Summer time is what NYS Music considers their busy season. With outdoor venues in full swing, festivals across the country, and every band that is touring out on the road at this time hitting the Northeast during the warmer weather, it becomes quite hectic keeping readers up to date on the latest of happenings. Sometimes once things settle down a bit, it is better to just reflect back with a cup of pumpkin spice coffee or a great Saranac Oktoberfest, and enjoy these highlights after the fact. In this case, it’s time to reflect on the 2016 Great New York State Fair.
With a brand new entrance, the Fair welcomed more than 1,117,620 visitors through its gates this year, breaking all previous records. With the new found space acquired after the demolition of the Grandstand area, the Fair was able to spread out a bit more giving fair goers more elbow room with its new configuration. With all concerts now completely free to Fair goers, it was a pleasure to be able to see a wide variety of acts as they visited Central NY this year.
The lineup this year offered a little something for everyone. Newcomers X Ambassadors made an appearance as well as Kesha, Big Bad Voodoo Daddy, Toto, Survivor, Macy Gray, Brian Wilson, Herman’s Hermits, Flo Rida, Culture Club, Rachel Platten, A Great Big World, and Chicago together with a multitude of other national and local acts from today and yesterday throughout the fairgrounds.
Being a child of the 80’s, Air Supply was one of those bands that dominated the airwaves during that time singing ballad after ballad touching the hearts of many. This Australian duo have been making beautiful music since 1975 and this long lasting duo was widely welcomed by fairgoers this year. Choosing from their expansive catalog of hits, such as “All Out of Love,” “Even The Nights Are Better,” and “Every Woman In The World” to name a few, Roger Hitchcock and Graham Russell jumped around the stage in the heat, waving and pointing to fans just as they did back in the height of their careers back in the 1980’s. Those in attendance were well entertained, and it was a pleasure to take the time travel back to my 7th grade dance once again.
Another band extremely popular in the 70’s and 80’s drew a huge crowd when The Commodores played on Day 5. Still moving and grooving like they did all those years ago, William King, Walter “Clyde” Orange and J.D. Nicholas played favorites such as “Nightshift,” “Easy,” “Three Times A Lady,” and their signature song “Brick House.” The electric experience had the crowd up on their feet the majority of the night singing and dancing along.
Bruce Hornsby and The Noisemakers also drew a large crowd. Playing favorites such as “Mandolin Rain” and “The Way It Is,” this musical master proved to be so much more than the pop star one expected. Traveling around in the early 90’s, Bruce joined the legendary group The Grateful Dead on tour, and has performed with legendary country performer Ricky Skaggs since 2007. You can see the influences of these two genres reflected in his new body of work which pleased me beyond belief. Concert attendees anticipated a remix of music that brought him to light and he delivered that and so much more with his new sound of bluegrass music. Amazingly entertaining was Mr. Bruce Hornsby and The Noisemakers. Yes indeed.
On the final Sunday fair goers had a nice mix of rock and blues as they welcomed legendary blues guitarist Robert Cray at the early show. Cray’s music was uplifting and catchy as he worked cute comparisons of love and food and animals into a mix of bluesy goodness that brought a smile to your face. With numbers like “Side Dish,” “Chicken In The Kitchen,” and “Great Big Ole House,” Robert Cray’s ability to work puns into his lyrics was endearing and his musical genius proved to the packed crowd that he is one of the greats.
Daughtry packed Chevy Court, as thousands of fans waited for the former American Idol star to take the stage. Surprised by the size of the crowd taking in the show,Daughtry howled at the crowd claiming that he “Did not know we had this many friends here in Syracuse. Damn, Ya’ll ready to have fun with us tonight? You ready to party with us?” Daughtry then led the crowd in clapping their hands as the band played “Feels Like Tonight.” Taking a quick breather after the song “Superman,” he shared with fans that the band was in the process of writing a new album and joked that the band didn’t have a new song yet to play for them, but all he knew was that it would be a rock album. Daughtry held the mic over the crowd several times as fans were singing along with him. Giving a shout out to his keyboardist, Elvio Fernandes, Daughtry shared that this local hometown hero was born and raised in Rochester. A very fan oriented musician, it was not a surprise when he called a fan to the stage to sign his guitar, and better yet, to have the entire band sign the guitar.
For fairgoers each year, there are tried and true exhibits, agriculture competitions, events, and food vendors one must visit to truly experience the fair. Whether it’s fried dough, wine slushies, rides, horse competitions, or the Indian Village, the Great NY State Fair has something for everyone’s taste. One of the new events that was most popular was the food truck contest. This event went over amazingly well as thousands took advantage of the $2 tasters all day long as the food trucks lined Chevy Court. From was peanut butter and jelly to meatballs, there was literally something for everyone. After a day long of tasting each purchase gave you an entry ticket to win prizes for both the taster and the food truck owner.
Literally thousands of new yorkers and tourists from beyond, visit the Great New York State Fair for 12 days at the end of summer, each year. Traditionally, the last day is reserved for the best deal, $1 admission. What appears to be the biggest day for attendance, has now become the busiest day for the Chevy Court. On Labor Day, Chicago entertained just over 30,000 people with a fantastic performance full of rocking guitar licks, heavy horn-playing, and soaring vocals. Beginning their 2-hour long set, the band embraced the stage for the first time in 26 years with an instrumental introduction before kicking off with “Questions 67 & 68” as “Dialogue (Part I & II)” followed. Throughout the whole show members took turns strutting their moves at the front of the stage, bringing fans deeper into their performance. Highlights of evening included their super hits, “Beginnings,” “Free,” “25 or 6 to 4,” and “Saturday in the Park” followed by a spectacular fireworks display at the front gate as attendees exited the fair for the last time.
