NYS Music 20​18

Category: Genres

  • Waddy Wachtel and The Immediate Family At The Iridium

    “Waddy (Wachtel) is an amazing guy to play with. He knows what you’re hearing before you do and can play anything. I envy him quite honestly.” – Keith Richards

    Robert “Waddy” Wachtel became infatuated with the guitar, idle in front of his TV screen at five years old. “I was just mesmerized. My mother said: that is a guitar – and that was it for me,” reminisced Wachtel. Now, over six decades later, the Queens-born guitarist is exuberant to bring forth The Immediate Family – a supergroup of session players for the Legends in Sessions series at The Iridium in NYC November 26-28.

    waddy wachtelFor Legends In Sessions, this is the first time these musicians take the spotlight. The Immediate Family includes: guitarist Danny Kortchmar, who has played, produced and written for Don Henley and Jackson Browne; Steve Postelli, who worked with David Crosby and Dave Koz; and rhythm section, Leland Sklar on bass and Russ Kunkel on drums, who collectively played on 5,000 records, from Willie Nelson and George Strait to Phil Collins, James Taylor and Reba McEntire.

    “One day I was driving my beat up ‘57 Chevy to Studio Instrument Rentals. Out of the driveway comes another ‘57 Chevy. The car stops and the driver ask ‘hey, are you Waddy?’ It was Russ Kunkel,” said Waddy. “Next thing I know, I get a call to play with Kortchmar on a reggae session and we were brothers instantly.”

    When The Family gets together, it’s something special. “It’s a hit or miss situation because we cannot be together as much as we want,” said Wachtel. The band is writing a mass of new material and recording within the slightest breaths in scheduling. They just got back from a stint in Japan earlier this year. The weeks’ worth of performances are in process of being mixed for a live album release.

    Legends of this caliber dwell in the shadows. Waddy has backed giants in the industry like Linda Ronstadt, Keith Richards, Warren Zevon, Stevie Nicks, Bon Jovi, and Iggy Pop – a roster that daunts his credits as co-writer and guitarist on Zevon’s “Werewolves Of London.” Wachtel performed on Zevon’s first two albums, co-wrote “Things to Do in Denver When You’re Dead” and co-wrote Stevie Nicks’ “Annabel Lee” and “I Don’t Care.” For all the new-age listeners, Wachtel also appeared on the 2010 Grammys backing Taylor Swift on guitar. If you don’t believe me, “just look at your parents record collection.”

    waddy wachtelThe three-night Iridum showing will be something to behold – fans will be mesmerized like Waddy was at the first glance of that guitar. “We are all looking towards the next recording we can do together. We have a lot of new material being collected, which I think people will dig,” said Wachtel.

    “It comes from all different directions. You’re gonna love everything you write, but that doesn’t mean it is good. You have to stick to a goal about how you write a hit song and make a discerning decision,” said Wachtel. Waddy is working on a “Beatles meets The Supremes type of song,” which he wrote years back. The melody was confident, but lacked meaningful lyrics. With the help of Kortchmar, the track “One More Time Or Two” now sings and reads something beautiful.

    “We came up in a perfect time in Los Angeles. It was an American Liverpool. The creative juices that were flowing, warmth and camaraderie between everybody musically was unlike anything I have ever experienced,” said Wachtel. “You would be in a session – suddenly Don and Glen from The Eagles would come on by and ask if we needed anything.”

    waddy wachtelWhen working on “Excitable Boy,” Waddy wanted a Beach-Boy-esque background harmony. He simply called up Linda Ronstadt and Jennifer Warnes and they came right down to the studio. This willing and vibrant community inspired Waddy to become a dedicated studio musician.

    Waddy is always working towards something greater. He once said, “If I didn’t learn something new musical daily, it wasn’t a good day,” an ideology that makes the guitarist humble and hungry to evolve.

    As a kid Wachtel began taking lessons with one of the jazz greats, Sal Salvatore. “He took a liking to me,” said Wachtel. “He would take me downstairs to this little Italian restaurant after the lesson – it looked just like the restaurant Michael Corleone killed the criminal in from The Godfather [laughs] – Then we would go back upstairs after dinner and he would make me play melody. He crammed a lot of guitar knowledge in my head,” said Waddy. “It was just fantastic.”

