NYS Music 20​17

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  • Listen to the Exclusive Premiere of Wurliday’s Debut EP ‘Bedtime Blazer’

    NYS Music is proud to present the exclusive premiere of Wurliday’s new EP Bedtime Blazer! Co-written by frontman Justin Henricks (Beau Sasser’s Escape Plan, The Chronicles) and Arielle O’Keefe (Girl Blue), the EP was recorded and produced at Alan Evans’ (Soulive) Iron Wax Studios in Millers Falls, MA.

    Bedtime Blazer is the first look into this group’s sound, giving audiences a chance to listen before the band officially kicks things off this summer. The EP offers a fresh and modern take on funk and soul, and you can hear soulful vocals and harmonies by Arielle O’Keefe, Jennifer Hartswick (Trey Anastasio Band), and Tyrone Hartzog. The EP features some great synth/organ overlays throughout with a consistently funky guitar. With just four tracks, you’re left wanting more! The clean recordings are pleasing to the ear, and the individual musicianship sounds effortless. Click here for an interview with bandleader Justin Henricks.

    Be sure to catch Wurliday live at The Hollow for their EP release party on June 30th! The party kicks off at 8 pm and the band will be joined by special guests The Rechorduroys and Olivia Quillio. Wurliday will also be part of Albany’s Alive at Five on July 13 when they open up for New Orleans legends The Funky Meters.

  • Hearing Aide: St. Phillip’s Escalator ‘The Derelict Sound’

    Come on out to the garage, it’s hot in here. Rochester’s St. Phillip’s Escalator released its latest batch of psych-garage-blues rock on Record Store Day. The Derelict Sound, the band’s second full-length, is just that, an amalgam of the influences this power trio has cited since first forming as teenagers back in the early aughts.The band, guitarist/vocalist Ryan Moore, drummer Zachary Koch and bassist Noel Wilfeard, have been best friends since childhood and have been playing together as a unit just as long.

    The Derelict Sound is heavily rooted in the psychedelic sounds of the late ’60s garage bands. Many of the tracks wouldn’t be out of place on Lenny Kaye’s Nuggets compilation. Yet while there’s that trace of the past in the band’s sound, there’s a sense of looking forward as well. “New Age,” the lead single from Derelict signals just that in the band’s sound. It’s a swirling, not-quite-a-pop song that takes a step back from the band’s more frequent references of the Stooges, the Sonics and Blue Cheer.

    The album was recorded live at Temperamental Recording in Geneseo near Rochester. In an interview with NYS Music in March, Koch spoke about why they chose to record live, “It was not just a live record, but the bass, drums, and guitar, the core of it we played together because it’s the only way we could draw that energy. We tried before to record separately.” This is a band that thrives in a live environment. That is apparent when listening. The production feels live and gives the listener a great indication of what to expect in person.

    While the production value isn’t exactly what one would call “clean,” it is, after all, a garage rock album and it hits all the right spots. “Turn On, Get Out” opens with uptempo snare drumming reminiscent of Mudhoney. Koch’s beat drives this one and is one of the high points of the album. A Ron Asheton-style guitar solo kicks the frenzy up a notch before settling back in to Koch’s pocket.

    Influences are a-plenty throughout. Aside from the Stones, Stooges and Sonics references, there are times one can pick up shades of the Dickies’ “You Drive Me Ape (You Big Gorilla)” at the open of “Outside Mind.” The Escalator then brings you back down to Fun House-era Stooges dirge before kicking you over the rail into Dickies territory again. Koch is the driving force on this album. It is obvious that he is informed by such icons as Ginger Baker and Keith Moon.

    Ultimately, The Derelict Sound is a highly satisfying record that implores repeated listening. The band had a limited edition run of 300 copies printed in vinyl format. It is also available for download/streaming and on CD.

