NYS Music 20​17

Category: Show Reviews

  • Everyone Orchestra “Incites Love” in Saratoga Springs

    Everyone Orchestra brought a jam packed line up to the Putnam Den in Saratoga Springs this past Saturday, November 4. This version of the improvisational group consisted of Al Schnier (moe.), Jim Loughlin (moe.), Vinnie Amico (moe.), Ryan Montbleau, Hayley Jane, Mike Maher (Snarky Puppy), and Eric Gould (Pink Talking Fish). The group spent the two previous nights at the Westcott Theater in Syracuse, NY and Buffalo Iron Works in Buffalo, NY.

    everyone orchestra saratoga springsYes Darling, a duo featuring Hayley Jane and Ryan Montbleau opened the show playing for about an hour. This version of Everyone Orchestra played a number of improvisational jams “inciting love” throughout the crowd. The show filled the venue to almost its full capacity. The Putnam Den recently went through renovations updating the interior of the venue. With the soundboard now being located in the back, there was more room for people to dance and have a good time.

    Everyone Orchestra continues its fun with dates at Electric Haze in Worcester, MA November 9, Brooklyn Bowl in Brooklyn, NY November 10 and Gypsy Sally’s in Washington D.C. on November 11.

  • Halloween Horror Camp 3

    The 2017 Halloween season got off to a frighteningly good start last weekend courtesy of a small and intimate party in The Berkshires that featured some of the region’s burgeoning musical acts.  Bands from Upstate NY and Western MA, along with an intimate collection of 200 some-odd live music lovers, assembled at the rustic H.A. Moses Scout Reservation in Russell, MA for a brief, yet utterly enjoyable, festival of nostalgic music and musical costumes and the third rendition of its Halloween Horror Camp. With each band playing a predesignated set of covers from other artists, the opportunities to “dress up” both in costume and musically ran rampant this cool October evening.

    Halloween Horror CampNormally used for Boy Scout camping purposes, the main lodge was transformed into a dance hall of sorts and nearby cabins were available for additional purchase as well for those that preferred bunk beds instead of roughing it outdoors. In fact, in a really unique twist, “campers” weren’t even informed of the event’s location until about 48 hours beforehand when an e-mail was sent to ticket holders.  All that was known was that it would be somewhere in the 413 area code of MA. Those that were willing to put their faith in a party with no address were rewarded with a night of music that spanned multiple eras and genres.

    One of the earlier acts of the day of Halloween Horror Camp 3 was Creamery Station who performed a “Watkins Glen” themed set of Dead and Allman Brothers tunes.  With band members feeding into the holiday spirit and adorned in full body cow costumes, classic tunes like “Deal” and “Statesboro Blues” greeted still arriving guests and those still setting up tents and camps.  A cover of The Band’s signature hit “The Weight” was also included in this engaging early set of music.

    Shifting courses a bit, a set of Daft Punk covers followed, delivered by Northampton’s own Mammal Dap with assistance from Mary Corson on vocals.  Together, they did justice to Daft Punk’s seminal album Discovery in a performance that covered nearly the entire recording.  Songs like “One More Time,” “Voyager” and “Too Long” seemed to get the dance floor moving a little steadier and served as a great precursor for things to come.

    Albany’s own Formula 5 then delivered one of the more anticipated sets of the evening with a blistering set of Phish covers.  Beginning with a well jammed “AC/DC Bag” that fed directly into “Story of the Ghost,” the Upstate NY jam outfit did not disappoint with its cover set of one of their inspirations.   A crisp “2001” kept the rave vibe alive and well in the main lodge but one of the true gems of the set was “Reba” and a corresponding jam that was melodious and powerful all at once. The same could be said for the rousing rendition of “Harry Hood” that followed later in the set before a customary “Cavern” set closer.

    Cosmic Dust Bunnies then turned back the clock and took everyone on a musical romp through the 80s with a long set of covers from the era of hair spray and cassette tapes.  Songs like “Superfreak” and “Word Up” gave the start of their set a retro dance vibe before the New Haven rockers settled into more pop hits like “Everybody Wants To Rule the World” and the ever present Rick Astley classic “Never Gonna Give You Up.”  The Bunnies continued to impress and up the ante with standout takes of “Dirty Diana,” “Love Is a Battlefield” and “Panama.”  The selection and variety of artists that were covered in this set was really impressive and a fun take of Lionel Richie’s “All Night Long” helped bring a close to it.

