It is not unusual in this day and age for a band to have it’s own festival. It is however, unusual, for a band’s festival to outlast the band itself. The Peach Music Festival, running August 10-13, 2017 was started by the Allman Brothers Band back in 2012. The band broke up for good a little more than two years later, but the festival lived on, featuring various off-shoots and solo projects of the band each year. 2017 has seen the untimely deaths of founding members Gregg Allman and Butch Trucks.
But the festival lives on. It will again host performances from Allman-related bands, including Gov’t Mule (joined by guitarist John Scofield and other unnamed guests), Jaimoe’s Jasssz Band, and the final performance of Les Brers. More importantly, will be the special, not-to-be-missed Peach Tribute to Gregg Allman and Butch Trucks, which will feature Chuck Leavell, Jaimoe, Oteil Burbridge Marc Quiñones, Duane Trucks, Devon Allman and many more family and friends.
“Caterpillar sheds his skin to find a butterfly within…”
Gregg and Butch, Berry Oakley and Duane Allman, and the Allman Brothers Band, will live on in the spirit of the Peach Music Festival. The bands invited this year will surely keep it very much alive. A who’s who of the world of jam, it is a lineup that is tough to top in a summer crowded full with festival goodness. The headliners Thursday through Sunday read like a 2017 jam band All-Star team: Joe Russo’s Almost Dead reinvigorate the music from the king of jam bands on Thursday night, My Morning Jacket will set the mountain ablaze with their rock torches Friday night, and southern jam titans Widespread Panic sneak their limited tour north of the Mason-Dixon line for shows on both Saturday and Sunday nights.
Slip just below the top line and the names don’t get much smaller, with Mike Gordon fresh off Phish’s Baker’s Dozen run at the Garden, blues-guitar phenom Joe Bonamassa, and progressive jammers Umphrey’s McGee joining the ranks of the aforementioned Allman-related artists.
“First there is a mountain, then there is no mountain, then there is…”
The Peach Music Festival will once again be held on Montage Mountain in Scranton, PA. Not only is it a naturally beautiful location, but it also includes a full and accessible water park with rides, slides and a lazy river. This is no ordinary waterpark, it comes equipped with a custom live music soundtrack running throughout the entire day of course! The mountain also includes a full restaurant, bar, and bathrooms, in addition to the usual festival fare.
Once you bite into this Peach, the sweet juices will be flowing all weekend, but that large Allman Brother pit from which it grew, will continue to hold it all together. For daily or weekend passes, and all the information you’ll need to prepare for your time at the fest, visit the official festival site at thepeachmusicfestival.com. See you on the mountain, jamming!
On Night 9 of Phish’s Baker’s Dozen residency, Maple was the donut theme of the night and with that came jams that slowly dripped out from Phish’s tap, leaving 4 nights to go and not a single song repeated thus far.
A tribute to our Maple loving neighbors to the north started the show, with a spotlight on the Canadian flag and one on Trey as he tore into ‘O Canada!’ A dozen songs followed through in the set, with nothing overly ambitious or stretched out like the previous 8 nights but the band dove into their catalog for fan favorites and rarer tunes. Highlights included the upbeat “Daniel Saw the Stone” that felt like a church revival as the lights brightened the entire arena; “Guelah Papyrus” which included Page performing Scott Joplin’s ragtime classic “Maple Leaf Rag” in between sections; “McGrupp” and a firey “Walk Away” capped the set of a full Baker’s Dozen of songs.
Set 2 brought out a usual jam vehicle “Golden Age” that stretched for 20 minutes and could have been the jam of the night if it were not for the latter half of “Swept Away” > “Steep” which took a spacey spin for 12 minutes and grew into an improvisational jam that has been a staple of the residency. Growing from “Steep” was a trio of heaters: “46 Days,” the long awaited (but not slow built) “Piper” followed by “Possum” made for 35 minutes of firey rock n roll to cap the show. An encore of Bowie’s “Rock and Roll Suicide” didn’t have the emotional impact that the debut during Halloween in Las Vegas had, but Trey singing the Ziggy Stardust coda still packs an emotional punch.
Holes is the theme for tonight’s 10th show of the Baker’s Dozen. Could Phish pay tribute to the late Chris Cornell with “Black Hole Sun?”
