An exclusive to NYS Music, Space Carnival has released the video for “Moon Boots.” Filmed by Front Row Dave at Damn Sam’s Harvest Festival in Laurens, NY on October 8, 2016 and edited by Shane O’Sullivan, the song debuted as a single off the group’s recent debut album Drawn in By the Sun.
Category: Features
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Wild Rivers Make Waves in London, Ontario
From Washington, DC to London, Ontario, Wild Rivers is making a name for themselves in the world of music. This Toronto based indie folk band was born out of a duo that met in university in Kingston, Ontario. Devan & Khalid (the original group) expanded their band in 2015 creating a more holistic sound to their unique music while maintaining the compelling appeal of a male-female duo.
Wild Rivers is touring across Canada and even extended their reach into the United States with recent concerts in Washington, Boston and New York. For a seemingly new and upcoming band, they already have established a dedicated fan base who were very visible at the show in London on November 18 at The Rosewood. With only a debut album under their belt, the audience was familiar with all of the songs played and sang along in unison to every one of the poetic lyrics primarily written by Khalid.
Two years prior to releasing their self-titled debut album “Wild Rivers,” Devan & Khalid put out their first EP entitled “This Town.” Though their set list was mainly composed of songs from “Wild Rivers,” the audience was in for a treat when the band broke out songs featured on “This Town.”
Wild Rivers opened their show Friday night with “Undercover” followed by one of their singles and a crowd favorite, “Already Gone.” They then played a personal favorite, “Paul Simon,” a song featured on both the band’s 9-track album and Devan & Khalid’s first EP. Though Paul Simon himself is only mentioned once in the song’s lyrics, this interesting choice of title being a well-known musician is intriguing to one who may never have heard the song before. The first time around, “Paul Simon” was recorded acoustically with nothing more than a guitar and vocals. In concert, it was performed as seen on “Wild Rivers” with the addition of a drummer and bass player making for a foot tapping, high energy performance.
After closing their set with “Speak Too Soon,” a catchy sing-a-long finale, the crowd insisted upon hearing more. Not having anything else planned, Wild Rivers responded to their encore demand breaking out another song from “This Town.” They played “No Ribbons,” the first song for which they released a music video, paying homage to the beginning of their musical journey.
Being able to share in the joy of not only the band’s passion to create meaningful music but the audience’s appreciation for the magic of live music made for an unforgettable night. This folk quartet is definitely one to be on the lookout for over the next couple of years.
Set List: Undercover, Already Gone, Paul Simon, Rolling Stone, Heart Attack, Fish On A Hook, Mayday, Wandering Child, Speak Too Soon
Encore: No Ribbons
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Let it moe. – A Holiday Celebration
The holiday spirit was alive and well in Port Chester, NY last weekend as New York rock icons moe. treated The Capitol Theatre with its first ever “Famoe.ly Holiday Concert” that saw the band dust off some old holiday covers, debut a few new songs and deliver some good old improvisational rock as only moe. can. The show also served as a benefit for Caritas, a local food bank, befitting of the holiday spirit courtesy of food donations from attendees as well as a raffle for signed posters and tickets to future shows at The Cap. Revelers pre-gamed next door at Garcia’s, a small bar attached to the venue, with libations of their choosing before settling in next door for a unique yet classic moe. show.
The band took the stage to a full crowd on the floor, although the balcony, surprisingly, was a little sparse early on with plenty of open seats to be had. In a nod to the show’s locale, “New York City” opened things up in somewhat standard fashion before bassist Rob Derhak began playing the familiar opening notes of the Peanuts theme song, technically known as “Linus and Lucy.” Their take on the classic Vince Guaraldi jazz song was the first of several tonight previously featured on their 2002 album Seasons Greetings From moe. and hadn’t been played in a live setting for nearly three years. The old school rocker “Head” then followed, replete with wailing vocals as delivered by guitarist Al Schnier, and the high energy number soon faded into a softer groove before teases of the same turned into a full on version of “Zed Naught Z.” This percussion-driven instrumental gave Jim Loughlin a chance to shine on vibes as the composed section was delivered flawlessly before the beat picked up steam again and a delightful almost “Rec Chem”-esque jam ensued, a sign of things to come, before the band roared back into the ending of “Head,” serving as a true first set highlight.
