NYS Music 20​17

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  • Brian Johnson Says Goodbye to Friend, Bandmate, Malcolm Young

    As our favorite legendary artists grow older, its only inevitable, that one day we will hear the sad news that one has passed away. Sadly, AC/DC guitarist Malcolm Young will join several other legendary artists at the “Music Festival in Heaven.”

    Longtime bandmate, friend, and AC/DC frontman, Brian Johnson, posted a statement on his website about the passing of Young titled, “For 32 years, we stood side by side on stage.” His letter stated:

    I am saddened by the passing of my friend Malcolm Young, I can’t believe he’s gone.
    We had such great times on the road.
    I was always aware that he was a genius on guitar, his riffs have become legend, as has he.
    I send out my love and sympathy to his wife Linda, his children Cara and Ross,
    and Angus, who will all be devastated…. as we all are.
    He has left a legacy that I don’t think many can match.
    He never liked the celebrity side of fame, he was too humble for that.
    He was the man who created AC/DC because he said “there was no Rock,n,Roll” out there.
    I am proud to have known him and call him a friend, and I’m going to miss him so much.
    I salute you, Malcolm Young.
    – Brain Johnson, November 2017

    Malcolm Young passed away on Nov. 18 at the age of 64, after suffering from dementia for the past few years. He formed AC/DC with his brother Angus in 1973. Besides playing guitar, Malcolm was a producer and songwriter, who help create some of the biggest rock and roll anthems in history, such as “Hells Bells,” “Back In Black,” “Highway To Hell,” and “You Shook Me All Night Long,” to name a few. He retired from the band in Sept. 2014, after being diagnosed with dementia in April 2014. Young and his AC/DC bandmates have sold over 110 million albums, are were inducted into the Rock and Roll Hall of Fame in 2003.

    Rolling Stone posted several comments from various artist, once the news of Malcolm’s death started to circulate throughout the music industry including Eddie Van Halen, Nancy Wilson and Slash. You can read those comments below:

    Steven Van Zandt (E Street Band): “Malcolm was the essential rhythm guitarist of the world’s greatest working class hard rock band. An irreplaceable loss.”

    Slash (Guns N’ Roses): “Malcolm Young was one of the best ever rhythm guitarists in rock and roll. He was a fantastic songwriter and he had a great work ethic too. I toured with AC/DC on their ‘Stiff Upper Lip’ tour. I found Malcolm to be a really cool, down to earth fellow. The entire rock and roll community is heartbroken by his passing.”

    Nancy Wilson (Heart) “Malcom Young was the embodiment of rock itself. His rhythm guitar style needed no embellishment. He laid down the simple solid guitar truth that taught us all about the ‘less is more ethic.’ The wild power of simplicity and the head banging hair flipping joys of turning it up really loud and dancing with the vibrations. Thank you, Malcom for being the real deal. We are all going to miss that shredding music that only you and your brother could make together.”

    Eddie Van Halen: “It is a sad day in rock and roll. Malcolm Young was my friend and the heart and soul of AC/DC. I had some of the best times of my life with him on our 1984 European tour. He will be missed and my deepest condolences to his family, bandmates and friends.”

    Dave Mustaine: “I have to go…I am losing it that Malcolm is gone. I hate this…” Kiss’ Paul Stanley added, “The driving engine of AC/DC has died. A tragic end for a sometimes unsung icon. One of the true greats. RIP.” Tom Morello praised Young as “#1 greatest rhythm guitarist in the entire history of rock n roll.”

    https://youtu.be/evqsl8smnYE

  • Ron Gallo and Naked Giants Blow the Doors Off the Bug Jar

    “I don’t know why there’s anyone here but it’s fucking awesome,” said Ron Gallo a few songs into his blistering rock and roll set at the Bug Jar in Rochester. “I thought the rule was, the first time you play a place only three people show up…”

    But this show, from top to bottom, was in complete defiance of all rules. As that’s the very definition of punk, it was very fitting that the show ended with both Ron Gallo’s trio and their tour mates, Seattle trio Naked Giants, all on stage, mostly shirtless, romping through The Stooges’ “TV Eye,” screaming and thrashing about the stage like a group of maniacs.

