated to some of the top musicians in the business. When you break down the lineup as individuals, you realize how good some of these musicians really are. Fans had the privilege to see the likes of guitarist Mike Mushok (Staind), guitarist Mark Tremonti (Alter Bridge), and Dan Donegan (guitar) and Mike Wengren (drums) from Disturbed, to name a few, perform right in front of their eyes.

    Every band on the bill was right down to business, and kept the talking to a minimum and the music on maximum. I like when bands introduced their songs and tell the back story of how they came about, and maybe for the singer to take a breather, but this was a welcome change, as it gives fans who paid their money, to hear more live music. The reason everyone buys a ticket for a live show is to hear music, and for some, drink beer and get shit faced. Less talking equals more songs that bands can put in their setlist, given the amount of time some bands have to play.

    Fans who were smart enough to show up early, saw Saint Asonia take the stage first. Drummer Rich Beddoe, came out pumped up, as he stood behind his kit and yelled to the crowd to get the fuck up, while he waited for the other members of the band to take the stage. The band started the night off with the song “Fairy Tale.” Frontman Adam Gontier sounded really good on vocals. Gontier also looked rested and healthy and sported a fresh Mohawk and some bad ass sunglasses. Gontier was full of energy. Guitarist Mike Mushok and bassist Corey Lowery showed a lot of fire while they played.

    Gontier thanked the fans for showing up early, and thanked them after every song. Gontier stated how beautiful upstate New York is, and before he actually named off a city, he told the crowd that he has recently moved to upstate NY, not far from Saratoga. Gontier also answered the question that many may have wondered. He stated that Saint Asonia will be around for awhile and that they were not gonna be a one album band like some.

    Before playing the song “I Hate Everything About You,” by Gontier’s former band Three Days Grace, Gontier said that the band is asked all the time if they play songs by their former bands. He then said “Fuck Yes we Do.” He then went one to say I’m gonna play a song that I wrote a long time ago for that other band. Saint Asonia ended with “Let Me Live My Life.”

    Breaking Benjamin SPACAlter Bridge took the stage in the second spot on the card. Alter Bridge started things off with “Addicted To Pain.” Singer Myles Kennedy was amazing on every track. I just wish his mic was turned up a little louder. Kennedy’s guitar skills are pretty good. The crowd had Kennedy smiling from ear to ear throughout the bands set, as fans sang each song with him.  Now talking about skilled guitarist, Mark Tremonti is a down right beast guitar. Watching him play live is almost mesmerizing. His guitar solos are on point and totally flawless. Tremonti was feeling really feeling it, as he would make facial expressions to the sound of his guitar. You can feel Tremonti’s passion as he plays. At one point, Tremonti was jamming so hard he accidently unplugged his guitar. Alter Bridge had the whole crowd going crazy during the song “Metalingus.” Kennedy gave props to a fan playing air guitar in the upper balcony. Kennedy told the fan that he loves seeing that shit. The band ended their set with “Rise Today.”

    disturbed Breaking Benjamin SPACdFirst headliner of the night was Breaking Benjamin. The band has been touring relentlessly over the last two years ever since frontman Benjamin Burnley pieced together a new lineup and studio album. Their stage set consisted of C.O.2 blasters, that would shoot off at various times during the bands set. The cool air from the blasters helped cool off the fans down front in the pit. The band started things off with “So Cold.” Being the Star Wars fan that frontman Benjamin Burnley is, the band played the “Imperial March Theme,” from the movie. Ben pledged his allegiance to the darkside of the force giving a shoutout to Darth Vader, Kylo Ren, and The First Order, as he wielded a red lightsaber.

    Guitarist Keith Wallen, provided the vocal duties for the song “Sooner Or Later,” doing a decent job in the process. Breaking Benjamin played a throwback cover medley that consisted of “Schism” (Tool), “Smells Like Teen Spirit” (Nirvana) and “Walk” (Pantera).

    Breaking Benjamin SPACBurnley told the crowd on many occasions, that they were singing along beautiful and to keep it going. Burnley gave a speech and paid tribute to the men and women in our Armed Forces. Breaking Benjamin ended their night with “The Diary Of Jane.”

    Fans by now were foaming at the mouths. For most in the venue, this was the first performance from Disturbed in the area in over four years, and for some, their first Disturbed concert ever. David Draiman and the rest of the boys showed that they were worth the wait. The band played a good mix of fan favorite tunes and some new tracks from the bands current studio album Immortalized.