    Key Tracks: Turn On, Get Out, New Age, Outside Mind

    The Derelict Sound Tracklist:

    1. Sleepy Silver Train Haze
    2. Turn On, Get Out
    3. New Age
    4. Outside Mind
    5. Find My Way
    6. She’s Gone
    7. Turn the Blame
    8. Whiskey Woman Blues
    9. Undone
    10. All is Lost

  • The Record Company Rocks the Westcott

    “We’re the Record Company, and we play rock and roll.” This is how the Record Company’s lead vocalist/guitarist/harpist Chris Vos often introduces his band at the start of a performance. While said in an understated fashion, it is no understatement.

    Throughout the nearly hour and a half performance at Syracuse’s Westcott Theater May 20, The Record Company proved time and again that they do indeed play rock and roll. Steeped in a blues tradition but still maintaining a contemporary rock sound, the Record Company is out to prove that rock is not dead.

    Before The Record Company hit the stage, opening act, Nashville-based duo Smooth Hound Smith, won over the crowd early with some self-deprecating humor and foot stomping blues. The husband and wife duo, Zack and Caitlin Smith had a great stage presence and could easily have passed as the headliner on this night.

    Zack Smith plays guitar, harmonica and foot drum as well as handling the majority of the vocals, a virtual one-man band. He has a country-blues feel with a touch of rockabilly. Caitlin Smith adds percussion and lush vocals with a bit of a Nashville touch and the occasional Janis Joplin wail to round out the Smooth Hound Smith sound.

    The Record Company, Vos, Alex Stiff on bass/vocals and Elmira native Marc Cazorla on drums/keys are as cohesive a unit as you’ll find in music today. The rhythm section is tight and Vos is a multi-instrumental maestro. Vos’s bluesy vocal style was perfectly complemented by Stiff and Carzola’s harmonies all night.

    One can derive many influences in the music of The Record Company – Delta and Chicago blues, gospel, mid-70s stadium rock and even hip hop. The latter was exhibited in a spirited, bluesy cover of the Beastie Boys “So What’cha Want” that had the near capacity crowd happily bouncing along.

    Vos leans heavily on his weathered Fender lap steel at shows and for good reason, he made that thing sing, especially on the greasy blues dirge “Rita Mae Young.” His harmonica style, especially in the band’s single “Hard Day Comin’ Down” beckons Bob Dylan.

    Speaking of Dylan, midway through the show, the band worked in a three-song acoustic mini-set, anchored by a scorching version of “Subterranean Homesick Blues.”

    The set closed with Vos lying his acoustic guitar across his lap for lesson in the slide. Stiff and Cazorla kept the back beat while Vos furiously worked the guitar and later the harmonica on the appropriately titled, “The Burner.” Cazorla was often pulling double duty on his bass, sometimes playing it as a lead instrument as well as using a slide.

    The show closed with a one-song encore, a new one from the band’s latest album. “In the Mood” is a blues, via Mod era Who, romp that ended the night on a high note, including crowd participation on the chorus. The band took a collective bow with appreciative smiles, the audience reciprocated, another audience won over. This is a band that is on to bigger things, dragging honest rock and roll along with it.

    The Record Company Setlist: On the Move, Baby I’m Broken, Hard Day Coming Down, Night Games, Rita Mae Young, Feels So Good, Crooked City (acoustic), I’m Changing (acoustic), Subterranean Homesick Blues (acoustic) (Bob Dylan cover), Don’t Let Me Get Lonely, So What’cha Want (Beastie Boys cover), Turn Me Loose, Off the Ground, The Burner
    E: In the Mood

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  • Biters and Frankie + The Studs Rock Rochester on their Unleashed on the East Coast Tour

    Fans of the glam rock resurgence were in their glory on Friday, May 26 in Rochester as Frankie and The Studs and Biters came through on their Unleashed on the East Tour. Biters have toured extensively across North America and Europe over the past seven years, but this was their first time in Rochester. For Frankie and The Studs, this was one stop of their first tour ever. The Historic German House in the South Wedge was thumping with the heavy beats and killer riffs.

