The Big Takeover, the funky roots and reggae group out of the Hudson Valley, have released the music video for “Love Understands,” off their recent album Silly Girl. The 80s throwback video features singer NeeNee Rushie, Chas Montrose (saxaphone), Rob Kissner (bass), Andy Vogt (trombone) and Kerry Shaw (guitar) and was directed by Crazy Gringo, Liz Paradise and Zach Thomson. The track is now available now on iTunes and on .
Category: Features
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Hearing Aide: Formula 5 ‘All Points North’
On All Points North, the new album from Albany jam-rockers Formula 5, ‘North’ is not a physical direction, but a mental state. North is up, and up is good.And so we begin with a happy-go-lucky blast of B3 on album-opener “Come Along.” Even a dark turn toward a minor key on the following “Sad Bed” quickly escapes to a frenetic organ and guitar groove that mostly bobs and floats above the surface.
There are plenty of extended instrumental moments to satisfy fans of the band’s penchant for live improvisation. “Trout Waters Pt I & II” is a two-part instrumental that begins rocking in a Widespread Panic sort of way, climaxes midway with some surprisingly nifty guitar howls, then finishes off with a funk that attempts to match the Headhunters in it’s depth and length but perhaps wanders on too long. “Excalibur” twists and turns in almost disorienting fashion, but always settles back to North. The highlight of the instrumental gymnastics comes in “Q & A,” a near twelve minute multi-section workout that hits all the sweet spots. Early moments borrow elements from Frank Zappa and the Grateful Dead, piano and guitar intermingle in a light and airy mid-section before it all builds to a triumphant finish.
Though, the best moments on All Points North, Formula 5’s third studio recording, come in the shorter, song-centric tracks. In the jam band world, this is remarkable and refreshing. A sign of maturation and of great things to come for this young band. There’s the feel-good blues of “It Goes…” and the Southern-rock-meets-soul anthem “The Birch Tree.” Strongest of all is the slinky groover, “Do Tell.” Vocals, guitar, keys, horns and cymbal-washed rhythms softly smudge together eliciting the moment where an early morning Sesame Street montage and a late night smokey jazz lounge meet halfway at a time that is either too late or too early. The set finishes strongly with “Figure Out a Feeling,” which finds a happy medium between the band’s songwriting and desire to stretch the limits.
Key tracks: Do Tell, Q & A, Sad Bed
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Foolin’ Around with moe. at The Paramount
On Saturday, April 1, at The Paramount, Buffalo-based moe. took April Fools’ Day to the next level by sonically messing with the minds of everyone in attendance. The die-hard moe.rons in the crowd knew that an inevitable prank was coming in some form, but the anticipation led to an even more exciting Saturday night show. Opening with “Defrost” the boys did not wait to get the venue dancing. The historically rare instrumental was the third appearance of “Defrost” in 2017 and it was frequently played in 2016, leading fans to assume that this oldie-but-goodie is not just getting a dusting, but being taken off the shelf permanently.
Moe. brought out the heavy hitters early with a transition into an epic “Brent Black” in just the second slot. Al Schnier and Rob Derhak chiseled the signature song into form while Chuck Garvey used his guitar pick to work on the intricacies. Garvey celebrated his birthday on Thursday night in New Jersey, and on stage he has been having his cake and eating it too during the entire 3-show run. “Lost Along The Way” gave the already sweaty crowd a much needed breather which was followed by “Blue Jeans Pizza” off the decade old album, The Conch. One of the more lovey-dovey moe. originals, “Pizza” found Schnier switching from guitar to minimoog allowing Garvey to take full leadership of the solo to the delight of the crowd. The only annoying aspect of this part of the set was the crowd chatter being at an all-time high. While I felt that the energy from “Brent Black” never went away throughout the entire set, there are times to talk and times to STFU.Jim Loughlin lead the tribal transition into “Bring It Back Home” as Schnier jumped back onto his guitar for some added flare. Loughlin remained in the spotlight while Derhak and Vinnie Amico tag teamed the next tune, “Billy Goat” off the most recent release studio release, No Guts, No Glory. The surfer-rock jam found on the Smash Hits release, “Tailspin,” got the crowd spinning around again. The very impressive first set was praised throughout the break as moe. spanned their entire career in just seven songs.