    Rules likely also dictate that the opening band will be some half-baked group of local musicians defiling gems from The Stones or trying to work up yet another rendition of “Crazy.” But on this night, the crowd was treated to 40 minutes of excellent original songs from Rochester’s Dangerbyrd. Mixing blues, country and early 60’s psychedelia, they settle comfortably near the sounds of The Band and Credence Clearwater Revival, keeping it simple while nailing it in the process.

    Next up were the aforementioned Naked Giants, a trio of Gianni Aiello on bass, Grant Mullen on guitar and Henry LaVallee on drums. They played with a frenetic energy, going after every single note with reckless abandon, completely untethered. The set began with a noisy, effects-laden jam, swimming in cymbal crashes. Aiello danced about the stage, somehow still keeping total control of his bass sound which, at times, he seemed to be changing with every other pluck of the strings. They weren’t a band to follow the rules either. The bass was as much a lead as the guitar was and traditional song structure took a back seat to rhythm and pure enjoyment. No one was having more fun than the three on stage.

    The small stage couldn’t contain LaVallee’s excitement when, just a few songs into the set, he kicked the back door open and ran outside mid-song, the first of many times that door would swing open that night. Mullen shredded impressively throughout their set which included songs like “Slow Dance 2,” “Pyramids,” “Twist” and the closing White Stripes-esque “YaYa.” The energy was infectious and the mostly unfamiliar crowd was smitten by set’s end.

    By the time guitarist Ron Gallo and his trio (bassist Joe Bisirri and drummer Dylan Sevey) took the stage, the crowd was at a fever pitch. Gallo played off of this by stepping to the mic, monotonously and stiffly reading from a piece of paper: “My name is Ron Gallo. That is also the name of our band. We are excited to be at the Bug Jar in Rochester New York, one four six oh seven. Thank you and enjoy yourself.” It was the calm before the storm, immediately followed by fuzzed out bass blasts and a heavy guitar jam. Usual rock show protocol would dictate that the guitar player wouldn’t jump into the crowd until late in the show, but Gallo was jamming from within the crowd before the first song even started.

    The entry jam lead into an opening combo of “Put the Kids to Bed” and “Kill the Medicine Man” off his stellar new album, Heavy Meta. They mixed tracks from the album together with new songs (“Man Keep Your Hands on Your Pants”), older songs (“Really Nice Guys”) and covers (Des’ree’s “You Gotta Be”). When “All the Punks Are Domesticated” got called out from the crowd, Gallo responded,”…is the name of the next song we’re going to play” and launched into it without missing a beat. During the slow dripping, heavy blues of “Black Market Eyes,” Gallo followed LaVallee’s earlier lead and left the stage out the back door. 30 seconds later he returned running through the back of the crowd and back on stage to rejoin the band for a another heavy rock jam.

    The racing train car of a rock show finally went off the rails during his solo on “Young Lady, You’re Scaring Me.” He once again went out the back door, this time mid-solo, and with his guitar, continued to play outside on Monroe Avenue. He eventually reentered the room, bringing along the boys from Naked Giants as well as a couple of other new fans off the street. The two bands shared the stage as a double-trio for raucous versions of “Sorry Not Everybody is You” and “Age of Information” from a split EP they released together earlier this month. They followed that up with a through-the-roof cover of The Beatles’ “Helter Skelter” which was a meta (heavy meta?) description of exactly what was happening. Playing the denouement to that climax, the six were prompted to play one more song, which brings us back to the shirtless and thrashing “TV Eye.”

    Ron Gallo Setlist:
    Intro > Put the Kids to Bed > Kill the Medicine Man, Man Keep Your Hands On Your Pants, Really Nice Guys, Please Yourself, Black Market Eyes, All the Punks Are Domesticated, You Gotta Be (Des’ree), It’s All Gonna Be OK, Temporary Slave, Young Lady You’re Scaring Me, Sorry Not Everybody is You*, Age of Information*, Helter Skelter (Beatles)*
    E: TV Eye*
    *with Naked Giants

  • Proctors Announces Capital Records Live

    Capital Records Live, to be held on March 23 at the GE Theatre at Proctors, is a new model for local music entertainment. Presented in association with WAIX, “Albany’s Independent Experience,” the series’ debut performance will feature six of the region’s most popular bands playing classic songs of The Beatles.

