NYS Music 20​17

Category: Rock

  • Tokyo Police Club Play to a Packed Waiting Room

    It’s one thing if a band from your immediate area becomes a sensation in any regard. But if any band from a major regional city, like Toronto, start off their latest American tour in a city right across the border, you better imagine fans will come in droves to see them. That’s why on January 19, Toronto indie darlings Tokyo Police Club played in front of a nearly-full crowd at Buffalo’s Waiting Room. And the crowd came from near and far to see the Canadian lads.

    Tokyo Police Club, made up of David Monks (bass/lead vocals), Josh Hook (guitar), Graham Wright (keyboards/guitar), and Greg Alsop (drums) have been big names in the U.S./Canadian border indie scene for a while now. In the past 10 years, they’ve performed at festivals including Coachella, Lollapalooza, Glastonbury, Reading and Leeds, and Bonnaroo. They’ve toured with the likes of Weezer, and Foster the People and released four LP’s and three (or four if you’re picky) EP’s. Buffalo was the first stop on their tour promoting their new EP, with stops in Washington DC, Cambridge, MA, Montreal, and Peterborough, Ontario coming up.

    Monks had immediate control over getting the crowd, wearing a black button-down shirt that gave off a look oddly reminding me of Billy Corgan. Maybe it was intentional, since their lastest, two-part EP is called Mellon Collie and the Infinite Radness. Either way, the crowd at the front reached their hands inches from Monks’ face as he reached the edge of the stage with his bass. Wright, doing double duty on backing guitar and keyboards, was by far the most enthusiastic performer of the act, bobbing around as he churned out various synth riffs and was by far the more energetic guitar player, even if his riffs mostly came in when Hook had a solo.

    The audience was more than willing to clap along when Monks urged them too, or on their own. There were also instances of a pineapple being passed around and held up by audience members, along with one attempt at crowd surfing that didn’t get too far. Musically, people recognized each song that started playing, like the distinct opening synth riffs of “Bambi” and “PCH.” They chanted along with the chorus lines of “Favorite Color” and “My House.” They waved their arms side-to-side during the slow intro of “Breakneck Speed.” And they managed to keep up with the multi-part “Argentina.”

    The band closed out their initial set by playing their first EP, A Lesson in Crime, in it’s entirely to celebrate its 10th anniversary. With each song hardly breaking the two and a half minute mark, they were notably more unrefined, more raw. The opening track, “Cheer It On,” harkens back to the time bands like The Strokes and Interpol were the toast of the indie community. “Shoulders & Arms” has a streak of noise-like guitar they would hardly come back to, while “Citizens of Tomorrow,” even with it’s hints of dance-punk, would harken to what the band would eventually turn into.

    By the time the band finished playing “La Ferrassie,” the final song from A Lesson in Crime, and bid their audience goodnight before coming out for an encore, the place had been completely enamored by whatever plans the band had up their sleeve. If the crowds at their upcoming shows are anything as responsive as the one in Buffalo, then Tokyo Police Club should expect a good time up ahead.

  • Interview with Lord Electro: Turning up the Electricity in The Capital Region and Beyond

    Albany’s very own Lord Electro is a jamtronica power trio bringing a new sound to the Upstate region. Since forming in 2015, Lord Electro has been making large strides to show the music scene they mean business. With a stream of festival slots, shows with bands such as The New Deal and a library of recordings further proves that these guys are playing their cards correctly and have a drive to succeed. From the start of their show to completion Lord Electro likes to keep the dance party alive, with Dan Gerken (synth) Steve Mink (bass/synth) and Jordan LeFleur (drums).

    NYS Music interviewed Lord Electro and learned more about them as a band and individually. Knowing them from previous bands and performing with them in the past meant a lot to me in regards to learning their approach and what’s driving them to do what they are doing. Keep your radar on for Lord Electro, they are a personal favorite and keep your eyes open for what’s to come this year, including their album Business, due out in March.

    lord electroJared Raphel: How did LE come to be?