Bruce Hornsby and The Noise Makers Setlist: On Western Skyline, Across the River, Funhouse, Tennessee Jed, Celestial Railroad, Pretty Polly, Every Little Kiss, Over the Rise, Jacob’s Ladder, Life in the Psychotropics, Mandolin Rain, The Way It Is, Encore: Rainbow’s Cadillac
Robert Cray Setlist: Chicken in the Kitchen, Poor Johnny, It Doesn’t Show, Nobody’s Fault but Mine, On the Road Down, Phone Booth, Two Steps From the End, Side Dish, Great Big Old House, I Shiver, Right Next Door (Because of Me), Strong Persuader, You Move Me. Encore: Time Makes Two
Daughtry Setlist: Go Down, Outta My Head, Feels Like Tonight, Waiting for Superman, Renegade, In the Air Tonight, Crazy, Tennessee Line, Home Sweet Home, Diamonds, It’s Not Over, Over You, Home, Long Live Rock & Roll. Encore: September, Purple Rain
If you loved the boy band music of the 90’s, then the Boy Band Review – a Boy Band Tribute, is the show for you! Made up of six members, the Boy Band Review consists of former Broadway stars who shine as they lay their hearts on the line to bring you a truly nostalgic performance. They bring their all to the stage with an energetic, fun performance chock full of hits from the likes of New Kids On The Block, N’sync, Boyz II Men, Hanson and more.
Featuring Jeb Roberts (Guitar), Adam Egizi (Bass), Andy Davis (Drums) and Dom Scott, KC Comeaux and Josh Hobbs on vocals, this tribute show is a true throw-back experience that will most definitely transport you back to your adolescent years. Complete with singing, dancing, and great stage lighting, the Boy Band Review comes dressed to impress in the most memorable of outfits worn by your most beloved boy band members. They interact with you on stage and off, enticing you to let your guard down and shout out the lyrics during each of these nostalgic songs.
Surrounded by die-hard 90’s boy band fans it is virtually impossible to resist the urge to join in, sing along, and just plain let loose with those who remember every word and dance articulation of the artists they knew and loved. They might even surprise you as they welcome your participation in an intimate, personal moment – like the drummer proposing to his girlfriend. Not something you would expect from a grown man in overalls with one of his shoulder straps undone!
As promised, the Boy Band Review – a Boy Band Tribute really is a throw back experience and these “New Kids” definitely “bring the heat up to 98 degrees” to bring you back and relive your best years- even if only for a moment in time.
Setlist: Backstreets Back, Byebyebye, No Diggity, Mmmbop, I’ll Make Love To You / End Of The Road / On Bended Knee Medley, It’s Gonna Be Me, Motown Philly, You’ve Got It, All My Life / All Or Nothing, I Want It That Way / Larger Than Life
Encore: Summer Girls, What Makes You Beautiful, Pop
Be sure to follow the Boy Band Review on Facebook. Have your high tops and wrist bands ready for when the Boy Band Review announces a performance in your city!
London born and newly naturalized U.S. citizen hip-hop legend Slick Rick will begin his “Coming Home Tour” in the United Kingdom on Friday, November 25, 2016, at Mantra in Manchester. The tour will continue the next night at 02 Forum in London, followed by stops at 02 Academy, Bristol on Sunday the 27th, Birmingham’s 02 Institute on Monday the 28th, and The Sugar Club in Dublin, Ireland on Tuesday the 29th, before concluding in Brighton at the Concorde 2 on Wednesday, November 30. Not only is this a homecoming for the rapper from Mitcham, Surrey, it’s his first ever UK tour. For tickets and tour information, visit Rick’s website.
Slick Rick is known the world over for his glamorous accessorizing, which has often included capes, robes, crowns, extensive jewelery, and his celebrated eyepatch, but truly it’s the lasting cool of his landmark raps that affirms his status as pop pioneer and hip-hop icon. Timeless ballads “La Di Da Di” and “The Show,” have been sampled over 700 times combined, influencing musicians from every generation since their release, including the likes of Miley Cyrus, Beyonce, Kanye West, Nas, TLC, Notorious B.I.G., Snoop Dogg, and the Beastie Boys.
DJ Kaos and the Rickettes will accompany Rick the Ruler on the Coming Home Tour, which comes in wake of a 23-year battle with the United States Immigration Bureau that kept him from traveling abroad. For more on that story, click here.
Just the first 30 seconds of this album is so refreshing to hear. It’s easy listening, rocking and grabbing songs that don’t get released these days and definitely don’t get enough publicity. Four Star Riot is the epitome of a garage rock band with a little bit of cultivation from other genre’s to make it pop in more ways than one. They consider themselves as power pop and soul rock and say their influences come from stars like Parachute and Maroon 5 and it shows, but they still have their own flavor. Their hooks are catchy, the tone is straightforward and the album is filled with a wide variety of tones, tempos and styles. And although their tracks aren’t ones that will have the listener sitting alone is their room, contemplating the meaning of the lyrics and color of the songs, one may find their music perfect for relaxing drive or a chill hangout night with friends.
The album does sound similar to their past albums, with only devoted listeners noticing the changes like the lack of keyboards and organs (which did add a nice flare and color to their rock pop sound) but they still power on without any sense of empty space. Tracks like “Waves” are among the heaviest of the album, with some fairly crunchy, distorted guitar and popping drum tracks. But the heaviness of a song is largely determined by the vocal timbre and vocalist and rhythm guitarist Steve Alex, who’s voice can comfortably reach some pretty impressive octaves, creates a lighter hearted take on a standard rock band sound. It’s his sultry, flowing voice that defines them as a pop rock band. A more aggressive and growling voice would easily turn this into a pop-punk band but Alex’s voice fits the bill perfectly and puts them up there with groups like Parachute and Maroon 5.
