Journey performed at the Times Union Center in Albany on May 23 to a packed house, opening for Def Leppard.
Setlist (courtesy of Setlist.fm): Separate Ways (Worlds Apart), Be Good to Yourself, Ask the Lonely, Neal Schon Guitar Solo #1, Stone in Love, Any Way You Want It, Lights, Jonathan Cain Piano Solo, Open Arms, Who’s Crying Now, La Do Da, Steve Smith Drum Solo, Neal Schon Guitar Solo #2, Wheel in the Sky, Faithfully, Don’t Stop Believin’
Encore: Lovin’, Touchin’, Squeezin’
Legendary rock band Los Lobos will headline Cohoes Music Hall on Sunday, July 22. The three-time Grammy winners are known around the world for their cover of “La Bamba” which was featured in the film based on the life of Ritchie Valens. This LA-based band has always striven to maintain their Mexican roots despite mainstream success. Louie Perez, the band’s drummer, once called their powerhouse mix of rock, Tex-Mex, country, folk, R&B, blues and traditional Spanish and Mexican music “the soundtrack of the barrio.” They recently released a split vinyl with The Shins on Third Man Records for Record Store Day. The song “The Fear” is now available digitally on Spotify. Tickets for the show at Cohoes Music Hall are on sale through Guthrie-Bell Productions. 
Saranac Brewery, in Utica NY, has two shows coming up you don’t want to miss. Dark Star Orchestra and Get the Led Out are both making stops at the brewery on their separate tours this summer.
Dark Star Orchestra is a Grateful Dead tribute band who’s known for recreating historic dead shows. Dark Star Orchestra formed over a decade ago and their determined commitment to ‘raising the Dead’ has drawn them nationwide attention from publications as big as Rolling Stone who say they are, “Quite possibly the most talented and accomplished tribute band out there… they’ve definitely mastered their inspiration’s vagabond nature.”
Get The Led Out is a Led Zeppelin tribute band who, “have captured the essence of the recorded music of Led Zeppelin and brought it to the concert stage” according to their press release. Get The Led Out consists of six musicians and are based out of Philadelphia. They have been dubbed by the media as “The American Led Zeppelin.”
Tickets went on sale Friday, May 25th at 10AM from Creative Concerts for both shows.
Show information:
Dark Star Orchestra
July 31- Saranac Breweries – Utica, NY
Doors: 7PM // Show: 8PM
All ages.
Get The Led Out
Aug. 10 – Saranac Breweries – Utica, NY
Doors: 7PM // Show: 8PM
All ages.
For more information on Dark Star Orchestra visit their website
For more information on Get The Led Out visit their website
Rochester’s Jon Lewis Band is experiencing its fair share of notoriety on the heels of releasing their eighth album in four years, Get Wild Somewhere. In the month of May, lead singer Jon Lewis made the media rounds, appearing on WXXI’s Connections with Evan Dawson to talk about how streaming is impacting musicians, as well as on college radio stations WRUR and WBER, and the band opened the Rochester Lilac Festival.
Jon Lewis recently spoke with NYSMusic about the process of making music with his best friends, eeking out a full-time career in music and art, and the largest pizza he’s ever seen.
Amy Cavalier: What inspired this album? Why did you feel the need to fly out of Rochester to record this album?
Jon Lewis: After we finished recording our previous EP “Baby Brother,” we were given an amazing opportunity to record in our friend’s newly built studio in Los Angeles. With that in mind, we began to write and practice songs that were all intentionally constructed to be played and recorded live. We didn’t want to do any overdubs or try to manipulate our sound too much. This made it possible to record in a shorter period of time and also enabled us to make something that showcases all of our individual strengths. All the songs were written for this album. A totally fresh brew of tunes.
AC: Despite some major weather delays, you were able to record this in just a few days. What types of challenges arose and what did you learn from the process?
JL: This experience was insane. We were supposed to have a solid three to four days in the studio, but because of nearly two full days of weather delays, we only had a day and a half to record the album. In the end, we had prepped for such a thing and ended up recording the entire band live in one day. We never wanted to take a long time, and it almost seemed like Mother Nature was challenging our convictions and everyone in Jon Lewis band rose to the challenge.
We showed up ready to play, and everyone at the studio made it possible by prepping and being on-hand for the whole process. Plus, there was a brewery across the street, so we were well taken care of. We also ate the biggest pizza I had ever seen that had to be taken in through the loading dock door because it was too large to fit through the door.
AC: What was the idea behind the creation of the video for “Cinnamon Only,” the sixth track on Get Wild Somewhere? How long did it take to create? Do you plan to make videos for more of your songs?
