NYS Music 20​17

Category: Genres

  • Hearing Aide: The Nice Ones “The Nice Ones”

    “If there’s one thing that can be said about the album, it is that it is brimming with emotion,” said guitarist Sam McGarrity. Boy, he wasn’t kidding. This emotional direction is a new concept for this group, but that doesn’t mean they still haven’t lost sight of their style. I only say this because as good as their first track sounds, it is very misleading in terms of the direction of the album. As for the rest of their work, it’s well orchestrated, produced perfectly and gives each member a chance to shine.  One of their most notable traits is their ability to build upon ideas while keeping things linear. With rock based bands, things can get a little repetitive. But The Nice Ones never get comfortable and can keep things interesting throughout the entirety of a track.

    “Siren Song” is a surprising first start for the group. They’ve released two albums prior to this one and none of them are styled in the way “Siren Song” is, but loyal fans can rest assured that they haven’t lost their roots. With delicate instrumentation and Patrick Surdam’s fragile voice, the song acts as prelude which attests to McGarrity’s claim of the collection being full of sentimentality.  

    “Know Better”  jumps right into their rock and roll style with the only similarity being Surdam’s voice. It’s a straightforward and completely contradictory song to the the prior track. It has a great instrumental hook in the chorus and, again, the group has done a stupendous job of building an arc worth waiting for. There’s plenty of highs and lows to keep thing interesting in an otherwise very rudimentary song.

    “Good Kids” is dance worthy, glowing with positive energy and is a track that would be a tremendous hit in a live setting. The guitar hook is an ear worm, in a good way.  And once again, they create an arc in their song that builds in a direction that a new listener would never expect. This is undoubtedly one of their key tracks.

    Don’t be fooled,  “Surfer Girl” is not what it seems. The tone switches back and forth several times and ends in a way that’s completely different than the intro in terms of instrumental and lyrical content. Surdam first speaks of a girl that he “thought of kissing” and ends the song talking about how he should have killed this girl when he had the chance. This one will be listed as another key track because of its contradictory style and, once again, the incredible rise and fall of emotion.

    What I’m loving most about the album is how their songs never finish the same way they start. The only similarity is the key, and even that’s arguable. “John Honre Burns!” is one of the most dynamic tracks on the album and has an incredibly misleading intro.  The only other time we hear the sultry riff of the intro is half way through the track when it repeats and that’s it. After the second verse, the feeling of rage grows exponentially until the end of the song when it comes crashing down.

    Lastly is “Burn it Down,” the most anxious and chaotic track on the album. It leaves a bit of a bitter taste in the listener’s mouth considering what the tone was at the start of the album. It’s fast, rambunctious, but oddly good. McGarrity said this was an emotional track and anger is the emotion that this album was missing. Well, listeners will sure get their fill of anger with this one. It just isn’t a track most groups would place at the end of an album. Looking past that, it’s well orchestrated and a fun listen. 

    Although the album is “brimming with emotion,” it is a little sporadic. This isn’t an album that people will listen to from beginning to end; it’s too all over the place. I encourage people to riffle through the album to find something they like because there really is something for everyone.

    Key Tracks: Siren Song, Good Kids, Burn it Down

  • Quixotic and the Desert Dwellers Astonish the Ogden Theatre in Denver

    A sense of wonder. It’s that wide-eyed gleam that happens when any other breed of dog spots a poodle for the first time.  It is that sixth sense so rare in adulthood that it has been referred to as the superpower of children.  It is so potent a gift that marine biologist, Rachel Carson once exclaimed, “If I had influence with a good fairy, I would ask that her gift to each child be a sense of wonder so indestructible that it would last throughout life.”

    Luckily, I have found that such magic does exist. One reminder came last week in form of Quixotic, an innovative performance art collective that fuses mind boggling imagination with technology, dance, aerials, projection mapping and live music. Quixotic started an an experimental artistic collaboration in Kansas City, Missouri in the mid-2000s has exploded into a worldwide performance phenomenon.