Set 1: O Canada[1], Crowd Control, Sugar Shack, When the Circus Comes, Daniel Saw the Stone, Army of One, The Wedge, Guelah Papyrus, Maple Leaf Rag[2], Guelah Papyrus, McGrupp and the Watchful Hosemasters > Limb By Limb > Walk Away
Set 2: Golden Age, Leaves, Swept Away > Steep > 46 Days > Piper > Possum
Encore: Rock ‘n’ Roll Suicide
[1] Phish debut; instrumental. [2] Phish debut; performed solo by Page
Tart Vandelay is as fun and feisty as their name. With bopping beats and catchy choruses, they’ve been winning the hearts of music lovers in Western NY and beyond with their live shows over the past year. Next month, they’ll be playing two sets during Rochester Fringe Festival.
Charismatic couple Katie Halligan and Martin LoFaso started the project while studying at Berklee College of Music, and have since added band members Pete Zamniak on bass and Christopher Dubuc-Penne on drums. Last fall’s EP Frontier Pioneer is a zesty little delight. Blending art with inspiration, the collection of songs are the acoustic equivalent of a novella which celebrates the triumph of the human spirit over adversity.
NYS Music met up with Halligan and LoFaso at Village Gate, an eclectic multi-use community in the heart of Rochester’s Neighborhood of the Arts. We talked about the joy of making music, and they created a playlist of some of their indie faves.
Paula Cummings: The name Tart Vandelay, does everyone get that it’s a Seinfeld reference, or are there people who don’t?
Martin LoFaso: They either do or they don’t. If people are too young or their parents didn’t watch Seinfeld, they don’t get it. But they still appreciate it, it’s still kinda goofy for them, so they still like it. But I was raised on Seinfeld, and I always loved the name Art Vandelay. George is my favorite character. He’s the despicable person who stands out in a group of despicable people. Even compared to other despicable people, he’s bad. It’s just funny to watch and I was always into that name. Luckily, Kate suggested Tart Vandelay.
Katie Halligan: I thought that adding a letter in front of it, and changing it slightly would just make it a fun play on words.
PC: What instruments do you play?
KH: I sing. I also have a looping station that I use, and I play ukulele and auxiliary percussion – different types of shakers.
PC: When you use the word “sing” you also mean vocalizations, not just words.
KH: I loop vocal percussion, and then I add harmonies on top of myself to fill out the sound and make it sound like there’s a chorus.
ML: You also play bass and keys and sax, but not for the band yet.
KH: I play a lot of other instruments. The next one I will be incorporating into the live performances is keys, the piano.
ML: In the band, I just play guitar and do backing vocals. I can play other instruments – bass and keys and the drums. She likes being a multi-instrumentalist, and I really like guitars. Any of the writing I do is on guitar. It’s just the instrument that speaks to me the most.
PC: I’ve seen you on stage, and it looks like you’re having so much fun.
ML: I’m glad that comes across. What’s interesting about the live show is trying to communicate that feeling. That’s what bands are selling. The good ones are selling a specific feeling at a live show, and it changes based on the band. Have you seen our full band?
PC: Not yet. That is one of my questions, the difference between playing as a duo and as a full band.
ML: There’s a lot more energy as a full band, but we still try to retain the cheery disposition. Just having fun. But I think a lot of our songs, especially as a duo, become very meditative. I think we still try to retain that with the full band because that’s the feeling that we’re selling, this sort of transcendence. As opposed to if there was a band that was heavier and wanted to sell more of like an angsty feeling, an aggression feeling. There’s nothing wrong – there’s no wrong feeling to feel. It’s just different bands sell you different feelings. And maybe that’s the feeling that we’re trying to get across.
KH: Definitely transcendence, with all our music. Being honest about the human experience. We’re trying to translate that on stage. Hopefully people in the audience not only enjoy it, but explore a lot of different feelings.
ML: I think making people cry is the best. Especially if you’re going out to a live show. A lot of people have built up defenses about being that vulnerable in public in front of people. I can totally understand that – a room full of strangers watching you bawl your eyes out. But really, we’ve been able to get through to people like that before just with a song, the message cuts so deep for them. That’s the thing, it’s just such a deep connection – it’s the deepest I think – to create that vulnerability, get people to feel the most raw that they can feel.
KH: But not always in a sad way.
PC: You have a song “Alien” that speaks to a lot of people about feeling out of place in the world.
KH: You’re taught from when you’re young that the nail that sticks out gets hammered. But we really try to embrace that because what else do we have but our differences? It’s a beautiful thing. I definitely wrote that pretty autobiographical. I’m glad that it speaks to other people. How could somebody not feel the same way at some point in their life and somehow relate to it? And I like the groove, too. That was one of the songs that wrote itself.
ML: It was the first one you finished.
KH: Yeah, that was the first. The first Tart Vandelay song.
PC: So were you in the dorm room at Berklee when you wrote that?
ML: We had an apartment along the subway line. Yeah, I wrote the guitar part.
KH: It started as a project he was doing.