    OLYMPUS DIGITAL CAMERA

    The first act in the inaugural show will find the Bryan Brundige Collective, Clear Mind, Eastbound Jesus, Girl Blue, Let’s Be Leonard and Wild Adriatic offering self-chosen selections from 1968’s The Beatles, better known as The White Album.

    The second act will challenge the same groups, with Proctors and WAIX 106.1 determining which songs the band will perform, all from 1967’s groundbreaking, multiple Grammy Award-winning album Sgt. Pepper’s Lonely Hearts Club Band.

    Whether you’re a fan of local artists, wanting to support local music or a Beatles buff who can’t miss these iconic albums performed in a whole new way, Capital Records Live will be the place to be.

    Capital Records Live is a planned annual concert featuring a variety of local and regional artists performing a classic album live in concert. Its mission is to promote the local music scene by introducing artists to new audiences, fostering new musical relationships and offering a performance opportunity in a world class environment. Audiences, in turn, are treated to a local “All Star” night of music featuring timeless favorites.

    Tickets for Capital Records Live, $25, are available at the Box Office at Proctors, 432 State Street, Schenectady; by phone at (518) 346-6204; and online at proctors.org.

    This article, originally published by The Spot 518, is property of Spotlight Newspapers in Albany, N.Y, and appears as a special to NYS Music. TheSpot518 and NYS Music work in partnership to provide readers with in-depth coverage of the local music scene in the Capital District and New York State, respectively. For more, visit TheSpot518.com.

  • The Aptly Named Finger Lakes Live Open For Business in Geneva

    The Finger Lakes region, Rochester included, is bursting with live music lately. Dan Smalls Presents has a handle on things on the south side of Cayuga Lake. On the north side of the lakes, The Smith hosts medium-sized shows at the theater and occasionally puts on some club-sized shows in smaller spaces around Geneva. But there hasn’t been a venue hosting live music consistently on a weekly basis in Geneva for a long time. Until now…

    flx liveFinger Lakes Live – FLX Live – a near 300 capacity space, opened this past August and has been holding shows every Thursday through Saturday (and sometimes Wednesdays) ever since. The venue is drawing in both national talent like Billy Strings or Molly Tuttle Band (who played the night we visited), regional acts from Syracuse, Rochester or Buffalo and bands from their own backyard.

    Finger Lakes Live FLX LiveOwner Ian Pattison, General Manager Nicholas LaChance and Musical Director Matthew Elkin met at Hobart and William Smith College and watched as the landscape of Geneva changed throughout their time in school. The city has recently undergone a renaissance linked closely to the boom of wine and beer tourism in the area. With that success came a bunch of great restaurants and bars. But the friends spotted a need for a music venue.

    Part of the beauty of FLX Live is that it is first and foremost a live music venue, and a bar second. The sound and sight lines throughout the place speak to this, with improvements still in the works. It’s a warm and welcoming place, with wood accents throughout. A long and easily accessible bar is backed by beautifully lit wooden cask bottle displays. The beer list spans all tastes with something to satisfy the snobbiest of drinkers as well as those preferring something that advertises on sports broadcasts. There is also plenty of wine and alcohol available as well. Within the next couple of weeks, they will begin offering pizza and other finger foods.

    Patrons can view the show from hightop tables and chairs in an elevated area at the back of the room, which for some shows will be available for reservation, with bottle service possibly in the near future. There is also a large floor immediately in front of the stage, for those wishing to get closer to the band and dance. They will be hosting live bands of all kinds, everything from rock to folk to salsa to funk and everything in between, with DJs spinning dance music after many shows. Just a 45 minute drive from Rochester, Syracuse or Ithaca, FLX Live is well situated to draw people from out of town to downtown Geneva for live music. So look at their upcoming schedule and make a plan to check it out.

