On Sunday, Feb. 12, 2017, the 59th annual Grammy awards commence. Some artists will be catapulted into stardom with their first Grammy win, while some artists will climb towards becoming music legends, and other artists will add another award or awards to their already growing legacies.
With the Grammys right around the corner, NYS Music wanted to pay homage to all the homegrown New York musical talent, and others who have sought out the state of New York to help jump-start their musical careers and call the state home.
Many recognizable, and upcoming artists born and raised in New York that have been nominated for a Grammy award include, Brooklyn native Barbara Streisand for Best Traditional Pop Vocal Album, Encore: Movie Partners Sing Broadway;Long Island natives De La Soul for Best Rap Album, And the Anonymous Nobody;New Hartford resident Joe Bonamassa for Best Traditional Blues Album, Live at the Greek Theater and from the Bronx, Fat Joe, for Best Rap Performance, for the single “All the Way Up,” which also features Remy Ma, French Montana and Infared.
New Hartford’s Joe Bonamassa performing at Red Rocks earlier this year.
Other hometown nominees include: Little Louie Vega (Bronx ), for Best Dance/Electronic Album, Louie Vega Starring…XXVIII; guitarist, composer, and arranger Chuck Loeb, (Nyack), for Best Contemporary Instrumental Album, Unspoken;Brady Rymer and the Little Band that Could (Southold), for Best Children’s Album, Press Play;Sofi Tukker (NYC) for Best Dance Recording for the track “Drinkee;” Catherine Russell (NYC) for Best Jazz Vocal Album, Harlem on My Mind;John Coltrane’s son Ravi (Long Island) for Best Improvised Jazz Solo, “In Movement;” Claire Lynch (Kingston) for Best Bluegrass Album, North by South;Bob Mintzer (New Rochelle) for Best Large Jazz Ensemble Album, All L.A. Band;Andy Gonzalez (Bronx) for Best Latin Jazz Album, Entre Colegas and Steve Gadd (Rochester) for Best Contemporary Instrumental AlbumWay Back Home: Live From Rochester, NY. Gadd is also James Taylor’s touring drummer.
Kingston’s Claire Lynch
Many artist have ties to New York and though not born in the state, some call it home. Some of these artists include one of the hottest duos on the EDM scene, The Chainsmokers, who are French-born, Westchester-raised Alexander Pall and Andrew Taggart, a Scottish native raised in Maine and a Syracuse University graduate. After graduation, Taggart was part of the SU Music Business program before taking DJ gigs in NYC where he would eventually meet Pall. The Chainsmokers are nominated for Best New Artist, Best Pop Duo/Group Performance for their single, “Closer,” which also features Halsey on vocals, and for Best Dance Recording for their single, “Don’t Let Me Down,” which features the singer Daya.
Bob Dylan, the 2016 Nobel Prize in Literature recipient, used to reside in New York and wrote many of his most influential music while living in Woodstock. Dylan is credited with helping to create the folk scene in Greenwich Village. His contributions stand among some of New York’s most significant musical pieces. Dylan is nominated for Best Traditional Pop Vocal Album, Fallen Angels, and for Best Historical Album, The Cutting Edge 1965-1966: The Bootleg Series, Vol.12 (Collector’s Edition).
Before his passing on Jan. 10, 2016, David Bowie had a residence for many years in Woodstock. Bowie is nominated for five Grammys including Best Rock Performance, Blackstar, Best Rock Song, “Blackstar,” Best Alternative Music Album, Blackstar, Best Recording Package, Blackstar, andBest-Engineered Album, Non-Classical, Blackstar.
Other New York transplants nominated for Grammy awards include Snarky Puppy, for Best Contemporary Instrumental Album for Culcha Vulcha. You can read NYS Music‘s review of this album here. Darcy James Argue’s Secret Society for Best Large Jazz Ensemble Album, Real Enemies, andPatti Smith for Best Spoken Word Album, M Train.
Snarky Puppy performing at Syracuse’s Landmark Theatre earlier this year.
As we give thanks for the awe inspiring musical talent living among us, we must also honor those who have left incredible music legacies behind. 2016 was particularly rough, having lost several pioneers and visionaries whose music has influenced not only other musicians, but has affected so many of us far outside the realm of making music. Their songs are the songs we queue in epic DJ mixes at dance parties, belt the lyrics alone in our rooms when we’re feeling melodramatic, and reflect on their lyrical wisdom in challenging times.
