The Rock and Roll Hall of Fame announced today that seven new inductees will be enshrined in 2017, including three New Yorkers among them – Joan Baez, Tupac Shakur, and Nile Rodgers. Rodgers gets the nod for the Hall’s Award for Musical Excellence, as well four classic rock bands, Electric Light Orchestra, Journey, Pearl Jam, and Yes.
Joan Baez, who is from Staten Island, NY, came to prominence following her performance at the 1959 Newport Folk Festival. While Baez is a talented songwriter in her own right, she is equally well known for enthralling interpretations of classic songs, helping other songwriters, especially Bob Dylan, achieve greater notoriety; and more importantly, Baez remains a longstanding advocate for human and civil rights.
Yes formed in 1968 in London, and despite undergoing many lineup changes, they have persisted in bringing virtuoso prog-rock to adoring fans around the globe for more than forty years. Led by frontman Jon Anderson, guitarist Steve Howe, bassist Chris Squire, drummers Bill Bruford and Alan White, and keyboardist Rick Wakeman, Yes created some of the most iconic music of the prog-rock era, including the hit song “Roundabout” and the epic album Close to the Edge.
Electric Light Orchestra, the brainchild of Jeff Lynne and Roy Wood, began in 1970 in Birmingham, England and went on to sell over fifty million records worldwide. Melding a Beatles-like pop-rock sensibility with grandiose, classically-inclined orchestration became ELO’s hallmark, and led to their success with singles such as “Can’t Get It Out of My Head,” “Evil Woman,” “Strange Magic,” “Livin’ Thing,” “Telephone Line,” and “Mr. Blue Sky.”
Journey entered the rock n’ roll landscape from the psychedelic San Francisco scene in 1973, spearheaded by ex-Santana players Neal Schon and Gregg Rolie; but it was the addition of renowned vocalist Steve Perry, in 1977, that propelled them to rock stardom. Their 1981 album Escape is one of the landmark’s of the stadium rock era and features their international smash hit “Don’t Stop Believin’,” which remains a cultural mainstay today.
Unlike most of this year’s inductees, Pearl Jam did not have to wait long to enter the Hall after becoming eligible. Bassist Jeff Ament, guitarists Stone Gossard and Mike McCready, singer Eddie Vedder, and drummer Matt Cameron came together to launch Pearl Jam from the Seattle grunge scene into the rock n’ roll stratosphere. On the backs of five platinum albums (Ten, Vs., Vitalogy, No Code, and Yield), decades of fan-centric touring, and dozens of indelible collaborations, Pearl Jam stands as one of the most successful bands in rock history.
Tupac Shakur, who was born in East Harlem, NY, is entering the Hall on the strength of his infamous and poetic brand of “west coast” rap. Tupac first broke onto the scene as a member of Digital Underground in 1991, and was murdered at the age of 25 in 1996, but in the five years between he released two albums that went ten times platinum with All Eyez on Me and Greatest Hits, penned two number one hits with “California Love” and “How Do U Want It,” starred in several Hollywood films, and sold over 75 million records.
In addition to the six performers being inducted in 2017, Nile Rodgers, a New York City native, will receive the Award for Musical Excellence. With bassist Bernard Edwards, he formed the iconic disco band CHIC in 1977, which produced the hits “Le Freak” and “Good Times,” on their way to becoming the cornerstone of the Studio 54 dance scene. Then, beginning with Sister Sledge’s “We Are Family” in 1979, Rodgers went on to cultivate a spectacular career as a producer, which saw him work his magic on classic albums for the likes of Diana Ross, David Bowie, INXS, Madonna, the B-52s, Jimmy and Stevie Ray Vaughan, and Daft Punk.
The Rock & Roll Hall of Fame Induction Ceremony, the 32nd annual, will be held at Brooklyn’s Barclay’s Center on Friday, April 7, 2017. Ticket on-sale dates will be announced in January.
Ignacio, the fourteen-track, third studio album recorded by Netherlands band, Azure Hiptronics, never leaves a moment for boredom. Jam band style – yes, although generic jam band – not even close. Mixed with large synth, bass, guitar, piano, and drum parts, each track is completely different than the last, incorporating different elements than those expected.
Ignacio combines genres and sounds that distinguish Azure Hiptronics from the rest. When listening to the fast paced introduction track, “Thgie Neves,” listeners already know that they have something great in store. Even though it does not take up much time, at nine-seconds, the introduction makes the story start by creating the image of a backwards time-lapse – starting the story from the beginning.
The album tends to roll at a fast pace and then slows down with its various interlude tracks, “Anise Code” and “Interlude.” These pauses create sort of bookmarks that indicate when a new chapter of the story is to begin.
“Airing” and “Saraswati Mantra” split up the story entirely and take listeners to a new place. They separate the past from the future, which allows for a refreshing break in tone from the first half of the album and adds a completely different element to the equation.
Although the chapters that are separated by interludes and pace changes represent different stories, within each section there is not much variation of sound. Yes, there are many levels to this album, however at times it is hard to distinguish one track from the one preceding it. Nevertheless, Ignacio is a must listen for music fans looking for a jam band style with a twist. In any case, this album is sure to take listeners on a journey.
Key Tracks: Work Out Something, Airing, Saraswati Mantra
A double header of Vermont jammers treated a Massachusetts crowd to a night of improvisational grooves, saxophone sit-ins and Christmas carol teases in true holiday fashion at Thunder Road Music Club & Rock n’ Roll Bistro. Vermont’s own RAQ, restocked with a reputable drummer in the scene, teamed with an up and coming group, Swimmer, who share roots in the same town of Burlington. Both drew an impressive gathering of fans both local and branching across the Northeast, making it safe to say many left the MA venue newly admitted “swimmers.”
The progressive rock-fusion quintet based out of Burlington, took the reigns early in the night, kicking things off with a kinetic performance that displayed a melting pot of genres over a six-song set list. Carefully crafted, it brought forward original compositions intertwined with covers of some of their largest musical influences, Frank Zappa and Phish. The night found mesmerizing flair from keys player Matt Dolliver, bassist Jack Vignone, guitarists Paul Klein and Joe Agnello, who swapped vocals with man behind the drum kit, Cotter Ellis. Original and innovatively named tracks “5 Seed and Feeble,” “Godmeat” and “Sea Cerebral” truly portrayed the unique sound Swimmer bears to those who have never been introduced to their music–seemingly effortless tight grooves, progressive journeys and charismatic originality.
Highlights of the set instantly point towards Matt Dolliver as he delighted the audience with smooth saxophone performances and Swimmer’s conquering of Frank Zappa’s “Pound for a Brown” > Phish’s “F*ck Your Face” > “The Impossible Engineer,” an original track that ended the set with high-energy and roars of approval.
