NYS Music 20​17

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  • Brian Wilson Brings ‘Pet Sounds’ Tour to New York

    Brian Wilson has extended his Pet Sounds: The Final Performances tour. The new dates include stops in Rochester, New York City and Syracuse.Brian Wilson has been on an extensive tour performing the Beach Boys album Pet Sounds in its entirety. The tour, billed as “Pet Sounds: The Final Performances,” was recently extended to add a number of dates in Europe and North America. The tour makes three stops in New York. Rochester’s Kodak Hall at the Eastman Theatre gets a visit on Sept. 19. They make a stop on Sept. 23 at Radio City Music Hall in New York City. The final New York date is Oct. 1 in Syracuse at the Oncenter Crouse Hinds Theatre.

    The tour extension also includes several stop in the nearby Northeast. Wilson plays Foxwoods Resort Casino in Mashantucket, Connecticut on Sept. 21. They stop by Boston’s Orpheum Theatre on Sept. 22. Following their stop in New York City, they head to Lancaster, Pennsylvania on Sept. 25 to play the American Music Theatre. The next day, Sept. 26, they hit up the Count Basie Theatre in Red Bank, New Jersey. They head back to Massachusetts on Sept. 29 to play New Bedford’s Zeiterion Theatre before returning to New Jersey on Sept. 30 for a show at the Golden Nugget in Atlantic City.

    Pet Sounds: The Final Performances North American Tour Extension

    Sept. 15 – Molson Canadian Centre, Moncton, NB
    Sept. 16 – Scotiabank Centre, Halifax, NS
    Sept. 18 – Centre in the Square, Kitchener, ON
    Sept. 19 – Kodak Hall at Eastman Theatre, Rochester, NY
    Sept. 21 – Foxwoods Casino, Mashantucket, CT
    Sept. 22 – Orpheum Theatre, Boston, MA
    Sept. 23 – Radio City Music Hall, New York, NY
    Sept. 25 – American Music Theatre, Lancaster, PA
    Sept. 26 – Count Basie Theatre, Red Bank, NJ
    Sept. 29 – Zeiterion Theatre, New Bedford, MA
    Sept. 30 – Golden Nugget, Atlantic City, NJ
    Oct. 1 – The Oncenter Crouse Hinds Theatre, Syracuse, NY
    Oct. 3 – Morris Performing Arts Center, South Bend, IN
    Oct. 4 – Stranahan Theatre, Toledo, OH
    Oct. 6 – Rosemont Theatre, Rosemont, IL
    Oct. 7 – Belterra Casino, Florence, IN
    Oct. 8 – Civic Center Theatre, Peoria, IL
    Oct. 12 – The Big Fresno Fair, Fresno, CA
    Oct. 13 – The Mountain Winery, Saratoga, CA
    Oct. 14 – Pacific Amphitheatre, Costa Mesa, CA

  • Rikki Rockett Talks Hall of Fame and New Poison Music

    Poison drummer Rikki Rockett was recently interviewed by Tigman for Albany area rock station Q103. In the interview, Rockett talks about the possibility of new music with Poison, the Rock & Roll Hall of Fame, and how the band got its name.

    When asked whether he feels Poison deserves a Hall of Fame nod:

    I think we are, but I’m biased. [Laughs] Listen, honestly, I think the criteria for that is longevity, having lots of songs that have impacted people, which I think [we have] both of those things, and also a social impact. I think we have all three of those qualifications. So, really, I do. I think we should [go in there], for the sake of our genre.

    Rockett was asked if he is open to the idea of making new music with the band, and if he thinks that venture could possibly happen. He responded:

    There has been some talk. It’s acting on it is always the key thing. [Laughs] I would love to do it. I’ve been wanting to do new stuff for quite a while. I’m always thinking about ‘Okay, what would we do?’ Throwing ideas out there and stuff like that. I hope, I really, really hope, that maybe in the fall that we could go in and at least cut a couple of songs. Even if it’s not a whole record, we could get out there and do a couple of things.

    Tigman was curious as to how Poison became the name of the band, Rockett replied:

    Believe it or not, it was one of our road crew guys who spit it out. But it was with another name, like, it was ‘POISON something’ he said and we wrote it down and nixed all these other names and went back and said, ‘What if it’s just POISON and not ‘POISON anything else’?’ I forget what it was, what the extra word was that we threw in there. So we wound up shortening it to ‘POISON’ and went, ‘You know what? No one else has done it.’ And I love one-word band names. They’re easy to remember.

