NYS Music 20​17

Category: Genres

  • Hearing Aide: String Cheese Incident ‘Believe’

    Those crazy kids from Colorado are it again. String Cheese Incident, one of the true pioneers of the modern jamband scene, has just released a feature length LP entitled Believe, their seventh studio produced LP and second with famed Talking Heads producer Jerry Harrison playing a prominent role.  Spawned from an intensive, full band writing session in Sedona, Arizona in 2014, the songs on this album range from simple and laid back to complex and intense, showing just how much of a range SCI can navigate through these days.

    Things pop instantly on the first and title track “Believe” with a quite funky, techno-ish groove that snakes in and out of some glossed up vocals led by guitarist/violinist/string wizard Michael Kang.  “Sweet Spot” gives Keith Moseley a chance to shine on vocals on a feel good, simple number featuring his always steady bass play. One of the jewels of this recording is “My One and Only” which masterfully mixes the band’s rhythmic cohesiveness and heartfelt lyrics over a bed of pleasant violin and acoustic guitar before abruptly transitioning into an Irish folk dance ending of sorts, reminiscent of something from Riverdance.  Along with vocal support supplied by Elephant Revival’s Bonnie Paine, it’s no surprise this song is in constant rotation on Sirius Satellite Radio’s Jam On channel.  “Get Tight” is another one of those classic SCI songs that’s beautiful in its simplicity and catchy as all get out. Although it is very similar in nature to “Sweet Spot,” both songs elicit a relaxing, summertime vibe that would seem to fit perfectly in a first set when played live.

    The following track, “Stop Drop Roll,” quickly changes things up and represents one of the true “dance” tracks on the album with evident elements of Daft Punk and Talking Heads (see: Harrison, Jerry).  This one seems to be heavily influenced by the rhythm section of Michael Travis (drums) and Jason Hann (percussion) which would make sense as they comprise EOTO, an established EDM act that is no stranger to late night festival sets.  “Flying” is really the only track that gives guitarist and founding member Bill Nershi a chance to take center stage and has a somber yet airy feel to it. “So Much Fun” gives keyboardist Kyle Hollingsworth a turn on lead vocals and has so much of an 80s pop rock classic feel to it that you almost expect Huey Lewis to jump in and sing a few bars.  And perhaps no other track on Believe serves as a better example of the band’s current sound than the last one, “Beautiful.”  Already well established in the live setting, this song meshes String Cheese Incident’s signature sound texturing and heartfelt, joyous, lyrics all while being powered by an infectious electronica-type groove.

    Overall, this album does a nice job of keeping the listener engaged and mixing up different sounds and styles almost track to track.  It showcases the band’s musical chemistry that comes from decades of playing with one another and a simple yet heartfelt songwriting approach, serving as a great example of both the band’s history and their current sound.  This is a recommended purchase certainly for any SCI fan, but also for anyone who may be out of the loop and is curious what these rockers from the Rockies sound like today.

    Key Tracks: My One and Only, Beautiful

  • Hearing Aide: Kolby Oakley ‘Where Would I Be’

    Several years ago I had an opportunity to see a local young man open for Parmalee at Toby Keith’s.  Impressed by his talent, I made a point to speak to him that evening as I noted something unique about him.  Fast forward two years later and color me pleasantly surprised to have his new EP Where Would I Be come across my desk to be reviewed.  After listening to it, once again I noted that unique quality in his work that makes him stand out amongst the crowd. Kolby Oakley, a 22 year old country musician, hails from a musical family.

    Although he is young in years, his experience is that of years of musical influences.  His father, Steve Oakley, sings, his mother, Kim Oakley, plays bass, and his uncle Craig Oakley, is well known for performing with both The Beach Boys, and Bob Hope.  Playing alongside his folks throughout the years on drums, he taught himself the guitar, and after loosing his great Grandmother in 2007, he began writing his own work.  A wonderful musician, it’s his writing that stands out to me.  Kolby has a gift of story telling.  His descriptive lyrics place you in a frame of mind of the characters he sings of and transports you to the moments in which they reflect.  This was evident as I began to listen to his four-song EP that is being released this week.

    The title track, “Where Would I Be,” paints a story of those influences throughout the years that shaped the person he sings of.  This upbeat song, gives thanks to those moments and the reflective journey taken to arrive at the destination of today.  The next track, “First Kiss,” slows down the tempo, but not the momentum of this EP.  Kolby’s knack of writing mimics that of a novel writer, giving your senses the touch, taste, smell, and flavor of the moment, making this track somewhat sensual.  My favorite track however is the third, “Keeps Me Coming Back.”  Perhaps it’s the fun Caribbean flare of toes in the sand, sun on your shoulders, beer in your hand that come across and pulls me in on this number.  The final track, “Counting On,” is my next favorite. The consistency in his writing once again draws you in and takes you on a journey of heartbreak, loss, and coping. It floors me that at only 22 years of age, this young man, has the soul of a seasoned country  musician.