JL: I animated the video entirely using colored paper and sketches I made. It took about a month from start to finish. I drew and cut out the characters, then photographed/animated them against a green screen. Then I put all the layers together to create something I like to call “Paper World.”
I’ve done several of these projects and it’s truly a joy and passion of mine. This video was created as I went; I started drawing a face and then thought, “she should be riding a motorcycle” and then when I drew that I thought, “and she should be accompanied by a wolf spirit guide” and then just kept drawing and writing as I went. The plot and story completely unfolded as I continued to work, just letting the song dictate the imagery. I will definitely be making more videos, just as soon as I get some time.
AC: How do you find the inspiration to keep coming up with new material on such a regular basis? What does the songwriting process look like for the JLB?
JL: The songwriting for the band has been an ever-evolving creature. In the beginning, I did a majority of the song writing, taking songs from my acoustic catalog and then translating them into a full band format. As time has passed, Dave Drago and I have become more of a battery for song writing. This new album is an example of how far we’ve come.
The inception of songs coming from Dave and myself, and then constructed and enlightened by everyone in the band. A true commutative effort. I still write quite a lot of songs specifically for my acoustic performances, as well as songs intentionally created for my alter-ego “Mr. Loops.” I am incredibly lucky to have different purposes for songs I write and that definitely helps the creative energy.
AC: You put out a very fun social media presence….your band seems like the kind of guys you could really just hang out with. Have you put thought into the image your band emulates? Or is this organic?
JL: Marketing and managing social media is a fun and yet also a very daunting task. I manage it all. Our band’s main purpose and function are that each member feels a no-stress and all-joy connection to the music. We are brothers and friends and family and without that feeling, we would not care to exist. It helps put out the right vibe and deep down that is because we feel it on a very real level.
AC: Your fans helped fund the recording of this album. Why do you think your fans are so willing to support you and eager to see you succeed?
JL: This album would not exist without the incredible love and support we got from our fans through our fundraiser. Once we decided to make the album in LA and to track it live, we knew this was the album to press on vinyl. We were successful after a few weeks time and that sent us to LA feeling so much positive energy, most certainly fueling our ability to overcome obstacles and make the music the best we could. I know our fans are invested in hearing what this journey has meant for our sound and how far we’ve come since our last release and I cannot wait to share it.
AC: If you could describe each of your band mates to a stranger (as a person and a musician), how would you describe them? And if they could describe you, what would they say?
JL: Dave (Drago, bass) is dad. He’s the reason any of the music exists as he has engineered/recorded and produced all of our albums in his studio 1809 Studios (link). He’s got vision, he’s upfront and he sees the infinite potential in a song and person unlike anyone I’ve ever met.
Jake (Walsh, drums) is our heartbeat. Consistent, positive and present, he has maintained the beat of the band since the very beginning. One of the most talented and empathetic human beings you can ever wish to meet.
Shawn (Brogan, lead guitar) is our hot sauce. His lead guitar licks and dissident sounds create the soul of our music. He’s technical and always creates a well-constructed lead lick. He’s “ride or die” and balances our sound and our group with energy and support.
Alex (Northrup, keys) is our bed. When Alex joined the band we knew we were finally comfy and complete. One of the most talented musicians I have ever met, he can pick up literally any instrument and make it sing. He’s technically proficient and also carries an edge of insanity that fits in with us so well. He’s a compassionate and amazing human.
Jon Lewis (lead vocals and rhythm guitar) I literally have no idea how the band would describe me but I would hope they would say something nice (or else).
AC: You are currently making a full-time living with music and performance art. Was this always your intention? What does it take to be a successful full-time musician in a small pond such as Rochester? Are there advantages to doing this here vs. in a bigger city with more competition?
JL: I am a full-time artist. I dropped out of college before I incurred any debt and went straight into the workforce. I worked sales for 10 years before building a foundation to quit and make art full-time.
It’s not easy, and I have to find new and innovative ways of making a living outside of just performing and making music. I do documentary film making for local historical societies, I animate and create music videos, and I perform music for kids as “Mr. Loops” – this combination has created an ever spinning wheel of work for me that keeps the dream of not going back to “work” possible.
If you want to chase a dream like this, you have to keep your eyes and doors open to different ways of being creative, and getting what you deserve for your creations. Rochester is certainly a more affordable place to live and play than larger cities, making this sort of crazy notion possible.
AC: Do you have a bigger vision for the Jon Lewis Band…not just to dominate the local Rochester music scene, but to make yourself known to a wider audience?