  • Joey Belladonna On His Vocal Longevity and That One Thing That Has Haunted His Career

    Oswego native and Anthrax frontman Joey Belladonna was recently interviewed by Roy Turner of Trickykid Radio. In the interview, Belldonna talks about his one regret that has haunted him, how he keeps his vocals on point through the years, and being asked to perform John Bush era tracks.

    Turner asked Joey Belladonna how he can still perform at a high level today after decades of performing, and if he thinks that he’s better performer now than in the ’80s. Belladonna responded:

    I just love music a lot. I strive on getting better; I work at it all the time. I’m real conscious of just elevating my vocals and just being in a band…I don’t want to go out there and not do it well. That’s why I’m always trying to do it better. I always try. I have a cover band too. I also do that on the side. We do four hours of classic rock.

    I really focus. I really try. I’m not in fear of anything right now. Back in the day when I first started, I didn’t know the music so well. Vocally, it was really a challenge to just find a way to sing over that stuff. Because I like to sing so I’m not going to do something outside of all the new styles you hear now, it’s just finding a way to make it comfortable and legible and fun to sing as I can. You realize there’s a lot of words in our stuff and the keys and the speed…it’s real hard to sing over that stuff and make it work.

    On being asked to perform John Bush era music when he returned to Anthrax:

    Personally, I felt we had enough music. I was just trying to be a champ and try something. For some reason, when we get that rivalry crap that went on, it bugs the shit out of me. I have nothing against him or nothing against them. I don’t sit around and have a grudge, but I didn’t want to try… It’s hard enough when you do covers but doing something with the singer of the old [version] of the band. He had it rough, because for the sake [of it], he had almost to do older songs because then they’d really be fighting the good fight there. For me, I didn’t want to get too involved with doing that. I didn’t want to keep opening that door and what was I trying to prove? I’m glad I don’t have to. I just don’t really feel like it. I could, I’m sure, I always felt, nothing against those songs, forget you ever heard them, we could have done any of those records and I think they would have been cool. We don’t know because I never did them before other than that.

    If he has ever thought about what would have happened if Joey Belladonna never left the band, and lent his vocals to Anthrax’s sixth studio album Sound Of White Noise:

    That will always haunt me. The fact that those 13 years went away and they’re gone. They’re just gone. Maybe I just feel good about it now, right? With all the crap… I could add to this, but at the end of the day, it’s all good. I’m really glad for the fans too, and even myself, I’m proud, but I also love that people are enjoying it and all of these new people are coming up and get to see what was there before.

  • Hearing Aide: Matthew O’Neill’s ‘Trophic Cascade’

    Underwater Panther Coalition, an emerging record label with a mission to take care of our Earth, recently released Matthew O’Neill’s LP Trophic Cascade on May 5. This debut LP features O’Neill’s single “Louisiana” released in March earlier this year in support of Earth Guardians.

    Currently living in Upstate New York, O’Neill was raised in Pennsylvania and spent much of his time immersed in the Eastern Woodlands. O’Neill’s musical inspiration and style is drawn directly from his relationship between modern life and his exposure to the indigenous lifestyle. Half of all profits from the record sales are to be donated to frontline earth protection groups and more specifically to conserving indigenous rights.

    O’Neill’s perspective of the world is drawn from varied experiences that can be heard throughout his LP as he channels these contrasting lifestyles into music. Trophic Cascade is composed of fourteen tracks that experiment with sounds from a broad range of music genres. Styles such as psychedelia are prevalent during “1000 years” and the mountain styled music peaks through on songs like “Golden Boy” and “Relaunching.”

    Other songs on Trophic Cascade include elements of Americana, rock, folk and soul. “There You Go Again” features a horn section while “Break Stride” embodies a toe-tapping and fun upbeat rhythm. Each of these fourteen tracks embodies another emotional message and strives to build the bridge between activism and action.

    Whether or not you are an avid tree hugger is not integral to be a fan of O’Neill’s music. The sincerity within his music shines through as it goes hand-in-hand with his message of appreciating and protecting our world’s natural beauty.

    Key Tracks: Louisiana, Ain’t No Way, Relaunching

  • Hearing Aide: Jocelyn & Chris Arndt ‘Go’

    As much as we’ve seen styles change over the past few decades within our current blues genre, it’s frustrating that many of the blues creators we see don’t vary in general characteristics. In an older, mostly male-dominated blues world, there seems to be few oddball types of pioneers that redefine the ‘modern’ blues genre, that possess elements of instrumental mastery as well as superb songwriting chops. More specifically, there just doesn’t seem to be enough young people in the blues genre whatsoever.

