Category: Reviews

Not Your Momma’s Country – Brantley Gilbert’s Blackout Tour Doesn’t Disappoint

As Brantley Gilbert’s Blackout Tour rolled into the Turning Stone Casino this past week, Central New Yorkers came out in droves to see the hard core country rocker perform.

Starting promptly at 7pm, the Event Center at The Turning Stone was packed to the gills with rowdy fans. It was a pleasure to see the center utilized to it’s fullest capacity, confirming the importance of the venue to the area and the musical acts that bring them out. Brantley Gilbert is not your every day run of the mill act though. On the road with Brian Davis, Michael Ray, and Canaan Smith for the Blackout Tour, the opening acts definitely set the momentum for the night.

Brian Davis, a relative newcomer to the crowd set up his acoustic set front and center with a stool, guitar, and red solo cup. Thanking everyone for welcoming him, he proceeded to share a few songs, a few cheers, and few sips with the crowd. Although the set was short, it was sweet, and a taste of what is to come from this performer in the near future.

Michael Ray who Central New Yorker’s may recall opened for Carrie Underwood in 2014 at the Great New York State Fair, took the stage next. Wowing them that night with Underwood, he has since climbed the charts and made a lasting impression on everyone who has had a chance to see him over the last few years. A definite crowd favorite, Michael Ray and his entire band know how to crank it up and get the party started. Most impressive to me about this young man was his willingness to connect with fans spending a good deal of time signing hats, taking selfies, and shaking hands. Artists that take the time with their fans are class acts in my book, and puts them head and shoulders above the rest.

Next up was Canaan Smith. Never seeing Canaan Smith before, he can definitely be described as one ramped up, knee buckling, country boy, that has a special knack for reaching his audiences through his music and dynamic stage presence. Whether it’s a sultry ballad or hair raising boot scooting medley, Canaan has a way of reaching inside you and touching a part of you while he’s singing. Watching him on stage was like watching a thunderstorm roll in with it’s quiet lighting in the distance, turning into a thundering and lightening induced downpour. His apparent respect for those in the service was saluted through a full size flag being waved through the air, and the storm only ended when the final drum beat rang out and the storm flew off the stage in the form of a full sized drum. If you haven’t heard of this young man yet, mark my words, this rock star cowboy will definitely grab your attention.

As the lights went down, and the video began tor roll, Brantley Gilbert takes you along on a ride throughout the countryside on the back of his motorcycle. Amped up attendees went crazy as the momentum built for the band and Brantley to take the stage, and rightly so. Brantley Gilbert isn’t your every day normal country musician. He has a clear vision for what he wants his music to be. This no holds bar entertainer spoke to the crowd about not giving in to business politics, staying true to himself and his vision. Only thing he gave was the finger, and a song called “Grown Ass Man” that demonstrates his true character and strength and not caving to business expectations. To him, it’s about the music.

Brantley doesn’t follow the crowd by any means, he lives in his hometown in Georgia with his new wife, Amber, making a life for them outside of the spot light. As he began to sing “You Don’t Know Her Like I Do”, a song inspired by his wife, he told the audience “that was the best day of my life” as a the video clip began to roll and a glimpse inside the personal lives of Brantley and Amber were shared on the screen behind him. It’s this personal peek into who Brantley is, that tells you he’s a modern day Merle Haggard or Hank Williams Jr. He’s man that believes wholeheartedly in personal rights, family, friends, and faith and he doesn’t care if you agree because that just how he rolls.

Don’t get me wrong though, he’s a softy too. As the show came to a close he had his security guard bring a young Ariana Star Levin on stage. Little did Brantley know that this was the first concert for this young lady (well first that she remembered if you don’t count seeing Willie Nelson at the age of two) and he was one of her all time favorite country musicians.

Ariana’s Aunt Audreanna had been given two VIP ticket’s as a gift and was going to bring Ariana’s mom, Christina Trainham, but knowing that her daughter was huge fan, she gave up her ticket to the sold out show and decked Ariana out in a Brantley Gilbert t-shirt that said “Bottoms Up” and sent her off to see her hero. Before the end of the night, Ariana would be on stage singing along with Brantley to “Bottoms Up” and rocking it like a true rock star she is.

I would be remiss if I didn’t give a shout out to Brantley’s band. Surrounding himself on stage with the best musicians out there you’ll find Noah Henson (of Pillar) on guitar, Ben Sims on drums, Jess Franklin ( the bandleader) on lead guitar, slide guitar, banjo, keyboard, and background vocals, Stephen Lewis on bass guitar and background vocals, and Mr. B.J. Golden a multi-instrumentalist on keyboards, mandolin, guitar, etc . etc. These men do not appear to be what you anticipate a country band to look or sound like. Metal describes them better with the dreadlocks, spiked hair, and a bandleader that can pass as Tommy Shaw’s doppelganger. Had to seriously do a double take a few times. One of my favorite moments of the evening thought was B.J. Golden playing opposite of Noah Henson and shaking his beard back and forth like Noah does his dreads. Epic moment. The fun they have on stage performing for the audience is apparent and definitely deserves mentioning.