The next holiday song of the night followed with “Oh Hanukkah,” another instrumental number found on the 2002 holiday album that had somewhat of a surf rock feel to it, before a brand new song, “Angel,” was debuted. This one gave Schnier a chance to do his best Bruce Springsteen impression as this song sounded like it could have come directly from The Boss’ catalog and featured some fine complimentary play from fellow guitarist Chuck Garvey. Then, in what has to be considered one of the peak musical moments of the night, moe. ended the first set with an absolutely blistering and thorough “Recreational Chemistry” that, early on, showcased watery bass tones from Derhak and impeccable drum fills via Vinnie Amico before devolving into a dark, dissonant jam that had the whole room spellbound. From these depths, slowly and very surely, the song’s signature guitar-driven finish emerged and delivered a firm exclamation point on a well crafted first set.
“Puebla” started things off to begin the second set and picked up right where things left off with another driving and soaring jam that featured more stellar play from Loughlin on vibes before he took over on vocals himself, a rarity for moe., for “Don’t Wanna Be,” another debut number which had a moody feel to it. It was then time for the holiday spirit to be reintroduced and moe. did so with “Carol of the Bells,” another instrumental not played in several years. This short and sweet cover yielded a jam that had a brief flurry of “Rebubula” teases thrown about before quickly shifting gears and going into “Downward Facing Dog,” a song found on the band’s 2012 release, What Happened to the La Las. Once again, a crisply played composed section gave way to a rather dark and menacing jam filled with both heavy guitar and vocal distortion.
The last of the evening’s debuts followed with “Prestige Worldwide” and seems to fit the classic mold of a moe. song in that it featured stellar guitar interplay between Schnier and Garvey and another heady solo from Loughlin on vibes before giving way to another frenzied improv jam showcasing the cohesiveness this outfit has built up over the course of their 27 year career. It remains to be seen what, if any, connection this song has to the movie Stepbrothers and Brennan and Dale’s international music corporation. And just as they did in the first set, moe. ended the second in classic style with a pairing of old school favorites. “Four” gave Garvey a chance to take lead on vocals and resulted in another jam that started out innocently enough and later ended with feverish guitar licks. Two great sets of music were capped off with a mild segue into longtime crowd favorite “Buster,” before Derhak thanked a fervently appreciative Capitol Theatre crowd.
Not missing out on one last chance to ramp up the holiday spirit, the moe. bassist emerged in full Santa garb for the encore which featured a fantastic cover choice in The Kinks’ “Father Christmas” and one last nod to the holiday album in “We’re A Couple Of Misfits,” the band’s interpretation of Hermey’s and Rudolph’s song of outcast from Rudolph the Red Nosed Reindeer. With a fantastic night of music in the books and a very successful food drive accomplished, one can only hope this is the start of a new holiday tradition for Port Chester and The Capitol Theatre, one of the more aesthetically pleasing and intimate venues the metropolitan area has to offer.
moe. ~ 12/03/16 ~ The Capitol Theatre ~ Port Chester, NY
Set 1: New York City, Linus & Lucy#, Head > Zed Naught Z > Head, Oh Hanukah##, Angel^, Recreational Chemistry
Set 2: Puebla > Don’t Wanna Be^^, Carol Of The Bells%, Downward Facing Dog, Prestige Worldwide%%, Four > Buster
Encore: Father Christmas+, We’re A Couple Of Misfits++
# LTP > 12/13/13
## LTP > 12/06/13
^ FTP > (original – al. song)
^^ FTP > (original – jim. song)
% LTP > 12/09/13
%% FTP > (original – rob. song – working title)
+ FTP > (cover – The Kinks)
++ LTP > 12/07/13 -
Let it moe. – A Holiday Celebration at The Capitol Theatre
The holiday spirit was alive and well in Port Chester, NY as New York rock icons moe. treated The Capitol Theatre with its first ever “Famoe.ly Holiday Concert” that saw the band dust off some old holiday covers, debut a few new songs and deliver some good old improvisational rock as only moe. can.
The show also served as a benefit for Caritas, a local food bank, befitting of the holiday spirit courtesy of food donations from attendees as well as a raffle for signed posters and tickets to future shows at The Cap. Revelers pre-gamed next door at Garcia’s, a small bar attached to the venue, with libations of their choosing before settling in next door for a unique yet classic moe. show.