    Strange Machines, a Boston-based rock fusion act, then threw it back even further with a standout set of songs by The Doors.  A full throttle version of “L.A. Woman” kicked things off and a fun “Love Me Two Times” > “Higher Ground” > “Love Me Two Times” sequence showcased the band’s ability to stylistically bob and weave.  The “Riders on the Storm” and “Strange Days” that came towards the end of the set offered a true psychedelic tone to the evening that proved not all the music tonight had to be upbeat and poppy in order to be enjoyed.

    The party kept going well into the hours of Sunday morning courtesy of a Bassnectar themed DJ set from Uncle Bob and a stellar set from lespecial chock full of Primus covers, a sound the band has really honed of late. The final set from Roots of Creation featured Grateful Dead and Rage Against the Machine songs intertwined and throwing the crowd into a final frenzy of the night, while Kerry Quirk gave the fans what everyone wants late at night, a healthy dose of Madonna.  Those that stayed and camped overnight were welcomed with a community breakfast in the morning to help recharge before leaving the wilderness and returning to civilization.  Halloween Horror Camp has all the feel of a remote festival with a powerhouse music lineup combined with a backwoods campfire among friends.

  • Fusion Lives with John Mclaughlin and Jimmy Herring at The Egg

    “FUSION LIVES!” This was the mantra repeated by an enthused patron during breaks between songs at The Egg on Thursday, November 2nd. Few would disagree with her this evening, one that included the legendary and inspired sounds of Mahavishnu Orchestra great John McLaughlin and the 4th Dimension, with Jimmy Herring and the Invisible Whip opening the night on the Meeting of the Spirits Tour.

    Herring’s new group includes former Aquarium Rescue Unit bandmate Jeff Sipe on drums, Matt Slocum on B3 organ and clavinet, Kevin Scott on bass and Jason Crosby on keyboards and violin – and they were just the opening act. Groovy funk lines from Scott laid the foundation for flowing instrumentals, with hints of the Flecktones heard in spots throughout the set. Crosby and Slocum blended together perfectly, and Sipe sat masterfully behind the kit. “Les Brers in A Minor” was a delight to all, nodding to Herring’s time with Allman Brothers Band and respect to the late Gregg Allman.

    As John McLaughlin took the stage with the 4th Dimension, the audience was ecstatic, with chirps of excitement coming out of the crowd in a raucous ovation. This being McLaughlin’s final tour, he played little new material, “El Hombre Que Sabia” in tribute to Paco Lucia, and made the music of Mahavishnu Orchestra come alive once again.

    There were instances where the foursome onstage – Mclaughlin, Gary Husband (drums/vocals), Etienne Mbappe (bass) and Ranjit Barot (percussion) – sounded like they were recreating Frank Zappa songs, but with fewer personnel needed to build compositions to a frenzied state before returning to earth. Mbappe’s tone on bass was like an Altoid – curious strong, for he was wearing gloves the entire night. Jazz musicians gonna jazz I guess.  Husband’s vocal effects on the kit and his superb double team with Barot (and later, with Sipe) drove the set towards a triumphant close.

    The Invisible Whip joined the 4th Dimension for Mahavishnu Orchestra compositions, and altogether with nine musicians on stage, Jimmy’s jazz rock and John’s jazz fusion took alternating turns leading the way, with McLaughlin stepping to the side at times to let Jimmy and the rest do their thing. When McLaughlin broke out the two-necked guitar, the audience was captivated. When he wailed on the whammy bar of his Paul Reed Smith ‘PRS,’ it created a most unique and melodic tone, not a wank on a note for show. Combined together, these two legendary guitarists, John Mclaughlin and Jimmy Herring, along with two powerhouse drummers, brought to mind influences that could be found among the music of Col. Bruce Hampton and Aquarium Rescue Unit, Phish, Frank Zappa, and all the rest who take a ride on the spacious musical journey that is improvisation.

