NYS Music 20​17

Category: Rock

  • Fats Domino, Rock Pioneer, Dead at 89

    Fats Domino, whose boogie-woogie style of piano playing influenced generations of rock n’ roll musicians, died Tuesday in Louisiana. He was 89.

    Born Antoine Domino, Jr. in New Orleans in 1928, the pianist and singer was second only to Elvis Presley in sales during the early rock n’ roll era of the late ’50s and early ’60s.

    Domino’s string of hits included “Ain’t That a Shame,” “Blueberry Hill” and “Walking to New Orleans.” His New Orleans upbringing influenced his music, incorporating the rollicking piano style of Fats Waller and Professor Longhair.

    Domino’s influence has carried on through the works of the Beatles, Cheap Trick, Led Zeppelin and Randy Newman. While he is largely credited with being one of the fathers of rock n’ roll, Domino dismissed the notion, telling Rolling Stone, “it wasn’t anything but the same rhythm and blues I’d been playin’ down in New Orleans.”

    Domino’s relationship with his long time co-writer and producer Dave Bartholomew generated a string of hits as well as a style of production that influenced Phil Spector’s Wall of Sound. Bartholomew brought extra bass and drums into the studio to assure they could be heard above Domino’s piano. Bartholomew said of his late partner, “just like the cornerstone — you build a new church and you lay the cornerstone, and if the church burns down, the cornerstone is still there.”

    He was married in 1947 to Rosemary Hall and they had eight children, all with names that began with the letter A.

  • ‘Weird Al’ Tones It Down for 2018 Tour, Several NY Dates Included

    Everyone’s favorite parody musician will once again hit the road, as “Weird Al” Yankovic, has announced dates for an extensive tour of North America in 2018. Yankovic has recently wrapped up one of his biggest tours ever and will return in 2018 with his 70+ city “The Ridiculously Self-Indulgent, Ill-Advised Vanity Tour.” Longtime friend and comedian Emo Phillips, will perform before “Weird Al” takes stage.

    Weird Al 2018Shows will take place in venues with a more intimate feel, and create a little different atmosphere than normal “Weird Al” shows. Yankovic has stated that he and his band will perform original material, rarities, and deep cuts. “Weird Al” will perform songs he and his band haven’t played in years, and songs they have never before played live. He also stated that he and his band have been rehearsing around 60 songs for the trek, and each show on the tour will have a different set list.  Unfortunately, there won’t be any costume changes or running and jumping around by “Weird Al,” as he and the band will sit on stools, and jam out songs for around 90 minutes.

    “Weird Al,” has released 14 studio albums. Four of those fourteen albums reached gold status, while six others reached platinum certifications, including 1984’s “Weird Al” Yankovic in 3-D. He has also won four Grammy awards in his career including Best Concept Music Video for the song “Fat,” in 1989. He has sold over 12 million albums, and has appeared in numerous television shows and on the big screen.

    The tour will kick off on Feb. 27, at the Bardavon 1869 Opera House in Poughkeepsie. New York will see several other stops on the tour throughout the state, including March 1 at the Tarrytown Music Hall in Tarrytown; March 13 at the University at Buffalo Center for the Arts in Buffalo; March 14 at the State Theatre in Ithaca; March 17 at The Paramount in Huntington; and March 23 at The Apollo Theater in New York.

    During a recent interview with Nerdist, “Weird Al” commented on the upcoming tour, his longevity, Emo Phillips and what he hopes fans take away from the tour. “Weird Al” was also asked about his stamina, he replied:

    I’ve definitely had time to relax, reconnect with my family, even take a shower! But yeah, when I’m on the road, it’s pretty exhausting–I get a real workout every night. This upcoming tour shouldn’t be too taxing though. We’re just going to walk out on stage, sit down on stools and play a bunch of songs. No running and jumping around, or changing into thirty different costumes. It’ll be a little rougher on my vocal cords, because I won’t have any video breaks during the show. But the whole vibe of this next tour is going to be pretty laid back. It’s the “Let’s Not Work Up Too Much of a Sweat” tour.

    What he’s looking forward to the most about the tour:

    The band and I are really just looking forward to a change of pace. I’ve been putting on fat suits and riding Segways around the stage, and I just wanted to do something totally different this time out. I don’t think I’ll be making a habit of this: this is quite possibly a once-in-a-lifetime thing. It’ll also be really fun for me to play some of the songs that I was always proud of, but somehow slipped through the cracks. There are only so many songs I can perform in my live show, and the parodies are the audience-pleasers, so we have to focus on those, and as a result, a lot of my original material never makes the cut. But this is not an audience-pleasing show. It’s probably going to be an audience-baffling show. As I’ve said before, there’s a subset of my fan base that’s going to go absolutely nuts for this tour, but it might not be for everybody.

    If he was nervous touring a different type of show for the first time around:

    Well, I wasn’t really nervous until you just brought it up! Yeah, I always get a little nervous right before a tour, and particularly when I’m doing something new. And this tour is extremely different from every other tour I’ve done. I guess I just have to go into it with a good attitude. I know it’s not going to be perfect… it’s not supposed to be perfect. All my other shows were rigidly planned down to the second, and on this tour, we’re literally doing a different set list every night. I’m going to talk a lot more on stage. See, this is really going against my nature and stepping out of my comfort zone. I’m the kind of guy that likes to have everything super-planned out and over-rehearsed and always know exactly what I’m going to do and say. On this tour, I’m just going to walk out on stage and see what happens. It could suck; it could be amazing. That’s a little terrifying to think about… so… I’m going to stop thinking about it.