The band took the stage to a full crowd on the floor, although the balcony, surprisingly, was a little sparse early on with plenty of open seats to be had. In a nod to the show’s locale, “New York City” opened things up in somewhat standard fashion before bassist Rob Derhak began playing the familiar opening notes of the Peanuts theme song, technically known as “Linus and Lucy.” Their take on the classic Vince Guaraldi jazz song was the first of several tonight previously featured on their 2002 album Seasons Greetings From moe. and hadn’t been played in a live setting for nearly three years.The old school rocker “Head” then followed, replete with wailing vocals as delivered by guitarist Al Schnier, and the high energy number soon faded into a softer groove before teases of the same turned into a full on version of “Zed Naught Z.” This percussion-driven instrumental gave Jim Loughlin a chance to shine on vibes as the composed section was delivered flawlessly before the beat picked up steam again and a delightful almost “Rec Chem”-esque jam ensued, a sign of things to come, before the band roared back into the ending of “Head,” serving as a true first set highlight.
The next holiday song of the night followed with “Oh Hanukkah,” another instrumental number found on the 2002 holiday album that had somewhat of a surf rock feel to it, before a brand new song, “Angel,” was debuted. This one gave Schnier a chance to do his best Bruce Springsteen impression as this song sounded like it could have come directly from The Boss’ catalog and featured some fine complimentary play from fellow guitarist Chuck Garvey. Then, in what has to be considered one of the peak musical moments of the night, moe. ended the first set with an absolutely blistering and thorough “Recreational Chemistry” that, early on, showcased watery bass tones from Derhak and impeccable drum fills via Vinnie Amico before devolving into a dark, dissonant jam that had the whole room spellbound. From these depths, slowly and very surely, the song’s signature guitar-driven finish emerged and delivered a firm exclamation point on a well crafted first set.
“Puebla” started things off to begin the second set and picked up right where things left off with another driving and soaring jam that featured more stellar play from Loughlin on vibes before he took over on vocals himself, a rarity for moe., for “Don’t Wanna Be,” another debut number which had a moody feel to it. It was then time for the holiday spirit to be reintroduced and moe. did so with “Carol of the Bells,” another instrumental not played in several years. This short and sweet cover yielded a jam that had a brief flurry of “Rebubula” teases thrown about before quickly shifting gears and going into “Downward Facing Dog,” a song found on the band’s 2012 release, What Happened to the La Las. Once again, a crisply played composed section gave way to a rather dark and menacing jam filled with both heavy guitar and vocal distortion.
The last of the evening’s debuts followed with “Prestige Worldwide” and seems to fit the classic mold of a moe. song in that it featured stellar guitar interplay between Schnier and Garvey and another heady solo from Loughlin on vibes before giving way to another frenzied improv jam showcasing the cohesiveness this outfit has built up over the course of their 27 year career.
It remains to be seen what, if any, connection this song has to the movie Stepbrothers and Brennan and Dale’s international music corporation. And just as they did in the first set, moe. ended the second in classic style with a pairing of old school favorites. “Four” gave Garvey a chance to take lead on vocals and resulted in another jam that started out innocently enough and later ended with feverish guitar licks. Two great sets of music were capped off with a mild segue into longtime crowd favorite “Buster,” before Derhak thanked a fervently appreciative Capitol Theatre crowd.
Not missing out on one last chance to ramp up the holiday spirit, the moe. bassist emerged in full Santa garb for the encore which featured a fantastic cover choice in The Kinks’ “Father Christmas” and one last nod to the holiday album in “We’re A Couple Of Misfits,” the band’s interpretation of Hermey’s and Rudolph’s song of outcast from Rudolph the Red Nosed Reindeer. With a fantastic night of music in the books and a very successful food drive accomplished, one can only hope this is the start of a new holiday tradition for Port Chester and The Capitol Theatre, one of the more aesthetically pleasing and intimate venues the metropolitan area has to offer.
moe. ~ 12/03/16 ~ The Capitol Theatre ~ Port Chester, NY
Set 1: New York City, Linus & Lucy#, Head > Zed Naught Z > Head, Oh Hanukah##, Angel^, Recreational Chemistry
Set 2: Puebla > Don’t Wanna Be^^, Carol Of The Bells%, Downward Facing Dog, Prestige Worldwide%%, Four > Buster
Encore: Father Christmas+, We’re A Couple Of Misfits++
# LTP > 12/13/13
## LTP > 12/06/13
^ FTP > (original – al. song)
^^ FTP > (original – jim. song)
% LTP > 12/09/13
%% FTP > (original – rob. song – working title)
+ FTP > (cover – The Kinks)
++ LTP > 12/07/13 -
Interview with Michelangelo Carubba of Turkuaz, Performing at Putnam Den with The New Mastersounds
Nothing beats a night filled with funk—something the Putnam Den knows all too well. This time around on December 6, multi-talented, power funk collective Turkuaz, with drummer Michelangelo Carubba, will come together with old souls at heart, The New Mastersounds, ready to demonstrate their deep seeded talents for an Upstate New York crowd on a Tuesday night.
