NYS Music 20​17

Category: Folk/Americana

  • Singer Sean Rowe is Going Rogue

    Sean Rowe is no stranger to walking a different path, but he needed help with his latest venture — walking away from his record label and seeking a crowdfunding campaign to produce his next record.

    You can call Sean Rowe a “madman” for his recent, unorthodox approach to his music career, but he is a man with a plan.

    The popular blues singer opted not to resign with his record label, chose to crowdfund his latest project, and got the guts to do it by doing something a little off the wall.

    “This all started when there was a giant fork in the road for me in terms of where I was going to go career-wise,” said Rowe. “I had fulfilled my contract with Anti Records… And, I had to figure out where I was going to go next.”

    For the better part of the last decade, Rowe has made a living off his music. It’s the path he’s chosen to walk since he discovered Otis Redding when he was 17. Not your typical Troy teenager coming of age in the early ‘90s. Instead of Bell Biv Devoe, Guns ‘n’ Roses or Pearl Jam, he spent his money on John Lee Hooker and music out of the Mississippi Delta. Obscure stuff you wouldn’t find playing on FLY 92. He speaks of his love for Laura Lee, a gospel R&B artist out of the ‘60s whose sound he describes by comparing her to the icons of Gladys Knight and Aretha Franklin. “That’s all I wanted to listen to,” said Rowe. “I was pretty strict. I emulated all these people that I love. It taught me how to play guitar. It taught me how to sing.” And, for the 10 years that followed high school, Rowe spent his nights cutting his teeth at the local bars and venues that allowed him to strum his guitar and bellow out that signature baritone singing voice.

    Rowe has five albums to his name, the last three under Anti Records, the same label under which Merle Haggard and Tom Waits are signed under. The terms of Rowe’s contract were met after the 2014 release of Madman. Though he describes the experience with the Los Angeles-based label as “great,” Rowe said he needed to push out into the unknown. So, he decided not to resign, and opted instead to go “rogue.”

    “A part of this was realizing that if I wanted to do the best record I could do — I’ve already been comfortable with the last record. I already did that stuff — I want to do something that’s going to throw me out into the abyss,” said Rowe. “Something that is going to challenge me. So, that’s why I did all this.”

    Last July, Rowe launched a crowdfunding campaign with Kickstarter to collect enough money that would allow him to produce his next album. The concept is not necessarily new. In fact, the trend of artists seeking financial help from fans prompted a 2013 Louie Herr article at digitaltrends.com, suggesting bands target modest amounts instead of the $1.2 million raised by musician Amanda Palmer in 2012. Rowe’s $43,000 target would fall under Herr’s modest range. Nonetheless, Rowe said he felt like that was a lot to ask. “We launched this thing, fully realizing that it was a lot to ask.” said Rowe. “We needed to raise $43,000 in one month. And, we were asking our fans to do that.”

    Rowe’s plan kicked into motion around the 2014 release of Madman, the third and final record under the terms of his contract with Anti Records. Rowe started a side project; a nationwide tour that involved the musician playing to many of his fans from inside their own living rooms.

    “Just to try something different, you know?” said Rowe. “And, quite honestly, I also had to make money between tours. It was a combination of needing to work and wanting to do something different that led me to this house show idea, where I started playing in people’s living rooms — fans of mine, who wanted me to come to their house and play.”

    The tour built momentum and became a success in more ways than one. Rowe was able to support himself financially, but the intimacy of playing to his fans from within their homes created a dynamic that felt “very natural” to him. He described the typical show as being no larger than a handful of people, sitting on sofas. But, something about the shared experience drew an epiphany. He could walk away from the conventional path of producing albums through record labels.

    “From that audience, so many other things came, including this idea, said Rowe. “That was a big factor in starting this whole Kickstarter thing. I don’t think it is something we could have done before we did the house show thing.”

    In two weeks, contributors from as far out as Dublin, Ireland contributed enough to match the $43,000 goal. And, by month’s end, the funding effort reached $53,000.

    “That was very, very telling to me, that I’m on the right path,” said Rowe.

    Plotted on that path was the plan to record tracks at Sam Phillips Studio, the same studio built by famed Sun Records producer Sam Phillips, in Memphis, Tenn. Phillips is credited with discovering Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley, many consider Phillips to be the Father of Rock and Roll. While building up Sun Records, it’s said Phillips was building his dream studios around the corner. For the kid fascinated by the sound of recording artists before his time, the environment could not be more perfect.