RAQ certainly came baq and kept the crowd fully captivated throughout a two-set performance. The audience and RAQ members alike were elated with the fact that former Dopapod drummer Scotty Zwang, has completed the final piece in their lineup puzzle–one that has proven to be tossed up in the past and especially interwoven with Kung Fu. Todd Stoops was nothing short of vocal, proudly admitting from behind the keys that Zwang is the “best drummer they’ve ever had” as he corralled multiple rounds of applause throughout the first set, which included “Bootch Magoo,” “Clamslide,” “Bobs Your Uncle,” “Crazy Tonie” and “Gabvonie.” Before heading offstage for a 15 minute reprieve, RAQ incited a sing-a-long on fan-favorite “Walking in Circles.”
Also displayed on two TV’s hanging above head at a full-stocked bar, the second set of the performance found a few dressed in Christmas colored velour and blazers in the holiday spirit as their atmosphere quickly turned into a reggae sound-tracked snowglobe. RAQ dove into Peter Tosh’s “Legalize It” before taking on a string of Christmas classics from “The Little Drummer Boy” and “Joy to the World,” to “Rudolph the Red-nosed Reindeer,” which paired nicely with the “Deck the Halls” ornament and garland decor at Thunder Road. Newly confirmed “swimmer,” Stoops, re-introduced Matt Dolliver to the stage after approaching him in the crowd between set changes. An impromptu sit-in on Men at Work’s “Who Can it Be Now?”ultimately brought down the house.
Swimmer will resume gigs after the holidays with their first 2017 appearances across Clear River Tavern, Showcase Lounge and The Snow Barn in Vermont before heading to Stella Blues in CT. RAQ ended their trifecta of North East comebaq performances, with stops through The Westcott Theatre in Syracuse, a penultimate gig with Twiddle at Port Chester’s Capitol Theatre and last night’s Thunder Road wrap up. Saturday night alone determined that both groups have big moves on the horizon for the upcoming new year.
Indie Rock band Fossil Youth has risen from relative obscurity to become one of Billboard’s Top New Artists of 2016 – ranking at number 16. No one was more surprised than the band members themselves – Scottie Noonan (vocals/guitar), Hesston Sween (vocals/guitar), Derek Neef (bass) and Zack Jones (drums). From their hometown in the heartland, they spent a good part of the year crisscrossing the U.S., including a stop in Syracuse last summer.
Just last month, Fossil Youth released their debut album, A Glimpse of Self Joy, through Take This To Heart Records. This poignant concept album is a meandering journey through a heartbreakingly painful relationship and its inevitable dissolution. However, some of the songs, like “Forest Eyes” and “Watercolor Daydream,” have stood on their own as singles. At times soft and lamenting, and at other times heavy with angst, the music is always genuine and authentic.
Fossil Youth is embarking on the East Coast leg of their headlining national tour in January, with plans to play The Vault in Syracuse on January 27th.
Frontman Scottie Noonan spoke with NYS Music about their music, the response to their album, their humble reaction to ranking on the Billboard Top New Artists List, and plans for 2017.
Paula Cummings: Tell me a little about how you formed as a band.
Scottie Noonan: The first release is 2014. But we started getting this all figured out in 2013. We all happen to live in the same small city of Oklahoma. We consider our home shows and home town Oklahoma City. We’re actually from a small city called Enid, which is an hour and a half north. In a way having to travel to other cities to play prepared us for touring. Having to drive two hours just to play local shows is helpful for the rest of the year, when we basically do that every day.
SN: Yeah, and in 2014 we had the split. It was such a small thing. It’s also kind of cool to look back on. One of the songs from the split we actually rewrote and put on our new full-length. If you look it up online, you might actually see that.
PC: And you did the Little Elephant recording. Tell me a little about that.
SN: That was actually extremely cool. They’re a few guys out in Toledo, Ohio. And honestly, how it looks in the video is almost actually how it is. We showed up at their house. They already have experience recording bands, so they decided “Let’s put all this in our living room.” I think there was like 30 minutes of prep time and they say “Hey, go.” They set up a few cameras standing in places where they won’t actually get shots of each other and do these live sessions in their home. It’s honestly a whole lot of fun. Very, very nice people. I think that’s what helps make them unique, too, is the general experience.
PC: It looks really cool. And they said they give half of the money from vinyl sales back to the bands.
SN: I’m so excited about that because we’re trying to get back in there and do another session for our new songs. And it would be so cool to have a second vinyl release through them.
PC: You know what else just came out was the Billboard Top New Artists of 2016 – you’re in at #16.
SN: Out of 150. So to be that high up is truly insane, the most surreal feeling.
PC: That must be validating as an artist to be recognized.
SN: It was weird. It’s going to sound so lame, but never would I have ever guessed that maybe this early in our career would we hit that. So many friends are in bands a little bit larger, on larger labels, doing other things that scored really well, and we surpassed them. To have that high of a number was never expected, by any stretch. We were excited, like “Did we get number 150? Did we even just crack in there?” And being told we were number 16 is truly insane.
PC: That is incredible. So who were some of the bands who influenced you? Who were you listening to ten years ago in your formative years?
SN: Me, personally, I think some of my biggest influences were definitely some of the big pioneers like Fall Out Boy, My Chemical Romance. I think some that we’re getting compared to that were also a big influence for me were Cartel (I was extremely into the band Cartel), This Providence (a very, very cool band), and Cute is What We Aim For. I feel like that’s one that I don’t hear enough of, but was actually a really big deal for me in junior high.
PC: Let’s talk about the album, A Glimpse of Self Joy. How was it different writing for the album than for the EP?
SN: When we were writing the EP we were excited we were writing songs. It was like “Yo, these are the best things we’ve put together.” And we were excited for that. But when it came time to actually sit and write the full length, we actually had the chance to truly as a group work on it. It was a lot more cohesive and I feel like everyone really put their piece into it. There’s a very light concept going on in the album. So it really felt good to preemptively know exactly how we wanted the story to play out and come across and I think that made it a little bit easier. It also made it very cool to be able to throw a large handful of very personal metaphors within it as well. It took a lot longer. Not only because there were more songs, obviously, but I think being able to actually work as a group made it so much cooler and I think that came with the comfort of being a band for a year and a half after the EP.
PC: So how do you feel about the response to your album?
SN: Honestly, it’s going to sound so monotonous, because I’ve said it so many times in this interview. It’s unreal. We knew it was better. I feel like, even from the inside while working on it we were like “Wow, I think we have a really cool thing going here.” But again, to score Billboard, to have our songs on larger Spotify playlists despite not having a large team behind us, having this many listeners putting us on their end of the year list, and this many people tweeting us every day is truly surreal. And on the tour we just did in November, we went to the west coast and we had four sold-out shows. We weren’t on a package, it was just us headlining. To have kids singing along to multiple songs on a set to an album that we just put out was like the craziest and most unreal feeling. And it still just feels like a dream. It’s crazy. And now we’re seeing how many kids are posting the fact that we’re going to the East Coast on this January tour and it’s just insane.