1). David Bowie
January 8, 1947 – January 10, 2016
2). Prince
June 7, 1958 – April 21, 2016
3). Leonard Cohen
September 21, 1934 – November 7, 2016
Staff and readers unanimously agreed David Bowie, Prince and Leonard Cohen were our three most cherished losses in the music community this year. All three were producing up until their heartbreaking deaths with Bowie’s Blackstar (2016), Prince’s HITnRUN Phase One and HITnRUN Phase Two (2015) and Cohen’s You Want it Darker (2016).
Other notable losses in 2016 include Leon Russel, Sharon Jones of Sharon Jones and the Dap Kings, Maurice White of Earth, Wind & Fire, John Berry of Beastie Boys and Merle Haggard.
Best Live Cover or Tribute Performance
It seems fitting to follow up Biggest Musical Losses with Best Live Cover or Tribute Performance as a way of honoring the work of past musical greats. In this year’s poll, we received so many noteworthy performances. Our staff voted on Dopakuaz’s Yacht Rock, Lotus’ Space Disco set at the Town Ballroom, Mirk’s Michael Jackson medley, Phish’s Ziggy Stardust tribute, Start Making Sense, James Brown Dance Party, Salt City Waltz and Twiddle’s cover of ALO’s “BBQ”
Readers chose Aqueous covering “Band on the Run,” JRAD’s performance at Lockn’, Phish’s Suffragette City cover, Pink Talking Fish’s Nov. 17 show in Denver, Twenty One Pilots covering “Cancer” and White Denim’s Prince Medley. Recap Monday’s staff and reader picks for Albums of the Year, and stay tuned as the series continues throughout the week.
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.
Singer/songwriter Mike Powell has no shortage of inspiration for writing music. Raised in the foothills of the Adirondack Mountains, he taught himself guitar at the age of 13, boasting a catalog of 20 or so songs by the age of 15. Powell went on to become one of the most decorated college lacrosse players in history for Syracuse University, declining an offer to play in the pros straight out of college, opting instead to follow his passion for music and songwriting to the stage.
With the reverent simplicity of his soulful voice, an ax, and a harmonica, he delivers nine heartfelt, timeless songs on his fourth album, Tied to the Rail. Eliciting influences from Bob Dylan and John Prine, Mike Powell has been described as a “polite rebel; a truly unique and inspiring American voice,” by The Boston Globe. Powell has also released Blue Eyes and Hand Me Downs, Replevin, and the 2014 Syracuse Area Music Award-nominated Kapow.
Powell eventually did play lacrosse professionally – for the Baltimore Bayhawks in 2005 and the Boston Cannons in 2007. Two years later, he was back on stage, touring alongside Sarah Lee, the granddaughter of Woody Guthrie. A woodworker, Powell nearly lost his ring finger on his playing hand while moving a stack of logs in 2014. With a varied past such as his, it comes as no surprise that Powell is such a great storyteller!
The album kicks off with the folk/southern rock hybrid “Empire,” a track that showcases the power of what one can accomplish with the simplicity of an acoustic guitar and Powell’s smokey yet earnest voice. It’s a taste of what’s to come – a no-frills album showcasing powerful lyrics by a seasoned vocalist.
The second track, “Bibles and Bourbon,” features a signature steel guitar and is a short but sweet busker song, good for helping you get out of your own head.
His lyrics – like these from “Mary Anne” – are pieces of Americana.
When the water cost money and the drugs seem cheap
When all your dreams stay lost in your sleep
And you can feel a break down coming soon
When your head gets dizzy from the rattle and the spin
And the sadness seems to burn on your skin
And every night you’re left yelling at the moon
Conjuring up images of dusty railroad tracks and bible thumping preachers, “Tied to the Rail” combines folk, soul and a bit of country to create a sound that is sure to give you the feels. Inspired by the birth of his daughter in 2016, Powell is back on the road promoting his third album.
You can catch Powell on the road Tuesday, December 13 at the Light Club Lamp Shop in Burlington, Vermont, at Ray Brothers BBQ in Bouckville, New York on Friday, December 23 and at the Brae Loch Inn in Cazenovia on Friday, December 30.
