10,000 MANIACS will be rolling into Cohoes Music Hall in Cohoes on Saturday, July 14 at 8:00 p.m.
Photo courtesy of their website.
10,000 Maniacs started in Jamestown, and were founded in 1981. They are known from the early “alternative rock” movement, having released close to 20 albums, including 2015’s Twice Told Tales and 2016’s Playing Favorites. They consistently tour not only the U.S. but abroad as well.
This year marks three significant anniversaries in the band’s history. Their first full-length recording was released 35 years ago. Secrets of the I Ching, which caught the attention of BBC radio legend John Peel, who brought the band to the attention of millions of listeners worldwide. 25 years ago and the second significant event happened; Mary Ramsey began her tenure as lead singer for the band. It was in that same year the 3rd significant thing happened, which was that 10,000 Maniacs made their iconic performance on MTV’s “Unplugged”; the released recording would go on to sell millions of copies.
In celebration of these milestones on their 2018 tour, 10,000 Maniacs will play select acoustic sets including songs from Secrets of the I Ching and MTV Unplugged as well as their hit songs. 10,000 Maniacs is comprised of Mary Ramsey, lead vocals,viola; Steven Gustafson, bass guitar; Dennis Drew, keyboard; Jeff Erickson, guitar; John Lombardo, guitar; and Jerome Augustyniak, drums.
Tickets for the all-ages event are $35.00-$55.00.
For more information call 518-953-0630 or visit Cohoes Music Hall’s website.
For more information on 10,000 Maniacs visit their website.
The Hot Rize 40th Anniversary Bash album is a recording of Hot Rize’s live performance at the Boulder Theatre over the course of three sold out shows in January of this year. The album will include 19 tracks from these three sold out shows.
Hot Rize is known for being one of the most respected and influential bands in bluegrass music. The 40th Anniversary Bash shows Hot Rize’s broad appreciation for soulfulness and their conscientious balance between traditional and experimental bluegrass which is a hallmark of Hot Rize since their inception.
Hot Rize is made up of Nick Forster on bass, Pete Wernick on banjo, Tim O’Brien on mandolin and fiddle, and Bryan Sutton on guitar and they were joined during their Boulder three nights performance by longtime musical friends Jerry Douglas, Stuart Duncan, and Sam Bush.
Hot Rize’s 40th Anniversary Bash will be available on CD and vinyl (double LP) and will be released via Ten in Hand Records and distributed through The Orchard. The band will play the Ryman Auditorium on July 12th as their Nashville CD release show, as part of the Bluegrass Nights at the Ryman series.
The celebration will also be making a stop in Oak Hill, NY for the Grey Fox Bluegrass Festival as one of the Friday headliners on July 20. Their complete tour dates are listed below.
Check out the newly released video for “Colleen Malone” below the tour dates.
On tour:
July 12 – Ryman Auditorium – Nashville, TN
July 20 – Grey Fox Bluegrass Festival – Oak Hill, NY
July 29 – Rockygrass – Lyons, CO
Aug. 31 – Delaware Valley Bluegrass Festival – New Castle, DE
Sept. 1 – Thomas Point Beach Bluegrass Festival – Brunswick, ME
Sept. 2 – Rhythm and Roots Festival – Charlestown, RI
Nov. 2 – The Sheldon Concert Hall and Art Galleries – St. Louis, MO
Nov. 9 – Peoples Bank Theatre – Marietta, OH
For more information on Hot Rize visit their website.
Four additional artists have been added to Night Lights Festival’s 2018 lineup including the Syracuse-based band Sophistafunk and a supergroup featuring members of moe., Dopapod, Aqueous and Mungion in a tribute to Pink Floyd.
Sophistafunk courtesy of their website.
Sophistafunk is known not only for it’s 90’s hip hop vibes but for it’s fusion of funk and jam. After the success of their recent single “No More War” on the national circuit their 2018 got a lot busier with additions to their tour including the Night Lights Festival.