    As early adults and siblings, Jocelyn and Chris share a creative blood. They are unapologetic with their entrance into listener’s speakers in their recently-released sophomore album, Go. Chris Arndt is a powerful songwriting force on all twelve tracks of the album, delivering piercing guitar riffs that are precise, yet purposefully sluggish as a means to flirt with his listeners. Many of his melodic lines are the forefront of song creation, that can be especially noticeable in songs like “History” and “Red Stops Traffic.”

    Only to balance the sound (without overshadowing the existing space) is Jocelyn Arndt, whose lyrics paint several pictures we can all relate to, in tracks such as their uplifting ode to dreams “Footprints on the Moon,” and desolate lullaby “Bad Business.” More apparent than her story is Jocelyn’s extroverted voice, that commands the room by presenting listeners with a delicate, soothing head voice to contrast an assertive, powerful chest voice, and then back, with a complete sense of ease and elegance.

    While they have the support of a full band on this album (occasionally featuring members of Gov’t Mule and Kung Fu), Jocelyn and Chris maintain a unified sound that doesn’t need any backing. They have the freedom to do this by choice, and only being in their early stages speaks volumes as to what their future may bring for blues music, both as performers and songwriters.

    While their tour is nearing its final stops, Jocelyn and Chris will make one more visit to New York on July 6 at the Mercury Lounge. You can buy tickets and follow their happenings on the artist website.

    Key Tracks: Footprints on the Moon, Red Stops Traffic, History

  • NYS Music Launches 87/90

    Every band was a local band once. Today, we launch NYS Music 87/90, reflecting the highways artists travel upon to reach markets across The Empire State. 87/90 brings together 8 New York State born and raised bands that have strong potential to make it big. We will bring news and coverage of these bands to you on a regular basis, highlighting what we see as the next wave of bands to come out of New York State. These are just the first wave of bands that we will be bringing to your attention – there are plenty more artists in every corner of the state from all genres. As we discover them, we’ll bring them to you and beyond.

    nys music 87/90The 8 artists we launch with include: Space Carnival, Cousin Earth, Formula 5, Folkfaces, Boogie Low, Intrepid Travelers, Let’s Be Leonard and Gowanus. These artists were selected for potential, work ethic and appeal to a wider audience. They include jam bands, bluegrass/folk, psychedelic rock, electronic and a mix of everything. We will expand in the future with bands that we see strong potential in – this is a select group we launch with and we will keep it reserved only for bands that pass muster.

    The bands we are reaching out to as founding artists are bands that we have highlighted on our pages in recent years, see a strong future in and have shown that they are committed to making a name for themselves well outside of New York State. This is not an open invite – the initial roster includes only bands that are on the rise and have developed a following through their music.

    Every band was once local.

  • Hearing Aide: Julia Felice and The Whiskey Crisis ‘Devil On Your Back’

    Julia Felice and The Whiskey Crisis, a rock group from Ithaca, have just released their second album Devil On Your Back. The album contains 11 tracks, and has a listening time of 44 minutes. Their tunes have an alternative, bluesy sound, and the album as a whole is more focused than their first, titled “Diving For Falls.” The group’s individual style is more refined on this record, as well, but the tone of their music can get repetitive.

    Julia FeliceThat being said, the tracks on Devil On Your Back do feature some variety.

    “Help Me Break,” the 6th song on the album, is sultry, soulful, and holds a slower rhythm than some of the other tunes. Julia Felice, the lead singer of The Whiskey Crisis, has a deep, raspy voice that is well complimented by the instrumentals this group puts out. “Help Me Break” showcases that factor in a different light. “Denim,” the shortest song on the album, exudes a funky, old school vibe, while “Waste” is one of the few upbeat tunes on the record, holding lots of feeling and spirit.

    The classic sounds that Julia Felice and The Whiskey Crisis produce are strong, much like the stage presence the members hold, which can be demonstrated below. Julia Felice and the others exude focus and passion when performing, which is magnetic. They seem to be an entertaining group to watch if looking for an entertaining night of live music, producing Devil On Your Back for those who enjoy timeless tunes.

