NYS Music 20​16

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  • Lotus Fans Eat the Light at Playstation Theater

    On the night of November 25 at PlayStation Theater, an electronic jam band by the name of Lotus, set out to lift the hearts of many through musical madness. This five piece group has a way of capturing the attention of their soundwave-thirsty audience. A concert is one thing, but this was a performance.

    lotus playstationIt was quite refreshing to see this band live again. When you see a really good show live, you automatically wonder when you are ever going to get the chance to see them again. In that hiatus and chunk of time that you have not seen them, they have grown in many ways. Bands fashion and master fresh new tracks and work with each other to create something revitalizing and beautiful.

    Lotus commenced their musical power right at Playstation Theater before the turn of the 21st century. Since then, they have fabricated a style of unique instrumental post-rock and electronic dance, which makes their fans groove to the max.

    They dropped their newest album this past summer, Eat The Light. You better believe they killed it with a few fresh tunes off this energetic composition, such as “Sodium Vapor,” “I’ve Been a Fool,” as well as hits from the past including “Tip of the Tongue,” “Slow Cookin,’” “Basin to Benin,” “Juggernaut,” “Shimmer ‘n Out,” “Suitcases,” and many more. They also covered an awesome hit by Ratatat called “Cream on Chrome.”

    Lotus’ band members keep things alive and current all while adding flare to the mix to remain original. We must give thanks to Mike Rempel on guitar, Chuck Morris on percussion, Jesse Miller on bass, Luke Miller on guitar and keys, and Mike Greenfield on drums. These loyal members opened up the hearts of many like a blossoming lotus flower.

    This show made a grand impact on those who were destined to be there at that very moment in time. Each song mastered a journey of transcendence, telling a story unique to its own. The soothing lighting and delicate but strong jams of the evening had everyone feeling jovial, friendly, and dedicated – a true reflection of this amazing band’s powerful yet gentle nature.

  • Long Island’s Bête Noire Offers a Ska Twist on Christmas

    Desmond Dekker, Dandy Livingston, The Clash, The Specials. These artists aren’t typically associated with Christmas. Long Island‘s Bête Noire is out to change that perception with the release of its new Christmas single, “A Message to Rudolph.”

    bete noireThe song is heavily influenced by The Specials’ 2 tone remake of Dandy Livingstone’s reggae classic “Rudy, A Message to You,” recalling the infamous rude boy reindeer’s tale of one foggy Christmas Eve in a campy video.

    Bête Noire is a music collective based in Long Island. Members of the collective appearing in the video play with the bands Oogee Wawa, Aqua Cherry, Radio 4 and Hot and Ugly.

    Now that December has arrived, add a new carol to your playlist. You can download the single at Bête Noire’s Bandcamp page or through iTunes. Check the video below.

  • ‘Deep Listening’ Pioneer and Experimental Music Composer Pauline Oliveros Passes Away at 84

    Pauline Oliveros, experimental composer, electronic music innovator, accordionist, pioneer of the Deep Listening philosophy and Distinguished Research Professor of Music at Rensselaer Polytechnic Institute, passed away Thanksgiving Day at the age of 84.

    Pauline Oliveros composerDuring my own time as a student at RPI studying soil mechanics and structural analysis of steel and concrete I somehow found the time to add an electronic arts minor to my transcript. I had heard of a class called ‘Deep Listening’ and it seemed to this then-junior engineering student like a curious subject to help round out the arts minor. It wasn’t until my senior year – when it was too late to reconfigure course schedules – that I had a taste of this subject when my advanced computer music class sat in on a session happening two floors above in West Hall.

    Near one side of the room a dozen or so students was Pauline Oliveros, deeply immersed in the multi-channel surround soundscape created with her cherry red accordion and numerous effects processing. Seeing the focus of those students in a music setting unfamiliar to me was incredible and proved an importance to her course.

    Oliveros was interested in music from a young age, learning accordion from her mother in Texas at age nine and learning the French horn and tuba later on. Her education took her through music programs at the University of Houston and San Francisco State College where she obtained a Bachelor of Fine Arts degree in composition. She remained in academia for several years, teaching at Mills College and UCSD. In 1981 she left UCSD to come to the Hudson Valley, where a less restrictive creative environment allowed her to further explore performance and composition where she later founded the Deep Listening Institute.

    She introduced herself to the idea of deep listening in the early 1950s when she got her first tape recorder. “I immediately recorded from my apartment window in San Francisco,” she recalls in a 2012 interview on WRPI in Troy, NY. “I listened as I recorded but when I listened back to the tape I heard things that I hadn’t heard when I recorded. So, I realized that I hadn’t really been listening. Since then my mantra has been listen to everything all the time and remind yourself when you’re not.”

    The term “Deep Listening” hadn’t been coined for many years after her early experiments with tape recordings and work with the San Francisco Tape Music Center, though the ideas and teachings were there in Oliveros’ early academic career in experimental music and composition. “Deep Listening” as a term was a coincidence of pun associated with recordings made in the Dan Harpole underground cistern in Washington State in 1988 with two of her musical partners Stuart Dempster and Panaiotis who then donned the name for the group of Deep Listening Band.

    Deep listening, in brief, is about treating listening as an active rather than passive process, a process that takes some effort. “Deep Listening is listening in every possible way to everything possible to hear no matter what you are doing,” Oliveros described. “Such intense listening includes the sounds of daily life, of nature, or one’s own thoughts as well as musical sounds. Deep Listening represents a heightened state of awareness and connects to all that there is.” That philosophy has led her to have a profound influence on music through improvisation, meditation, and use of electronic music.

    Oliveros’ extensive fifty-year career as a leader in avante-garde and experimental music included numerous recordings under her own name and with the Deep Listening Band. Along with these recordings, Oliveros has many publications, videos and has given many lectures and workshops out of the classroom setting. She received several awards in her career, including the most recent biennial John Cage Award in 2012, given by the Foundation for Contemporary Arts in New York City to individuals who have made outstanding achievements in contemporary performing arts.