    The Finger Lakes’ own Major Crush  started off the night. The Ende brothers, Tommy and Kenny, are on vocals and guitar respectively. Frankie Wheeler on bass and Brandon Young on drums round out the band. I caught an acoustic set a couple years ago, but this was my first time seeing them all together. They have a fantastic stage presence and encouraged audience interaction, which helped to get the crowd warmed up for the main acts. They play pop rock, remarkable for the stellar guitarwork and spot-on harmonies. The setlist was comprised of songs from Trophy Kids, the full-length album they released last year, including the anthemic sing-along “Turn Up the Radio” and the more edgy “You Ain’t A Saint.” On this night, they also played a new song they’ve been working on called “Summer Time.”

    Frankie and the Studs are an up-and-coming act out of Hollywood. Frankie Clarke represents the new wave of glam rock with her fringed leather catsuit, dip-dyed hair and glitter makeup. Frankie Clarke met The Studs just after recording a cover of “Hot Child in the City.”  Together, their sound and style makes me nostalgic for the days when the boy next door blared “I Love Rock and Roll” from his boom box. Their 2016 EP, High on Yourself, was produced by Clarke’s father, Gilby Clarke, who played guitar for Guns N Roses during the Use Your Illusion era.

    Frankie and the Studs were rife with punk attitude as they played a set which included their originals “High on Yourself,” “Sick of You,” and “She’s Insane.” They also threw in the cover of “Hot Child in the City” and a new ballad, yet to be recorded, called “Dance with You.” The spin light above the stage caught the silver studs and glittered platform boots as Frankie danced around with her stars and stripes guitar. The Studs complimented her perfectly with backup vocals, a strong beat, and fantastic fretwork.

    While this is their first time on tour, it’s not their first time playing in New York. Frankie and the Studs played a show in New York City last year during Fashion Week. With the allure of the New York punk scene, I expect we’ll be seeing this band come through again and again.

    Biters put on a high octane performance, a reminder that hard rock is not to be relegated to the graveyard of classic radio station rotation. Smoke filled the stage and silhouetted their cowboy-boot and denim-clad figures. Their music, like their logo, has razor-sharp teeth that cut to the core. They serve their songs straight up with no frills. With two LP’s and four EP’s under their belt, they had a vast array of songs to choose from for their setlist. Standouts included their hits “Low Lives in High Definition,” “Gypsy Rose,” “Hallucination Generation,” and “1975.” They also threw in a fun medley of a few bars from famous rock songs that they don’t cover. To make up for it, they included Tom Petty’s “American Girl” in their encore.

    Catch the final New York State show of the Unleashed on the East Tour at St. Vitus in Brooklyn on May 31.

    Remaining tour dates:

    May 31 – St. Vitus – Brooklyn, NY

    June 1 – The Metro Gallery – Baltimore, MD

    June 2 – Abbey Bar at Appalachian Brewing – Harrisburg, PA

    June 3 – Voltage Lounge – Philadelphia, PA

    Photos by Alyssa Smith

  • Photo Gallery: Mihali Savoulidis at the Hollow

    Mihali Savoulidis of Twiddle rocked a capacity crowd at The Hollow Bar and Kitchen in Albany, NY on May 17.

    Mihali Savoulidis hollowThis was his 2nd stop from the recent six-show solo tour where he shared some Twiddle classics, material off the new album Plump: Chapter 2, and some crowd pleasing covers that had everyone singing along.  Adam Brockway of Eastbound Jesus started the night off, and set the tone for an epic night full of positive vibes. Check out the photos below!