    Last week, Quixotic, along with world-beat electronic music group, the Desert Dwellers, transformed the Ogden Theatre into an awe-inspiring house of wonder imbued with fierce athleticism, grace, and lilting beauty. The performance, aptly titled, “Beyond”, explored the boundaries of what is commonly thought possible in visual/music performances. The performers challenged the boundaries of human limitation in a show that featured risky aerial hoop performances and astonishing contortionist dance movements accompanied by dramatic live and electronic music.

    If I had influence with a good fairy, I would ask that each adult have the opportunity to witness such a performance that possesses such an indestructible sense of wonder. Its effect would last a lifetime.

  • Dave DiPrimo Band’s Latest Single “Know You Best”

    Rochester alternative folk group Dave DiPrimo Band has released their latest single, “Know You Best.” The song comes from their forthcoming sophomore album Reflections, which is set to release on Saturday, November 25.

    “Know You Best” is the first track on the new full-length LP. In this intensely emotional tale of longing for connection, pleading lyrics give way to bellowing vocals in the chorus. The song establishes the nostalgic tone that pervades the entire album.

    Dave DiPrimo Band is: Dave DiPrimo on vocals/guitar/keys, Reid Hoffmeier on drums, Ian Benz on bass, and Karis Gregory on saxophone (and sometimes guitar). While based in the folk tradition, DDB weaves in influences from genres as far flung as soul and punk to create a sound that’s both timeless and contemporary.

    https://soundcloud.com/nysmusic/know-you-best

  • Chris Frantz of Talking Heads interviews Emerging Artist Pierce Fulton ahead of FTC Performance Nov. 27

    On November 27 at Fairfield Theater Company, the Brody Wilkinson Emerging Artist Series will feature two electronic artists, Pierce Fulton and NVDES as they stop by The Warehouse at FTC on their “Better Places Tour.” Talking Heads alums Chris Frantz and Tina Weymouth, along with record producer Peter Katis will also be on hand for this performance.

    Chris Frantz, founder of the Talking Heads and Tom Tom Club, and one of the curators of the emerging artist series, interviewed Pierce Fulton to learn more about his roots, influences, and connection to Fairfield, Connecticut.

    chris frantzChris Frantz: We are looking forward to your upcoming show at FTC in our Emerging Artists Series. Have you ever been to Fairfield, CT before? Have you ever performed here?

    Pierce Fulton: I’m really looking forward to it too!! And it’s funny because I was born in Bridgeport, CT! I lived in Fairfield until I was 9 and then moved to Vermont for middle school, high school and
    college. A very large majority of my family lives in Fairfield so it’s always still felt like home and playing at FTC will be my first time playing in Fairfield which is big for me! The fact that it’s an all
    ages show means my entire extended family can come and see me play, young cousins, aunts, uncles etc!

    CF: How would you describe your musical style at the moment or do you prefer to avoid categorization?

    PF: Well a majority of my music falls under the Progressive House categorization, which is totally accurate and I’ve mostly made Progressive House over my years pursuing music full time. I’ve been playing music my entire life though; well before producing electronic music I was playing guitar in bands and picking up various instruments in school music classes. 3 years ago, after I’d
    established myself in the electronic scene a bit, I decided to bring back those early influences by injecting more recorded music into my electronic songs. The combination is what I describe as “electronic music with a live band feel” because typically I play and sing all of the recorded parts on my songs so it’s basically a band of myself with featured vocalists from time to time.

    CF: Do you have any musical heroes, influences or mentors that people should know about?

    PF: Like my past, my influences totally come from opposite sides of the spectrum. I was very fortunate to be raised by parents that have an excellent ear for music. My childhood was filled with the Rolling Stones, The Doors, Grateful Dead, Neil Young, and lots of really timeless rock music. And on the flip side, what got me into electronic music were artists like Eric Prydz, Above & Beyond, Paul Kalkbrenner and a lot of the more melodic house and trance sounds that came out of 2007-2010. After years of experimenting and teaching myself the ins and outs of producing and engineering on the computer, all of those influences started blending together unintentionally.

    CF: How do you feel about protest music and people expressing their political views in song?

    PF: I think it’s both very good and very bad. There are a lot of issues that people are too afraid to even think about, let alone talk about, and to be able to express that with music is so powerful in the really good way. But then I think about all of the mixed messages that one person can take in between the media, the art world, their family, friends, colleges, etc. Anyone’s opinion can get in front of millions of people these days so it scares me to think about how many are flying around the internet and how people who have a hard time having their own opinion might latch onto someone else’s.