    From 2001 until her passing, Oliveros had been teaching Deep Listening and conducting research at RPI in Troy. Her collaborative research at the university included the Adaptive Use Musical Instrument (AUMI) – a development of adaptive musical instruments through computer interfaces for those with mobility restrictions – and others including artificial intelligence programming for improvised music and data science research with the university’s School of Science.

    In 2012 a celebration of Oliveros’ 80th birthday was held at the university’s Experimental Media and Performing Arts Center (EMPAC). Oliveros, along with the Deep Listening Band, gave a performance utilizing computer simulations, developed by architecture acoustics professor Jonas Braasch, of the acoustics of the cistern in which the band recorded in 1988, implemented using technology within the theater.

    While Oliveros had an extensive career as a composer and performer, many people who have worked with her have been remembering her as a compassionate mentor, brilliant until her passing. Former student Blair Neal recalls of her impact, “Technology was never at the core of [class] discussions though, it was always the power of the human and how we communicated and listened to each other. That kind of teaching is something I try to carry with me always.” Another former student, Alex Bulazel shares simple words of gratitude, “Pauline was always an inspiration to her students, reminding them of the importance of creativity, artistic self-expression, humor, and most importantly, listening.”

  • K. Phillips Interview on Recess with Spinelli

    Mr. K Phillips opened up for Rob Thomas and the Counting Crows at SPAC in Saratoga Springs, so naturally, we had to speak with this young up-and-coming ranch-raised Texan about his passion for story-telling.

    K. Phillips
    Listen to interview: https://www.youtube.com/watch?v=ve-EK4DeG9M

    Listen to the abridged feature/interview

    Recess with Spinelli: How’s the trip going, any highlight so far?

    K. Phillips: Everything is a highlight. This is a highlight; we’re in Saratoga Springs there’s 24,000 seats in this venue.  It’s like I died and went to heaven, I’m just glad to be here.

    RWS: It sounds like this tour is largly outdoor amphitheatres?

    KP: Yes. I loved it.  It’s a little harder for us because the band rehearsed so much and and we’re so good at playing a club setting but nothing can prepare you for playing on a gigantic stage; it’s made out of aluminum and the sound shoots everywhere and it bounces off the back of the hill and comes back to you and it was very challenging, first to learn how to hear each other to play on the stage. I’ve been touring the United States for about seven years but that’s usually in front of you know, 15 people a night.

    RWS: When that transition initially happened, from going from playing in front of 15 people to playing in front of thousands or 20,000 what was your initial mindset change?

    KP: It’s actually  actually easier because when there’s 5000 people watching you who haven’t seen you seen you, some of them are listening and so maybe like 2500 people are actually watching you attentively.  It’s actually easier because you feel like you’re doing something. Sometimes when you play for 15 people, 2 of those people are listening.  We’ve been ready to do this but nothing can prepare you for it.

    RWS: The way we heard about you was through interviewing Adam Duritz of Counting Crows; Adam spoke very fondly of you and told us to check you out, How long have you actually known Mr. Duritz.

    KP: In 2012…he sponsors a blog that finds new music and he listens to all of it.  He doesn’t have to do that but he still does.  I mean, I think that’s what makes him great, is that he loves music and he’s always filling the well.  It was so funny when we started to play and he used to come to my shows and it would be 12 people, but then 1 of the 12 people would be Adam Duritz.  It was almost embarressing, you know like “you like me, but I don’t have any fans yet.”  I mean he’s like one of the greatest writers of our time and one of the greatest literate writers. it’s a very special thing for me.  And Rob too, I didn’t know Rob before this tour; they’re 2 of the nicest guys I’ve ever met and they don’t have to be, they’re super successful, they watch every show of mine and then they going to put on a show on the kill and after that we hang out; it’s amazing.  I never want it to end

    RWS: Have you noticed any doors open or any opportunities come your way because of this?

    KP: D’Angelico, the great New York guitar company gave me a guitar.  They sent me to their showroom and I just pick out a guitar to play for this tour and that was so nice.  Being somebody that they think is worthy of an endorsement, that’s kind of neat to me. Right before this tour I had a guitar in pawn which I lost because I couldn’t afford get out of pawn.  And then D’Angelico gives me this way better guitar than I had in pawn.  It’s just funny how your life changes so quickly when people help you

    RWS: Now with Mr. Duritz, I believe that you’ve done some work with him in the past, I think I saw that he covered “Kat’s Song” and I think I heard that he worked with you on the new albums?

    KP: Yeah, he let us record some stuff at his house, so one of the new songs on this was recorded at his house and actually, a guitar that we used, we found out later was the guitar from the “Mr. Jones” video, which is funny.  I was like “this guitar sounds so Counting Crows.  So we recorded at his house and he sang on it and he added this four-part harmony like it was nothing.  A few years ago I was watching the Counting Crows.  We were at the Bowery Electric and the Crows were playing a cigartette show and my friend Nekia was playing a song with them and he’s like “Dude, you gotta video tape me doin’ this song” and I’m like “Man I gotta go, I have my own show” and he said “This is gonna blow your mind.”  They go into this song and I’m like “That’s funny, I have a song that sounds alot like that.” and then Adam Duritz sings “I took that young thing to dinner,” which is my line to a song I wrote called “Kat’s Song” and I  realize at that moment that they’re not doing a song that sounds like my song, they’re doing my song. I started weeping, it was like a lifetime achievement award. The Counting Crows have too many good songs.

    RWS: As a songwriter, would you say you have a certain duty or responsibility either to yourself or to the listener to write an honest song?

    KP: My duty is to connect people and to write things which connect the song with the listener, and the only way you can do that is to have an honest narrator.  When you do that, it doesn’t matter what the story is, it’s going to connect, it’s gonna help people through whatever the situation is.

    RWS: How do you know whether or not you are being honest?