    Steve Mink: After Dan’s group, Timbre Coup and my group, Digital Dharma, split, Dan and Steve spoke about putting together a trio highly influenced by The New Deal. We needed a drummer to round off the trio.

    Jordan LeFleur: For me, it all started when Dan would come over and hang at my apartment. He knew I played drums but didn’t really know what kind of a drummer I was. I played some jam music in the past and dance beats always felt very natural to me. So, Dan would come over and jam on my Micro Korg and I would just play over his riffs. After that Dan and I decided to take things into full swing and he mentioned that he had been jamming with a bass player. And that’s when I met Steve.

    Dan Gerken: We always had Steve sit in with Timbre Coup and he knows his tones well so he’d be a perfect fit for a project. Jordan and I came together through a random Groovestick show and started jamming. Soon after, all three of us were together for a jam session and the rest was history.

    JR: Is there a symbolic meaning behind LE’s name, who came up with it and what were some other choices?

    SM: I wanted the name to play off our genres in some way. Because we play Electronic music, “Electro” seemed fitting. For some reason, I always thought “NORD” when hearing electro. Nord is a very popular award winning keyboard. So then I thought about it, and “Lord” popped in. With the DJ scene huge these days, Lord sounds like one person. So when someone hears the name, they think maybe we’re a DJ. But then come to find out that Lord Electro is actually three guys playing instruments, LIVE, as ONE, Lord Electro.

    JR: You have a system of non verbal communications, utilizing hand signals. Explain this to me and how did you come about this procedure?

    DG: I brought in some signals we had used for Timbre Coup and a couple other groups in improv sections that we were building. Each signal has it’s own key or structural meaning and Steve has been known to throw a couple sometimes too. At times I’ll point to a member and they’ll know to start a phrase where we all drop out and they hold it down/build another riff. It’s a great way to insure some semblance of layering and order with also limitless possibilities in an off the cuff setting, which we love.

    JR: What is your goal while playing in a band?

    SM: I want to be successful playing music, it would be a dream to be able to perform doing what I love and support a family while living that dream. At the same time, I want to make bodies dance, and see smiles from ear to ear. I want to feel a connection with the crowd. And that is just as fulfilling.

    DG: This is a great question. There are many things this band satisfies for me. I get to improv, I get to form a sound with these guys that I feel is unique and different. I will always play music for enjoyment and i feel I’ve found a special group of guys to write with and share our music!

    JL: I’ve always wanted to tour the country seeing new cities and meeting new people. For me music is an escape and a stress reliever. When I perform live nothing else matters. Especially when I see people getting down to LE, it completely enhances my performance. I would love nothing more than to see this band take off and become nationally known in the jamtronica scene.

    lord electroJR: LE follows the theme of electronic/jamtronica, though you guys magically create it all with organic performance. Has the idea of implementing automated technology been discussed, thoughts?

    SM: There has been some light talk of using some loops. But at the moment we’re not focused on it. We’re trying to keep the group as organic as possible.

    JL: Eventually the time will come where we use some samples in our music but at the moment it’s 100% organic.

    DG: You know its interesting you bring that up because we just played with our friends Teddy Midnight and I mentioned to Jordan getting into some of the Abelton programming they were doing. It created such well produced layers I was impressed. At the moment we are all mechanical and there’s a certain pride in that. But I wouldn’t be opposed to expanding into the automated world eventually!

    JR: How has/does performing in a band effect your personal life?

    SM: We all work full-time jobs aside from music. So we keep busy juggling. But we do make time for family. I’m lucky enough to have a girlfriend who actively supports our music, from promoting, to attending all the shows, and making custom clothing. She’s amazing and I’m happy I found someone who digs the music I create and the music we both enjoy.

    JL: It can sometimes be tough juggling jobs, girlfriends, and a music schedule all at once, but we make it work.

    DG: I have a wonderful five year old son and that’s a big part of my life. Each of us work. Music is a part of life and everything must be balanced. We are running a business and don’t want to burn out, rather we want to provide a good mixture of shows, recording, hanging together that lends itself to being a part of life not all of it. And in the end our girlfriends and families don’t hate us as much for being never present and the dynamic between band mates is always top notch because we share in those goals together.

