Author: Pete Mason

  • Chateau Shows in Albany meld Professional Practices with DIY Methodology

    Among the network of musicians in Albany, there are select venues that are known to be “off the beaten path” but still provide the listener with the intimate experience many are searching for from live music. Since the unfortunate closure of Valentine’s in 2014, the need for these spaces has increased, leading to house venues popping up across the area to cater to fans. With no particular venue picking up where Valentine’s left off, the mission of getting a PA and inviting your friends over for a show got the ball started for house venues such as the Chateau. One of these artists, Girl Blue, was recently profiled by NYS Music, and we present the premiere of Girl Blue’s Chateau Shows performance.

    The Chateau was born in 2014 with the first show in 2015, and since then, roughly 15 shows a year, or 1-2 a month are held at the house. Dan Maddalone says of Chateau, “It’s not a money maker, just something for fun and a sign of the healthy and continually growing music scene, both above and underground, in Albany.”

    Albany native turned international performer Meg Duffy (Hand Habits) and beloved DIY stalwart Lomelda have both performed at Chateau, making it a utility space for musicians on their way up. More established acts like Spoon, White Denim, and White Reaper have also performed in the space due to Maddalones previous involvement with the radio station WEQX.

    Thanks to venues like The Chateau, bands can build an audience in Albany and branch out to other towns without traditional airplay and booking. “House shows are an incubator for a small part of the scene, for a talented group of people who do a lot of great art and create amazing things.” As the industry has broken down, artists have found a new way to prosper and The Chateau is but one small part of an international movement. But make no mistake, Maddalone says, “This has always been happening in Albany and abroad, and will continue to happen forever. We are but one tiny part of a long running DIY methodology.”

    Chateau Shows

    Chateau is one of many house venues in Albany. Normally, house venues last between six months to two years, depending on who manages them. Traditionally, it is college students who take on the practice and either move on or pass the house onto another group when their tenure is up. Chateau has such a long legacy due to it being owned and operated by the same persons year after year.

    These venues are all several steps above house parties due to the focus being put on the music. The setting typically involves a house kit, PA system, with some lights and decoration in the ‘venue’ part of the house, which is often an attic or basement. In non-venue parts of the house lie comfortable living quarters for bands to rest before moving on to other shows. Between bands, guests are typically welcome to wander about the house sipping whatever they brought with them, and chatting with friends.

    The atmosphere of the Chateau and other house venues offer a different musical experience than what you typically find at a club or bar. Performances at clubs can foster a passive and inattentive crowd, but at house venues, the focus is intently upon the performer with a small audience of 30-80 people gathered to see something new, special, and intimate.

    All around Albany, a music scene continues to thrive in venues of all sizes and styles. The Capital Region has produced nationally touring bands already because of venues like The Chateau, Valentine’s, and The Hollow. Supporting artists from the ground up ensures a healthy breeding ground for future musicians down the road. House venues like The Chateau may be the place to catch your new favorite band.

    Girl Blue video was produced at The Chateau by Chris and Brian Leary of Chrome Glass Productions along with Dan Maddalone. Girl Blue audio was engineered, mixed, and mastered by Troy Pohl with engineering assistance from Judybelle Camangyan.

  • Hilltop set to release debut album this weekend

    Hilltop, a 5-piece band from Albany that features a blend of rock with funk, jazz, blues and bluegrass mixed in, is set to release their self-titled debut album on Friday, February 8. 

    The band combines original music, diverse covers, and improvisation to create a unique listening experience. The band includes Aris Nieuwkerk (guitar, vocals), George Scherck (keyboards, vocals), David Klang (bass, guitar, vocals), Stephen Perry (drums, percussion, vocals), and Reid Perry (drums, percussion, vocals) who have collective influences of The Grateful Dead, Phish and Miles Davis. All these artists feature many different styles over the span of their careers, and this is what has shaped Hilltop’s sound and how to incorporate various styles into their songs – there is not just one sound or style that defines Hilltop.

    hilltop debut album

    Hilltop was tracked at recording studios at the two colleges band members attend – Schenectady County Community College and Mercy College in Westchester. Mixing was completed at Mercy College and the album was mastered on Long Island at MEI Studios, where David is an engineer. The songs on the album had already been performed live numerous times, with David noting, “This made it easy to get a natural feel for our songs in the studio, giving the listener an accurate representation of what the band sounds like live.”

    This summer, Hilltop plans to hit the festival circuit in New York and the Northeast, and looks forward to building their following so they can spread out beyond the confines of the Northeast. The band knows this is a long journey and is dialed in for just that. “We know it often takes decades for a band to become seriously established outside of a small niche, and I think we’re all preparing ourselves to keep moving forward with Hilltop on a long term basis. We’ll see where it can take us if we can keep it going for a while!” said Klang.  