Turkuaz, a sizable group containing talent just as abundant as its 9-piece lineup, has explored their extensive vault of instruments, gripping vocals and dance moves each night during their 40+ co-headlining tour dates. While some might think that’s a tough act to follow, or open up for in this case, The New Mastersounds provide necessary balance to explosive dance music with their smooth tunes and classic style, crafted two decades ago directly from Leeds, UK.In conjunction with the country-spanning tour, the two outfits will come together to release a split 7” vinyl, where they take turns covering each other’s songs, while adding their own elements and sounds into the mix. Fans can also find tracks that feature the 80’s funk revolutionaries collaborating with the 4-piece smooth R&B and jazz fusion pioneers. The limited edition vinyl is now available to order, and will be exclusively available for pick up at merch tables on tour.
This co-headlining tour is sure to jam the roof off of any venue with its thick grooves, synchronized dancing and encapsulating performances, which has proven to be true so far with praised stops across the board in New Haven, Chicago, Lake Tahoe and more. Don’t miss their Putnam Den gig this Tuesday, December 6! Doors open at 8PM with a harmonious show to follow at 9PM. 18+ with a $5 surcharge for those under 21. Tickets are $17 in advance/ $20 day of show.
Ever wonder if anyone still uses ringback tones and if Mike Carubba of Turkuaz did, what it would be? I have the answer: “The Watcher” by Dr. Dre.
Q & A with Turkuaz drummer Michelangelo Carubba:
Alyssa Ladzinski: In today’s day of social media, things can blow up pretty fast. Can you explain how it felt when your performance video reached 2 million hits on Facebook?
Mike Carubba: It was exciting for us. It was the first time any of us had been a part of something that had gone viral like that. The international reach of something like that was the most exciting part for me. I had google translator working hard as I read thousands of comments from people all over the world.
AL: Being from Buffalo, NY yourself and the band being Brooklyn based, what did it mean to you guys and to your career to have your music soundtrack a New York Knicks game?
MC: That was another moment where we felt like the hard work was paying off, and the Knicks and the city of NYC sort of giving a nod to us, as being something uniquely “New York”, felt really gratifying. We’re a lucky band.
AL: You got your band name from a Turkish deli across the street from where Dave and Taylor used to live. They frequently bought Fantas—what flavor?
MC: I think Dave and Tay would dabble in all flavors Fanta. They like to really live on the edge.
AL: What’s one band you would love to tour with that you haven’t gotten the chance to? Last time NYS Music interviewed you, you said Snarky Puppy but that has since been scratched off the list!MC: There’s a lot of cool music going on right now, so it’s hard to pick one band, but I think as a group we’re starting to really set our sights high, and look for a major tour to work with. Dave Matthews, Tedeschi Trucks, the Stones would all be amazing.AL: In conjunction with the tour, you and The New Mastersounds are releasing a 7″ split vinyl where you cover each others songs and collaborate on others. What has been your favorite New Mastersounds song to cover so far? And what do you think theirs has been?MC: We’ve been playing their song, “On the Border,” and we’ve given it the P-Funk treatment, which is always fun for us. Eddie and the guys have been doing a really great job with our tune, “The Rules.” I’d like to think he’s been enjoying it.AL: As a drummer, do you have any specific brand loyalties?MC: Early on I was pointed in the right direction with the gear I used, and they’ve provided me with quality products for the last 20 years. Companies like Vic Firth drumsticks and DW hardware are companies I’ll be working with until I retire or my hands fall off, whichever happens first.AL: Let’s be honest, artists always have that one song or artist they despise playing. If any, what are yours?MC: If you ask me to play Lady Gaga, I will refuse.AL: What’s your favorite CD, vinyl or song purchase from 2016?MC: Josh Homme and Queens of the Stone Age released a live acoustic concert called Like Cologne, and anyone that knows me knows I’m a sucker for QOTSA. -
The Wizards of Winter Kick Off “Magic of Winter” Tour in Syracuse
The Wizards of Winter kicked off their 2016 “Magic of Winter” tour at the Crouse Hinds Theater in Syracuse, NY November 23. The performance was the night before Thanksgiving and while I can think of no better way to get into the holiday spirit than by listening to some rocking Christmas music, the crowd was very light. I guess people were busy prepping turkeys, welcoming out of town guests or traveling to their holiday destinations. It is a shame though because they missed an amazing show.