    On what he hopes fans will bring home from seeing this show:

    Primarily, lots of MERCH. That would be good. Besides that… this tour is geared specifically for the long-time hardcore fans, so I just hope that some of them get their minds blown by hearing some obscure old favorite songs that they never dreamed they’d ever get a chance to hear live. And we’re really pulling out the deep cuts for this show. We’re rehearsing 50 or 60 songs, most of which we’ve either never played live before, or haven’t played in decades. It’s a lot of work. I’d also like to think that, since this show will be comprised almost entirely of my original songs, it might shine a light on the fact that I’ve done some decent non-parody material over the last three decades. But hey, I’m not kidding myself – I know that to 95% of the general population, I’ll always just be the “Eat It” guy.

    How it feels to tour with his longtime friend Emo Phillips:

    I’m really looking forward to that. Emo’s one of my oldest friends, and I think he’s seriously one of the funniest guys in the world. I’ve never traveled with a support act before. For a long time, promoters would hire local comedians to open the show. We never knew anything about them before we got there. Some were good, some were not so good, and some were totally inappropriate. And then, when our show length passed the two-hour mark, we decided to eschew the opening act entirely and make it an “Evening With Al.” But we’re going to try not to bust anybody’s bladder on this tour: Emo’s doing about 30 minutes, and I’m doing about 90. It’ll be really fun; I always have a good time with him, and it’ll be a blast riding a bus with him for 15 weeks. I just hope he doesn’t snore, or perform daily ritual sacrifices or anything. Eh, whatever, I’m sure I’d get used to it.

    The Ridiculously Self-Indulgent, Ill-Advised Vanity Tour Dates:

    Feb. 27 – Bardavon 1869 Opera House – Poughkeepsie, NY
    March 1 – Tarrytown Music Hall – Tarrytown, NY
    March 2 – Foxwoods Resort Casino – Ledyard, CT
    March 3 – The Music Hall – Portsmouth, NH
    March 4 – Wilbur Theatre – Boston, MA
    March 7 – Place Des Arts – Montreal, QC
    March 9 – Danforth Music Hall – Toronto, ON
    March 10 – 20 Monroe Live – Grand Rapids, MI
    March 11 – Michigan Theater – Ann Arbor, MI
    March 13 – University At Buffalo Center for the Arts – Buffalo, NY
    March 14 – State Theatre – Ithaca, NY
    March 16 – Caesars Atlantic City – Circus Maximus – Atlantic City, NJ
    March 17 – The Paramount – Huntington, NY
    March 18 – American Music Theatre – Lancaster, PA
    March 20 – Music Center at Strathmore – Bethesda, MD
    March 23 – Apollo Theater – New York, NY
    March 24 – Palace Theatre – Greensburg, PA
    March 25 – Playhouse Square – Ohio Theatre – Cleveland OH
    March 26 – Lexington Opera House – Lexington, KY
    March 28 – Kentucky Center for the Performing Arts – Louisville, KY
    March 30 – Virginia Theatre – Champaign, IL
    March 31 – Hoyt Sherman Place – Des Moines, IA
    April 2 – Mayo Civic Center Presentation Hall – Rochester – MN
    April 3 – Pantages Theatre – Minneapolis, MN
    April 4 – Pantages Theatre – Minneapolis, MN
    April 6 – Vic Theatre – Chicago, IL
    April 7 – Vic Theatre – Chicago, IL
    April 10 – Pabst Theater – Milwaukee, WI
    April 12 – Honeywell Center – Wabash, IN
    April 13 – Walker Theater – Chattanooga, TN
    April 14 – Miller Theater – Augusta, GA
    April 15 – Tabernacle – Atlanta, GA
    April 17 – War Memorial – Nashville, TN
    April 19 – Gillioz Theatre – Springfield, MO
    April 20 – S.E.Belcher Jr Chapel and Performance Center – Longview, TX
    April 21 – Paramount Theatre – Austin, TX
    April 22 – Wagner Noel Performance Arts Center – Midland, TX
    April 24 – tafford Centre for Performing Arts Theatre – Stafford, TX
    April 25 – Tobin Center for the Performing Arts – San Antonio, TX
    April 27 – The Majestic Theatre – Dallas, TX
    April 28 – Orpheum Theater – Wichita, KS
    April 29 – Folly Theater – Kansas City, MO
    May 1 – Paramount Theatre – Denver, CO
    May 3 – Avalon Theatre – Grand Junction, CO
    May 4 – Tuacahn Ampitheatre at Tuacahn Center for the Arts – Ivins, UT
    May 5 – Fox Tucson Theatre – Tuscon, AZ
    May 6 – Lensic Performing Arts Center – Senta Fe, NM
    May 8 – Meza Arts Center- Ikeda Theatre – Mesa, AZ
    May 9 – McCallum Theatre for the Performing Arts – Palm Desert, CA
    May 11 – The Theatre at Ace Hotel – Los Angeles, CA
    May 12 – Humphrey’s Concerts by the Bay – San Diego, CA
    May 15 – Crest Theatre – Sacramento, CA
    May 17 – Golden State Theatre – Monterey, CA
    May 18 – Turlock Community Theatre – Turlock, CA
    May 19 – Fox Theatre – Oakland, CA
    May 20 – Uptown Theatre – Napa, CA
    May 22 – Cascade Theatre – Redding, CA
    May 24 – McDonald Theatre – Eugene, OR
    May 25 – Revolution Hall – Portland, OR
    May 26 – Revolution Hall – Portland, OR
    May 27 – Martin Woldson Theater at the Fox – Spokane, WA
    May 29 – Moore Theatre – Seattle, WA
    May 31 – Grey Eagle Resort & Casino – Calgary, AB
    June 1 – Casino Regina – Show Lounge – Regina, SK
    June 2 – River Cree Casino and Resort Entertainment Centre – Enoch, AB
    June 3 – Esplanade Theatre – Medicine Hat, AB
    June 5 – Burton Cummings Theatre for the Performing Arts – Winnipeg, MB
    June 6 – Fargo Theatre – Fargo, ND
    June 8 – Columbia, MO – Jesse Auditorium – Columbia, MO
    June 9 – Surf Ballroom – Clear Lake, IA
    June 10 – Meyer Theatre – Green Bay, WI