“Empty Spaces” is another track to pay attention to. It has a funkier groove to it , with a steady beat and loads of tricky high-hat rudiments from drummer Mike Chilton as well as plenty of voice from bassist Aaron Akers. Guitarists Alex and Finn Walling also use a variety of tones, from tight, high octave blips of funky guitar to phaser-filled chorus’ to move the styles around throughout the song. It makes for a multidirectional song that would definitely get bodies moving during a live performance.
Listeners should also delve into “Just Tell Me” to appreciate the versatility of the band. The style in this track could be compared to groups like The Fratellis or maybe even Arctic Monkeys in terms of a more punk-ish sound. The pace is picked up for the first time in the album, and although the guitar might be a bit clean and spacey at first, it quickly changes to a hard, dirty twanging strum that absolutely rocks. The chorus hook is catchy and the songs moves around in different directions, making it a little less predictable than most pop rock songs.
Other tracks like “Don’t Go”, “Torn & Tattered” and “So Far” lay a little bit lower in terms of energy and instrumental complexity. They’re definitely enjoyable to listen to, but they’re also the most straightforward tracks on the album. Listeners might gravitate towards tracks with more flare like the ones mentioned earlier, and other like “No Shore” which although is fairly predictable, still has a unique reggae taste to it that spices things up just a bit to draw the listener in.
“Baby Blue” is another surprisingly funky track from the four stars that keeps a consistent tone throughout the track, but makes little variations on each verse and chorus that keeps things interesting. It’s on the shorter side at 3:00 but it has on of the catchiest vocal hooks in the album that will keep the listener humming it day and night.
As said before, this was a surprisingly refreshing album. There were different styles, all executed and produced perfectly and is definitely worth delving into. There is a least one track that everyone can vibe with in this album and it’s available now on Spotify and iTunes for download.
Alexander Spinelli of the new music radio program, Recess with Spinelli spoke with Rhydian, the bassist of the Welsh band the Joy Formidable. Rhydian discuses motivation, recording process, tour life, Welsh culture, music & language and their new album, Hitch.
Listen to the abridged feature/interview
You can listen to the full feature/interview on the live radio broadcast
While on-stage, the Joy Formidable are a well pieced band who look like they are having the best time of their lives. But don’t take our word for it; look at the photos below.
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
From College Radio to Top 40 Radio, Fitz and the Tantrums have proven that they can cross multiple generations, genres and audiences. Alexander Spinelli of the radio show, Recess with Spinelli spoke with Keyboardist, Jeremy on the phone before their performance at the Upstate Concert Hall in Clifton Park, NY.
Listen to the abridged feature/interview
You can listen to the Full Radio Broadcast of Fitz and the Tantrums.
Concert Photos:
Recess with Spinelli can be heard every Wednesday 8pm-10pm EDT on WSPN in Saratoga Springs, NY on 91.1FM (https://academics.skidmore.edu/blogs/wspn/) and on Hoxton FM in London, England every Wednesday 11pm-1am GMT (6pm-8pm EDT) (http://www.hoxton.fm)
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
An album created by a band with a, simply put, different name like Dinowalrus, is sure to hold something different musically. Their soon to be released album, Fairweather, set to drop September 23rd 2016, is definitely one of a kind. The band congregates loads of influences into one, light and airy yet powerful tone that skillfully uses contradicting sounds to create a psychedelic, electronic rock, punk dance voice. It pulls from a mouthful of influences and the album shows it, but it’s not distractingly busy in terms of instrumentals. One might even call it easy listening. Others will call it party music. And the fact that it’s not easily defined makes the album pretty special.
The group of eclectic musicians from Brooklyn started to dabble with their sound in 2008, releasing several albums and touring with a number of groups including Real Estate, Screaming Females and A Place to Bury Strangers. When asked what inspires their song writing process, they said, “Songs always start with a beat and bass line that moves us in a new and different way than anything we’ve done before, then layers of synths and guitars expand intuitively on top of that, finally vocal hooks and lyrics drop into our heads when we least expect it, usually while lulled into a trance by riding the subway around our hometown of NYC.”
A big part of their tone is the contradicting instruments. Their drums and bass lines are driving and pushing through measures non-stop. They’re tight, driving and consistent while almost all other aspects of their tracks are at first, unexpected. The synthesizers are legato; long and flowing. Same goes for their vocals. Visually, this album is a gargantuan wall of bass and beats with wisps of melodies and harmonies seeping through the cracks.
The first track, “Tides”, is quite different than the remaining songs, maybe to ease the listener into more intense sounds. It’s a feel-good song with a major tonality but the bass and drum tracks make it a bit more energetic. The sound of the track stays pretty consistent throughout, but pulls out some unexpected stops, like a fairly distorted guitar solo that keeps things interesting. But the formula seems to be repeated throughout the album.
This is not to say each song sounds the same. Each beat is different as well as the key and tempo, among other things, but the direction of the song is always locked in. In other words, one gets a sense of what the rest of the song will be like within the first 30 seconds of listening to it.
“Falling Into the Periphery” and “Plain Sight” are similar as well. The vocal hooks are what differentiates the songs if the listener isn’t fully invested in the track. Sometimes a synth or guitar lick will mark the different songs, but the beats themselves, although very important to the unique tone they make, lie dormant and simple in the recording.
“Guilty” is where things start to get a little more interesting. There’s a few subtle things like a few key changes and momentary deletes in the bass track to give the sound more perspective. One of the most unexpected parts of any of the tracks, is an incredible shredding guitar solo that comes from nowhere but is unbelievably fitting for this sound. There is also a very prominent vocal addition that simply sounds awesome all together.
“Light Rain”; Once again the guitar solo’s are the highlight of the track. They stand out the most, almost more than the synth and vocal hooks and it’s because the timbre doesn’t fit the electric and spacey sound that’s prominent throughout every song.