ML: That’s usually our writing process – I’ll get the skeleton as far as the guitar line and bass of the song. Then it goes to her to write lyrics and rearrange.
KH: If I feel it needs a bridge or something, I send it back to him.
ML: Like Katie said, that one was autobiographical. I think they all are in a way. I think we’ve made a concerted effort as far as the writing itself. If we’re really after something that’s universal to the human condition and at the root of something that everyone is able to go through, then it should resonate even if it comes from an individual standpoint. The universal timeless things we all go through, existential questions and stuff like that. We don’t have to write for other people. We write for other people by writing for ourselves. It’s just a matter of getting people to surrender, to go to the feelings that deep.
PC: You have some creative pursuits outside of music as well?
KH: Right now, I’m a professional henna artist. Also, in my spare time I enjoy drawing and painting.
PC: What do you like to listen to?
ML: This year in September will be the 20th anniversary of my favorite album. It’s called Dots and Loops by the band Stereolab. I can appreciate their music, but I really only listen to that album. Some of our other favorite bands are Wilco…
KH: My Morning Jacket-
ML: Grizzly Bear, St. Vincent-
KH: White Denim, Dirty Projectors. We’ve been compared to Dirty Projectors.
ML: Tune-Yards.
PC: How do you like to listen to music?
KH: Usually in the car, because we’re always on our way to someplace else.
ML: I’ve been using Spotify. I have mixed emotions about Spotify. As a consumer, it’s just so easy.
PC: And easy to curate playlists.
ML: Which is mostly what I do, make a bunch of playlists.
KH: It’s mostly through Spotify that we listen to stuff. Sometimes we still use CD’s and mix tapes that we’ve made.
ML: Sometimes radio. Rochester has amazing radio stations. Both WRUR and WITR are great. 95.1 WAYO is great. WBER is an institution. Both of our jazz stations. We listen to local radio in Rochester, but if there’s nothing on at the moment that I like, I’ll go back to Spotify.
PC: If you made a playlist right now, which songs would you include?
ML: I would grab maybe the song “Diagonals” from Stereolab.
KH: I would grab “Touch Me I’m Going to Scream, Part 2” by My Morning Jacket.
ML: That one’s great. I’ve been really digging Wilco’s album they put out last year. It’s called Schmilco. It’s pretty low key and acoustic. I would probably put “If I Ever Was a Child” on that.
KH: My next song would be “Huey Newton” by St. Vincent.
ML: “Unto Ceasar” by Dirty Projectors.
KH: I just thought of one. We didn’t mention the band earlier, but the song, I love it so much. “Great Curve” by Talking Heads. I love Talking Heads.
PC: What would you name this playlist?
ML: We might call it something like “Summer Slummer.” We usually aim for cheesy puns when naming things. More fun that way.
PC: Let’s talk about Fringe Fest. You will be playing at Java’s. Have you played there before?
KH: No, this will be our first time playing there. We love going there, so it will be nice to play there. I think our music always translates well in a coffee shop setting. Especially because Java’s is artsy and perfect for Fringe Fest.
Tart Vandelay will perform as a duo at Java’s Cafe in Rochester on Sunday, September 17 at 5 pm and Thursday, September 21 at 9 pm as part of Rochester Fringe Festival. Both shows are free and open to the public. Attendees are encouraged to arrive early for seating/standing room.
On the second Sunday of the outstanding Baker’s Dozen run at Madison Square Garden, Phish once again left its mark in the building and reminded us why we should never miss a Sunday show. When they opened with the classic, “The Curtain With,” the audience knew that they were in for an extra tasty treat. On Night 8, the band showed patience, confidence, and, of course – a sense of humor. Launching into a short but sweet first set “Runaway Jim” the band brought smiles to faces as the first donut reference of the night was revealed. Phish has magically decorated all their sets with delicious toppings during the Baker’s Dozen, and they continue to please the crowd with the lyrics we know and love.
Unlike the outrageously raging Saturday night, the quartet took the “slow and steady wins the race” approach on Sunday. The unexpected Junta jam “Esther” poked its head out for the first time since 2015. A hush filled the chapel and the people looked happy as the boys eased into two more slower tunes in “Home” and “Brian and Robert.” After a straight forward “Nellie Kane” Trey Anastasio led into an unforgettable “Colonel Forbin’s Ascent> Fly Famous Mockingbird” while Chris Kuroda took the lights on a legendary adventure in “the World’s Most Famous Arena.”
A spine tingling “David Bowie” finished off the set highlighted by Trey’s exceptionally tight guitar playing. The first set may have been slow, but it certainly wasn’t dull as several bust outs and sought after trophies were obtained by the ravenous audience. During the set-break, it was clear that fans had made the right choice in buying tickets to the Garden rather than staying home to catch up on Game of Thrones.