    JR: So what’s in store for Lord Electro this year?

    SM: We’re starting off the year with a bunch of shows this winter including three nights with The G-Nome Project in MA,WNY and NYC. We’re releasing our full length studio album “Business” in march. we’re really stoked on how it’s turning out and we’re looking forward to releasing that to everyone including YOU at NYS Music! Our CD release party will be at The Hollow Bar and Kitchen in Albany along with Normal Instruments and the return of SOLARiS. We’re hoping for a great festival season this year. There’s so many great festivals we would love to play for.

  • Rock Band Iüdica Talks New Album, Roots and The Glens Falls Scene

    Upstate New York rock band Iüdica just got out of the studio after recording their first album entitled Brain Carvings and debuted it in proper fashion. Earlier this month, the band held an album release party at Gug’s in Glens Falls, NY with Paradox Saints, Chestnut Grove, Dustin Sawyer and Germy Cats supporting them. NYS Music spoke to frontman Brian Alvarado, drummer Nate Fidd and bassist Chris Walker about their recent rise in the scene.

    IüdicaFrank Cavone: First of all, I would like to congratulate you guys on the new EP Brain Carvings. What was the process like writing the album all the way to mixing?

    Brian Alvarado: Recording and mixing this EP with Jason Brown at Starling Studios was a great experience. I had the worst feeling in my stomach the days leading up to the recording session. The band had practiced every week several times a week for months leading up to the recording session though, and we all managed to talk ourselves into a point of calm collected mindsets.

    After about an hour of setup, we recorded these songs in one take. Everything, the vocals, drums, guitars at once – but through separate tracks of course. It was amazingly easy, and after all that worry – we proved to ourselves we were indeed ready to rock. After a couple of touch ups here and there, we are now left with our Brain Carvings EP.

    FC: So the name Iüdica is a cool name that you guys chose as a band. Where did the name originate from?

    Nate Fidd: Brian actually had the name from a prior band. It was the name of a song first.

    BA: Iüdica is a Latin word that means to judge yourself. Especially from past actions that you make and transgression with the same conviction as god himself.

    FC: What were your influences prior to forming the band?

    Chris Walker: I like to keep an open mind but I would definitely say that classic rock and grunge are my favorite genres of music.

    BA: The bands that really mean alot to me are Modest Mouse, Brand New, and Nirvana.

    FC: What are your favorite local bands that you have played with?

    NF: There are a lot of great bands in the area but I would have to say playing with Formula 5 at a benefit concert was pretty cool and the Paradox Saints.

    FC: Over the past year, the music scene in Glens Falls has expanded. For those outside the area, what is your scene like?

    BA: My favorite venue to play is and always will be Gug’s. I see a lot of potential in places like the 190 grille. The scene is developing and I think that we are in the middle of a boom. There is going to be even more live and local music and that is what the area needs more of.

    To check out the Iüdica’s new album check out their Bandcamp and stay up to date with the band on their Facebook page.

  • Pat Metheny and friends crush The Egg

    As a 30-something Phish and jam band fan, it’s easy to feel you know the ins and outs of the the most highly respected musicians in the scene – arrogance and intelligence are in a constant state of competition. However, an expansion of your delicate horizons can both impress and humble you. Such is the case of my first time seeing Pat Metheny.

    This 20-time Grammy Award winning guitar welcomed a sold out crowd of mostly Baby Boomers to The Egg in Albany on January 18. Accompanied by his pick of world-class musicians: Linda Oh on bass, pianist Gwilym Simcock and drummer Antonio Sanchez.

    Entering The Egg on a solo mission, with no entourage as I’m accustomed to, I felt alone, but soon quickly extinguished said feeling. As the show began, I quickly took on the student role, ready to learn what this devout musician could instruct me. An instrument like I’ve never seen: two guitar necks, one to the mandolin, one to the guitar, add on a set of harp stings to the belly; it created a full ensemble of sound, reminisce to ancient Japan. A geisha could surely appear on stage, with grace, mystery and peace.