“Scarcity” is unique to the album right from the get-go. It’s direction is more unpredictable as compared to other tracks which is very refreshing. The harmony, being lead mainly by the guitar, is a very nice change of pace, giving the song more of a not so traditional rock band feel, while still having traces of electronic dance to it.
“Final Wave” is definitely an attention grabber because of how different it is from the synthesizer focused tracks. The vocals are also a tad less spacey but still sound flowing and the tone is more instrumentally organic. The sound isn’t as busy as previous tracks, which are a result of layers and layers of instrument recordings. “Compass Rose” is the same way. It’s more streamlined and simplified, a bit less intense, but still has the same effect of energizing the listener in a grounded way. The guitar solos are still one of the most grabbing parts of the track and the songs wouldn’t be as energizing without them.
“Silent Earth” reverts back to the timbre at the beginning of the album, soft sounds but powerful grooves. It doesn’t move in any direction and is fairly predictable but definitely puts the listener in a trance. The consistent sound is very encompassing and is best appreciated with a set of good headphones on because the sound circles around the listener’s head making for a not so energetic but interestingly deep track.
“The Painted Desert” offers an acoustic guitar based intro that is a nice change of pace for the electronically centered band. The intensity of the bass and drums cuts in and out to give some perspective which makes the chorus’s that much more appreciated because there’s an obvious peak rather than one long one.
The album is truly one of a kind with such a wide array of instrumental color and genre influence, but there are several songs that aren’t as engaging and energizing as the band may have hoped for. Granted, very few artists can achieve a perfect album. But the songs that find that perfect combination are definitely something worth listening to.
Vulfpeck returned to the Brooklyn Bowl for a Friday night funk fest, which showcased their incredible talent while welcoming numerous special guests. The sold-out room was greeted with a mellow, opening performance by Joey Dosik. Dosik performed the first Beatles cover of the night, “Don’t Let Me Down,” before giving us a taste of some of his originals off of the Game Winner EP.
As the members of Vulfpeck appeared on the Brooklyn Bowl stage, fans new and old dropped everything they were doing to rush as close to the front as possible. One thing that this foursome is well known for is heavy crowd interaction. The closer you are to the stage, the more involved you will be at these shows. Right off the bat, asses were shaking and high fives were being exchanged as the band treated us to “Outro” from their 2012 release, Vollmilch, with help from their friend Eddie Barbash on sax. The Vollmilch album was highlighted two more times in the beginning of the show with the danceable “Barbara” and “Mean Girls” before welcoming groove drummer, Bernard Purdie to the stage for “It Gets Funkier.”
Almost half way through their relatively short set, the guests continued to pour on stage as Dosik joined Vulpeck for “Game Winner” and the second Beatles cover of the night “Something.” The floor of the venue was certainly packed with groove enthusiasts, but at this point there wasn’t much space on stage either. As if having the funk innovator, Bernard Purdie, wasn’t enough of a treat for these guys, they enlisted help from Melissa Gardiner and Rachel Price (Lake Street Dive) to tackle Aretha Franklin’s “Rock Steady.” Joe Dart’s bass playing was a key feature in this solid cover as the tasty brass sounds echoed down the bowling lanes.
The crowd was fully locked in and feeling the horn section when the Vulf brought well known, Antwaun Stanley up to sing the extremely soulful, “1612.” Stanley’s vocal ability and stage swagger add the one-two punch these suburban boys from next store need to construct a more powerful song. During “1612”, New York, NY wanted to be a part of it, as the audience became one with the Vulf. Lyrically, these guys tip their hats to one of this city’s most iconic figures “Frank Sinatra” and with the crowd belting out the tune with Stanley, it was clear that these guys are forever welcomed in the city that doesn’t sleep.
There was no slowing down at this point as the group nailed another classic, “Boogie on Reggae Woman,” written by Stevie Wonder and covered by numerous other bands that know a thing or two about good music. Stanley remained on the stage through the lyrically ridiculous “Funky Duck,” which can be found on their most recent album, Thrill of the Arts.Louis Cato was then brought on to help with “Wait For The Moment” and “Beastly” as Stanley walked off stage to the cheers of a very grateful room.
“Christmas in LA” gave the band and the crowd a breather packed with banter from Jack Stratton and Theo Katzman. Probably the most well known song to new followers of the Vulf, “Back Pocket” ended the set. Gardiner and Barbush brought the brass back into the mix, while Stanley enlisted help from the audience for the hook. One more cover, “Kid Charlemagne” by Steely Dan was executed in the funkiest of ways for the encore. Who knows what Vulfpeck will bring to the table for Saturday’s final night at the Bowl. They have had many repeats in their first three shows of this NY run and with their limited, yet powerful catalog, fans do not seem to mind. The group continues to surprise us by welcoming numerous guests onto the stage physically and welcoming funk icons into the room sonically through their amazing covers. After seeing so many smiling younger faces fill the streets of Williamsburg after the show, I was reminded that Vulfpeck isn’t just the funk band that this generation wanted, but it’s also the one this generation needed.
Central New York theater-goers are in for a spectacular treat. Kinky Boots is a wonderful Broadway experience with performances at the Stanley Theater in Utica on September 6-8, 2016. This upbeat and popular musical won the coveted Tony Award in 2013 for Best Musical.
Kicking off this three day extravaganza, patrons who take in the first night of the event will help to raise money for the Q Center, a safe haven for the LGBTQ community, providing case management, after school hours, education awards, leadership and advocacy training.
Kinky Boots is an uplifting story inspired by true events written in a book by Tony winner Harvey Fierstein. It is a story that conveys a valuable message about friendship and acceptance. The main character is Charlie Price. His family run shoe factory is going bust and he comes up with an idea to make and sell thigh high red boots. Together with a drag queen named Lola, they conceive a plan to make these ladies’ shoes marketed for men that are referred to as “kinky boots.” In the process, these two men from very different backgrounds forge a strong friendship.