The April Fools’ prank ensued as soon as the 5-piece reentered the stage for the second set. Over the 28-year career of moe., many different rumors have been spread describing the origin of the band’s name. One rumor was that moe. is a simple acronym for “monkeys on ecstasy” and on April 1, 2017, the monkey was brought to life in one of the stranger moe.ments I have seen a long time. As members began tuning up for the start of the second half of the evening a person dressed in a monkey costume with giant headphones appeared next to Amico’s drum kit, fist-pumping to what sounded like a mashup of “Plane Crash” and Beastie Boys’ “Brass Monkey.” The odd display transformed the rock venue into an electronic dance club and judging by the smile on Derhak’s face, even the band got a kick out of the gag. The prankster monkey seemed to fall into his own trap as he slipped and fell while trying to get off the stage. They covered it up nicely as the “too f**kin’ high” primate took off the giant headphones and put them on Derhak’s head before exiting the stage. Was the slip a set up or did the gag lead to an injury? The world may never know.
After the shenanigans ensued, “Rainshine> Understand” got the show back on track. As the light two-song combo fizzled out, a reggae-influenced intro to “Time Ed” got the room swaying back and forth. The band had a few laughs during the line, “Born a monkey from the sky (monkey, monkey)” before Loughlin returned to business as usual during his flying trapeze percussion section. Throughout the song, he switched back and forth from bongos to MalletKat to xylophone in harmonious fashion. The final segue of the set occurred during a strung-out “Haze” into one of their more euphoric songs off Dither, “So Long.” Every jam band has their own repertoire of songs that cuts to the core of their loyal fan base and mellows out the room. “So Long” is a chameleon of sorts because while it can act as the fluffy cloud to space out the heavier songs, it can also get pretty intense on its own, which is exactly what happened on Saturday night.Schnier came out as he usually does before the encore to read some fan shout-outs. On certain nights he has no problem deciphering what the writers are trying to say, but in Huntington after a night of debauchery, he seemed to struggle through the chicken scratch handwriting. There was some light banter from Loughlin as he announced the next song was one that he wrote. The dark lyrics and southern-rocking Widespread Panic-esque sound of “Don’t Wanna Be” is not really my cup of tea and with little head nodding in the crowd, I felt like there had to be one more crowd-pleaser to end the incredible weekend of moe. in the Northeast. Sure enough, “New York City” was served as the entrée of the encore and considering many fans came to The Paramount on a train from the Big Apple, the famoe.us tune was well received.
The boys will play four sold-out shows at The Sinclair before departing for the South to cover some ground in warmer territories. The recently added set entitled “phil.moe.” at Lock’n was the latest news from the band, and from now until the special dead-inspired set, they will headline Summer Camp and the return of Moe.Down. The bright future and booked calendar gives the moe.rons hope that while the band may be up for a good time and a few pranks, they are in no way ready to cool it down.moe. – 4.1.17 – The Paramount – Long Island, NY
Set 1: Defrost > Brent Black, Lost Along The Way > Blue Jeans Pizza > Bring It Back Home, Billy Goat > Tailspin
Set 2: Rainshine > Understand, Time Ed, She, > Sensory Deprivation Bank, George, Haze > So Long
Encore: Don’t Wanna Be, New York City
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Hearing Aide: The Werks ‘Magic’
At this point in their career, The Werks are one of the best established jam acts on the circuit today. Through brilliant marketing with their festivals and events, relentless touring, and (most importantly) their entirely unique
brand of rock and roll. All of these facts considered, it should come as no surprise that their newest album, Magic, released on March 17, finds the Ohio natives sounding more comfortable in the studio than ever before. Their familiarity with the recording process is evident upon first listen, even without the knowledge that this is their fourth full length studio album since 2009; no small feat considering the studio presence (or lack thereof) that most groups of the genre display.
Written in their ‘sonic dojo’ The Werkspace, the album features eight inspiring tunes which traverse several different genres of rock. Right out of the gate with the first two tracks, the delightfully upbeat “Wide Awake,” followed by the title track, the listener realizes that this isn’t going to be another pentatonic wank session that seems much too common in today’s rock landscape. The Werks have an eclectic sound, reminiscent of 70’s rock gods yet avoids coming off as a cheap imitation. “Slab” really hits the spot, with a gut buster of a riff that offers a pleasantly abrasive counterpoint to the smooth lyrical caress of the first few tracks.“Moonset” sees the boys moving in an even more experimental realm; a trance-fusion arrangement matched with ruthlessly proficient lead guitar that could get any naysayer’s head bobbing as if they were raging the Big Tent around 3 AM at the old Bisco. The track took full advantage of the Sonic Lounge studio’s 1 of 13 in the world soundboard, found in Grove City, Ohio. “Moving On” is the longest track of the album, coming in at 8 minutes and 36 seconds, providing a well needed canvas for perhaps the single most diverse track of the record. Beautiful melodic hooks and a jaunty rhythm pull rock aficionados in like a sirens call, while the bridge section exhibits some bass runs that’d make Getty Lee pay attention. “Lights Out” wraps the album up with some assistance from Ohio’s own Hoodoo Soul Band, who laid down some one of a kind horn riffs over the concluding tune.