  • Hearing Aide: Dopapod ‘Megagem’

    What’s in a name? Well, in terms of the latest Dopapod album, everything. We know the phrase “never use a word in its own definition” but for right now, we’re scrapping that. Dopapod’s Megagem is just that–an 8-track album, its title and definition all in one.

    megagemWhile fans were relishing in the excitement of fresh material and the show planning that comes along with it, all came to a halt when a Facebook post from Rob Compa, Eli Winderman, Chuck Jones and Neal “Fro” Evans, stated that the ever-growing powerhouse would take a break from the road for the entirety of 2018. Megagem, while acting as the band’s mic drop before a sabbatical, can teach us all a lesson while exploring its larger thematics: cater to your needs as they need to be met–time doesn’t stop for anyone.

    Kicking things off in typical fashion with wailing guitars, stellar harmonies and entrancing tempo changes, the album launches into a powerful opener of “Plaese Haalp.” While many have already heard the tune live over the course of the last few months, this time, listeners are introduced to triumphant strings, violins and cellos, helping to create a larger than life sound. Lyricism plays a key role, detailing inner emotions and exploring parallels between time, creating music and giving attention to other avenues in life. Eventually tempo slows down as Winderman’s roaring and impressive vocals take the reigns of explaining their reasoning behind the 2018 hiatus.

    Fro leads us into “Piazole” for a few bars on the drum kit, before the rest of the band jumps in to create an eccentric tune, capturing the essence of what could double as a soundtrack from our favorite N64 video games. Coming as the first instrumental track on the album, “Piazole” tells a story all its own through incredible song structure and varying instrumental spotlight. This track feels like home as its zippiness, appropriately placed guitar solos and eerie bass line are representative of everything Dopapod does so well. “Zonk” comes next as a zany, momentary interlude, stringing together “Piazole” with the other known Megagem track, “Mucho.” As a fun addition on the release, it leaves tons of room for interpretation and live jamming, should it be played before the 2017 gigs are up. Pro tip: be extra cautious while listening for the first time in any vehicle. Abrupt horns sound off twice and can cause immediate confusion.

    “Mucho” brings a diverse flavor to Megagem with airy vocals, a light-hearted message and a chorus sung entirely in Spanish. The album’s themes of fulfilling different facets of life and prioritizing fleeting time are stitched throughout the track and in the chorus that immediately follows three prominent, crowd engaging claps. For those who were wondering, the chorus translates:

    “The purpose of life is simple. Have a good time until the day you die. Live life in the present moment. Just go out and have a good time, silly.”

    “Confabuation” comes next with Compa and Winderman pleasantly and traditionally harmonizing vocals. As the song progresses with contextual lyrics to their current situation, inventive guitar licks slide into the spotlight before Fro masters odd time signatures and high cymbal taps to abruptly close out the track. A mysterious intro leads us into “Turn by Turn” and based on the title alone, let’s hope to see a Turn by Turn > Turning Knobs before the guys wrap up the year for good. This song instantly places you in a convertible driving along the coastline with your hair blowing in the breeze as Dopapod offers jazzy drum fills and lyrics based on colors and “stretching your minds eye,” alluding to the cerebral album art. “Turn by Turn” has fun exploring various arrangements all within one song, with creative drums that your ear just can’t stray from. The song’s lyrics end, but the tune carries on as a crescendo of sound builds stronger alongside ambient  effects before a blunt ending.

    Holding down the blues on Megagem, “Buster Brown” acts as the final instrumental track. Slowed down, filled with soul and heavy on guitar, Dopapod lets the instruments smoothly speak for themselves. Compa and his guitar unmistakably shine over the course of the song but its Jones’ intricate bass-work that lays down the foundation for the jam. “Starfish” comes as the final piece to the Megagem puzzle- a spacey, intuitive ending track ready to sing you to sleep for a 365-day lullaby. It’s dreamy tone guides listeners into a utopic, upside-down world were Dopapod never goes on hiatus–a prelude to a dream acting as a perfect ending to reflect on the album as a whole. Winderman is given another opportunity for an ending psychedelic, soliloquy. Strings come into play once again to wrap “Starfish” at high volume as we come full circle to where the album’s journey all begin.

    With their most themed release to date, its apparent the quartet knew exactly where they wanted to go, as they take their listeners on a dream pop journey to the center of self fulfillment. The 5th studio album comes a a bittersweet symphony, the last creative piece relinquished by the jam rockers before the looming hiatus. While its bittersweet to know you wont witness the live, raw talent of a band so deserving of its praises for an entire year, at the very least, we’re left to see how the entire album translates on stage and if any of those strings just so happen to surface during fall tour.

    The next NY show dates take place on October 27 at Irving Plaza with The Motet and Halloween trickery at Putnam Den with Burlington VT’s Swimmer.  Catch ya in 2019, Dopapod! We’ll be waiting.

    Key Tracks: Piazole, Confabuation, Turn By Turn

  • Disc Jam Presents: Halloween Horror Camp 3

    On October 28, Disc Jam is presenting Halloween Horror Camp 3! Celebrate Halloween weekend listening to lespecial, Strange Machines, Formula 5 and more as they pay tribute to some of their favorite artists like Primus, Rage Against the Machine, The Doors, Phish, Daft Punk and more. Concert-goers should be prepared to be in Western Massachusetts’ 413 area code, but the catch is that the exact location for the event won’t be released to ticket holders until 2 days before the show.