All in all this was definitely not your run of the mill country show. The performances of the evening were sure electric, and were sure to win over any skeptics. Brantley Gilbert’s Blackout Tour is not your momma’s country music folks. It’s a true rocking event that is a must see to appreciate.

Brian Davis Set List: Hurt Like Hell Yeah, You And Me Against The World, and I Earned This Beer

Michael Ray Set List: Another Girl, Run Away With You (Big & Rich cover), Look Like This, Kiss You in the Morning. Everything In Between, This Love, Dust on the Bottle (David Lee Murphy cover), Drivin’ All Night (Jake Owen cover),and Real Men Love Jesus

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Canaan Smith Set List : Getting Into, Two Lane Road, Hole In a Bottle, Love At First, One of Those, Fire/Iris(Goo Goo Dolls cover), American Muscle, and Love You Like That

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Brantley Gilbert Set List: Read Me My Rights, Hell on Wheels, If You Want A Bad Boy, Dirt Road Anthem (Colt Ford cover), Stone Cold Sober, My Kinda Party, That Was Us, My Baby’s Guns N’ Roses, You Don’t Know Her Like I Do, Country Must Be Country Wide, Grown Ass Man (Acoustic), Them Boys (Acoustic), Outlaw Women (Hank Williams, Jr. cover), Small Town Throwdown (With Canaan Smith and Michael Ray), One Hell of an Amen, Take It Outside, and Kick It in the Sticks
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March 6, 2016
Reel Big Fish Tear Up Higher Ground

It wasn’t the ‘90s, but it sure felt like it when Reel Big Fish skanked up Burlington’s Higher Ground. It’s been 25 years since the band got its start, and they’re definitely making the most of this significant anniversary.

The age range in the Higher Ground Ballroom on Feb. 5 was surprising. My friend and I, who saw Reel Big Fish together in high school in the ‘90s, expected everyone there to be our age or older, but it seems the band is still drawing younger audiences as plenty of the kids in attendance seemed to be in their 20s or younger.

The show began with a set by a California band called the Maxies. Band members all wore creepy masks as they said purposely offensive things, made fun of the headliner and played a song about how they were better than your favorite band. They also did a really touching rendition of the All-4-One classic “I Swear,” complete with the lead singer reaching out a hand to the audience. It was entertaining, but a little too heavy on shtick and light on talent.

Next up was Suburban Legends. The band out of California’s Orange County got the show going in the right direction with some peppy ska. The lead singer, who has a seriously impressive mustache, oozed energy, and the rest of the band wasn’t exactly sitting around. They jumped around onstage, and they carried out a serious amount of choreographed moves — little things like walking left then walking right at the same time, but it was still a lot to do while also playing instruments and singing and all that those things entail.

Sadly, this band, which has a complicated background, announced in December 2015 that the 40-day tour with Reel Big Fish would likely be their last tour, but they left things open to the possibility of touring again after a break.

But they definitely had fun that night in Burlington. In addition to fun originals, Suburban Legend played a wide variety of hilarious covers like “You’ve Got a Friend in Me” and songs from Disney’s The Little Mermaid. They recently released an EP full of covers from animated movies, but their most recent album is called Forever in the Friend Zone, and they played a few tunes from that record as well. All in all, the set was the perfect way to get pumped up for Reel Big Fish.

And finally, the ska legends took the stage. Reel Big Fish launched right in with one of their hits, “Everything Sucks,” with a vengeance not always seen by bands who have been touring for 25 years.

Reel Big Fish, from Huntington Beach, California, is currently made up of Aaron Barrett on vocals and guitar, Billy Kottage on trombone, John Christianson on trumpet, Ed Smokey Beach on drums, Derek Gibbs on bass, and Matt Appleton on saxophone and vocal harmonies. Barrett is the only member of the band who remains from the founding lineup, which started as a Led Zeppelin cover band. They grew to success in the ‘90s and early 2000s, but since then they have become more of a band with a cult following, according to their wikipedia page.

The current band lineup is great — each musician has tons of character and they’re really entertaining to watch.

The band seems keenly aware of what fuels their popularity, playing plenty of songs from the albums that made them famous, especially Turn the Radio Off. The setlist bounced around between the band’s eight albums, but it started and ended with Turn the Radio Off hits. Toward the end of the show, they said they were going to play their big hit from the ’90s, and they launched into Nirvana’s “Smells Like Teen Spirit” for a few moments. Then they went through a few other ’90s hits, teasing the crowd, including Lit’s “My Own Worst Enemy” and the Mighty Mighty Bosstones‘ “Knock on Wood.” Then finally, they played the song everyone had been waiting for, “Sell Out.”