Tony and Grammy award winning pop star, Cyndi Lauper, wrote the show’s music, winning her best original score at the 2013 Tony Awards. Lauper is most famous for the ’80’s hit “Girls Just Wanna Have Fun” and brings that same energetic style of music to this production. Many shows have the audience dancing in the aisles.
So, pull on your boots and head to the Stanley Theatre this week. This production has proven to have plenty of humor and entertainment for everyone.
As the crowd eagerly anticipates tonight’s concert at the Lakeview Amphitheater for the Counting Crows and Rob Thomas, lead singer, Adam Duritz took a few moments while getting ready for the tour this spring to speak with NYS Music on fame, music, his band, and Woodstock 99.
Kathy Stockbridge: Hi Adam, how are you?
Adam Duritz: Hi Kathy, I’m great, it’s a beautiful day today.
KS: Yes, it absolutely is. I want to thank you for taking the time to talk with our readers today, I know you are a very busy man. Most know that you are a musician, but you are also a film and music producer as well. You wear a lot of hats. Is there any one particular hat you prefer over the others?
AD: I just really like playing with the band. I’ve done a lot of different things, and mostly because it was necessary at that moment. Honestly I don’t think I would ever do another movie again, that was exhausting. I just did it because my friends had written a script and I wanted to help them get it made. Mostly, I just play in a band, that’s what I like.
KS: Well that’s good because you are good at it, and we enjoy it so it’s a win/win for everyone here. In past interviews I’ve seen and heard, many people think that “Mr. Jones” was your breakout song as it it went up the charts so fast. But it actually was your performance on Saturday Night Live of “Round Here” that actually catapulted you into the limelight. Talk to us a little about that take off, and was it everything you expected when it happened?
AD: No, but it never is. Because there is no way for you to ever conceive what that’s going to be like. Whatever picture you might have or imagination about fame or fortune of that sort of thing, where guys are suddenly listening to your music and you are the center of culture for that second, yeah there’s no way. In fact whatever ideas you ever have about what’s that’s like, are nothing like what it’s actually like. It’s so weird.
KS: It’s almost like the first time you ever hear your song on the radio, you never forget where you were. I’m sure it really a cool experience though.
AD: Yah, that’s a really cool experience. I very vividly remember that. It was just very clean, very simple, and FUN. Like the first time I heard us on the radio I was like “that’s just really cool”. But becoming famous all of a sudden having a sudden wash of success is nothing like anything you’ve ever experienced before in life. Like hearing your song on the radio is like really cool, but it’s like feeling appreciation from someone in some other way. And that’s happened before (feeling appreciation), people have told you something was good and you’ve gotten a compliment so it’s like a bigger.. better version of something you’ve experienced before. Getting famous and having that mass cultural thing is like nothing else in life. There is no way to understand before you hit that, how weird that is. It’s just really strange and bizarre. We had been touring for awhile at that point. People had made a mistake thinking that “Mr. Jones” was new, but it had been out for awhile. “Mr. Jones” had been on the radio, the record wasn’t even in the top 200. The video came out and we were touring, and we had not been doing our first headline shows yet. We had been opening for Kracker. We really hadn’t toured as a headliner at all. Then we played Saturday Night Live, and played “Round Here” and the whole world changed. Our record jumped forty spots a week for five weeks. We were at like 213, then we were at 170 something, 130, 90 something, 50 something, 12, 6, 2, and then stayed at 2 for like the next two years. It was just weird. It happened so suddenly, and it was such a weird surprise.
KS: That song has a special meaning to you I’m sure, but then even more so as it was the one that helped you get your music out there to everyone.
AD: Yeah, and not just for me too, but for our fans in a way. Because “Mr. Jones” is a really great pop song, I love that song, but “Round Here” it shows the breathe of what we really do. Like what we do live and how its kinda the scope of our music. “Mr. Jones” doesn’t, so when we played it on TV, that’s why it blew us up because a single is one thing, but a band that moves you, a band that makes you feel something, expansive and big and moving like “Round Here” does, apparently knocked people out that day because our lives all changed after that.
KS: Did you know automatically this would be the one you would sing?
AD: On Saturday Night Live? Yeah we knew. But it was a huge fight. It was a mess. Like we had been getting offers for months. The Letterman show had been offering for us to come play on there. But they kept making all these caveats like it had to be Adam with the Late Night Band; okay it can be Adam with guitar player and our band, it can be Counting Crows, but with Paul, and we were just waiting for someone to offer us an opportunity so that we could just play. And then SNL came along and they were through more months of arguments about what we were going to play, and came to an agreement that we would play “Round Here” first, then “Mr. Jones” later, and then we wouldn’t have to cut anything. Then we got there that week and started rehearsals for the show and they sprung on us that they had changed their mind and that we were going to play “Mr. Jones” first and that we were going to have to edit both songs. So it was just a huge fight all week. It was kinda a nightmare. Like I was sure that “Round Here” was the song to play for our first big exposure. They didn’t want it any more and it was a mess, and it was a huge fight all week. Then they finally caved about an hour before the show.
KS: Good thing you stood your ground there.
AD: I think they were so pissed that they never had us back again.
KS: Their loss. “Round Here” was written off the top of your head, from what I understand. You were able to write it in one sitting. In an interview I with Charlie Gillingham, he said that “(Durwitz) has a way of coming up the amazing complex literary lyrics off the top of your head. And that there are lines in these songs, hundreds of them where he says something that really matters that is just so well said.” That’s amazing to me. When writing songs do you find that these songs take on a life of their own or does it write itself in a way with you?