    Key Tracks: Help Me Break, Denim, Waste

  • Rochester Music Hall of Fame Honors 2017 Inductees

    Last week Rochester honored six people who contributed to the local music legacy. In a ceremony held at the iconic Eastman Theatre, The Rochester Music Hall of Fame 2017 inducted blues man Joe Beard, classical composer Samuel Adler, pop star Gary Lewis, jazz trumpeter Lewis Soloff, radio DJ Roger McCall, and Penny Arcade owner Greg Sullivan. Highlights of the evening included spectacular performances by honorees and distinguished guests David Clayton-Thomas and Paul Shaffer.

    The first inductee was the legendary Joe Beard, born in the 1930’s to sharecroppers in Mississippi, he grew up immersed in the musical heritage of the delta blues. He migrated north and settled in Rochester, where he married and raised four children. In his lifetime, he has played with the likes of Muddy Waters, BB King, and Son House. On this occasion, he performed with his sons, Chris and Duane. They played a trio of songs from his extensive catalog of music, including “Don’t Know Why.” Joe stood center stage, his cherry red guitar a stark contrast to his dark suit, while his sons stood behind. At one point, they took turns soloing on their guitars, playing with as much comfort and ease as a friendly conversation.

    Next up for an award was Samuel Adler, a distinguished composer and teacher, with more than 400 published works to his name. Adler taught at the Eastman School of Music for three decades before relocating to New York City to teach at Julliard. His “Piano Quintet for Piano and String Quartet” was performed by Upton String Quartet with Yi-Yang Chen on Piano. The piece starts slow and lamenting, bursts into discordant notes, then finds triumphant harmony. It is a shining example of Adler’s adept skill as a composer, and why he is highly sought after for commissions.

    Gary Lewis took the stage, sidestepping his way to the mic. His natural ability at showmanship comes from growing up in the entertainment industry, taking the stage at an early age with his father, Jerry Lewis. Gary made a name for himself in the 60’s with his band, Gary Lewis and the Playboys, with rapid-fire hits that bumped bands like The Beatles down on the charts. Gary Lewis met his wife at the Eastman Theatre twenty years ago, and has lived here since. They still tour actively around the world. Tonight, they performed rousing renditions of their greatest hits, including “This Diamond Ring,” which had audience members dancing in their seats.

    The intermission was also a to-do, with performers and local music legends like Lou Gramm meeting with attendees in the hallways to chat, sign autographs, and share a “Kodak moment” with their fans. The second half of the night was more somber, with posthumous awards given to members of the local music community who we have lost.

    Lew Soloff, most notably known for his work with the band Blood, Sweat & Tears, spent part of his career teaching at the Eastman School of Music. His daughters accepted the award on his behalf. Paul Shaffer and David Clayton-Thomas also made the trip to Rochester to help honor their longtime friend. Paul carried out Jimi Hendrix’s “Little Wing” on piano, then took to the organ to accompany as David Clayton-Thomas played a trio of Blood, Sweat & Tears songs, starting with “Spinning Wheel.” He also sang “God Bless the Child,” a song originally done by Billie Holiday, which he said Lew had encouraged him to tackle. He ended with “You Make Me So Very Happy.”

    Roger McCall, the beloved radio DJ known by the alias “Unkle Rog,” worked for over 30 years at WCMF, making him the longest-running DJ at a single station. He worked the graveyard shift, and featured local artists, helping to cultivate the local music scene. Unkle Rog was taken from us in 2003 in a tragic act of violence. His wife and his son accepted the award. A tribute song “All Night DJ” was composed by John Akers. The jazzy number was performed by Akers on vocals and piano, Paul Akers on Bass, Erik Welsh on drums, Andy Calabrese on Keyboards, and James Richmond on Saxophone.

    The final inductee was Greg Sullivan, owner of local venue The Penny Arcade. The nightclub featured live music, bringing in major rock stars like Iggy Pop, Greg Allman, and Huey Lewis & The News. Sullivan also mentored local musicians, providing a place for them to hone their craft and grow a following. The club has been closed for seven years now, and Sullivan passed away in 2014. Sullivan’s wife accepted the award. A tribute song “We’re Rockin’ at the Penny Arcade,” was composed by James Richmond, Mike Gladstone, and Rob Smith. The rocking number was played by Smith and Phil Naro on vocals, David Cohen on drums, Ron France on Bass, Gladstone and Donnie Mancuso on guitars, Will O’Riley on keyboard, and Richmond on saxophone.