    Disturbed kicked things off with “10,000 Fist.” Standing in the pit looking back, it looked like more than 10,000 fist were in the air, as frontman David Draiman conducted the packed crowd inside the Saratoga Performing Arts Center by pumping his fist in the air. Pyro was in full effect, as flames shot out from various parts of the stage that made it feel like your face was gonna melt off.

    These four guys have a one of a kind aura about them. When fans and critics talk about who’s the best this, and who’s the best that, all four musicians in Disturbed, should be in those conversations. There is no doubt that this band will be in the Rock & Roll Hall of Fame someday.

    Bassist John Moyer has this cool swagger about him as he plays, and his Go Pro camera that is attached to the end of his bass can prove it. Drummer Mike Wengren can bang the cans with the best of them. They way he can consistently twirl his drum stick and hit the cymbals on cue for an extended period of time is insane. Wengren also has one of the sickest looking drum kits in business. Guitarist Dan Donegan doesn’t get enough credit as a guitarist. His riffs and solos are some of the best in rock and metal. Singer David Draiman is one of the most recognizable voices not only in rock music but music alone. His style is like no other. His calm bad ass personality is intoxicating.

    After Draiman said to the crowd “My brothers, my sisters, my blood….SPEAK TO ME!,” to a deafening response from the crowd, the band jammed out song after song. At the mid point in the set. The lights started to dim down, as the band took on some different instruments while Draiman sat on a stool in the middle of the stage. It was now time for the song that has now made Disturbed a household name. It was time for the bands cover of the Simon and Garfunkel classic “The Sound Of Silence.” Seeing this performed live is not only amazing, but one hell of a concert moment to be a part of.  Every fan in the house lit up their lighters and cell phones like Draiman requested, and set the whole atmosphere for the performance.

    Near the end of the bands set, an intoxicated fan kept flipping off Draiman from the crowd. Draiman asked the fan, in David Draiman fashion, why the fan was giving him the finger. After not being able to hear what his response was he continued to the next song. Still flipping the singer off, when the song ended, Draiman acknowledged the fan again, and asked him to come closer so he could hear what he was saying. The fan responded incoherently something about making a bad deal with someone, and screwing him over. Draiman responded by saying that he didn’t think he made a bad deal and everyone is entitled to their opinion. He then said “But sir I would appreciate it if you would show me the respect I deserve by not flipping me off while I’m up on stage.” Disturbed ended one indestructible evening with “Down With The Sickness.” Disturbed showed why they are Immortalized by many.

  • The Budos Band Rented A Vintage Organ. Then They Destroyed it On Stage

    A video has surfaced showing destruction done to a rented 1967 Vox Continental organ by The Budos Band, a group based out of Staten Island.  The cell phone video shows the keyboardist, Mike Deller, on the floor attempting to play the organ that had fallen off the stand, with no one even attempting to pick up or check on the condition of the instrument.  How the organ got knocked off is unclear.  What is clear, however, is that this instrument was being rented out as backline equipment, and Deller is seen literally ripping the keys right off the organ.

    The band responded to the damage on their Facebook page with the following:

    “Over the weekend during our set, we managed to damage a rather expensive rented vintage organ. We regret that our actions resulted in equipment damage and will ensure this will not happen again. We already offered to pay for the damage that was done days ago, and we hope that this incident can be handled in a professional manner. The damage was not done on purpose, and it was an unfortunate side effect of our stage show. If you have seen us play live shows, you know we give 110 percent every time we play. The paying fans expect that much from us and we also expect that much from each other. Playing at our level of intensity sometimes produces unwanted results and we regret any damages we may have caused. 

    We love our fans and the people behind the scenes that make it all happen. We appreciate all of your support and look forward to seeing you out on the road.

    Sincerely, The Fuckin Budos”

    Watch the video above and judge for yourself.

  • Photo Gallery: Vertex Festival, Year 1

    At the foot of 14,197 foot Mount Princeton, under the warm Rocky Mountain sun, amidst a cool river and lake, Vertex Festival was born. This festival was beautiful in every direction you looked – from the blue mountains in the distance, to the dancing cottonwood forest, to the colorful interactive art installations placed all over the venue. And of course, the music! Such a great variety of artists, old and new, with plenty of different genres and sounds to suit everyone’s ears.