AD: No, its a little of both. It’s not like I wrote the song off the top of my head, it’s a Himalayan song, my band before Counting Crows. “Round Here” is from that band. We were playing along and we were recording, on a cassette tape, our rehearsal. So it was probably 20 minutes of us singing on there and a lot of the song was already in there, so I edited it down. I used to do that a lot. Where I would say things off the top of my head, listen to it, then go back and pull things off it, and edit it down into a song. That I used to do an awful lot of. But I don’t write as much that way anymore. Probably because we don’t rehearse as much any more, as we all live in different places now. So I tend to write more by myself or with the other guys. Yeah, I used to write a lot that way. But it wasn’t like I would play for five minutes and then there’s “Round Here.” It’s more like there’s 20 to 30 minutes of music on a tape and I pull from it and then craft it into a song. A lot of it was there, but it was heavily edited down.
KS: Has writing been something you’ve always done? Was it a creative outlet for you?
AD: I didn’t really start writing songs till I was about, well the first song I wrote music and lyrics was the fall term of my freshman year in college. Before that, I hadn’t really done it. But after that, I did nothing else. For years at a time. I just used to write all day, every day.
KS: Well you are very talented and it comes out in your lyrics and music. You once described the difficulties you experienced when you guys were recording August and Everything After. You were developing your roles within the band and the sound and brand during those sessions. You knew in your mind what you wanted to achieve in the finished product and took charge. If you had a chance to go back would you do anything differently while recording that first album?
AD: I’d be less of an asshole. The thing of it is, it’s hard to like…I have skill sets now for being a band leader that I didn’t have then. I had no idea how to do that. It wasn’t a brand, I just knew there was something better than what we were doing. We were playing a kind of music that sounded like a sort of style of the time. It kinda sounded like late model Roxy, which is cool. We sounded like a bunch of sounds that were big at the time, that we were trying to sound like. And I just wanted us to sound like us! I was like, strip it down and find out what we were. I felt like that was what it was necessary, and in order to do that I had to take away to just play simple instruments for a bit. We ended up using lots and lots of weird sounds over the years. But at that moment I just wanted us to stop trying to sound like something and just figure out what we sounded like when we stood in a circle and played together. I felt like there was something much more long term, much more rewarding, and much like a deeper vein to mind, than what we were doing. But the thing is, I was brand new to doing this. And brand new being a band leader, and not very good at it. People always talk about how they love playing music, or anything you do in life that you enjoy like a hobby, then talk about it becoming work it’s a negative. Because all of a sudden you’re fighting over things that you used to enjoy. But that’s what work is. Work is when you take something you used to do for fun and you turn it into something you really really good at. And a lot of people can’t get past that point because they don’t like when their hobby starts to be work. Because it’s a big transition to get from one to the other, ya know. And you have to fight about things, where you used to just have fun. I just wasn’t very good at that so there was a point on that first album where we were having a lot of pressure of making a first record and I’m making everybody ditch the instruments and the effects they are using that they are comfortable with and stripping them all away and saying just play. That made it hard on everybody. I was pretty sure of what I was doing, but not very good at doing it. I was hard on everybody. I was harsher than I needed to be and I was so insecure about it. Everyone in the band tried to quit during that album. At some point during it, every single one of us decided to quit the band. It was really hard. The one thing I would change, is the one thing you can’t really change. I would like to know what I know now, then. I could be better at it, but you only get that knowledge doing it. In life the one thing you can’t go back and change, is the shit you learned, because that’s how you learn it.
KS: Exactly. I’m with you on that. As you wrote more albums, of course it got easier for you and as you grew as a band in the business you developed a reputation as an amazing live band. Your band mates are one of the most cohesive groups that I’ve ever heard. And nothing is more apparent than as you play live and improvise on stage. Which is amazing to me. You once said that “playing is really important but listening is more important.” Do you think this is why you all meld so well on stage because you listen to each other and pick up these cues?
AD: Yes, I think so. And also I think we’re not afraid to get it wrong. We have a confidence that there is no “wrong.” What you are suppose to do up there on stage, is try stuff. To play, feel it, and try stuff. I think it’s a live experience. I think when you are so worried about being perfect all the time it makes you really stiff in those moments and I think we’ve kinda gotten over, and not so worried about being perfect. We try to be really good, but we’re willing to experiment and if something goes wrong, it goes wrong and it’s not the end of the day. If we have a train wreck, I don’t mind stopping the song, pointing out the guy that screwed up, laughing at him and then starting it over again. It happens sometimes, things go wrong. It’s real life. The other night we were playing a show at a festival outside of Austin, like last Friday. I went back to the piano to play “Long December,” I sit down and was talking with the audience, and I start playing and right before I played the song I changed the cap on my mic. So when I do that, I signal my monitor guy and he turns off the mic so that when I’m unscrewing the cap, it won’t make a bunch of noise. You have to do that (change the cap) because you sweat and it soaks into it and you have to change them every now and then. So I changed it and he turns the sound off, screwed it back in, and then go back to the piano to play “Long December.” So when I go to sing he had forgotten to turn the mic back on. So I just stopped the song, laughed at him, he turned it back on, we joked round for a second, then we counted it back in. Truth is, that stuff happens. It’s just human stuff. He’s just doing 90 things at once, he’s setting up someones else’s monitors, flicks my thing off, and then forgets to flick it back on. You can get uptight about stuff like that, or you can realize it just happens. So you just keep playing.
KS: When audiences see that stuff happen, it helps them relate to you I think. They have you up on a pedestal, then when life happens, and they see your human side, they can relate more with you as you are just like them. Mistakes happen.