    Schedule highlights:
    11/22 – Aaron Lipp and the Slacktones, A Girl Named Genny
    12/2 – After Funk
    12/8 – Dead Winter Carpenters
    12/30 – Big Mean Sound Machine

    Learn more and hear from the owners in a great interview with Evan Dawson on Connections from September.

  • David Crosby and Friends bring Sky Trails tour to The Egg

    David Crosby brought his friends to The Egg on Friday, November 17 for a sold out performance that featured tracks off his new album Sky Trails, as well as songs from the 60’s and 70’s by CSNY, CPR and The Byrds. Crosby’s Friends this evening included Jeff Pevar on guitar, James Raymond on keys, Mai Agan on bass, Steve DiStanislao on drums, and Michelle Willis on keys and vocals.

    david crosby and friends
    David Crosby and Friends at The Egg

    Shortly after opening with “In my Dreams,” a prime sample of Crosby, Stills and Nash’s late 70s elevator rock sound, Crosby dove into the first of a few CPR tracks, “Morrison” and later “At the Edge” and the powerful “Breathless,” as he spread out his vast catalog throughout the evening.

    After a show in Boston that had an audience member taking issue with Crosby’s anti-Trump stance, there were four instances this evening where he took jabs at Trump, with no vocal disdain from the audience. There was also the groovy “She’s Got to be Somewhere,” a song about a spy, influenced by Trump, and the first track off Sky Trails.

    Crosby shared stories throughout the evening, the first about The Byrds touring in England for the first time in the 60s, and told of how they were scared to meet The Beatles because they had copied their look, clothes, hair, shoes, sound and all. While performing one night, Crosby saw Mick Jagger and John Lennon in the crowd, and while he was nervous to meet either of them, they were as mellow as could be when they got to talking after the show. This led to Crosby offering a Ravi Shankar album to George Harrison, which had a profound influence on the quiet Beatle and his music in the years that followed. Crosby and Friends then performed “Laughing” which was written for Harrison.

    The touching CSN classic “Guinevere” was followed by referencing the Boston audience member, leading Crosby to wonder if “maybe they thought it was a Stephen Stills show,” before discussing the impact of Eisenhower’s “Military industrial Complex” speech and how it had an early influence on his view of American politics. With cheers and applause from the audience, he briefly spoke against the buying of Congress (and how there may only be five good ones left), which led into the short acapella song from an era of protest against the Vietnam War “What are their names?” Keeping the spirit of the era alive, a pairing of “Long Time Coming” and an extended “Deja Vu” with a soft jazzy interlude closed the first set.

    “Delta,” a song written on Warren Zevon’s piano (thanks to Jackson Browne when he was helping Crosby get clean) and “My Country Tis of Thee” with a CSN spin on the American staple stood out in a shorter second set. An encore of Neil Young’s “Ohio” had Crosby encouraging the crowd to sing the chorus “Four dead in Ohio,” and left the audience emboldened to take the spirit of the era from which these songs were born.

    While the show had plenty of reminiscing, Crosby’s show was far from a novelty act or nostalgia show. There were a few songs from his forthcoming album Sky Trails that were performed this evening amid plenty of classics from across his Canon. The 76 year old showed no signs of slowing down or mailing in his performance as he heads into the twilight of his career. Crosby is fired up and ready to go.

  • Twiddle Brings Us All To Paradise in Boston

    Boston is an amazing city in which to spend a three-night stint of one of your favorite bands. Starting Thursday, November 9, Twiddle fans rolled into bean-town for what will go down as a legendary run at the Paradise in Boston. All three nights sold out before doors opened the first night, something Twiddle fans are starting to get used to. The entire weekend was full of very unique set lists, weaving songs together for what felt like an entire set. Broccoli Samurai, Mister F, and Annie in the Water were the openers, and each band started the nights off with a bang.

    NYSMusic was not present Thursday night but the setlist can speak for itself.