PC: You will be playing The Vault in Syracuse again. Do you remember playing there last summer?
SN: In August. It was with Bonfires. Very cool show. Everyone was extremely nice. I really like its location. Maybe it’s a lame Oklahoma thing that I paid attention to that, but I love how many other places there were for me to go nearby. That was really cool.
PC: Who are you playing with in Syracuse?
SN: There’s a band called Everyone Leaves, from Ohio, and a band called Pine. They’re from Canada. It will actually be our first time meeting them.
PC: Who are some of your favorite bands to tour with so far?
SN: That is such a rough question. I think it’s going to be fair to say that there hasn’t been a band so far that we’ve dreaded touring with. But I have to give Bonfires so many props. I haven’t felt like there’s been a full band where like every single member just got us on every aspect. So even on small shows where morale might actually be low, we always had each other. And it felt like there was never a bad day, even when financially it would be a terrible night. Just always fun. Loved it so much.
PC: What are your plans for 2017?
SN: Relentless touring. So, so much touring. We’re looking at festivals, tours, short runs, and doing our absolute best to play Oklahoma more. I feel like because Oklahoma’s a smaller market, people may not recognize it. We’re just doing everything we can to hit everywhere and doing anything we want to do.
It’s a cultivation of everything interesting about music. There’s no other way to describe it because there are so many influences, some that the majority of his followers probably don’t know exist. But if it were to be described in a genre, it’d be something along the lines of this tongue twister: Psychedelic funk, rock and R&B with hints of new-age rap and electronic undertones. Unfortunately, he hasn’t created something revolutionary, he’s recreated the sound of the most beloved musicians of all time, and missed the mark on a track or two, but nonetheless has brought back one of the great forgotten sounds of music.
It’s nothing like his older works which were heavily influenced by modern rap. But it makes for the perfect platform on which to build a fun, but very familiar sound. This is not to say his prior albums were simple, but they lacked instrumental color and were driven lyrically. Before the song-by-song analysis begins, some background knowledge is needed to understand how talented Donald Glover really is.
He is not a stranger to the arts: He had two full albums and a few single releases prior to this one, he appears as Troy Barnes on Community as well as a starring role in Atlanta, a series which he created. He will also soon star as a young Lando Calrissian in an upcoming Star Wars movie. Point is, the guy knows what he’s doing and he does it pretty well. But of course, such a drastic change in his falsetto will result in a few quirks, because as stated before, this album is nothing close to what he released in 2013-14.
Almost every track has the funky hooks of the classic 70’s funk bands but with the unpredictable musical direction of Zappa and even the ones that lack a little bit of complexity can still have some value to them.
The first track is a bit misleading, especially if a listener reads this review first. It’s called “Me and Your Mama” and it can be interpreted as a transition into this genre. It starts with a simple, spacey trap modern rap beat, similar to his former albums, that suddenly drops into a completely different genre. It’s dramatic enough that it may sound like the next song on a shuffled Spotify playlist. The second part of the song is synonymous to that of Pink Floyd, with a slow, swaying groove, a female chorus ringing out in the background and some wailing guitar, that all fades out into something like Funkadelic’s “Maggot Brain” with echoing drums, and droning keys in the back. It’s an intense and perfect introduction to this album.
“Have Some Love” and “Boogieman” have strong funk influences, with some tricky drumming, catchy breakdowns and that angelic chorus, all garnished with the perfect amount of spaciness. As stated before though, the sound is eerily similar to the funk Gods of the 70’s. This is not to say that he’s not a creative person, he just hasn’t created anything revolutionary here, but his mind is in the right place.
“Zombies” is one of the tracks that may have “missed the mark.” It’s just weird. There isn’t a lot of musical complexity to it making the lyrics stand out more. But they’re not about anything deep or inspirational. It’s about zombies. “All I see is zombies, feeding all around us, all they eat are people… We’re eating you for profit… there is no safe place to hide.” He’s most likely not talking about The Walking Dead type of creature, but the lack of lyrical eloquence kind of ruins this song. That and it sound like he has a stuffy nose when he’s singing. But they can’t all be winners, as the saying goes.
“Riot” comes next and brings back the technical funk heard at the beginning of the album, but isn’t necessarily a rioting song. It is still fantastic and fun to listen to though. “Redbone” was one of the singles released before the full album and was the most listened to track on the album according to Spotify. This is a fairly unique one, a little low on energy but it is also a love song, and pretty good one at that. It builds up nicely and has very colorful instrumentation making this a key track.
As if there weren’t enough hard left turns, “California” pops up next and again gives the impression that the listener hit the shuffle button by accident. It’s a pretty adorable track that sounds like Jason Mraz, Sublime and Glover had a kid…. A really weird kid. It’s a tight sound with a strange association of instruments, including what sounds like glass bottles being blown into. It’s a key track not because everyone will love it, but it just further shows how Glover is taking a totally new direction with his music.
Glover has got the nail into the board, but he isn’t striking it on the head just yet. At least he’s on the right board though. This must have been a fun project for him, and it’s very obvious that he’s not through with rap, but he’s moving onto more complex projects. Unfortunately, his old audience may not follow him, but he will undoubtedly gain some more attention with this collection. Key Tracks: Me and Your Mama, Have Some Love, RedBone, The Night Me and Your Mama Met
Cole Swindell brought his Down Home Tour to the sold out House of Blues in Boston December 10 for what promised to be an exciting night of up and coming country talent. Swindell, who is no stranger to selling out the nation’s largest House of Blues, was also able to do so the last time he played the venue. This time he brought along Cole Taylor and Travis Denning as his tour support.
First to take the stage was Travis Denning. The Georgia-native has been working to make a name for himself since his move to Nashville less than two years ago. In that time, he has worked both as an artist and a song writer to create a career for himself in music, a dream he has fostered since he was young. Denning did a great job catching the crowd’s interest with his own songs, including “Red, White, and Blue,” which he introduced by speaking not only about those over seas fighting for the country but also all of the people who protect the nation here at home, like police, EMT’s and firefighters. This truly seemed to resonate strongly with the sold out crowd. He carried on into the sing along portion of his set, where he played a song that he penned, “Everyone We Know Does,” which was recorded by Chase Rice. The crowd’s energy peaked during this song as everyone was happily able to sing along word for word. He closed out his set with “Southern Rock,” a song that he explained was very important to him as southern rock is what he grew up on and what inspired his love for music and guitar.