JL: I definitely keep an ever-expanding vision alive for my art and my music. I have very little expectations but I truly pour all of myself into every creation with the knowledge that there’s no way of knowing how long I will be lucky enough to be alive and make music. I would love to tour more, and still have many different adventures to take with performing.
AC: You recently traveled back to LA to audition for Blue’s Clues…how did that come about? Although you did not get a call back, what did you take from that experience?
JL: I sure did! After never being to LA as an adult I found myself there twice in a three month period. I couldn’t resist the opportunity to send my information and videos into Nickelodeon when I heard from a dear friend Malcolm Whitfield that they were looking for a new Blues Clues host.
They did respond, inviting me out to audition in person and I jumped at the chance. It was an amazing experience and one I will never forget. More than just the insanely cool audition experience, I was able to spend some serious quality time with my long-time friend Johnny McHone and soak up the sun more than we had a chance to when we were recording Get Wild Somewhere. I learned that, especially in LA, if you bring a positive and giving attitude to the city (no matter if you “win or lose”) that the city and life will repay you tenfold.
AC: How often do you perform as Mr. Loops? What other ways do you cobble together your living? Would you describe yourself as a starving artist? Or do you feel like you’re finally making headway?
JL: I perform regularly as Mr. Loops but would like to perform even more. I love to play music for kids and it keeps me silly and having fun in a business that can certainly be hard to manage. I find that the “struggle” of being an artist full-time greatly outweighs the “comfort” of a less rewarding career. I feel truly connected and alive making music and making art.
Premier northeast music festival The Governors Ball returns to Randall’s Island in New York City in just a few weeks, taking place from Friday, June 1 through Sunday, June 3, 2018. GA weekend and single day tickets for each day are still available, but maybe not for long as various ticket packages, such as Sunday and Saturday GA tickets, are very close to being sold out. In just seven years running, Governors Ball has made a fast ascension to becoming one of New York City’s most anticipated annual music events, featuring a more savory lineup of artists with each passing summer. NYS Music will be there to bring you coverage of the 2018 festival.
The biggest news surrounds the festival’s heavy headliners. Rock virtuoso Jack White will be making a return to the event, having not played there since 2014. Last time White graced the Gov Ball stage, they matched his set with a same time performance from Skrillex. This year the tossup is with James Blake, the pianist, producer and soul singer who’s won the hearts of everybody, from Beyonce to Rick Rubin. If you haven’t heard, Blake just released a collaboration with Andre3000. Get on it.
Saturday night, in turn, will be capped off by a real rock gem. As a celebration of the ten-year anniversary of their second studio release, The 59 Sound, The Gaslight Anthem will be performing the record in its entirety. Full performances of albums are a live music treat that fans should experience if the opportunity presents itself.
Then there’s the act we’re all probably buzzing about, Silk City. Diplo, reigning favorite of the electronic dance music world, and Mark Ronson, the producer that can do no wrong, have teamed up to make a new collaborative disco album. Governors Ball is your chance to see the duo make their first ever live performance. Travis Scott, who has collaborated with Diplo’s project Major Lazer and also shared the stage with Ronson at last year’s Gov Ball, will be dropping his set immediately after Silk City—so this is keying up to be a weekend for Governor’s fans to remember.
But if there’s anyone that’s truly taking over the festival spotlight, it’s Eminem. Boston Calling, Bonnaroo, Firefly, and of course Gov Ball — the famed rapper is headlining them all. The last occurring slot time on Sunday night is reserved solely for him, so you can bet pretty much all eyes at the Ball will be on Slim.
As in past years, Gov Ball will be showcasing some of the most buzz-worthy, up-and-coming bands currently making noise across the indie, pop, rock and hip hop circuits. Across each of these mainstream genres, artists can go from fresh on the scene to topping the charts in no time. And on the way there, many of them seem to pass through Randall’s Island with dynamite festival sets. At this year’s Gov Ball, artists rocking this category are the likes of alt rockers Wolf Alice, country sensation Margo Price, breakout singer Billie Ellish and more. Special mention here: Belly. If you want to talk about a comeback, the Rhode Island-based alt punk band reunited in 2016 and, this month, just released their first album in twenty years, Dove, and it rocks.
That doesn’t even cover all of the musical goodness flooding Randall’s Island in three weeks. Hip hop supergroup N.E.R.D and NYC’s own Yeah Yeah Yeah’s are two other highly anticipated sets, given that they both have made huge reunions in the past year, while most others might be excited for the recently announced special set by Shawn Mendes.
