Guns N’ Roses announced this week that Appetite for Destruction: Locked N’ Loaded will be released on June 29 at the whopping price of only $999. But it might be worth the price given that it includes 25 unreleased demos that were recorded during a Sound City session in 1986, as well as two tracks that were cut during sessions with Appetite producer Mike Clink. You’ll also get the original 1987 album remastered from the original stereo analog tapes, plus 12 remastered tracks taken from of-era EPs and b-sides. One of the unreleased tracks, “Shadow of Your Love” was shared on YouTube this week. Watch below.
The unreleased audio on this box sex features two songs Guns N’ Roses cut with Clink, “Shadow of Your Love,” which was recorded during a trial session that led Clink to the production job, plus an acoustic version of “Move to the City,” which came out of the GN’R Lies sessions. Plus you’ll hear two early versions of “November Rain,” two unfinished songs – “The Plague” and “New Work Tune,” plus covers of Elvis Presley’s “Heartbreak Hotel,” Aerosmith’s “Mama Kin” and acoustic and electric versions of the Rolling Stones’ “Jumpin’ Jack Flash.”
But wait…. there’s more! Altogether there are four CDs, seven LPs, seven 7-inch singles, a hardcover book, five “custom hand-made metal-cast band skull face rings” and the same number of “hand-made metal-cast band skull face lapel pins” and “metal skull face and signature-stamped guitar picks,” to name just a few of the included items. And all those tiny skulls and records will cost you only $999. Pre-order is now open.
Deer Tick may have been nearing the end of a lengthy tour but you wouldn’t have known it from the energy the Rhode Island based band brought to the stage of Buffalo Iron Works on Tuesday May 1st.
They came out of the gate swinging and held the captivated audience entertained with their unique blend of americana soaked indie rock. To start the night off Nashville’s Liz Cooper and the Stampede played an intensely fun set that won over many in attendance.
Wild Adriatic will boldly go where few bands have gone before, as they’ll play their 1000th show together! To celebrate this milestone, they’ll be using Putnam Place’s video wall to present “Wild Adriatic Goes to Space,” part of a 75 minute nonstop set of space themed covers and Wild Adriatic originals. Toronto’s After Funk will kick things off at 9pm.
In determining that this would indeed be their 1000th show, Wild Adriatic drummer Mateo Vosganian looked over the band’s spreadsheet a few months ago and his reaction was a bit of a surprise, as Vosganian puts it, “Oh Shit, haha it’s our 1,000th show soon! So we threw some ideas around about how to make it special. We’ve always wanted to go to space, so what better time than now?”
Starting in 2011, Wild Adriatic has toured across the country, performed at countless festivals including Bonnaroo, and even have two tours of Europe under their belt. “Some of our 2011-2012 shows were a bit hazy on when/where/how but luckily digging thru emails and a few old booking spreadsheets helped me put it together. Google Docs is my savior.”
“It’s also funny because even though we’ve played 1,000 shows I feel like we’re just getting started. Like this year we just figured out how to write songs together in a really meaningful way to the three of us. It’s sort of like these 1,000 shows have been preparation for the next step. We have a ton of new material we’re going to start unveiling in the next year and have a stacked summer tour ahead, so it’s just a really exciting time. Super happy to be able to celebrate with our family and friends in Saratoga, especially before the summer gets insane.”
Spafford’s first studio release in 6 years is finally here and it was well worth the wait. The Phoenix, Arizona-based up and comers have spent the last couple of years making a name for themselves through relentless touring and mass amounts of lengthy jams, and they’ve gained quite a following (affectionately called “Spaffnerds”). The group is comprised of Brian Moss (Guitar/Vocals), Jordan Fairless (Bass/Vocals), Andrew ‘Red’ Johnson (Keys/Vocals), and newcomer Cameron Laforest (Drums/Vocals), who is coming up on one year with the band. For Amusement Only mostly consists of songs that have been debuted and expanded upon live already, with the exception of “Fuel.”
“Ain’t That Wrong” is one of strongest tracks on the album, with a very anthemic and driving sound. The groove is tight and fast paced, the lyrics are catchy, and there’s a jam section towards the end that shows a glimpse of just how impressive their live jams are. It’s quick, concise, and features a thrilling peak driven by a saxophonist named Jason that Moss met on the street while taking a smoke break. The band recently made their MSG debut with this track, which was a smart choice, as this song is bound to gain them lots more fans.