    The finale of the night was a tribute song “You Shine,” written by Jeff Cosco in memory of Greg Sullivan and Unkle Rog, and played in homage to the legends by Cosco on vocals, Mancuso, Gladstone, and Joe Chiappone on guitars, Bobby Bond on drums, France on bass, and Andy Calabrese on keyboards.

    All of the performances of the night were supported by the Hall of Fame’s house band, Prime Time Funk. The Rochester Music Hall of Fame is a non-profit agency, and this program was made possible by a host of local patrons and advertisers. For more information about the Rochester Music Hall of Fame and past inductees, visit www.rochestermusic.org.

    Photos by Battista Photography

  • Interview: Life Of Agony’s Joey Z and Alan Robert Talk Touring, New Album, and More

    On April 29, Life Of Agony played their 3rd show of their spring tour at The Chance in Poughkeepsie, NY in support of their recently released album A Place Where There’s No More Pain, their first album in 12 years.  Before another kick ass performance from the Brooklyn metal veterans,  I was lucky enough to sit down with lead song writer and bassist Alan Robert, as well as guitarist Joey Z.

    Joey Z

    We sat down and discussed topics such as playing overseas, other bands they hope to play with, and the recording process of the newest album.  They also shared some advice and opinions on how new bands can get their start.

    Check out the full interview in the video below:

    Here is some of the interview transcribed:

    JS: I see last night you guys played the hometown show in NYC. How did it go?

    AR: Great.

    JS: First show of the tour right?

    JZ: Actually no we played Boston the previous show, but last night was the record release party. But the previous night was album release party. But the night before was a warm up show in Boston. SOLD OUT. Packed house, did a lot of driving, but otherwise it worked out great, got warmed up, had a great night last night and really killed it. Now we are at the Chance tonight and we are gunnakill it again.

    JS: Yes, so now that you’re doing a small tour out here in the east coast, I gottaask, you go some overseas shows coming up, and did some overseas shows last year, how are the crowds different between and Europe?

    AR: It’s weird. Its like over the years things have changed in the states a lot. Scenes die out, clubs close down. In Europe, it is as strong as it ever was.  Sometimes we go over there, people are camped out in the rain and go there just to experience the music.

    JS:  Yea like Gene Simmons talking shit that rock is dead, but that’s not the case in Europe.

    JZ:  Yea, Eurpope still has that same feeling that it had fucking 20 years ago, so it really hasnt lost that heart.

    JS:  I was watching you guys on YouTube playing in front of these fucking huge crowds in Europe. It’s so bananas.

    AR: And the thing is too its different types of music.  Like hip hop bands, alternative bands, death metal bands that all play all the same stage.

    JZ: Yea they’re blending the genres out there, blending them all together.  So you get the chance to play with David Bowie, and Journey, then on the same bill you could have Lamb Of God or something.

    JS:  You guys kind of did the same thing over here with Tsunami Fest (Reading PA) I was there, and Body Count and Wu Tang played the first day and you guys and Madball played the next day. That was a good fucking blend of hardcore and hip hop and it was my first LOA show.

    JZ: Awesome, it seems America could pick up the ideas or traits of the European music scene.

    JS: Maybe someday.  I feel like bands tour in packages and festivals.

    JZ:  Well the buisness has changed alot in music so thats caused a lot of these promoters to put bigger packages together to get more people to get away from the computer and step outside their house and make an effort to go see their favorite bands instead of sitting around in their underwear.

    JS:  Do you guys have a wishlist of bands you want to play with?

    AR:  The original Misfits.

    JZ:  Ah that’s a great one.

    AR:  That would be a dream.

    JZ:  I think it would be great for this band to play with Soundgarden.

    JS: YESSSSSS. One of my favorite bands.

    JZ:  I think we would work really well with them.  Think both bands would go really well together.  Misfits would be great cuz that was our favorite band growing up.

    JS: Soundgarden is working on new material and touring.  So it will be cool to see what Chris and Kim come up with. Now before you guys hit the stage, do you guys have any pre rituals before you go on stage or do you have any warm up music you listen to get psyched up?

    JZ: It depends. Like in Europe, we find ourselves in the dressing room listening to music.  It depends on the room too.  If we’re in a room like this, there’s not much vibe. So probably try another room.  Or decent place thats comfortable with couches and we will listen to a Soundgarden, or a Sabbath, or throw on some music to get those musical juices flowing.

    JS:  So what are you listening to right now? Like in the car or gym.