Cole Taylor was up next and he kicked things off with a fan favorite, “Drop Top,” off his self titled EP, which immediately had the crowd off their feet and singing along. Taylor took the stage with an energy and command of the crowd that one would have expected from a seasoned performer. He demonstrated a great deal of potential when he kept the energy in the room alive during songs the crowd was not necessarily as familiar with as they’d been with “Droptop.”
A noteworthy song from Taylor’s set was one off of his self titled EP called Boom. The catchy, up tempo song captivated those who knew it already as well as those who were hearing it for the first time. The highlight of his set came when he played a song that he penned for Luke Bryan and Karen Fairchild. The popular “Home Alone Tonight” had the entire crowd singing along word for word. He carried the energy from that song into his closing song, “Cold Beer,” which has been gaining popularity recently. Taylor did a wonderful job amping up the crowd for Cole Swindell and showed a great deal of potential for his career going forward.
Swindell took the stage with a great deal of energy and command of the stage with “Hope You Get Lonely Tonight,” the second single from his self titled full length release that went platinum and helped create the loyal fan base Swindell has today. He continued on with “Wildlife,” a song from Swindell’s Down Home Series which was released Fall of 2016 and “Brought to you By Beer,” from his self titled release. Other noteworthy songs that Swindell played from his self-titled release included “Chillin’ It” and “The Back Roads and the Back Row.” “Chillin’ It” was the single that helped catapult Swindell onto the map with country radio as it garnered a #1 spot on the US Hot country chart and a #2 slot on Country Airplay, in addition to going RIAA platinum. Its extreme popularity was certainly recognizable among the sold out crowd who all seemed to be singing along verbatim with Swindell.
Swindell took a few minutes before a performance of “Flatliner” to introduce it as a song he was very excited to have created with the help of Dierks Bentley and even more excited to get to play next spring when he tours in support of Bentley, a tour which should bring much success to both artists. From there he went into a string of songs he penned for some of the most popular artists in country right now, including “Get Me Some of That,” which was recorded by Thomas Rhett and “Roller Coaster,” which was recorded by Luke Bryan. Swindell also took some time to reflect on the origins of his musical journey. Prior to having his own successful career as a country artist, he sold merchandise for Luke Bryan, so later penning a song for Bryan was a career milestone for him.
Another noteworthy moment of the set came with the last two fan-favorite songs Swindell played: “No Can Left Behind” from his latest full length release You Should be Here and “Ain’t Worth the Whiskey” from his self-titled release. Swindell returned to play two of his own songs, “You Should be Here,” the somber yet catchy lead single and title track from his recent release, and “Let Me See Ya Girl,” the last single from his self titled release. His rendition of “Let Me See Ya Girl” was a treat for fans as it was intertwined with a cover of the ever popular “Closer” which was recorded by the Chainsmokers and Halsey.
With the Down Home Tour winding down fans should be looking forward to the next run of tours for these three talented young men. Each took the stage with great energy and charisma and demonstrated why they are making a name for themselves within the genre as writers and musicians.
It’s been a long time coming for Syracuse roots soul reggae group Root Shock to finally lay down some tracks in the studio to produce the record fans have been lustfully longing for. Their self titled debut is an authentic embodiment of the magnetizing performances that have continued to draw in larger crowds wherever they go. The Root Shock fam is: Jessica Brown (vocals/percussion), Bill Eppel (bass), Nick Kaczmar (keyboards/electronics) Dan Valvassori (guitar), Phil Grajko (guitar/vocals), Fafa Fain (drums/vocals) and Jason Randall (percussion/theremin).
Root Shock has also attracted a diverse fan base because their identity cannot be pigeonholed into the reggae genre. Their varied blend of soul and funk guided by the potency of Jessica Brown’s weighty vocals sets them apart from the droves of white boy reggae groups offering little variation from one another.
Feeding off the hype from a radio spotlight on 105.9 The Rebel with Dave Frisina, and artist profiles in two separate Syracuse publications in the same week, Root Shock gained plenty of momentum going into their December 17 album release party at Funk ‘n Waffles Downtown. Now, with the album officially out, the band is standing tall and branching out to share the fruits of countless long hours spent in the studio. Curious about the new album, I posed a few questions to shed some light on the inner workings of the thirteen-song compilation.
Ally Dean: Jason “Jocko” Randall who produced your record at More Sound Recording Studio in Syracuse is now performing percussion with Root Shock during live performances. Is he a long-term fixture? When Root Shock branches out into more extensive touring will Jocko be part of your entourage or is he more of an added spice for local ‘Cuse shows?
Phil Grajko: Jocko has not only been a huge asset to the band as a producer/sound engineer, he’s also become a close friend and collaborator, both on and off the stage. Having him come on board as a percussionist felt totally natural and easy. His involvement with the band is totally voluntary, and while he’s definitely busy running a successful recording studio, he’s expressed that he loves playing with us and will continue to make himself available as often as possible. He’s already signed on to play several out-of-town gigs with us, so we certainly welcome his presence and count him as a member.
AD: To follow that up, is it ever weird having your record producer performing with you? Obviously the members of Root Shock have been playing together for several years and know how they want the band to sound but Jocko also has an incredible ear for how he thinks music should sound. Is it ever a contentious issue?
PG: I think an important point to make is that the band has managed to stay in a pretty steady state of evolution. We’ve had lineup changes from the beginning, and an addition or subtraction of a member is always going to affect the overall feel. Root Shock functions very democratically, so when someone voices an opinion, it’s always heard and respected, often implemented. Having Jocko on board has forced a lot of us to sharpen our attentiveness to some of the finer details of the production/songwriting process. It’s been great having his input, but ultimately decisions are made collectively. There have certainly been some differences of opinion, but the mutual respect we all share for one another has cultivated a really easy environment for those differences to be reconciled.
AD: The opening of both “Freedom” and “Babylon Tree” contain this echoey chorus that is stylistically reminiscent of classic Jamaican reggae group The Congos. Is it an intentional nod to them?
PG: “Freedom” and “Babylon Tree” are what I’d call the ‘heavy roots’ tunes on the record. Several of the members (including Jocko) have a deep appreciation for some of the ‘dubbier’, delay/reverb laden roots reggae sounds that came out of Jamaica in the 70’s, and The Congos rank high on our list of the greats from that era. So yes, you could say we’ve drawn some influence from that world.
AD: Jess, your vocals throughout this album contain the same gut wrenching force you deliver in live performances but in a slightly more controlled manner. Was it difficult for you to translate what you do on stage with what makes sense for a recorded project?
Jessica Brown: Honestly it was a little challenging. As a mostly live performer who feeds off of the crowds energy and emotions, I had to really channel my own emotions into the songs. Which I do live as well, but this time with my voice under a microscope. It’s a very different experience being in the studio than being on stage in front of a crowd of people. I usually don’t think too much about what I do for a live performance, which is part of the beauty of the experience. There’s a lot of improvisation. For the album, I definitely thought more about note choices and what words and feelings I wanted to emphasize. I really enjoyed the process, even though it was a little scary. But I’m excited to get back into the studio since I feel more confident and experienced this time around!