    “It’s like walking into 1960,” said Rowe. “Nothing has changed in terms of the aesthetic of that room. I had all these dreams around this recording that I really wanted to accomplish.” Another part of that dream included working with Grammy Award-winning engineer, Matt Ross-Spang, too. And, the end product provides a thousand vinyl records and another thousand CDs. The record is planned for release by the end of March.

    For Rowe, 2016 has been a humbling experience; from seeing fans help support his upcoming album, to hearing an older track of his play along with the closing scenes of Ben Affleck’s feature film The Accountant. There’s a sense of affirmation that the “madman” isn’t so crazy, after all.

    “It’s a lot to ask of people, and it is validation,” said Rowe. “When you see the people willing to pay quite a large sum of money into something they really believe in, it’s not like telling somebody after a show, ‘hey, that was a great show.’ … When someone is willing to pay $1,000 just for the idea of this album, that’s not even made yet, [who] believes in you that much… . For that to happen, that’s a tattoo. That’s a lifelong commitment that someone makes for you.”

    Sean Rowe on “To Leave Something Behind,” featured in Ben Affleck’s The Accountant.

    “I wrote that about six years ago, and where I wrote it was in London, actually. I was walking through a park out there while in the middle of a tour. And, when you’re overseas and you’re touring out there, and you have family back home in the states, the proximity effect is very palpable. Your communication is off. You can’t just connect, like you can. Over there, it’s always been a challenge to maintain that connection with family.

    It came to me at that time. I was already having feelings of disconnectedness — the not-knowing of how it was going to be with my son being born, because he was still in the womb at the time. I was having all these feelings and emotions popping up. You know, how I wanted to be as a father and what it was going to be like to bring a child up in these times. And, that was six years ago. It’s even more relevant to me now then it was back then.

    Speaking from a father’s perspective, but also from a holistic perspective, how to fit into this world view that seems to be opposed to a lot of the things I hold to be sacred. And, trying to find a place in there, where you can have balance. That was just an ongoing theme for a lot of my songs, really.”

    This article was originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y., and appears as a special to NYS Music. TheSpot518 and NYS Music work in partnership to provide readers with in-depth coverage on the local music scene in the Capital District and New York state, respectively. For more, visit TheSpot518.com.

  • Mike Powell and the Black River Create Joyful Noise at Funk ‘n Waffles

    Mike Powell rolled into Downtown Syracuse Saturday night at Funk n Waffles with his new band, the Black River (John Hanus – guitar, Joe Bell – bass, Dom Scicchitano – drums, Shane Kelsen – keyboards). The packed crowd was treated to a night of originals from Powell’s solo releases, including his latest, Tied to the Rail, as well as songs from the forthcoming Black River debut, due in March.

    The evening was originally billed as Powell opening the show with his solo material followed by the full band. Instead, the band took the stage straight away, ramping up with a slow bluesy groove punctuated by soulful breaks from guitarist Hanus. This flowed into the first performance of a Powell solo piece with the whole band.

    Powell’s songs tell stories and sometimes these stories need an introduction. The song, “Moonlight, Sunshine and Rain” is the result of an encounter Powell had at a farmer’s market. He prefaced the song describing a near perfect zucchini he found. He asked the farmer how he is able to cultivate such beauty. The farmer simply replied, “Moonlight, sunshine and rain.” The band, particularly Shane Kelsen’s keys, compliments Powell’s blue-eyed soul perfectly on this piece.

    Continuing with the stories, Powell introduced the next song, “Tell Me Why,” as one about witnessing a friend spiral into the depths of addiction. His first-person account of an old college friend captivated those in the front of the house. Unfortunately, crowd chatter from the back of the room took away from some of the intimacy the song commands.

    Hanus and Powell drew the audience in with a new song, “Alchemy” featuring a Hanus solo reminiscent of Warren Haynes. Powell had his well-worn Gretsch and effects pedal creating haunting sounds as the crowd began to take notice of the talent on stage.

    While this band is relatively new, it’s clear that they are all seasoned. They’ve been holed up in the Big Blue North Recording Studio in Utica, putting the finishing touches on their debut album. It is clear that a true chemistry has developed among the members and they are truly a band, not Mike Powell and Friends.