    KP: I know because, there’s a poem by Robert Graves, which I always go back to.  It’s actually what our LLC is named after.  It’s called “Love without Hope” and in four lines, Robert Graves tells the story of this bird catcher in industrial England, he spends his day in this park, everyday his job is to put larks in his hat, take them to a baker, baker gives him a piece of bread, maybe a piece of coal and that night he goes with food in his stomache and he doesn’t go cold; that’s all he has to do, just grab the birds before it gets dark.  On this particular day, he’s leaving the park, he’s got his birds and he sees this beautiful white carriage drawn by two white horses and inside is this beautiful squire’s daughter and here, this lowly birdcatcher, sees this girl and he looks at her and shee looks at him and he tips his cap; the birds fly out, the larks fly to the heavens and she watches them go to the heavens and he’s made this impression on this girl he’d never have a chance with.  Now he goes home and he’s cold and he’s hungry, but he’s made an impression on this girl.  I’ve never been a birdcatcher, bu I know from that story, I can relate and I think about that story all the time and if I wonder if my narrator is being honest, I just compare it to that, “Love without Hope.”

    RWS: Was it a relief when you were finally able to put your thoughts on paper in a cohesive manor that could be understood?

    KP: Yeah, but I can’t do that every time.  After each song you write after every record you write, you’re just starting over.  You’d think that you would get better, but the only thing that gets better is your expectations, I’ve definitely gotten better at finishing songs, I’ve gotten better at writing with people.  This last record was writted to be a breakup record.  That was fun for me to go like “How does this fit in?” or “There’s a song called 18 year old girls,” an 18 year old girl who like looks like a grown-up but she’s totally not.  It’s funny the idea of this character who’s come out of a relationship and he’s gonna bring this 18 year old girl around to his friends and they’ll be like “What are you doing, dude?”  So I am looking for more perspective than I am looking for the next what I can’t have.  What gets me off about songwriting is finding different angles and funny scenarios.”

    Recess with Spinelli can be heard every Wednesday 8pm-10pm EDT on WSPN in Saratoga Springs, NY on 91.1FM and on Hoxton FM in London, England every Wednesday 11pm-1am GMT 6pm-8pm EDT

    Follow Recess with Spinelli: Instagram Twitter Facebook Youtube Soundcloud  Mixcloud Tumblr and online at longbowmedia.us

  • The Salt City Plays Tribute to The Band

    The Central New York music community has always been a tight-knit one and one that has always held a fondness for The Band. Saturday night at the Palace Theater was the perfect example of this. The fourth edition of the Salt City Waltz gathered a bevy of local artists both young and young at heart to celebrate the music of The Band, whose The Last Waltz farewell concert occurred on Thanksgiving Day 40 years ago.

    Salt City The BandThe Salt City Waltz was created five years ago (the production took 2015 off) under the guidance of producer Stacey Waterman and music director Gary Frenay and has quickly grown to become a Syracuse must-see. Los Blancos, with honorary Blanco Scott Ebner, served as the house “Band” and, much like the musicians they were honoring, are well-versed in all forms of American music. If there is any band perfectly fit for this role, it is Los Blancos.

    Rather than a re-creation of the original farewell concert, the Salt City Waltz bills itself as a celebration of the music of The Band with a focus on the music and pageantry of The Last Waltz.  The original featured guest appearances from such musical luminaries as Bob Dylan, Joni Mitchell, Van Morrison, Eric Clapton, Muddy Waters, Ringo Starr, Neil Diamond and Dr. John. The Salt City version showcases some of Central New York’s finest musicians.   

    Salt City The BandThe Levon Helm Studio Horns, with special guest trombonist Melissa Gardiner, graced stage left all night, adding a punch of majesty and soul to classics such as “The Night They Drove Old Dixie Down,” “Don’t Do It” and “Such a Night.” The lineup of Jay Collins, Steve Bernstein and Erik Lawrence, along with Gardiner, provided the perfect accompaniment to the evening.

    The night began with the Salt City Waltz Ensemble performing “When I Paint My Masterpiece” and “Acadian Driftwood.” The latter was dedicated to the Standing Rock water protectors in North Dakota with an accompanying slide show. The lyrics of “Acadian Driftwood” were especially poignant as the images scrolled before the respectful crowd:

    They signed a treaty
    And our homes were taken
    Loved-ones forsaken,
    They didn’t give a damn.
    Try to raise a family
    End up an enemy
    Over what went down on the Plains of Abraham.

    Following the two-song intro by the Salt City Waltz Ensemble, the members of Los Blancos ascended to the stage, with Steven T. Winston’s bass dropping the opening notes of “Don’t Do It.” Winston’s soulful voice accompanied by the horn section’s punch had fans flocking to the front of the stage, getting the main portion of the show off to a funky upbeat start.

    Salt City The BandThe first guest of the night was Mark Gibson, singing “Who Do You Love.” This role is typically filled by Dugan Henhawk, who had to sit out this year’s show. Gibson gave props to Henhawk in his spirited rendition of the blues classic.

    Drummer and vocalist Bob Kane made his Waltz debut, performing “The Night They Drove Old Dixie Down.” An obviously nervous and ultimately gracious Kane delivered with Levon-like aplomb, accompanied by the audience. See a side stage performance of this in the video attached below.

    The middle section of the set scorched as Joe Altier took the stage to belt out “Mystery Train” while Pete McMahon, founding member of local blues legends The Kingsnakes, lit up the room with some serious harp blowing. Carolyn Kelly then made Muddy Waters’ “Mannish Boy” her own, changing the lyrics to suit the powerful female behind the microphone. Her soulful presence took over the room and was one of the highlights on a night full of highlights.

    Rex Lyonsof The Fabulous Ripcords traded licks with Colin Aberdeen as McMahon induced chills with an electric performance of “Further on Up the Road” to rival that of Clapton’s version, easily one of the night’s peak moments.

    Nick Piccininni and Jason Barady of Floodwood joined guitarists Penny Jo Pullus and Doug Moncrief with Liz Friedel on fiddle for an “Evangeline” that brought the tempo down just a bit from the high octane prior blues stomp. This one turned into another sing-along with audience members swaying along.

    No Waltz would be complete without the legendary Joe Whiting channeling his inner Van Morrison on a performance of “Caravan” that was equal parts manic, soulful and bluesy. Whiting is a veteran of the Syracuse music scene, having done everything from replacing Ronnie James Dio in Elf to performing with Van Halen and Savoy Brown. His stage presence and voice are powerful and demand your attention. His showmanship elevated the energy of the Palace to an even higher level.