    The band’s single off Hilltop, “Driftwood” was released on January 18 and a multi-cam studio video of the single was recently released on YouTube. 

    Hilltop’s self-titled debut album drops on Friday, February 8 and will be available on iTunes, Apple Music, Spotify, Bandcamp and Google Play.

    To celebrate the release of Hilltop, a release party will be held on Saturday, February 9 at Parish Public House in Albany. Doors open at 8pm with Glass Pony opening the night at 9pm. Cover charge is $10.

  • AJ Lambert, Sinatra’s Granddaugher, debuts John Cale cover in new Video

    AJ Lambert, granddaughter of Frank Sinatra and daughter of Nancy Sinatra, recently debuted the video for “Cleo,” a cover by artist John Cale. The track appears on her first full length solo album, Careful You, which was released earlier this month. 

    Careful You is an album of unique, poignant interpretations of songs by artists including Spoon and TV on the Radio, as well as some of her grandfather’s deep cuts such as “Sleep Warm” and “I’ll Be Seeing You.” The album was recorded with a full band and produced by Daniel Schlett (The War on Drugs, Amen Dunes) and Boshra AlSaadi (TEEN, Janka Nabay). AJ will tour in support of the release, with a full band featuring musicians from the album, such as drummer Parker Kindred (who also plays with Joan As Policewoman) and bassist Josh Werner (who recently collaborated on a release with Bill Laswell).

    Speaking about the video for “Cleo,” Lambert said, “I just thought it would be fun to really play up the pop elements of the song in a new version… to me, it’s lyrically keeping with the theme of the record – namely thinking that love will save the day and then reckoning what happens, when it gets more complicated than that. Hence the ‘always a bridesmaid’ theme of the video, too.”

    Last year, she released Lonely Songs, a collaborative EP with Greg Ahee of Protomartyr, to celebrate the 60th anniversary of her grandfather’s seminal album, Only the Lonely. In AJ’s words: “These songs let me say thank you to Frank. I’m so honored to carry on a bit of this tradition of being a song interpreter and it’s so much fun to do it in a modern way… I believe that good music is good music, no matter what era it’s from… Greg was a big fan of the album already so it was fun to collaborate.”

    AJ Lambert has worked as a film music supervisor and bassist in various bands (including Here We Go Magic and a reunion of seminal punk icons, The Homosexuals). As a solo vocalist, she performs two complete Sinatra albums live – In The Wee Small Hours and Only the Lonely – with John Boswell on piano, at small clubs and theaters around the country. AJ also hosts “Third Generation” on Sirius XM’s “Siriusly Sinatra” channel and regularly performs at private and charity events. Whether performing with a pianist, a full band or on record, AJ Lambert’s style and interpretations of both standards and contemporary music alike are truly her own.

  • Long Island’s Josie Bello releases new album ‘Can’t Go Home’

    Josie Bello has a Country-Rock vocal style, combined with the skillful musicianship evident throughout the CD, have prompted a number of listeners on ReverbNation to ask the question, “Were these recordings done in Nashville?”

    The album was, in fact, produced and recorded on Long Island at Melts In Your Ears Studio and mixed at Workshoppe East, both located in Huntington.

    josie bello

    Can’t Go Home contains 10 tracks of original music in which Josie covers a wide range of subjects related to the human condition. The title track contemplates the loss of one’s past. Other tracks cover themes such as infidelity (“Dignity”), infatuation (“Crush”), relationships (“Good People,” “Bad Love”), drug addiction (“Mother’s Love”), Long Island living (“Kit House”) and even political partisanship (“Two Trains”), co-written by producer Mike Nugent and the only co-write on the album.

    The very active live music scene on Long Island, and the abundance of local talent continues to inspire Josie as a songwriter and performer.

    Josie enjoys creating images and telling stories through song and often says, “Hooks are everywhere, you just need to listen”.

    She’ll tell you that she’s been singing every day of her life — around the house and everywhere she’s been since childhood. She can remember her mother saying to her, “Please, try to pipe down, just for a little while”.

    Luckily for local musicinans, Josie is quite active on the Long Island music scene. She runs several open mics: at Urban Coffee in Greenlawn on the 2nd and 4th Fridays of the month and at the Park Lounge in Kings Park on 3rd Fridays.