The Wizards of Winter is a massive ensemble that started as a Trans-Siberian Orchestra tribute band in 2009. The band quickly gained popularity and decided to write their own music and have since released two albums. The twelve-member band is made up of Scott Kelly, the musical director and amazing keyboardist, Scott’s wife Sharon Kelly on flute and vocals, Greg Smith from Ted Nugent on the bass, Fred Gorhau on lead guitar, Steve Ratchen on the bass, TW Durfy on guitar, Mary McIntyre, vocals and keyboard, Shawna Marie, vocals, Vinny Jiovino, vocals, Jenn Hamilton rocking the electric violin and former members of the Trans-Siberian Orchestra: Tony Gaynor as the narrator, Guy LeMonnier, vocals and Tommy Ference on the drums. The massive sound that this talented collaborative produces is extraordinary.
My five year old son had the pleasure of joining my husband and I for this performance and he loved it. He was on the edge of his seat the entire time and despite it being way past his bedtime, he refused to leave early. He loved the narrator, Tony Gaynor, who took the stage in between songs to tell a quick tale about where the audience was traveling to next. He loved the epic guitar solos, Mrs. Claus popping through the crowd and gifting him a candy cane and of course the flying beach balls toward the end of the set. Despite a few opening night technical difficulties, the band smiled and kept playing. The vocals were powerful and awe inspiring, the violin and flute melded flawlessly, the guitars were fierce and the drums held everything together in perfect rhythm. This is Christmas music with backbone and I loved it.
Notable favorites of the almost three-hour set included: “Flight of the Snow Angels,” “Special Feeling,” “Christmas Eve (Sarajevo 12/24) (Savatage cover),” “March of the Metal Soldiers” and “Gales of December.” Thank you to the band who took the time to meet the fans and sign a poster for my son after the show. Thank you Fred Gorhau for giving my son his first guitar pick. The Wizards of Winter created a memory that will last a lifetime for my family and especially for our son.
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Lotus Fans Eat the Light at Playstation Theater
On the night of November 25 at PlayStation Theater, an electronic jam band by the name of Lotus, set out to lift the hearts of many through musical madness. This five piece group has a way of capturing the attention of their soundwave-thirsty audience. A concert is one thing, but this was a performance.
It was quite refreshing to see this band live again. When you see a really good show live, you automatically wonder when you are ever going to get the chance to see them again. In that hiatus and chunk of time that you have not seen them, they have grown in many ways. Bands fashion and master fresh new tracks and work with each other to create something revitalizing and beautiful.Lotus commenced their musical power right at Playstation Theater before the turn of the 21st century. Since then, they have fabricated a style of unique instrumental post-rock and electronic dance, which makes their fans groove to the max.
They dropped their newest album this past summer, Eat The Light. You better believe they killed it with a few fresh tunes off this energetic composition, such as “Sodium Vapor,” “I’ve Been a Fool,” as well as hits from the past including “Tip of the Tongue,” “Slow Cookin,’” “Basin to Benin,” “Juggernaut,” “Shimmer ‘n Out,” “Suitcases,” and many more. They also covered an awesome hit by Ratatat called “Cream on Chrome.”
Lotus’ band members keep things alive and current all while adding flare to the mix to remain original. We must give thanks to Mike Rempel on guitar, Chuck Morris on percussion, Jesse Miller on bass, Luke Miller on guitar and keys, and Mike Greenfield on drums. These loyal members opened up the hearts of many like a blossoming lotus flower.
This show made a grand impact on those who were destined to be there at that very moment in time. Each song mastered a journey of transcendence, telling a story unique to its own. The soothing lighting and delicate but strong jams of the evening had everyone feeling jovial, friendly, and dedicated – a true reflection of this amazing band’s powerful yet gentle nature.
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K. Phillips Interview on Recess with Spinelli
Mr. K Phillips opened up for Rob Thomas and the Counting Crows at SPAC in Saratoga Springs, so naturally, we had to speak with this young up-and-coming ranch-raised Texan about his passion for story-telling.
Listen to interview: https://www.youtube.com/watch?v=ve-EK4DeG9M Listen to the abridged feature/interview
Recess with Spinelli: How’s the trip going, any highlight so far?
K. Phillips: Everything is a highlight. This is a highlight; we’re in Saratoga Springs there’s 24,000 seats in this venue. It’s like I died and went to heaven, I’m just glad to be here.
RWS: It sounds like this tour is largly outdoor amphitheatres?