Night Lights Festival takes place August 23-25 at Heron grounds in Sherman, NY. This is the festival’s eighth year and will spread over three nights and three stages. This year the festival is trying to diversify it’s lineup and will be featuring a variety of artists spanning over genres. In addition to the music, activities will include yoga, hiking, mushroom walks, and light installations. There will also be food, craft beer, craft artisans and a variety of vendors available on site.
Tickets are $125 in advance. Camping and a Thursday pre-party are included in all weekend passes. Friday and Saturday single day passes are also available. Parking is not included. Gates open at 12 p.m. on Thursday. The lineup for Night Light Festival is listed below.
Complete Lineup:
Lotus, The Motet, Aqueous X 2, FEARLESS – PINK FLOYD TRIBUTE will feature. Chuck Garvey (moe), Mike Gantzer & Evan McPhaden (Aqueous), Eli Winderman (Dopapod) and Matt Kellen (Mungion), Octave Cat ft. Jesse Miller (Lotus), Eli Winderman (Dopapod), Charlie Patierno Anomalie, Tropidelic, Bumpin Uglies, Sophistafunk (tribute to 90’s Hip Hop), lespecial, Pappy (of Cabinet), Wild Adriatic (Led Zeppelin Tribute), Upstate Rubdown, Boss Tweed and the Carpetbaggers, Gatos Blancos, Funktional Flow, Danielle Ponder & the Tomorrow People, Dynohunter x 2, Root Shock, Space Junk x 2 (Disco Biscuits Tribute), Holy Hand Grenade, Lazlo Hollyfeld, Intrepid Travelers, Folkfaces, Soul Roach, Buffalo Brass Machine, Cold Lazarus, Psychedelic Jukebox, Cypher, Kaleidoscope Sky, The Good Neighbors, Able Footing, Neon Veins
For more information on Night Lights Music Festival visit their website.
For more information on Sophistafunk visit their website.
Taína Asili is a rising Puerto Rican musician and social justice activist from Albany, NY whose music is breaking into the mainstream while bringing forward a powerful message of justice. One of the ways she is accomplishing this is by performing at several prominent festivals in New York, Rhode Island and Michigan this summer.
Taina Asili courtesy of her website. Photo by Kiki Vassilakis
With her recent performance at The Women’s March on Washington last year and her latest music video “No Es Mi Presidente (Not My President),” which was premiered in Rolling Stone and called the 2017 International Women’s Day anthem by Latina Magazine, she’s growing more and more awareness from the general public not only on social justice issues but on the way music can be a platform to bring those issues forward.
Asili works either as a solo artist or with her dynamic eight-piece band which combines powerful vocals with an energetic fusion of Afro-Latin, reggae and rock. They offer a sound that spans continents, inspiring audiences to dance to the rhythms of rebellion. Taina Asili has been creating music for social change for 23 years and has toured all of the world.
Asili is dedicated to using her art, specifically her music, as a tool for personal and social transformation. Asili’s writing is based off of liberation themes and so is her activism in political prisoner liberation, prisoner justice, climate justice and food justice movements. She has an MA in Transformative Language Arts from Goddard College and is known for, in addition to her performance and activist work, facilitating arts workshops for both youth and adults.
She has an array of projects this summer you don’t want to miss which can be found below:
– June 8 and 9 -Asili will premier her new documentary “Resiliencia”, about Puerto Rico’s resilience after last year’s hurricanes, at Providence’s largest festival, PVD Fest and performing on the City Hall Stage with her full band – Providence, RI
– June 10 -Performing for over 45 thousand people at Motor City Pride – Detroit, MI.
– June 14 – Participating in The Human Rights Conference – NYC Pride
– June 22 – Participating in The Rally – NYC Pride
– July 14 – Joining the lineup of performers for Hamilton at the Hill Art Center 50th Anniversary celebration “Sankofa, The Legacy” at Proctors Theater – Schenectady, NY.