AD: Making a record can be an exciting and inspirational endeavor but also a laborious undertaking that tests the limits and patience of band members. Now that the album is finished, do you feel stronger as a band moving forward?
PG: It was all of those things! We feel truly blessed to have had the opportunity to create this album. We all love each other as people. We believe in each other as musicians and songwriters. We had faith in Jocko and More Sound Studio to create a truly memorable product that was also honest and representative of our real-life sound. In the months leading up to recording, we often referred to our rehearsals as ‘boot camp’ sessions. We trained hard and saw a lot of progress during this period. The whole process before, during and after making the album turned us into better individual musicians and a better band overall. There’s no doubt that we’re a stronger unit. There’s a confidence and a steadiness that wasn’t nearly as pronounced as it is now. And it’s making its way into our newer material in a big way, so we’re excited!
Review:
The songs are peppered with Brown’s reflections on her life experiences playing on religious motifs, standing up for what’s right, love, loss, honoring both the natural world and the gift of life itself. While some songs seek to provoke the listener to heighten their mental awareness, others serve as curative tools for self healing through deeply personal, intimate lyrics. The words are delivered through an interfusion of springy beats and heavier instrumental grooves delivering musical diversity that outcompetes a majority of existing reggae.
The album opens boldly with an onslaught of playful hand percussion, a stomping bass line and a delightfully whimsical whirl of organ in “Come Alive.” This song is a call urging listeners to free their minds from captivity and to open their eyes to the reality around them. It’s a danceable memorandum relevant to the turbulent political and social chaos that pervades human existence. Brown’s impressive vocal range is on full display, particularly towards the end. She hits the notes with crisp clarity as she’s nearly screaming the words “come alive” like there’s a demon holding a knife to her throat.
“Sunlight” lightens the mood with a breezy, feelgood melody imploring the listener to look within and create the life they want for themselves with the help of a little honest soul searching. The lyrics offer an uplifting four-minute therapy session as Brown cheerfully chirps:
“If you’re soul doesn’t feel right inside,
break down those walls that you’re hiding behind
Happiness comes with the sunlight of a brand new day”
The brisk opening bass line, uninterrupted tick of tambourine and pulsating organ on “Freedom” forms an underlying urgency before entrancing choral repetition of the word “freedom” opens the sound by creating an expansive distance. This elusive quality complements lyrics speaking to the compelling drive to discover that sense of purpose which can often evade us. “Babylon Tree” is the only song with Grajko on lead vocals and offers that dubbier old school reggae tone. Again the lyrics draw attention to a need for social consciousness:
“Can’t you see your system is a vampire
Insatiable wildfire that’s poisoning the air we breathe?
Here we stand on the brink of evolution
Yet your minds are on your power grabs of greed
Don’t need your cursed cash to find some soil and plant some seeds
But I’ll die on my feet before I live upon my knees”
“Sage” detours from the overall uptempo rhythm felt through most of the album in exchange for a more delicate, sensual blues tone. It takes its sweet time building tension with a hauntingly melancholy solo from Grajko which sets the stage for Brown to build off it with more of her jaw dropping vocal strength. “Boss Battle” follows as a quick and dirty jam, the only song with no vocals. It’s rather repetitive, not terribly exciting, but makes for a good transition song during live performances.
Having lost her mother to cancer at age 20, Brown pays tribute to a lost but not forgotten role model in tender love ballad “Sweet Reunion.” Anyone who has dealt with passing loved ones can easily relate to this affectionate homage. The tone is triumphant even in the face of tragic loss, a coming-to terms-reckoning that leaves the listener feeling at peace.
“Cup” is a lighthearted celebration of love with a buoyant feel, followed poignantly by “Games,” a heavier song, representative of someone who has been dragged through the dirt by a relationship gone wrong. Accompanied by Syracuse trombonist Melissa Gardiner, the horn addition adds great depth to this tune.
The album culminates with an elevating, uptempo song called “Love Spirit,” with lyrics giving thanks for the strength born from a life of independence. Right at the end of the album, we also get a one-verse taste of Fain’s smooth and soothing, low octave vocals. We leave this thirteen-song journey having danced and cried to a range of relatable experiences. Though many will tempt to emulate Brown as they shamelessly sing along, Root Shock is not responsible for any vocal chords damaged in the process. Root Shock’s self titled debut album will be available wherever music is sold, and will be released on streaming sites within the next few weeks.
New York is a great state for live music. With a variety of venues throughout the state in both small towns and big cities, music fans can find something happening any night of the week from all genres of music. We asked the NYS Music staff of writers and photographers, all of whom see a variety of music, along with our readers, for their opinions on the best towns and cities for music in the state.
The venues are not the only reason why New York is such a great place for music. With the amount of national, regional and local acts touring through the state, we get the chance see bands and artists rise from their infancy playing bars and small clubs to playing larger theaters and arenas. In addition to the best music towns, we also asked our staff and readers for what they think are the acts to which we should pay the most attention.
Best Music Town
The NYS Music staff represents every region of the state, and while they see the most music in their hometowns, they are not afraid to travel a bit to see quality music. When asked about the best music town in the state, there was a wide variety of responses. One would expect New York City, being, by far, the largest city in the state, to come out on top. However, that was not the case. The two cities with the most votes from the staff were Buffalo and Syracuse. Our readers, on the other hand, did choose New York City, which tied with Albany. Buffalo came in a very close third for the readers.
Buffalo, being the second largest city in the state and one of the largest in that region of the country, sees a lot of music come through its various venues, ranging from small clubs and bars to the large New Era Field. The Buffalove Music Festival takes place in the Buffalo area and feature a large number of Buffalo-based acts. Many popular music acts got their start in Buffalo including the Goo Goo Dolls, Spyro Gyra and one of the current popular bands, Aqueous, whose latest EP, Best in Show, was our staff pick for album of the year.
Syracuse, the fifth largest city in the state and home to Syracuse University, features a number of popular music venues such as Funk ‘N Waffles, the Westcott Theatre and the F Shed. The K-Rockathon, a music festival held by three related radio stations, has been held in the city for the past several years at the New York State Fairgrounds, though there was not one held this past summer. The Syracuse Jazz Festival boasts itself as the “Northeast’s largest free jazz festival” and has featured such artists as Aretha Franklin, Trombone Shorty, Wynton Marsalis and B.B. King. The Syracuse Area Music Awards, or the SAMMY’s, take place every year honoring musicians from Syracuse. Jon Fishman, the drummer from Phish who grew up in Syracuse, was awarded a SAMMY for lifetime achievement in 2015.