    Show gates will open at 10:00 am, and music will go from 1:00 pm to 3:00 am. There are two camping options: on-site cabins and car side camping. Guests 21+ can enjoy complimentary beer from the Lagunitas beer garden. Tickets are $60 and can be purchased here.

    Warm up for the show with these previews!

    Strange Machines (The Doors)

    Mammal Dap (Daft Punk)

    Formula 5 (Phish)

    Cosmic Dust Bunnies (The 80s)

    Kerry Quirk (Madonna)

  • Throw Away the Rudder (Float Away on Vapour Trails) – A Tribute to Gord Downie

    When your nation’s leader gives a tearful press conference lamenting that they are less of a country without you in it. When your country’s flagship news magazine spends the majority of its broadcast speaking of your legacy. When a national network dedicates hours of programming on both television and radio to the news of your death. When the Toronto Maple Leafs hold a moment of silence for a lifelong Boston Bruins fan. When your hometown’s mass transit system substitutes the bus route for “thanks for your life” on the message boards. When musicians, athletes, politicians, actors, commentators, indigenous leaders and everyday people recount memories of their encounters with you. These are all signs that you led a life to be celebrated.

    Gord Downie of the Tragically Hip passed away Oct. 17, a casualty of glioblastoma, a severe and incurable form of brain cancer. His diagnosis followed a seizure he had in December of 2015. Why this resonates so strongly with me is that my mother was diagnosed with the same. The fact that he didn’t take this diagnosis as a death sentence but as a mission to bring his message to Canada and the world, speaks to the character of the man. The period following his diagnosis turned out to be one of his most prolific.

    Downie was genuine. Downie was intense. Downie was humorous. Downie broke down fences. Downie built bridges. Downie was uniquely Canadian. Downie was one of kind.

    The Tragically Hip was never a big name in the U.S. Perhaps the obtuse poetry of the band’s lyrics or the uniquely Canadian references in their songs kept that from happening. Those Americans who had heard of the Hip and who learned to love the Hip most likely did so because of some connection to Canada, whether it be proximity to the border, family ties or a friend in the know. For me, it was a combination. I was turned on to the Hip by my friend Derrick, who had played hockey professionally and had many Canadian friends who were big Hip fans. Knowing my fondness for the Toronto Maple Leafs, Derrick told me about a Hip song that lamented former Leafs player Bill Barilko, entitled “50 Mission Cap.” I was hooked.

    I was in my mid-20s when I dove into the Hip. I dove in deep. Perhaps it was my many family trips to Canada in my childhood. Perhaps it was my need to be different than others. Whatever it was, I loved the sound of the Hip and the content of their lyrics. Through those lyrics, I discovered more about Canada than I ever would have otherwise. I was fascinated by the story of Barilko. I researched Hugh MacClennan and David Milgaard. I was an American with my own little Canadian secrets.

    Perhaps the coolest thing about being an American Hip fan in their heyday was that seeing them live didn’t involve sleeping out for tickets or sitting in a huge stadium to see them play. While the band’s hometown of Kingston, Ontario is just a few hours away from my hometown of Rome, New York, in Hipworld, it may as well be light years away. My first time seeing the band was at the Club Chameleon on the Day for Night tour in Syracuse in 1995 with a band called the Rheostatics opening. Not only was I getting an opportunity to see a new favorite band in an intimate venue, I was also being introduced to a cool new band I had never heard of in the Rheos. I’ve been a Rheos fan since that day and have the Hip to thank for that.

    The people working the door that night were asking each attendee how far they’d come for the show as they entered. I’d never encountered that when going to a concert. A few years later, I realized why. It soon became apparent that Hip fans travel, not unlike Pittsburgh Steelers fans. And I can’t say as I blame them. Given the choice between seeing my favorite band among 20,000 others in a stadium or with 1000 people in a small bar in Central New York, I’d choose the latter as well.

    Perhaps the Tragically Hip’s greatest legacy is that on Canadian music as a whole. In the year and a half since Downie’s illness was revealed, generations of Canadian musicians have come forward to express their gratitude for the band’s music. On New Year’s Day, 2017, Canadian radio host George Stroumboulopoulous celebrated the career of the Tragically Hip in a four hour show that brought together artists as varied as Sam Roberts, Geddy Lee, Blue Rodeo, Barenaked Ladies, A Tribe Called Red and Tanika Charles to perform versions of Hip classics and discuss the band’s influence on them and the musical culture of Canada as a whole. You can listen to that show here.

    Perhaps my biggest takeaway in becoming a Hip fan is the relationships I’ve developed along the way. To meet a fellow Hip fan is to meet a kindred spirit. And if you happen to be wearing something Canada-related, the barriers are immediately broken. This happened to me at Syracuse’s Landmark Theatre during the Phantom Power tour in 1998, the second of mine and my wife’s three consecutive “Thruway Tour” shows that also hit Albany and Rochester that year.