  • Albany’s Alive at 5 Concert Series Begins June 8 with Karl Denson’s Tiny Universe and Let’s Be Leonard

    Alive at 5 is heading into its 28th season, starting off on June 8 with performances by Karl Denson’s Tiny Universe and Let’s Be Leonard. The summer series takes place at Jennings Landing from 5-8 p.m. on Thursdays (with the exception of July 4). A partial lineup for other dates has been announced, including performances by Average White Band, The Funky Meters, Marian Hill, and King Yellowman & the Sagittarius Band. Regional support for these headliners comes from Victory Soul Orchestra, Wurliday, and Dr. Jah and the Love Prophets.

    Karl Denson’s Tiny Universe  is a funk soul band from California. Frontman Denson also plays saxophone for The Rolling Stones, and just wrapped up a tour with them. Primed to release a new album this year, KDTU will be performing some of their new songs at Alive at 5.

    Saratoga’s jazz fusion phenoms Let’s Be Leonard will open the show. Renowned for their improvisational style, the band just released Live at Gug’s, a session recorded in Glenn’s Falls earlier this year. Read the NYS Music review.

    2017 Alive at 5 Dates (Full Schedule Will Be Announced Soon):

    June 8 – Karl Denison’s Tiny Universe / Let’s Be Leonard
    June 15 – Average White Band / Victory Soul Orchestra
    June 22 – TBA
    June 29 – TBA
    July 13 – The Funky Meters / Wurliday
    July 20 – TBA
    July 27 – Marian Hill / TBA
    August 3 – King Yellowman & the Sagittarius Band / Dr. Jah and the Love Prophets

    For more information and updates, visit www.albanyevents.org.

  • Lord Electro Means Business

    Albany’s funktronica act, Lord Electro, will get down to business this summer as they continue their tour in support of their debut studio album, Business. The band will also release its first live album recorded at the legendary Nectar’s in Burlington, Vermont.

    Lord Electro continues its “Business” Tour in support of its debut album of the same name, which was released in March. The tour brings them around the state, starting on June 8 at the Disc Jam Festival in Stephentown, where CEG Presents named them one of the top five acts to see on the main stage.

    They make a few festival appearances over the summer. They hit up the Woodhenge Festival in Adams, where they are scheduled for two sets, on June 23. They play a late-night set on July 8 at Kenny’s Cosmic Campout in Barryville. They finish up their festival appearances on July 29 at the GEM Festival in Glens Falls. In addition to the festival appearances, they’re playing a number of shows in the Northeast, including the Monopole in Plattsburgh on June 24, Lukins in Utica on June 29 and Silvana in New York City on Aug. 5.

    Lord Electro will also release their first live album at the end of the week on June 2. Live at Nectar’s was recorded on May 10 at Burlington, Vermont’s legendary Nectar’s Lounge. The live album showcases the band’s improvisation. It will be available digitally on iTunes, Bandcamp, Spotify and Soundcloud.

    Lord Electro Summer Dates:

    June 8­ – Disc Jam, Stephentown, NY
    June 23 -­ Woodhenge Festival, Adams, NY
    June 24 – ­ Monopole, Plattsburgh, NY
    June 29 -­ Lukins, Utica, NY
    July 8 – ­Kenny Cosmic Campout­, Barryville, NY
    July 29 – GEM Festival, Glens Falls, NY
    Aug. 5 – Silvana, New York, NY

  • Kevin Morby Provides a Preview of Things to Come in Philadelphia

    Kevin Morby is releasing his new album in just a couple weeks (out June 16), but you’d forgive those in attendance on Friday, May 26 during the sold out show at Johnny Brenda’s in Philadelphia if they were unaware.

    The album didn’t even getting a passing mention from the stage, even as the band filled half the 80 minute set with it’s songs. That is of course unless you count Morby’s stark white suit, decorated with bold black musical notes. Across the back the album’s title, City Music, was spelled out in sparkling jewels, while the lapels included his initials. An unorthodox but rather fashionable way of getting the message across.