The encore consisted of a newer song, “Everyone Else is an Asshole,” before dipping back into TTRO with “Beer.” Then to end the show, they played a-ha’s “Take On Me,” which got Reel Big Fish 15 minutes of fame when they played their rendition of it in the movie BASEketball.

Overall the show was wholly satisfying. There was plenty of nostalgia but also had a good amount of newer material, and the band’s electric energy kept the crowd going all night. It’s impossible to stand still when Reel Big Fish is throwing it down on stage.

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March 6, 2016
Hearing Aide: Funktional Flow ‘Time Will Tell’

Buffalo’s Funktional Flow is starting to gain momentum. The start of 2015 saw the band undergo line-up changes. By the end of the year, Flow (as they are simply called by their fans) was in the studio recording their latest release Time Will Tell. The band has just under six years in the city’s emerging jam scene, but they are a prominent force in Buffalo’s budding community. Time Will Tell is a reflection of that.

The band’s latest release is an amazing representation of what Funktional Flow has become known for in the Queen City – organic funk fusion. They create a swirling blend of funk rhythms laced with Americana. Hints of folk, rock and bluegrass pour from the guitar work of Jeffrey Kuebler and Joey Lewis. Matt Lester adds his own variety of swing style keys and saxophone jazz elements to the mix. Bassist Ben Whelan and drummer Jim Edgar head up the band’s moniker funk sound with a solid foundation of groove and drive.

Time Will Tell is Funktional Flow’s coming of age album. Recorded and produced at Sonic Farm Studios in Colden, NY, the album is a glimpse into a group of musicians with no restrictions on their artistry. The album is varied from personal and upbeat, to relaxed and driven. With producers Dan Brace, Scott Nadolinski and Nick Sonricker, Funktional Flow have created a recorded look into a sound that is distinctly their own.

Of the albums twelve tracks, “Back Door” is by far the most successful. It’s an earworm. The kind of song you want to listen to on repeat. It has the qualities of a song that gets people to listen to a band later simply because they want to hear “that” song again. With a catchy chorus and a definitive groove, “Back Door” may just be the song to launch Funktional Flow out of the Western New York scene.

“Strong Feeling” could be the album’s most overlooked track, with a 90’s fusion that playfully captures the best of the decade’s sounds of ska, jam and college rock.

Songs like “Moving On” and “Time Will Tell” are the true showcase pieces of the signature Flow sound. Thoughtful fusions of reggae, funk, and rock that feel like soundtracks for a day at the beach or an early summer drive with the windows down.

Funktional Flow isn’t afraid to go toward a more intimate place either. The album’s second single “On the Way” is a personal look at embracing life’s changes – a song written by Kuebler after learning he and his wife were expecting. And whereas a song of that style could lend itself to popish tendencies, there is a beautiful resolve to this tune that balances both the subject matter and the musical style.

The album concludes with an instrumental titled “Ben’s Beach”. Its may sound fairy tale inspired, but it’s the kind of song you might listen to while sitting on the coast line at night. There is a cool, calm variety of groove that at moments almost nods to fellow Buffalo groove rockers Aqueous’ in its spaciness and layered technical execution.

Musically, Flow is heading in the right direction. Vocally, there is room for growth. The bands two main vocalist, Kuebler and Lewis have very distinctive and different vocal styles. And generally on the album, you hear them separately. But if they can figure out a way to fuse their two styles and play more with harmonies and lyrical exchange, it could just be the extra “something” that makes Funktional Flow stand out.

Time Will Tell drops for official release on Saturday March 5. The band will be hosting a Roaring 20’s themed CD Release party at Buffalo Iron Works with special guests AjamajA. The CD will be available for purchase through Bandcamp.

Key Tracks: “Back Door”, “Strong Feeling”, “Time Will Tell”

March 5, 2016
Hearing Aide: Chris Maxwell’s ‘Arkansas Summer’

Chris Maxwell‘s Arkansas Summer is his first release as a solo artist, but the Woodstock resident first appeared in New York’s music scene in the mid-1990’s, when his band Skeleton Key became known for its well-tailored combination of unruly grunge and mass-appeal rock ‘n roll. The right-place-right-time conglomeration of sub-genres landed Skeleton Key a major label deal, resulting in the 1997 Fantastic Spikes Through Balloon. After a period of touring behind the album, hitting several continents and playing shows with some of the era’s best-known alternative acts, Maxwell left the band and struck out on his own.

In the time since, he’s accomplished seemingly everything in a solo career other than putting out an entire record under his own name. He’s been a producer, a co-writer, a composer for commercial projects like Bob’s Burgers and Inside Amy Schumer, and he’s used these experiences to built up to what is now Arkansas Summer, an album whose title fittingly circles back to the beginning of it all.While the album’s stylistic shifts and carefully unfolded genre transitions contextualize the extensive musical background Maxwell has developed, the album consistently stays grounded in the traditional americana influence of an upbringing in the South.