    I highly recommend catching Kolby Oakley this weekend at his EP release party, in Binghamton at Touch of Texas. Doors open at 6pm and tickets can be purchased both online and at the door.

    Key Tracks: Keeps Me Coming Back and Counting On

    https://youtu.be/RTdXHgiSVug

  • Melissa Etheridge Returns to Paramount Hudson Valley with a Big Sound

    In less than a year since making an impressive solo performance at Paramount Hudson Valley, Melissa Etheridge returned on April 29 with her full band for another appearance at the historic theater.

    EtheridgeIt was a night filled with some of her popular tunes and several off of her 2016 release, Memphis Rock and Soul, including her take on venerable blues/rock staples from the likes of Albert King, The Staples Singers, and Isaac Hayes among others. The room felt electric from the moment Etheridge stepped on stage with one of her several Ovation guitars in hand, receiving a standing ovation from the crowd even before striking the first notes of “Angels Would Fall.”

    Last year Etheridge made a solo appearance at the Paramount, at times creating a one-person band set against a backdrop of a dozen or so guitars including a new bass she picked up at Division Street Guitars (right around the corner from the theater). This time with a full band the musicianship on stage from everyone was excellent, with plenty of warm-hearted anecdotes to fill the time between songs.

    Her show felt like a tribute of sorts to the Memphis blues and rock and roll songwriting, often citing Stax Records artists as inspiration while introducing the songs off of her latest release. Combined with her showmanship, Etheridge’s rich tenor  vocals validate the authenticity of her take on those songs and the style.

    Although she didn’t pick up a guitar at the local guitar store around the corner from the Paramount as she did last year, Etheridge expressed a bit of gratitude and appreciation for the venue and the city of Peekskill.

    With Etheridge’s trend of releasing a new album every few years, it’s likely just a matter of time before she is welcomed back to the Paramount with open arms.

    Setlist: Angels Would Fall, Similar Features, Any Other Way, I Want To Come Over, Fearless Love, I Want To Be In Love, Respect Yourself (People Stand Up), Hold On I’m Coming, Born Under A Bad Sign, Chrome Plated Heart, Come To My Window, Bring Me Some Water, I’m The Only One->Rock Me Baby->I’m The Only One

    Encore: Like The Way I Do

  • Hartley’s Encore: Albany’s Newest Funk Band

    Albany has a new funk band in town and Hartley’s Encore is a can’t miss show. Twice this spring I have been floored by the high energy funk originals and covers that have kept bar stools empty and the club floor full. A lineup of veteran musicians from around the Capital District, Hartley’s Encore is led by Luke Malamood on keys and vocals, backed by what he accurately refers to as ‘Albany’y Best Rhythm Section’ in Andrae Surgick on drums (and occasionally Mike Gilet) and Josh Gordon on bass. Co-founder Chris Oliver on guitar opposite Jeff Nania on saxaphone (and on some nights like this evening at Parish Public House, joined by Phil Chow on trumpet) completes the five/six man group, a welcome addition to Albany’s stellar music scene. Go see this band!

  • Hearing Aide: Lotus ’86 Revolutions’

    From start to finish, it took Lotus 86 days to execute their latest tour that saw sold-out crowds across the United States. To mark the conclusion of a successful run, budding fan base and adding another notch on the touring belt, the post-rock electronic jam band decided to share a live compilation album fresh off the heels of their recent journey. Titled 86 Revolutions, the 14-track release brings listeners through live takes of tracks pulled from the five-piece’s Eat the Light and Build, as well as dug up songs from Lotus’ developing stages as a group.

    “We had a new soundboard for this tour, and the multi-track sources sounded great,” said bassist Jesse Miller, who selected each track and mixed the album. “We release all of our shows, but this was an opportunity for me to spend extra time mixing to expose all the layers that build the Lotus sound.” Group improvisation is the name of Lotus’ game and Miller plays a solid hand in highlighting that through the albums construction.