Another great selection from For Amusement Only is the funky “Mind’s Unchained,” which is based off a poem by Spafford’s former Lighting Director and contributing lyricist, Chuck Johnson. This song was slowed down a bit for its studio recording, but still captures the laid-back nature of the song that fans are familiar with. “Mind’s Unchained” also features a jam section, a bit longer than “Ain’t That Wrong”’s, and a little more focused on the group’s ability to improvise as a whole rather than bringing a song to a peak, though it does end with a remarkable solo from Moss.
One of the most exciting songs that got a studio version was “The Postman,” one of the more grandiose songs Spafford has in their catalog. The song starts off with a beautiful, complex composed section and moves into the funky verse section that fans all know and love. “The Postman” really showcases each member’s individual talents and how they come together in large-scale compositions. Cameron Laforest keeps everything tight and locked down, allowing for Fairless to stray a bit from the traditional role of a bass player in the rhythm section and keep the whole band moving through chord changes. “The Postman” also rounds out the wide range of styles that Spafford covers on this album, from soulful ballads to funk jams to extensive compositions. For Amusement Only is a really solid studio release that shows off some of the band’s best compositions and is bound to gain them lots of fans.
Key Tracks: Ain’t That Wrong, Mind’s Unchained, All In, The Postman, Slip and Squander
Despite how tiring and overwhelming New York can be sometimes, one of the glaring strengths of character which nearly every New Yorker possesses is their resilience. New Yorkers are generally filled with integrity and pride, and if something knocks them back they rarely stay down for long. Whatever problems New Yorkers may have with each other are quickly tossed aside when something drastic happens which forces them to bond together and defend their communal way of life. In ‘An Open Letter to NYC,’ the Beastie Boys draw inspiration from the unlikely alliance of New Yorkers after a time of crisis to demonstrate just how strong the city is.
‘An Open Letter to NYC’ was written as a tribute to the city following the 9/11/2001 terrorist attacks and is written as a love letter of sorts to the melting pot of cultures that came together to defend the city the Beastie Boys call home. Unlike other songs which may only focus on a single borough, ‘An Open Letter to NYC’ makes it a point to reference each of the five boroughs, as they are all unique. The clash of cultures throughout different neighborhoods is what brings strength to the city, and makes it so different from every other place in the world.
The song describes the different heritages of people which make up the city, from Asian and Middle-Eastern to Latin and Black, and explains how no matter where you may be from, everyone is still the same. The overall message of the song is about how the cities’ fortitude comes from diversity, and that no matter what happens we are unified as a whole. Regardless of where you live or your occupation, if you live in New York you are part of something bigger.
The lyrics to “An Open Letter to NYC” are overwhelmingly positive, and come from a group of artists who know the city better than anyone. They know that no matter what happens New York will bounce back, but that doesn’t mean they can’t help by giving people a little nudge in the right direction. The song channels the feelings of togetherness which many New Yorkers felt following the 9/11 terrorist attacks, and told the world that not matter what happens, we are strong.
“An Open Letter to NYC” should follow “Fight for Your Right,” “So What’cha Want” and “Sabotage” into the Beastie Boys’ hall of slang as anthems defining a moment in hip-hop history. Running on the rails of a bubbling keyboard, [this track] is a stylized shout-out to New York City, from Battery Park to Brooklyn. It may be the next phase in the post-9/11 healing process. Where Bruce Springsteen’s “The Rising” was about recovering from wounds, the Beastie Boys’ lyrics are about rising from the flames. There is little dark imagery, just a call for unity and Big Apple pride” – Michael D. Clark, Houston Chronicle, 2004
‘An Open Letter to NYC’ Lyrics:
Brooklyn, Bronx, Queens and Staten
From the Battery to the top of Manhattan
Asian, Middle-Eastern and Latin
Black, White, New York you make it happen
Brownstones, water towers, trees, skyscrapers
Writers, prize fighters and Wall Street traders
We come together on the subway cars
Diversity unified, whoever you are
We’re doing fine on the One and Nine line
On the L we’re doin’ swell
On the number Ten bus we fight and fuss
You know we’re thorough in the boroughs ’cause that’s a must
I remember when the Duece was all porno flicks
Running home after school to play PIX
At lunch I’d go to Blimpies down on Montague Street
And hit the Fulton Street Mall for the sneakers on my feet
Dear New York I hope you’re doing well
I know a lot’s happened and you’ve been through hell
So, we give thanks for providing a home
Through your gates at Ellis Island we passed in droves
Brooklyn, Bronx, Queens and Staten
From the Battery to the top of Manhattan
Asian, Middle-Eastern and Latin
Black, White, New York you make it happen
The L.I.E. the B.Q.E
Hippies at the band shell with the L.S.D.