    The main portion of the show closed with keyboardist and America’s Got Talent semi-finalist Jonah Smith pulling off a haunting vocal performance of “I Shall Be Released.”  Smith was accompanied  on vocals by Donna Colton, Cathy Cadley, Pullus and Friedel for a rousing and fitting close to the main set.

    The ensemble returned for an “Atlantic City” and “Life is a Carnival” singalong before the host band returned to the stage for the encore, a Levon Helm favorite, “Get Out Your Big Roll, Daddy,” a song made famous by Jerry Lee Lewis.

    The Palace Theater is the perfect setting for this somewhat annual event. No expense is spared in the set design or the sound engineering. The room had terrific sound all night and the production crew deserves accolades for their efforts. Smiles were had; memories were shared and made. This town is blessed with superbly talented musicians and behind-the-scenes people. They gave The Band proper tribute and the sweaty, smiling, sold-out crowd waltzed out into the cool Syracuse air thankful for the talent they had just witnessed.

    Salt City Waltz Setlist: 

    When I Paint My Masterpiece – Salt City Waltz Ensemble (feat. Gary Frenay, Cathy LaManna, Jonah Smith, John Cadley, Liz Friedel and Chris Eves)
    Acadian Driftwood – SCW Ensemble
    Don’t Do It – Los Blancos w/Scott Ebner
    Up on Cripple Creek – Los Blancos w/Scott Ebner
    The Shape I’m In – Los Blancos w/Scott Ebner
    Who Do You Love – Los Blancos w/Scott Ebner and Mark Gibson
    It Makes No Difference – Los Blancos w/Scott Ebner
    Such a Night – Los Blancos w/Scott Ebner
    Helpless – Los Blancos w/Scott Ebner, Jason Barady, Nick Piccininni and John McConnell
    Stage Fright – Los Blancos w/Scott Ebner
    The Weight – Los Blancos w/Scott Ebner and Carolyn Kelly
    The Night They Drove Old Dixie Down – Los Blancos w/Scott Ebner and Bob Kane
    Dry Your Eyes – Los Blancos w/Scott Ebner and Tim Herron
    Coyote – Los Blancos w/Scott Ebner, Donna Colton and Chris Eves
    Mystery Train – Los Blancos w/Scott Ebner, Joe Altier and Pete McMahon
    Mannish Boy – Los Blancos w/Scott Ebner, Carolyn Kelly and Pete McMahon
    Further On Up the Road – Los Blancos w/Scott Ebner, Pete McMahon and Rex Lyons
    Evangeline – Los Blancos w/Scott Ebner, Penny Jo Pullus, Dough Moncrief, Nick Piccininni, Jason Barady and Liz Friedel
    Ophelia – Los Blancos w/Scott Ebner
    Caravan – Los Blancos w/Scott Ebner and Joe Whiting
    Forever Young – Los Blancos w/Scott Ebner and Sean Patrick Taylor
    Baby Let Me – Los Blancos w/Scott Ebner and Ed Zacholi
    Follow You Down – Los Blancos w/Scott Ebner
    I Shall Be Released – Los Blancos w/Scott Ebner, Jonah Smith, Donna Colton, Cathy Cadley, Liz Friedel and Penny Jo Pullus
    Atlantic City – SCW Ensemble
    Life is a Carnival – SCW Ensemble

    Encore:
    Get Out Your Big Roll, Daddy – Los Blancos

  • “Green Jello Suxx Live: The Movie” Lives Down to Expectations

    Once upon a time, there was a band who retold the story of The Three Pigs set to metal music, and the claymation video spent five weeks at the top of MTV’s Headbangers Ball. Fast-forward a couple of decades and you will still find Green Jello suxx and is up to their juvenile antics.

    Green Jello is a punk/metal band founded in the Buffalo area by Bill Manspeaker who combined his love of comics, cereal and puppets with his lack of musical talent in an effort to create the worst band ever. Since its inception in 1981, the band has been notorious for its crude humor, riots and lawsuits from the likes of Kraft Foods, the Kellogg Company and Metallica. When Joey Ramone was asked about the worst opening act, he named Green Jello.

    The feature-length documentary Green Jello Suxx Live  is a rip-roaring rumpus through a mini tour. It also contains historic footage and interviews. Created by band member Rob Gabriele on a menial budget of $5,000 raised from a Kickstarter campaign, the movie has the same DIY aesthetic as everything else the band has produced thus far.

    The documentary starts with a live performance of the iconic rendition of “Three Little Pigs.” Chaos reigned as a gaggle of band members wearing enormous homemade puppet costumes played with more gusto than talent. Frontman Bill Manspeaker stopped the show to talk to a drunken fan in the front row. And it’s all downhill from there.

    Between clips of live performances, viewers learn about the history of the band – Manspeaker’s first puppet costume at age five, the band’s riot at a rival high school, the performance on The Gong Show and the gig with The Ramones. Manspeaker also talks about how he ditched the model of a touring band and instead franchised band members in various locations across the US and Canada.

    Nestled in the midst of all the interviews and clips of performances are small interludes. A tutorial demonstrates how to make a puppet head like the ones used by the band. Lloyd Kaufman, co-founder of the independent production company Troma Entertainment, delivers a few colorful commentaries about the band and the music video industry.

    Manspeaker’s family plays a prominent role in the movie. Green Jello went on hiatus when Manspeaker became a father. Encouragement from his son Damien led to the revival. Damien has been touring with his dad, playing the banjo. Manspeaker’s wife and toddler have also come along on tour. For them, Green Jello is not just a band, it’s a lifestyle.

    And on a couple of nights per year, fans-turned-members from various franchises get in on the action, donning ridiculous costumes and wailing on instruments at deafening volumes to people intoxicated on lime gelatin shots. For 120 minutes, viewers of the film get a sense of what it is like to be at a live show. It’s loud and vulgar and full of drunken fools partying with reckless abandon. In short, it suxx.