AD: I think that’s true. It’s an interesting by product of it. Fact of the matter is, it is all real. We’re a bunch of guys on stage playing, and we’re trying to not do the same thing every night exactly the same way. And so, stuff happens. It’s just real life. It just happens to be on stage, and we just happen to have microphones. It’s the same as the rest of our day in a way and everyone’s real life.
KS: In 1999 you came to my hometown and played the Woodstock here. Can you share thoughts of that eventful concert there?
AD: They are not really good remembrances.
KS: I know. At times I wonder if we should get a do over or should we just cut our losses and just call it a day? SMH over here.
AD: I think that was one of the worst ways of honoring one of the best places in the history of rock and roll that I can ever possibly imagine. Woodstock is deservedly one of the most important place names in the history of music. It really is, and totally deservedly so. But those guys, that year, ended up charging like $7 for waters, on a concrete pad, on a day that was 100 degrees outside. Having the port-a-potties not properly maintained, and the poor fans that are dehydrating like crazy can’t buy water because it’s so expensive, and there was a 40 yard pool of urine and shit. People rioted. Let me tell you something about that. And they blamed the bands. Not the people, the promoters blamed the bands. But we wanted to play a night slot at Woodstock, I know this is true because they came back and said we want you to play before sundown because all the night slots we want to have as many aggro bands as possible. They wanted to have it as wild and as intense as possible at night. So we are only putting the loudest bands on at night. They put Limp Bizkit on, the Red Hot Chili Peppers and who ever else. After a certain hour, they were only really aggro bands. Which meant that’s exactly what you are going to get at the end every day. So when they set that up that way, all the bands did was be themselves. I saw the Limp Bizkit show, they played a great show that day. But they are an inciting band. So if you want to have people out in the sun all day and not give them water, and then put Limp Bizkit on, it’s going to become a mosh pit.
KS: Our town is quite embarrassed by the whole thing. It’s one thing to be famous, another to be notorious. So sorry you had bad memories of Rome.
AD: I don’t think that’s peoples memory of Woodstock. Many have probably forgotten that part. When you think of Woodstock, you think of the original, just not that year. Some stages were like triage. There were people like on stretchers. People were getting like so hurt. We saw like women getting their clothes torn off them in the audience. It was just so chaotic and so much anger in the crowd. It just wasn’t well run.
KS: Well we hope to welcome you back to Central NY this August at the Lakeview, and hope to change that bitter taste you have in your memory with some good ones. You will be touring this summer with Rob Thomas. Have you ever played together before?
AD: Yeah, but we’ve never toured together before. We’ve known each other for such a long time. There were times we would be in the same city and get up on stage and sign “Momma Don’t Let Your Babies Grow Up to Be Cowboys” together. One time I had a European tour and they had a European Tour that started a couple weeks before mine, so I just went over early to be with Rob and the guys in Italy. I just spent a week getting drunk and hanging out with them in Italy going on interviews with them before my tour started. Just because it was fun. I’m really looking forward to this because I haven’t seen Rob much the last ten years. So it will be nice to see each other again.
KS: It will be an epic tour and we can’t wait to have you guys come through. Final question for ya. If I had never heard a Counting Crows song before, which one would you tell me to listen to to get a feel and encompass what you guys are all about?
AD: “Pallasides Park.”
KS: Okay. That’s a very interesting choice. That is a great video too. Where did the concept for that come from?
AD: It was all Bill Fishman. I asked him to change a few things, but basically it was his concept from hearing the song and wanting to do it. There were a lot of submissions for who wanted to direct that, but it was clear to me the moment he sent his in. He was the guy. He just had the grasp on it.
KS: So his visual concept met yours?
AD: His visual concept met my emotional concept. I didn’t have a visual concept. I knew how I wanted it to feel, and I felt like he really captured that.
KS: Well thank you again Adam for taking the time to talk to our readers and we look forward to welcoming both you and Rob Thomas back to Central New York once again.
As the interview ended, the old proverbial ‘don’t’ ask a question you’re not certain of the answer’ came to mind. Not quite sure how I expected Adam to answer the Woodstock 99 question, however his insight from a stage view was enlightening to this journalist. Was actually embarrassed all over again for my community wishing there was a way one could rectify this catastrophic event in the minds of all that participated and attended. Perhaps some things are best left alone. Note to self, do not ask about Woodstock 99.
I found the lead singer extremely easy mannered as our conversation began. Although I sensed a reservation in his tone in the beginning of the interview, I felt his guard come down as I kept my questions on topic. I know readers want a personal insight into stars and their lives, however some things that personal are just that, personal. Perhaps I should be that type of journalist, delving into topics that readers want answers to but are encroaching, but then again, I want to know about his music, how it makes him feel, how he wants to grow and share with his fan base, not his past dating history. So I left that line of questioning to those other rags you can read in the line at the grocery checkout as I was preparing to talk with him. If he wanted to speak of those topics, I would gladly be an outlet, but we were there to discuss his music.
As our interview quickly exceeded our allotted time, we were interrupted and asked to wrap up questions to keep him on schedule by his publicist. It felt like this conversation could continue another day. I had so many other questions I wanted to ask him. Questions about acts he’s toured with, artists he’s recorded with, and then so many other topics that come from those conversations. I got a sense that Adam could be a person’s best of friends. His concern with having to take charge as band leader in the beginning, and his recognition on how he handled it was endearing to me. His willingness to work on projects to help out friends, even when it’s not his cup of tea. Then the shear compassion of the audience at Woodstock 99 left me with an insight to his character and peak under that cloak of mystery these interviews often leave you with. Sometimes not asking questions, gives you more of an insight I think into the character of person than asking them and having a wall come up. Adam was so likable, so real, so intelligent. His first answer to my hello, pointing out the beautiful sunny day he (and I) were experiencing here in NY state, immediately made him real to me. As our conversation went along it truly appeared that he was happily reliving the moments with me as he shared his story with our readers. His simplistic answer said it all. “Mostly, I just play in a band, that’s what I like.”