The party will keep going for some after-hours concerts as part of The Governors Ball After Dark. Comprised mostly of the acts performing at the festival, this series of shows kicks off Thursday, May 30 and goes through the weekend at venues throughout the boroughs. While a handful of the shows are sold out, some tickets are still available. Check out the full lineup for After Dark here.
Aside from the music, Gov Ball is once again featuring close to 60 NYC-area food vendors with plenty of delicious tastes for everybody, including gluten-free and vegan options. More “deats” on the eats can be found here.
Tickets are nearly sold out for Saturday and Sunday, with some available for Friday here (it will sell out). Plenty of info on how to get to the festival and FAQs on how to have the best Gov Ball experience can be found on their website.
While most people typically have fond memories of their college years, there are always incidents you look back on that left a bad taste in your mouth. Maybe it was that horrible breakup with your first “true” love, the time you had to repeat a class because a professor wouldn’t give you that .05 bump in your GPA, or the night you got arrested for what you thought was legally swimming in the pool of your friend’s apartment complex at 5 a.m. For Steely Dan founding members Walter Becker and Donald Fagen, the black stain left on their memories of Bard College occurred on a night in May when a swarm of sheriff’s deputies swept through the campus and arrested the two, as well as 50 other students, for marijuana possession. The incident was immortalized in the 1973 single “My Old School.”
Becker and Fagen met at Bard College in the Hudson Valley hamlet of Annandale, NY in 1967, and bonded over their shared love of jazz, dark comedy, science fiction, and Kurt Vonnegut. Their songwriting collaborations began as somewhat of a gag; writing silly little tunes on an upright piano in a small room of the lobby of Ward Manor, an old mansion on the Hudson River that the college converted to a dorm. As they played together more, they became more serious about their craft and eventually evolved into the perfectionist jazz rock powerhouse they have since been known for.
In the late 1960’s and early 1970’s Bard College was a very hip place to be with stars like the Rolling Stones, Bob Dylan, and Bobby Neuwirth showing up at random. If you were lucky enough to be around the area during the late 1960’s you might have even caught Becker and Fagen playing with drummer and fellow Bard Student Chevy Chase at a local house party. Although the college was known for its free spirited student body, the police in the area did not see eye to eye on many of their habits. On a Thursday at 5 a.m. they devised a raid of one of the dorms in an attempt to catch the students off guard, and went on a drug bust spree.
“These were the days when there was a ‘war on longhairs,’ as they used to call it,” Fagen said, “and Bard’s in this kind of rural district. They picked up about 50 kids just at random. There were a few warrants, and one was for me, which was based totally on false testimony. They handcuffed our hands behind our backs and put us in a paddy wagon and took us off to the Dutchess County Jail. They took all of the boys, about 35 of us, most with really long hair, and shaved our heads. I remember some of them were crying. I don’t think any of them had seen their head for three or four years. It didn’t make that much difference to me. But it was scary, you know? To hear the cell-block door slam shut, the whole business with the handcuffs and the paddy wagon. I’d never been arrested or put in jail before.”
Becker and Fagen express their point of view of the incident and their reflection years later in the song “My Old School,” where they lash out at the school for the way they were treated. They say they’ll only return to the school if “California tumbles into the sea,” and end the song with a very direct “I’m never going back to my old school.” While that lasted a prolonged sixteen years, Fagen returned 16 years later in 1985 to accept an honorary doctorate from the school. Becker also stated that the song shouldn’t be taken literally and insisted that he never viewed it as an angry-sounding song, but rather a funny song. 
Today Bard College is still an incredibly liberal college, and it’s campus overlooking the Hudson River and Catskill Mountains makes it an ideal place to go to school. The college also hosts two acclaimed annual arts festivals, Bard SummerScape, and the Bard Music Festival, and you would not be remiss to, somewhat ironically, hear “My Old School” while taking a leisurely stroll across the campus.
https://www.youtube.com/watch?v=kgWWliZHjtI
‘My Old School’ Lyrics:
I remember the thirty-five sweet goodbyes
When you put me on the Wolverine up to Annandale
It was still September
When your daddy was quite surprised
To find you with the working girls in the county jail
I was smoking with the boys upstairs when I
Heard about the whole affair, I said oh no
William and Mary won’t do
Well, I did not think the girl
Could be so cruel
And I’m never going back
To my old school
Oleanders growing outside her door
Soon they’re gonna be in bloom up in Annandale
I can’t stand her
Doing what she did before
Living like a gypsy queen in a fairy tale
Well, I hear the whistle but I can’t go, I’m gonna
Take her down to Mexico, she said oh no
Guadalajara won’t do
Well, I did not think the girl
Could be so cruel
And I’m never going back
To my old school
California tumbles into the sea
That’ll be the day I go back to Annandale
Tried to warn you
About Chino and Daddy Gee
But I can’t seem to get to you through the U.S. Mail
Well I hear the whistle but I can’t go, I’m gonna
Take her down to Mexico, she said oh no
Guadalajara won’t do
Well, I did not think the girl
Could be so cruel
And I’m never going back
To my old school
Everyone loves rooting for the hometown star to catch a big break. Rochester’s very own Jon Lewis Band’s latest offering Get Wild Somewhere has the potential to expose them to their widest and most diverse audience yet. It has nothing to do with luck though. The eighth album they’ve recorded in four years stands solidly on the five member’s pure and unadulterated passion, dedication, friendship and, most importantly, talent.