Albany, and the Capital District in general, received a number of votes from both our staff and our readers. The area is home to many musical happenings throughout the year, including the Alive at Five free summer concert series and the national and regional performances at various venues around the city sponsored by WEQX. The city is home to two venues with some of the best acoustics in the country, the Egg and the Picotte Recital Hall at the Massry Center for the Arts. The Times Union Center, originally the Knickerbocker Arena, has played host to numerous music greats. The Grateful Dead’s Dozin’ at the Knick features live recordings from their three night stand there in March 1990.
New York City, which took best music town last year, is one of the best cities in the world for music. A number of well-known artists and bands have called the city their home. New York City is also home to several world-class venues, including Madison Square Garden, Radio City Music Hall, Carnegie Hall and Lincoln Center. It’s no surprise that the Big Apple was voted one of the best music towns in the state for the second consecutive year.
Bands on the Rise
Along with great places where music happens, New York is known for the musicians themselves. As many would expect of a state like this, some of the artists and bands become fairly well known on a regional or national level. While there were many bands chosen in the Bands on the Rise category, there were two standouts each from our staff and our readers. One commonality between the four bands highlighted here is that they are all from New York, even though the category is not limited to the state. Two of the bands represent a couple of the best music towns.
Staff Pick: Space Carnival From: Ithaca
Space Carnival has been on the scene since 2013, but has been making waves in the scene. Their debut album, Drawn in By the Sun, was released in July.They release two professionally shot and edited videos of their song “Moon Boots” off the album, one from a show in April and one from October. They are currently wrapping up some fall tour dates, with the last scheduled show this Saturday, Dec. 17 at Stella Blues in New Haven, Connecticut with Chromatropic. Music fans can expect more from Space Carnival in 2017.
The Other Brothers, recently interviewed by our own Karina Verlan, is a “neo-soul” band that formed in 2012 while students at SUNY New Paltz. The band grew to its current six-piece formation this past year when they added percussionist Jared Nelson and keyboardist Gabe Marquez. While they have no shows lined up for the remainder of the year, they are in and out of the studio working on their debut album.
Hailing from the same stomping grounds as jam aficionados Phish comes a unique, five-piece outfit known as Madaila. Fresh off the heels of their sophomore album release, Burlington, VT natives Mark Daly, Willoughby Morse, Eric B. Maier, Dan Ryan and Jer Coons, will make their Capital Region debut at Putnam Den on December 16. Their 2016 release Traces hit the public just over a month ago on November 4 , following up their explosive inaugural effort, 2015’s The Dance.
Although Madaila doesn’t fully embody the typically “granola” association of Vermont musicians, they take their roots and expand on them in a way that makes their sound and image truly unique. Members of the band run the local Future Fields studio, a musical hub in the midst of Burlington where The Dance was crafted. Their catchy and synth-heavy tunes undoubtedly display their musical intelligence.
At one moment, vocals can be reminiscent of Justin Vernon in Bon Iver paired with electronic nods to Passion Pit and Tame Impala. The next moment, however, will toss you into a thirty second jam reminiscent of their geographical origins. Throughout their music videos, the group has honed the talent of playfully moving between serious musical elements and all-out splashes of fun, knowing how to take their craft seriously, but not necessarily themselves. Many videos like “I Know” and “Give Me All Your Love” find band members dressed head to toe in eye-popping color schemes and patterns, resembling anything from an 80s dance party to a Lisa Frank fashion show.
These psych-pop steamrollers on the rise have curated a generous amount of buzz in a short amount of time and have plans to kick off their first gig in a string of six at the Den. More NY dates follow at Port Chester’s famed Capitol Theatre and Arlene’s Grocery for an extra Phishy NYE run after party. This year comes to a close with two New Year’s stops at hometown venue Higher Ground on December 30 and 31, following the legacies of fellow VT musicians Grace Potter and Twiddle who have filled the same slot in previous years. Madaila kick off 2017 with January appearances at the Press Room in Portsmouth, NH and StageOne in Fairfled, CT.
This Friday, doors open at 8:30PM with a 9:30PM show to follow for an 18+ crowd. Tickets are $10 with $5 surcharge for those under 21. If you are unfamiliar with Madaila, quickly become acquainted because their Putnam Den debut is not one you want to let fall through the musical cracks. Frontman Mark Daly and Madaila management/production/keys player Eric Maier lent some time to NYS Music to detail their latest album, how to correctly pronounce “Muh-dey-luh” and, of course, how being a phan helped shape their musical journey. ‘Madaila doesn’t sound a lot like Phish, but we are super weird people who resonate with the example they’ve set.’
Alyssa Ladzinski: For those who don’t know your music, what would you like them to know about you?
Eric Maier: We call our music “psych pop”. We like it to be at times catchy and at times exploratory. Our live show is important to us. We’re from Vermont! We make our music at the studio we run in Burlington, Future Fields.
AL: How was recording your 2016 release Traces different than the process of 2015’s debut of The Dance?
EM:We made The Dance before we put our live band together. Mark played every instrument, which was annoyingly impressive. Haha. Jer and I produced the record. We had input into the sound, but it was much more the product of Mark’s wild imagination. Traces also started in Mark’s freaky brain. But we made Traces after having been a band for a year and the record reflects that. Mark’s writing and arrangements were influenced by the growth and cohesion we have developed on stage. And, more directly, each of us plays on the record in ways that display our musical personalities. All of us see our responsibility as being to help “nurture” something birthed in Mark’s mind. Traces reflects a more mature version of that!
AL: Explain what it was like creating this album in Future Fields studios in the familiar territory of Burlington, VT. What were the pros/cons of recording in a place you call home?
EM: Future Fields is our musical home. The studio has grown in and around Madaila. Jer, Willoughby and I are the three owners. We rehearse there. Keep our stuff there. And have made both records there! It’s hard to separate the two! It’s definitely crucial to feel comfortable in your creative environment. Another huge plus is being able to spend as much time working as we need, without worrying about budget. We’ve thought about trying a new environment for the sole purpose of getting out of our comfort zone. Mark’s creative process for composing Madaila’s music has always been about pushing himself into new contexts and out of his comfort zone. So we may try and explore that idea in the future by mixing it up. As it were. But for now, we have everything we need and the price is right!
AL: You have some pretty interesting music videos and I love how much fun you have with them. How do you come up with the video concepts?
Mark Daly: Well, a lot of the videos conceptually come from the combined powers of our very good friend Mike Mooney, founder of Hammer and Saw Films, and myself. A pair of other collaborations have come from a few amazingly talented friends in Burlington.