    When working with Warren Zevon, “right away we we didn’t get along, but everyone knew there was a very strong, musical, person behind those glasses,” said Wachtel. “We always agreed on certain things like The Rolling Stones. It was a wild and amazing ride.” Next thing you know we were on tour and The Everly Brothers were singing in our hotel room. “It was god-like you could say, something close to heaven.”

    For the Iridium dates, “It is fantastic to finally be together again as US instead of backing up Linda or Phil,” said Waddy Wachtel. The Immediate Family will be playing three consecutive nights starting on Monday. The magnitude of musicianship is unfathomable. Waddy’s uptaking alone was remarkable. Stay tuned to catch the final run for Legends In Sessions with Steve Lukather and Bill Evans’ Toxic Monkey, playing six nights, December 4-9.

  • Tea Leaf Green Brings The Heat To The Northeast

    Tea Leaf Green recently celebrated 20 years as a band and was greeted with an exceptionally warm Northeast welcome. This run was special because the San Francisco-based jam quartet hasn’t visited the area in two years. These shows notably mark the second time bass player Eric DiBerardino played with Tea Leaf Green in the New York City Metro region. DiBerardino replaced bass superstar Reed Mathis in 2016. Fans are excited to be more acquainted with his style.

    StageOne in Fairfield, CT (11/16/2018)

    Described as a “coffee shop stage,” StageOne in Fairfield, CT offered fans a chance to see the band up close with great acoustics. The venue has a 225 person capacity, with seating on both sides of the stage. Tea Leaf Green rewarded those in attendance with a classic set of favorites.

    The set began with “5000 Acres” and “Ride Together,” which got the crowd on their feet and grooving. Next up were “Make a Connection,” “Innocence” and the electro-funk jam “Germinating Seed,” featuring notable guitar segments from guitarist Josh Clark. The set wrapped up on a high note with the perennial hit “If It Wasn’t For the Money,” featuring outstanding vocals and smooth solos by keyboardist Trevor Garrod.

    Set II picked up where Set I left off, starting with the funky “These Two Chairs“ and an electrified “Don’t Curse the Night.” The high energy “One Reason“ got the crowd ready for the first jam of the night, “Gasaholic.” Garrod’s soulful vocals and funky keyboard execution combined with Clark’s guitar improvisation made this an unforgettable rendition.

    “All Of Your Cigarettes“ brought a few chill moments before Jordan Giangreco of The Breakfast joined Tea Leaf Green on stage, playing organ next to Garrod for the high energy favorites “Give Me One More Chance“ and “Incandescent Devil.” Musical nirvana between all five musicians was reached during the second jam of the night and closed the second set on a high note.

    The encore brought the energy down to earth for the melodic Garrod classic, “Earth and Sky.”

    Brooklyn Bowl in Brooklyn, NY (11/17/2018)

    Tea Leaf Green has a rich history of high energy jamming at the Brooklyn Bowl, which features a bowling alley adjacent to the stage. Gadadu and Greg Humphrey’s Electric Trio opened and got the crowd on their feet.

    The band was ready to rock and roll from the very first song, “Devil’s Pay,” including eloquent vocals from Garrod and mind-numbing guitar solos by Clark. The harmonica-fueled “Let Us Go“ was the perfect precursor for the jam of the night, “Red Ribbons” > “Garden III.” Both are classic Tea Leaf Green songs, and “Garden” included a unique rock infused jam, which delighted longtime fans.

    Garrod’s vocals and keyboard skills shined in “Been So Long“ and “Cops Took My Weed“ followed by a Clark electric guitar clinic in “Space Hero“ and “Hot Dog.” There is no question how talented this band is.

    The soulful Garrod tune “Kali Yuga” closed out the set, and included celebration confetti from the audience. The encore began with “Carter Hotel,” an inspiring ballad sung by Clark. The show ended on a high note with the electric “Vote on Tuesday,” including more audience confetti to close this memorable night.

    The Northeast was jubilant after two fantastic Tea Leaf Green shows and awaits their return for more soulful, funky improvisational rock and roll.