    Additionally, once a month she hosts a singer-songwriter night at Urban Coffee. Josie performs with her husband Frank Bello as “Duo Bello” at many festivals throughout the island, including their annual hosting of the Long Island Fall Festival Acoustic Stage. She is honored to participate in the LI-based group OOMPA (Organization of Open Mic Performing Artists) and recognizes all the talent and support their membership provides to open mics and musical charitable events throughout the Island.

    Josie’s music is available on most digital distribution platforms such as iTunes and CD Baby. A hard copy of the CD can also be purchased at CD Baby.

    This article was originally published by Under the Radar – Covering the Long Island Music Scene and appears as a special to NYS Music. Under the Radar and NYS Music work in partnership to provide readers with in-depth coverage on the local music scene across Long Island. For more, visit BreslauBombers.com.

  • Artist Profile: Girl Blue, as big as an Ocean


    Girl Blue has a passion for music, vocals and a stage presence to draw you in – listen. The stage name of Arielle O’Keefe, Girl Blue is one of the Capital District’s emerging singer-songwriters, alongside peers Sean Rowe, Sydney Worthley, Sawyer Fredericks, and Moriah Formica. On Thursday, January 24, she will open for Dar Williams at Cohoes Music Hall.

    O’Keefe’s drive for music goes back to her childhood in Bayshore, Long Island, where she started playing piano at age 5 and guitar at age 12. From this, she sees music adhered to her identity, throughout her life. “It’s sort of a raging ambition inside me, it feels like all I have is this thing to work on.” After a move to Dallas during high school, she headed north to New York City and finally to Albany, to move her career forward. She chose her stage name, Girl Blue, from two musical inspirations – the Nina Simone album, Little Girl Blue, which she listened to a great deal growing up, and the Stevie Wonder song “Girl Blue,” where the character described was much like Arielle.

    Girl Blue received broad exposure when her first single, “Fire Under Water,” was picked up by Spotify for New Music Friday, and was eventually placed in a Las Vegas tourism commercial. From there it went viral, racking up over 2.5 million plays. This led Spotify to pick up her cover of Fleetwood Mac’s “Dreams,” a stripped down version of the original. “I would play with vocals and looped them along with one or two guitar lines. The song is so emotional and almost creepy. I wanted to do something that was really broken down and make it a little more epic, so I covered it with just vocals and guitars, then went in and produced the final version.”

    girl blue

    When O’Keefe is on stage, she commands attention to her performance. “When I was younger, I went to different types of venues, hip-hop showcases and singer-songwriter performances and saw singers that you have-to-listen-to, instead of being forced to listen. I do that for myself, making it so that people have to lean in.” After 14 years, this has developed into Girl Blue’s remarkable stage presence.

    A range of vocal inspirations – Ella Fitzgerald, Joni Mitchell, Roberta Flack, Ani DiFranco and Tori Amos – as well as comparisons to Carole King, Laura Marling, Bonnie Raitt and Jeff Buckley, give you an idea of the powerhouse-vocals and songwriting Girl Blue has in her skill set. She looks towards Frank Ocean as one of the defining voices of the current generation. “He has a voice with character and is a talented singer, who has that intangible quality to translate emotion through his voice. He makes people feel, and that will stand the test of time. His style has been copied over and over already; that says a lot if everyone wants to be Frank Ocean.”

    Last May at Proctor’s Theater in Schenectady, Girl Blue performed as part of Capitol Records Live, an event bringing together a half-dozen local artists to take on the songs of The Beatles’ – The White Album and Sgt. Pepper’s Lonely Hearts Club Band. Singing “Glass Onion,” “Blackbird,” “Lucy in the Sky with Diamonds” and “Getting Better,” her performance stood out among a lineup that included Wild Adriatic, Eastbound Jesus and Let’s Be Leonard.

    Currently, Girl Blue is recording with Dan Dekalb and Jimi Woodul from Dark Honey, with plans to release a stripped down album in May, and the full album slated for later this year.

    On March 2nd, Girl Blue will perform at The Linda in Albany with Belle Skinner and Zan Strumfield, but first, she opens for Dar Williams at Cohoes Music Hall on Thursday, January 24. Tickets are still on sale.

    Girl Blue posts monthly exclusive songs and behind the scenes content online on Patreon. Click here to subscribe and support her work.

  • Greensky Bluegrass shows fans the love at Winter Tour opener in Albany

    For their Winter Tour opener in support of the upcoming album All For Money, Greensky Bluegrass found an enthusiastic welcoming crowd at The Palace Theatre in Albany on Thursday, January 10. Fan familiarity has grown greatly throughout New York in the past few years with two memorable shows at The Egg (the latter of which sold out), and now, a tremendous show at The Palace in Albany.

    greensky bluegrass tour opener

    Circles Around the Sun performed a 45-minute opening set of instrumental Grateful-Dead-inspired compositions. The first few rows were packed-in with fans of Neal Casal’s Fare Thee Well project, which is finding tremendous response from fans in the live setting. The pairing with Greensky Bluegrass could not have been more perfect.