    John Mclaughlin and Jimmy Herring

  • Disco Biscuits Perform Phenomenal 2-Night Run at the Worcester Palladium

    Philadelphia trance-fusion pioneers, The Disco Biscuits, brought their unique sound to a two-night run at the Palladium in Worcester, Massachusetts for Halloween. With Lespecial for support on their first night, and Jaw Gems on the second, The Disco Biscuits delivered two jaw-dropping shows to the crowd at the recently renovated Palladium.

    Opening with the flowery and optimistic “Grass is Green,” things quickly took a dark turn when they dropped into “Minions,” returning to “Grass is Green” to complete the sandwich. They followed this immediately afterwards with their newly reworked version of the song “Loose Change” for only the third time since it’s reintroduction into rotation. Before 2017, the song had not been played since 2010, in its old format. They concluded their set with a yet another sandwich, this time featuring fan-favorite “Confrontation” (complete with “Funkytown” teases as well as a myriad of Biscuits teases) as the bread and the dark instrumental “Gangster” as the meat. The final chorus of “Confrontation” had the entire crowd chanting in unison before a well-deserved setbreak.

    The Biscuits weren’t pulling any punches when they opened set 2 with the high-energy introduction to “Munchkin Invasion” which segue-wayed into the rare “Voices Insane,” which featured bass-slapper Marc Brownstein on the vocoder for the chorus and a creepy robotic vocal jam. This transitioned seamlessly into a soaring version of “Astronaut” that nearly ripped the roof right off the theater. “Astronaut” featured an “Owner of a Lonely Heart (Yes)” tease. This onslaught of music was concluded with the peak and ultimate conclusion of “Munchkin Invasion” before the Biscuits wrapped the second set up with a standalone version of their tune, “Reactor.”

    After two blissful sets, full of teases and intense peaks, the Biscuits were clearly still hungry, and delivered a lengthy, three-song encore including an improv-heavy version of “Once the Fiddler Paid,” a smoking version of their flagship song, “M.E.M.P.H.I.S.” and finally, an extended “Spacebirdmatingcall.”

    If Thursday night was the night of blissful peaks and scorching improvisation, Friday night was the night for dark, creepy ambience. The Halloween spirit was certainly present, as the Biscuits delivered a night of tricks, fake-outs, and long, dark, spooky and meandering jams.
    Thursday’s show began with a four-song set, showcasing the Biscuits’ impeccable ability to improvise and keep their audience both kinetic and confused, as they struggle to identify the next tune. The whimsical “Crystal Ball” opener gave way to the high-intensity peak of “Mulberry’s Dream”, which was inverted, one of the Disco Biscuits’ trademark moves in setlist writing. “Mulberry’s” gave way to the ending of “Crystal Ball,” followed by an extraordinarily lengthy version of the heartfelt “Therapy,” penned by Marc Brownstein about his father and family life that teased damn near every song in the Bisco catalog.

    Set 2 opened with “Triumph,” which flowed into “Save the Robots” before seguing into the atmospheric and Halloween-appropriate theme song from the Netflix original “Stranger Things,” which was expertly executed and infused with teases from the Biscuits original “Portal to an Empty Head.” This segue-wayed back into “Save the Robots” before the Biscuits took their only pause of the second set. The eager crowd turned rabid when the band began playing the opening notes of fan-favorite “Spraypaint.” “Spraypaint” bled into a capable cover of Donna Summer’s “I Feel Love” before shredding into the instrumental “Tempest” and then back into “Spraypaint” to conclude the second set. The second set featured a fake-out of classic Biscuit song “Little Betty Boop” as well as “Orch Theme,” which was performed a few days later at Hulaween. Teases of “Funkytown” by Lipps Inc. and “Electric Avenue” by Eddy Grant were present throughout the night, as well as strong teases of “And The Ladies Were The Rest of the Night” during “Therapy.” The Biscuits concluded the run with a standalone version of “Ladies” as the encore.

    The Disco Biscuits truly delivered in Worcester for Halloween weekend, with a full-on sonic assault that showcased their ability to play rock, funk, electronica, and of course, blistering improvisation.