    Set One: Peas and Carrots, Syncopated Healing ext, Second Wind > Apples > BBQ > Apples > Second Wind, Subconscious Prelude > Indigo Trigger > Subconscious Prelude

    Set Two: Gatsby the Great > Purple Forest > Gatsby the Great, Ricky Snickle, The Catapillar, Jamflowman

    Encore: Eyes of the World

    Mister F began Friday night with a huge hour long set pumped full of heavy electro-funk. Their intense jams brought the crowd to life as the Paradise started to fill up. By the time they ended, the room was surging.

    Twiddle came out to a roaring crowd, starting the night off with “Blueberry Tumble.” The first set was filled with songs from their most recent album, Plump 2, ending with a beautiful “When It Rains It Pours.” After intermission, the band played a very classic set, intertwining some of the best originals, and finishing off with a very rare “Tiberius” Encore.

    Set One: Blueberry Tumble, Enter, Orlando’s > Nicodemus Portelay > Polluted Beauty > Nicodemus Portelay > Orlando’s, When It Rains It Pours

    Set Two: New Sun, Dr. Remidis Melodium, Mamunesthefawn > Save Tonight > Mamunesthefawn*, >Brick of Barley > Carter Candlestick > Franklin’s Tower > Carter Candlestick

    Encore: Tiberius (with extended jam)

    If there was one thing I would take from the weekend, it’s don’t sleep on Annie in the Water. The energy that came off that stage was going to be tough to follow. However, if there was a second thing I took away from this run, it’s that Twiddle has reached a completely new level of music interpretation and improvisation. They came out of the gate hot with a very heavy “Blunderbuss,” getting the crowd pumped immediately. The first set was very fast paced and made you never want to stop dancing.

    The second half of the night was more of a relaxed set, with a beautiful “Amydst the Myst” to start the last opener. Towards the end, a very special guest came out to play with the band. Billy Comstock of Annie in the Water was originally Twiddle’s bassist and wrote one of the group’s most memorable songs, “Latin Tang.” The current bassist bowed out for a bit so the OG quartet could rock out for an incredible Tang we won’t soon be forgetting.

    Set One: Blunderbuss, Lost in the Cold > Drifter > Dr Remidis Melodium >Lost in the Cold, Doinkinboink > Drifter

    Set Two: Amydst the Myst, Beethoven and Greene, Earth Mama, Latin Tang*, Zazu’s Flight

    Encore: Ricky Snickle

    The weekend was full of love and energy. Fans came together as a family of strangers and friends. You can see the guys in NY coming up, with a show on Long Island and two nights at the Capitol Theatre in Port Chester. Remember, relax and dream and love relentlessly.

  • Interview: Kyle Waldron on Creating Barbarosa’s ‘Loud and Pretty’ Sound

    There is no greater joy in life than discovering music that resonates with the soul, sending spirits soaring into heights of ecstasy. I recently found myself captivated by a performance by Barbarosa. The self-described “loud and pretty” Rochester band combines both male and female vocals over intricately arranged instrumentation. The overall effect is like being guided through a labyrinth in the dewy haze of dawn. I met up with the band’s founder, Kyle Waldron, to discover more about the origin and evolution of this captivating band.

    Paula Cummings: What sparked your interest in music?

    Kyle Waldron: I’ve always liked music a lot. My dad was a bass player back in the 70’s. He had a lot of instruments. I learned to play bass, I learned to play guitar. I got super into it. It feels like something I was supposed to do. And I used to go to church. That’s how I learned to play in band, in the church. After a while, it was like ‘I want to start my own band.’ I started Barbarosa while I was in college. I’ve always been obsessed with it. There’s nothing in life I’ve ever felt so strongly about.

    PC: Why the name Barbarosa?

    KW: We were looking for a name for the band and my bass player in college came up with the name Barbarossa. It means red beard. I took out the extra “s” because of copyright with a band in the UK. I’m really into history – I was a history major in college. It’s got historical significance. Barbarossa was an emperor of the Holy Roman Empire and the name of the Nazi invasion in Russia in WWII. It comes back to my interests and what I look like.