    CF: What can people expect from your show production wise?

    PF: So I’ve been building up to a tour like this since I first started sprinkling live instruments into my electronic music. I’ve been collecting gear, learning live show tips, and slowly preparing my
    songs to be played live rather than on turntables for close to 3 years. I even did some mock up sets in private years ago just to test techniques out that I was positive I’d one day turn into my actual show. And that was all just preparation for the past 3 months that I’ve spent deconstructing my entire catalog for a completely live and unique show experience each night, programing a light show that is tied to each musical element of each individual song (which means I can rearrange my set at any given moment wooo!), and simply practicing playing and singing my songs. As I said, I’ve been planning to make my show like this for a very long time so I’m putting 110% of myself into this tour and so far it feels incredible.

    Join Chris Frantz, Tina Weymouth, and record producer Peter Katis for Pierce Fulton and NVDES’ debut in The Warehouse on Monday, November 27. Tickets, information, and samples of the music can be found at Fairfieldtheatre.org.

  • The Monopole in Plattsburgh Celebrates 120 years

    The Monopole, Plattsburgh‘s historic bar known for its live music will celebrate 120 years later this month. First opened in 1897, the bar has withstood prohibition, bitter winters and thousands of customers over the years, with live music a staple of the ‘single stick’ for the past 30.  On November 30, West End Blend will be part of a night long celebration of The Monopole reaching the ripe old age of 120, with many years of live music and revelry yet to come.

    To discuss the legacy of The Monopole, NYS Music talked to owner Corey Rosoff about the notable history of the venue, live music memories and how they’re celebrating 120. Photos courtesy of The Monopole.

    the monopole

    Pete Mason: The Monopole has a history spanning over a century that few institutions reach. What do you credit this longevity to?

    Corey Rosoff: I think a big part of the longevity has a lot to do with staff and how no matter who you are, we make you feel welcome. The Monopole has always been a melting pot of diverse clientele including doctors, lawyers, contractors, locals, college and also visitors to the area that all are made to feel comfortable here. We also have been very aware of the history and have worked hard to keep as many original features of the building and the bar. We still have the original woodwork and stained glass and mirrors.

    PM: Among the decades found in the walls of The Monopole, what is your favorite anecdote about the bar’s history?

    CR: I think one of the best story is how Theodore Roosevelt would be here every time he visited the barracks in Plattsburgh. I am still amazed of the amount of couples that come in or email about how they met their husband or wife at the Monopole.

    the monopolePM: How has the role of music changed in the history of The Monopole? What was the earliest music performed here?

    CR: I started working here in the late 70’s when I came to college up here and the Monopole was the first place to install high end stereo equipment. In fact the speakers were such high end they still are in use today. We started doing live music upstairs in the early 80’s with mostly acoustic acts and then evolved into what we have today.

    PM: Who are some of the most notable bands to gain their start playing The Monopole?

    CR: Some of the more notable bands that got their start here would be the Ominous Seapods (one of their songs is titled “Leaving The Monopole”) the South Catherine Street Jug Band and Christine Santelli (Grammy nominee for Songwriting & NYC Blues Hall of Fame ) who got her start in music hosting Open Mic with Matt Mousseau (NYC Blues Hall of Fame here in the early start of Open Mics at The Monopole which is still running every Wednesday night. Also Dave Grippo who is a saxophone player on some of Phish’s albums was a regular performer here back in the early 80’s.

    PM: Why is West End Blend a good choice for a 120th birthday party?

    CR: We chose to do this with West End Blend because after their initial performances in Plattsburgh (once for a city festival & then here in the early fall) everyone who saw them were impressed with their talent so we had been trying to fit a date where they could come back to the venue. We wanted to do this event with a band that we don’t get in the area much to create some extra hype for the special occasion.

    Stay tuned for our interview with West End Blend next week and see what’s in store for November 30th. And if you’re looking for a New Year’s Eve show in Plattsburgh, don’t miss Groovestick with the venue staying open until 8:00am for a New Years party.