KP: Yes. I loved it. It’s a little harder for us because the band rehearsed so much and and we’re so good at playing a club setting but nothing can prepare you for playing on a gigantic stage; it’s made out of aluminum and the sound shoots everywhere and it bounces off the back of the hill and comes back to you and it was very challenging, first to learn how to hear each other to play on the stage. I’ve been touring the United States for about seven years but that’s usually in front of you know, 15 people a night.
RWS: When that transition initially happened, from going from playing in front of 15 people to playing in front of thousands or 20,000 what was your initial mindset change?
KP: It’s actually actually easier because when there’s 5000 people watching you who haven’t seen you seen you, some of them are listening and so maybe like 2500 people are actually watching you attentively. It’s actually easier because you feel like you’re doing something. Sometimes when you play for 15 people, 2 of those people are listening. We’ve been ready to do this but nothing can prepare you for it.
RWS: The way we heard about you was through interviewing Adam Duritz of Counting Crows; Adam spoke very fondly of you and told us to check you out, How long have you actually known Mr. Duritz.
KP: In 2012…he sponsors a blog that finds new music and he listens to all of it. He doesn’t have to do that but he still does. I mean, I think that’s what makes him great, is that he loves music and he’s always filling the well. It was so funny when we started to play and he used to come to my shows and it would be 12 people, but then 1 of the 12 people would be Adam Duritz. It was almost embarressing, you know like “you like me, but I don’t have any fans yet.” I mean he’s like one of the greatest writers of our time and one of the greatest literate writers. it’s a very special thing for me. And Rob too, I didn’t know Rob before this tour; they’re 2 of the nicest guys I’ve ever met and they don’t have to be, they’re super successful, they watch every show of mine and then they going to put on a show on the kill and after that we hang out; it’s amazing. I never want it to end
RWS: Have you noticed any doors open or any opportunities come your way because of this?
KP: D’Angelico, the great New York guitar company gave me a guitar. They sent me to their showroom and I just pick out a guitar to play for this tour and that was so nice. Being somebody that they think is worthy of an endorsement, that’s kind of neat to me. Right before this tour I had a guitar in pawn which I lost because I couldn’t afford get out of pawn. And then D’Angelico gives me this way better guitar than I had in pawn. It’s just funny how your life changes so quickly when people help you
RWS: Now with Mr. Duritz, I believe that you’ve done some work with him in the past, I think I saw that he covered “Kat’s Song” and I think I heard that he worked with you on the new albums?
KP: Yeah, he let us record some stuff at his house, so one of the new songs on this was recorded at his house and actually, a guitar that we used, we found out later was the guitar from the “Mr. Jones” video, which is funny. I was like “this guitar sounds so Counting Crows. So we recorded at his house and he sang on it and he added this four-part harmony like it was nothing. A few years ago I was watching the Counting Crows. We were at the Bowery Electric and the Crows were playing a cigartette show and my friend Nekia was playing a song with them and he’s like “Dude, you gotta video tape me doin’ this song” and I’m like “Man I gotta go, I have my own show” and he said “This is gonna blow your mind.” They go into this song and I’m like “That’s funny, I have a song that sounds alot like that.” and then Adam Duritz sings “I took that young thing to dinner,” which is my line to a song I wrote called “Kat’s Song” and I realize at that moment that they’re not doing a song that sounds like my song, they’re doing my song. I started weeping, it was like a lifetime achievement award. The Counting Crows have too many good songs.
RWS: As a songwriter, would you say you have a certain duty or responsibility either to yourself or to the listener to write an honest song?
KP: My duty is to connect people and to write things which connect the song with the listener, and the only way you can do that is to have an honest narrator. When you do that, it doesn’t matter what the story is, it’s going to connect, it’s gonna help people through whatever the situation is.
RWS: How do you know whether or not you are being honest?
KP: I know because, there’s a poem by Robert Graves, which I always go back to. It’s actually what our LLC is named after. It’s called “Love without Hope” and in four lines, Robert Graves tells the story of this bird catcher in industrial England, he spends his day in this park, everyday his job is to put larks in his hat, take them to a baker, baker gives him a piece of bread, maybe a piece of coal and that night he goes with food in his stomache and he doesn’t go cold; that’s all he has to do, just grab the birds before it gets dark. On this particular day, he’s leaving the park, he’s got his birds and he sees this beautiful white carriage drawn by two white horses and inside is this beautiful squire’s daughter and here, this lowly birdcatcher, sees this girl and he looks at her and shee looks at him and he tips his cap; the birds fly out, the larks fly to the heavens and she watches them go to the heavens and he’s made this impression on this girl he’d never have a chance with. Now he goes home and he’s cold and he’s hungry, but he’s made an impression on this girl. I’ve never been a birdcatcher, bu I know from that story, I can relate and I think about that story all the time and if I wonder if my narrator is being honest, I just compare it to that, “Love without Hope.”