    Amid a sea of bobbing heads, who were rapt with attention throughout the night, Greensky kicked off their first set of the tour with a quick jumpstart in “A Letter to Seymour” and “In Control,” off 2014’s If Sorrows Swim. “All for Money,” the title track of their latest release was an early highlight, featuring instrumental consonance that was coupled with exquisite vocal harmonies, and had room to jam built in.

    greensky bluegrass tour opener

    “All 4” had an ebb and flow during the slow developing improv; one that grew to a remarkable peak before returning to a unified point. Greensky really shines when they unleash a jumble of jam inside their songs, always with an ear to bandmates and eventually finding their way home with applause to end the journey. It was followed by Dire Straits “Money for Nothing” to wrap up the first set.

    Dobro-extraordinaire Anders Beck said, as the band returned to the stage shortly after 10pm, “You can tell it’s Set 2 because it’s after the first,” and with that Yogi-ism it started with “Old Barns” and “Murder of Crows.” The lights on this evening towered over the band, and illuminated the audience in a minimalist design that fit the stage and sound aptly.

    Love was in the air on the back-to-back pairing of Jimmy Martin’s “Hit Parade of Love” and the ‘grassed up psychedelic reggae of Bob Marley’s “Could You Be Loved.” Happy Birthday wishes to Emily, from Beck, turned into Happy Birthday wishes to the entire audience over the course of the year. The show wrapped up with an encore of “Dustbowl Overtures” with a tip of the hat to NY in the vivid lyrics: “And the world’s whistle of a bullet going by / It’s a New York minute, New Mexico sky … It’s the volume of an image, it’s a vision in a song.” Closing the encore was the extended instrumental by the founder of bluegrass music, Bill Monroe, in “Wheel Hoss.”

    Greensky Bluegrass performs at the Beacon Theatre in New York City on Saturday, January 12 and All For Money will be released on all platforms on Friday, January 18.

    Setlist:

    Set 1: A Letter to Seymour, In Control, All for Money, The Four > Bottle Dry, Into the Rafters, Like Reflections, Burn Them (1), Blood Sucking F(r)iends, All 4, Money for Nothing

    Set 2: Old Barns (2), Murder of Crows, What You Need (3), Hit Parade of Love, Could You be Love (4), Radio Blues, Broken Highways, Run or Die, Windshield

    Encore: Dustbowl Overtures > Wheel Hoss

    (1) – w/ Keith Kinnear (tambourine)
    (2) – New Barns arrangement 
    (3) – w/ Guido Batista (vibraslap)
    (4) – Moma Dance tease

  • The Net’s Unbreakable: Passing Through into 2019 with Phish

    Phish has now celebrated 10 New Year’s Eves since their return in 2009, with eight of those year-end shows taking place at Madison Square Garden. For their ‘Tin’ anniversary, Phish once again brought out a full production from David Gallo design set to the tunes “Mercury” and “Say it to Me S.A.N.T.O.S.,” wrapping up four jam-filled nights in a silver bow to bring us into 2019.

    phish 2019

    Over those four nights, Phish performed cohesive sets that flowed from one show to the next, with each night seeming to pick up where the previous night left off. With exclamation points throughout the shows and jams moving smoothly from one song to the next, the run featured some of Phish’s best New Years run jamming inside Madison Square Garden since their first New Years in 1995. New Years Eve 2018 marked 60 shows at the World’s Most Famous Arena, with only Elton John and Billy Joel having more performances in their careers.

    phish 2019

    Phish loves bringing things full circle, and while the disappointment of a cancelled Curveball festival last August was a low point for fans, the New Year’s celebration took the music that arose from the ashes of Curveball and brought it front and center on the 31st. Kazvot Växt songs were performed each night of the run to much audience approval, with four songs held back for the final show of 2018, notably the fan favorite “Say it to Me S.A.N.T.O.S.” The Halloween performance as Kazvot Växt should be looked upon as a turning point for Phish, as this new album/identity has been received better than any other album or new material since their return. For the band to put Curveball in their rearview and move forward with such impressive and well-received material is but one small example of their ability to evolve over time while testing out new ideas and territory with caution thrown to the wind. Performing a Kazvot song right after midnight solidified the new material’s place firmly in the Phish catalog, and we will surely see these songs in rotation moving into this summer, as well as Mexico next month.