    That said, Powell was front and center all night. As the band exited, one of the audience members asked jokingly, “Were they that bad?” eliciting a smile from the front man. Powell’s short solo set was next. All throughout, he demonstrated his versatility as a vocalist and instrumentalist, vacillating among the doo-wop sounds of “Go Back” to the heartfelt, soulful delivery of his Jeff Buckley-styled cover of the late Leonard Cohen’s “Hallelujah.”

    A Mike Powell performance is an exhibit in honest talent. He’s humble to a fault, often admitting in interviews that he’s uncomfortable hearing his own voice, yet he’s unafraid to put that to the test in front of an audience. This came to light in Powell’s final song of his solo set, “21 Rounds.” This song was his contribution to the Acoustic Guitar Project. According to the website, the project is a global one with a mission of inspiring creativity. Several cities are chosen and one guitar is passed among five musicians in that city. They have one week to come up with an original song using that guitar and record it live. Each musician signs the guitar and takes a picture with it to upload to the site. Once all five musicians in the given city complete their project, a concert is held.  Powell came up with this heart-wrenching song about fallen soldiers on the final night of his turn in the Acoustic Guitar Project.

    Hanus and Kelsen rejoined Powell onstage for a roll through of “Empire Line,” a song about taking the train from Syracuse to New York City and were joined by the rhythm section of Bell and Scicchitano to finish up the night. “Gone Too Far” was the finale of the set. Beginning with a jazzy piano intro from Kelsen, the song slowly gained steam with Powell and Bell harmonizing on the chorus and Hanus providing understated yet solid leads. Kelsen’s keys are the highlight on this one.

    As Powell gave his salutations, several in the crowd chanted for an encore. Unfortunately, another band was due to perform later in the night, preventing that from happening. Those wishing to catch more of the Black River, can do so at a hometown gig in Watertown on Feb. 10 at the Savory Downtown. Tickets for that all-ages show are $12 and available through Ticketfly.

    Powell has been working his way through the bar and art center scene since making the decision to concentrate on music after a highly successful lacrosse career at Syracuse University. His balance of honest and raw songwriting have helped him to gain a strong following among the Central New York faithful and the addition of this powerful and talented band will only serve to catapult all of them to the next level. See them in the small venues while you can. They won’t be playing them much longer.

  • Celebrate the 2017 Saranac Lake Winter Carnival at the Waterhole

    The 120th annual Saranac Lake Winter Carnival will take place this year on Feb. 3-12. NYS Music is proud to present the 10 day line-up for The Waterhole Upstairs Music Lounge, which will feature 16 acts of both local artists and national touring acts.

    The Saranac Lake Winter Carnival is the longest-running event of its kind in the eastern U.S. Originally established in 1897, the event has since grown into the 10-day celebration that it is today.

    February 3– Primate Fiasco & Annie in the Water

    The Primate Fiasco uses instruments that are loud without electricity, giving them the opportunity to attack at any moment, in any location, with or without permission. No one is safe, not even an elevator or city bus. If the Primate Fiasco sees a dull moment somewhere, they will pop out of the nearest sewer drain or trash can to lead an irresistible dance party.

    On stage, the sound is different. This band has pioneered what is possible with mind-bending accordion, funky pockets of a hyperactive Sousaphone player, and banjo that thinks it’s a Fender Strat. Add lyrics that grab hold of even the most inattentive audience and beats that channel surf like a remote that’s been sat upon. The music is always high energy and extremely imaginative. Most importantly, this is fun. People smile from the first beat to the last smoldering ash of what was previously a dance floor.

    Annie in the Water’s music is a groovy combination of reggae, funk, rock, blues and jam, written with a conscious dose of positive vibes, unique melodies and intelligent lyrics.  With the ability to fill an entire night with original music and also render well-known covers into a signature style, fans share extraordinary experiences that can’t be seen anywhere else.

    After nine years performing more than 600 shows in over 13 states, the original duo of founding members Brad Hester and Michael Lashomb also lead a full band that will shock your soul into euphoria. The full band line-up includes featured members Joshua West (formerly of Lucid) on drums/percussion, Dillon Goodfriend (Fox Richardson) on keys/backing and Anthony Leombruno (Capital Zen) on Bass.  Occasionally the lineup may feature percussionist Bill Bentz (Exit 30) and various woodwind or brass members.