  • Doyle Bramhall II Brings the Heat to the Westcott

    When Doyle Bramhall II comes to town, you make a point to attend the show. Bramhall, who has collaborated with such prominent musicians as Eric Clapton, Sheryl Crow, Tedeschi Trucks Band and Roger Waters, put on a scorching show at the Westcott Theater in Syracuse on Wednesday. For someone of such prominence in the music world, it’s a shame the house wasn’t full. Those who were in attendance, however, were appreciative of what they were about to witness. Many of those present represented a who’s-who of the Central New York music scene.

    Doyle Bramhall II is touring in support of his 2016 Concord Records release, Rich Man, his first solo album in 15 years, along with his superb band (Anthony Cole on drums and sax, Adam Minkoff on keys and guitar and Ted Pecchio on bass.). Bramhall’s style takes its influence from the blues and jazz as well as world music.

    The opening number, a cover of the Serge Gainsbourg and Jean-Claude Vannier title track from the 1969 film Les Chemins de Katmandou, set the tone of the evening early. The chattiness of the crowd was self-policed, putting the focus entirely on the magic that was happening on stage.

    Doyle Bramhall

    Doyle is a left-handed guitarist who plays with right-handed stringing on a guitar flipped upside-down. This unique style of play makes for some interesting sounds.

    While Bramhall let his influences fly with some select covers, including George Harrison’s “Let Me Down,” Johnny “Guitar” Watson’s “I Get a Feeling” and the Isaac Hayes instrumental “Hung Up on My Baby,” his unique style and interaction with his band mates showed that this is a band in a groove and ready for bigger things.

    Bramhall’s originals framed the set. “My People,” from his latest, revealed Bramhall’s Middle Eastern influences and served as a great transition from “Les Chemines de Katmandou.” After the intro, the song moved into a more typical blues style, reminiscent of Bramhall’s friend Joe Bonnamassa.

    Speaking of Bonnamassa, rumors circulated throughout the night that the blues legend may be in the house, as he and his band were performing in nearby Ithaca the following night. While Smokin’ Joe didn’t appear at the Westcott on this evening, his band was in attendance to take in the show.

    Bramhall and his band worked the crowd musically and sarcastically. When enthusiastic fans began shouting out requests, particularly songs from his tenure with Arc Angels, a band that included Charlie Sexton and the members of Stevie Ray Vaughan’s Double Trouble. Bramhall responded with a spectacularly sarcastic, “That’s right, just shout out anything. We’ll play it,” only to tease a few notes of one particular blues song until abruptly stopping, saying, “Sorry, we don’t really know that one.”

    As the night wore on, Bramhall worked in more originals from his latest, revealing his guitar prowess as well as the expertise of his band. While most blues based electric guitarists can claim Jimi Hendrix as an influence, Bramhall revealed that Hendrix is not only an influence but a kindred spirit. Bramhall’s left-handed style emulated Hendrix and at times, he used feedback as a voice in his songs. This was explicitly realized in his set closer “The Samanas.”

    The band closed out the night with a joyful , psychedelic rendition of the Beatles’ “She Said, She Said” that had the crowd singing and dancing along to it.

    Bramhall is a musician with superior skills and a lineage to be envied. His solo work is on par with the best in the game and deserves to be more widely heard. It is highly recommended to check him and his superior band out in a live setting.

    Opening act, Althea Grace, an artist produced by Bramhall and part of the Concord Records stable of musicians, performed a solid acoustic set inspired by artists as varied as Led Zeppelin and Brandi Carlisle.

    Check out Bramhall’s fan-shot set closer, “The Samanas” below:

    Doyle Bramhall II Setlist:

    Les Chemins De Katmandou (Jean-Claude Vannier & Serge Gainsbourg cover), My People, The Veil, Keep You Dreamin’, Hands Up, I Get a Feeling (Johnny “Guitar” Watson cover), Mama Can’t Help You, Let It Down (George Harrison cover), Rich Man, Hung Up on My Baby (Isaac Hayes cover), New Faith, The Samanas

    Encore: She Said She Said (The Beatles cover)

  • Brian Johnson Says Goodbye to Friend, Bandmate, Malcolm Young

    As our favorite legendary artists grow older, its only inevitable, that one day we will hear the sad news that one has passed away. Sadly, AC/DC guitarist Malcolm Young will join several other legendary artists at the “Music Festival in Heaven.”