  • John McLaughlin Kicks Off Meeting of the Spirits Tour in Buffalo with Jimmy Herring

    Jimmy Herring and the Invisible Whip struck the match. John McLaughlin and the Fourth Dimension fanned the flames. Together, using material from a 45 year old band, McLaughlin’s Mahavishnu Orchestra, they built a blazing fire inside the University at Buffalo Center for the Arts Wednesday night on the Meeting of the Spirits Tour.

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    It was the first night of a fusion guitar lover’s dream tour, dubbed The Meeting of the Spirits. It will be the last ever North American visit for the legendary British septuagenarian guitarist.

    The opening set from Jimmy Herring’s new solo outfit, was anything but your typical opening set. The seats in the theater were full and the crowd was at full attention from the first notes. Herring showcased his talents in restrained spurts, masterfully directing his bandmates through 50 minutes of exhilarating instrumental fantasies. His crack squad of Jeff Sipe, Jason Crosby, Matt Slocum and Kevin Scott were with him every step of the way through a seven-song set including “1911” and “Jungle Book.” Their mid-set rendition of “Les Brers in A Minor” made clear that it was a jazz fusion tune hiding out in a Southern rock band all along.

    McLaughlin’s Fourth Dimension is another band brimming with talent. Bassist Etienne Mbappe, drummer Ranjit Barot and keyboardist/drummer Gary Husband all had ample space to showcase their talents throughout the set. Masterful bass solos were met with drum solos complete with mind-boggling scat drumming. Husband made the synthesizer a chameleon, realigning the sound continuously. “Kiki” and “Miles Beyond” gave way to more mellow material like “Gaza City” and “El Hombre Que Sabia,” a tune McLaughlin meant to record with Paco Delucia before he passed away, which now he plays as an homage. He wandered the wide-open stage as he played, effortlessly creating guitar sounds that were impossibly perfect at impossible speeds. As their set ended, McLaughlin was ready to keep it going, calling for Herring and band to come out. Call it a first night mix-up, apparently there would need to be a quick break.

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    For the third set both bands combined to form a 9-man fusion supergroup. This was headphone music and luckily the theater’s acoustics were up to the challenge. The sound was impeccable. And the playing was too. Double drummers, double bassists, double keys, and McLaughlin pulled out the double-neck guitar to boot. Somehow as the band doubled in size it only grew tighter. McLaughlin played facing the band for most of the set, not only lead-guitarist but musical director, steering the monster band through a selection of classic Mahavishnu Orchestra tunes. “Meeting of the Spirits,” “Trilogy,” “The Dance of Maya,” not quite as fresh and vital as they were 40 years ago, but still powerful and invigorating. The maestro was in and the class was in session. “Eternity’s Breath” showcased the intensity of a band where every member is a secret weapon. Though perhaps they were most impressive on the mellower “Earth’s Ship,” as the bassists weaved lines around each other and the rest of member’s distinct sounds were teased apart gently to beautiful effect. The inner mounting flame was burning, unfortunately it couldn’t be eternal.

    Leaving a Buffalo stage for the last time, McLaughlin said his final goodbye to the city with a quote from the Eagles, of all things, “We may lose and we may win though, we will never be here again.”

    Take it easy, John.

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  • Lespectacle VII: Happy Hallo-CHEEN…

    For the past six years during the Autumnal Equinox in late September, what has been described by hosing band Lespecial as a “Pagan inspired multi-media mini-fest” has taken place.  After making its rounds at various venues in both Boston and New York, Lespectacle VII landed at one of the top music clubs in the country, Brooklyn Bowl, which Rolling Stone ranked the venue 20th in the nation in 2013.

    lespectacle VIIThis year the “psychedelic, haunted circus” not only featured stage design provided by The Reliquarium, a multi-media light and visual show from Vin Pugliese, and was boasting the best lineup of musical acts the mini-fest has seen yet, it was also moved to be held on October, 31… Halloween night. Oh, and did I mention Lespecial would be taking the opportunity to release their second studio album, Cheen? Trick or Treat Lespecialists… Happy Hallo-CHEEN!