    February 4– Lucid & Eastbound Jesus

    Lucid decided to take a hiatus from touring in early 2016, after 13 years on the road. The band’s culminating performance in April captivated a sold out crowd at the newly renovated Strand Theater, in their hometown of Plattsburgh NY. Lucid’s only other appearance last year was at their home festival Backwoods Pondfest in Peru, NY.  One of the reasons the band wanted to take a break from touring was so they could slow down and be more deliberate in their choice of venues and events. When asked about playing Winter Carnival in Saranac Lake, Lowell Wurster said “All the guys were really excited at the idea. We have been playing the Waterhole for many years, and we love Saranac Lake and the people who live there. We always have a blast up in the mountains; it truly is our second home.”  In addition to a genuine love for the Adirondacks, the Waterhole has special meaning to Lucid because of its proprietors, Eric & Kiki. “They have done a stellar job keeping the music alive up there. The bands they are bringing in have raised the bar in the North Country music scene, and we are so excited to be a part of what they are creating. We want to help them keep the momentum building, ”

    Eastbound Jesus draws on a mix of diverse influences from the worlds of bluegrass, country and rock and roll to develop their own sound that is at the same time distinctly familiar and completely original, one that they have dubbed “Northern Rock,” These six friends from the rural upstate New York town of Greenwich have released four studio albums and a live album over the past five years, all while packing venues across the northeast with an infectious energy that gets people smiling, dancing, and hollerin’!

    February 7 – Joe Driscoll

    Joe Driscoll is a musician/rapper/beatboxer from Syracuse who uses different styles and instruments while performing.

    February 8– Donna the Buffalo & Bess Greenberg

    Donna the Buffalo just celebrated their 25th year as a band and have proven to be a consistent purveyor of American music. What’s the recipe? To be sure, it’s infused with more spices than you’ll find at a Cajun cookout by way of a southern-fried, rockin’ country old-time jamboree. “For the dizzying array of styles and genres with which they work, Donna The Buffalo maintain a surprising level of consistency. The New York-based band has played around with folk, zydeco, and many other musical ideas over the course of their 25-year career, but they retain a sharp focus that has helped them create some truly lasting music,” writes Elmore Magazine.

    Bess Greenberg is a singer-songwriter & visual artist from Binghamton, NY.

    February 9– Moon Hooch & Honeycomb + Jiggawaltz


    If any band is a poster child for turning the power of positive thoughts and intention into reality, it’s the explosive horn-and-percussion trio Moon Hooch. In just a few short years, the group—Wilbur, fellow horn player Wenzl McGowen, and drummer James Muschler—has gone from playing on New York City subway platforms to touring with the likes of Beats Antique, They Might Be Giants, and Lotus, as well as selling out their own headline shows in major venues around the country. On Red Sky, their third and most adventurous album to date, the band uses everything they’ve learned from their whirlwind journey to push their sound to new heights, bringing together the raw, transcendent energy of their live performances and the sleek sophistication of their studio work into a singular, intoxicating brew that blends elements of virtuoso jazz, groovy funk, and pulse-pounding electronic dance music.

    Currently based out of Massachusetts, the vocal cord conductor known as Honeycomb has quickly risen to the top of the food chain of northeast beatboxers, placing 13th in the 2015 American Beatbox Championships. With a unique approach as an equally versed music producer, and a frequent collaborator in both the live and studio settings, Honeycomb has built a sound fan base for himself through original productions and ear popping performances.

    Jiggawaltz is a six piece band hailing from Burlington, VT and Upstate NY focused on performance, engaging their audience with tightly woven compositions and elegant sections of improvisation. Fusing together many influences including classic rock, funk, electronic dance music, Latin jazz, soul, disco, and metal to create a unique pallet of sounds sure to entertain audiences from all walks of life. With original songs that uniquely decorate time with melody and harmony and a large repertoire of covers, Jiggawaltz often blends songs together to create a rich collage of sound.

    February 10– Spirit Family Reunion & Folkfaces + Swampcandy

    Spirit Family Reunion is a touring band based out of New York that aims to deliver raw, high-energy honest music. They have self-produced and self-released two full-length albums (No Separation in 2012 and Hands Together in 2015) as well as multiple songbooks and other collections of recordings.