    We’re welcomed into 86 Revolutions by percussion on “Debris” as Disc One introduces listeners to six tracks of high-energy jamtronica. The entire album can be found via Bandcamp, where more information is listed on track performance date, artist collaborations and more. Proven to be a solid inaugural track with tantalizing guitar, “Debris” is sure to get you grooving by the time Eat the Light track, “Anti-Gravity” ft. electric soul artist Oriel Poole, kicks in. Performed in Ohio, Poole’s soft vocals and lyrics of “You’re my anti-gravity, hold me so I don’t float away,” pair nicely with the spacey jams that help keep the dance mentality alive. At 7:30, the track’s sound takes a turn as it relies heavily on drums and keys until an ultimate fade out transitions into Nomad’s “Livingston Storm” from the very same gig. Loud cheers from the fans can be heard just before the five minute mark until tempo begins to pick up, slow down and do it all over again before closing out the track.

    “Sleep When We are Dead” comes as the first vocal-heavy choice, executed by the band members themselves with breathy vocals, a catchy “Surf Rock” chorus and clean guitar with warbling effects. Lyrics describe grabbing life by the horns, living in the now and of course an allusion to the age old saying “I’ll Sleep When I’m Dead.” Highlights from the first half of the release come in “Expired Slang,” which hails from the instrumental-heavy group’s outrageous performance at the 930 Club in Washington, DC. Hearing the track that’s never been included on a studio album through the buds of earphones and computer speakers does, in fact, do the song justice–which only makes one wonder how impeccable it sounded in person. The recorded take relinquishes zippy synth/keys and heavy electro-funk to end on a powerful note. Disc one’s closing track treats fans to another round of pleasing vocal harmonies and percussion breakdowns with lyric-heavy Eat the Light’s “When Our Nerves No Longer Twitch.”

    The second disc leads with a “Slow Cookin” sandwich, pieced between funky “Neon Tubes” Part 1 and 2 on each end. Recorded during their Aspen, CO gig, Greensfield begins to explore unique time signatures at about a minute and a half into the track. “Slow Cookin’” keeps things rolling with cymbal crashes, drum solos and percussion teases as the sampler and synthy vocals get ample attention. “Neon Tubes” rolls back around, transitioning in with whirling sound effects on the dance heavy song. Guitar harmonies and mastery on “The Opus” instantly draw attention inward for the track that was recently performed for the first time ever at the famed Port Chester Capitol Theatre.

    Quite possibly the cleanest sounding tune from the compilation, “The Opus” is another first-time studio album cut. “Rà-Àkõ-St,” originally by Lindstrøm’ and the first cover included on 86 Revolutions, outwardly appeals to the more electronic side of Lotus. The track is played in a triumphant key, as its improvisational volume and speed bounce from high to low and slow to fast. “Blacklight Sunflare” follows, with exploration of diverse sounds and elements, giving a more progressive rock feel to the album. The second and final cover comes as an ode to Talking Heads with a 9-minute “Moon Rocks,” originally off of 1983’s Speaking in Tongues, complete with David Byrne-esque voice inflection and new wave tendencies.

    86 Revolutions wraps up with an 11-minute “Umbilical Moonrise” off of 2003’s Germination, sure to send long-time fans into an extreme state of bliss. Appropriately placed as the ultimate tour closer, the track was the first to ever be penned by Lotus, giving a “full circle” feel to their start as musicians and conclusion of a triumphant tour. It’s fitting for a calm and reflective song, giving listeners time to unwind and reflect on the 86 day journey Lotus embarked on and condensed into 14, carefully selected tracks.

    Key Tracks: Anti Gravity, The Opus, Blacklight Sunflare

    Disc One

    1. Debris  8:39  
    2. Anti-Gravity feat. Oriel Poole >  10:22
    3. Livingston Storm  13:26
    4. Sleep When We Are Dead  6:12
    5. Expired Slang  10:56
    6. When Our Nerves No Longer Twitch  6:10

    Disc Two

    1. Neon Tubes Part I >  6:26
    2. Slow Cookin’ >  7:47
    3. Neon Tubes Part II  4:19
    4. The Opus  9:17
    5. Rà-Àkõ-St  7:20
    6. Blacklight Sunflare  7:52
    7. Moon Rocks  9:01
    8. Umbilical Moonrise  11:40

  • Brian Wilson Brings ‘Pet Sounds’ Tour to New York

    Brian Wilson has extended his Pet Sounds: The Final Performances tour. The new dates include stops in Rochester, New York City and Syracuse.Brian Wilson has been on an extensive tour performing the Beach Boys album Pet Sounds in its entirety. The tour, billed as “Pet Sounds: The Final Performances,” was recently extended to add a number of dates in Europe and North America. The tour makes three stops in New York. Rochester’s Kodak Hall at the Eastman Theatre gets a visit on Sept. 19. They make a stop on Sept. 23 at Radio City Music Hall in New York City. The final New York date is Oct. 1 in Syracuse at the Oncenter Crouse Hinds Theatre.