    It’s pretty much a requirement to wear something Canadiana to a Hip show, whether it’s a maple leaf patch on your jean jacket, a hockey jersey or the shirt of any Canadian band. I wore my favorite Maple Leafs hat to every Hip show that tour. While waiting in line for a beer, a tall gentleman in front of me turned and asked where in Canada I was from, apparently bewildered that an American would be a fan of a Canadian hockey team. I mentioned that I was from less than an hour away and have been a Leafs fan for years. That question led to a friendship going on 20 years now. My friend Tom hailed from Barrie, Ontario and made the trip south for the show in Syracuse. He spoke about the tremendous time he had at the Hip’s run of shows at Bill’s Bar in Boston earlier that year and how he wished he could hear those shows again. As luck would have it, I happened to have said shows on tape from a trade I had made on a Hip listserv. He jotted his address down on a cocktail napkin.  A few days later I copied the shows and mailed them off to Barrie and a friendship was born. Tom now lives in the Calgary area, but thanks to the miracle of technology, he and I have been able to maintain our friendship over all these years and I can count him as one of my truly best friends.

    Since 1995, I have been fortunate enough to see the Hip a total of 12 times, the most memorable was at Woodstock ’99 on the Saturday morning of that weekend in my hometown. Definitely one of the finest performances I’ve witnessed by any band, Gord at peak stream-of-conscious banter. When Downie said, “Ah, it’s nice to be back in Rome,” my face lit up, despite the fact that he’d more than likely never been here before.  The last time I saw them was with my wife at CMAC in Canandaigua on July 4, 2015. You can read my review of that show here.

    The night of the band’s final performance, in their hometown of Kingston last August 20, I sat in my living room, watching along with 12 million others across Canada and throughout the world as Downie gave his final farewell, tears in my eyes.

    Gord Downie brought people together. He had a magical touch that reached the rock fan and the poets. In times that have become increasingly divided, the world could use a lot more Gord Downies.

    Rest in power, Mr. Downie. You have enriched the lives of millions. Your words, your actions, your life will live on in those you’ve inspired.

  • Gord Downie, Tragically Hip Frontman, Dead at 53

    Charismatic frontman and Canadian national treasure, Gord Downie of the Tragically Hip passed away Tuesday night at the age of 53.

    Tragically Hip Cancer Gord DownieDownie was diagnosed with glioblastoma, an aggressive form of brain cancer, in December 2015. It was discovered after he suffered a seizure.

    The diagnosis wasn’t publicly revealed until May of last year when the band also announced a final Tragically Hip tour. The Hip, with Downie (vocals), Rob Baker (guitar), Paul Langlois (guitar), Gord Sinclair (bass) and Johnny Fay (drums) embarked on a 15 show cross-Canada tour in 2016, culminating in a nationally-broadcast show in their hometown of Kingston, ON on Aug. 20.

    Gord Downie
    Gord Downie assessing the situation in Canandaigua.

    A statement issued on the band’s website spoke of the inevitability of Downie’s passing, “Gord knew this day was coming – his response was to spend this precious time as he always had – making music, making memories and expressing deep gratitude to his family and friends for a life well lived, often sealing it with a kiss…on the lips.” Downie made a point to kiss his bandmates on the lips at the end of each performance on the Man Machine Poem tour in 2016 to show his love for them. The full statement from the Downie family:

    Last night Gord quietly passed away with his beloved children and family close by.

    Gord knew this day was coming – his response was to spend this precious time as he always had – making music, making memories and expressing deep gratitude to his family and friends for a life well lived, often sealing it with a kiss… on the lips.

    Gord said he had lived many lives. As a musician, he lived “the life” for over 30 years, lucky to do most of it with his high school buddies. At home, he worked just as tirelessly at being a good father, son, brother, husband and friend. No one worked harder on every part of their life than Gord. No one.

    We would like to thank all the kind folks at KGH and Sunnybrook, Gord’s bandmates, management team, friends and fans. Thank you for all the help and support over the past two years.

    Thank you everyone for all the respect, admiration and love you have given Gord throughout the years – those tender offerings touched his heart and he takes them with him now as he walks among the stars.

    Love you forever Gord.

    The Downie Family

    Downie’s final days were spent championing indigenous causes, forming The Gord Downie and Chanie Wenjack Fund to support reconciliation between indigenous and non-indigenous people in Canada. Chanie Wenjack was a young indigenous boy who died while trying to escape one of Canada’s now defunct residential schools in 1966. Downie released a solo album entitled Secret Path, accompanied by a graphic novel, last October to bring light to Wenjack’s death and the impact of the residential schools on Canada’s indigenous people.

    As a result of his tireless work for the First Nations people, Downie was honored at a ceremony given by the Assembly of First Nations last December. National Chief Perry Bellegarde bestowed an eagle feather, a symbol of the creator, on Downie and gave him an honorary aboriginal name, Wicapi Omani, which means “man who walks among the stars.”

    Gordon Edgar Downie was born in Kingston, ON on Feb. 6, 1964. He attended the Kingston Collegiate and Vocational Institute, where he met his future bandmates. Davis Manning was an original member of the band as saxophonist. He was replaced by Langlois in 1986. The band inked a deal with MCA Records after an appearance at Toronto’s famed Horseshoe Tavern, releasing its self-titled EP in 1987. The follow-up Up to Here in 1989 produced four hit singles for the Hip in Canada, “Blow at High Dough,” “New Orleans is Sinking,” “38 Years Old” and “Boots or Hearts.”

    The band’s blues-based sound and poetic Canadiana lyrics endeared them to Canadians of all walks and perhaps kept the Hip from success in the U.S., aside from the border towns. Nonetheless, the Hip became Canadian rock royalty, garnering 16 Juno Awards (Canada’s equivalent of the Grammys), the Order of Canada, induction into the Canadian Music Hall of Fame and a street naming in their hometown.