    Folkfaces is a group out of Buffalo, NY that plays a rowdy blend of rootsy folk, jazz, and blues, fusing classic forms with contemporary feelings and irresistibly danceable energy. Their inspiration comes from the mountains of Appalachia to the deltas of Mississippi, the swamps of Louisiana to the concrete jungle of the Rustbelt. Specializing in merriment and sticking it to the system, Folkfaces make the crowd dance and the hierarchy shatter.

    Swampcandy is an internationally touring, primitive blues influenced Americana duo. Ruben Dobbs’ aggressive finger-picking and rhythmic style (which often adds up to sounding like more than one guitar) combined with Joey Mitchell’s bass playing, pounding kick drum and percussive bass throttling (representing the presence of a full drum kit) easily fill up the sonic space normally created by a trio or even a four-piece. Dobbs’ soulful, passionate vocals are the glue that holds it all together and makes the band tick.

     February 11– West End Blend and Bella’s Bartok

    Since their conception, ten piece funk/soul band West End Blend has been playing their version of funk and soul in venues all over the Northeast. Fronted by vocalist Erica Bryan, the band pays homage to classic throwback sounds while adding their own distinct vibe and flair. Behind her, the Blend packs a four-piece horn section, two guitars, bass, keyboards and drums onto stages every night. From humble beginnings in an epic sweaty funky basement dance party, the Blend’s goal has always been to bring that same atmosphere to every show.

    To understand Bella’s Bartok, imagine what you would get if Salvador Dali and Toulouse Lautrec were fronting the Moulin Rouge’s house band, and you have the exuberant spectacle that is Bella’s Bartok. Described as “about as much fun as you can have with your pants on” (Dan Wolovick, Two Way Monologues), this six-piece powerhouse melds Bohemian Klezmer punk with pop sensibilities into an eminently danceable party. The diversity of musicians that make up Bella’s Bartok, combined with their boundless energy on stage, has been known to break a dance floor, or two (or three, but who’s counting?). Their sound moves way beyond labels, pushing the envelope towards the darker side of Eastern European music, referencing Vaudeville and 20th century eclecticism.

    February 12– Folkfaces

    Folkfaces is a group out of Buffalo, NY that plays a rowdy blend of rootsy Folk, Jazz, and Blues – fusing classic forms with contemporary feelings and irresistibly danceable energy. Their inspiration comes from the mountains of Appalachia to the deltas of Mississippi, the swamps of Louisiana to the Concrete Jungle of the Rustbelt. Specializing in merriment and sticking it to the system, Folkfaces make the crowd dance and the hierarchy shatter.

    For more information and tickets, please visit the Waterhole’s website.

  • Streamstock 2017, a Streaming Inauguration Day Music Fest

    Musicians have joined forces to livestream a concert, Streamstock, during Inauguration Day on Friday, Jan. 20, to protest the Inauguration of the 45th president of the U.S.young the giant streamstockStreamstock 2017, an online music and arts festival that describes itself as, “by the people and for the people,” will begin at the same time as the Inaugural Address to raise awareness for various progressive causes.

    The festival’s lineup includes Young The Giant, Umphrey’s Mcgee, Reed Mathis & Electric Beethoven, Lettuce, Holly Bowling and more. Additionally, Bill Kreutzmann, drummer of the Grateful Dead, will debut his new project, Bill Kreutzmann’s Rooster Conspiracy, exclusively for the event.

    The festival reached out to the public asking for musicians, spoken word artists and poets to submit videos of their work to be a part of the performance. Besides the performance, Streamstock’s main goal is looking to promote progressive causes supported by themselves and the bands on the lineup.

    The grassroots project hopes the event will help bring awareness to groups like the NAACP, ACLA, GLAAD, Women’s Rights and Environmental Organizations, Standing Rock and more, which they feel will need additional support under the Trump presidency.

    In order to view the event, viewers must have the Facebook Messenger app. Visit the Streamstock 2017 Facebook page to download their app. The event launches at 10 a.m.

  • New Album from Valerie June Scheduled for Late January.

    Valerie June‘s critically acclaimed 2013 recording, Pushin’ Against a Stone, drew wide attention to the Tennessee native’s eclectic mix of blues, folk, bluegrass influences, world music rhythms, and her singer/songwriter abilities. She refers to it as “organic moonshine roots music.”