    Regardless, there was no need for the announcement. Most in the crowd seemed well aware of the music that was on it’s way, to the point of singing along with the couple of singles that have already made their public appearance. The set got off to a wailing good start with the title track off the new album. Morby played a dueling guitar lead with Albany’s Meg Duffy, who released her own stellar album earlier this year under the Hand Habits moniker. Her soft voice and precise playing were the perfect foil for Morby’s monotone and brasher guitar strokes throughout the night.

    The set explored material from the full breadth of Morby’s catalog. The energy peaked with “Destroyer,” where the rhythm section, Nick Kinsey on drums and Cyrus Gengras on bass, locked into a tight groove while Duffy soared with slide guitar leads. They kept the energy high with “I Have Been to the Mountain” and “Harlem River” featuring more heady guitar action. It slowly mellowed out from there, before closing with the quietest moment, Morby playing solo on “Beautiful Strangers.”

    Though non-traditional with the album promotion, Morby promised the crowd that they would honor the old concert tradition of coming back out for a few more songs if the crowd clapped after they left the stage. And they didn’t disappoint, playing two fan favorites off of last year’s breakout album, Singing Saw, and then finishing it off with a bombastic cover of Velvet Underground’s “Rock and Roll.”

    John Andrews, who we last saw drumming in Quilt, was fronting his own band, The Yawns, in the opening slot. They played a short but exciting set featuring material off their recent release, Bad Posture. Lazy, slinky, psychedelic folk rock, songs like “Drivers” and “Old News” gave way to the engrossing set closer “Audrey” that had the crowd desperate for more.

    Kevin Morby Setlist:
    City Music, Crybaby, 1234, Aboard My Train, Destroyer, I Have Been to the Mountain, Harlem River, Come to Me Now, Parade, Downtown Lights, Beautiful Strangers
    E: Cut Me Down, Dorothy, Rock and Roll

  • Gregg Allman, Dead at 69

    Founding member of the Allman Brothers Band, Gregg Allman has passed at the age of 69, according to his official website. A statement on the site said the following:

    It is with deep sadness that we announce that Gregg Allman, a founding member of The Allman Brothers Band, passed away peacefully at his home in Savannah, Georgia.

    Gregg struggled with many health issues over the past several years. During that time, Gregg considered being on the road playing music with his brothers and solo band for his beloved fans, essential medicine for his soul. Playing music lifted him up and kept him going during the toughest of times.

    Gregg’s long time manager and close friend, Michael Lehman said, “I have lost a dear friend and the world has lost a brilliant pioneer in music. He was a kind and gentle soul with the best laugh I ever heard. His love for his family and bandmates was passionate as was the love he had for his extraordinary fans. Gregg was an incredible partner and an even better friend. We will all miss him.”

    Gregg is survived by his wife, Shannon Allman, his children, Devon, Elijah Blue, Delilah Island Kurtom and Layla Brooklyn Allman; 3 grandchildren, his niece, Galadrielle Allman, lifelong friend Chank Middleton, and a large extended family. The family will release a statement soon, but for now ask for privacy during this very difficult time.

    Rumors had swirled for weeks that Allman had entered hospice care, only to be debunked by Allman himself in a statement on Facebook

    gregg allmanAllman and his brother Duane, who died in a motorcycle accident in 1971, formed the Allman Brothers Band in 1969. The band quickly became an influential member of the burgeoning improv scene, performing at the now legendary Summer Jam show at the Watkins Glen race track on July 28, 1973, along with the Grateful Dead and the Band in 1973. The show, which received the Guinness Book of World Records honor of “Largest Audience at a Pop Festival,” drew upwards of 600,000 fans.

    The band’s breakthrough album, At Fillmore East, featuring extended versions of “In Memory of Elizabeth Reed” and “Whipping Post,” put the Allmans on the musical map. Fillmore is, to this day, considered one of the best live albums ever produced.

    Allman began his career on guitar but his brother Duane’s talent on guitar eventually resulted in Allman settling as keyboardist for his namesake band, setting the stage for his near 50 year career in the recording industry.