    Over the course of 30 years, 14 Tragically Hip albums, five solo efforts (with another set for release on Oct. 27) and many collaborations, Gord Downie was a champion of music, especially Canadian music. The Hip brought many Canadian artists with them on tour, including the Arkells, Rheostatics, the Sadies, Eric’s Trip, Spirit of the West, the Inbreds and Ron Sexsmith among others. Many of them have left fond remembrances. Max Kerman of the Arkells told CBC Radio’s “Q” podcast, “Gord taught me that it’s OK to dance.” The Toronto Globe and Mail tweeted, “Gord Downie, troubador of Canada, charmed and challenged a nation.”

    Canadian Prime Minister Justin Trudeau, visibly emotional, delivered a statement on Wednesday, describing Downie as one who “gave us goosebumps and made us proud to be Canadian.”

    But Downie was more than a musician. Downie was an activist. He was a performer. He was a poet. He was an actor. Gord Downie was a treasure. To gather an image of who Gord Downie was, the New York Times said it best, “The place of honor that Mr. Downie occupies in Canada’s national imagination has no parallel in the United States. Imagine Bruce Springsteen, Bob Dylan and Michael Stipe combined into one sensitive, oblique poet-philosopher, and you’re getting close.”

    Farewell, Mr. Downie. “It was a pleasure doing business with you.”

  • Listen to Intrepid Travelers Themed September Residency at Nietzsche’s

    After a September residency at local Buffalo dwelling, Nietzches, Intrepid Travelers packed up their sets chock-full of themes and set their sights on new residencies. Week one offered tunes from the British Invasion, spanning from the expected efforts of the Rolling Stones, Beatles, The Who, Cream, and Jimi Hendrix while week two introduced a set list that spelled out”Witty Tarbox.”

    Carefully crafted to spell its theme out with the first letter in each track, week two ripped through an eclectic combination of tunes by pairing Pink Floyd, Rush, Talking Heads and Lotus covers in the company of Diana Ross and Dr. Dre.  Sam Pavlovich was introduced as the new bassist in Intrepid Travelers and sat in on “Take Me to the River,” “YYZ,” “Xxplosive,” and “Funky Duck.”

    2017/09/07 – LIVE at Nietzsche’s (Buffalo, NY) by Intrepid Travelers

    2017/09/14 – LIVE at Nietzsche’s (Buffalo, NY) by Intrepid Travelers

    The third week of the IT residency treated fans to an intersteller set appropriately in place with Space Junk acting as supporting act. The night unveiled “Space Odyssey,” “Satellite of Love,” “Rocket Man,” “Great Gig in the Sky,” “Standing on the Moon,” and other intergalactic classic rock favorites. The fourth and final week closed out a wildly executed residency with a final theme as a play on “dirt,” with musical support from Dirty Blanket. Also acting as David Neimanis’ last as a member of Intrepid Travelers, the group welcomed covers of musical giants Steely Dan, Frank Zappa, Phish, Primus, Lettuce and more, with the help of Ellen Pieroni on saxophone.

    2017/09/21 – LIVE at Nietzsche’s (Buffalo, NY) by Intrepid Travelers

    2017/09/28 – LIVE at Nietzsche’s (Buffalo, NY) by Intrepid Travelers

    IT are already in the midst of their latest residency at Funk N Waffles in Rochester, every Wednesday for the month of October!

  • Roger Hodgson of Supertramp Brings Sold Out Crowd to Their Feet

    At the age of 12, Roger Hodgson was given a guitar that would mold his destiny of writing and composing music.  For anyone who has listened to Roger’s music, you can tell it’s written from the heart as it touches those that hear it in a way that is personal to them.  The lyrics are meaningful, melodies well thought out and it’s composed as a classical piece of music is, with thought and organization.  As one of the founders of Supertramp, Roger Hodgson would have numerous Top 10 hits, sell out arenas and live a life that most musicians strove to achieve.  However, in the height of success, Hodgson chose to leave the group in 1983.  The decision would speak volumes and give his fans an insight to his personal character.  When faced with a choice of continuing on a trek of selling out arenas or being present in the lives of his wife and children, he chose the latter.

    Arriving early to take my seat at the Turning Stone Showroom, I anxiously awaited a moment I never thought I would get to experience: hearing the voice of Supertramp.  As a child of the ’70s and ’80s, the band disbanded by the time I was old enough to be able to go to concerts on my own. I was only able to listen to recordings and mentally visualize a show.  It was a moment I didn’t think I would have an opportunity to experience, and one I was relishing in as a teenager in an adult’s body.

    Roger Hodgson got right into his set, starting the party with “Take the Long Way Home.”  Most artists don’t come right out of the gate with such force, especially when they have a two hour set to play.  Not to worry though, with a catalog of popular hits both with Supertramp and that of his solo career, the choice of songs to perform was more of the struggle rather than filling the two hours with music the crowd would love.

    A successful leader, whether in the corporate world or musical in this case, surrounds himself with the best of the best to bring out the best in themselves.  This is the case with Hodgson’s band.  He’s surrounded himself with some of the best musicians in the business and their ability to play together is seamless and without effort as they feel the music and perform as a cohesive team.  Front and to stage right you’ll find Aaron MacDonald on saxophones, harmonica, keyboards and backing vocals; behind the plexiglass is Bryan Head on drums; behind Roger stage left is Kevin Adamson, also on keyboards and backing vocals; and center stage behind Roger is David J Carpenter on bass and backing vocals.  Not to take away from the original band, but to close my eyes and listen to the music I wouldn’t have known it wasn’t the same band as these guys played without effort and with the same passion I heard time and again in the music I grew up with. It was refreshing to see Roger share the stage with these guys and see the respect he gave them as they played their parts along with him. It is apparent that they are a musical family.