  • Garbage Celebrates 20 Years of ‘Version 2.0’ at The Capitol Theatre

    On Oct. 20, 90s alt-rockers Garbage made their debut at The Capitol Theatre in Port Chester to a house packed with loyal fans, celebrating 20 years since the release of their album Version 2.0.

    Garbage treated The Cap to the entirety of Version 2.0, but changed it up a bit playing it out of order and mixing in tracks from their other albums including covers of The Seeds’ “Can’t Seem To Make You Mine” and Big Star’s “Thirteen.”

    The colorful Shirley Manson, whose image mimicked the cover of the Version 2.0 album, gave an expressive performance through the whole show with an amount of animation in concert with the aura of each song. Just before starting the encore, she gave an extended thank you to the fans for their support with some emotional pauses which only seemed to garner more applause from the crowd.

    Though the band has its roots in Wisconsin and singer Shirley Manson is from Edinburgh, the show was a homecoming for co-founder/guitarist Steve Marker, a Westchester native who spent some time working at the theatre years ago.

    The bottom line of Garbage’s show at The Cap is one of genuineness – between the band and audience the room felt like a close-knit family pouring their hearts out to one another.

    Setlist:

    Afterglow, Deadwood, Temptation Waits, Wicked Ways, Special, The World Is Not Enough, 13x Forever, Get Busy With the Fizzy, Hammering in My Head, Medication, Thirteen, Can’t Seem to Make You Mine, I Think I’m Paranoid, Sleep Together, Dumb, Soldier Through This, Lick the Pavement, Push It, When I Grow Up, You Look So Fine

    Encore: The Trick Is to Keep Breathing, No Horses, Cherry Lips

  • Rolling Stones make their long awaited return to U.S for 2019 ‘No Filter’ Tour

    One would think after dozens of tours that the years of glory and millions of screaming fans would take a toll on a man. However, the Rolling Stones never cease to amaze us as they announce their 2019 “No Filter” U.S. stadium tour. The legendary English rock group have performed over an astounding 2,000 concerts and there doesn’t appear to be any signs of slowing down. This 13 show tour will include some of the largest venues in the world with multiple stops in California, Florida, and more. Tickets will officially go on sale for these events at 10:00 a.m. on Nov. 30.

    Although the band has primarily played across Europe for the past two years, they hold a dear adoration for their American fans. Mick Jagger voiced his love and recognition for these loyal listeners by stating: “It’s a thrill when we play stadiums in the States…The energy is always amazing!” To which Keith Richards passionately contributed: “I’ve always loved playing in the states. It’s a great crowd.” It is true that their absence has been upsetting to classic rock enthusiasts and concert-goers but these 13 shows will be a refreshing reminder of the incredible music The Rolling Stones have always blessed us with. True to their intoxicatingly dramatic style, the heart of their performances will consist of timeless hits such as “Gimme Shelter,” “Paint it Black,” and “(I Can’t Get No) Satisfaction.” For more information on scheduled appearances, check the Rolling Stones’s website here. See tour dates below.

    Fans hoping to catch a New York show on this tour will have to settle for stops in nearby Philadelphia, Foxboro or East Rutherford.

    Rolling Stones “No Filter Tour” 2019

    April 20 – Hard Rock Stadium – Miami Gardens, FL
    April 24 – TIAA Bank Field – Jacksonville, FL
    April 28 – NRG Stadium – Houston, TX
    May 7 – State Farm Stadium – Glendale, AZ
    May 11 – The Rose Bowl – Pasadena, CA
    May 18 – Levi’s Stadium – Santa Clara, CA
    May 22 – CenturyLink Field – Seattle, WA
    May 26 – Broncos Stadium at Mile High – Denver, CO
    May 31 – FedExField – Washington, D.C.
    June 4 – Lincoln Financial Field – Philadelphia, PA
    June 8 – Gillette Stadium – Foxborough, MA
    June 13 – MetLife Stadium – East Rutherford, NJ
    June 21 – Soldier Field – Chicago, IL

  • Joe Hertler and the Rainbow Seekers Come to Buffalo

    Joe Hertler and the Rainbow Seekers are currently out on the road bringing their unique blend of funk, soul and pop to audiences far and wide. The party came to Buffalo Iron Works on Sunday, November 18. Check out the pictures below to see what went down.