Get my BVDs from VIM
You know I’m reppin’ Manhattan the best I can
Stopped off at Bleeker Bob’s, got thrown out
Sneakin’ in at four am after going out
You didn’t rob me in the park at Dianna Ross
But everybody started looting when the light went off
From the South South Bronx on out to Queens Bridge
From Hollis Queens right down to Bay Ridge
From Castle Hill to the Lower East Side
From ten-ten WINS to Live At Five
Dear New York, this is a love letter
To you and how you brought us together
We can’t say enough about all you do
‘Cause in the city we’re ourselves and electric too
Brooklyn, Bronx, Queens and Staten
From the Battery to the top of Manhattan
Asian, Middle-Eastern and Latin
Black, White, New York you make it happen
Shout out the South Bronx where my mom hails from
Right next to High Bridge across from Harlem
To the Grand Concourse where my mom and dad met
Before they moved on down to the Upper West
I see you’re still strong after all that’s gone on
Lifelong, we dedicate this song
Just a little something to show some respect
To the city that blends and mends and tests
Since 9-11 we’re still livin’
And lovin’ life we’ve been given
Ain’t nothing gonna take that away from us
We lookin’ pretty and gritty ’cause in the city we trust
Dear New York I know a lot has changed
Two towers down but you’re still in the game
Home to the many, rejecting no-one
Accepting peoples of all places, wherever they’re from
Brooklyn, Bronx, Queens and Staten
From the Battery to the top of Manhattan
Asian, Middle-Eastern and Latin
Black, White, New York you make it happen
Brooklyn, Bronx, Queens and Staten
From the Battery to the top of Manhattan
Asian, Middle-Eastern and Latin
Black, White, New York, we make it happen
The Zappa family has always loved Upstate New York. Frank opened his 1988 U.S. tour at the Palace Theater and his son, Dweezil Zappa, has continued that love for the area on his runs. Coming to The Egg for the first time since 2016, he played everyone’s favorite tunes during this ‘Choice Cuts’ tour. With his usual band of eccentric members, they set expectations high and delivered all night.
As the band members came on stage, the show started into “The Purple Lagoon (Intro)” before Dweezil came out to a thunderous applause. Wasting no time, they started the 1975 favorite, “Andy” and then began the originally unreleased “Lonely Little Girl”. “Flakes” included its usual Bob Dylan homage and a new Eric Cartman section which was hilariously performed by Scheila Gonzalez. Cian Coey took the mic for “Fifty Fifty” and did not let her foot cast stop her from rockin’. Dweezil took it on himself to deliver a blistering solo to end the song and then took them band into “Po-jama People”.
Before the next song, he paused to tell the crowd that it was “great that Albany loves Zappa so much” and then surprised everyone with the “James Bond Theme” which segued perfectly into “Studebaker Hoch”. A lovely “Rollo” medley was followed by an explanation that the next song couldn’t originally be played live because certain feedback techniques were not possible to recreate outside of the studio. Using modern technology, they all brought “Absolutely Free” to life and followed it with “Call Any Vegetable” and “Tell Me You Love Me”, which features some great keyboard work from Chris Norton.
Pausing again to chat with the audience, Mr. Zappa proclaimed that the theme of the show was “It’s so fucking great to be alive”. He went on to say that of all the songs his father composed, his favorite was this next song, “Dog Meat”. The beautiful clamor had people on their feet cheering for more, so the band declared, “And now for something completely different” before launching into AC/DC’s “Back in Black”. Bassist Kurt Morgan was dressed to impress as Angus Young and really shined during this track.
Next up were two “songs from the 80’s” called as “Cocaine Decisions” and “Drowning Witch” before jumping back decades to play “Sleeping In A Jar” and “Florentine Pogen”. Dweezil was happy to announce that it was now ‘Unreleased Time’ and played a song called “Sleep Napkins”, which is a combination of “Black Napkins” and “Sleep Dirt”. Drummer Ryan Brown tore the roof down with his exceptional drumming during both “The Black Page # 1” and “The Black Page # 2” and led the band into everyone’s favorite, “Peaches en Regalia”.