    JZ: “A Place Where There’s No More Pain” (Laughter) It’s in my CD player in my car.

    JS: Hey I cranked it all the way here.  I love it.  So let’s get into it right now.  It’s been years since “Broken Valley”… what was it like to finally get back in the studio again? Was it different?

    AZ:  It was completely different from any other record we’ve made.  For the better.  We were more focused.  We were very concentrated on the performances.  To get the best from each other.  It was awesome.

    JZ:  Almost like isolated performances.  We worked with Matt Brown.

    JS:  I know Matt Brown.

    JZ:  He plays with Pale Horse Named Death (Sal Abruscato’s other band)

    JS: That’s how I met him.

    JZ:  We did it like Alan said, more each person had a focus.  And Matt took the time to work each person on their own to mix it.

    JS:  The mixing is FANTASTIC by the way.

    AR: He would love to hear that.

    JZ:  He’s gunna hear it. So yea Matt was an integral part on how the record turned out.  The way it sounds, the way it turned out, the performances on us, Matt pushed all that to get that done.  I give him a lot of credit for this.

    JS: I think it’s cool that you guys decided to stay in house with Matt instead of getting a Rick Rubin, or a Brendan O’Brien. You guys stuck in house, and say this is the guy we want, this is the guy who knows us best.  I find that an awesome approach.

    AR:  We almost did the exact opposite of what we did with “Broken Valley” every step of the way.

    JS: Like major label.

    AR: We did the major label, big time producer. Greg Fidelman fantastic, he worked with Metallica, Slipknot, worked in big studios, sunset sound, where they did Led Zeppelin drum tracks.  We totally went stripped down on this record.

    JZ:  This record is different.  We really utilized all of our assets around us.  All the studios where we know and we’re comfortable with.  And it worked out cuz hey listen, there’s more than one way to skin a cat and get it done.  We were actually able to turn out and make a great record with our own little chemistry on how we were gunna do it.

    AR:  Plus our schedules.  We all have other things that we we’re doing.  So scheduling stuff was a lot easier to do one-on-one with Matt, versus trying to get everyone there all the time.  It was really cool.

    JS:  I see you guys spent years apart, then got back together.  During this time between the last album and this album, you guys all had other bands and projects. Sal had a band called A Pale Horse Name Death

    JZ: Yea.

    JS:  I love both of those fucking albums, I was lucky enough to catch them, and now with this album I hear a lot of doom and gloom, very dark and gritty compared to the others.  Did Sal’s time in Pale Horse have an influence and with Matt Brown, did they influence on the direction of the dark sound this album has?

    JZ: I would say absolutely.  Because Sal brought a shit ton of rifts to the table.  We’re all guitar players in this band.  I always say we got four guitar players in this band, so there’s not like “oh Joey is the guitar player, he has to write the rifts.”  It’s not like that.  We all contribute to the pot.  Sal had a shit load of rifts to offer for the band and that’s why you hear a lot of that sound you were talking about.  And it’s cool cuz now you hear Mina sing over those rifts.  So I feel my job in the end as a guitarist, is kind of making those my own.  Make them my own so when I record them I make them my own.  It’s me.

    AR:  He’s a machine.  I don’t know how he does it.  He can do like six guitar tracks that sound exactly the same.  (Laughter)

    JZ: Thank you.

    AR: It amazing.  And that’s why the record sounds the way it does.  Because everything is so precise.  Everyone spent the time to hone it in.  Really make sure we got it the way we want them.

    JS:  My two favorite tracks from this album are, umm I really love, “Meet My Maker,” and I absolutely love “A New Low.”

    JZ: “A New Low!” Me too! That’s one of my absolute favorites!

    JS: That’s fantastic! Now, that I’ve just said my favorite tracks, what other tracks are you guys most proud of, or what’s your favorite track on the album?

    AR: Ahh, I would say “The Dead Speak Kindly” is my favorite.

    JS: Okay.

    AR: Umm, and probably,” World Gone Mad.”

    JS: Yeah, the video was awesome by the way.

    JZ: I keep jumping around, umm, because I listen to it a lot.

    JS: Yeah.

    JZ: And I keep flipping. I love “A New Low,” every time that song comes up…

    JS: Yes! That song speaks to me.

    JZ: It’s my favorite! But then honestly I’ve been really hot lately on” Right This Wrong,” because I can picture us doing it live. It’s like when I can really picture this band playing a song at a festival, and making, ya’ know, 80,000 people go insane. I can picture” Right This Wrong,” doing that to a crowd just by the groove it has and the drilling and the vibe it has. It has that festival big crowd vibe.