    The tour extension also includes several stop in the nearby Northeast. Wilson plays Foxwoods Resort Casino in Mashantucket, Connecticut on Sept. 21. They stop by Boston’s Orpheum Theatre on Sept. 22. Following their stop in New York City, they head to Lancaster, Pennsylvania on Sept. 25 to play the American Music Theatre. The next day, Sept. 26, they hit up the Count Basie Theatre in Red Bank, New Jersey. They head back to Massachusetts on Sept. 29 to play New Bedford’s Zeiterion Theatre before returning to New Jersey on Sept. 30 for a show at the Golden Nugget in Atlantic City.

    Pet Sounds: The Final Performances North American Tour Extension

    Sept. 15 – Molson Canadian Centre, Moncton, NB
    Sept. 16 – Scotiabank Centre, Halifax, NS
    Sept. 18 – Centre in the Square, Kitchener, ON
    Sept. 19 – Kodak Hall at Eastman Theatre, Rochester, NY
    Sept. 21 – Foxwoods Casino, Mashantucket, CT
    Sept. 22 – Orpheum Theatre, Boston, MA
    Sept. 23 – Radio City Music Hall, New York, NY
    Sept. 25 – American Music Theatre, Lancaster, PA
    Sept. 26 – Count Basie Theatre, Red Bank, NJ
    Sept. 29 – Zeiterion Theatre, New Bedford, MA
    Sept. 30 – Golden Nugget, Atlantic City, NJ
    Oct. 1 – The Oncenter Crouse Hinds Theatre, Syracuse, NY
    Oct. 3 – Morris Performing Arts Center, South Bend, IN
    Oct. 4 – Stranahan Theatre, Toledo, OH
    Oct. 6 – Rosemont Theatre, Rosemont, IL
    Oct. 7 – Belterra Casino, Florence, IN
    Oct. 8 – Civic Center Theatre, Peoria, IL
    Oct. 12 – The Big Fresno Fair, Fresno, CA
    Oct. 13 – The Mountain Winery, Saratoga, CA
    Oct. 14 – Pacific Amphitheatre, Costa Mesa, CA

  • Joey Belladonna On His Vocal Longevity and That One Thing That Has Haunted His Career

    Oswego native and Anthrax frontman Joey Belladonna was recently interviewed by Roy Turner of Trickykid Radio. In the interview, Belldonna talks about his one regret that has haunted him, how he keeps his vocals on point through the years, and being asked to perform John Bush era tracks.

    Turner asked Joey Belladonna how he can still perform at a high level today after decades of performing, and if he thinks that he’s better performer now than in the ’80s. Belladonna responded:

    I just love music a lot. I strive on getting better; I work at it all the time. I’m real conscious of just elevating my vocals and just being in a band…I don’t want to go out there and not do it well. That’s why I’m always trying to do it better. I always try. I have a cover band too. I also do that on the side. We do four hours of classic rock.

    I really focus. I really try. I’m not in fear of anything right now. Back in the day when I first started, I didn’t know the music so well. Vocally, it was really a challenge to just find a way to sing over that stuff. Because I like to sing so I’m not going to do something outside of all the new styles you hear now, it’s just finding a way to make it comfortable and legible and fun to sing as I can. You realize there’s a lot of words in our stuff and the keys and the speed…it’s real hard to sing over that stuff and make it work.

    On being asked to perform John Bush era music when he returned to Anthrax:

    Personally, I felt we had enough music. I was just trying to be a champ and try something. For some reason, when we get that rivalry crap that went on, it bugs the shit out of me. I have nothing against him or nothing against them. I don’t sit around and have a grudge, but I didn’t want to try… It’s hard enough when you do covers but doing something with the singer of the old [version] of the band. He had it rough, because for the sake [of it], he had almost to do older songs because then they’d really be fighting the good fight there. For me, I didn’t want to get too involved with doing that. I didn’t want to keep opening that door and what was I trying to prove? I’m glad I don’t have to. I just don’t really feel like it. I could, I’m sure, I always felt, nothing against those songs, forget you ever heard them, we could have done any of those records and I think they would have been cool. We don’t know because I never did them before other than that.

    If he has ever thought about what would have happened if Joey Belladonna never left the band, and lent his vocals to Anthrax’s sixth studio album Sound Of White Noise:

    That will always haunt me. The fact that those 13 years went away and they’re gone. They’re just gone. Maybe I just feel good about it now, right? With all the crap… I could add to this, but at the end of the day, it’s all good. I’m really glad for the fans too, and even myself, I’m proud, but I also love that people are enjoying it and all of these new people are coming up and get to see what was there before.