Zappa was more than just a musician and in 1971, Frank directed the movie 200 Motels. Unsurprisingly, he also wrote the soundtrack too and Dweezil brought the classic “This Town is a Sealed Tuna Sandwich” to life for the enthusiastic audience. Jumping to the other end of the decade, the band started into everyone’s favorite, “Keep It Greasy” and when it finished, Dweezil started talking to the crowd about his all-time favorite Zappa songs and said this next one was high on the list. “Cheepnis” became everyone’s favorite by the time it was over and they followed that with “Son of Orange County” before ending the two-and-a-half hour set with “Trouble Every Day”.
After a few minutes offstage, everyone came back to a roaring crowd as Dweezil told a story about a failed jingle that his father wrote back in the day. It was for Remington Electric Razor’s and it was to be performed with Linda Ronstadt. They were paid for their work, but the company was not a fan of the song. “Remington Electric Razor Jingle” was followed by a lovely version of “Oh, In The Sky” performed by Adam Minkoff. Dweezil let loose with another jaw-dropping solo during “Muffin Man” before they ended the night with “The Purple Lagoon (Reprise)”.
In Episode 3 of Empire State Music Podcast, host Andy Hogan talks with Albany’s Formula 5 about their Spring Tour, Rock the Dock Festival in July, and discuss the music scenes in New York and New England.
Denver-based jam outfit The Magic Beans recently released their second full length LP Casino Cabaret this past March—also the second studio effort featuring Chris Duffy on bass—focusing in on a new sound the band calls Neo-Jam (a merging of the Neosoul and Jam genres), while also staying true to their Space-Funk roots. The group is comprised of Scott Hachey (guitars/vocals), Chris Duffy (bass/vocals), Casey Russell (keys/vocals), and Cody Wales (drums). The album provides studio versions of songs that have been in the band’s live rotation for some time now, and allowed them to expand the sound of the songs with the help of saxophonist Clark Smith, trumpeter Matthew Wilkolak, and percussionist Will Trask.
The whole of Casino Cabaret is very groove-driven, with Chris Duffy and Cody Wales working together in a powerful rhythm section. Duffy’s tasteful bass playing is showcased all across this record, especially on tracks such as the title track itself, “Casino Cabaret.” The song has a very spy thriller-y sound to it, and heavily features Scott Hachey and Casey Russell’s ability to work as a duo when laying down the melody.
“Mr. Scientist” is another choice selection from the album, featuring more of that classic “space-funk” sound fans are familiar with. Some of Russell’s intriguing synth tones are shown off in an impressive solo about halfway through the song, as well as the main melody throughout the track. This song also features Duffy’s extremely impressive slap-bass skills, and some of Hachey’s super tasteful lead playing.
Another of the standout tracks on the album is “Hanky Panky,” which as Hachey put it during a live show, “…is a song about sex!” There’s no actual explicit lyrics besides the band yelling “Hanky Panky!” during the chorus section of the song. The song has a very fun, upbeat sound, and really showcases keyboardist Casey Russell’s skills on the Hammond Organ, as well as the band’s ability to groove along as a unit of funk soldiers. Casino Cabaret is an impressive studio release from The Magic Beans that features a wide variety of great, soulful music. Catch some of these songs live during their upcoming sets at Domefest in Bedford, PA and pick up the album on their Bandcamp.
Key Tracks: Mr. Scientist, Inventor, Casino Cabaret, Hanky Panky
Steven Van Zandt, best known as guitarist in Bruce Springsteen’s E-Street Band, is on the road this month with The Disciples of Soul for a tour benefitting TeachRock, the Rock and Roll Forever Foundation’s national initiative to bring music curriculum into middle and high schools across the country. His recent album Soulfire was noted by Billboard as taking fans “back to Van Zandt’s classic first album of gritty, greasy, horn-accented ‘60s-style rock and soul.” But one aspect of this tour that takes centerstage is the focus on teachers and the efforts by Van Zandt to bring Rock n Roll directly into classroom lessons and integrate this key aspect of American culture into educational curriculums across the country. As such, Van Zandt will be hosting workshops for teachers before each stop of the tour, bringing TeachRock that much closer to the classrooms in the towns on each stop of the tour.