The band’s namesake, Lewis is on lead vocals and rhythm guitar, accompanied by Dave Drago on bass, Jake Walsh on drums, Shawn Brogan on lead guitar and Alex Northrup on keys. With more time spent traveling to Los Angeles to record than actually spent in the studio, Get Wild Somewhere’s classic sound was accomplished through the use of vintage recording gear. All ten tracks were written with the intention of being played and recorded live.
“We didn’t want to do overdubs or try to manipulate our sound too much,” said Lewis. “That made it possible to record in a shorter period of time and also enabled us to make something that showcases all of our individual strengths.”
Fueled by adrenaline, backed by fans who crowdsourced over $2,000 to support the band’s trip to LA to record, and fed by the largest pizza they’ve ever seen (it had to be delivered through the loading dock door) Get Wild Somewhere has a polished, timeless sound that could only be done justice with vinyl.
Written by Lewis and produced, mixed and mastered by Drago in his 1809 Studios in Macedon, NY, Get Wild Somewhere tears onto the scene with the catchy opening track “Jerry My Berry.” Borrowing from the piano track that was used in famous recordings like “Werewolves in London” and “Summer Breeze,” combined with a catchy chorus, driving beat and melodious guitar licks, “Jerry My Berry” kicks the album off on an energetic note.
Track two, “Charity,” is a beautiful opus with rich vocal harmonies complimenting mournful wails from Northrup’s organ.
“You Don’t Wanna,” the third offering on the album, has a Beach Boys, surfer rock vibe to it. The clavinet introduces listeners to a an easy, breezy, likeable song that encapsulates the vintage vibe.
I just want to see your face
I just want to waste your time
I just want to talk to you
Cause you will see that I’m alright
The rough riding “Cinnamon Only,”carried by a driving lead guitar, is the first song on the album to have a full-length video to accompany it. Lewis created the video over one month’s time entirely with colored papers and sketches.
“I draw and cut out the characters, then photograph/animate them against a green screen, then I put all the layers together to create something I like to call ‘Paper World,’” he explains ,”The plot and story completely unfolded as I continued to work, just letting the song dictate the imagery.”
The album’s closer, “So Familiar,“ is a gorgeously dark and stormy, mostly instrumental, song that hits to the core.
Get Wild Somewhere is the sound of five friends pouring their hearts out and having the time of their lives producing fresh, original and crush-able jams, heartfelt ballads and indie rock. Each song come together effortlessly and stands on their own, as if they were just waiting to be born.
The energy and connection on the album translates easily to the stage. Check the Jon Lewis Band out for yourself Friday, May 18 at their Album Release Party at Three Heads Brewing. Here’s hoping that this is just the start of something even bigger for these five Rochester musical dynamos!
Key Tracks: Jerry My Berry, You Don’t Wanna, So Familiar
https://www.facebook.com/jon.lewis.1401/videos/1781207945233793/
Gov’t Mule has announced their 2018 summer tour, hitting Wantagh and Lewiston, New York. The Warren Haynes led rock band finished up their spring tour at the New Orleans Jazz Festival.
The band is coming off their 10th studio album and highest selling debut, 2017’s Revolution Come… Revolution Go. The album is one of the band’s most politically driven pieces to date.
Mule will also make it’s way over to Europe where they will be headlining the “Gov’t Mule Dark Side of the Mule & Avett Brothers shows.” The bands will play a string of three shows throughout Europe where Gov’t Mule will perform Pink Floyd’s Dark Side of the Moon along with the Avett Brothers.
Pre-sale for summer tour tickets began Monday, general on-sale begins Friday, May 18th at 10 a.m.