In January, he returns to the studio with his Black River Band to record a new record set to release in March. He resumes his tour in early 2017 with over a dozen upstate New York appearances already scheduled, many of which Powell will be joined by Black River Band featuring John Hanus on guitar, Shane Kelson on keys, Joe Bell on bass and Dom Scicchitano on drums, with intimate solo shows when appropriate.
Visit Mike Powell on Facebook or his website for more dates or to pick up a copy of Tied to the Rail.
On a night where Buffalo got its first real snowfall of the season, The Waiting Room performance venue was plenty heated by its main stage. An up and coming pop-punk band, The Second String, celebrated the release of their EP, Six Ways to Sunday, with a show that served more as a celebration for themselves and a sign of things to come.
The Second String, made up of lead singer Tom Frisicaro, guitarists Roger Pleasant and Ryan Gelder, bassist Marc Del Priore and drummer Robby Marshall, make very traditional pop-punk – a weird statement to make, taking into account how long the genre has been around and how it’s been relegated from most. Their songs are short, sweet and to the point, each one lasting between 2 to 3 minutes. The lyrics were typical.
The fast nature of their music allowed for plenty of erratic movement on the stage, including some panels that occasionally lit up when one of the members stepped on them. Frisicaro sings very much like the singers of bands like Blink-182, Jimmy Eat World and Bowling for Soup. He has the same “trying to sound clean nasally” whine those bands have and if he was trying to directly emulate them, he was doing a good job.
After performing 5 original songs, including material from the just-released EP, Frisicaro played an initially acoustic All-Time Low cover, with the first two verses and chorus by himself before the rest of the band joined to finish out the song. The following song was a Paramore cover where a girl, Maddie Radwan, sang in place of Frisicaro, to the enjoyment of her friends in attendance.
At various points in the night, Frisicaro made constant mention of the band’s merch table along with sharing that his girlfriend was expecting. He also announced that the band was taking a break from performing live to focus on recording more material for a full-length album. Hopefully, with that bit of time on their side, The Second String can create something to get us excited about.
After a two year hiatus, moe.down is a go for 2017. Last year the band announced that, for the second consecutive year, moe.down would not take place but have never outright dismissed the fact that it would return. Today’s announcement puts the conjecture to rest. moe.down is returning to its original location, Snow Ridge in Turin, NY June 30 – July 2.
The July date marks a departure from previous moe.downs, which traditionally took place over Labor Day weekend, a weekend, as any upstater knows, that can bring weather ranging from excessive heat to cold rain, sometimes over the course of one day. The July date should make for a more pleasant weekend experience for fans.
Past moe.downs have seen the band perform six sets throughout the weekend as well as sets with side projects such as Al and the Transamericans, Ha Ha the Moose and Floodwood. The festival is known for attracting artists typically not seen at jamband festivals. Past performers have included Violent Femmes, They Might Be Giants, Cracker/Camper Van Beethoven and Meat Puppets.
Early bird tickets, VIP and RV passes for moe.down 16 go on sale Friday, Dec. 16 at noon ET. Three-day general admission tickets are $130 in the early bird allotment. For more information, visit moe.’s website.
Lovers of classic country and American roots music would have loved to see Larry Campbell and Teresa Williams perform at the intimate FTC venue, Stage One in Fairfield CT. But people not involved in that culture may not have found show as much fun. It was a very, very laid back and low energy energy night, but that seemed to be just the right mood for the almost full house that attended, who gave the duo several standing ovations.
They played for about two hours and featured many tracks from their new self titled album and first collaboration together as well as a number of covers and originals from Campbell. Their voices did sync up perfectly and most of the instrumental side of the performance was intriguing, but listeners didn’t go there to be blown away by guitar solos and complex riffing and movements. They came to reminisce and dream about a country lifestyle while being stuck in Fairfield County, Connecticut, the least “country” place for miles.
The only notable downfall was the uncomfortable moments in between songs. The two were cute together but they were a bit awkward on stage with Williams lying low in conversation and a seemingly nervous Campbell stumbling over his words a little bit. The crowd didn’t seem bothered by his lack of fluency and found it to be more charming than anything else.