NYS Music spoke to Van Zandt ahead of his latest show at the Playstation Theater in New York City to discuss the TeachRock workshops, why he wants to bring rock music into the classroom, and the teacher that had the most influence on him growing up.
Pete Mason: How did the idea for TeachRock Workshops come together, and what will teachers who take part expect from the experience?
Steven Van Zandt: We wanted to show our solidarity for the teaching profession, which is the most underappreciated and underpaid of all of our working classes. And they are under siege right now, on strike in several states and with good reason. So we decided to dedicate this tour to teachers and invite them to come to workshops in the afternoon where we will tell them about the Rock and Roll Forever Foundation’s music history curriculum, which we have been writing over the last 10 years and exists online, over 120 lessons right now at teachrock.org. We’ll be explaining the curriculum, which is built to assist them, and they will hopefully use it and spread the word and give us their feedback, we’re always improving it. They’ll also get a free ticket to that night’s performance. We’ll be doing that the rest of the year.
PM: What role do you see yourself taking on as you help to bring Rock history into the classroom?
SVZ: What we hope is eventually, if we have enough coverage, and we are in all grade levels and all schools, I’m hoping that artists who are on the road from any genre, from Hip Hop to Country, Jazz, Blues, you name it, can walk into any school and take part in a class. So our role is basically connecting the two things; connecting the artist with the education process. And it’s going to take a little while, but that’s one of our goals.
PM: Were there any particular teachers you had growing up who influenced who you are today?
SVZ: Yeah, we all have a couple of teachers we remember. I had Mrs. Wojciechowski, for my music class. Another big influence for me was our school librarian actually, who said to me, “You like this Bob Dylan guy don’t you?” And I said, “Yeah.” She says, “Do you know where he came from?” I said, “No.” So she gave me Allen Ginsberg books and poetry and Rimbaud and I was able to learn who influenced Bob Dylan and also got turned on to eastern philosophy through Allen Ginsberg, who was into Buddhism and then of course George Harrison with the Beatles would continue that with his interest in Hindu philosophy.
PM: You refer to teachers as ‘the most underpaid, underappreciated working class in our country.” How can your fans, and citizens in general, support teachers in their hometowns?
SVZ: Well the most immediate way is to vote for bigger budgets for education in general, but certainly for their salaries. I mean the average teacher’s salary is something like $40,000 a year. Somewhere in that neighborhood. And then you read stories about teachers out of that meager salary buying pencils or buying paper for students or buying books out of their own money, which is just a travesty that needs to be dealt with. And I just think we should have an appreciation day, better yet an appreciation hour every day, something where we acknowledge that these people are on the front lines of creating our society. So we just need to be more aware of that and do what we can to support them. If they go on strike, they’re going on strike for a good reason. Show support for them and talk to the government, talk to whoever they’re dealing with in any given situation, and show support on the teachers’ side.
Little Steve and the Disciples of Soul: TeachRock Tour 2018
May 1 – Ridgefield, CT – Ridgefield Playhouse May 2 – New York, NY – Playstation Theater May 4 – Albany, NY – The Palace
May 5 – Morristown, NJ – Mayo PAC
May 8 – Memphis, TN – Minglewood Hall
May 12 – Kansas City, MO – Uptown Theater
May 13 – St. Louis, MO – River City Casino & Hotel
May 15 – Nashville, TN – CMA Theater
May 16 – Atlanta, GA – Center Stage
May 18 – Orlando, FL – Hard Rock
May 19 – Clearwater, FL – Capitol Theatre
May 21 – Mobile, AL – Soul Kitchen
May 23 – New Orleans, LA – House Of Blues
May 25 – Austin, TX – Paramount
The ninth episode of this season’s Rochester Indie Musician Spotlight series features guitarist Mark Grover. In this session, Grover talks with producer and host Dan Gross about what drew him to playing this style of guitar and his process for writing and transcribing the works of others for playing finger style. After the interview, he plays a selection of songs, including renditions of “Isn’t She Lovely” and “Higher Ground,” arranged by Grover and Eric Roche.
The whole of 
NYS Music spoke to Van Zandt ahead of his latest show at the Playstation Theater in New York City to discuss the TeachRock workshops, why he wants to bring rock music into the classroom, and the teacher that had the most influence on him growing up.