  • Cousin Earth Lineup Loses Lawton, Rounds up Raye

    For those familiar with the progressive, ukulele-heavy tunes hailing from Brooklyn’s Cousin Earth, then you may be well acquainted with their fun, quirky sound and pleasing melodies. It’s with heavy hearts that Cousin Earth announces Tara Lawton’s decision to part ways with her role as vocalist and keyboardist with the group she’s flourished with over the last five years.

    After months of preparation, Lawton will soon take her final bow with the musical collaboration. The Brooklyn outfit will then welcome Melissa Raye to officially take over vocals, following months of filling in and manning the mic. Celebrating five years of connection, growth and music, Cousin Earth will perform their last gig with Lawton on Thursday, November 29 at Mercury Lounge in NYC with Albany’s own Formula 5.

    NYS Music chatted with Tara Lawton, reflecting on her 5-year stint with Cousin Earth.

    We’re sad to see you go, but know there’s tons of fun memories to dwell on.

    Alyssa Ladzinski: What’s something you wish you could tell yourself 5 years ago at the beginning of this journey?

    Tara Lawton: Nada. The journey was and has been exactly what we needed it to be. The amount of growth I’ve experienced personally, musically and emotionally these past 5 years with Cousin Earth is unsurpassed. I wouldn’t change a thing. Every element, every unexpected twist and turn led to the creation of some amazing collaborative musical art and I think our full length album Human Music shows just how eclectic and electric our journey together has been.

    AL: Try to sum up your experience with Cousin Earth in 5 words or less.

    TL: Crazy-ass music-making life-changing musical expedition. (See how I cheated with the hyphens there…)

    AL: How have you changed as a person/musician in this timeframe?

    TL: How many pages do you have for this article? No really….! I’ve changed immensely. From learning how to write collaboratively (let me tell you it takes love and patience), to playing keys with a band for the first time (I’ve played piano since I was 7 but never with a band before), to making sure we take care of each other as well as we take care of the music we create together. I have become a much fuller and more musically-rounded version of myself as compared to 5 years ago.

    Joey Calfa (ukelele, vox) and I met in Corey J. Feldman’s (U-Bass, vox) project Mercury Landing in May of 2013 and Joe asked me to sing a few duo gigs with him playing ukulele. It’s all a bit blurry now how exactly it took off from there, but the whole of Mercury Landing ended up jumping on-board and shifting into Ukulelien (the band you now know as Cousin Earth). I remember bringing the melodica to the table with this unique idea that I could use it as a rhythm instrument to compliment the uke (who does that?!)…then came the keyboards and it’s all history from there. I cannot express how my musicianship has grown from working with these guys, particularly within the writing and keyboard spaces. I’m eternally grateful for their patience and encouragement as I blossomed into a keyboard player within the band.

    AL: We hope to hear more music from you. What’s coming next for your musical future?

    TL: Great! Me too! The decision to no longer perform with Cousin Earth wasn’t made lightly. I have been given the opportunity to make a living with a full-time singing job which just didn’t leave time to remain a full-time member of Cousin Earth. The collaboration deserves full commitment and I understand why the decision we reached needed to be made. The new singing job is mostly private events, but I am working on some solo stuff to remain in the music community publicly. I’ve never been the singer/songwriter type, so get ready for some one-woman band kinda stuff with tap shoes, accordions and other insanity. In the meantime, you can catch me making an appearance with David Schnurman, writing and singing on Teddy Midnight’s EP French Press (my rapping debut – yes, that is me spitting the rhymes I wrote at the end of the song “Come Over” with the magic of an Ableton Live filter!), playing live original keys and vocal loops for Vinyasa class at Daya Yoga Studio on Monday nights and teaching private voice lessons from my home in Bushwick, Brooklyn. I’m looking forward to further exploring what I can do musically as just one person.

    AL: What do you think Melissa will bring to the group next?

    TL: I’m not overly familiar with Melissa’s work, but from what I have heard her voice is incredible, soulful and full. I will be most interested to hear what she brings to the writing collaboration process and I wish her the best. She seems to have a soul of golden kindness which I’m sure precedes her onto every stage she lights up.