Many of their songs were of a slow tempo and about love and heartbreak, like “Midnight Highway” and “Running Wild” by The Louvin Brothers, and they soon gained some momentum with a few more from their album, “Surrender to Love” and “Bad Luck Charm.” And although the audience loved every song, there was a noticeable difference in the lack of applause after several ballad songs in a row. It seemed that Larry Campbell and Teresa Williams read the Stage One room and ended the night strong and upbeat with their encore that left the audience on their feet once again.
In NYS Music tradition, as we count down the final days of 2016, we reminisce about the hours we’ve spent obsessing over music. Whether planning wild road trips to chase bands whose music feeds our souls, frequenting our favorite venues and exploring new ones, head banging to heavy jams and accidentally spilling drinks, dancing with strangers and making new friends, music is a common thread that unites us. Now it’s time to reflect on the soundtrack of 2016 and recognize the music that carried us through another revolution around the sun.
We polled the staff and asked our readers for their input in ten categories: Best Albums by NYS Artists, Best Albums Overall, Best Shows by Region, Best Venues in NYS, Biggest Musical Loss, Best Live Cover or Tribute Performances, Best NYS Festivals, Best Out-of-State Festivals, Best Music Town, and Bands on the Rise. Throughout the week we will present two categories a day highlighting the top picks. We’ll kick things off with Best Albums by NYS Artists and Best Album, Overall. Here we go!
Best Albums by NYS Artists
Receiving the most votes, Aqueous’ EP Best in Show was voted in as the top album of 2016. The Buffalo rock quartet released the record in October and it stands as “a four song reflection not only of the band’s time without a permanent drummer, but also a glimpse into the band’s future as drummer Rob Houk melts into the Aqueous groove with fluid rhythm that feels as if he’s always been here.”
NYS Music writer Kat Horton’s review offers this commentary:
“The four songs are highlighted by tiny nuggets of rightness; lyrically, musically and in its production Best in Show turns a pointed spotlight on how much Aqueous has grown in the two years since their last studio release. But more importantly, Best in Show is Aqueous’ resolve from the challenges they have faced and proves their tenacity to move forward while solidifying their line-up.”
This year our readers were in agreement with which NY artist released the best album, nominating Aqueous as their top choice. Queens-based hip-hop group A Tribe Called Quest’s We Got it from Here… Thank You 4 Your Service and Brooklyn’s psychedelic funk band Chromatropic and their recent release, Abundance were also favored.
Though Phish’s live albums are what usually garner attention, this year their release of Big Boat left an impression on fans and the “13th studio recording is the most genre bending album they have released.”
NYS Music’s Neil Benjamin Jr. offered this review, commenting:
“Ever think Phish would start off a studio album with a sort of Brit-pop-punk sounding song? Me either, but that’s exactly what the band did by kicking off Big Boat with the Jon Fishman song “Friends,” which is the perfect lead-in to an album by a band that has built its fanbase by throwing it curveballs.”
A Tribe Called Quest’s album We Got it from Here… Thank You 4 Your Service also received recognition in this year’s poll. Smart lyrics and slick beats produced by this socially conscious group offers a dialogue that resonates with many listeners and “once again, the group has created something one of a kind a revolutionary, that listeners can only hope will inspire other artists to follow in Tribe’s footsteps.”
In a review of the album, NYS Music’s Dave Ostroff remarks,
“The production value of this album is immaculate. It feels like listening to a remastered, never released album, because Tribe led the public to believe their fifth album was their last breaking up in 1998. And even without all of the original members, their sound is still effortless and always moving.”
Bon Iver’s 22, A Million melts his hauntingly sweet voice into a pool of shockingly experimental effects that stings the ears with intrigue. “While experimenting with the auto-tune and synthetics, Bon Iver explores the world beyond the conventional three-minute song while staying true to himself.”
NYS Music writer Sammy Steiner reviewed the album, offering:
“The controversial album that is 22, A Million was successful in reinventing Bon Iver to the extent that he is compared to the works of Kayne West and Frank Ocean. With this album, Bon Iver reaffirms his ability to remain of interest to our scattered millennial generation and the contemporary world.”
Of course we wish we could highlight even more albums and celebrate all of the amazing music released this year, but stay tuned throughout the week for the remaining Best of NYS Music results to be released!