RWS: Was it a relief when you were finally able to put your thoughts on paper in a cohesive manor that could be understood?
KP: Yeah, but I can’t do that every time. After each song you write after every record you write, you’re just starting over. You’d think that you would get better, but the only thing that gets better is your expectations, I’ve definitely gotten better at finishing songs, I’ve gotten better at writing with people. This last record was writted to be a breakup record. That was fun for me to go like “How does this fit in?” or “There’s a song called 18 year old girls,” an 18 year old girl who like looks like a grown-up but she’s totally not. It’s funny the idea of this character who’s come out of a relationship and he’s gonna bring this 18 year old girl around to his friends and they’ll be like “What are you doing, dude?” So I am looking for more perspective than I am looking for the next what I can’t have. What gets me off about songwriting is finding different angles and funny scenarios.”
Recess with Spinelli can be heard every Wednesday 8pm-10pm EDT on WSPN in Saratoga Springs, NY on 91.1FM and on Hoxton FM in London, England every Wednesday 11pm-1am GMT 6pm-8pm EDT
Follow Recess with Spinelli: Instagram Twitter Facebook Youtube Soundcloud Mixcloud Tumblr and online at longbowmedia.us
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The Salt City Plays Tribute to The Band
The Central New York music community has always been a tight-knit one and one that has always held a fondness for The Band. Saturday night at the Palace Theater was the perfect example of this. The fourth edition of the Salt City Waltz gathered a bevy of local artists both young and young at heart to celebrate the music of The Band, whose The Last Waltz farewell concert occurred on Thanksgiving Day 40 years ago.
The Salt City Waltz was created five years ago (the production took 2015 off) under the guidance of producer Stacey Waterman and music director Gary Frenay and has quickly grown to become a Syracuse must-see. Los Blancos, with honorary Blanco Scott Ebner, served as the house “Band” and, much like the musicians they were honoring, are well-versed in all forms of American music. If there is any band perfectly fit for this role, it is Los Blancos.Rather than a re-creation of the original farewell concert, the Salt City Waltz bills itself as a celebration of the music of The Band with a focus on the music and pageantry of The Last Waltz. The original featured guest appearances from such musical luminaries as Bob Dylan, Joni Mitchell, Van Morrison, Eric Clapton, Muddy Waters, Ringo Starr, Neil Diamond and Dr. John. The Salt City version showcases some of Central New York’s finest musicians.
The Levon Helm Studio Horns, with special guest trombonist Melissa Gardiner, graced stage left all night, adding a punch of majesty and soul to classics such as “The Night They Drove Old Dixie Down,” “Don’t Do It” and “Such a Night.” The lineup of Jay Collins, Steve Bernstein and Erik Lawrence, along with Gardiner, provided the perfect accompaniment to the evening.The night began with the Salt City Waltz Ensemble performing “When I Paint My Masterpiece” and “Acadian Driftwood.” The latter was dedicated to the Standing Rock water protectors in North Dakota with an accompanying slide show. The lyrics of “Acadian Driftwood” were especially poignant as the images scrolled before the respectful crowd:
They signed a treaty
And our homes were taken
Loved-ones forsaken,
They didn’t give a damn.
Try to raise a family
End up an enemy
Over what went down on the Plains of Abraham.Following the two-song intro by the Salt City Waltz Ensemble, the members of Los Blancos ascended to the stage, with Steven T. Winston’s bass dropping the opening notes of “Don’t Do It.” Winston’s soulful voice accompanied by the horn section’s punch had fans flocking to the front of the stage, getting the main portion of the show off to a funky upbeat start.
The first guest of the night was Mark Gibson, singing “Who Do You Love.” This role is typically filled by Dugan Henhawk, who had to sit out this year’s show. Gibson gave props to Henhawk in his spirited rendition of the blues classic.Drummer and vocalist Bob Kane made his Waltz debut, performing “The Night They Drove Old Dixie Down.” An obviously nervous and ultimately gracious Kane delivered with Levon-like aplomb, accompanied by the audience. See a side stage performance of this in the video attached below.