    Allman married Cher in 1975. Together they had a son, Elijah Blue Allman. Allman was recording solo at this point and recorded an album with Cher, Two the Hard Way that was met with scorn from the press. The ensuing tour created friction between Cher fans and Allman fans, resulting in Cher cancelling the tour.

    In 1987, Allman reached a renaissance with his solo album I’m No Angel. The title track reached number one on the Billboard charts and signaled a resurgence for the musician.

    Allman’s chemical dependency, resulting in a 2010 liver transplant never truly weaned. He commented on it in an interview with Stuff Magazine in 2011:

    “my generation…we were all just such heavy drug takers. We didn’t know no different. We didn’t know no other way. It was what we did. And that’s going to come back and hit ya – and it got me. But I’ve been clean a while now, I quit it all – finally – 16 years ago, thank god.

    The Allman Brothers Band regularly performed an annual run of shows at the Beacon in New York, a run that concluded in 2014 after 238 sellouts. Allman had been scheduled to perform with ZZ Top on tour last year but pulled out due to health reasons. He had been working on his first solo album since the Allman Brothers’ retirement with producer Don Was.

  • Interview: Olivia Grace Discusses her Upcoming Releases and Next Steps in Brooklyn

    Indie pop artist Olivia Grace is originally from Maryland but ready to take the New York music scene by storm. She’s focusing her energy and creative juices into launching a musical career while completing her senior year of college. Her latest single “Blackbird” was released on September 30 enticing listeners with her unique style. NYS Music had the chance to find out more about Olivia Grace’s unreleased music including “Shoestrings” to be released early June.

    Sammy Steiner: As a singer-songwriter, where did your inspiration for “Shoestrings” come from?

    Olivia Grace: Ultimately, the song is about feeling out of place. It’s somewhat unapologetic, but it’s also about trying to make sense of everything when you’re not quite sure how you fit in. The story isn’t completely about me, as I do love creating fictional characters in my songs. However, when I wrote this song I had just moved to New York, and it was completely different from what I had been used to. I lived in Chicago beforehand, but New York just doesn’t compare. I think that feeling of navigating a new city and finding my place inspired a bit of the song.

    SS: Can you take us through your journey and involvement in the creation of this track? What was your favorite part of the record-making process?

    OG: The song took over a year to write. When I first started it, it sounded more like a folk song. It was slower with completely different rhythms. It didn’t really feel like THE song. I came back to it when I was flipping through old song ideas, trying to write something new. I picked it back up and it just flowed out. My favorite part recording was the “oh’s” that you hear in the beginning and after the chorus. They were actually added last minute. The song didn’t feel complete when my producer Matt and I had finished. He told me to just go crazy improvising over my piano/instrumental part, and eventually I started singing the “oh” melody. We both knew when we heard it that, that was it!

    SS: Do you have any upcoming plans or prospective venues where you hope to perform in the New York State area?

    OG: I do! I’m currently setting up some shows for July in New York, so I’ll probably be posting about it in June!

    SS: Can you name your top three favorite artists to cover at your shows and why?

    OG: Truthfully, I don’t cover that many artists at shows! I mostly perform my original songs. The one song I always try to fit in my set is Lana Del Rey’s “Video Games.” It’s just so beautiful and after years of performing it, I still love it.

    SS: What are your plans going forward? Are you going to focus on future musical projects or touring?

    OG: I have a lot of unreleased recordings right now, and I’m still going in the studio and recording more. I’m writing quite often as well. Both those things are my main focus right now. I don’t see myself doing a full on tour *right now* but I am traveling a lot this upcoming year, so I probably will be doing a few shows here and there.

    SS: What is one thing you’ve learned from your glimpse into life as an artist thus far?

    OG: Be patient. Everything takes time, hard work, and persistence. You can’t rush success.

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