    Longtime bandmate, friend, and AC/DC frontman, Brian Johnson, posted a statement on his website about the passing of Young titled, “For 32 years, we stood side by side on stage.” His letter stated:

    I am saddened by the passing of my friend Malcolm Young, I can’t believe he’s gone.
    We had such great times on the road.
    I was always aware that he was a genius on guitar, his riffs have become legend, as has he.
    I send out my love and sympathy to his wife Linda, his children Cara and Ross,
    and Angus, who will all be devastated…. as we all are.
    He has left a legacy that I don’t think many can match.
    He never liked the celebrity side of fame, he was too humble for that.
    He was the man who created AC/DC because he said “there was no Rock,n,Roll” out there.
    I am proud to have known him and call him a friend, and I’m going to miss him so much.
    I salute you, Malcolm Young.
    – Brain Johnson, November 2017

    Malcolm Young passed away on Nov. 18 at the age of 64, after suffering from dementia for the past few years. He formed AC/DC with his brother Angus in 1973. Besides playing guitar, Malcolm was a producer and songwriter, who help create some of the biggest rock and roll anthems in history, such as “Hells Bells,” “Back In Black,” “Highway To Hell,” and “You Shook Me All Night Long,” to name a few. He retired from the band in Sept. 2014, after being diagnosed with dementia in April 2014. Young and his AC/DC bandmates have sold over 110 million albums, are were inducted into the Rock and Roll Hall of Fame in 2003.

    Rolling Stone posted several comments from various artist, once the news of Malcolm’s death started to circulate throughout the music industry including Eddie Van Halen, Nancy Wilson and Slash. You can read those comments below:

    Steven Van Zandt (E Street Band): “Malcolm was the essential rhythm guitarist of the world’s greatest working class hard rock band. An irreplaceable loss.”

    Slash (Guns N’ Roses): “Malcolm Young was one of the best ever rhythm guitarists in rock and roll. He was a fantastic songwriter and he had a great work ethic too. I toured with AC/DC on their ‘Stiff Upper Lip’ tour. I found Malcolm to be a really cool, down to earth fellow. The entire rock and roll community is heartbroken by his passing.”

    Nancy Wilson (Heart) “Malcom Young was the embodiment of rock itself. His rhythm guitar style needed no embellishment. He laid down the simple solid guitar truth that taught us all about the ‘less is more ethic.’ The wild power of simplicity and the head banging hair flipping joys of turning it up really loud and dancing with the vibrations. Thank you, Malcom for being the real deal. We are all going to miss that shredding music that only you and your brother could make together.”

    Eddie Van Halen: “It is a sad day in rock and roll. Malcolm Young was my friend and the heart and soul of AC/DC. I had some of the best times of my life with him on our 1984 European tour. He will be missed and my deepest condolences to his family, bandmates and friends.”

    Dave Mustaine: “I have to go…I am losing it that Malcolm is gone. I hate this…” Kiss’ Paul Stanley added, “The driving engine of AC/DC has died. A tragic end for a sometimes unsung icon. One of the true greats. RIP.” Tom Morello praised Young as “#1 greatest rhythm guitarist in the entire history of rock n roll.”

    https://youtu.be/evqsl8smnYE

  • Proctors Announces Capital Records Live

    Capital Records Live, to be held on March 23 at the GE Theatre at Proctors, is a new model for local music entertainment. Presented in association with WAIX, “Albany’s Independent Experience,” the series’ debut performance will feature six of the region’s most popular bands playing classic songs of The Beatles.

    OLYMPUS DIGITAL CAMERA

    The first act in the inaugural show will find the Bryan Brundige Collective, Clear Mind, Eastbound Jesus, Girl Blue, Let’s Be Leonard and Wild Adriatic offering self-chosen selections from 1968’s The Beatles, better known as The White Album.

    The second act will challenge the same groups, with Proctors and WAIX 106.1 determining which songs the band will perform, all from 1967’s groundbreaking, multiple Grammy Award-winning album Sgt. Pepper’s Lonely Hearts Club Band.