– July 18 – Asili will be offering two songwriting workshops at the Finger Lakes GrassRoots Festival of Music and Dance pre-festival conference, Culture Camp located just outside of Ithaca – Trumansburg, NY.
– July 21- Performing for her third time at the Finger Lakes GrassRoots Festival of Music and Dance located just outside of Ithaca – Trumansburg, NY.
– July 22- Asili and her band will be opening for Chilean musician Pascuala Ilabaca at the well-known Music Haven Concert Series – Schenectady, NY.
On Friday June 1, guitarist Tom Hamilton and pianist Holly Bowling will bring their acoustic duo project to The Capitol Theatre for what is sure to be a magnificent set of Grateful Dead material. The show is billed as ‘Acoustic Exploration of The Grateful Dead.’
Currently, Hamilton and Bowling are touring together with Steve Lyons, Raina Mullen and Scotty Zwang as the highly received jam outfit Ghost Light. Given that but also given both Hamilton and Bowling’s extensive backgrounds in bringing new life to The Grateful Dead songbook, this Capitol Theatre show should be one of those shows to get out and see at all costs. For more info, visit The Capitol Theatre’s website.
In our excitement for the show, NYS Music sat down with Tom Hamilton and discussed in depth the nature of improvisation in today’s modern music climate.
Miles Hurley: So I understand that you’ve been playing with Holly Bowling since her many sit-ins with American Babies. And then of course there’s Ghost Light, and now this duo project. What draws the two of you together musically?
Tom Hamilton: I’d say we both respect the idea of improvising, and of really trying to go places. And seeing how far away from an origin we can take things out. And we listen. The whole thing for me, and for a lot of people I think, when it comes to improvising, is listening to what each other is saying, and giving each other the time and space to say what they have to say, and then reacting accordingly.
MH: What do find is different about improvising in a two-person setting as opposed to with a full band?
TH: Well the principle is always the same, and…well with the acoustic thing, there are just different variables, you know? The acoustic thing is interesting because, not only is it just two of us, but it’s an acoustic guitar instead of an electric guitar, and the pallet that I get to choose from is different. Different than what there normally would be with a band. So I guess it’s kind of doubly-different then. And I think for Holly, you could pretty much say the same thing, because in the band she’s using the keyboards, and not an actual grand piano. And there’s an enormous difference between the way she plays those two.
It’s like having any kind of conversation. The best kind of conversations a person will have, it’s not just the other person waiting to say what they want to say, it’s: “okay, I have heard what you’ve said, and I will retort.” A real back and forth. So with Holly and I, there’s a lot of respect, and a lot of listening.
MH: I got to catch Ghost Light’s show at The Acoustic in Bridgeport, and I could see what you’re explaining going on. Seeing the way you guys interact when building jams was almost as good as hearing it.
TH: Yeah, the thing I always try to stress is, let’s try to write a song right here on the spot. Let’s try to write a Radiohead tune right now. And see what happens, and if it goes somewhere it goes somewhere, if it doesn’t, it doesn’t. It’s about making choices. I think that’s the difference between bands that can get around, and bands that kind of just noodle. It’s a thing of saying things with a period on the end, rather than a question mark. “You said this, so this is what I say.” You keep making things happen. And sometimes it’s complete dogshit, and that’s totally fine. That’s the point of it, that it can go either way, and I think people respond to that. I think that’s why people come, because it could be the greatest thing ever, or the worst thing ever, and they think, “I want to see which way it goes today.” As long as everybody’s making choices, it’s always going to be a good outcome.
MH: One thing I think is interesting is that Holly started out doing the tribute thing, and I remember asking her about writing her own music, which Ghost Light has now given her the opportunity to do. But this acoustic project and now The Capitol Theatre Show will almost kind of bring both of you guys back full circle.