Being a live band, this photo-journalist looks forward to covering his show and experiencing these improvisational moments on stage with those he considers friends; his band mates and audience. The live experience is what drew us in from that initial emotional rendition of “Round Here.” This heart is what I want to see tonight.
Tour Dates Fri Aug 12 Syracuse, NY Lakeview Amphitheatre Sat Aug 13 Niagara Falls, NY Seneca Niagara Casino* Mon Aug 15 Saratoga Springs, NY Saratoga Performing Arts Center Tue Aug 16 Brooklyn, NY The Amphitheater at Coney Island Boardwalk
Thu Aug 18 Bethlehem, PA Sands Bethlehem Events Center
Sat Aug 20 Cincinnati, OH Riverbend Music Center
Sun Aug 21 Indianapolis, IN Klipsch Music Center*
Tue Aug 23 Detroit, MI DTE Energy Music Theatre*
Wed Aug 24 Chicago, IL FirstMerit Bank Pavilion at Northerly Island
Fri Aug 26 Toronto, ON Molson Canadian Amphitheatre
Sat Sep 3 Woodinville, WA Chateau Ste. Michelle
Sun Sep 4 Ridgefield, WA Sunlight Supply Amphitheater
Thu Sep 8 Los Angeles, CA Greek Theatre
Sat Sep 10 Mountain View, CA Shoreline Amphitheatre
Sun Sep 11 Reno, NV Grand Theatre at Grand Sierra Resort
Tue Sep 13 Phoenix, AZ Ak-Chin Pavilion*
Wed Sep 14 San Diego, CA Cal Coast Credit Union Open Air Theatre at SDSU
Fri Sep 16 Indio, CA Fantasy Springs Resort Casino
Sat Sep 17 Las Vegas, NV Downtown Las Vegas Events Center*
Mon Sep 19 Denver, CO Red Rocks Amphitheatre*
Thu Sep 22 Albuquerque, NM Sands Casino Amphitheater
Sat Sep 24 Allen, TX Allen Event Center
Sun Sep 25 Houston, TX Cynthia Woods Mitchell Pavilion presented by Huntsman
Tue Sep 27 Kansas City, MO Starlight Theatre
Wed Sep 28 St. Louis, MO Hollywood Casino Amphitheatre*
Fri Sep 30 Nashville, TN Ascend Amphitheater
Featuring Jeb Roberts (Guitar), Adam Egizi (Bass), Andy Davis (Drums) and Dom Scott, KC Comeaux and Josh Hobbs on vocals, this tribute show is a true throw-back experience that will most definitely transport you back to your adolescent years. Complete with singing, dancing, and great stage lighting, the Boy Band Review comes dressed to impress in the most memorable of outfits worn by your most beloved boy band members. They interact with you on stage and off, enticing you to let your guard down and shout out the lyrics during each of these nostalgic songs.
Surrounded by die-hard 90’s boy band fans it is virtually impossible to resist the urge to join in, sing along, and just plain let loose with those who remember every word and dance articulation of the artists they knew and loved. They might even surprise you as they welcome your participation in an intimate, personal moment – like the drummer proposing to his girlfriend. Not something you would expect from a grown man in overalls with one of his shoulder straps undone!
As promised, the Boy Band Review – a Boy Band Tribute really is a throw back experience and these “New Kids” definitely “bring the heat up to 98 degrees” to bring you back and relive your best years- even if only for a moment in time.
Slick Rick is known the world over for his glamorous accessorizing, which has often included capes, robes, crowns, extensive jewelery, and his celebrated eyepatch, but truly it’s the lasting cool of his landmark raps that affirms his status as pop pioneer and hip-hop icon. Timeless ballads “La Di Da Di” and “The Show,” have been sampled over 700 times combined, influencing musicians from every generation since their release, including the likes of Miley Cyrus, Beyonce, Kanye West, Nas, TLC, Notorious B.I.G., Snoop Dogg, and the Beastie Boys.
Just the first 30 seconds of this album is so refreshing to hear. It’s easy listening, rocking and grabbing songs that don’t get released these days and definitely don’t get enough publicity. Four Star Riot is the epitome of a garage rock band with a little bit of cultivation from other genre’s to make it pop in more ways than one. They consider themselves as power pop and soul rock and say their influences come from stars like Parachute and 
Recess with Spinelli can be heard every Wednesday 8pm-10pm EDT on 
Recess with Spinelli can be heard every Wednesday 8pm-10pm EDT on WSPN in Saratoga Springs, NY on 91.1FM (https://academics.skidmore.edu/blogs/wspn/) and on Hoxton FM in London, England every Wednesday 11pm-1am GMT (6pm-8pm EDT) (http://www.hoxton.fm)
An album created by a band with a, simply put, different name like Dinowalrus, is sure to hold something different musically. Their soon to be released album, Fairweather, set to drop September 23rd 2016, is definitely one of a kind. The band congregates loads of influences into one, light and airy yet powerful tone that skillfully uses contradicting sounds to create a psychedelic, electronic rock, punk dance voice. It pulls from a mouthful of influences and the album shows it, but it’s not distractingly busy in terms of instrumentals. One might even call it easy listening. Others will call it party music. And the fact that it’s not easily defined makes the album pretty special.
As the members of 
Almost half way through their relatively short set, the guests continued to pour on stage as Dosik joined Vulpeck for 
The crowd was fully locked in and feeling the horn section when the Vulf brought well known, Antwaun Stanley up to sing the extremely soulful, 
Kicking off this three day extravaganza, patrons who take in the first night of the event will help to raise money for the Q Center, a safe haven for the LGBTQ community, providing case management, after school hours, education awards, leadership and advocacy training.