June 2 – Atlanta, GA – Candler Park Fest
June 29 – Torgau, DE – Kulturbastion
June 30 – Utrecht, NL – TivoliVredenburg
July 1 – Maidstone, UK – Ramblin’ Man Fair
July 12 – Wantagh, NY – Northwell Health at Jones Beach Theater*
July 13 – Holmdel, NJ – PNC Bank Arts Center*
July 14 – Mansfield, MA – Xfinity Center*
July 21 – 22 -Scranton, PA – Peach Music Festival
July 24 – Lewiston, NY – Artpark
July 25 – Selbyville, DE – The Freeman Stage at Bayside
July 26 – 27 – Floyd, VA – Floyd Fest
July 28 – Jay, VT – Jay Peak
Aug. 4 – Notodden, NO – Notodden Blues Festival
Aug. 17 – Charlotte, NC – CMCU Amphitheater**
Aug. 18 – Charleston, SC – Volvo Car Stadium**
Aug. 19 – Whites Creek, TN – The Woods Amphitheater**
Aug. 21 – Huber Heights, OH – Rose Music Center**
Aug. 23 – Noblesville, IN – Ruoff Home Mortgage Music Center*
Aug. 24 – Tinley Park, IL – Hollywood Casino Amphitheatre*
Aug. 25 – Clarkston, MI – DTE Energy Music Theatre*
Aug. 26 – Des Moines, IA – Brenton Plaza**
Aug. 28 – Mankata, MN – Vetter Stone Amphitheater**
Aug. 29 – Papillion, NE – SumTur**
Aug. 31 – Park City, UT – Snow Park Outdoor Amphitheater**
Sept. 2 – Sun Valley, ID – Sun Valley Pavilion^
Sept. 14 – 16 – Telluride, CO – Telluride Blues & Brews
Sept. 23 – Louisville, KY – Bourbon & Beyond
*Dark Side of the Mule w/ The Avett Brothers & The Magpie Salute
** with Magpie Salute
^ with Lukas Nelson & Promise of the Real
“I don’t make enough to hire someone to tune my guitar, so bear with me,” said the Record Company’s guitarist/vocalis Chris Vos as he tuned his acoustic guitar between songs. It’s only a matter of time before Vos will be able to afford his own guitar tech. If Saturday night’s show at Syracuse’s venerable Westcott Theater is any indication, this band won’t be lugging around their own gear much longer.
The Record Company, a Los Angeles-based blues rock trio, returned to Syracuse’s Westcott Theater almost exactly one year since their last visit, playing to a larger, more enthusiastic crowd and paying that multi-generational crowd back in spades with a spectacular performance.
The band kicked off the show with Elmira native Marc Cazorla’s swinging drumbeat on the latest single from the upcoming album, All of This Life, “I’m Getting Better (And I’m Feeling It Right Now).” Vos’ harmonica quickly turned this swing number into a bluesy stomp, his voice eerily reminiscent of an exuberant Mark Sandman, the late Morphine front man. The late arriving crowd was into the groove immediately and Vos fed off this vibe the entire night. It would be accurate to call this band a power trio; the power coming from the stage was electric all night.
Their music is derived from the blues and one can hear similarities to other minimalist blues-based outfits from the 2000s like The Black Keys and White Stripes. The difference is The Record Company also pivots between a soulful, gospel style and, with its latest offerings, some pop sensibilities and bass. Alex Stiff is a monster on the bass. The influences on this band range from Al Green to Led Zeppelin to The Grateful Dead to John Lee Hooker to the Beastie Boys and everything in between.
Their second number, “Baby I’m Broken,” had Vos break into Chuck Berry’s patented duck walk across the stage as he threw down a blistering solo. Bassist Alex Stiff featured prominently throughout the night, but especially in “On the Move,” from the band’s Grammy-nominated debut album Give it Back to You. His bass lines served as both a lead and keeper of the groove simultaneously.
The woeful hit “Rita Mae Young” showcased Vos’ lap steel prowess and soulful vocals, something he takes great pride in and with good reason – he shreds. He was assisted on the chorus by those in attendance, inducing a chuckle and an admission that he had forgotten to sing because he was distracted by the audience’s vocals.
Over the course of the near-90 minute performance, the band’s appreciation for their audience increased exponentially. The feeling was obviously mutual. Prior to busting into the new song “Life to Fix,” Vos commented, “There’s been rumors going around that rock and roll is dead. I say, ‘Fuck that!’ Come see a rock and roll show before you say that.” This was met with uproarious applause and the opening riffs to the new single.
Usually, when a band breaks out a new song during a show, especially one on an album that has yet to be released, you can count on a number of people to take that opportunity to refresh their beer or visit the rest room. Not so on this night, and it did not go unnoticed by Vos. This show opened with a new song and had several others sprinkled throughout. Vos thanked the crowd following “You and Me Now,” saying, “Thanks for listening to the new stuff. We don’t practice it because it might take some of the edge off.”