While there was no mention of “Jimmies” in the set two opener, “Drowned,” there was certainly enough improvisation to write home about. Clearly the MSG residency has done something to the Vermonters as they are playing with a Nectar’s-esque level of commitment. The ambient and mind-altering “Song I Heard The Ocean Sing” that swam its way out of the “Drowned” jam was the perfect addition to an already stellar second set. Dialed in, Page anchored the jam with some incredible synth play and Gordon acted as the lift-guard and threw in a floating bass line to build the jam up.
After two songs and almost 40 minutes, the crowd was left speechless, but thankfully Phish did all the talking during what will be known as the “Baker’s Harpua.” The never-ending tale of Jimmy and his cat’s unfortunate fate has not been narrated since 1997 at the Garden, but this time around Trey, Mike, Page, and Jon sat down to tell us a story about the universe. Donuts have covered mid-town Manhattan as fans anxiously await the details of the next flavor each night. During the historic version of “Harpua,” Phish let us in on a little secret by informing us all that the entire Universe is just a donut! In the expansive narration of Jimmy and his comrades, Trey consistently made the connection between current events and what is happening in Jimmy’s world. The insanely entertaining story that was told on Sunday night will not just go down as one of the greatest things to happen during the 13-show run, but possibly one of the best renditions in Phishtory.
The band made it clear that they were not ready to head back down to planet Earth as they remained in outer-space for a cosmic “Also Sprach Zarathustra.” The crowd seemed perplexed and were still trying to wrap their minds around the “Harpua” story when the spacey and instrumental jam morphed into a familiar and grounding “Golgi Apparatus.” While I am not at liberty to assume how Trey writes his set lists, I imagine there was some thinking behind the second set on Sunday night. The band went from a water and ocean theme to explaining the massive and mysterious universe before looking into a microscope and focusing in on one of the smallest elements of a cell, the Golgi body.
Under the light, they couldn’t get anything wrong on this particular night as they settled on yet another a cappella song, “In The Good Old Summer Time” to finish off the amazing set. Phish acted as our genie and granted us the third wish of the night by debuting the Jimi Hendrix classic “The Wind Cried Mary.” While die-hard fans were hoping to hear the recognizable “Izabella” by Jimi, we got a slow and fitting “best-of Hendrix” tune instead. The Garden screamed Mary as smoke billowed and couples embraced during the well-executed cover. The “Jimmies” night of the Baker’s Dozen run was a huge success and solidified the second Sunday as another classic Garden performance for the band that knows it best.
Set 1: The Curtain With > Runaway Jim, Waking Up Dead, Esther, Home, Brian and Robert, Nellie Kane, Colonel Forbin’s Ascent > Fly Famous Mockingbird > David Bowie
Set 2: Drowned, A Song I Heard the Ocean Sing, Harpua > Also Sprach Zarathustra > Golgi Apparatus, In The Good Old Summer Time
Primus has named their 2017 tour Ambushing the Storm and that’s exciting in and of itself being they haven’t toured since 2014. It starts Oct. 1 in Texas and will make its way towards the east coast with New York dates Oct. 27 at the Palace Theater, the Capital Theatre on Oct. 29 and Brooklyn Steel on Oct. 31. Tickets will be available for purchase Oct. 1 on the Primus website.
But what’s even more interesting is the inspiration behind their new album that will hit the market Sept.29. The collection will be called The Desaturating Seven and it’s inspired by an Italian children’s book Les Claypool read his own kin years ago called Rainbow Goblins. So far, the public has only been graced with a single call “The Seven” (video link below) which holds a very promising tone and attitude. It’s synonymous with “Jerry Was a Racecar Driver” according to Claypool and retains that classic Primus sound coupled with dramatic shifts in tempo and time signatures.
This project is something Claypool says he has been itching to work on, according to an interview with Rolling Stone.
“I remember being incredibly impressed with the artwork and the storyline and the content and the message, and I thought, ‘Wow, this would make a great piece of music,’” he says. “As I’m getting older, I’m realizing I need to start knocking some of these things off my list. So we did the Willy Wonka soundtrack a couple years back, and this was a project I wanted to do.”
What’s more – the gang is back together. Claypool originally considered piecing this album together with a side project of his, Claypool Lennon Delirium, but opted to work with his Primus band mates, Larry “Ler” LaLonde and Tim “Herb” Alexander instead. The group reportedly had some trouble taking off with such an unique platform but were able to piece together something they’re proud of.