    Whether you’re a fan of local artists, wanting to support local music or a Beatles buff who can’t miss these iconic albums performed in a whole new way, Capital Records Live will be the place to be.

    Capital Records Live is a planned annual concert featuring a variety of local and regional artists performing a classic album live in concert. Its mission is to promote the local music scene by introducing artists to new audiences, fostering new musical relationships and offering a performance opportunity in a world class environment. Audiences, in turn, are treated to a local “All Star” night of music featuring timeless favorites.

    Tickets for Capital Records Live, $25, are available at the Box Office at Proctors, 432 State Street, Schenectady; by phone at (518) 346-6204; and online at proctors.org.

    This article, 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 of the local music scene in the Capital District and New York State, respectively. For more, visit TheSpot518.com.

  • Ron Gallo and Naked Giants Blow the Doors Off the Bug Jar

    “I don’t know why there’s anyone here but it’s fucking awesome,” said Ron Gallo a few songs into his blistering rock and roll set at the Bug Jar in Rochester. “I thought the rule was, the first time you play a place only three people show up…”

    But this show, from top to bottom, was in complete defiance of all rules. As that’s the very definition of punk, it was very fitting that the show ended with both Ron Gallo’s trio and their tour mates, Seattle trio Naked Giants, all on stage, mostly shirtless, romping through The Stooges’ “TV Eye,” screaming and thrashing about the stage like a group of maniacs.

    Rules likely also dictate that the opening band will be some half-baked group of local musicians defiling gems from The Stones or trying to work up yet another rendition of “Crazy.” But on this night, the crowd was treated to 40 minutes of excellent original songs from Rochester’s Dangerbyrd. Mixing blues, country and early 60’s psychedelia, they settle comfortably near the sounds of The Band and Credence Clearwater Revival, keeping it simple while nailing it in the process.

    Next up were the aforementioned Naked Giants, a trio of Gianni Aiello on bass, Grant Mullen on guitar and Henry LaVallee on drums. They played with a frenetic energy, going after every single note with reckless abandon, completely untethered. The set began with a noisy, effects-laden jam, swimming in cymbal crashes. Aiello danced about the stage, somehow still keeping total control of his bass sound which, at times, he seemed to be changing with every other pluck of the strings. They weren’t a band to follow the rules either. The bass was as much a lead as the guitar was and traditional song structure took a back seat to rhythm and pure enjoyment. No one was having more fun than the three on stage.

    The small stage couldn’t contain LaVallee’s excitement when, just a few songs into the set, he kicked the back door open and ran outside mid-song, the first of many times that door would swing open that night. Mullen shredded impressively throughout their set which included songs like “Slow Dance 2,” “Pyramids,” “Twist” and the closing White Stripes-esque “YaYa.” The energy was infectious and the mostly unfamiliar crowd was smitten by set’s end.

    By the time guitarist Ron Gallo and his trio (bassist Joe Bisirri and drummer Dylan Sevey) took the stage, the crowd was at a fever pitch. Gallo played off of this by stepping to the mic, monotonously and stiffly reading from a piece of paper: “My name is Ron Gallo. That is also the name of our band. We are excited to be at the Bug Jar in Rochester New York, one four six oh seven. Thank you and enjoy yourself.” It was the calm before the storm, immediately followed by fuzzed out bass blasts and a heavy guitar jam. Usual rock show protocol would dictate that the guitar player wouldn’t jump into the crowd until late in the show, but Gallo was jamming from within the crowd before the first song even started.

    The entry jam lead into an opening combo of “Put the Kids to Bed” and “Kill the Medicine Man” off his stellar new album, Heavy Meta. They mixed tracks from the album together with new songs (“Man Keep Your Hands on Your Pants”), older songs (“Really Nice Guys”) and covers (Des’ree’s “You Gotta Be”). When “All the Punks Are Domesticated” got called out from the crowd, Gallo responded,”…is the name of the next song we’re going to play” and launched into it without missing a beat. During the slow dripping, heavy blues of “Black Market Eyes,” Gallo followed LaVallee’s earlier lead and left the stage out the back door. 30 seconds later he returned running through the back of the crowd and back on stage to rejoin the band for a another heavy rock jam.