Leading with an ethereal, sentimental track titled “Strange Shadows,” the record quickly sets a standard for swift changeovers by evolving into “Have You Ever Killed Yourself,” an aurally uptempo song defined by its hammond organ grooves and its electric guitar riffs. The two songs show serious Jeff Tweedy characteristics in their personal lyricism and Maxwell’s seemingly cigarette-stained – yet controlled, graceful – vocals.

It’s the introduction to the album’s fourth track, which follows a brief recording of a woman candidly speaking in the assumed accent of Maxwell’s native Little Rock – driving home a wistful thematic overture of Maxwell’s roots – that the Tweedy comparison is at its most obvious. “Imaginary Man” begins with an intricate display of acoustic picking patterns coupled sparingly wth the musician’s engaging vocals. Eventually building up to a full-band finish reminiscent of Jakob Dylan’s Wallflowers days, the track is a definite American Summer highlight.

Much like the initial stages of the record, tracks five through thirteen each show a different take on Maxwell’s ability to express his history through songwriting. “Arkansas Summer” is a patiently epic piano ballad, and “Devil Song” offers impressive production skills with its ominous and eclectic instrumentation.

It’s taken a long time and great deal of experience for Chris Maxwell to get to the point at which he finds himself with American Summer. If the album feels like winding, compelling journey for the listener, it’s because this is exactly what shaped Maxwell’s ability to make the album. From start to finish, American Summer is the work of someone who has earned his credibility, his influence, and his wisdom.

Key Tracks: Imaginary Man, Arkansas Summer, Devil Song

March 5, 2016
Anders Osborne Beams at The Westcott Theater

On a night capping off a daylong deluge in Upstate New York, it was all rays of sunshine inside the Westcott Theater when Anders Osborne and Tom Hamilton’s American Babies took the stage. The two guitarists are both at the top of their game and were showing why to the well-packed and exuberant crowd.

American Babies got things started with their unique blend of Americana and electronica, showcasing Tom Hamilton’s history, present and future together in one jam-happy presentation. Classics like “Tangled Up in Blue” started in the Jerry Garcia Band style before evolving slowly into an electronica-based section. While the first single off their forthcoming album, “Synth Driver,” exhibited the electronica influence early before mellowing into a spacey improv.

After a solid hour-long set, the band thanked the audience and exited the stage while the house music took over. Seconds later, with no prompting from the crowd, the band came back out, “They said we can play some more.” And that they did! Another 30 minutes brought unexpected highlights like a lengthy “Old Time Religion” > “Joeline” combo, and a “What Does it Mean To Be” that blasted toward the finish line with a rocking jam. It was 50% more American Babies! What a deal.

With set-opening “Five Bullets,” Anders Osborne and his band were “coming in hot!” as a member of the crowd aptly called out. Osborne smiled and pointed, repeating, “We’re coming in hot!” In previous years he might have started high and kept the energy high all night. With his current band, featuring his long-time bass player Carl Dufrene, Brady Blade on drums, Eric McFadden on guitar and mandolin, and Danny Eisenberg on keys, he was able to put together quite a dynamic set.

Surrounding himself with such incredible players, Osborne wasn’t required to stand front and center every song playing blistering solo after solo. And because the band was so good, that was actually not a bad thing.

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Things were immediately taken down a notch with “47,” where Osborne’s recent forays with Phil Lesh’s band came to the fore in a beautiful reserved Jerry Garcia-esque jam. More Dead-influence was showcased in “Dyin’ Days” that featured some excellent work by McFadden playing off Osborne. The song wound its way up to ferociously before erupting into a quick “Down By the River” finish that left the crowd wondering if the set was already peaking three songs in.

With the bouncy blues of “Lafayette” and slow-building “Pontchartrain” from Osborne’s forthcoming album, it was clear this band still left room for surprises. Each song brought it’s own unique flavor, steeped in Louisiana’s musical cuisine.

Tom Hamilton and his backing rhythm guitarist Raina Mullen joined just Osborne and a mandolin-wielding McFadden for a mostly acoustic take on “Friend of the Devil.” Then McFadden and Osborne continued acoustically to play “Coming Down” as a duo. with Osborne scatting along with his guitar and McFadden trading licks on the mandolin.

[embedyt] http://www.youtube.com/watch?v=MGRXfgaQNw8[/embedyt]

The slinky reggae groover “Sarah Anne,” took a turn when Dufrene stepped to the front and blasted the groove into a dark space. A full-band improv ensued that could best be described as a beautifully controlled madness. It set your arm hair at attention. Osborne clearly felt it too. As soon as the song ended, he raised his arms in victory, looking excitedly around at his band. After a couple mid-set hugs, he stepped to the mic with a huge grin, “What is this place? Why haven’t we played here before? This is my favorite gig of the whole tour!”