The main set finished with the appropriately titled “The Burner,” which did exactly that. Vos threw his acoustic guitar across his lap and ripped into the slide intro and that Vos falsetto. The lap steel is his go-to and he made his guitar absolutely wail during this version of “The Burner.” The crowd clapped along to the call and response from the lead man while Stiff kept the beat. Vos dropped a Stones’ reference before manically kicking up dust onstage to finish off the sweaty set.
Vos came out solo for the first of two encore songs, performing a heartfelt acoustic song titled “I’m Changing.” His bandmates were visible backstage singing along with his introspective lyrics: “I got devils in my eyes, tapping in my night…” Much of The Record Company’s songs have soul-searching lyrics. This one foots the bill perfectly. But while they tend to reach into their hearts and souls in their original compositions, they aren’t above just having a helluva party. Exhibit A: The final song of the night, a bluesy take on the Beastie Boys’ “Sabotage.” Last year’s Westcott performance featured another Beasties’ cover “So Whatcha Want.” The Record Company ended the night on a satisfying note with the crowd pogoing and shouting along with Stiff’s distorted bass lines and beat box drumming from Cazorla on this mid-90s Beasties punk classic.
Opening act, Tthe Suitcase Junket, otherwise known as Matt Lorenz, is a one-man band, employing a unique style of guitar where he employs a dumpster-found, amplified, acoustic guitar with flailing strings, along with an array of original percussion instruments and a unique throat vocal that somehow sounds like a tin whistle.
The lack of accompanying musicians is virtually unnoticed with Lorenz’s act. He sounds like a full band, incorporating such unorthodox instruments as a gas can baby shoe foot drum, a circular saw blade bell and a box of bones and silverware that serves as a high hat. He’ll, at times, sing into his guitar’s pickups, creating a distorted vocal effect, followed immediately by his throat vocal, all while throwing down some heavy power chords.
This one-man band is also a one-man Vaudeville show. In between songs, he took jabs at himself and his instrumentation, introducing his “band,” discussing what each “member” of his “band” contributed to the sound of the Suitcase Junket. His self-deprecation banter between songs endeared him to the audience right away, a rarity for an opening act. Record Company lead man Chris Vos, while thanking the Junket for performing, mentioned that Lorenz is the artist who has opened for The Record Company the most times. The Suitcase Junket was the perfect opener for the Record Company – an artist true to the art form and original.
Syracuse has always been championed as a blues town. The support shown to The Record Company on this night is a testament to this. At one point in the show, Vos asked the crowd who had never seen them perform before and who had seen them perform. The number of people who had seen them far outnumbered those who hadn’t, at least according to this unscientific survey. Syracuse IS a blues town. And now, Syracuse is also a Record Company town.
The Record Company Setlist:
I’m Getting Better (And I’m Feeling it Right Now), Baby I’m Broken, Everybody’s Gonna Make a Movie, Rita Mae Young, Feels So Good, Turn Me Loose, On the Move, Life to Fix, This Crooked City, Off the Ground, You and Me Now, The Burner. E: I’m Changing (Vos solo), Sabotage (Beastie Boys cover)
The Board of Directors of the Rochester Music Hall of Fame pulled out all the stops this year. The seventh annual award ceremony was held on Sunday, April 22 at Rochester’s historic Kodak Hall at Eastman Theatre. The sold-out event celebrated the contributions of musicians with local ties, including Rochester native and legendary drummer Steve Gadd, Eastman School of Music graduate and iconic bassist Tony Levin, world-renown percussionist and Eastman School Professor Emeritus John Beck, and masters of sacred steel The Campbell Brothers. Congratulatory messages were sent by Peter Gabriel, who has worked with both Gadd and Levin. Special guest performers included pedal steel guitarist extraordinaire Robert Randolph, preteen powerhouse Angelica Hale from America’s Got Talent, and a surprise appearance by Paul Simon.
Photos by Battista Photography
At the ceremony’s commencement, a moment of silence was taken to honor the late Senator Louise Slaughter, a supporter of the arts. Board of Directors President Karl LaPorta announced that he and his wife would be stepping down from the board to spend some time traveling, although they will stay involved with the Hall of Fame. Vice President Jack Whittier will take the lead position on the Board moving forward. Whittier shared plans to branch into more community outreach and partnerships which foster the love of music. They’ve also acquired a location for the Hall of Fame at the corner of East Main and Gibbs Streets.