    Throughout the evening, I witnessed Metheny, a man with a clearly elevated intelligence and sense of creativity, work with his chosen colleagues to create an eye-awakening performance of both classical and truly improvisational jazz rock. Rotating through five different guitars, he birthed a new sound and song by song ambiance. A guitar that could be mistaken for a wind instrument and then to something with a screeching, yet eerie sound – my eyes and ears were openly anticipating the next unique and unfamiliar sound.

    Oh controls the bass in such a way that I can only describe as both forceful and graceful – a contradiction of elegance and pure physical power. Simcock is a break-out pianist – technical and at times playful. He nearly steals the show from Metheny at times. As a novice, the wheels are turning. I want to see him everywhere. His back facing the crowd, I only wish I could see his face to see the man behind the art.

    The rest join him in a whirlwind of improv. It sounds like a dinner party, with five of the most interesting conversations happening at once. Yet, every one weaves into the other creating a blur of sound, a peaceful yet chaotic soundtrack to a solo mission.

    Standing in the back of The Egg at maximum capacity and without a chair to sit in or a friend to lean on, I take the ride through the ages. For me, it’s a learning opportunity. For others it’s nostalgia. But for everyone in that room, it’s a exhibition of the raw talent of the legendary Pat Metheny.

  • 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.

  • Hearing Aide: Seth Yacovone Band ‘Shovel Down’

    The red-bearded guitar slinger from Vermont, who cuts his teeth in the cozy confines of Nectar’s, reunited with his band to release a new record. Yes, after 12 years, the Seth Yacovone Band finally put music to tape and set it free for the world to hear this past December. The band, drummer Steve Hadeka and bass player Alex Budney, has been playing live again together for the past few years. But when his bandmates bought him studio time for his birthday, it was time for Yacovone to finally reenter the world of recorded music.

    Yacovone picked the shovel up for Shovel Down, a workingman’s rock album that digs deep to satisfy all of your rock cravings. What your favorite track is will depend entirely on how you like your rock cooked.

    If you like it grooving and jammy, you’ll dig album-opener “Playing Patterns.” Zappa fans will gravitate toward “Caveman Guerrilla,” where Yacovone delivers it’s off-the-wall lyrics like “I’ve got the wherewithall of a Neanderthal” with a Zappa-like cadence punctuated by angular guitar blasts. “Falling on Deaf Ears” will not fall quietly to those that enjoy their rock with a pulsating melodic blues and Gov’t Mule fans will find a lot to like in the power trio blues jam “A Question Mark to Answer.” For those that like to enjoy it with their head on a swivel and their devil fingers raised high, “The Snake” descends into the depths of metal, complete with speedy runs down the fretboard and slithering reptilian lyrics. “Mr. Reed” will appeal to anyone who wants their rock raw, anthemic and fist-pumping while “Open the Door” bookends the album with more of that groovy funk.

    For those that just want to hear some quality guitar playing, Yacovone has sprinkled plenty throughout this near-50 minute set that showcases a band, while quiet in the recording world, has clearly been putting the work in on the live stage.

    Key Tracks: Caveman Guerrilla, Falling on Deaf Ears, Mr. Reed

  • 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

  • Def Leppard and Poison To Hit The Road Together Again This Spring

    Def Leppard and Poison will reunite and hit the road together for the third time in in less than 10 years, with an extensive spring tour across North America that will hit 38 different cities across the United States and Canada. The two bands last toured together on the Rock Of Ages tour in 2012 that also featured Lita Ford.

    Kicking off on April 4, at the SNHU Arena in Manchester, NH, the tour will also feature Tesla in the opening slot for most of the shows. The tour is set to close on June 25 at the Klipsch Music Center in Indianapolis, IN.

    Cites in New York, and surrounding areas, that were missed during the 2016 tour will benefit from this go-around. The tour will make stops at the Bell Centre in Montreal on April 10, the Mohegan Sun Arena in Uncasville, CT on April 12, and at the Nassau Coliseum in Uniondale, NY on April 15. Tickets go on sale on Jan. 20 and Jan. 21  through Live Nation.