    Throughout the night Hodgson played many of his hits such as “Breakfast in America,” “The Logical Song,” “Dreamer” and “Give A Little Bit,” to name just a few, demonstrating his fluid keyboards and hitting all the same high notes as he did all those years ago. But it was with his solo music that this multi-faceted artist blew me away.  With hits such as “Had a Dream,” he blew me away with his guitar skills, and with “Fools Overture” I saw the musical genius he had as he took three songs that didn’t stand up on their own and melded them together in a musical composition that one must listen to many times to truly appreciate the sound. As I listened to it for the first time last night, I could hear musical influences of the times in the piece such as the sound effects interspersed within, and the story line that took you someplace else.  The music itself took you on a roller coaster ride with highs and lows of sound, bringing you back home with meaningful lyrics.  I urge you to check his recording out on his Youtube channel as he’s accompanied by an orchestra which truly punctuates the genius in this number.

    Another number that truly impressed me and brought me to another place was “Death and a Zoo” from Hodgson’s fourth solo album, Open the Door.  Not only could you imagine what it would be like, you could feel through the music the question he posed – as a wild animal faced with the choice of death or living your life out in a zoo, which would you chose? A-M-A-Z-I-N-G!

    As a teenager at the time Breakfast in America came out, this album was one that I enjoyed from start to finish.  I would put on my headphones and lose myself for hours, song after song.  There was one song in particular on this album that spoke to me. This song would be my ‘go to’ song when feeling confused, sad and misunderstood, as most teenagers tend to be during those years. Heck, even as an adult we find solace in music. It was uplifting to me then and still is today as it helped me find faith in times I need it most.  As Roger spoke to the crowd about this song, it was comforting for me to hear that he wrote this as a teenager, and that it was a way for him to find a voice in those years as well. Years later, he would sit there and tell us how his music touched others, and that perhaps it was because he writes from the heart for himself that it also can touch those heartstrings for so many others.  I made a special request that he play “Lord Is It Mine,” and as he called out my name and that of another mother and daughter that had also requested he play it, he dedicated it to us all.  It was difficult to hold my composure as I felt a full circle moment occur. Yep, it was pretty darn cool. Thank you Roger for writing this beacon of a song, and for making it even more special to me last night with your dedication.

    You know how sometimes you’re glad that you didn’t experience something as a child but instead as an adult? This was that situation for this journalist.  Like the crowd, I truly appreciated this show, this music and the story of this amazing musician that chose to love his family first.  That mindset is what makes this musician so talented, his music has heart and he gives that heart to all he loves. Last night, it was his musical family that he shared his heart with.

    Setlist: Take the Long Way Home, School, In Jeopardy, Lovers in the Wind, Breakfast in America, Hide in Your Shell, Along Came Mary, The Logical Song, Lord is it Mine, Death and a Zoo, The Awakening, Had a Dream, Child of Vision, Fool’s Overture Encore: Dreamer, Give a Little Bit

  • Runnin’ Down a Dream: Remembering Tom Petty (1950-2017)

    Remembering Tom Petty as the venerable wizard of feel-good music, the kind we cranked with the windows down while driving at full speed can bring solace to this tragic loss. “I felt so good, like anything was possible / I hit cruise control, and rubbed my eyes.” His songs were perfect for beach parties, heartache, conflict, and respect. Petty’s songs gave us perspective, relating to us to say, “life will be all right: you will get through this; stand tall and be proud of yourself.”

    tom petty lockn

    Petty was a philosopher, a poet, a troubadour, and a comic. He had a keen sense of humor and did what was right for his fans, even if it meant going to battle against overbearing record company execs. He fought for the common cause and helped all musicians in his wake by keeping industry powers in check. He fought labels to keep cd costs down, including his own first record label, and he succeeded. Most early contracts were rigged against the artists, and musicians often had no choice but to sign their lives away in order to “make it big.” Now the battles are fought against Pandora and Rhapsody, but some of these streaming services are losing the fight as new services take over and fans rally behind artists who are continuing the fight Petty pioneered.

    Early in my formative years, I enjoyed watching my friends in Final Warning rehearse and perform Tom Petty and the Heartbreakers’ “Breakdown” countless times, while Adam Sandler gave us his best Tom Petty impersonation, complete with the twangy accent and rock moves. His basement was where I followed my first band, becoming the band’s light guy and roadie. Petty was the lovable rocker we all related to. He crafted songs that were simple, catchy, and about real life: powerful, inspiring, soothing, and enlightening. His fans felt like he was their best pal, and that he spoke to us through his music. Petty was one of the greatest artists, with the uncanny ability to reach our hearts and alter our minds. In his music was great wisdom and peacefulness, but also a sense of celebration, confidence, and courage.

    “Petty was a giant. Damn the Torpedoes is one of the greatest rock albums of all time, and certainly would have been the best album of the 80s, if it were released 3 months later.” (Peter Lavallee, lead guitarist of Final Warning) That was Petty’s third studio album, his most popular and highly-acclaimed, which was certified triple platinum in the US and reaching #2 on the U.S. charts. Every song on it was a masterpiece. Petty didn’t write fillers – he wrote every song to strongly stand on its own.

    “I first worked with the Tom Petty Camp at The Hangout Music Festival. I became friends with Josh, who looks out for the band and tour. I gave Tom and his wife a ride from the tour bus to the headliner dressing room compound and upon introducing myself with ‘Hi, I’m Tony’, Mr. Petty nasally replied ‘Hey, I’m Tom.’ Fare thee well, Tom Petty, and thank you for fueling our FM radio memories for all those decades with simplistic truth. You are loved and will be missed.” (Tony Hume, tour manager, artist relations, and operations for Bonnaroo, Karl Denson’s Tiny Universe, The Fox Theatre, Wanderlust, and All Good, among many others).+Remembering Tom Petty

    Petty was inducted into the Rock and Roll Hall of Fame in 2002, and inducted his friend, the “Dark Horse” himself, George Harrison, in 2004. He had countless friends in the music industry, being likeable, approachable, and one of the hardest-working performers and songwriters of all times. Petty had more top 10 hits in Mainstream Rock than any other artist in the chart’s history, with 28 total top 10’s. Petty has been on the charts 48 times since the chart’s inception in 1981 (source: Billboard). Petty was competing against The Rolling Stones and The Who, and has scored top hits in 5 different decades, selling over 60 million albums worldwide.