The ceremony opened with a few quick tribute songs from local singers, backed by the Hall of Fame’s house band, Prime Time Funk: “Kodachrome” sung by Alyssa Coco and Ronnie Leigh, a soulful rendition of “Wildflower” sung by Bree Draper, and “Sledgehammer” featuring the powerful vocals of Danielle Ponder.
The first inductee of the night was John Beck, a Pennsylvania native who started playing drums at a very young age, traveling by bus into Pittsburgh as a teenager to take lessons and later moving to Rochester to study at the Eastman School of Music. After ten years drumming in the military, Beck returned to Rochester to teach and to play in the Rochester Philharmonic Orchestra. He has played with orchestras around the world, and holds many accolades. He has also taught hundreds of students, including Steve Gadd.
The first piece he played was something he wrote for Gadd’s senior performance, played on the timpani. He then played a couple on a drum kit and some hand drums. Between songs, he went to the podium to talk about the music, and asked for a moment to get to the drums. But once behind the percussive instruments, he began moving with a deft agility and grace. For his grand finale, he chose a big band song, backed by Prime Time Funk.
The next inductee was Ferdinand Jay Smith III, who has created some of the most memorable and longest lasting music in entertainment, including theme songs for television programs, Olympic Games, and advertising. A reel of some of his work was played, highlighting the local, regional, and national clients for whom Smith has produced work. Some of the best selections were saved for live performance by the house band, with guest singers. America’s Got Talent finalist Angelina Hale took to the stage to perform the theme song for Bausch & Lomb. The Empire State Games theme song was sung by a group which included two of Smith’s children and one of his grandchildren.
After a brief intermission, Gadd and Levin were introduced by their friend Peter Gabriel, via video recording. The British rocker talked about knowing Levin “since the dinosaurs roamed the earth” and shared the joke about how many drummers it takes to change a light bulb. “One to do it, and twelve to talk about how Steve Gadd would have done it.”
Gadd and Levin met as students at the Eastman School of Music, where they studied together during the day and gigged around town by night, learning the ropes from local legends like Chuck and Gap Mangione. After serving in Vietnam, Gadd settled in New York City with Levin, and Levin introduced him around. They formed a jazz band called L’Image with friends Mike Mainieri, David Spinozza and Warren Bernhardt. Since that time, they have also toured and recorded with some of the biggest names in the music industry, as well as their own individual bands.
The members of L’Image united on stage tonight to play a few of their songs, which prominently featured the xylophone and the Chapman stick. Levin is adept at playing the stick, sometimes plucking and sometimes with a bow.
Just when we thought they would wrap up their set, Paul Simon walked across the stage. Simon shared a couple of stories about working with Gadd and Levin, then launched into performances of “50 Ways to Leave Your Lover,” which features Gadd’s prominent drum line, and “Late In The Evening,” for which Levin wrote the driving bassline. Simon’s surprise appearance was one of the city’s best kept secrets (EVERYBODY knew when Bill Murray was in town a few weeks ago, but Simon’s arrival was kept tightly under wraps until the show). This comes on the wake of the news that Simon will retire from touring after this year. The ‘Homeward Bound’ farewell tour starts in mid-may and wraps up in the fall with a three-night run in New York City.
Paul Simon is a hard act to follow, but the Campbell Brothers held their own. The Sacred Steel gospel group started at their local churches and have grown to fill some of the most venerable music halls, but the members maintain their sense of humility and gratitude despite their growing recognition.
From the first notes of the steel pedal guitar, there was a sense that something phenomenal was in store. The other instruments joined it, the sound swelling to fill every nook and cranny of the auditorium. What ensued was a hand-clapping, foot-stomping celebration of joy. Gospel singer Denise Brown came out to sing “I’ve Got A Feeling.” And Charles Campbell got everyone doing a call and response on the next number, “Hell No! Heaven Yes!” Robert Randolph danced his way across the stage to join in on pedal steel.
Randolph led the vocals on the last performance of the night, “Purple Haze,” a song Jimi Hendrix played when he performed in Rochester in 1968. Gadd settled himself behind his drum kit, Levin grabbed his bass and the house band took up their instruments, Beck took up a hand drum and Smith procured a tambourine. The all-star jam was a glorious sight to behold. Randolph jumped up on his chair while playing the steel pedal guitar. Charles Campbell was strutting the stage, pulling out some Chuck Berry style moves. The joyful outpouring of sights and sounds capped off what was truly a memorable night.
Mark your calendar now: next year’s Rochester Music Hall of Fame ceremony takes place on April 28th. You won’t want to miss out on all the excitement in store!