    Blabbermouth reports, when talking about the upcoming tour, Def Leppard frontman Joe Elliot stated:

    We’re thrilled to be able to take this tour to cities we didn’t play in 2016. The demand for us to return, or rather extend the tour was phenomenal! There’s a great buzz around the band right now and we’re loving the fact that we can do this with the latest album being so well received.

    Poison frontman Bret Michaels added:

    I could not be more excited. I know all of us will give one thousand percent on stage and we are looking forward to performing our hits together. I personally could not be more thankful for the three generations of fans and I love the music of Def Leppard and Tesla. This will be an amazing night of rock and roll. Don’t wait because god only knows.

    Def Leppard, who toured over 70 cities in 2016, will also headline some of the major rock festivals this summer including Fort Rock, Welcome To Rockville, Carolina Rebellion, and River City Rockfest.

    This will also mark the first time in over five years that all the original members of Poison:  Bret Michaels, C.C. DeVille, Bobby Dall and Rikki Rockett, will take the stage together and perform. Rockett, who was diagnosed with oral cancer in 2015, is now cancer free.

    Def Leppard, Poison & Tesla Tour:

    April 8 – SNHU Arena – Manchester, NH
    April 10 – Bell Centre – Montreal, QC *
    April 12 – Mohegan Sun Arena – Uncasville, CT
    April 14  – Royal Farms Arena – Baltimore, MD
    April 15  – Nassau Coliseum – Uniondale, NY
    April 17 – Van Andel Arena – Grand Rapids, MI
    April 19 – Resch Center – Green Bay, WI
    April 21 – Xcel Energy Center – St Paul, MN
    April 22 – Sanford Premier Center – Sioux Falls, SD
    April 24 – Wells Fargo Arena – Des Moines, IA
    April 26 – KFC Yum! Center  –  Louisville, KY **
    April 27 – Bridgestone Arena – Nashville, TN
    April 29 – Fort Rock  – Ft Myers, FL ***
    April 30 – Welcome to Rockville – Jacksonville, FL ***
    May 2 – Tuscaloosa Amphitheatre – Tuscaloosa, AL
    May 3 – Lakewood Amphitheatre – Atlanta, GA
    May 5 – John Paul Jones Arena – Charlottesville, VA
    May 6 – Carolina Rebellion  – Charlotte, NC ***
    May 24 – Pinnacle Bank Arena – Lincoln, NE
    May 26 – Rocklahoma  – Pryor, OK ***
    May 27 – River City Rockfest – San Antonio, TX ***
    May 29 – Broadmoor World Arena – Colorado Springs, CO
    May 31 – Brick Breeden Fieldhouse – Bozeman, MT
    June 2 – Rogers Place – Edmonton, AB *
    June 3 – Scotiabank Saddledome Calgary, AB *
    June 6 – Rogers Arena Vancouver, BC *
    June 7 – Spokane Arena – Spokane, WA
    June 9 – White River Amphitheatre – Seattle, WA
    June 10 – Moda Center – Portland, OR
    June 12 – Save Mart Center – Fresno, CA
    June 14 – Citizens Bank Arena – Ontario, CA
    June 16 – Sleep Train Amphitheatre – San Diego, CA
    June 17 – MGM Grand Garden Arena – Las Vegas, NV
    June 19 – ASANA Amphitheatre – Salt Lake City, UT
    June 21 – Sprint Center – Kansas City, MO **
    June 22 – Hollywood Casino Amphitheater – St Louis, MO
    June 24 – Hollywood Casino Amphitheater – Chicago, IL
    June 25 – Klipsch Music Center – Indianapolis, IN

    Tour Key:

    Def Leppard solo date *
    Def Leppard & Poison date only**
    Def Leppard festival appearances ***

  • Hearing Aide: Dave Fields ‘Unleashed’

    This coming Valentine’s Day, New York City-based blues guitar player Dave Fields will release his seventh studio album, Unleashed. In a career that spans writing jingles for the likes of IBM and Publishers Clearing House, working with legendary British bluesman John Mayall, and getting inducted into the NY Blues Hall of Fame in 2012, Fields is definitely making the most of his musical talents. And with an album title like Unleashed, he’s certainly building up some kind of anticipation. And I must say, Unleashed is a fitting title.