    A dozen songs were played in Set 1, with notable sequences including “Steam > Chalk Dust Torture > What’s the Use?” and Trey’s ‘favorite’ song (as Fishman put it) “Ass Handed” which was followed by a fiery “Run Like an Antelope.” This was your standard ‘warm up’ set on New Years, where the hits keep coming and the jams are few, although “Sand” did stand out as the longest song of the set. Set 2 found the deep jams per usual, with an 18-minute “Down with Disease” kicking the set off and after a randomly placed “Farmhouse,” a near 18 minute “Seven Below” followed, for the jam of the night that ebbed and flowed through psychedelic and arena rock sections and finally band and audience interplay in the ‘woo-ing’ that Trey seems to love engaging in with the fans.

    A “Harry Hood” that stopped after the second section of the composition was halted unexpectedly for a “Passing Through” that split “Hood,” but fell short of the Halloween version where the fans sang along with the ‘Way-o Way-o’ callback. The band clearly was hoping to bridge the fans singing ‘Way-o Way-o’ into the return to “Hood,” which ended up being more of a surprise since some fans (ahem) forgot they hadn’t finished “Hood” and brought it to a triumphant close. Regardless, the second set was the set of the night and had fans sweating as the clock ticked past 11pm and we headed into the final Phish of 2018 and first of 2019.

    phish 2019

    For the New Years gag, Phish took a combination of two past gags – “Steam” (2011) and “Petrichor” (2016) but with visuals that engaged the entire arena, including lights, balloons, streamers, smoke, acrobats, stage dancers, inflated foods and Trey and Mike in silver space suits. With the opening notes of “Mercury,” the silver balloons that hung from the ceiling connected to the semi-recent composition that Trey had found new life in during the summer of 2018, with improvisation taking the song well past the 20-minute mark on multiple occasions, and making a believer out of many fans.

    After a few minutes of the composition, aerial dancers were lifted above the front of the stage, releasing silver streamers that poured down in front of the stage, the silver strands of mercury shining bright with floating lights pouring out smoke that decorated the space behind them, building towards the midnight peak. As a recording counted down from 30 seconds, the acrobats climbed into their nets and were dropped to the stage one by one for the final 10 seconds of 2018, and with that, “Auld Lang Syne” was played and thousands of balloons and silver streamers poured from the ceiling, and MSG being filled with Mercury-colored Silver Grandeur.

    As the first song after midnight, Phish opted for the popular Kazvot Växt tune “Say it to Me S.A.N.T.O.S.” after “Auld Lang Syne,” a sing along with amazing energy – the crowd echoing ‘Say it to me S.A.N.T.O.S.’ and ‘This is what space smells like/you will always remember where you were” – gave chills both then and on subsequent relistens. While Trey and Mike were lifted up into the air throughout the song, the stage was then peppered with various pool-floats that represented various things that space could smell like, plus googly eyes for added ‘space’ effect. Trey meanwhile was running around the stage with his wireless guitar that found him playing “S.A.N.T.O.S.” to those behind the stage with cheers, smiles and tears aimed right at the Bad Lieutenant, who looked nothing short of elated. The energy of the rest of the night flowed in the form of “Simple” which was cut short for “Saw it Again” and “Limb by Limb,” and a combo of Lou Reed’s “Rock and Roll” > “Suzy Greenberg” lifted the crowd up one final time to close out the first set of 2019. With more than 20 minutes left, fans wondered what was in store – “You Enjoy Myself,” or perhaps “Fluffhead” were on every fans wishlist, but the fan favorite of them all, “The Lizards” would be the first part of this encore, with another rocker in “Character Zero” following for a climax of pure energy.

    Phish has made their mark on Madison Square Garden and set the standard for performances on New Years Eve. Here’s to Phish finding even more inventive ways to engage their fans and continue their storied career into its 36th year in 2019.

    Setlist courtesy of Phish.net

    Set 1: The Moma Dance, Stray Dog, 555, Sand, Lawn Boy, Steam > Chalk Dust Torture > What’s the Use? > Play by Play, Waste, Ass Handed, Run Like an Antelope

    Set 2: Down with Disease[1] > Farmhouse > Seven Below > Twist > Harry Hood > Passing Through, Harry Hood

    Set 3: Mercury[1] > Auld Lang Syne, Say it to Me S.A.N.T.O.S., Simple, Saw It Again > Limb By Limb > Rock and Roll > Suzy Greenberg

    Encore: The Lizards, Character Zero

    [1] Unfinished