    The title of her latest work, The Order of Time, reflects June’s philosophy of recognizing and respecting the time it takes for things to happen in life, and for her songs to reach fruition. June recorded the album in Guilford, Vermont with producer Matt Marinelli, known for his work with Bad Brains, Beck, and Norah Jones. Jones contributes piano accompaniment on three of the twelve original songs on the record.

    Valerie June
    photo by Brian Cornish

    June is renowned for her picking skills on guitar and banjo and says,“People shouldn’t necessarily think of bluegrass when they see the banjo. It was originally an African instrument, and people in America used to play all kinds of banjo. For some reason people like to limit it and say it just has to be in folk and bluegrass, but to me it can be in anything, and I really wanted to set the banjo free on this record.”

    June also contributed a version of “Astral Plane” from the new record to Bedstock, a music fest in which artists play songs from their beds for sick children who are stuck in their own. Fans contribute to the charity and help music be the medicine.

    Many Central New York music fans will recall June’s captivating performance at the 2013 Chenango Blues Festival in Norwich, New York.

    The Order of Time can be pre-ordered through June’s website, iTunes, or Amazon, and will be released on Concord Records Jan. 27.

  • Hearing Aide: Creamery Station ‘Creamery Station EP’

    Connecticut isn’t known to pump out world renowned musicians like New York, Seattle and California do, so it’s refreshing to see a group of guys emerge from the backwoods of the state with some true talent and passion for the art. Over the past three years, Creamery Station has been cooking up a collection that’s surprisingly good.

    Creamery says they’re a combination of the Grateful Dead, Allman Brothers, The Band, Little Feat, Railroad Earth, David Grisman, Doc Watson, Jimi Hendrix, Stevie Ray Vaughan and their first album is a fantastic representation of all these legendary groups. They manage to sound unique while giving glimpses of the defining characteristics of their inspiration rather than a copy of them. Some songs sound more familiar than others, but this is their  first compilation and it’s thoroughly impressive.

    They started from humble beginnings as a small band playing for a few house parties and slowly grew to a full seven-man group that brings a classic and a universally enjoyable country/ jam sound to the stage. They are based in CT but are making their way to New York City for the very first time and are definitely worth checking out.

    A lot of the inspiration came from the adventures some members endured, as well as a love for playing and performing music. All of the tracks were written and contributed to by every member of the band, which makes the connection between the musicians something truly exceptional, says singer and mandolin player Dylan Kader. “The energy between us when we play is something special and the crowd can feel that and they respond to it,” said Kader.

    This album is a bit all over the place, and that’s meant in the best way possible. Every song has a tie to country music with most of the tracks being based in that genre. But then some can, arguably, even have a reggae feel to it which is a combination that works surprisingly well.

    Things start off with “Ramblers Delight” and it’s about as country as it gets. It has a pretty straightforward chord progression with spices of mandolin a violin/ fiddle and relatable lyrical content. The feel of the song changes a bit when a very bluesy and fairly distorted guitar solo rings over the group that reminds listeners that a lot more is in store for the rest of the album. Country sounds are the basis of their musical content but that’s just the ground floor, and it’s a sturdy and simple one to build upon, giving Creamery free range to experiment with all sorts of genres.

    “Kansas City Blues” is appropriately named and placed at a  slower pace and even more like the typical melancholy country song. It’s the same sound as “Ramblers Delight” in terms of country sounding instruments, but the pace and chord progressions and lyrics make it a little more somber with just a few hints of uplifting major chords.

    “Walking for miles just to get a drink, then resting when we could find the shade, it’s hard to find the time for this poor boy to think, when he only eats if he sings and plays.” It’s still a well done song but this isn’t something that changes the minds of people who don’t like country.

    “Railroad Blues” is another very well-performed and professional sounding track. It’s comparably more upbeat and will definitely hit home with anyone willing to give Creamery Station a shot. There are light hints of country style instruments and it is based on a 12 bar blues chord progression which makes this one feel more rock and roll than anything else.

    Now “Sam the Clam” is where things get interesting. Harmonica player Don DeStefano dreamt up this song years ago in a separate band of his own while rehearsing backstage of a blues club called “Sam the Clam’s.” John Coltrane and Miles Davis were a big part of the inspiration behind this track as well as renowned harmonica virtuosos like Toots Thielmans and Little Walter. The combination makes for a jazzy, bluesy and damned smooth recording. It’s all instrumental to give keyboardist Jon Truelson, guitarist Jim Kader and DeStefano a chance to strut their stuff. The guitar is set to a perfectly smooth and warm tone, Truelson nails his time in the limelight and DeStefano absolutely kills his solo. It’s definitely the most fascinating song on the album and should be the go-to for first time listeners and those not soon keen on getting into the country scene.