    PC: So you and Hannah Gouldrick take turns on vocals on the songs?

    KW: Hannah has been helpful with writing vocals. That’s not really my strong suit. I like to come up with songs and guitar parts. Lately it’s been fun. We’ve actually started taking vocal lessons with a coach. So now I feel like “Oh, I can do this harmony.” I just couldn’t do that before. Now I like it a lot.

    PC: What is your songwriting process?

    KW: Almost always it will start with an idea I came up with on guitar and then I’ll record it. I’ll have someone make drums for the song. And then I’ll go back and flesh it out with bass and vocals. Usually vocals come last. I’ve started changing that. I realized some of the best songs have integrated vocal and instrumental parts. I used to be into post-rock instrumental. Lately I’ve been trying to write vocals, simple songs with chords and then add everything else. I’ve experimented a lot with how I write songs. I strive for not just doing things the same way.

    PC: Do you think the changes in the songwriting process have been the result of taking vocal lessons?

    KW: I feel like for a lot of musicians, you have a preconceived notion of how you think people write songs. Then you go through it and do it for a while. Then you’re like “Oh, I think there’s a bunch of ways that people do this.” It changes how you think. The more you do it, the more the process shifts. I realized that if I do the vocals first, it would make them more prominent in the song. I think that’s what most people identify with is vocals. I’ve tried hard at improving. Like I said, it was always an afterthought. It’s still a work in progress.

    PC: And it’s probably changed as the dynamics of the band has changed.

    KW: That’s another major change is getting away from guitar music and into synth – keyboards. I was really into guitar amps for a while but now with the synth… I’m really into gear, so it’s a whole new world to explore. That’s changed a lot too because my friend Nick Maynard did the first two songs on the new EP and he’s a master at that stuff. He has cool synth stuff, vintage gear, and he knows what he’s doing. That helped me out a lot. Nick’s not into doing the live stuff. He loves writing music. He was instrumental in helping me learn that stuff. My roommate also plays keys. Dave Heeks is really into that stuff. He’s going to probably end up being our keyboard player. We’ll be adding keys on more songs. It’s cool because there’s progress. I’ve had three different people work on drums. Matt Battle (of Oh Manitou) was the original drummer. He was on the first song I recorded, “Colorblind.” Then I did another song with him. Then Frank Dicesare, who’s more into hip-hop, which was kind of cool. He plays groovy, and adds stuff you wouldn’t normally hear in indie rock. And then Greg Best. He’s done all the live shows with us. He did the last two songs we put out. Greg is amazing. He went to Nazareth for performance and studied under a famous jazz drummer. He comes up with things in no time at all.

    Barbarosa at Wicked Squid Studios

    PC: I saw you last month, and you did a cover of a No Doubt song, which was different.

    KW: That was Hannah’s idea. We kind of changed it around so it sounded more like Barbarosa. It came together. That’s one of Hannah’s biggest influences in music and she was happy to be able to do that song. Now it’s in our repertoire. Now that we’ve done that, I can see where Hannah gets a lot of her melodies from.

    PC: What was the first concert you went to?

    KW: It was at Madison Square Garden. It was a Christian music festival. TobyMac and Jars of Clay. That was 5th grade. I didn’t know what was going on. It ended up being “Woah!” It was loud, and you get the adrenalin for the first time. I got into more shows in high school. I saw Balance and Composure in Philadelphia. It woke me up to crowd involvement. And punk shows where people were going nuts and piling onto each other, moshing and stuff like that. That set up my whole idea of playing music. It was a community thing. It was so cool to see so many people in one area connecting. I didn’t know that was possible at that point. That it can make them happy or make them sad. That’s when I realized I want to do this. I want to start a band.

    PC: Where do you get inspiration?