    AL: Which Cousin Earth song has the most meaning to you?

    TL: Again, how many pages you got?! Let’s start from the beginning:

    “Hey Ya” Cover – This was our first musical collaboration making a YouTube video all together as a ukelele band & it will always hold a special place in my heart. I found that glockenspiel used in the video in the trash outside of our rehearsal space in Bushwick, Brooklyn, NYC and we affectionately named her “Trash Glock.” She currently resides with me in Brooklyn.

    “Universoul” -Our first music video! What a time we had making that music video. All of the palpable love shared in that room and the cinematic brilliance brought by Michael Varley and Jessi Highet! I was in the T-Rex suit in the video because our good friend and super-fan Evangeline Rera wasn’t feeling well enough to be in full dino costume. The “viral” T-Wrecks Tap Dancing video came from that day as well. They made me into a meme! Crazy. What a time to be alive!

    “Alive” (Track 7 on Human Music) – Writing this song was truly our first full-band collaborative experience. Corey wrote it on ukelele, hence the trading of uke for u-bass live, and brought some lyrics that Joe & I worked with to turn into the song you hear today. I remember work-shopping the song at Corey’s Williamsburg apartment and writing a rough melody that we recorded a scratch track of and sent off to the others. Next rehearsal Joe shows up with a killer bass-line, Nate (always) brings the finesse with that smooth beat and Terry adds stellar interesting, echoing harmonies…bam. Alive.

    “Peculiar Patterns” (Track 1 on Human Music) – This song is particularly special to me because of the vocal work and harmonies. I wanted an opportunity to improvise vocally in a similar manner to how Joey improvises on uke and it was provided for me in the middle section of this tune. (Thanks, guys!) Corey came into a rehearsal one night with awesome lyrics and a vocal line over Joey’s beautiful ukulele composition. Terrence Brennan (vox, keys, kazoo) throws on a harmony and I remember having missed that rehearsal because the next time I was in rehearsal I heard for the first time what Terry and Corey were singing and I didn’t even have to think twice about my high harmony part. A harmony that follows the curves of the verses, adds a smooth lyrical element over the dancey B-sections and “falls” down from the top like the rain as the other parts rise slowly from underneath to meet the challenges of that very rainfall. That rehearsal was magic for me and I remember it vividly. There was no thought, the song wrote itself.

    While recording “Peculiar Patterns” with Matt Einsidler at Audio Workstations, Inc. where we recorded the album, I was going through honestly probably thee hardest experience of my lifetime and I poured my soul into the singing and recording of this track. It’s actually difficult for me to listen to still to this day, particularly around 4 minutes and 18 seconds when I let out a large vocal wail. I can hear and feel all of the pain I was experiencing…so fresh and so raw at that time in my life and it remains a doorway to that place of intense longing, vulnerability and inability to understand. I can’t help but feel for my younger self as she struggled to accept the circumstances. It’s a story for another time, but this song has my heart in a way that is so very, very special to me and it always will. My boys in Cousin Earth also allowed me to NOT BE AUTO-TUNED on this album (which is unheard of in 2018) and so here I shall use my bragging rights I have reserved. I will forever be grateful to them for allowing just me, my voice to be captured on Human Music.

    “Keep On (Show Me the Numbers, Ian)” [Track 9 on Human Music] – My baby. My first tune I’ve written and recorded with a full band. Dope. The weirdest song you will ever hear; I admit I wrote it to be difficult. I wanted a very challenging musical piece and I got it, but in hindsight I definitely would have done some things differently while writing that piece to make the listening experience more fluid. What is life experience if we do not learn from it, eh?

    The guys were lovely enough to indulge this crazy idea – a theatrey, jazzy sounding A-section juxtaposed by an off-tempo eerie sounding B-section that I originally wrote as a vocal loop with my Boss Loop Station. Drummer Nate Searing helped to pull this song together by mastering the challenging tempo changes and developing the syncopated hits in the middle section of the song which Corey brought to the table (a true collaboration!). The lyrics are odd, but if you listen closely it tells our Cousin Earth love story. This song is the only sort of love song I would willingly write, and it is for my love of the four amazing men, my brothers that make up Cousin Earth. I am proud and grateful to have this song on Human Music and we will be playing it live for my last show with Cousin Earth at The Mercury Lounge in NYC on Thursday, November 29 (doors at 9pm; show at 9:45pm with Formula 5 of Albany, NY). It’s likely to be the last time the band ever plays the song live. Please join us in celebration!