The joy continued when they came back out for the encore. Osborne expressed his appreciation for the crowd, telling of his battles with addiction and how he’s built himself back up over the past seven years. This show, and the crowd’s enthusiasm, were vindication for all his hard work. He was truly excited about the amazing reception he was getting. On this rainy Syracuse evening. it truly was all sunshine on the inside.

Setlist: Five Bullets, 47, Dyin’ Days, Lafayette, Pontchartrain, Lean On Me/Believe In You, Friend of the Devil*, Coming Down, Move Back To Mississippi, Sarah Anne, Windows, Send Me A Friend
Encore: Call On Me

*with Tom Hamilton on guitar and Raina Mullen on vocals

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March 5, 2016
The Lightkeepers Serve a Hot Dish to a Hungry Shifty’s

Aside from their famous hot wings, Shifty’s in Syracuse is known for hosting some incredible musicians including local quintet The Lightkeepers. The 2016 SAMMY awards nominated group settled in last friday night and cooked up a heater to a packed house, hungry for more than just chicken. Nestled into one corner of the tavern, no bigger than a port-o-potty, is where the five-piece rock band stationed themselves allowing the most room possible for their fans to dance comfortably.

As folks trickled in, the band eagerly took the stage and kicked off the first set with the very groovy tune “Miracle,” from their recent self-titled album. Jes Sheldon led the band on this swinging song with her sassy, powerhouse vocals that rival the likes of Aretha Franklin and Amy Winehouse. Swaying and twisting her slender frame from song-to-song, provoked the crowd to boogie without hesitation. Aaron Fried escorted the parade on Bob Dylans’ “Serve Somebody” and their original, “Empty” with some distinct bass-influenced rhythms. Participation from the audience began to pick up as they helped sing a soulful rendition of “Come Together” by the Beatles. Having never played at Shifty’s as The Lightkeepers until now, the group collectively played their cards right, mixing up a balanced list of originals and covers.

After a short break, the troop of entertainers hit the stage once again and brought the fire with a funky original, titled “Bruteforce.” Following closely was an attractive trio of segued covers “Boogie On Reggae Woman,” “The Weight,” and “Hard to Handle.” P.J. Will governed the rhythm guitar on “Rock Steady” with funky-fast guitar wahs while Mike Vincitore tore up the proverbial rug with his untamed six-string guitar. Tucked neatly along the photo-blanketed back-wall, sat Jim Dunham on the drums, vigorously driving the Lightkeepers with his cognizant flow and time-keeping.

A slow psychedelic rendition of “Whole Lotta Love” featuring a heap of sensual vocals and swelling guitar licks brought the energy of the room to a lull only for brief moment before the band jumped into the riff-heavy, “Cryin’ Shame.” Before closing out the second set, the ensamble knocked down the Doors with “Light My Fire” and a new unreleased rock song titled “Damaged.” Nearly consumed by the supportive crowd, the band finished up the evening with a spot-on “Soulshine” segueing into “Sugaree” for one last heightening sing-a-long. Check out the full set list below and be sure to catch another show coming up where you can purchase their full length album and some cool swag.

Listen to “Mr. Coltrane” (written by P.J. Will) and “Snowflake” (written by Aaron Fried) performed at Shifty’s and recorded by sound engineer Patrick Allen.

Set I: Miracle, Birdie, Just Dropped In, Gypsy Lights, Serve Somebody, Empty, Come Together, Mr. Coltrane, Snowflake, The Thrill is Gone, Mae, Love the One You’re With, River of Atonement, Tried & True, Water Needs Wine, Gimme Shelter

Set II: Bruteforce, Boogie On Reggae Woman > The Weight > Hard to Handle, Rock Steady > Mr. Charlie, Mexican Plane, Save Me > Stormy Monday, Whole Lotta Love > Cryin’ Shame, Astronaut, Valerie, Light My Fire, Dear Mr. Fantasy, Damaged

Encore: Soulshine, Sugaree

Video by Lori Newcomb

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March 4, 2016
Sunday Night Legends: Dave Mason and Leon Russell at The Egg

Watch the Oscar’s or go see live music? Leo and Chris Rock or Leon Russell and Dave Mason? It wasn’t a close call when The Egg announced the pairing of two legendary musicians from the 60s who have continued to create and perform music to crowds for nearly half a century.

Dave Mason (no relation) got the night started with songs spanning his career, featuring solo work and songs written during his time with Traffic. A darker “Dear Mr. Fantasy” came early in the set and was hauntingly bluesy, a theme reprised throughout the set. An extended blues jam was patient and went beyond with Johnne Sambataro (guitar) and Anthony Patler (keys) taking requisite solos; they synced up well and carried the song through its motions without a need to rush. “Good 2 U” came from a certain era of 70s rock that is smooth, accessible and engaging without being too jazzy or improv reliant. The set closed with “Feelin’ Alright,” rearranged slightly for a darker vibe, as well as the encore of “All Along the Watchtower.”