Key Tracks: Slab, Moonset, Moving On
Magic can be yours today for the wonderful Name Your Price option on The Werks’ bandcamp. Be sure to visit their website as well for upcoming tour dates, possibly near you!
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Hearing Aide: Gordon St. ‘Gordon St.’
From Schenectady comes Gordon St., a rock and roll band known for their unique music and diverse cover songs in concert. The band is made up of four members including Dan Noonan as the lead vocalist and bassist, Ritch Harrigan on the guitar, keyboardist Mark Bertini, and drummer Jason Nowak. The group’s upcoming debut, self-titled album will be released in its entirety on April 29.
Gordon St. features either original tracks including two singles on their album – “Right as Rain,” a song that seemingly begins as an acoustic number right before the electric sound kicks in with an ear-pleasing groove. “King of Hearts” has the listener following the infectious sounds of the drummer throughout the piece. Another featured song, “Until We Meet Again,” had me hooked from the beginning as it starts with a stripped down vocal accompanied by the organic sounds of snapping fingers.Other tracks that accentuate the raw musical talent of these musicians are “Peppermint Chamber” and “The Equation,” both consisting of instrumental intros. “Paranoid Jones” is yet another example of a song with a musical outro and exciting guitar riffs, which are commonly heard in the group’s music.
Although the band’s genre is generally classified as rock and roll, Gordon St. draws from their many influencers to create an original sound. A number of their tracks experiment with different styles of music and subtly cross over into other genres as well. Take a listen for yourselves on their album release!
Key Tracks: Peppermint Chamber, Right as Rain, Until We Meet Again
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moe. Gets Meaty in Connecticut
On a rainy Friday night in New Haven, Connecticut on March 31, fans gathered at the College Street Music Hall to see the jam titans moe. The 5-piece appropriately opened the show with “Water” to a soaking wet crowd. The cleverly placed tune off the 2001 album, Dither, served as a welcoming “hello” as suggest in the lyrics. A gentle transition into “Hector’s Pillow” flowed like a river and soared with Chuck Garvey and Al Schnier exchanging guitar riffs to the delight of a rowdy crowd.
If the line to get inside the venue wasn’t long enough, there was always the beer line to eat up more of your first set enjoyment. Looking on the bright side, I was able to meet a middle-aged crew celebrating a 40th birthday and wearing matching hats that read “40 moe. years.” Embracing the famoe.ly atmosphere, the birthday crew pointed out that drummer Vinnie Amico was also sporting the same hat during the show. The “glass half full” attitude in the beer line worked well with the lyrics of “Okayalright,” the third song of the evening. The classic tune off 2003’s Wormwood serves as a favorite for moe.rons of all ages and on Friday night, bassist Rob Derhak had the damp crowd singing along.
The one-two punch of Skrunk> Lazarus generated high-energy power normally reserved for the second set. Schnier was on fire while Garvey provided the gasoline to keep the flame glowing. While Lazarus has been played for two decades, it wasn’t until the 2012 release, What Happened to the LA LAs that the band took the song to the studio. Unlike the recorded version, which taps out under 4-minutes, moe. added a lift-kit to the monster truck of a jam in New Haven. Serving up even more kickassery to close out the first set, “McBain” gave each member a moment in the spotlight and featured the peaks and valleys that die-hard followers of the band have come to expect over the years.
The venue was treated to the sounds (and smells) of a good old fashioned Allman Brothers Band concert when moe. came back out for an epic cover of “In Memory of Elizabeth Reed.” Known as one of the most iconic classic rock instrumentals of all time, this early second set masterpiece saw Jim Laughlin go to town on his signature vibraphone during the peak of the jam. After a crowd-pleasing “Buster,” my vote for second-set MVP took the vibraphone on another adventure during an extra-long “Chromatic Nightmare.” This dizzying percussion piece seemed to be heavily Zappa influenced as the band attempted to recreate an acid trip at a carnival, and the crowd ate it up.