    KW: There’s a podcast called Song Exploder. They interview artists and go through their songwriting process. It changed my songwriting process. For one of the songs on the EP, I was reading. I was on a history binge. I was going through a bunch of books about the WWII era. I was reading about the Nazis and how they were on drugs. But it was legal. They had these crazy pharmacies in Germany. Nobody knew what heroin was yet. They were just like, “I take this drug and work all night.” It was basically heroin. It probably helped spur WWII. Hitler was an opiate addict, and I’m sure a lot of the terrible decisions he made had to do with that. The drug was called Pervetin. It was the miracle drug of their day. I took a bunch of quotes from that book, mixed them all up, and picked lines that sounded the best. Then we picked the melodies and crafted the song. And it sounded awesome. It was a lot of fun. I got the idea from the Rivers Cuomo episode on Song Exploder. I never would have thought to do that.

    PC: Music is meant to be fun, right?

    KW: It got me out of my rut of songwriting. I was like “I’ve got to sit down and write some lyrics.” Some of it you can’t force. When it comes to art, you have to let it burst out of you. If I’m sitting there having fun and trying new stuff, it comes out. I try to do that more often. (At the EP Release show) I’ll be playing in Brotherless, too. For Brotherless, we’re going to be covering a Nirvana song. We’re playing this song and it’s so fun. I get to slam power chords and sing harmonies. It’s so much more carefree. I’ve also been pushing a lot of my music in that direction. I’ve learned to simplify because you realize that no one is going to notice. If you can write a simple song that is entertaining that’s so much more important than being able to write a ten minute song full of guitar solos and technicality. I’ve really toned down the riffage and time signatures. I still want it to be creative, but like a mix or creative but also easy to understand and accessible. Like the first song on the EP is not in 4/4, it’s in 7/8. That’s what I want to do is find ways to impress musicians but also at the same time doing it in a way that people who don’t know these things will understand. If you reel yourself in, then you’re a little more within your capabilities, everything’s a little tighter. People underestimate how important the basics are.

    Barbarosa is available on Bandcamp. Physical copies on CD will be on sale at the EP Release Show on November 25 at The Bug Jar in Rochester and at their show on December 7 at Bushwick Party House in Brooklyn.

  • Special Message From Rob Derhak Regarding Summer Camp 2018

    Hot on the heels of moe.’s recently announced, and now sold out, shows at the Capitol Theatre in Port Chester Feb. 2 and 3, moe. bassist/vocalist Rob Derhak and his son put together a video to announce the 2018 Summer Camp in Chillicothe, IL.

    Summer Camp, now in it’s 18th year, will be held Memorial Day weekend (May 25-27) at Three Sisters Park with its traditional hosts, moe. and Umphrey’s McGee, co-headlining the event. Additional acts are yet to be announced. The 2017 edition of Summer Camp featured Primus, the Trey Anastasio Band, Gov’t Mule, Run the Jewels and the Disco Biscuits.

    Three-day general admission and Thursday pre-party tickets go on sale Wednesday, Nov. 22 at 12:00 p.m. Central Time (1:00 p.m. in the east). Also available will be specially discounted Loyal Summer Camper passes. Details are available at the Summer Camp website.

    The announcement alleviated concerns that the festival may be in jeopardy due to Derhak’s cancer diagnosis in July of this year. Speaking to that, Derhak took to social media Thursday to discuss his progress. He expressed appreciation for the support given him and his family since his diagnosis of oropharyngeal cancer and throughout his subsequent treatments that put moe. on indefinite hiatus. He particularly addressed the comments from fans and well-wishers claiming he had beaten cancer or is now cancer free. In his statement, Derhak said, “I’m still in recovery, and I’m doing well, but I’m also waiting to hear from my doctors on the state of my diagnosis. I’m cleared to play our upcoming shows, and my doctors feel confident, but I️ still do not know if my cancer has been fully cured.” Read the full statement below:

    https://www.facebook.com/rderhak/posts/10156071568422216

  • Hearing Aide: Savoy Brown ‘Witchy Feelin’

    Listening to the blues is always a roller coaster of emotions. A great blues song can let you feel the singer’s pain, or make you smile and realize how fantastic life can be. Being a 52-year-old band, Savoy Brown flaunts their experience and tugs at the heartstrings and the cheekbones with each track on their newest release, Witchy Feelin’.

    savoy brownThis album comes to us a half-century after their debut release, Shake Down. Thirty albums and countless tours later, they’ve honed their craft to show that they are one of the best blues acts around. That experience shines in the sheer grittiness of this album, which only begins to describe the feeling this band delivers from start to finish.