    Supporting acts included Dallas’s “The Funky Knuckles,” New York’s own Horizon Wireless, as well as a set from Oakland California’s legendary hip-hop act Zion I with non other than your hosts Lespecial as the backing band. That collaboration first came about with a set at The Great North Music Festival. After working with Zion I, Lespecial decided to feature the MC on the 4th track of the new album titled “Sound That We Do.”  The set at Lespectacle 7 was the second time the cross-genre on-stage collaboration took place. Luke Bemand’s heavy bass and Jonathan Grusauskas’ sampled sounds and synth-scapes lend themselves well to the prolific word flow Zion I has been bringing to the stage since the early 2000’s.

    As for the new sophomore studio album, Cheen, we find a band unafraid to challenge the concepts of traditional genres. They have taken a step further in refining their style by not adhering to the preconceived notions of what that style should be. In fact there is hardly a genre this album doesn’t touch. They have become known for their metal/funk mash up sound on tracks like “Skull Kid” featuring samples of Jack Nicholson as the  Joker in the Tim Burton’s 1989 film Batman, and the Primus-esque “American Apocalypse”  However the track “Stolen Land” brings in a roots-rock/dub sound, and tracks like “Sounds That We Do” and “Donut Ghost House I” and “Donut Ghost House II” bring a hip-hop sound to the album. It’s as if someone said “It’s all been done before” and Lepecial said “Then let’s just do it all.” Spotify player below.

  • This is Dopapod Halloween: Grateful Sabbath Set Stuns at Putnam Den

    Looking ahead just a few months from now, the year 2018 will be Dopapod-less, which means fans have flocked from inner cities, out of town and hours away just to catch what will be their remaining shows ahead of hiatus. Bringing the heat during each gig on fall tour so far, word traveled fast that their Halloween bash at Saratoga Springs’ newly renovated Putnam Den wasn’t one to be missed, a Grateful Sabbath if you will.

    Adorned in an astronaut suit, Eli Winderman and company would eventually sit behind the keys and prepare to launch the outrageously dressed and over-excited crowd into outer space for the remaining hours of All Hallow’s Eve.

    Kicking off the night for the quartet was rising Burlington outfit, Swimmer, who previously took the reigns of opening for Dopapod in the past. Walking on stage in an assortment of costumes from a bassist puppy dog (Jack Vignone), a guitar wielding, “all you can eat Jimmy Buffet” pun (Paul Klein), a keys/sax playing Santa Clause (Matt Dolliver) and Alladin’s Abu on drums and vocals (Cotter Ellis) the prog rock 5-piece swiftly grabbed attention of Den dwellers as the room began to fill over the course of their set. The crowd quickly realized why these guys have been able to snag opening gigs and musical praises from Dopapod–their sound can be sentient and groovy and in seconds build to heavier territories, never executing boring composition.

    The “No Shape” musicians warmed up the crowd with “Turko,” “Murphy’s” Song,” “J.I.G.” and an enchanting, jammed out “Sea Cerebral” as well as an appropriately placed HalloWeen cover of “Put The Coke on my Dick” with Ellis nailing the familiar vocal outcries. Taking full command of the exponentially growing audience, a masked and shirtless Joe Agnello (guitar/vocals) corralled the colorful crowd and had them dancin’ into set break with Prince’s party anthem “1999.”

    Trick of the night:  Ellis cracked his snare mid jam in true rock and roll fashion, although his relentless and professional playing fully disguised it. Both relying on lip reading and hand gestures, Dopapod’s Neal “Fro” Evans saved the day by hand-delivering his own snare to a fellow drummer in need.

    Astronaut Winderman, a monkey headed Chuck Jones, a low key Rob Compa and Evans were greeted on stage with a “This Is Halloween” introduction before a stacked set one of continuous, hard-hitting originals came into orbit–exactly what fans needed to submerge themselves in during the concluding gigs of 2017. Offering up fired-up favorites with an opener of “Black and White” paired with color coordinated lighting, each studio album was given a taste with as Never Odd or Even’s “Present Ghosts” trailed right behind. Serving up “Sonic,” “Bubblebrain” and a fix of the latest efforts on Megagem, a fun delivery of “Mucho”  found extensive live twists creatively altered from the studio version, giving those already familiar with the tune a fresh way to remember its live adaptation. Somehow managing to find time to squeeze in a sit in with Moe’s Vinnie Amico on drums for a gratifying and turbulent “8 Year’s Ended,” Redivder’s funky “Blast” closed out the powerhouse set which was ultimately a lengthy, indulgent Saratoga Springs get down.