“These days,” Claypool admits, “you gotta go the extra mile because otherwise people just take it off the internet.”
Phish is doing something unprecedented at Madison Square Garden. They’re in the midst of a 13 show residency that is more than your average run of shows. This isn’t just a residency: it’s a historic Rock ‘n’ Roll experience that is falling under the radar as Phish often does. But what they’re doing deserves attention from music fans of all ranges.
With this ‘Baker’s Dozen‘ residency, Phish will have performed 53 times at The Garden in their career, dating back to 1994. As of Sunday, they will only be behind Elton John and Billy Joel for most times played at MSG. The band has played New York State more than any other state in the country, with a large chunk of their shows now in one building. The national media have been takingnotice and givingcredit where it is due to the band.
After 8 nights of shows since July 21, Phish has performed 141 different songs, debuted 11 covers and originals, played 9 20 minute+ jams and have left the audience wanting more. The final 3 nights of the run coming up this weekend have become a ticket as sought after as New Year’s Eve at The Garden, if not more so. The energy at the shows emanates through the bars and music venues that Phish fans populate daily before and after each show, building a beautiful buzz that grows each time Phish takes the stage. In short, Phish is doing something few rock bands can do during a residency of this nature, let alone play 13 shows at one venue, not get the slightest bit rusty and improve as the run progresses.
Credit: Fans.com
The Themes
Each night, donuts that are handed out for free, courtesy of Philadelphia’s Federal Donuts, and the donut flavor is reflected in the setlist each night. On Velvet donut night, two Velvet Underground songs were played, “Sunday Morning” and “Sweet Jane.” On Strawberry donut night, “Strawberry Fields Forever” and “Strawberry Letter 23” were debuted. On Chocolate donut night, “Chocolate Rain,” and on Powder donut night, Neil Young’s “Powderfinger” debuted, to the laughter (chocolate) and awe (powder) of the crowd. With so many flavors of donuts, fans are anticipating song selections while avoiding the predictability that Phish eschews. With Maple Glazed donuts on Night 9 of the residency, fans wonder if they can expect “Maple Leaf Rag” by Scott Joplin and how that will play into the band’s themed set for the night. Keeping the theme of the run going each night, not just with physical donuts but music to accompany them, the band is giving their fans a treat in more ways than one.
The Jams
All time jams have been performed by Phish at MSG before, but during the residency, this has not been your typical jamming. We’re talking hallmark jams that can stand the test of time. The typically 3-4 minute lounge lizard “Lawn Boy” was performed for 30 minutes on July 25, and in the second set that night, Talking Heads “Crosseyed and Painless” hit the 33-minute mark. Upon listening back to these jams, you don’t notice time passing as the jams continue to build and escape the noodly uncertainty that improvisation can lend itself to. Versions of “Chalkdust Torture” (24 minutes), “Down With Disease” (20 minutes), “Fuego” (20 minutes), “Blaze On” (23 minutes), “Drowned” and “A Song I Heard the Ocean Sing” (40 minutes combined) as well as “Tube” (15 minutes) are just a some of the standouts in the first 8 shows. Phish is jamming on typical jam vehicles and non-traditional songs as well, keeping the audience on their toes. Expecting the unexpected is part of the Phish experience, but that has never been truer than during The Baker’s Dozen.
Debuts
Phish has debuted originals from side projects, seemingly as part of the effort not to repeat any songs during the run. The Trey Anastasio Band song “Mr. Completely” returned for the second time this year and only third version since 2003, while Mike Gordon Band’s “Waking up Dead” appeared on July 30 to the surprise and delight of fans. The Story of the Ghost closing track “End of Session,” was performed for the first time ever on Jam-filled donut night. Digging into their side projects and giving them the Phish treatment rarely turns out to be less than impressive, as the new twist reintroduces the songs to fans. You can expect more tunes from side projects to appear as the band (unofficially) attempts to deliver on a no-repeat run of shows.
The Covers
Name a classic rock artist and Phish has covered them this run. The Beatles. Velvet Underground. David Bowie. Led Zeppelin. Neil Young. The Who. Ween. Talking Heads. Then add in some funk via Prince, Hot Chocolate, and Deodato, with Tay Zonday and Fleet Foxes catching fans off guard on separate nights with acapella renditions of their originals. The list will continue to expand as Phish stretches well out of their comfort zone and surprises fans with a dose of something out of left field.
No Repeats
As of Sunday night, Phish has performed more than 140 unique songs with 5 nights to go. The band is on pace for close to 230 total unique songs by the end, without a single song repeated. There is no band performing today with a catalog that deep who could perform at this level for 13 shows over 17 days.