  • Rikki Rockett Talks Hall of Fame and New Poison Music

    Poison drummer Rikki Rockett was recently interviewed by Tigman for Albany area rock station Q103. In the interview, Rockett talks about the possibility of new music with Poison, the Rock & Roll Hall of Fame, and how the band got its name.

    When asked whether he feels Poison deserves a Hall of Fame nod:

    I think we are, but I’m biased. [Laughs] Listen, honestly, I think the criteria for that is longevity, having lots of songs that have impacted people, which I think [we have] both of those things, and also a social impact. I think we have all three of those qualifications. So, really, I do. I think we should [go in there], for the sake of our genre.

    Rockett was asked if he is open to the idea of making new music with the band, and if he thinks that venture could possibly happen. He responded:

    There has been some talk. It’s acting on it is always the key thing. [Laughs] I would love to do it. I’ve been wanting to do new stuff for quite a while. I’m always thinking about ‘Okay, what would we do?’ Throwing ideas out there and stuff like that. I hope, I really, really hope, that maybe in the fall that we could go in and at least cut a couple of songs. Even if it’s not a whole record, we could get out there and do a couple of things.

    Tigman was curious as to how Poison became the name of the band, Rockett replied:

    Believe it or not, it was one of our road crew guys who spit it out. But it was with another name, like, it was ‘POISON something’ he said and we wrote it down and nixed all these other names and went back and said, ‘What if it’s just POISON and not ‘POISON anything else’?’ I forget what it was, what the extra word was that we threw in there. So we wound up shortening it to ‘POISON’ and went, ‘You know what? No one else has done it.’ And I love one-word band names. They’re easy to remember.

  • Hearing Aide: Matthew O’Neill’s ‘Trophic Cascade’

    Underwater Panther Coalition, an emerging record label with a mission to take care of our Earth, recently released Matthew O’Neill’s LP Trophic Cascade on May 5. This debut LP features O’Neill’s single “Louisiana” released in March earlier this year in support of Earth Guardians.

    Currently living in Upstate New York, O’Neill was raised in Pennsylvania and spent much of his time immersed in the Eastern Woodlands. O’Neill’s musical inspiration and style is drawn directly from his relationship between modern life and his exposure to the indigenous lifestyle. Half of all profits from the record sales are to be donated to frontline earth protection groups and more specifically to conserving indigenous rights.

    O’Neill’s perspective of the world is drawn from varied experiences that can be heard throughout his LP as he channels these contrasting lifestyles into music. Trophic Cascade is composed of fourteen tracks that experiment with sounds from a broad range of music genres. Styles such as psychedelia are prevalent during “1000 years” and the mountain styled music peaks through on songs like “Golden Boy” and “Relaunching.”

    Other songs on Trophic Cascade include elements of Americana, rock, folk and soul. “There You Go Again” features a horn section while “Break Stride” embodies a toe-tapping and fun upbeat rhythm. Each of these fourteen tracks embodies another emotional message and strives to build the bridge between activism and action.

    Whether or not you are an avid tree hugger is not integral to be a fan of O’Neill’s music. The sincerity within his music shines through as it goes hand-in-hand with his message of appreciating and protecting our world’s natural beauty.

    Key Tracks: Louisiana, Ain’t No Way, Relaunching

  • NYS Music Launches 87/90

    Every band was a local band once. Today, we launch NYS Music 87/90, reflecting the highways artists travel upon to reach markets across The Empire State. 87/90 brings together 8 New York State born and raised bands that have strong potential to make it big. We will bring news and coverage of these bands to you on a regular basis, highlighting what we see as the next wave of bands to come out of New York State. These are just the first wave of bands that we will be bringing to your attention – there are plenty more artists in every corner of the state from all genres. As we discover them, we’ll bring them to you and beyond.

    nys music 87/90The 8 artists we launch with include: Space Carnival, Cousin Earth, Formula 5, Folkfaces, Boogie Low, Intrepid Travelers, Let’s Be Leonard and Gowanus. These artists were selected for potential, work ethic and appeal to a wider audience. They include jam bands, bluegrass/folk, psychedelic rock, electronic and a mix of everything. We will expand in the future with bands that we see strong potential in – this is a select group we launch with and we will keep it reserved only for bands that pass muster.

    The bands we are reaching out to as founding artists are bands that we have highlighted on our pages in recent years, see a strong future in and have shown that they are committed to making a name for themselves well outside of New York State. This is not an open invite – the initial roster includes only bands that are on the rise and have developed a following through their music.

    Every band was once local.

Built in Breakdance