    “Green Jello Suxx Live: The Movie” is available on DVD and limited edition VHS. A soundtrack will be available at a later date. Green Jello continues to tour and a list of upcoming shows can be found on the band’s website.

  • Photo Gallery: Mike Gordon Returns to The Egg

    Halfway through the second set of his November 26 performance at The Egg, Mike Gordon paused to remark, “I think this is the best sounding venue on the Eastern seaboard,” which led to thunderous applause from the sold out crowd. Gordon spoke of his affinity for The Egg in a recent interview with NYS Music, something residents of the Capital Region have known for many years.

    mike gordon eggThe two-set show opened with “Waking up Dead,” followed by “Jumping,” which featured strong interplay between Gordon’s bass, John Kimock’s drums and Craig Myers’ percussion, which broke down into a bluesy duel with Mike and guitarist Scott Murawski working up and down their instruments. A stand out jam was built by Kimock’s drums during the set closing “Traveled Too Far.”

    A six-song second set featured “Just a Rose” by Max Creek, a high energy number that added a spark to the crowd. A dark “Yarmouth Road” segued smoothly into “Let’s Go,” which brought out the interactive instrument REEL into the crowd, which fans touched to add to the jam (Mike got in a few touches too). Robert Walter’s nasty keyboard work was on full display during “Take it as it Comes,”  while “Tiny Little World” closed the set with “My Sharona” teases mixed in.

    Gettin weird with the audience during ‘Let’s Go!’ #mikegordon #nysmusic #518love #albanydoesntsuck

    A video posted by NYS Music (@nystatemusic) on


    An encore of “Sugar Shack” had Mike invite fans to dance on the front of the stage, perhaps to the dismay of security but with absolute joy from the looks of fans dancing and smiling to close out the night.

    Set 1: Waking Up Dead, Jumping, Morphing Again, Don’t Chin The Dog > Let Her Go > Traveled Too Far

    Set 2: Here Today, Just a Rose, Yarmouth Road > Let’s Go, Take It As It Comes, Tiny Little World

    Encore: Sugar Shack

    Download Scott Bernstein’s recording of the show

  • Trans-Siberian Orchestra at Mohegan Sun Arena at Casey Plaza

    With the penchant for stage theatrics, laser beams, pyrotechnics, huge LCD screens, risers and rock opera music and story telling, Trans-Siberian Orchestra mesmerized fans, young and old alike, in Wilkes-Barre, PA this past Black Friday during the first of two sold out shows at Mohegan Sun Arena at Casey Plaza. TSO put on an enchanting and powerful Christmas performance as I caught them at their first of the two “The Ghosts of Christmas Eve” shows at 3 p.m. in the Mohegan Sun Arena.

    The famous rock opera is currently celebrating its 20th anniversary and continues to grow each year with its performance, stage show, and more importantly, its fans who continue to return year after year bringing new generations of followers along for the yearly magical experience. The audience cheered in anticipation as the intro began with storyteller Bryan Hicks orating his tale describing “The Ghosts of Christmas Eve.” 10-piece chorus accompanied his narration as images flashed across the five massive LCD screens showing clips from the 1999 television movie of the same name along with famous historical figures, the solar system and enchanting yet uplifting messages. The multi-colored light and laser show kicked off the intro in true rock opera Christmas fashion.

    The audience was treated to Christmas favorites such as “O Come All Ye Faithful/O Holy Night,” “This Christmas Day,” and “Christmas Canon Rock” as the spectacular production continued in sync with the music as the enormous five panel screens displayed the choreographed images. The laser spectacular, “digital” snowflakes, three platform risers along with a rising catwalk, and let’s not forget the explosive and stunning pyrotechnics that erupted from the entire arena from front to back all added to the excitment. Legendary conceptual composer, producer, lyricist and songwriter Paul O’Neill continues to make his grand vision of the TSO production a masterpiece for all that experience it from the intro to its dramatic conclusion. This ever-evolving group continues to weave, like tapestry, its lyrics, songwriting, music, storytelling and production into a timeless magical and enchanting journey filled with wonder and amazement.

    With super guitarists Chris Caffery and Joel Hoekstra flanking each side of the stage along with violinist Roddy Chong, bassist David Z, Mee Eun Kim on keys and drummer Jeff Plate on his throne, the audience not only experienced the amazing visuals of a TSO show, but an astonishing and stunning musical experience as well. At the beginning of the performance, Caffery, Chong and Hoekstra stood on separate risers that lifted them a good twenty feet above the crowd as they traded chops and riffed along in sync to the classic TSO hits keeping the rock show experience alive with their stage presence, dynamics and moves. TSO showcases different vocalists throughout the program lending to their unique rock/opera sound which included a special performance by Kayla Reeves and Paul O’Neill himself following the first set of traditional Christmas favorites.

    TSO opened with the intro, “Who Am I” then went right into “March of the Kings,” “The Lost Christmas Eve,” which featured Hoekstra on masterful acoustic guitar, followed by “O Come All Ye Faithful/ O Holy Night.” Also on the set for the show were “Good King Joy,” “Christmas Dreams,” and the mega popular hit which included the performers high above the audience on a catwalk playing “Christmas Eve (Sarejevo 12/24)” as fire and laser beams erupted from both the front and the back of the arena.

    TSO kicked it up a notch during their second, more rock and roll infused set, as they performed songs from their albums Night Castle, Beethoven’s Last Night, and Letters From The Labryinth going all the way back to the Savatage sounding days of yore. They did however slow things down a bit when the played “Music Box Blues,” “Find Our Way Home” and the cool number featuring O’Neill and Reeves, “Not The Same.” The super group/orchestra capped off the show as they crushed a rocking Beethoven’s “Requiem (The Fifth),” and a reprise of “Christmas Eve (Sarajevo 12/24).” Fireworks and more pyrotechnics ended the show leaving a powerful impression as both Caffery and Chong made their way through the aisles of fans. Included, was the recent addition of the pyramid at the rear of the crowd which opened up and shot flames high into the arena at the end of the set.