You may or may not be a Phish fan, but the musical history being written inside Madison Square Garden is worth paying attention to as the run comes to a close this week.
Two years succeeding their debut, self-titled EP as a funky musical quartet, SkyDaddy makes a comeback with their latest EP Wide Eyes, due out on all digital platforms come August 1.
Dave Heinz (bass/vox), Joe North (saxophone/EWI), Tom Claney (guitar/vox) and Pat Agresta (drums) fit together as a jazzy-funk ensemble with nods of soul and rock fusion from downstate New York. However, its their solo skills that come together to create all that SkyDaddy stands for. Riding the wave of the ever-growing music scene in the Northeast, the foursome have lent their jam talents to venues across NYC and the tri-state area in support of The Nth Power, Pink Talking Fish, Amy Helm, Spiritual Rez, Sophistafunk and Zach Deputy, all within the last year.
Their self-titled effort brought fourth a five-track EP, including “Tell Me I’m Crazy” and “Just Enough Wine.” Dipping their toes into varying genres, Heinz, North, Clancey and Agresta use their talents to deliver spacey, progressive-like jams while capturing soul through their meaningful lyrics and memorable hooks.
Wide Eyes comes in the form of three tracks, all of which have the ability to get you on your feet and dancing or at least swaying side to side in your work chair. “Effortlessly Elegant” introduces the EP with a fitting title as the opening notes of the track and buttery-smooth saxophone make the listener’s need to move around and dance grow stronger by the second. “By the Fire Tonight” follows next, letting Agresta and the drum kit lead into the second track which appeals largely to the funkier soundscapes of their music. “Perspective” emphasizes on Heinz’ hearty vocals as he sings of relationships, wide eyed girls and the burning question of how they found their soul. Over the course of one year, the EP was recorded in REM Studios in Woodcliff Lake, NJ, collectively and accurately encompassing their sound as a unit thus far.
You can catch SkyDaddy on their Wide Eyes Tour during their slew of upcoming NY show dates, including a live WRRV Session at Newburgh Brewing Company, a September 19 Garcia’s gig with The Magic Beans in Port Chester and quick stops through VT and CT.
Sevendust guitarist Clint Lowery, who is currently on tour as second guitarist with Seether, recently sat down with Scott Bowling, from the website “Good Company.” In the interview, Lowery opens up about Sevendust’s plans to follow up their tenth studio album, Kill The Flaw and his lack of desire to make full length albums in today’s music industry. Lowery will also appear on Seether’s upcoming new music video.
Bowling asked Lowery about performing as a singer with his side project Call Me No One, with Sevendust drummer Morgan Rose:
It made me understand and respect what Lajon [Witherspoon] goes through or any other singer you know. When you have to cover an entire record, you know, how you make your voice not get redundant, how do you make it interesting, and not use the same melodies, it’s just different. I write for singers a lot, but singing them myself, and really developing myself as a singer, it was a learning experience man.
When asked if he and Morgan toured the album:
We did like a three week run with Nonpoint. That was humbling man. I’m not a huge live singer, I love going to the studio, and I can write melodies and all that stuff, but its a lot of pressure, and a certain confidence that singers have to have man, so I learned a lot about that too, and it made me understand and respect what Lajon does on that side, delivering these songs live.
We’re gonna do another record in November man. We just started writing for it. It’s a different era, man. It’s, like, I’m touring with Seether, so there’s that; I’m really focused on that. But we’ve been demoing some stuff out, the same kind of creative team, and we’re gonna see what happens. We’re excited about it. We have a new label, Rise, and they’ve got some great bands, a great, creative team over there. So this will be our first real label that the band’s ever had.
With the multiple ways music is released these days, Lowery was asked if he would consider releasing music through a streaming service like Spotify. He commented:
I don’t wanna do full-length records anymore. I mean, I’m old school — I love vinyl and I love the whole presentation of a full record — but I do wanna be open to new ways to release music. I don’t feel like going in and taking a full year and this huge production and doing a full record. I mean, I believe in doing those, but I also believe that between these record cycles, just throw in a couple of sprinklings of new songs. I’m never gonna be one of those guys that will say, ‘Oh, don’t try it. Let’s just stick to the old thing until it’s completely ran into the ground.’ I’m open for new guys, a new energy and a new release strategies.
Chocolate donut night on the sixth night of the Baker’s Dozen MSG residency brought Phish to cover an American Idol contestant’s viral hit, bringing “Chocolate Rain” to life, along with “Ass Handed,” tying the theme to the music once again before letting loose with a set of rarities and surprise jams. “Free” and “Sand’” marked the high points of Set 1’s jamming, with ‘Weigh’ and ‘Destiny Unbound’ garnering the loudest cheers as fans crossed songs off their bucket list for yet another night. During “Divided Sky,” Trey held ‘the note’ for such a long time that Chris Kuroda lit up the arena, with one spotlight shining down on Trey as he slowly looked around the entire arena, in as much awe of his surroundings as the crowd was.