The more straight-forward “Blond Hair and Blue Eyes” brought the venue back to a safe space before getting even deeper with “Faker.” While “Chromatic Nightmare” is an example of the more psychedelic side of the quartet, “Faker” displays their talent for introspective lyrics and melodic compositions. Those in attendance looking for the more heavy-metal moe. were treated to a killer “meat.” to close out the set. “Elizabeth Reed” may have been the highlight of the early half of the set, but “meat.” took the group to an entirely different dimension. It is rare to see a mosh pit form at a jam band show, but if it were to happen, it feels like “meat.” is the most moshable of them all. Fans that prefer to cling to Al-side of the theater were treated to an up-close and personal look at the guitarist and he brought his shredding as close to the fans as possible.
Perhaps as a nod to April Fool’s the following day, “Waiting For The Punchline” was delivered as the sole encore of the evening. The delightful bluegrass section of this number got feet stomping and hands clapping, and if I’m not mistaken, I believe I caught a few “yee-haws” before the end of the tune. While it appeared that some of the moe.rons in the room would be making the trek across the Long Island Sound to see them again the following night in Huntington, those staying in Connecticut left the venue grateful for the well-crafted start to their weekend.
Set I: Water > Hector’s Pillow > Okayalright, Skrunk > Lazarus, Little Miss Cup Half Empty, McBain
Set II: In Memory Of Elizabeth Reed, Jazz Wank > Buster >Chromatic Nightmare, Blond Hair And Blue Eyes, Faker > meat.
Encore: Waiting For The Punchline
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UFO and Saxon Invade Penn’s Peak
On Saturday April 1, 2017, the only fools were the ones who did not get a ticket to the UFO-Saxon concert at Penn’s Peak in Jim Thorpe, PA. Close to 2000 fans, mainly middle-aged men clad in leather and denim jackets donned with classic rock and roll patches, attended the sold out rock show at the scenic concert venue in the heart of central Pennsylvania near the Pocono Mountains.
The Penn’s Peak show was the second to last on this classic US tour before heading to Europe to begin the summer festival season. Both Saxon and UFO have storied careers spanning decades with a diehard and loyal fanbase.
Newcomer, Jared James Nichols, opening for Saxon and UFO, took command of the sold-out crowd on April Fools’ Day. Solo artist, Nichols, opening for this tour has taken the music industry by storm. Recently coming out of a t0ur with Zakk Wylde, the trio of bassist Erik Sandin and drummer Dennis Holm have landed another killer gig opening for the British heavy metal legends Saxon and UFO supporting them on this tour. Having one release under their belt, Old Glory and the Wild Revival, their bluesy hard rock was energetic and infectious with an edgy rock sound and stage presence that was perfect for warming up the fans. Keep an eye on these guys. I am glad I caught them when I did as they are definitely making waves and going places. I especially love the fact he plays guitar with his fingers and without the use of a pick. Another very cool rock and roll move.
Following the shredding guitar work of opening act Jared James Nichols, Saxon stormed the stage in true classic metal style. Frontman Biff Byford, guitarists Doug Scarratt and Paul Quinn, bassist Nibbs Carter and drummer Nigel Glockler gave the fans a thrilling ride down metal lane, with their set consisting of classic 80’s Saxon songs along with a handful of their current material off Battering Ram. The thundering bass and bottom end had the peak shaking its foundations while the dueling guitar work of Scarratt and Quinn were as tight and fluid as you would expect from this classic guitar, heavy riff driven band. Saxon opened their set a little after 9 p.m. with the title track “Battering Ram” off their latest release, following with “This Town Rocks,” off Power and the Glory, and finally, the 3rd song, “Sacrifice.”
Byford sounds better than ever, looking energetic and youthful despite his age. Wearing a long black medieval style buttoned down jacket, he had no problems head-banging with his long blonde locks flailing. He worked the stage like a master frontman, all while maintaining constant interaction with the crowd acknowledging the fans and talking about living for a brief period of time in the Pocono Mountains of Pennsylvania. Midway through the set, Byford gave the fans the opportunity to choose what song they wanted to hear, giving them several options to choose from including “Never Surrender,” “747 (Strangers in the Night)” or “And the Band Played On” while paying tribute to legendary British rocker Lemmy Kilmister. Closing out their seventy-five-minute set were the classics “Crusader,” “Denim and Leather” and “Princess of the Night.”