    AL: Do you have a message for the fans?

    TL: I’m not going far. If you’ve read this entire article, I promise I love you and I thank you for your support both of my personal career and Cousin Earth. Whether at shows of my fellow musician family, sitting in or performing solo, I’ll see you out there…in the words of Cousin Earth…WAY out there.

  • History of Wyllys to keep the Party going late after The Disco Biscuits

    The jam scene in the Northeast is as healthy as it has ever been, with bands regularly touring across New York State, building audiences and markets in the process. When the shows are over and the crowd still has energy to keep the party going, that’s when DJs and post-shows come into play. During the upcoming Disco Biscuits run at The Palace Theatre this weekend, post-shows will be great in number, with J.E.D.I. performing late-night Friday, Scumdog Millionaire$ at Parish Public House on Saturday, and uptown at The Low Beat they will present ‘History of Wyllys’ featuring MoonSine and Sex on Decks. The latter of these will be going very late after The Disco Biscuits close out The Palace, and feature a variety of beats from Wyllys spanning the history of his career as a DJ. Wyllys spoke to NYS Music about what to expect from the late night performance and what it’s like touring as a DJ.

    wyllys

    Pete Mason: Your upcoming performance in Albany celebrates the History of Wyllys, featuring MoonSine and Sex on Decks – what can we expect from a set of music spanning the history of your career?

    Wyllys: My career will always start with ambient and drum and bass. I had always loved spacey music and the very second I heard drum and bass for the first time…LTJ Bukem-Logical Progression, that was it. I wanted to DJ. After that I will slide into Nu Disco where I will be joined by MoonSine. Zac and I have been collaborating for quite a while and he was the first keyboardist for Space Disco which we played many great gigs under. After that we will take house music till the end with a good friend of mine Sex On Decks. Dan has been playing many of the same rooms and festivals with me for years so I felt it was time we got together and flowed. B2B is an art form and it takes someone like Dan to make it hum. He has a great ear and style.

    PM: How and where did you get your start in the music industry?

    Wyllys: I started learning how to do lights and sound with Rane. I was also writing a good chunk of the lyrics for them along with my dear friend and killer writer Dave Griffin. Alan from Rane, who is now president of Telefunken, gave me my first set of decks and it was ON after that.

    PM: What were your early gigs like and what is touring as a DJ like?

    Wyllys: So much terror when you first start gigging. Really it’s about balancing the sound from your headphones with the monitor and PA and a lot of times there would be this NASTY slap back delay that fucked with your beatmatching. Plus I was playing all vinyl which comes with its own sets of challenges such as the bass feeding back through the needle or the bass moving the needle around the wax. After about a year I was more comfortable but the trick is to never get “too” comfy so as to keep learning and stay on your toes. Back then I was doing small shows in Hartford with Rane and a few other bands. Very modest and slow build to what I am doing these days.

    Touring as a DJ is interesting. I have worked on all sides of the ball in this industry and the “DJ Tour” can get weird quick. I rarely could afford a TM and since I was a TM it all came easy. However things can get out of control quick with no one to put you in check. It was never about ego with me, just getting into trouble and making piss poor decisions. I felt like I had finally “made it,” paying the bills with guarantees and what not. But when that happens you literally have to gig to survive and that sucked a lot of the joy out of it for me. Once it starts feeling like work it’s time to examine the situation.

    https://soundcloud.com/wyllys/for-jordan

    PM: The Hustler Ensemble was a notable period of Wyllys’ evolution – bring us back to that era and how the sound changed with musicians on stage with you.