    Hopping back on the tightly packed stage to settle down a wondering crowd, all eventually found themselves puzzled yet enlivened to be singing along to the words of the Dead’s “Eyes Of the World,” as Dopapod’s imaginative flair inventively took on the American rock classic. Hinting at a full cover set, a fierce and expressive Black Sabbath cover of “War Pigs” came next as it completely paralleled the carefree feel of it’s predecessor. The third song took some time to gain recognition as eventually the lyricism from Scarlet Begonias and intense anatomy of Sabbath songs magically fused together to create the ultimate Halloween treat.

    Treat of the night:  A Grateful Sabbath Bust-Out set.

    Looking back at the group’s latest moves on social media, they teased the second set theme by uploading two photos of frontmen Ozzy Osbourne and the late Jerry Garcia with the caption “milk,” to their Instagram feed. Each song execution conjured stupefied giggles and pure astonishment as Dopapod managed to fully rework well-known songs into interchanged genres, pulling off Sabbath’s “N.I.B.” with a laid-back Californian twist.

    Inspiration behind the set came to fruition years ago when Fro realized that Black Sabbath is “just the Grateful Dead playing minor instead of major,” as divulged on a recent Facebook post. So for those who never thought they’d get to see “Friend of the Devil” and “Sweet Leaf” performed in the same set, anything can transpire during a Dopapod Halloween gig. Adopting the Drums>Space routine of the Grateful Dead, Fro as well as wildly talented light/sound engineer and friend Luke Stratton were given time to shine as eye-catching shapes and colors rapidly twisted and whirled across the blank canvas of the Den walls.

    Adding to the themed mash-up, Sabbath lyrics were placed mainly to the tune of  “Terrapin Station” and introduced a long-haired “Jerry Osborne,” aka Stratton, to the stage for electrifying assistance on guitar and costume hilarity. A rebellious “Fire on the Mountain” making nods to the tunes of “Paranoid” and “Iron Man” closed out the eclectic bust out set with vigor. Quickly returning for encore, the four approvingly spliced together a tight delivery of 2009’s “Indian Grits” with the Dead’s groovy “Shakedown Street.”

    Everyone already had the seed planted in their minds to scurry to the remaining Dopapod gigs of the year but when you’re told not to miss a show, there’s probably good reasoning. In a matter of hours fans were scavenging on the Internet for Grateful Sabbath sound boards and video clips, surely face-palming envy deep into their hands. With just 28 gigs standing between the Boston-born band and a touring recess, catch the duo of Swimmer and Dopapod again at Providence’s Fete Music Hall for a Dec. 30th gig in Rhode Island with Hayley Jane and the Primates.

    Putnam Den 10/31/17 Setlists:

    Swimmer: Turko, Murphy’s Law, Put the Coke on my Dick* > J.I.G > Sea Cerebral, 1999^

    *Ween ^Prince

    Dopapod: This Is Halloween* (Walk out music), Black and White^, Ghosts ->, Sonic ->, Braindead, Mucho, 8 Years+, Blast

    Set II: Eyes Of The World$ >, War Pigs& ->, Sabbath Begonias@, N.I.B.**, Friend of the Devil^^, Sweet Leaf++ >, Drums >, Space >, SweetLeaf++, Black Sabbath$$, Fire on the Mountain&&