TH: Yeah, you know The Capitol and the Dead are both that common thread between us two. When we were asked about doing this, we just said absolutely. For me, the thing that makes it super not a problem is that…as long as we’re still chasing original music. And I mean original music, not like, “oh I’m going to take music that’s pretty been written a thousand times and put different words over it,” or something. No, like original songs and doing original things. As long as we’re using our other time to doing that, and contributing to the lexicon, I think it’s great. It’s great that we get to have the best of both worlds.
MH: This will be another one of several different Dead related projects you’ve been involved with. I think there’s something to be said for the fact of people coming to see you tribute The Grateful Dead in not just one but multiple different projects.
TH: I mean it’s certainly flattering, I will say that. It’s an honor that people care. And we’re lucky enough that with that songbook, you can keep it fresh, as has been proven over the last fifty years. Those songs are living documents that are always going to be growing, and as long as you’re helping that, and keeping it moving in a forward direction, it’s a wonderful thing, and I’m glad to be doing it.
MH: Thinking outside the Dead, were there any particular music artists that you and the other members of Ghost Light have bonded over?
TH: The fun thing about Ghost Light, I think, is it’s five pretty different points of view. I mean, yes, there’s bands that we all agree on. Like Radiohead is fucking Radiohead. They’re the Beatles of our time, and The Beatles are The Beatles of everybody’s time. There’s certain truths you can’t escape.
But there is like…we do a couple of Rolling Stones tunes, and it’s not that I don’t like The Stones, but I wouldn’t have brought that it, and Holly did, and that’s awesome. I brought in a Derek and The Dominoes tune that we do, that probably nobody else in the band would’ve brought that in. Raina brought in this song called “Wild One” that’s just this awesome punk tune, that none of us would’ve thought of. Scotty brought in “Head over Heels” from Tears for Fears.
We all have our own place we’re coming from. That’s the thing that turns me on about the band, and about people in general. It’s a weird time we’re in that most people, through either social media or in social situations, they surround themselves with sicophants. Surrounding yourself with people that are just going to say yes, or agree with what you’re saying, or have the exact same tastes as you. Where it’s like, “well if you don’t listen to what I listen to or believe what I believe, then I can’t hang out with you.” And I get it, but it’s also bullshit, and you’re not going to bring anything new to the world, by a bunch of people just agreeing with each other. And this is bigger than just music I guess, but differing opinions need to touch each other to create a new opinion, to bring understanding and to broaden horizons.
Like, everybody in the band, we all got together because we all love Neil Diamond, okay? And, more than likely, we’re going to end up making a shitty version of Neil Diamond. Which, A) nobody needs, because nobody needs a shitty version of Neil Diamond, and B) Neil Diamond already exists, you know what I mean? I think, putting together this group of people, the fact that everybody is coming from five pretty different places, that’s what’s making this band good, and that’s why people are reacting to it. It’s not something that just like what already exists.
MH: I feel that we’ve reached a bit of an influx, in the sense that there’s so many bands out there today, doing the jam thing, but it’s getting harder to do that jam thing without sounding unoriginal.
TH: Well I think it is easy to do that, if you just work at it. That’s the thing. It’s harder, obviously. But who the fuck said it was supposed to be easy? If it’s easy then you get a lot of what’s going on, which is just a photocopy of a photocopy of a photocopy. If you look at JRAD, that’s five super different folks, trying to sound original every time they walk on stage. You know, for being a band that covers the Grateful Dead, I feel like we’re more original than a lot of bands going, because we openly say, “listen, the songs aren’t ours, but the jams are.” You have some of these jambands that claim to have original music, but it’s a Phish song with different words, or executed poorly.
And it’s hard, it’s not easy. When we were writing this Ghost Light record, I was banging my head against the wall for months and months. That’s the nature of the gig, you have to try and navigate through an ocean of stuff that’s already happened. This Ghost Light record, there’s a lot of tracks where I just think, this sounds like us. I’m really proud of it.