Saxon Setlist: Battering Ram, This Town Rocks, Sacrifice, Power and the Glory, KQueen of Hearts, The Eagle has Landed, Dallas 1PM, Heavy Metal, Thunder, Crusader, Wheels of Steel
Encore: Denim and Leather, Princess of the Night
Headliners UFO took the stage around 10:30 for over a ninety-minute set wrapping up at close to 12:15 am. Touring in support of their 2015 studio album A Conspiracy of Stars, UFO had the crowd from song one. The last time I saw UFO was in 1983 when they opened for Ozzy at the Broome County Arena in Binghamton, NY. Having never really listened to UFO that much, I did recognize many of their songs on the set. Opening their set with “Mother Mary,” “Long Gone” and thirdly “Run Boy Run” I was immediately impressed with the tightness and cohesiveness of the band that formed back in 1969. The energy was infectious and mesmerizing as the only two original UFO members Phil Mogg and drummer Andy Parker along with keyboardist/rhythm guitarist Paul Raymond, guitarist extraordinaire Vinnie Moore and bassist Rob De Luca, never missed a beat and were in the pocket from the first note throughout the almost two-hour long set.
Mogg, a 50 year veteran of the stage knows how to work the crowd. He is very adept at keeping the fans attention, using humor, history lessons and rock and roll charm. At times he would crack jokes about his beautiful baldness and comparing his age to that of some of the guys in the crowd that were lucky enough to still have hair, albeit, grey. Mogg, pushing 70 years old, remains ever youthful and spry onstage while captivating the crowd delivering the classic UFO sound that fans have loved for close to five decades.
With a catalog of almost 50 years of material to choose from, including hits from the classic albums Lights Out, Obsession, Strangers in the Night, and more, it was no surprise they played for almost two hours solid as the fans remained for the encore numbers.
UFO Setlist: Mother Mary, Long Gone, Run Boy Run, Lights Out, Baby Blue, Only You Can Rock Me, Let it Roll, Burn Your House Down, Too, Hot to Handle, Messiah of Love, Love to Love, Rock Bottom
Encore: Cherry, Doctor Doctor, Shoot Shoot
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Formula 5 Releases Studio Video of Upcoming Album ‘All Points North’
NYS Music stopped by Over It Studios in Albany this January and February to catch Formula 5 in the studio recording All Points North, which will be released on April 14 on F5Jams.com. F.Cavone Productions filmed and edited this look at Albany’s rapidly rising jam band.
https://www.youtube.com/watch?v=cqS9sBhJhlg
Themes of death, rebirth, and moving on make All Points North a more introspective album than the band’s previous studio efforts. It also marks a new direction for the band’s sound. Guitarist Joe Davis reflects on the final product, “I think “Q&A” and “Excalibur” are on ode to the old band, having been written by myself and (former keyboardist) Mike McDonald. It’s like a final farewell to the old, mixed in with new styles, such as with “The Birch Tree,” “Do Tell,” “Figure Out a Feeling,” “Trout Waters Pt I & II” and “It Goes…;” that old jammy style is still in us but it’s more mature and reigned in.”
All Points North was produced, recorded and mixed by Bryan Brundige at Overit Studios in Albany, NY and Mastered by Michael Schoonmaker at Gigantic Mastering. All Points North will be released by Formula 5 on all platforms on April 14 and be available for streaming on F5Jams.com and JEMP Radio.Formula 5’s Spring Tour brings them throughout the Northeast, bookending the tour with performances at music festivals Rock n Roll Resort and Disc Jam. In between the band hits familiar Northeast markets with artists including Dead Phish Orchestra, Mister F, Litz, Space Carnival, The Other Brothers, Relative Souls and more. Formula 5 will have a pair of album release shows on April 14 at Pacific Standard Tavern in New Haven, CT and on April 15 at Putnam Den in Saratoga Springs, NY.
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Hearing Aide: Mastodon ‘Emperor of Sand’
With 2017 underway we already have seen so many great releases in the metal world. We had Kreator’s Gods of Violence, Obituary’s self-titled album, and even Overkill with their thrashing hit The Grinding Wheel. Now it is time for perhaps the most anticipated sludge and progressive metal album this year. If you are a fan of those genres then you know exactly which album I am speaking of! Mastodon’s seventh studio album Emperor of Sand released March 31 has given many people a metalgasm! Might need to clean yourself up after checking out this album review.