    AR: Yeah.

    JS: So now, I don’t wanna give away too much, but is it safe to say that a lot of these songs will be played at these upcoming shows?

    JZ: Yeah, ya’ know we’re gonna pace ourselves a little bit, and not blow our load all at once. We’re gonna start introducing songs to the set. We already are, umm, tonight we will play a couple off the record. I know a lot of people are just getting the record so they don’t have start learning, ya’ know?

    JS: Yeah.

    JZ: Yeah, so we’re gonna throw a couple of songs from the new album into the set tonight and then when you see us again down the line you’re gonna hear more of the album in the set, you know?

    JS: Yes. Everybody should be at the show tonight. If you missed the last three shows, not the end of the world, especially if you’re still in the east coast. There are more Life of Agony shows coming up in May.

    JZ: So we are playing Stroudsburg, PA on May 12 and then May 13 we are playing Long Island, Wantaugh, NY.

    AR: First time in a very long time. We haven’t played Long Island in I can’t remember.

    JZ: Yup, May 19 we play Lancaster, PA and then May 20 we play Starland Ballroom.

    JS: Yes, speaking of the ballroom, I was there for Mina’s birthday, that was an awesome fucking show by the way, so yeah Starland Ballroom is definitely a good venue, you gotta check it out. It’s bloody fantastic. I caught you guys there, I caught Garbage there. It’s a kick ass venue man.

    JZ: Yeah, we’re gonna have fun.

    JS: Okay I got one last thing, Zire’s War.  That’s how we met.  Cuz I was catching Biohazard on the small little tour that they did. And Lo and behold you got Zire’s War opening.

    AR: Was that your first show?

    JZ: No, I believe our thrid show.

    JS: Zire’s War… you with some of the guys of Misery Kills.

    JZ: And John from Stereo Mud.

    JS: YES Stereo Mud! So what’s going on with Zire’s War?  I know you’re busy with LOA

    JZ: Well the way I am in life is that I want to give my full attention, my full energy, my committment, to what I’m doing. I can do both when we are playing live when LOA is touring, and I can fit Zire’s War in between it. That’s one thing, but making a record is a completely different animal.  And when it was real when we were about to do this record.  I spoke to the guys, and told them, and Zire’s War I write the stuff, I don’t wanna call it  “My Band” but it is my baby that I’m putting it out on the world, so I told the guys that it’s very important that I do this LOA record and give it my full attention.  And not try to squeeze Zire’s War because then I’m thinning this out or I’m thinning that out for each other.  And that’s not healthy for either project.  So I want to give it my full attention for this Life Of Agony record.  And I’ll get that Zire’s War record out as the Life Of Agony cycle continues here.  I plan on recording somewhere down the line.  And finally getting out.  And I think it’s a great thing because this record has reintroduced all of us back into the industry.  It’s not easy out there.  Not everyone is throwing deals at you.  So being relevant again is important to us individually.  You know Alan has his comics and coloring books he released.  All that’s going on with Life Of Agony, it all trickles down in our personal adventures.  It all just helps each other.  You gotta be smart about what you do.  And you can’t step over each other.  And that’s the way I saw it if I tried to push to do both with full force at the same time.  So I’m going to pick up Zire’s War again. The songs are there, they’re not going anywhere and I’m making them better and working on them here and there at home.  So now when it finally comes out, and when it’s released I can give it more of my attention.  It will make a lot more sense.

    JS:  My last question for the day is do you guys have any advise for bands trying to get their start in this changing industry?

    AR:  That’s a tough one.  It’s funny. Yesterday at the Irving Plaza at the record release show, we had an unsigned band contest, just trying to give back, ya know. It’s kind of how we found our way, we got to play some really great shows when we were a baby band, played with Agnostic Front, opened for Type O, and Overkill at the Ritz. Stuff like that happened to us and it help us put us on the map so now we are trying to do that for someone else.  Just gotta keep doing it and hope that those opportunities happen.

    JZ:  And a way to make them happen and it’s something we did in the past is, and I remember clearly, when we were young, we didn’t have management or anything, we used to connect with the promoters ourselves.  And I remember Gene from Faces.  The only way we got to play that first  show was that we would go to faces and see a band like Biohazard or Monkey Bump, and we met the promoter and said “Hey we would like to play here.”  And gave them music.  I think if more people did that, actually found out who was booking the shows at their local venue, and actually went to go personally say hello. You see people just complain that nothings happening but they’re not trying.