We’ve been so lucky and blessed with having a close friend like Mike to help produce, create and shoot a number of videos for the band. It’s a super collaborative and close relationship that helps the entire vibe and environment of our videos. It’s definitely obvious we are having fun, and that’s always been a part of the energy surrounding our band. We are extremely passionate and serious with what we do and our goals, but at the same time we try to always be ourselves and not take things tooooo seriously. Mike and all of us also really like videos with an arc and a theme to it, that tell a story. That’s been a catalyst in a bunch of our videos.
We like our videos to be eye catching and loose and playful in order to produce a unique outcome, but also because that’s honest to who we are as a band. It’s all a part of the Madaila nucleus.
We have a new video coming out very very soon and it’s probably the weirdest and most fun video yet so stay tuned!
AL: Outside of playing music, how else do you explore and express your individual creativity?
MD: Music is where we predominantly express our creativity, but it also acts as a platform, or spring-board, that allows us to access several other ways to express ourselves. Whether that’s acting, being a salesman, making art, writing, etc.
I love writing music as much as possible, but acting has probably been the most active realm of creativity within me aside from that.
I love making videos and being different characters – just something I’ve done since childhood. It’s all part of loving to entertain I guess. It’s almost more natural to play an outlandish character than to be myself or act normal on camera. Several aliases have helped promote Madaila and Madaila shows over the years. Sometimes there are even appearances at the show or on stage. Music and comedy are two great fucking things and that’s that!
AL: What’s one, or two bands, you would love to set up a tour with that you haven’t had the chance to?
EM: We love the band Vulfpeck and could see ourselves fitting well with them in that happy land between jazz and pop. Rubblebucket are old friends and would also work well. We also love Lucius and think that would be a cool pairing! It’s funny for us since we inhabit a bit of a middle ground between indie rock and jam worlds. We’ve had a great time collaborating and playing shows with our old friends Twiddle, who are also from Vermont. There are so many possibilities for putting bills together. For us it comes down to being turned on by a band’s music, whatever it sounds like. It also makes a huge difference when you hit it off as people. When you connect on a personal level everything is more fun!
AL: Do you guys practice any pre or post show rituals?
Both: Yes. 🙂
AL: Favorite musical purchase or release from 2o16?
Both: The new Frank Ocean. New Bon Iver. Solange! Chance The Rapper.
AL: What’s the most interesting pronunciation of your band’s name that you’ve heard?
EM: Oof. Let’s start by clarifying that it is “Muh-dey-luh”. Haha. We didn’t anticipate the pronunciation being a problem but it’s a weird combo of letters for people. We’ve seen at least 6 different spellings and a variety of pronunciations. The most common is “Madalia”, which adds a syllable by switching two letters. “Madala” might be the most renegade since it just eliminates a letter altogether. Great question! This comes up a lot.
AL: You’re playing a Phish after party in NYC on 12/28–how does it feel to get the opportunity play for a crowd of people who share love for the biggest band out of Burlington? I also have to know, what are your favorite Phish songs? Or album if that makes it easier.
EM: Yay! It feels great. We are proud to be part of a wonderful tradition of Vermont bands. The scene in Burlington is unreal. And we truly appreciate the history. We look up to Phish a ton for the way they built their band by focusing on their live show; on sustainable growth; on being true to their sound; on putting music first; and on embracing the various weirdnesses that make them who they are. Madaila doesn’t sound a lot like Phish, but we are super weird people who resonate with the example they’ve set.
As far as Phish’s music itself, people tend to take it or leave it. Which is fine. Mark and I are the Phish heads. Our first band was a jam band that we started (oof) 12 years ago. Pale Moon! We wanted to be Phish. We had dreams where we got invited on stage at SPAC. Haha. Hey! It could happen.
In terms of favorites. I lose Phantasy points for saying this but I’ve always gotten down with the 90s albums. Running a studio myself I love that expressive environment. I also love the track order on certain records, like A Picture Of Nectar. Live, I’m a sucker for the upbeat major jams like Antelope & Chalkdust.
MD: Growing up in Vermont and being a musician, it’s super hard NOT to know Phish or been influenced by them. Trey was probably the first person to make me want to play guitar. Because of that Divided Sky – the Junta version – and any Reba jam might be my favorite Phish moments. But there are a lot of them. If I had to list a few more off the top of my head… Trey’s solo at the end of Chalkdust Torture on A Live One, and I always love a good Harry Hood or Fluffhead. I feel like a hippy all over again. Haha.
AL: What are your personal favorite tracks on Traces. Do you have a least favorite?
EM: We love all of our babies. Haha. Well, we developed a great relationship with “Secret”, which we played live before the record was recorded. We’ve really had fun recently with “Excelsior”. The live format is where we encounter these songs most often, so that tends to shape how we feel about the songs.
MD: Ditto to what Eric said in “Secret” and “Excelsior.” Another favorite of mine has always been “Spring.” It just really gets me emotionally and is such a poetic and powerful song. We are currently and finally in the process of getting the crazy, long and challenging “Nurture” live ready and I have a feeling it will become an extremely fun, cosmic and energizing song to play live.
AL: Who are some of your musical influences/heroes that people wouldn’t guess based on your music?
EM: Well, Phish, as mentioned! Mark and I both love jazz music. We were just talking about McCoy Tyner yesterday. I love Monk. Miles Davis & John Coltrane are two musical heroes. But both of us have a pretty insane width in what we like. I love what is happening with Sturgill Simpson & the alt-country movement. Jer got me into Chris Stapleton as well. Willy is the master of the indie rock realm. The two of us geek out on PWR BTTM, Alvvays, & King Tuff. He and Jer also venture into the world of metal & both have pop punk histories. Dan is the deepest into jazz – especially modern jazz – as well as old school hip hop. Yeaaaah. We’re all over the place!!!
AL: Which bands have been on your radar recently? Any up and coming bands from Burlington we should keep on our personal radars?
EM: Burlington is such an amazing scene. Running the studio also gives us an amazing view into various subcommunities here; aaaand somewhat of a responsibility to not play favorites. Haha. I will say that we worked hard assembling the lineup for our NYE run at Higher Ground, and that each of those bands are artists we love listening to; love hanging out with; and see having the potential to blow the f*** up. Those are: Arc Iris; Lux Deluxe; smalltalker; and Jeff Beam!
AL: Eric, how do you balance time between keys, production and management? Are you often overwhleed or have you perfected the skill of wearing many hats by now?
EM: I love being able to split time between different worlds. It can be overwhelming but I have great support on both the art and business sides – people I can rely on and trust! Like Madaila’s manager Mark Balderston! The business side of Future Fields grew out of a frustration with the challenges of our industry. I didn’t expect to like that realm as much as I do. It’s challenging & creative in its own way! And it’s mostly about connecting with other people, which I love. When that starts to drag a bit it’s not too long before I get to go down the hall to the studio and enter a different headspace; or play a show! It’s a privilege to get to push myself in multiple spheres.