    Wyllys: The scene needed a funk and disco version of DJ Logic’s previous excursions. Jay was a huge influence on me in that regard. I loved Nu Disco but the BPMs were too slow for prime time sets. I felt that adding musicians would be just the reinforcement I needed and push me out of my comfort zone. I was lucky enough to have Jen and Natalie as my core and bandleaders and they taught me so much about how to communicate with players effectively and how to prepare everyone as best you can before show. Rehearsal was not all that frequent because I would have people coming in from all over but the nature of it all was improvisation with a set of “heads” or tracks we start from. I look back on that time as my biggest period of musical growth and it made a LOT of people very happy. In the end the universe has bestowed a gift to you and it is up to you to share it…to bring people joy. We did that in spades!

    PM: Your live sets and mixes dive deep – without revealing secrets, where are you finding these funky undiscovered gems?

    Wyllys: Oh I can tell you right now (and Jon ‘The Barber’ Gutwillig will tell you the same) that Juno is a great place for underground tracks both on vinyl and digital. Crate digging is still huge for me too. If you are a DJ that plays vinyl the key is to form a relationship with your record store owner. They will get to know your taste and have a pile of wax for you to listen to. That inevitably will lead you down many wormholes with artists and genres you had never heard before.

    PM: You’re playing a post Disco Biscuits show on Saturday, November 24 – how have the Biscuits influenced your musical interests and performances, and what is their legacy as they approach 23 years in the jam scene?

    Wyllys: I really don’t even know where to start here. I had been DJing for 3 years before I actually saw them and when I initially heard them there was no “trancefusion” in their wheelhouse. Once they started that mutation it was over. You take that and their revolutionary inversion and dyslexic techniques and you have a juggernaut of a band. Their influence on me is quite massive. Sammy (Altman) was a master of drum and bass as well as Allen (Aucoin) and they showed me how to layer melodic content as a way to shape the narrative under the flurry of drums and percussion, to take the audience on a journey without sacrificing the pulse. They also taught me not to fear improvisation but to know that sometimes your ideas are going to fall flat on their face and you have to persevere, you have to get past it with grace and energy. The audience is going to respect that despite you just dropping a track at the wrong moment.

    Their legacy will always be that marriage of electronica and rock and roll and really, being the last TRUE jamband in the scene. I don’t think any band is going to touch what they do every single night. They have always been the punk rock of the scene in that DIY/take no prisoners way and “Bisco” is truly a culture all of its own. That raw and untamed energy they bring is that of a team that leaves it all on the field every single game. I feel blessed to have supported many of those games over the years and look forward to more.

  • The Egg announces five diverse spring shows

    The Egg recently announced five great musical acts visiting the Capital Region for shows this coming spring. The first is  Americana, rock, and improvisational group Railroad Earth. The group self identifies with rock-and-roll, but their distinct bluegrass influence is undeniable. Who says you can’t have the best of both worlds? You can see this incredible fusion of musical genres yourself Feb. 14.

    Railroad Earth

    Next in the line up is local talent who hail from Albany, the folk group Dannybrook Fair. The three original members recently celebrated a successful summer tour. You can catch the trio during St. Patrick’s Day celebrations on March 14.

    March’s offerings continue at the performing arts venue as Pat Metheny’s recent jazz project Side Eye makes an appearance on March 30. Universally recognized as one of the best guitarists in jazz history, Metheny is joined by pianist James Francies and drummer Nate Smith for this musical experiment. You will not want to miss a performance from the unmatched Pat Mentheny.

    Last, but not least, Candlebox comes to Capital region audiences on Thursday, April 25. The Seattle rock group, who rose to fame in the ’90s grunge scene will be showcasing songs from their sixth album Disappearing in Airports.

    You can find ticket info by visiting the Egg Events Page.

  • Lucky Chops and Funky Dawgz Brass Band Turn the Heat Up in Ridgefield

    On October 11, The Ridgefield Playhouse hosted two acoustic bands with a big sound. Lucky Chops, who are on a national tour, were joined by Funky Dawgz Brass Band for a double bill that made a Thursday night feel more like the start of a long weekend.

    Funk Dawgz started the night with a high energy take on the New Orleans street band sound, mixing some funk and hip-hop elements into their arrangements and improv. Later in their set, Tommy Weeks (tenor sax) welcomed one of his younger music students on stage for a few minutes to shine during a traditional NOLA take on “When The Saints Go Marching In.”