The only subpar aspect of Mason’s set was the backdrop for the band. What amounted to a computer screen broadcasting behind the band was basically a billboard for albums and dated promo for the artist as though he was just getting around to branding himself in 1995 and never updated his ad set. There were some albums, cover art and his music catalog along with some old photos, but it felt as though Dave Mason’s Traffic Jam could have used a much more psychedelic feel to their stage presence, beyond the music.

After a short change over, Leon Russell took to his white grand piano to perform Elvis’ version of “I Got a Woman” and didn’t hesitate to keep playing the hits. “Rolling in my Sweet Baby’s Arms” and “Let the Good Times Roll” fit the label of not soft rock yet not hard rock. It was Goldilocks rock: just right. Russell told stories about playing The Concert for Bangledesh at George Harrison’s behest and performing in Woodstock for Bob Dylan, including on “A Hard Rain’s Gonna Fall.”

A classic country version of “Wild Horses” was highlighted by the pedal steel of Beau Charron who was versatile on the keys and mandolin over the course of the night. “I’ve Just Seen his Face” by The Beatles had a Widespread Panic sound to it which was followed shortly after by a remark about the All-Star Mad Dogs and the Englishmen set that he performed at Lockn’ Festival this past September. “Delta Lady” and “The Ballad of Mad Dogs and Englishmen” both reminded me of that powerhouse set with Tedeschi Trucks Band, Chris Robinson and the singers from the original album, all of which Russell spoke highly of in reminiscing. “Roll Over Beethoven” served as the final song of the night, and while a dual encore of Dave Mason and Leon Russell would have been great, there were no complaints to be had from a night of classic rock at The Egg.

March 3, 2016
Hearing Aide: ‘Vinyl: Music From the HBO Original Series — Volume 1’

Atlantic Records and Warner Brothers Records have teamed up to release the official soundtrack of the new HBO series Vinyl. The first volume was released on February 12, two days before the series premiere on Valentine’s Day. The second volume is expected to be released on April 15, two days before the season finale. Both volumes are expected to be released on vinyl (how fitting).

Vinyl director Martin Scorsese is easily one of the greatest filmmakers of all time. It’s not just his ability to craft and tell a story, or his unique vision, or his fearlessness to never stray from anything dark and controversial, Scorsese really rises above the rest by incorporating music into his projects flawlessly. Whether it’s introducing a character, a love scene, or a couple of wise guys getting whacked, Scorsese always manages to find the perfect sounds that clutch to our emotions. Scorsese is no stranger to the ever evolving music industry, especially with legendary rockumentaries attached to his name like The Last Waltz, Shine A Light, No Direction Home: Bob Dylan and George Harrison: Living in the Material World; it is clear he has a finger on the pulse of some prolific music.

Martin has never been shy about projecting his love for the Rolling Stones and he frequently dips into their catalog. Whether it was “Jumping Jack Flash” in Mean Streets when Johnny Boy (DeNiro) is first introduced, as he walks into a bar with two women on each arm in the peculiar dark red lighting, or the opening scene of The Departed when “Gimme Shelter” opens the film, painting the picture of pure evil with the lyrics “rape, murder, it’s just a shot away.” “Gimme Shelter” also makes appearances in Casino and Goodfellas as well because why wouldn’t it?

Scorsese’s most recent project finds himself side by side with his idol Mick Jagger as co-creator of the new HBO series Vinyl (along with Terence Winter). The series takes place in New York City in the early 1970s, the epicenter for sex, drugs and rock and roll. The story follows a record executive, Richie Finestra, as he tries to adapt to the changing tides of the music scene, especially with punk and hip-hop on the horizon. Finestra is head strong on finding new talent to save his tanking record label and he has a laundry list of problems, including a cocaine habit that makes Scarface look like he had his shit together.

Scorsese uses music as good as he ever has in this series. The first volume includes takes from The Meters, Otis Redding, Edgar Winter, and even the fictional band from the series, the Nasty Bits (fronted by Mick Jagger’s son, James Jagger). With the series currently underway there’s a lot that can still happen, but after three weeks it seems like the series is setting itself up for a twist. Vinyl airs on Sunday nights on HBO and HBO streaming services.

Key Tracks: The World Is Yours, Sugar Daddy, Rotten Apple

March 3, 2016
Top 10 Reasons moe.’s Tropical Throe.down Was Amazing

moe. threw an amazing party Jan. 11-14 in Jamaica. This year’s Throe.down was combined with Little Feat’s annual destination festival called Feat Camp, and it was held at Jewel Paradise Cove in Runaway Bay, Jamaica.