    Encore: Grits@@, *From Nightmare Before Christmas, walk-out music

    ^This Is Halloween tease +with Vinnie Amico of moe. sit-in on drums $Grateful Dead cover &Black Sabbath cover @Scarlet Begonias (Grateful Dead) lyrics in a Black Sabbath style **N.I.B. (Black Sabbath) in a Grateful Dead style ^^Friend of the Devil (Grateful Dead) lyrics in a Sabbath style ++Sweet Leaf (Sabbath) lyrics in a Grateful Dead style $$Black Sabbath (Black Sabbath) lyrics in a Grateful Dead style (mainly Terrapin Station), Jerry Osbourne (Luke Stratton) sit-in &&Fire on the Mountain (Grateful Dead) lyrics in a Black Sabbath style (mainly Paranoid and Iron Man), Scarlet Begonias tease @@Elements of Shakedown Street (Grateful Dead), Trapper Keeper teases

  • Jimkata Says Farewell at American Beauty

    Ten Years, six albums, and hundreds of shows ago, three friends from Oneonta formed the electro-rock band Jimkata. After kicking off in Ithaca and accumulating a dedicated fan base across New York State and beyond over the past decade, Evan Friedell, Packy Lunn, Aaron Gorsch packed up the synths said farewell with a five show/eight night run across New York State. The tour came to an end on Saturday October 28 at American Beauty in Midtown Manhattan.

    Jimkata American Beauty

    The sold out room could barely contain the energy as Halloween costume adorned fans flooded the room. “I knew them back at Ithaca University…” One fan reminisced just before the start of the show. “…I would see them all the time, and when they announced their last show would be in the city I couldn’t miss it.” The conversation was abruptly interrupted when “Jurassic Park Theme” by composer John Williams was played as the band emerged from the green room and took the stage together. With no plans for a return, fans cheered and sang along for what could be the last time.

    Photo Gallery By Chris Capaci/Capacity Images

  • Primus Still Sucks, Ambushes Albany’s Palace Theatre

    Primus has never fit the mold of conventional music, so it was only fitting the trio helped kick off Halloween weekend in appropriately eccentric style. Playing to a sold out crowd of not only those who grew up on Primus in the eighties, the packed Palace Theatre housed an audience that ranged from elementary-aged, youthful rockers to unsuspecting parents with college students. Having only performed in Albany three times prior, the fourth run-around brought tricks on stage and treats in unique encores as bodies dressed head to toe in spider webs, sequin dresses and spooky masks trashed around for a three-hour show. Yes, Primus still sucks.

    Equipped with video screens behind them, Les Claypool, Larry LaLonde and Tim Alexander began the night with the help of quirky British flash animation series, Saladfingers, as the first set was jam-packed with Primus favorites. Quickly following, “Too Many Puppies” spiked ultimate excitement in the regal downtown Albany venue. While the short, hard-hitting tracks seemed fleeting, “Sgt. Baker” found its way into an energizing “Too Many Puppies” sandwich as technicolor prisms were projected onto the Palace ceiling and Claypool stomped circles around the stage with grit. More classics like “Last Salmon Man,” “Mr. Crinkle” with a Zeppelin “Kashmir” tease and “My Name is Mud” popped up throughout the set with tempo-matching,  psychedelic video footage before a fun “Candy Man” called for clips of hypnotizing and colorful candy-like claymation.

    Primus Still SucksLaLonde and Les Claypool left the stage for an anticipated drum solo as a hooded Alexander led the show. Claypool shortly returned while sporting a pig mask and breaking out the Whamola for entrancing sounds. This time, the video projections offered clips of instrument strumming, as it matched up perfectly in sync with the live strums of Claypool’s Whamola. Interacting with the audience every so often with small interjections like “beautiful building you’ve got here,” Les Claypool asked the crowd to guess the ending track of set one with the firm strike of one note. Without a doubt– “Jerry Was A Racecar Driver” would close out the night with clips from the music video displayed symbiotically.

    Trading in a pig mask for a ram head, set two unleashed the force behind the Ambushing the Storm tour as Primus shredded through their latest studio effort, The Desaturating Seven, finding applause during every passing silence.  Eerie cartoon goblins found their way dancing across the screens in the Palace, the same ones from an Italian children’s book, The Rainbow Goblins. The newest album was heavily influenced on the Ul De Rico-written book, one Les Claypool used to read to his children. Played front to back, the unique seven-track album reminded everyone why Primus still sucks after all these years. On the heels of ending a grimy Halloween weekend performance, the trio ended with a triple-header of an encore with special dedications to the devastating fires in California. “Groundhog’s Day,” “Wynona’s Big Brown Beaver” and one they rarely ever play, “Tommy the Cat,” all welcomed extended guitar solos and wicked improvisation from LaLonde as well as shrieks and rock on symbols from the crowd.