    And just like that, “You Did Me Wrong” jumps on and the listener is thrown back into the world of country. Unfortunately, like the first three songs, it blends into the rest of the old-school country scene, but they still absolutely nail the style.

    “Out of Reach” is one of the most interesting songs on the album being that a country group created a pretty in-depth reggae sounding song. Everything about it is quintessentially reggae; a down beat, loads of percussion and funky guitar but a little hint of blues with a flavor of harmonica that sets this track apart from other songs of the same style. The best part of this song has to be the guitar solo. It’s a little dissonant and very similar to the styling of Carlos Santana. It’s a phenomenal track considering the roots of the band

    The album ends on a bit of a bittersweet note with “Sleep Late,” a very lazy country sound that leaves a little bit of an odd taste in the mouth of the listener, but again, as far as EP’s go, this one was really, really well done.

    Again, Creamery Station is coming to New York for the very first time and is going to blow the socks off of anyone that attends. This is a band that will be appreciated most in a live  setting, so see them on Friday, January 20th at American Beauty in Manhattan, find their free first album online, and keep an eye out for their soon to be released full length album, Pastures of Plenty.

    Key Tracks: Sam the Clam, Out of My Reach, Railroad Blues, Rambler’s Delight

  • Ed Sheeran Forgot He Wrote One of the Biggest EDM Tracks of 2016

    Folk singer Ed Sheeran, wrote one of the hottest crossover EDM tracks of 2016. Only thing is, he forgot he wrote it. Your EDM reports that DJ/producer and Major Lazer member Diplo, tried to contact Sheeran wanting the song “Cold Water”. Sheeran, not knowing what Diplo was talking about, just blew off the text message. The track that features Justin Bieber and MO is currently certified twice platinum by the RIAA.

    ed sheeran
    Ed Sheeran – CMAC

    Diplo contacted Sheeran again telling the singer that Bieber wanted in on the song, and if it would be OK. Still not knowing what Diplo was talking about, it took until Sheeran heard the track on the radio to trigger the light bulb over his head.

    Ed Sheeran stated about the EDM track:

    ‘Cold Water’ was a weird one because I didn’t even know that song existed. It was a song I must’ve half-written somewhere at a time where I was writing a lot of songs and I did it at Benny Blanco’s house and then I got an email from Diplo just being like, ‘Yo! That ‘Cold Water’ song is dope! Can I have it?’ And I was like, ‘I have no idea what you’re talking about,’ so I just didn’t reply. And then he emailed and was like, ‘Yo, Justin [Bieber] wants to hop on the ‘Cold Water’ song. Is that cool?’ And I’m just like, ‘What are you talking about?’… And then the song came out and it was number one and I was like ‘Oh, that song!’ I remember doing it, but it was really, really slow. I remember hearing it and being like ‘That kind of sounds like me. Oh wait, it was me.

  • Hearing Aide: The Wood Brothers ‘Live At The Barn’

    Over the years, The Wood Brothers repeatedly visited Levon Helm at his barn in Woodstock, New York for the popular Midnight Ramble. These visits eventually led to a cherished friendship between the trio and Helm. The group made a trek back to the barn on August 19, 2016, for their first Ramble since the passing of Helm, where they recorded their latest album, Live At The Barn. Helms’ influence reached well beyond the notes of a song. Guitarist Oliver Wood named his son after the late Levon, adding that “since we actually got to know him, his influence was more than musical—it was personal. He was one of those unique and powerful personalities, and I’ll always remember how gracious he was.”

    Live At The Barn revisits 9 songs that run the gamut of The Wood Brothers’ musical catalog. The trio also consists of bassist Chris Wood, and drummer Jano Rix. The opening track, “Mary Anna,” gracefully eases listeners into the album. The deep, rich tones fill the barn with warmth and purity, as whoops and hollers are chimed in from the audience. Right away the song brings you into the barn among the crowd sitting alongside the band. With eyes closed, the faintly familiar smell of barn wood and slight chimney smoke in the air also teases at the senses.