Now that we’ve had a little time to ruminate on the amazing experience (yeah, yeah, we know, it’s been a long time), here are our top 10 favorite things about moe.’s Tropical Throe.down 2016.

1. Rob playing an entire song laying down
It was pretty epic. During the final moe. show of the festival, bassist Rob Derhak sat down in a chair for a few moments earlier in the show, but later on, someone switched the upright chair out with a lounge chair. Rob took the bait and sat down, laying back and kicking his feet up in front of him as he picked away at the laid-back new tune “Montego,” an instrumental debuted at the band’s New Year’s run in Albany.

Toward the end of the song, guitarist Al Schnier grabbed an inflatable whale that had been making its way around the resort pools for the last few days and the stage that night. He threw it on the ground near Rob and sat down straddling it as the two jammed with Rob slapping the shit out of a nasty bass solo.

The song transitioned into “Billy Goat,” a song that Rob sings, meaning he had to stand up. It was pretty entertaining to watch him try to haul himself out of the chair while playing the lead-in to the song without stopping. After some bad attempts with his legs flailing awkwardly, he finally took a second from playing so he could get up. Then he launched into a badass “Billy Goat” to end the set.

2. Sweet Billy Payne sit-ins
Little Feat’s keyboard player Bill Payne sat in with moe. on a handful of songs throughout the festival: “Sensory Deprivation Bank”>”Happy Hour Hero” on the second night and the Jimmy Cliff classic “The Harder They Come” and “Bring You Down” on the final night. moe. has had plenty of keyboard players sit in over the years, but Payne may be one of the best — he meshes well with the band’s sound while filling it out in strategic places. And the guys definitely seem to have fun playing with him.

It’s not the first time that Payne has sat in with moe. He joined the guys for their Halloween 2014 show in Las Vegas. The show was “The Big Lebowski”-themed, and Payne dressed as the Stranger, the movie’s narrator.

3. 85 and sun
We all know it hasn’t been the coldest winter in the Northeast, but it was still a huge relief to be in a place where it’s 85 degrees and sunny nonstop. And the resort where Throe.down was held, the Jewel Paradise Cove Beach Resort & Spa, was great — three swim-up bars, great food, the hot tubs were hot and the pools were refreshing, and you were never far from anything. Plus the service was usually super helpful, you could go on a free glass-bottom boat tour or snorkeling expedition or try their kayaks or other boats, and there was even a super-fast waterslide in the middle of the resort.

And Jamaica is an amazing place. Many of the people there seem to be friendly and positive people. We had several people tell us, “In Jamaica, there are no problems, only situations,” and we heard the refrain “No problem” each time we asked for anything.

4. “Ziggy Stardust” in honor of Bowie, “Donkey Show,” and other amazing music
Memorable musical moments at Throe.down were abundant. But the most poignant was probably when the band played “Ziggy Stardust.” David Bowie had died the day before, but it wasn’t until Jan. 11 that the news started to spread, and that night, moe. payed tribute to the rock icon with one of his most well-known songs. It was the third time moe. played it — they debuted it in 1999, and they brought it back out again for their Star Wars-themed Halloween 2015 show.

The least poignant moment — but still a super entertaining one — was when the band finished out Throe.down with “Tijuana Donkey Show,” the first time they had played it since 2007. Originally a song from side project Ha Ha the Moose, moe. played “Donkey Show” a handful of times between 2004 and ’07 before giving it up. Until the crowd insisted that it be the Throe.down 2016 encore. Percussionist Jim Loughlin, who drums for Ha Ha the Moose as “Sludge,” took over the drums while drummer Vinny Amico covered percussion.

The band also broke out “Defrost” again, which they played on New Year’s Eve for the first time in eight years. It was in heavy rotation in the mid ‘90s, but the band stopped playing it for an 11-year gap, pulling it out once in 2008, then again New Year’s Eve.

Other notable moments:
– moe. occasionally played a great version of Little Feat’s “Spanish Moon,” but with Little Feat co-hosting the festival with moe., they decided not to play what has become a popular cover among fans. But that didn’t stop moe. from teasing it a bit. During their Jan. 11 show, moe. played an extended jam featuring melodies from “Spanish Moon” in the middle of their “Cissy Strut” encore, getting close but never quite getting into the full song.
– They also teased ZZ Top’s “Waitin’ For the Bus” during the second set opener, “Puebla,” on Jan. 11.
– It was their frst time playing “Cantina Band” from Star Wars in a show that wasn’t billed a being “Star Wars” themed (third time overall).

5. If you like pina coladas…
And besides the regular shows, the daytime acoustic set was a whole other mess of fun. The guys played the set at Jimmy Buffet’s Margaritaville in Ocho Rios, but before the show, most of the band members joined fans on a catamaran ride and lunch with a company called Cool Runnings. The boat launched from Mahogany Beach in Ocho Rios and everyone was given a chance to snorkel, then there was a lot of rum punch, loud music and dancing. Some of the band members may have learned how to twerk.