The cold New York November rain was coming down as thousands gathered at Rockefeller Center for the 84th annual tree lighting ceremony on Nov. 30, but just a few miles away in the Upper West Side a few thousand lucky music fans nestled in at the Beacon Theatre for an incredible lineup of music. The 12th annual Holiday Cheer for FUV show brought crowd favorites Corinne Bailey Rae, Lucinda Williams, The Record Company, and headliner Amos Lee (and some special guests) to the historic Beacon Theatre stage.
The evening started off with a musical introduction by Amos Lee performing “Holiday Song” before bringing The Record Company on stage. A high energy and powerful start to the show for sure, The Record Company quickly engaged the audience for their short three-song set which included their well-known “Off the Ground.” The trio from L.A. who commanded the massive stage at Mountain Jam 2016 brought the same energizing show to a much different setting at Holiday Cheer.
A change in pace was met as British singer/songwriter Corinne Bailey Rae graced the stage with her soulful and sincere voice, accompanied by John McCallum (guitar) and Steve Brown (keys). Her set featured songs off of her latest album, The Heart Speaks in Whispers, and included her own take on Joni Mitchell’s “River,” perfect for ringing in the holiday season. The audience cheerfully welcomed the few spare minutes at the end of her set, allowing Rae to play them one more, “Sky Will Break.”
WFUV’s Carmel Holt broke the din of the intermission with an enthusiastic introduction for Lucinda Williams, describing the singer-songwriter as an essential in the American musical landscape. After starting her set solo with the title track from her 2016 release Ghosts of Highway 20, Williams was joined on stage for a stripped-down acoustic-electric set alongside former Wallflowers guitarist Stuart Mathis who served as a perfect complement to Williams’ guitar and vocal styling.
The evening’s headliner stepped in mid-set for a song, making the already robust stage presence even greater. Lee backed Williams up on her song “Lake Charles” constructing memorable, rich vocal harmonies. Williams’ bluesy country set concluded with a striking rendition of her 2014 song “Foolishness.” At first, Mathis’ guitar work on the song’s intro teased a possible Dylan “All Along the Watchtower” but it quickly turned into the powerful thought-provoking song soliciting cheers throughout, particularly with references against some current events in politics.
Holiday Cheer for FUV’s 2016 headliner, Amos Lee, was no stranger to the event, having performed for it previously. Joined by a full band on stage, Lee treated the Beacon to many familiar songs from throughout his recording career along with a few holiday treats – sounds that tickled a few different listening appetites. Lee paused briefly before breaking out one of his new songs, “Vaporize,” to talk about how his 2016 album Spirit allowed him to explore sounds and styles outside of his typical arranging style, exemplified by that song. Helping Lee sing on “Vaporize” was a surprise guest, Rachael Price, from the band Lake Street Dive. Speaking of guests, Price wasn’t the only one to join Lee during his set. After a few moments of praise and admiration for Lucinda Williams, Lee brought her onstage to perform one of her songs, “I Envy the Wind.” Corinne Bailey Rae stepped out for “Keep It Tight,” and Philly-based soul singer Mutlu helped out on “Sara Smile.”
The evening concluded in a Holiday Cheer fashion with a Christmas-themed encore of two songs. Rachel Price and Mutlu joined Lee and his band for the penultimate, “This Christmas.” Holiday Cheer’s nightcap stepped back into tradition with a rendition of “Silent Night” will all of the evening’s performers (except Williams) helping out. Lee stretched his voice unhindered into a higher octave for a verse, and Price, Rae, and Mutlu all added beautiful harmonies to the song.
Holiday Cheer for FUV proved to be another successful live music conclusion for the year, bringing unique and venerable sounds together to resonate for the Beacon Theatre audience in a single event. The event is produced annually as a benefit concert for WFUV, a public radio station broadcasting from Fordham University in the Bronx. With 2016’s Holiday Cheer behind us, it’s time to start building anticipation for next year’s lineup.
A standing ovation welcomed Del McCoury and David Grisman to the stage shortly after 8pm on December 10. The duo best known as Del & Dawg began their 50th anniversary show on the same RPI campus with “Feast Here Tonight,” a tune by the Monroe Brothers that nodded to Bill Monroe’s connection to both Grisman and McCoury and the genre of which they are elder statesmen. Using only one microphone, the crisp sound made it seem as though you were standing next to them. Even the applause sounded remarkable.