AL: Mark, when you find yourself stuck on writing song lyrics, what are your go to methods to get your creative juices flowing?
MD:I wish I could tell you but it would be too inappropriate!… Just kidding.
Lyrics are definitely the hardest part of the songwriting process for me. It most often comes last but there are times when a line will stick during the scratch vocal because it just sounds good and flows well. I almost always have things I want to say, but it’s getting them to fit logically and rhythmically within a song’s meter that’s often the challenge. If I’m stuck on a lyric I try to move on to something else rather than beat a dead horse. There’s always another part to add or another song to start. But I think I write my best lyrics in the morning with a cup of coffee and a clear head. My fianceé and I just bought a house this past summer and the 3 season porch, with the morning light pouring in, has been a really peaceful and productive space so far for writing lyrics and music.
Eastern Electric, alternative indie rock from Guilderland, NY, put out their latest album, Suburban Daydreams, on December 9, 2016. The album opens up with the title track, led by Will Burger’s dream-like voice, and sets the listener up for the rest of the album which can be characterized as emotional and dynamic. With a balanced blend of simple yet layered ambient instrumentation, Eastern Electric delivers an impactful performance on par with most signed, touring and recording acts. Immediately upon hearing their single “She’s a Quiet Driver,” I was greatly impressed by the talent and writing of this young band, but there was no way I could have anticipated how much I would enjoy the full album. With proper determination, I could easily see a larger audience listening to Eastern Electric.
Engineered, produced, mixed and mastered by Scoops Dardaris at the World Citizen Party House in Albany, NY, Suburban Daydreams clocks in close to thirty minutes in length. At first listen, all types of different influences are present. Tracks such as “I Don’t Know Yet” and “Raise My Fucking Grade” pull sounds from legendary rockers such as Nirvana and Brand New, especially between their bassist Ryan Keegan and drummer Jack Buttridge. Adding simple yet effective smoothness to the mix are Jackson Wolfe on guitar and Michael Beeche on keys.
I think the key element that gives Suburban Daydreams its x-factor is that none of the musicians featured on the album overplay. While the album certainly could have been longer and still kept the listeners attention, it is devoid of over complication or long, 80’s style guitar solos or extra sprinkled toppings, save a trumpet solo in “Whispering Goodbyes,” a violin lead in “Ignite,” and a harmonica featured in “Blue Eyes Cryin’.” Eastern Electric gets on their metaphorical stage, plays without giving a speech in between songs, finishes the set in short time, but leaves the metaphorical crowd in awe. Outside of metaphors, I’ve seen them live in Albany, NY and can attest to their professionalism and quality.
But Eastern Electric didn’t just put out a good album. They surpassed expectations set out for local bands at this stage in their career. They have my attention, and my respect, as I’m sure they will from many who enjoy groups such as City and Colour, Brand New and Cymbals Eat Guitars as well as many others. Personally, I’m looking forward to hearing their future work and seeing them live.
Key tracks: Suburban Daydreams, She’s a Quiet Driver, Blue Eyes Cryin’, Raise My Fucking Grade
Joan Baez, who is from Staten Island, NY, came to prominence following her performance at the 1959 Newport Folk Festival. While Baez is a talented songwriter in her own right, she is equally well known for enthralling interpretations of classic songs, helping other songwriters, especially Bob Dylan, achieve greater notoriety; and more importantly, Baez remains a longstanding advocate for human and civil rights.
Yes formed in 1968 in London, and despite undergoing many lineup changes, they have persisted in bringing virtuoso prog-rock to adoring fans around the globe for more than forty years. Led by frontman Jon Anderson, guitarist Steve Howe, bassist Chris Squire, drummers Bill Bruford and Alan White, and keyboardist Rick Wakeman, Yes created some of the most iconic music of the prog-rock era, including the hit song “Roundabout” and the epic album Close to the Edge.
Electric Light Orchestra, the brainchild of Jeff Lynne and Roy Wood, began in 1970 in Birmingham, England and went on to sell over fifty million records worldwide. Melding a Beatles-like pop-rock sensibility with grandiose, classically-inclined orchestration became ELO’s hallmark, and led to their success with singles such as “Can’t Get It Out of My Head,” “Evil Woman,” “Strange Magic,” “Livin’ Thing,” “Telephone Line,” and “Mr. Blue Sky.”
Journey entered the rock n’ roll landscape from the psychedelic San Francisco scene in 1973, spearheaded by ex-Santana players Neal Schon and Gregg Rolie; but it was the addition of renowned vocalist Steve Perry, in 1977, that propelled them to rock stardom. Their 1981 album Escape is one of the landmark’s of the stadium rock era and features their international smash hit “Don’t Stop Believin’,” which remains a cultural mainstay today.
Unlike most of this year’s inductees, Pearl Jam did not have to wait long to enter the Hall after becoming eligible. Bassist Jeff Ament, guitarists Stone Gossard and Mike McCready, singer Eddie Vedder, and drummer Matt Cameron came together to launch Pearl Jam from the Seattle grunge scene into the rock n’ roll stratosphere. On the backs of five platinum albums (Ten, Vs., Vitalogy, No Code, and Yield), decades of fan-centric touring, and dozens of indelible collaborations, Pearl Jam stands as one of the most successful bands in rock history.
Tupac Shakur, who was born in East Harlem, NY, is entering the Hall on the strength of his infamous and poetic brand of “west coast” rap. Tupac first broke onto the scene as a member of Digital Underground in 1991, and was murdered at the age of 25 in 1996, but in the five years between he released two albums that went ten times platinum with All Eyez on Me and Greatest Hits, penned two number one hits with “California Love” and “How Do U Want It,” starred in several Hollywood films, and sold over 75 million records.
In addition to the six performers being inducted in 2017, Nile Rodgers, a New York City native, will receive the Award for Musical Excellence. With bassist Bernard Edwards, he formed the iconic disco band CHIC in 1977, which produced the hits “Le Freak” and “Good Times,” on their way to becoming the cornerstone of the Studio 54 dance scene. Then, beginning with Sister Sledge’s “We Are Family” in 1979, Rodgers went on to cultivate a spectacular career as a producer, which saw him work his magic on classic albums for the likes of Diana Ross, David Bowie, INXS, Madonna, the B-52s, Jimmy and Stevie Ray Vaughan, and Daft Punk.
The Rock & Roll Hall of Fame Induction Ceremony, the 32nd annual, will be held at Brooklyn’s Barclay’s Center on Friday, April 7, 2017. Ticket on-sale dates will be announced in January.
Ignacio combines genres and sounds that distinguish
Root Shock has also attracted a diverse fan base because their identity cannot be pigeonholed into the reggae genre. Their varied blend of soul and funk guided by the potency of Jessica Brown’s weighty vocals sets them apart from the droves of white boy reggae groups offering little variation from one another.