    The album opens with “Anticipating You,” an instrumental jam more on the jazz side of things. It also starts what’s a regular occurrence on the album. Though he bills himself as a blues player, Fields goes on long shredding passages like he’s an 80’s hair metal guitarist.

    If you want an idea about what kind of lyricist Fields is, look no further than “Child of the World.” The song is about having to deal with all the bad things currently happening in the world, like terrorists and people who have extremist thinking. And Fields says he’s on a “love crusade” to try and right these wrongs. It’s the kind of lyrics you’d hear from a 1960’s artist, but trying to specifically address modern day topics in that exact way sounds odd.

    The blues aspects really come out on songs like “My Mama’s got the Blues” and “The Boy Wants to Play,” the former sounding like it comes straight from Memphis and the latter having backing singers and more of a soul/gospel feel, even if it is about a boy wanting sex. Meanwhile, the two-parter “Jagged Line” probably gives the best example of Field’s attempt to blend these varying styles together. The rock guitar, backing organ sounds, and blues lyrics about growing up with a hard life, gives any passive listener a good idea of where modern blues music is heading or what it’s trying to be.

    Starting at “Better Be Good,” another song about trying to love one another in the face of terrorism and corrupt governments, the album suddenly transitions to a live set at a NYC blues club. From there, he makes his Jimi Hendrix influences bright as day with a faithful cover of “Hey Joe” and his own rendition of the Star-Spangled Banner. It wasn’t a note-for-note recreation of the Hendrix version (I don’t think that’s possible), but he does make some impressive runs that leave any fan of shredding pleased.

    The two songs that end the album couldn’t be further from the rest of the album. “New York City Nights” is the only real ballad here, with Fields switching to acoustic guitar and backed by synth strings. Meanwhile, “Les Hoedown” is easily the fastest song here. An instrumental featuring very fast guitar plucking that sounds like Jeff Beck doing rockabilly, with the drum fills and bass managing to keep up.

    I have no doubt an audience for this music exists, for those who like frequenting establishments who play blues, roots, or Americana music. And if you do appreciate shredding and fretting guitar playing, Fields is worth a listen.

    Key Tracks: Jagged Line (Pts. 1 & 2), The Boy Wants to Play, Pocket Full of Dust (live)

    [embedyt] http://www.youtube.com/watch?v=fd3zvlvoLuo[/embedyt]

  • Hearing Aide: Phantom Chemistry “Everything’s Great!”

    Local Syracuse, NY group Phantom Chemistry release their fourth full-length album, “Everything’s Great!” on Friday, January 13. This rock band stays true to their genre with the prominent use of electrical guitar and drums in most every song. The 13-track album includes songs such as “Waste” and “Hospital” that build on the very real subject matter the band tackles in previous albums.

    The album opens with “Dream in the Dark” portraying a darker tone seen in some of the latter songs on the album. It ends with “Come Watch TV,” a noticeably longer song that carries a melodious feel.

    Scattered throughout the album are songs including “Extension 23” being an interesting and upbeat take sung from the perspective of a male prostitute as well as an “Ode to Die Hard” – yes, the movie. It also features “Shades of Blue,” a song that carries a different mood from the others. The audible harmonies at the beginning of this song in addition to its lighter feel help to juxtapose the heavy material expressed lyrically.

    Throughout this album, Phantom Chemistry takes their listeners on a musical journey that reflects day-to-day realities as they embrace even the ugly bumps in the road we ca
    ll life. The band is excited to showcase their new music at their upcoming album release show this Friday, January 13 at Funk N Waffles (Clinton St).

    Key Tracks: Hospital, Shades of Blue, Come Watch TV