    The TSO experience now in its 20th year has grown in leaps and bounds since 1996. Having started out as a small production with a few cargo vans and some rock stars from previous bands such as Savatage with Jon Olivia, Al Pitrelli and Paul O’Neill at the helm, now boasts over 10 million concert ticket sales and over 10 million album sales.They are well known for their extensive charity work. At the beginning of the first performance, it was announced that over $13,000 from ticket sales would go directly to Candy’s Place – A Center for Cancer Wellness in Forty Fort, PA.

    TSO has both an East and West coast group with dozens of performers and have grown from hauling the show in a few vans to literally over a dozen semi tractor trailer rigs and multiple tour buses. This was my first TSO experience and was literally blown away with the size of the production, the amazing talent of the performers and musicians, the theatrics and show. It was like no other I had seen. A TSO show is a very family friendly experience with a very gracious and generous attitude that always gives 110% in every aspect of their show as if it were their first.

    As I recently heard from Al Pitrelli on social media he states “I’ve been playing with some of these people for thirty years now, the chemistry is amazing when this band gets together we get to the first rehearsal well, its like playing the first show, but we’ll do it 30 or 40 times so when we do blow up the building for the first time, it seems like the hundredth show. Everybody in that audience, it’s their first show, whether its our 10th, 100th, 2000th, it doesn’t matter, everybody in that audience deserves the perfect first show.” TSO continue both their east and west coast tours through out the remainder of the year at times playing two shows a day.

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  • Five Finger Death Punch and Shinedown Rock Blue Cross Arena

    Nothing goes better with the holidays than a kick-ass rock show. Just days before families gathered to have Thanksgiving dinner, rock fans in Rochester, had the opportunity to go see one of the best concerts Blue Cross Arena has had in quite some time. On Tuesday, Nov. 22nd, Rochester welcomed Five Finger Death Punch and Shinedown alongside support acts Sixx:A.M., and As Lions. The entire night consisted of great music alongside magnificent production.

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    The night started early just after 6 PM with opening band As Lions. While the area was still filling in, As Lions had the task of getting this crowd ready for a long night of headbanging. The audience may have not been familiar with the band, but that’s probably due to the fact that the group just came together in 2015. As Lions is lead by vocalist Austin Dickinson. If the last name rings a bell, it’s because you’re thinking of Dickinson’s father Bruce, lead singer of Iron Maiden. The rest of the band is made up of members of Dickinson’s past metalcore group, Rise to Remain, which disbanded with the creation of As Lions.

    The 5-piece band played like they were playing in front of a sold out arena. The band has that radio-rock sound that could be found scanning the car radio. The band looked very comfortable on stage which isn’t common for an opening band. Their confidence should help carry them forward and land them tour gigs for many years to come. For anyone looking for a fresh new band, check out As Lions. Their debut album drops on January 20.

    The next band of the evening was Sixx:A.M., which features Nikki Sixx of Mötley Crüe. Joining Sixx in Sixx:A.M. is vocalist James Michael, guitarist DJ Ashba and drummer Dustin Steinke. Sixx’s band has been around since 2007, with the release of The Heroin Diaries Soundtrack, but has always saw the back burner due to Sixx’s commitment with Crüe and Ashba’s work with Guns N’ Roses. Now that everyone is completely focused on Sixx:A.M. the band has their foot pressed against the gas pedal. Just this year, the band has released a double album which features Prayers for the Damned, Vol. 1 and Prayers for the Blessed, Vol. 2. The second of the two albums was released just days before Rochester’s show at Blue Cross Arena.

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    Now with five albums of material, the band has plenty to pick from for a setlist.  The set opened with “This Is Gonna Hurt,” which was the title track of their second album. The second song they played was “Rise,” which has been all over the radio since its single release. The rest of the set consisted of songs mainly from Prayers for the Damned, Vol. 1. It’s remarkable to see how much fun this band has on stage. The joy and happiness radiates from the band into the audience unlike any other band. Fans sing along with every song and have smiles on their faces from ear to ear.

    The set ended with “Life Is Beautiful,” which was off of the debut album The Heroin Diaries Soundtrack. Everyone in the audience surely knew this song and loved it. Sixx:A.M. surely had no troubles opening for Five Finger Death Punch. The heavy metal fans of Rochester welcomed Sixx and his band with open arms. The only thing that could have made the show better would have been a longer setlist. Hopefully once this tour wraps up, fans will have the chance to see a headlining tour around the country.

    Next up for the evening was hard-rock veterans, Shinedown. Opening for Five Finger Death Punch, it was a mystery to see how they would do with the crowd. Questions were answered with the opening track of “Adrenaline.” Coming out strong with one of their heaviest songs from their album Amaryllis, Shinedown was prepared to blow the roof off of the arena. The statement was solidified with the next two songs, “Fly From the Inside” and “Diamond Eyes.” The crowd was going nuts and the band was loving it.

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    Singer, Brent Smith, had Blue Cross Arena at his fingertips and could get the crowd to do anything. On top of that, the production that Shinedown had with them was ridiculous. The last few tours Shinedown has brought out the pyro, but nothing like this tour. Comparing Shinedown’s stage show to the legendary KISS, who just played at Blue Cross Arena just a few months ago, it was night and day. Shinedown did not leave anything at home this tour. The band did slow things down a bit with songs like “How Did You Love” and “State of My Head,” which are off of the bands latest album Threat to Survival.

    The crowd got to be up close and personal with singer Smith while he went out into the crowd to sing from the back of the floor. That wasn’t the only time Brent went out there. During their last song, “Sound of Madness,” Smith ended up at the soundboard platform, surrounded by fireworks. As the song ended, Smith ran back to the stage to say thank you and goodnight to the crowd in Rochester. This was certainly a performance that won’t be forgotten by anyone that was there.