    The racing train car of a rock show finally went off the rails during his solo on “Young Lady, You’re Scaring Me.” He once again went out the back door, this time mid-solo, and with his guitar, continued to play outside on Monroe Avenue. He eventually reentered the room, bringing along the boys from Naked Giants as well as a couple of other new fans off the street. The two bands shared the stage as a double-trio for raucous versions of “Sorry Not Everybody is You” and “Age of Information” from a split EP they released together earlier this month. They followed that up with a through-the-roof cover of The Beatles’ “Helter Skelter” which was a meta (heavy meta?) description of exactly what was happening. Playing the denouement to that climax, the six were prompted to play one more song, which brings us back to the shirtless and thrashing “TV Eye.”

    Ron Gallo Setlist:
    Intro > Put the Kids to Bed > Kill the Medicine Man, Man Keep Your Hands On Your Pants, Really Nice Guys, Please Yourself, Black Market Eyes, All the Punks Are Domesticated, You Gotta Be (Des’ree), It’s All Gonna Be OK, Temporary Slave, Young Lady You’re Scaring Me, Sorry Not Everybody is You*, Age of Information*, Helter Skelter (Beatles)*
    E: TV Eye*
    *with Naked Giants

  • David Crosby and Friends bring Sky Trails tour to The Egg

    David Crosby brought his friends to The Egg on Friday, November 17 for a sold out performance that featured tracks off his new album Sky Trails, as well as songs from the 60’s and 70’s by CSNY, CPR and The Byrds. Crosby’s Friends this evening included Jeff Pevar on guitar, James Raymond on keys, Mai Agan on bass, Steve DiStanislao on drums, and Michelle Willis on keys and vocals.

    david crosby and friends
    David Crosby and Friends at The Egg

    Shortly after opening with “In my Dreams,” a prime sample of Crosby, Stills and Nash’s late 70s elevator rock sound, Crosby dove into the first of a few CPR tracks, “Morrison” and later “At the Edge” and the powerful “Breathless,” as he spread out his vast catalog throughout the evening.

    After a show in Boston that had an audience member taking issue with Crosby’s anti-Trump stance, there were four instances this evening where he took jabs at Trump, with no vocal disdain from the audience. There was also the groovy “She’s Got to be Somewhere,” a song about a spy, influenced by Trump, and the first track off Sky Trails.

    Crosby shared stories throughout the evening, the first about The Byrds touring in England for the first time in the 60s, and told of how they were scared to meet The Beatles because they had copied their look, clothes, hair, shoes, sound and all. While performing one night, Crosby saw Mick Jagger and John Lennon in the crowd, and while he was nervous to meet either of them, they were as mellow as could be when they got to talking after the show. This led to Crosby offering a Ravi Shankar album to George Harrison, which had a profound influence on the quiet Beatle and his music in the years that followed. Crosby and Friends then performed “Laughing” which was written for Harrison.

    The touching CSN classic “Guinevere” was followed by referencing the Boston audience member, leading Crosby to wonder if “maybe they thought it was a Stephen Stills show,” before discussing the impact of Eisenhower’s “Military industrial Complex” speech and how it had an early influence on his view of American politics. With cheers and applause from the audience, he briefly spoke against the buying of Congress (and how there may only be five good ones left), which led into the short acapella song from an era of protest against the Vietnam War “What are their names?” Keeping the spirit of the era alive, a pairing of “Long Time Coming” and an extended “Deja Vu” with a soft jazzy interlude closed the first set.

    “Delta,” a song written on Warren Zevon’s piano (thanks to Jackson Browne when he was helping Crosby get clean) and “My Country Tis of Thee” with a CSN spin on the American staple stood out in a shorter second set. An encore of Neil Young’s “Ohio” had Crosby encouraging the crowd to sing the chorus “Four dead in Ohio,” and left the audience emboldened to take the spirit of the era from which these songs were born.

    While the show had plenty of reminiscing, Crosby’s show was far from a novelty act or nostalgia show. There were a few songs from his forthcoming album Sky Trails that were performed this evening amid plenty of classics from across his Canon. The 76 year old showed no signs of slowing down or mailing in his performance as he heads into the twilight of his career. Crosby is fired up and ready to go.

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