The middle section of the set scorched as Joe Altier took the stage to belt out “Mystery Train” while Pete McMahon, founding member of local blues legends The Kingsnakes, lit up the room with some serious harp blowing. Carolyn Kelly then made Muddy Waters’ “Mannish Boy” her own, changing the lyrics to suit the powerful female behind the microphone. Her soulful presence took over the room and was one of the highlights on a night full of highlights.
Rex Lyonsof The Fabulous Ripcords traded licks with Colin Aberdeen as McMahon induced chills with an electric performance of “Further on Up the Road” to rival that of Clapton’s version, easily one of the night’s peak moments.
Nick Piccininni and Jason Barady of Floodwood joined guitarists Penny Jo Pullus and Doug Moncrief with Liz Friedel on fiddle for an “Evangeline” that brought the tempo down just a bit from the high octane prior blues stomp. This one turned into another sing-along with audience members swaying along.
No Waltz would be complete without the legendary Joe Whiting channeling his inner Van Morrison on a performance of “Caravan” that was equal parts manic, soulful and bluesy. Whiting is a veteran of the Syracuse music scene, having done everything from replacing Ronnie James Dio in Elf to performing with Van Halen and Savoy Brown. His stage presence and voice are powerful and demand your attention. His showmanship elevated the energy of the Palace to an even higher level.
The main portion of the show closed with keyboardist and America’s Got Talent semi-finalist Jonah Smith pulling off a haunting vocal performance of “I Shall Be Released.” Smith was accompanied on vocals by Donna Colton, Cathy Cadley, Pullus and Friedel for a rousing and fitting close to the main set.
The ensemble returned for an “Atlantic City” and “Life is a Carnival” singalong before the host band returned to the stage for the encore, a Levon Helm favorite, “Get Out Your Big Roll, Daddy,” a song made famous by Jerry Lee Lewis.
The Palace Theater is the perfect setting for this somewhat annual event. No expense is spared in the set design or the sound engineering. The room had terrific sound all night and the production crew deserves accolades for their efforts. Smiles were had; memories were shared and made. This town is blessed with superbly talented musicians and behind-the-scenes people. They gave The Band proper tribute and the sweaty, smiling, sold-out crowd waltzed out into the cool Syracuse air thankful for the talent they had just witnessed.
Salt City Waltz Setlist:
When I Paint My Masterpiece – Salt City Waltz Ensemble (feat. Gary Frenay, Cathy LaManna, Jonah Smith, John Cadley, Liz Friedel and Chris Eves)
Acadian Driftwood – SCW Ensemble
Don’t Do It – Los Blancos w/Scott Ebner
Up on Cripple Creek – Los Blancos w/Scott Ebner
The Shape I’m In – Los Blancos w/Scott Ebner
Who Do You Love – Los Blancos w/Scott Ebner and Mark Gibson
It Makes No Difference – Los Blancos w/Scott Ebner
Such a Night – Los Blancos w/Scott Ebner
Helpless – Los Blancos w/Scott Ebner, Jason Barady, Nick Piccininni and John McConnell
Stage Fright – Los Blancos w/Scott Ebner
The Weight – Los Blancos w/Scott Ebner and Carolyn Kelly
The Night They Drove Old Dixie Down – Los Blancos w/Scott Ebner and Bob Kane
Dry Your Eyes – Los Blancos w/Scott Ebner and Tim Herron
Coyote – Los Blancos w/Scott Ebner, Donna Colton and Chris Eves
Mystery Train – Los Blancos w/Scott Ebner, Joe Altier and Pete McMahon
Mannish Boy – Los Blancos w/Scott Ebner, Carolyn Kelly and Pete McMahon
Further On Up the Road – Los Blancos w/Scott Ebner, Pete McMahon and Rex Lyons
Evangeline – Los Blancos w/Scott Ebner, Penny Jo Pullus, Dough Moncrief, Nick Piccininni, Jason Barady and Liz Friedel
Ophelia – Los Blancos w/Scott Ebner
Caravan – Los Blancos w/Scott Ebner and Joe Whiting
Forever Young – Los Blancos w/Scott Ebner and Sean Patrick Taylor
Baby Let Me – Los Blancos w/Scott Ebner and Ed Zacholi
Follow You Down – Los Blancos w/Scott Ebner
I Shall Be Released – Los Blancos w/Scott Ebner, Jonah Smith, Donna Colton, Cathy Cadley, Liz Friedel and Penny Jo Pullus
Atlantic City – SCW Ensemble
Life is a Carnival – SCW EnsembleEncore:
Get Out Your Big Roll, Daddy – Los Blancos