The ever rare “Have Mercy” was the bustout to start set 2, opening the way for “Chalkdust Torture” which clocked in at 24 minutes and stood out as the jam of the evening. Ascending jams that rose and rose with full band builds with no let up highlighted “Chalkdust,” creating a jam vehicle that found its way towards Hot Chocolate’s “You Sexy Thing.” Hearing the opening notes of the funk from this 70s classic, the audience erupted in the glee of an out of left field bust out that led to a funk jam for the ages.
“Mercury,” while fresh and left off Big Boat, bridged the ending of “You Sexy Thing,” a jam the band sought to return to at the first opportunity. By the time the funk ended, the audience welcomed “Backwards Down the Number Line” with as much energy as they could muster and with “Rock and Roll” following, the crowd went into a frenzy listening to that New York Station. An encore of the ever rare “Fee” and “Space Oddity” capped the night as Phish continued to raise the bar during their historic run at Madison Square Garden.
Setlist via Phish.net Set 1: Chocolate Rain[1], Ass Handed, Free, Weigh > Undermind > The Oh Kee Pa Ceremony, The Dogs, Destiny Unbound, Divided Sky, Things People Do, Sand
Set 2: Have Mercy, Chalk Dust Torture[2], You Sexy Thing[3] > Mercury -> You Sexy Thing > Backwards Down the Number Line > Rock and Roll
Encore: Fee[4], Space Oddity
[1] Phish debut; a cappella, with Page on a midi controller keyboard.
[2] Unfinished.
[3] Phish debut.
[4] Lyrics changed to “have a chocolate donut and catch your breath.”
Phish returned to the comfy confines of Madison Square Garden for Night 7 of the Baker’s Dozen residency on Saturday with a show that had all the Phishy elements fans love, starting off with with the energetic scorcher “Llama,” fastening in the crowd for a memorable, cinnamon flavored night.
Many fans who didn’t figure out their ticket situation in advance were left with their finger in the air come show time as it seemed many were shut out. Inside the venue, a recording came on urging the crowd to “not eat the brown donuts,” as they are not so good, surely a play on the famous brown acid announcement at the original Woodstock.
After the straightforward “Llama,” Phish launched into “Wilson” and the crowd was instantly ready, painting the famed venue walls with only the type of energy a Phish crowd can bring. Normally a quick hype song, this “Wilson” stretched beyond the nine-minute mark with an atypical jam out of what normally closes the song, which caught few off guard after the surprises Phish had in the first six shows.
Standard takes on “Stealing Time From The Faulty Plan” and “Ya Mar” warmed up for the semi-rare, and ultra sought after “Tela.” The band nailed the song and Trey played the closing guitar section masterfully, igniting a rousing applause from the capacity crowd.
“The Birds”>”The Line” was a nice segue, with the latter containing a bit of full band improvisation. “The Line” takes a lot of heat in the Phish world for being a bathroom break song, but this one was well placed and you can just tell how much Trey and Mike enjoy playing the song based off their mutual grins.
A brief “Water In The Sky” came as a warm up for the close of the set, which began with a very well played “Vultures,” another song that seemed to add an extra layer of frosting on an already rocking first set. Mike took the lead to sing “Train Song” that led into a segue into “Horn,” in which the entire band played each note almost perfectly. In recent years, Trey has taken some online flak for not playing the composed guitar part of “Horn” perfectly, but he did last night.
Not many expected what came next. When Page hit the two notes on the clav and Trey played the fuzzy lead line, the crowd nearly exploded with energy as everyone realized Phish was covering The Beatles’ beloved “I Am The Walrus.” As the band and crowd sang in unison and Chris Kuroda turned the Garden into a rainbow light dance party, a guy leaned in to my ear and said, “So dude, I really think they’re not going to repeat a single song.” Me too, kid. Me too.
After set break, Phish started up with “Blaze On,” a song that debuted two summers ago and quickly found its place as a first set rocker, late set jam vehicle and the coveted second set opener. It was apparent that Phish was going to sink their fins into this one as Trey didn’t waste a second before jumping into a nearly five-minute lead solo that was him wield his Languedoc high, bending notes in his signature rapid fire licks. It was some of his finest playing of the run, which was a bit of foreshadowing for what’s to come.