    Primus Still SucksWith their last Palace Theatre gig in 2014 and before that 2009, for some this was a short-lived chance to catch the seasoned rockers in person.  There are two situations where walking by talking animals and skipping pirates is the norm: during halloween festivities and leaving a Primus show,  as a satisfied audience quickly flooded out of the venue and infiltrated an already amped up South Pearl Street crowd.

  • With This Album I Thee Wed: Hayley Jane and the Primates Album Release Show

    It was an evening of milestones and memories on a Wednesday, Oct. 18 at Brooklyn Bowl. Before Hayley Jane and the Primates took to the stage to celebrate the release of their new studio album We’re Here Now, Primates bassist Josh Carter married his fiancé Kristen Detroia under a Stealie-style chuppah in front of family, friends, fans and Brooklyn bowlers alike. “She’s a summer love in the spring, fall and winter. She can make happy any man alive…” venue owner Pete Shapiro echoed the words of Robert Hunter and Bob Weir before inviting Dopapod front man and longtime friend of the couple Rob Compa to share the story of how the two met some ten years ago.

    Hayley Jane And The Primates Following the off the cuff and personal tails of Compa, Shapiro oversaw the vows and pronounced the couple husband and wife. Josh and Kristen Carter kissed, broke glass, and then remembered to exchange rings at the end. The crowed cheered at the completion of the nontraditional, public, and yet adequately personal, Brooklyn Bowl wedding ceremony. Shapiro encouraged the crowd as he and the wedding party walked off the stage, “Now lets rock!” And just like that, the world was introduced to the opening act for the evening, The Brooklyn Bowl Wedding All-stars. Keeping up with the friends and family feeling of the evening Dopapod’s Eli Winderman and Rob Compa, Pink Talking Fish’s Richard James, and Kung Fu’s Adrian Tramontano and Chris DeAngelis madeup the wedding band to end all wedding bands. They formed a funk fueled five-some covering everything from Stevie Wonder to The Rolling Stones, and even invited Primates guitarist Justin Hancock to join them for The Allman Brothers Band’s “Blue Sky.”

    With the night already full of high points the stage had yet to be graced with its evening’s headliner. Hayley Jane and the Primates were welcomed by the Brooklyn City crowd with great excitement and anticipation. The set highlighted the bands new album and spanned their versatility. Along with soaring guitar solos, intricate bass lines, and steady drumbeats Hayley Jane’s soulful voice and colorful lyrics filled the room. The Interstellar Dancers added an interpretative dance flare backing up the front woman’s signature choreography.

    Of course the evening would not be complete without a series of on stage collaborations. Rob Compa was first to join adding his stylings to the sixth track off of the album”We’re here Now” titled “You Gotta Move.” Up next were two of Hayley’s friends from the band’s hometown of Boston on steel drums and percussion. They added to the reggae sounds of  “Man Acrylic.” Eli Winderman jumped back on the organ and surprise guest Elise Testone stood along side Hayley Jane for a vocal jam on the track “Make It Alright.” A few songs later another appearance by Richard James on the last two songs “Hey Mister” and “Hurricane Jane” would close out the set.

    As Hayley Jane and the Primates walked off, the city that never sleeps met the empty stage with chants for one more song. They would acquiesce and then some. The first of the two song encore “To the Moon” was a slower ballad brought to life by Jane’s glowing personality and glowing moon prop she held in hand throughout the song. The second song of the encore, and final song of the night, featured every guest the stage had featured for the event.  It amounted to a sixteen person (including dancers) “I Can Do It (Poo Jam).” The audience chanted along “I know that I can do it…” as the wedding/friends and family reunion/album release show came to its end. It was truly a special and unique night at Brooklyn Bowl summed up best by the words of Hayley Jane herself, “What a lucky bunch of creatures who can run around and dance if we want.”

    Photos by Chris Capaci/Capacity Images