Emperor of Sand (released via Reprise records) is a follow up from the band’s 2014 hit Once Around The Sun (released via Reprise). This album has started an uproar since it was teased with such singles like “Sultan’s Curse” and “Show Yourself.” As the clock hit midnight and my phone notified me it was ready to be viewed on Google Play Music, damn skippy I played it as soon it was ready for my puny mortal ears to binge on. The album continues the progression the band has been going with for sometime with more audible vocals approach and a more lean guitar sound. It has created a great energy of soothing jams like “Show Yourself” and “Steambreather” taking center stage for this formula in perfect harmony. The combination of Brent Hinds and Bill Kelliher’s vocals really shows the band’s strong suit making catchy song structures while keeping the skilled technical foundation strong. This album is perfect for those who enjoy bands like Red Fang and Baronness. American sludge progressive metal bands like these are slowly taking over the metal scene once again.Sure the album may have some mellow songs, but these guys still know how to get some sweet aggressive playing going on. “Clandestiny” is the dose of heavy sludge that the doctor ordered! With the great drumming work of Brann Dailer and the bass playing from Troy Sanders it is one solid heavy sludge tune. It is for the fans that need some progressive in their life mixed with some heavy licks to get them stoned or drunk. Hey perfect tune to try to drink the Mastodon beer to! Cheers! This album is pure awesome with a side of bad ass and it will quickly climb to the top of the metal charts and hard rock. It would not shock me if it becomes the number one release in it’s genre. I will put money on that! You can say all you want about the boys, but they will always remain a steamroller force of pure genius!
This album gets a solid 5 out of 5 from Black Metal Steve. Go buy the album from your local record store or from the band’s website.
Key Tracks: Show Yourself, Sultan’s Curse, Steambreather
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The Winner of NYS Music 2017 March Madness is….
Root SHOCK takes the crown as the winner of NYS Music’s 2017 March Madness. Over 6 rounds, Root SHOCK brought their fanbase together to propel them to the top, holding off Buffalo’s Intrepid Travelers in the finals.
Catch Root Shock on April 14 at Funk n Waffles in Syracuse with Danielle Ponder and The Tomorrow People, as well as all across New York State this May and June.
NYS Music talked to bassist Bill Eppel this weekend about winning March Madness:Pete Mason: Congrats on winning NYS Music’s 2017 March Madness! How does it feel to win?
Bill Eppel: It’s a total blast! March Madness has been a great experience all along the way. Checking out all the bands represented underlines the diversity of music in the region. It’s definitely opened our eyes to some bands we weren’t aware of. The support we’ve received from our fans (what we think of as our family) along the way has reinforced that we’re on the right track and connecting with people in a positive way with our music and our lyrics. We’re blown away by the outpouring of votes and positive vibes from everyone, it’s humbling for us.
PM: For those who aren’t familiar with the reggae sounds of Root Shock, what influences do you draw on and what can fans expect from your live performances?BE: We always refer to ourselves as ‘high energy reggae soul.’ While we have great respect and draw musical and spiritual inspiration from the wide range of reggae styles (roots, dub, dancehall and more), we color that with the classic soul, modern neo-soul, funk, American rock and roots that we grew up with. All that aside, the first thing most first time listeners notice is the powerful vocals, presence and will of our lead singer, Jessica Brown. She’s an overwhelming force of nature on stage and the embodiment of the positive uplifting lyrics that she and guitarist/singer Phil Grajko pen. Hopefully the listener can feel the sincerity of what we do, and walks away with our message of empowerment, equality, respect and love.
PM: How has growing up and performing in CNY impacted the group’s growth?
BE: This band probably couldn’t have happened somewhere else. When we came together about 5 years ago, we’d all been involved in the wider CNY music scene and connected with the modern reggae scene in some way previously. Seeing regional bands (John Brown’s Body, Thunderbody, and many others) that had been creating reggae related music but weren’t copying classic Jamaican and world reggae; synthesizing something new with it felt like there was positive artistic and spiritual motion that was furthering the genre. But more importantly the greater CNY area was so obviously supportive and accepting of stretching the genre that we felt comfortable putting ourselves out there stylistically even if we weren’t doing the traditional thing. We don’t write songs to ‘fit in’ to a specific niche, we write them to express ourselves, we’ve thrown lots of stuff at the audience and are consistently surprised with the reaction. It’s given us a freedom to explore. It turns out that the listeners, bands, clubs, pretty much everyone, has been really receptive and supportive. Luckily we also live in an area with a vibrant music scene these days, so we’ve been able to play such a cool and wide variety of places. It’s funny, living in a place that’s so cold and hostile environmentally for so much of the year is obviously difficult…but it’s balanced by the warmth of the people here and how really enthusiastic music fans are once you get them in front of a stage.
Stream Root Shock’s self titled album and read the NYS Music review of the breakout release.