    In his last year, Petty played 53 shows in 2017, and has performed over 1,000 shows in his lifetime. Petty has appeared and recorded with Bob Dylan, George Harrison, Johnny Cash, Stevie Nicks, Roy Orbison, Steve Winwood, Lucinda Williams, and countless other music legends. One of Petty’s first guitar teachers was Don Felder of The Eagles, a fellow citizen of Gainesville, FL, where Petty was born on October 20, 1950. Early on, Petty was so impressed by The Beatles that after seeing them, he dropped out of school at 17 to play bass with his new band, The Epics. They soon evolved into Mudcrutch, who had 2 of the Heartbreakers, Mike Campbell and Benmont Tench, along with Tom Leadon on guitar and Randall Marsh on drums. They recently played a sold-out show at The 930 Club in DC on June 6, 2016, having been recently reformed in the summer of 2007. (Washington Post).

    Remembering Tom PettyPetty directly influenced Dave Grohl, who has covered ‘Breakdown’ 69 times. Petty influenced many other prominent artists, including Ryan Adams, Bon Jovi, and Taylor Swift, who wrote, “To me, Tom Petty represented a kind of songwriting I idolised: complex simplicity. His hits have defined rock radio since the Seventies, and he never stopped writing great music. It said so much in the lyrics, the concepts, the stories, the message, the nuances … but always brought you back to a hook that got stuck in everyone’s head. He motivated thousands of guitarists to learn to play just because they wanted to be able to play ‘Free Fallin”. Count me as one of them.” (NME Music).

    Because of his huge popularity, Petty played the largest festivals, including headlining acts at Bonnaroo in 2006, alongside The Allman Brothers Band, Stevie Nicks and the Black Crowes. Petty was enthusiastically greeted by his devoted fans, who chanted the words to every song with unity and pride. I had the great fortune to experience the power of this rock icon first opening for The Grateful dead in the mid to late 80s, a few other shows throughout the decades, then more recently at New Orleans Jazz Fest in 2012, and again at Lockn’ Festival in 2014. I covered that year for NYS Music, and was lucky to catch this shot as Tom looked right at me, with an elvish grin and a gleam in his eye.

    Thank you for your musical magic, may you rest in peace, Tom.

  • Amy Helm Pays Tribute to Petty in Rochester

    Friday October 6 at Funk n Waffles Music Hall in Rochester started with one voice and one guitar, as Woodstock’s Connor Kennedy took the stage to warm up the stage for Amy Helm. He would end the night, as part of Helm’s band, on a two-neck guitar. Three and four-part harmonies would be the centerpiece of Helm’s set, which culminated with five songs by Tom Petty songs as a part of a six-song encore. One two three four five six… though Amy Helm and band put on a show that was anything but paint-by-numbers.

    Amy Helm PettyKennedy highlighted his emotive country-ready voice in a short set of fresh original folk tunes. He was appropriately decked out in denim head to toe, though he admitted a “clerical error” in not wearing his Nick Tahoe’s tee. During “Down by the Water” a voice emerged from the audience, in perfect harmony. Amy Helm, enjoying the set from the crowd, decided to sing along, beautifully “sitting in” without taking the stage. His set ended with him seated at the Rhodes, to play the title track off of his excellent just-released album, Somewhere.

    Helm’s set started with a small hiccup, as Kennedy had some guitar amplification issues. The rest of the band soldiered on, extending the beginning of “Didn’t It Rain” into a funky little jam, complete with improvised vocals. They funked, but didn’t waffle. As soon as the guitar was ready, the band immediately clicked into the song proper, as if it was part of the plan all along. The rest of the set went on without a hitch, mixing and matching genres like soul, R&B, roots, country, funk and blues. “Rescue Me” took on a southern rock feel and “Cotton and the Cane,” a new song co-written with Mary Gauthier,  showed more twang, but the band’s incredible harmonies were present throughout. They mixed in two great ones from the late great Alan Toussaint, “Yes We Can Can” and “Freedom for the Stallion,” both times Helm remarked how relevant the lyrics still were in our current time. The set closed with a searing rendition of Bob Dylan’s “Meet Me in the Morning,” which opened with some thumping bass from Ted Pecchio, closed with a rollicking solo from Sean Dickson on drums, and was pure fire in between.

    The encore opened with another cover, one of more recent significance, a near a capella rendition of Tom Petty’s “Wildflowers” with only the Rhodes and some very subtle bass and drums as accompaniment. A beautiful tribute, but wait, there’s more. Helm said they knew in the lead up to this gig, a part of a quick three-show stint, they would need to play a Petty song. But once the time grew closer, they realized they couldn’t just play one, they needed to play five. So the encore became a mini Tom Petty tribute set. They continued on, with “You Don’t Know How It Feels,” an acoustic one-mic bluegrass version of the deep cut “No Second Thoughts” and “Waiting is the Hardest Part.” Helm then held back tears as the band beautifully dedicated the hymn “Gloryland” to Petty. This immediately led into an explosive finish, with Kennedy strapping on the aforementioned double-neck guitar for a perfect “American Girl.” We give it a ten!