    Lucky Chops has been growing in popularity since getting a bit of attention busking in the NYC subway stations, so much so that they’ve gone on to play at packed houses on European tours. Though om a Thursday night with a small crowd, the band played with the high level energy they consistently bring to the sold-out clubs shows of Brooklyn and the outdoor summer festivals.

    Lucky Chops debuted some new music from an upcoming recording project and dug a bit into their 2018 EP Virtue and Vice Sessions, Vol. 1. As a tribute to their high school band roots, they started off their encore with “For Connie,” a tune written in dedication to one of their music teachers.

    Lucky Chops Setlist: Halfway to the Hudson, Best Things, The Dancing Babies, Ab Jam, Prisoner, Temple of Boom, Buyo, These Tears, Hoodoos at Sunrise, Familiar Places, Full Heart Fancy, Without You, Coco, Ska Ba, Danza

    Encore: For Connie, Funkytown/I Feel Good

  • Hearing Aide: Jigsaw Youth ‘Sorry For The Distortion’

    jigsaw youthJigsaw Youth came out swinging with their sophomore album, Sorry for the Distortion. The biggest change this time around is the production value. Their style, attitude and sound is similar to their first collection but great production value, layering and adventurous blending of genres breathes new life into the group. New York natives Nastacha Beck, (guitar) Julia Mannarino (drums) and Maria Alvarez (bass/vocals) have obviously poured their heart and soul into this one and created a highly polished album. 

    Punk is all about fuzzy guitar, relentless drums, powerful lyrics and-chant worthy choruses, but when an album is under-produced, it can make it indigestible. I’m all for dirty and washy punk-ish sounds, but if instrumentation isn’t balanced then the group can come off as illegitimate. Jigsaw Youth overcame this, striking gold with producer Gary Nieves Jr. of Cobra Sun Studio. This is not to say Jigsaw’s song writing and talent doesn’t deserve any attention, because they have created some fiery and energetic songs.

    Hit play and “Stillborn Black” blasts out with a quintessential punk sound. Alvarez’s vocals are an instant hit. They’re baritone, atonal and at times, loud and crackly – she’s a perfect fit for this genre with her talents shining throughout the album. This one has a catchy chorus, a good harmonic break mid track and is a fantastic prelude to what the rest of the album has to bring. It also features an exciting solo from Beck – great choice in guitar tone as well.

    After listening to “Stillborn Black” and “Don’t Make Me Freak,” it’s obvious this group’s source of inspiration is powerful female punk groups. Instrumentally, there’s a lot of similarities to L7 and Bikini Kill but the group is really separated by Alvarez’s aggressive vocals. What I’m loving about this group is their ability to give the songs more depth by jumping into different sounds mid track. Instead of a constant barrage of punk, “Freak” jumps into a ballad with acoustic guitar work and ethereal singing from the group. We also hear how versatile Alvarez can be when she goes sultry before turning savage towards the end of the song.

    “Flirts of Fire” is a nice change of pace from a latter, dark tone. We still hear influences of popular female punk groups though. It showcases an upbeat and major sound and we get to hear the talents of Mannario on drums. She’s clean, precise and gets to flaunt her ferocious speed with her wild single stroke rolls.

    This group really checks all the boxes in the punk genre. “Serotonin” is a sluggish but powerful track with Nirvana’s slimy, grunge sound that made them so popular. “Serotonin” may be slow and lazy but it’s layered with airy backup vocals throughout that give it some more depth as well as valley and peaks of tempo changes and attitude. Did I mention Alvarez’s voice is really good?

    “Surf Rock Song” is another key track. It’s a great blend of classic punk and (believe it or not) surf rock. It’s not something that’s been heard too often and it’s just fun to listen to. “All Around (Fucked Up)” is a great cap off for the album – it’s the best summary of the groups unique sound. This song perfectly blends their influences together and gives Alvarez a chance to show off both her sultry and intense side of her vocals that make this group stand out from the rest.

    This album is going to yield a great deal of recognition from their community and in a live setting, will definitely rake in some new fans. So far, the only place to see them is on Saturday, December 1st in The Loft at City Winery. Tickets are $10 online, $12 day on the day of show. Stay tuned to their Facebook page for more info.

    Key Tracks: Flirts of Fire, Surf Rock Song, All Around (All Fucked Up)

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