Then, after lovely outdoor buffet lunch, everyone was bussed to Margaritaville, where moe. played a super fun acoustic set in the sun. They played some great covers including “Escape” — the “if you like pina coladas” song — the Violent Femmes’ “Blister in the Sun,” “Cajun Moon” by J.J. Cale, and the Talking Heads’ “This Must Be the Place (Naive Melody),” first played this New Year’s Eve. The song had the staff swaying to the tune by the end.

The set also included “Blue Eyed Son,” “That Country Tune” and “Johnny Lineup,” along with a few other tunes the band plays more regularly.

There’s something amazing about sitting on a deck, sipping margaritas and basking in the sun while listening to one of your favorite bands play a few dozen feet away. Even if the sound wasn’t perfect, it was still super entertaining. Jimmy Buffet would be proud.

6. Medeski Martin & Wood
The instrumental trio was billed as a special guest, and special they were. They refer to their music as an “amalgam of jazz, funk, ‘avant-noise’ and a million other musical currents and impulses,” and that pretty accurately described what it was like to see them play three days. The band swings from one influence to the next in a way that’s very fun and engaging, if sometime a little hard to follow. Their cover game was on point (or on fleek? Is that how you use that term?), ranging from Duke Ellington to David Bowie. MMW’s “avant-noise” bit seemed too much for a few of the fans to take, but for the most part, the crowd bobbed their heads and danced along as the creative trio brought them on an enjoyable musical journey.

And fans who stayed on for an extra day at the end of the festival were lucky enough to see both John Scofield and Warren Haynes sit in with MMW for a few songs. Both musicians were arriving for Government Mule’s Island Exodus 7, which began at the same resort the following day.

And with a band full of guys who are so cool and down to earth, that’s awesome. You’ll have plenty of opportunity to ask them all the moe. questions that have been keeping you up at night, like why did they stop playing “Disembodied Head,” or what on earth is going on with “Lazarus” these days, or what’s up with moe.down? But you might just find yourself cutting them a break and shooting the shit about the weather when you run into them, cuz hey, they’re on vacation too.

10. The drum stick trick

Watch this, paying special attention to Jim right around 1:01:45.

Jim and Vin are freakin’ ninjas. Apparently they’ve done this before. It’s amazing.

March 2, 2016
Hearing Aide: Ten Cent Howl’s ‘Ain’t It Strange’

Ten Cent Howl does the Americana genre proud on their latest album Ain’t It Strange. Featuring the deep and distant voice of Bill Smith, who sounds like he is coming to us from a different era a half century ago, this band makes it nearly impossible for listeners to not be tapping their feet and singing along after just one listen. All the songs on the album seem to be characterized by the perfect mix of catchy lyrics in the choruses, interspersed with beautiful poetry that is definitely worth focusing on. Also, as an added bonus, if you are of the opinion that one can do no wrong as long as there’s a mandolin playing, then this album is for you.

Sounding like they come from a simpler time, unspoiled by the marvels of modern technology, Ten Cent Howl offers a refreshing glimpse into rural American living through their vacillatingly uplifting and melancholy songs, many of which are about love lost and found. While one can say this has been done already, Ten Cent Howl manages to put more on the table, with each band member seeming to be giving it their all on each and every tune. Featuring Jerry Hall on the bass, Harmony Griffin and Tim Pitcher on guitars, Peter Ramos on drums, and Bill Smith on guitar and lyrics, this band sounds like they have been playing together for decades, just like the music of the past, passed down through the generations. Listening to this album, one feels as if they have been transported to a country bar in the ‘50s, the way the harmonica licks come flying, the pedal steel strings are picked and the extraordinary harmonies that are belted out.

From the Johnny Cash-sounding “33 Days” to the Roy Orbison-esque “This Is Real,” there is something to please everyone on this album, appealing to those who appreciate an album for its instrumentals, with its ideal mix of electric guitar, pedal steel, mandolin, and harmonica, as well as to those who are more interested in the vocals, with Bill Smith’s perfectly polished yet old timey quality, and fellow band members Hall, Griffin, Pitcher, and Ramos, who all seem to be able to harmonize so flawlessly. With a growing fan base in the Buffalo area, the band’s hometown, having numerous gigs lined up at local hotspots Sportsmen’s Tavern, where the band celebrated its release of Ain’t It Strange on February 27, as well as other area favorites including 189 Public House and Tudor Lounge, one can only hope that these guys will venture further to bring their wonderful timeless take on Americana music to the rest of the world. In the meantime, give Ain’t It Strange a listen; I can guarantee you won’t be disappointed.

Key Tracks: Never Ceases, This Is Real, In View of Her

March 2, 2016