    A spirited “I Got Loaded” captures the electrified audience as lyrics are playfully sung back and forth with enthusiasm. Mystifying tones gently tiptoe into “Tried & Tempted” before the melody curves into a head swaying blues jam. The vibe in the room can only be envisioned with a dancing crowd to this melody.

    A crisp guitar cools off the barn with a gentle “Trouble In Mind.” Resonating with heavy, psychedelic undertones, this delicate melody keeps the ears filled with colorful imagery. Picking up the pace, “Who The Devil” is tightly stacked with thick bass, vigorous drums, and guitar that rocks the hell out of this soaker of a tune.

    In your face bass bombs stealthily glide into “Wastin’ My Mind,” before picking up hitchhiking guitar and drums. The song builds with increasing intensity and mischievous rhythm, creating a musical ambiance filled with empty whiskey bottles and lingering cigar smoke. A massive fan favorite, “Postcards From Hell,” is fittingly dedicated to the memory of Levon Helm. This track takes its time building. Midway through it explodes with massive energy, pumping the live audience, as well as the listener, with shake your bones vibes. It’s impossible not to react to the intensity of this song, as swinging arms, bobbing heads, and dancing legs instinctively react to the beat. Expect to hit the repeat button over and over.

    “Honey Jar” twists around funky rhythms to bluesy tones and back again. Crunchy guitar and full bodied bass envelop the melody, as drums keep the pace, creating a lush and smooth ride for the eardrums. Wrapping up the album, “Ophelia” takes the live experience at the barn to a close. This dynamic track strides along, with the notes practically high-fiving each audience member before closing out the music for the evening.

    If you’ve never seen The Wood Brothers perform, this is the perfect album to capture their energy in a live setting.  It’s highly suggested to throw on the headphones, crank the volume, and soak in the songs with eyes closed. Within the first few minutes, don’t be surprised to be tapping and shaking along to the beats. This is one album that will fit perfectly in any musical collection.

    The Wood Brothers will be kicking off a U.S. tour in Philadelphia shortly following the release of their new album.  Full tour dates and information can be found on their official website.

    Key Tracks: I Got Loaded, Who The Devil, Postcards From Hell

    https://soundcloud.com/thewoodbrothers/ophelia/s-VMAu3

  • Mike Powell & the Black River Making 2017 Debut Saturday

    Mike Powell returns to Syracuse this Saturday. However, he won’t be wielding the lacrosse stick that helped him become the all-time leading scorer with Syracuse University’s acclaimed lacrosse program. This time he comes packing his guitar and his new band, Mike Powell and The Black River.

    The show, at Funk ‘n Waffles Downtown, will feature Powell playing double duty. He’ll open the show with his solo material, which should be heavy on music from his latest album Tied to the Rail (reviewed here by NYS Music in December).  Powell’s solo material draws heavy influence from Bob Dylan and John Prine. His soulful voice and deep lyrics take the listener on an introspective ride. The Boston Globe has called him, “a polite rebel; a truly unique and inspiring American voice.”

    Mike Powell Black RiverFollowing Powell’s solo set, his band The Black River, named after the North Country waterway of the same name where Powell was raised, joins him for a set of high energy indie/soul/rock.

    The band (guitarist John Hanus, bassist Joe Bell, keyboardist Shane Kelson and Dom Scicchitano on the drums) formed in October of 2016 and has been busy laying down tracks at Big Blue North Recording Studio in Utica for its debut album, scheduled to arrive in March.

    Doors open at 6:30 and Powell’s solo set will begin at 7. Tickets, available via Ticket Fly or at the door, are $10.

  • Photo Gallery: Musical Veterans Rusted Root w/ Boogie Low warm up Syracuse

    Legendary band Rusted Root found their way back to Syracuse, NY to finish off the year at The Westcott Theater with local band Boogie Low. The band is an emerging Central NY band that brought an organic mix of reggae, rock, and jam to the stage awakening music fans from their winter hibernation. Ironically they certainly caused “high amounts of boogie” on the dance floor, leading up to Rusted Roots arrival.

    Catch Rusted Root at their upcoming shows in February in Eastern, NY. Get your tickets here.

    You can also see Boogie Low open up for Max Creek in Syracuse, NY on February 17! Get your tickets here.

    Boogie Low will also be releasing their debut album in February.