The Capital Region of New York is fortunate to have some of the best sounding venues in the country, where the audience and artist can mutually appreciate immaculate acoustics. The Experimental Media and Performing Arts Center (EMPAC) on the campus of Rensselaer Polytechnic Institute in Troy joins The Egg, Troy Music Hall and Picotte Recital Hall as premiere venues with impeccable sound which aids in bringing an exceptional variety of music to the Capital Region.
The pair took turns introducing the other. Grisman said it was “Great to be back in Troy with this young man,” while McCoury presented his counterpart as “The founder of Dawg music.” The reflection of their instruments bounced off the walls of the spacious room as they swayed and stepped back and forth to the microphone. “East Virginia Blues,” a humorous song of longing sung by both the Carter Family and Stanley Brothers felt like stepping into 1940s Appalachia. “Toy Heart,” a Bill Monroe original, elicited banter from Del and David who gave a free history lesson on the original Blue Grass Boys who first performed in 1946. A former Blue Grass boy himself, Del started out playing banjo, but Monroe got him to switch to acoustic and start singing, much to our delight 50 years later.
Some banjo humor preceded the instrumental “G-Run Blues,” followed Ralph Stanley’s “Man of Constant Sorrow,” as did “Tennessee Waltz,” considered by Grisman to be “a piece of musical substance” and also the state song of Tennessee that preceded the current title holder, “Rocky Top,” somewhat to Grisman’s dismay. To end the first set, the two performed “The Country Boy Rock n Roll,” a song that was seen at the time as a push back to Elvis Presley and Jerry Lee Lewis.
Del and Dawg returned to the stage, discussing the circumstances of their first show in 1966. A 4-piece needed a guitar player, and Del McCoury drove up to play with Grisman, the late Winny Winston on banjo and his brother Jerry McCoury on bass. Jerry then joined the pair on stage, followed by Chris Warner on banjo, collectively referring to themselves as The Bluegrass Survivors. “I Wonder Where You Are Tonight,” a Hank Snow song dating to the 1940s, began the set, followed by Del singing lead on “Dark Hollow,” one of the most familiar tunes of the night. Jerry McCoury sang lead on “Send me Your Address From Heaven,” with a voice akin to Del’s, pun intended.
Prior to “We can’t be Darlins Anymore,” Grisman pointed out the duality of bluegrass music, describing lyrics as focusing on “them tragic things of life – unrequited love, death, incarceration, suicide” and the melodies as “very uplifting, the antidote to the lyrics.” Grisman’s summation of bluegrass: “If you don’t listen to the words, it’s very uplifting.”
Dawg humor was on display with “I’m my own Grandpa,” as was Del’s ‘High and Lonesome sound’ on “The Prisoner’s Song,” followed by a somber and beautiful “White Dove.” Del gave thanks to the crowd, saying “We enjoyed having a reunion,” and wrapping up the night with Jimmy Martin’s “Hit Parade of Love” and an encore of “Lonesome Road.”
The history of the music performed this evening exceeded the 50 years the two have performed together. Music dating back to the 1920’s provided a century of bluegrass from which to cull a celebratory performance for this pair of musicians whose influence and knowledge runs deep through the veins of bluegrass music.
Setlist:
Set 1: Feast Here Tonight, Shackles & Chains, East Virginia Blues, G-Run Blues, Toy Heart, Man of Constant Sorrow, Tennessee Waltz, Snow Dove, Del & Dawg, Country Boy Rock n Roll
Set 2: I Wonder Where You are Tonight, Send Me Your Address From Heaven, Dark Hollow, Shenandoah Breakdown, We Can’t be Darlins Anymore, He’s His Own Grandpa, The Prisoner’s Song, Fanny Hill, Walk the Dog, The White Dove, Hit Parade of Love
Encore: Lonesome Road
Special thanks to Guthrie/Bell Productions for bringing an historic show to EMPAC, and Del and David, and their wives Jean and Tracy for chatting with fans at the merch table after the show.
The Capital Region of New York is fortunate to have some of the best sounding venues in the country, where the audience and artist can mutually appreciate immaculate acoustics. The Experimental Media and Performing Arts Center