    Things cooled down after Shinedown left the stage and got the crowd ready for the night’s headliner, Five Finger Death Punch. The band came out with their popular opening track, “Lift Me Up.” This is another band that has a ton of material now to make a setlist from, so it’s always exciting to see what the band will do each tour. The night was pretty balanced with tracks from American Capitalist, Got Your Six, The Wrong Side of Heaven and the Righteous Side of Hell, Vol. 1+2 and The Way of the Fist. The crowd interaction with Ivan Moody is always fantastic. At the beginning of the show, Moody was inviting fans to watch on stage, signing autographs and waving hello to whoever he could. While Moody was saying hello through his microphone, bassist Chris Kael and guitarists Zoltan Bathory and Jason Hook were throwing guitar picks at whoever they could.

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    Five Finger Death Punch is by far one of the most fan friendly bands out there. Halfway through their show, a fan was spotted with a sign that asked about playing guitar with them on stage for the song “Under and Over It.” Even though it wasn’t the song they were about to play, Moody invited the kid on stage. Hook gave the fan his guitar and Moody told him to play the intro to the song. The fan, Bathory and drummer Jeremy Spencer did a quick instrumental jam of the song and the kid nailed it. He was walking around stage like an absolute boss and got an arena full of cheers.

    The band also slowed things down like Shinedown, with a few acoustic songs like “Wrong Side of Heaven” and “Remember Everything.” The night ended with “Under and Over It” and the encore anthem “The Bleeding.” This was once again another stellar show from Five Finger Death Punch, who seem to never take a break from the road and recording. Speaking of recording, at the show, Moody announced to the crowd that their new album was completed. Not to be confused with last year’s Got Your Six, Five Finger Death Punch is ready to drop another album. For fans, this means to be on the lookout for new singles, an album release date and more tour dates!

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  • The Lake Brothers Retrofit Rochester with Old School Rock n Roll

    The Flower City music scene has continued to blossom over the past few years, displaying its symphonic diversity as a focal point of Rochester’s cultural identity. New venues have taken root as the city continually evolves and locals are finding more ways to fall in love with this mid-sized but mighty Finger Lakes of NY destination. In the midst of this inspiring evolution, modern nostalgia weaves its own thread into this rich cultural tapestry in the form of The Lake Brothers heralding retro rock ‘n’ roll tinted with a punk rock kick.

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    Trevor (26), Austin (24) and Brendan Lake (19) grew up on a 30 acre farm in Hilton, NY where they forged a strong sense of camaraderie cultivated from a lack of proximity to other kids in the neighborhood. Their father, a jazz drummer, always kept drums in the house, though never pressured his sons into music. Nevertheless, playing music became a main hobby for the Lake brothers, and after years of marching band, jazz band and concert band throughout school, they’re taking their skills to the hipster bars and grungy basements of Rochester and making waves.

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    Between the three brothers, there are three bands in which they each lend their skill in varying combinations. The Televisionaries (TV’s), a largely instrumental surf/rockabilly trio features Trevor (guitar/vocals) and Austin (drums). Punk rock ‘n’ roll group, The Temptators, features Austin (guitar/vocals) and Brendan (bass/vocals) along with three other band mates. Finally, the ten-piece explosive, high energy rock ‘n’ roll drive in Aweful Kanawful & His Rubber Husband’s Band is manned with Austin (vocals) and Trevor (guitar). And yes, Austin plays in all three bands. I met up with them at Trevor’s apartment to learn more about their collective contributions to the Rochester music scene, how they got started and where they’re headed.

    Ally Dean: I was in Rochester a couple weekends ago and saw Aweful Kanawful & His Rubber Husband’s Band at Skylark on Friday, then saw The Temptators at a basement show on Windsor Street Saturday. I thought it was really interesting that you’re all brothers, are all musically talented and collaborate together on your different projects.

    Austin Lake: We probably could have ended up as mechanics together. Playing music just came after all your other extracurricular things in school. After building ramps and scaring the shit out of each other. We had a fake wrestling ring for a while. That could have tooken up. So music is just kinda the only thing that’s working right now. Later in life you could see the three bandits ready to go fight crime in the ring. It could happen.

    AD: Do the three of you practice together or jam?

    Brendan Lake: Probably been a year since we’ve done that.

    AL: The world would probably end if we did that.

    AD: Why?

    AL: We just don’t know what would happen.

    Trevor Lake: The stars could align. We could make some serious music.

    AD: Do you guys get along pretty well? Do you think it would be a good collaboration?

    BL: Oh yeah. I think it would be too easy.

    TL: We are all song writers. In each band we’re each the main songwriter except for The Temptators where Austin and Brendan each write some, in the TV’s I write all the songs and in Aweful Kanawful Austin writes all the songs. We’re each the head chef in the kitchen, so to have three head chefs in one kitchen, I dunno what would happen.

    AL: Too many cooks! Although I don’t think any of us are too strict in our ideas that it wouldn’t work.

    TL: We would need more time. We’d have to quit every other band.

    AL: We could take a year, write a record. (half jokingly) Maybe that’s what we’ll do now.

    TL: There’s a lot of music already. Brendan also plays drums in a group called Gun Trouble.

    BL: I don’t write any of that music though.

    TL: We each have our own solo projects. Austin has two tapes he’s recorded which turned into Aweful Kanawful & His Rubber Husband’s Band.

    BL: I’ve been trying to put out a solo tape for three years and I’m finally at a point where I’ve got an album I’m happy with so I’ll probably put it out this winter. Just stuff I recorded in my room at my house.

    TL: And I did a solo tape as well that was recently released.

    AD: I have to ask: How did you come up with the name Aweful Kanawful & His Rubber Husband’s Band?

    AL: Dude I don’t know, that’s a good one. I like that name. I think about changing it a lot too.

    AD: Why?

    AL: Because he’s not my character, he’s an actual character. There’s tons of Aweful Kanawfuls out there. And the Rubber Husband’s part, you know what a rubber husband is right?

    AD: Should I?

    AL: Yeah! It’s probably not what you think it is.

    AD: The first thing I picture is a blow up sex doll.

    AL/TL: (pensive) Okay…

    TL: It’s actually the most innocent thing you could imagine.

    AL: They’re the little things that help you open jars. We’ve used em. They come in handy for anyone.

    AD: You could write jingles for them!

    AL: We might ruin the product forever!