“Blaze On” then started to devolve, until Phish reconstructed it into a major key with a mildly funky and ethereal jam that kept everyone’s interest before bringing it back to a swirling crescendo finish that clocked in at nearly 24 minutes and left some speechless. This band is clearly as comfortable as they’ve felt in a really long time.
After a segue into “20 Years Later,” which seemed to contain some Led Zeppelin type elements in the jam, Phish broke out “Alumni Blues”>”Letter to Jimmy Page”>”Alumni Blues,” two of their oldest songs. While the segment was very textbook, it was very well played and featured Trey and Mike facing each other for a short bluesy segment, after which Trey shouted “it’s alright now, ‘cuz Mike’s playing the bass,” which elicited a crowd roar, before Mike took a short but powerful lead solo.
Out of the soundscape came fan favorite “Meatstick,” which has a rich history with MSG. In 1994 and 2010, Phish used the song as part of their New Year’s Eve gags. After the dance part, Trey and Page led the band into an atypical and psychedelic jam which landed perfectly on “Dirt.” While “Dirt” is typically a first set song, last night’s placement couldn’t have been any better, giving fans a bit of a break after nearly an hour of some pretty unique music. But, hey, that’s why we follow this band.
With time winding down in the night, anticipation was high in regard to what they’d close the set with. When Fishman hit the drums, “Harry Hood” made it’s Baker’s Dozen appearance and did more than close the set. Clocking in at 17:20, this “Hood” broke itself down into ambient space before Trey, Page and Mike revved the sing into the highest gear with very Allman Brothers’ “Mountain Jam”-esque teases and quotes. Approaching 17 minutes, “Hood” finished with a peak that only that song can bring. When this is all done and said, “Harry Hood” will go down as a very notable jam from this run.
Almost forgot that the theme was cinnamon donuts? Well, after a somewhat lengthy encore break, Phish came out and lit into a cover of Neil Young’s “Cinnamon Girl,” which was last played by the band 19 years, 364 days ago. The crowd had anticipated the song all night and Phish delivered with a stellar take on the song that sent 20,000 people flowing onto the streets of midtown Manhattan.
The stage is set for what we in the Phish world gear up for: A Sunday show. I think the saying goes something like, “never miss a Sunday show!”
In reality, it should be, “never miss a Phish show!”
Set 1: Llama, Wilson > Stealing Time From the Faulty Plan > Ya Mar, Tela, The Birds > The Line, Water in the Sky, Vultures, Train Song > Horn, I Am the Walrus
Set 2: Blaze On > Twenty Years Later > Alumni Blues > Letter to Jimmy Page > Alumni Blues > Meatstick > Dirt > Harry Hood
New York City based progressive rock band, Haakon’s Fault, has recently released their brand-new EP, Waning Gibbous. Despite the four-track project’s shortness, the band’s style and skill level is well showcased, combining elements of both wailing and grunge guitar offset by the entrance of a clean vocal by lead vocalist, Harry McNamara.
The EP’s opening self-titled track, “Waning Gibbous,” acts as an inviting introduction to the project. The song’s lead guitar riff captures and heats up the track to soon be cooled down by calming vocals. Despite the hot and cold nature of the track, it catches on fire with a piercing guitar solo that secures focus and desire to listen to the next three songs.
Waning Gibbous continues with a variety of sounds, followed by the second track, “Wicked World.” The track’s opening riff tells listeners to fasten their seatbelts. They’re on for the ride. With tints of hard-country, “Wicked World” symbolizes the versatile nature Haakon’s Fault has with their music.
Moving onto “Save Us” and then “Higher” Waning Gibbous provides an easy listening atmosphere for all listeners of music. It is very rare that a project is able to appeal to audiences of different genres while still remaining true to their sound. Haakon’s Fault is an example of a band that makes prog rock listenable to everyone. Their new EP stabilizes the thought that everyone, no matter the age or music sensibility, is able to rock.
“Caterpillar sheds his skin to find a butterfly within…”
Paula Cummings: The name Tart Vandelay, does everyone get that it’s a Seinfeld reference, or are there people who don’t?
PC: I’ve seen you on stage, and it looks like you’re having so much fun.
PC: What do you like to listen to?
Unlike the outrageously raging 
But what’s even more interesting is the inspiration behind their new album that will hit the market Sept.29. The collection will be called The Desaturating Seven and it’s inspired by an Italian children’s book Les Claypool read his own kin years ago called Rainbow Goblins. So far, the public has only been graced with a single call “The Seven” (video link below) which holds a very promising tone and attitude. It’s synonymous with “Jerry Was a Racecar Driver” according to Claypool and retains that classic Primus sound coupled with dramatic shifts in tempo and time signatures.
August 1.