    AR:   It’s like everything is all computers, and everything is virtual, friendships are virtual.  There are no faces to names anymore.  It’s like sometimes you have to get “real” with people so they can give you a shot.

    JZ:  Yea go meet with them. Go to the venue. Go hand them some music and say we’d love to play here.

    AR: It’s easy for someone to press delete when the email comes in with music from someone you’ve never met before.

    JZ: Yeah, there’s no face, there’s no personality, there’s no connection you know?

    AR: And there’s so much of it online. It’s almost like you get bombarded.

    JS: Yeah, I get it.

    AR: Sometimes you’ve gotta be more proactive.

    JZ: Definitely! That’s it, you people out there! Young bands, get proactive!

    AR: Whipper-snappers!

    JZ: And I don’t mean the fucking pimple shit.

    JS: Guys, thanks so much for giving me the time to do this. Go kick ass out there, I’m definitely looking forward to the show, and obviously best of luck for the rest of the shows. And just a quick special thanks to Napal Records, Life of Agony, over at NYS Music.com, Peter and Jim, my co-hosts Mosh Pit Fardo, Black Metal Steve, and Psycho Steve of Steve Losurdo Productions, and of course my lovely camera gal Danielle, thank you so much. It’s been a real honor.

  • Book Review: Peter Conners’ ‘Cornell ’77’

    May 8 will mark 40 years since the Grateful Dead descended upon Ithaca and performed a concert that would go down as the most talked about show in the band’s 30-year history.

    Many people say it’s the greatest performance in the Dead’s storied history, and it’s easily the most documented show the band ever performed. In the new book, “Cornell ’77,” author Peter Conners dissects the famous and infamous concert at Barton Hall on the Cornell campus in a variety of ways, from culling excerpts of local media at the time, to finding and interviewing attendees of the show, to emailing with the living band members.

    The history of the Grateful Dead has been documented endlessly in print form, with full band documentaries, autobiographies, fan accounts and everything in between. But Conners’ book is the first time a single show has been viewed on such an in-depth level, and with good reason: May 8. 1977, is the most downloaded Grateful Dead concert ever, and has been streamed live more times than any other.

    Conners clearly spent his time in piecing together information for the book. He rounded up newspaper clippings from the time, both previewing and reviewing the show, located a few people who attended the concert and spoke on record, and even got some of the band members to give their input.

    The first chunk of the book gives a history lesson of sorts into the Dead up until that time, including a great deal about the famed Wall of Sound, and more importantly a lot of insight about the near breakup, which turned into a hiatus, in 1974.

    The most interesting parts are in the chapter titled “Cold Rain and Snow,” where Conners depicts a few fans’ experiences of the entire day, from traveling to the area, to getting in the show and how the fans viewed the music at the time. Fan Robert Wagner, who traveled from North Carolina to upstate New York, gives anecdotes about experiencing snow in the spring that catapult the reader back to 1977. This chapter easily is the book’s selling point.

    Something that has been documented ad-nauseam is listener reviews of the show. Conners did not attend the show — he was a Deadhead in his youth, however — but did give some of the better breakdowns of the songs performed that night that I have ever read. At times, Conners’ comparisons were a bit odd: he compared “U.S. Blues’” line about skinning a goat to a cat, which left me wondering what he meant; later, he compared “quaaludes running through the bloodstream” to the jam in “Supplication,” and I was, admittedly, a bit lost. But in the end, Conners ended up giving readers a completely unique review of the show, breaking each song down, while providing a little history and context for each one.

    While the premise of the book is initially intriguing, “Cornell ’77” does have its shortcomings. At times, the book appears to have not been edited very well, as it has a few glaring grammar problems.

    But my main issue with it, is that Connors seems to have pulled most of his information from other sources, while seemingly being unable get much information directly from the four living members of the band. Drummer Mickey Hart pours his heart out, as always, but outside of Planet Drum, the rest of the band is nearly absent outside of Conners taking quotes from past interviews conducted by others. That makes the book not feel fully authentic.

    If you’re a seasoned Deadhead, this book won’t provide you with much new information.

    But if you’re new to the Grateful Dead, this is a book I highly recommend checking out, as your eyes will be opened to an era of the Dead many think is the unquestioned leader in the handful of iterations of a rock and roll band beloved by its followers.

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