    AD: What are each of your musical influences? Name the first thing that comes to mind.

    BL: Beach Boys.

    AL: Queen.

    TL: 1950’s rock ‘n’ roll, Sun Records, Elvis, Golden Age of rock ‘n’ roll, Phil Spector.

    BL: I remember Modest Mouse being the first band I really loved in middle school.

    AL: Four Tops, Motown. Motown should be number one, really. That was definitely the first thing I got into. And Buddy Holly, early rock ‘n’ roll, the goofballs of the 50’s. Pretty much everything. It’s hard to weed out anything. Tons of pop punk. That was definitely what got me into rock ‘n’ roll.

    AD: So what do you guys do when you’re not playing music?

    TL: Thinking about it. Obsessing over it.

    BL: I wait tables at a vegan restaurant, The Red Fern, on Park Ave. Been working there three years and started waiting tables seven months ago. I like it, it’s easy and it’s a nice area.

    AL: (proudly states) I just quit my job. I screen printed shirts with a good friend of mine for five years at Galaxy Graphics and now I’m goin’ to probably wash dishes somewhere at an undetermined place. Or rock ‘n’ roll for the rest of my life. Who knows!

    TL: And I am a full time barber. It was my mom’s recommendation, but thinking back, my friends would come over and I’d give em hair cuts.

    AL: Bowl cuts.

    TL: A lot of bowl cuts. There’s an early picture of me, probably 12 years old cutting Brendan’s hair in the backyard and I saw that and thought it all makes sense. My mom one day said “Hey you’re not going to college, why don’t you go to hair school and be a barber. So I gave it a try and it worked out. Now I do that and make a living and I can buy a car somehow, which blows my mind.

    AD: Is it the red one parked out front?

    TL: Yeah it’s a ’65 Thunderbird. It’s ready to go away pretty soon. As soon as the snow hits. I can’t drive it in the winter time. The salt will destroy it.

    AD: So what do you do without it? Do you have another car?

    TL: Nope I bought the car at the beginning of the summer and up until then I didn’t have a car for about two years so I just walk.

    BL: I was sixteen when I bought my motorcycle. It sounds bad ass but I dunno what I was thinking.

    AL: I mean, you dropped out of school at sixteen years old, bought a motorcycle, moved to the city. And our parents were flipping out like “What have we done!”

    BL: It wouldn’t have happened that way unless I was the third child. Trevor was definitely the guinea pig for our parents.

    TL: I moved out pretty early.

    BL: By the time it was me they were like “Just do what you’re gonna do,” so I had way more leniency than they did.

    AD: Are your parents supportive of your musical endeavors?

    TL: Totally. They love it.

    BL: They come to shows every now and then.

    AD: Do they dance?

    BL: No. They seem like they genuinely like it though. Hopefully it gives them something.

    AL: Yeah we’re gonna make em a ton of money someday. I’d like to have my mom see us on TV someday. Actually, Aweful Kanawful did have its first show ever on the news. We played Good Day Rochester. It might be gone now. It should be gone. It wasn’t very good but it was sweet. It was a lot of fun. Getting ten people up that early was a miracle.

    AD: So what should we expect in the near future from your respective bands?

    BL: Music that’s gonna blow your mind.

    TL: Temptators just came out with a new 45. TV’s have half of a record out on CD and the other half will be recorded in a month and we’ll put it together and give it an official release.

    AD: Nice. Any upcoming shows?

    BL: The Temptators and Gun Trouble are playing in Brooklyn on December 11th so that should be really fun. As far as shows in Rochester I don’t think there’s anything planned yet.

    AL: Two Kanawful tapes with about twenty songs are coming soon. Probably January.

    BL: We’ve all got big plans, that’s for sure.

    AD: So where do you guys see yourselves in five years?

    BL: Hopefully living somewhere other than Rochester

    AD: Where would be ideal for you?

    BL: Since I was a little kid I always dreamed of moving to California and I think Austin has too.

    AL: It’s not that we want to make a lot of money and bang a lot of chicks, we just want the opportunity to.

    AD: Sometimes just having the option can put your mind at ease.

    TL: That’s the spice of life, having the option. I have never really wanted to move. I like staying here for now. In the future hopefully we’ll be playing on the road more often.

    AL: I think our music will probably do better overseas if it gets out there.

    TL: They say older style rock ‘n’ roll does really well in Mexico and Spain. Everyone has always worshiped American rock ‘n’ roll.

    AL: And now America doesn’t give a shit about rock ‘n’ roll.

    BL: I think if your music is genuine enough then it will mean something to everybody.

    AL: It would be nice to entertain the current generation but provide something that will last a while. It’s gone sort of back in time now where artists release a single and get it out there as fast as possible. It sort of exonerates the whole idea of putting out a record that will stand through time and not just be good right now. It’s hard because who doesn’t want to put stuff out now and be in on the action.

    TL: Everyone can record music themselves now on their computer or cell phone. Puts everyone on the same level.

    AD: It is a gift and a curse because it’s a very saturated market but it’s also easier for people to get their stuff out there so it’s a matter of being on top of it and reaching your audience. So how do you all branch out to widen your audience?

    AL: I’m horrible at it.

    TL: We’re trying to get better at it. For a while we didn’t do any social media because we were against it. But after a while you realize if you want to keep up with the Jones’ and book shows in NYC you have to have a social media presence. If people can’t find anything about you online they’re not gonna book you. So you have to play the game.

    AD: Any final comments?

    BL: As far as us being brothers goes, we’re always gonna stick together. We’ll always be making music and we’ll always be friends. We have a really strong connection. We were never bored as kids and when we’re together now it’s never boring. Gotta stick with your pack.

    AD: One last but very important question: What’s your spirit animal?

    AL: Keith Richards.

    BL: A turtle.

    TL: Mine is a lizard. It was given to me.

    AL: Someone told me mine was Christopher Robin from Winnie the Pooh. He’s the leader of all the animals.

    BL: It’s pronounced Christopher Walken. (does impression) “Don’t get on my back about crumbs.”

    AL: My spirit animal is a bag of crumbs.