    The opening track asks the question “Why Did You Hoodoo Me?” and their query will rattle around in your head all week. This eerie, dirty love song washes over you with its bouncy bass, fiery guitar licks and inquisitive chorus; you’ll find yourself humming throughout the day. “Livin’ on the Bayou” slows things down with its laid back tempo and soaring guitar from Kim Simmonds. Pat DeSalvo’s bass invokes a swampy Louisiana feel underneath Kim’s licks. Things pick up again with “I Can’t Stop The Blues,” which balances the thin line between crisp and dirty. Drummer Garnet Grimm really shines in this track and fills the room with his incredible cadence.

    Things get slowed down quite a bit with the title track, “Witchy Feelin’.” The trio takes their time with this one and “Standing in a Doorway” before kicking up the pace with higher energy songs like “Guitar Slinger” and “Vintage Man.” These two quicker tracks really showcase Kim’s ability to express himself through his guitar. “Memphis Blues” is one of the catchiest songs on the album and a great boogie song that will have you nodding your head in agreement with the band.

    “Close to Midnight” is the final track on the album and a fantastic instrumental that swirls around a jazzy beat and some Clapton-esque playing from Kim. The 8-minute behemoth that is “Thunder, Lightning & Rain” is where the band really shines with a throbbing bass from DeSalvo, incredible drums from Grimm and non-stop wah-wah from Kim. This song is a masterpiece and really shows their 50 years of experience as a band.

    Kim Simmonds is no stranger to being on the road. As an original member, he was on stage with the band when they opened for Cream’s very first live show in London. Savoy Brown starts their 2017 New York State run in Rochester on November 25 and Buffalo on November 26. They make their way into Albany’s Upper Room on December 8 and also will be at Daryl’s House in Pawling, NY on December 16.

    Key Tracks:  Why Did you HooDoo Me?, I Can’t Stop The Blues, Memphis Blues, Thunder, Lightning & Rain

  • Arlo Guthrie Celebrates 50th Anniversary of Carnegie Hall debut

    Arlo Guthrie celebrates the 50th anniversary of his Carnegie Hall debut with his Annual Thanksgiving Concert on Saturday, Nov. 25. Over the years, the holiday tradition has included performances with the likes of Pete Seeger and Judy Collins, and Bob Dylan. Joining him on stage this year are his children, Abe and Sarah Lee, as well as Cathy and Annie Guthrie and other members of the family, building upon the musical legacy created by Guthrie’s father, Woody Guthrie.

    Arlo Guthrie Carnegie HallCatch Guthrie and family at Carnegie Hall or other dates on their Re: Generation Tour:

    Nov. 18 – Mahaiwe Performing Arts Center – Great Barrington, MA
    Nov. 25 – Carnegie Hall – New York, NY
    Nov. 26 – Key West Theatre – Key West, FL
    Nov. 27 – Key West Theatre – Key West, FL
    March 9 – Sheldon Concert Hall – St. Louis, MO
    March 10 – The Carlsen Center – Overland Park, KS
    March 24 – Lensic Theater – Santa Fe, NM
    March 28 – The Fox Theatre – Tucson, AZ
    March 29 – Mesa Arts Center – Ikeda Theater – Mesa, AZ
    March 30 – Orpheum Theater – Flagstaff, AZ
    April 5 – Saban Theatre – Beverly Hills, CA
    May 3 – Reif Center – Grand Rapids, MN
    May 4 – Holmes Theater – Detroit Lakes, MN
    May 11 – Mayo Performing Arts Center — Morristown, NJ
    May 12 — Patchogue Theatre — Patchogue, NY
    May 18 – The Colonia Theatre — Keene, NH
    May 19 – McCarter Theatre — Princeton, NJ
    May 20 – Grand Opera House — Wilmington, DE