The Great Lakes are the biggest lake system on Earth with a total shoreline of 10,900 miles, more than the East and West US coasts combined. It should come as no surprise that Syracuse is home to a burgeoning Surf Rock scene and the birthplace of Underwater Bosses. These guys have been playing together in numerous projects for over 2 decades, but finally formed this band last September. Their debut album, Aqua La Vista, was released in April and consists of 12 original tracks that perfectly capture the spirit of the sport, that made the genre famous.
“Ride of the Surfers Ride” opens the album with everything you’d hope for in a surf rock song. Wet, arching guitar riffs, head bobbing drum beats and a bass line to boogie to. “Basshead” takes that and turns it up even higher, all while adding a salty organ to the mix. This is the kind album you play in your car on a sunny day with the windows down. In fact, it was the “Between the Black Sea and Me” that made me get into my car to take a drive in order to fully appreciate the sound and style of this album.
“Red Tide” is a prime example of how this band’s sound can make their music feel oceanic in size. This song itself is a powerhouse; large from the get-go like the algae blooms it’s named after. This band continues to encapsulate the feeling of surfing with a sound that swells in and out like the sea itself. “KGB Tsunami,” my favorite instrumental surf track on the album, has a super catchy guitar riff and Chris Stewart really lets his inner Dick Dale shine as he makes you feel like James Bond is catching waves. Bob Breen’s intense drumming can’t be highlighted by a single track but “Surfin Hand” really showcases his talent. The same can be said for Greg Bresett on bass, who obviously shines on “Basshead” but really kicks it up on “Heavy the Ride.”
This album also consists of two vocal surf tracks and the really hold their own amongst the instrumental surf tracks. “Turtle Neck Sweater Zombies” is infinitely catchy and fits nicely in the first half of the album. However, “Surfin Lullaby” is the most unique song on this album and also the most beautiful. It shines a lovely light on how great this band is and would be a lovely cap to the album, but a better one is certainly the last full track, “Surftacular”. It’s just one last all-out surf fest until the end. While this album is a must-listen for any fan of the surf rock genre, I would absolutely recommend it to anyone looking for a fast, fun and frenetic sound.
KeyTracks: KGB Tsunami, Surfin Hand, Surfin Lullaby
Gov’t Mule and Warren Haynes made a stop on their Bring On The Music fall tour on September 19 with a performance at Albany’s Palace Theatre. The name of the tour is a play on the band’s new concert film and corresponding live album, Bring On The Music – Live From The Capitol Theatre, which came out in June on CD, vinyl, DVD, and BluRay.
To see the Southern rock jam band Gov’t Mule live at this beautiful and historic Albany landmark was an amazing experience. The lighting was nothing short of perfection, which added greatly to the experience.
Photo by Stephanie J Bartik
Gov’t Mule is comprised of guitarist Warren Haynes, drummer Matt Abts, multi-instrumentalist Danny Louis, and bassist Jorgen Carlsson. Haynes took the stage and commanded the crowd’s attention with his soulful vocals and guitar chops while wowing the eager fans with the first song, “Traveling Tune.” His talent is known throughout the music world and he is the inspiration of many guitar players. He was the guitarist for The Allman Brothers Band and put together Gov’t Mule with the late Allen Woody (bass) in 1994 as a side project.
There is a connection between Haynes and bass player Carlsson and Abts on drums that can be easily observed. Each band member became completely immersed in not just their individual instruments, but the songs themselves. With Haynes’ soulful voice and virtuosic solos with expansive guitar tones, Carlsson’s expert bass playing, Abts locking it in with insane drumming, and Danny Louis dazzling the crowd on keys, each tune was performed to perfection
Jorgen Carlsson on bass
With rock at its core, Gov’t Mule integrated a full range of musical styles including blues, jazz, soul and some funky rhythms. No one left the room disappointed. If given the chance to see this band first hand, you owe it to yourself to do so.
Check out the Gov’t Mules website for a full list of the band’s upcoming tour dates, ticketing, and more information.
Set One: Traveling Tune (part 1), Mule, Pressure Under Fire, Time To Confess, Lay Your Burden Down, Inside Outside Woman Blues, Unring The Bell, Endless Parade, Revolution Come, Revolution Go
Set Two: Wandering Child, What is Hip?, (with Jerry Marotta, without Matt Abts), Freeway Jam, Child Of The Earth, Lively Up Yourself, Fool’s Moon, Thorazine Shuffle, Traveling Tune (part 2)
Sometimes, often unexpectedly, life decides to take a plate of glass and smash you right in the face. When that happens, you can either retreat and regroup or take that sharp, broken glass and smash back. That is what Adapter did with their first EP, Period. This is a band with a chip on their shoulder, and the chops to go out and make a statement about it.
First impressions as a modern mix between Zeppelin and The Allman Brothers Band are never a bad thing, but as you dig deeper you realize Adapter subtly carved a sound of their own. Their sound can loosely be described as a new aged hard rocking spin on classic blues; however, they possess the in-your-face rock and roll spirit that once dominated life for many. Even through headphones there is a sense of electricity and danger, both musically and lyrically, with explosive rocking chords that nearly beg to be vibrating wall to wall in an arena.
Lyrically, Period is a familiar peek into a songwriter who has been damaged and cannot decide what to do next. The hard-rocking opening track “The Pains” delves deep into the mental struggle of whether to go back to a lover who has hurt you. This all too human battle continues as the EP continues with “Mean Bitch Blues,” where the band transports you to that dark unknown where you don’t know what to do next now that it has all ended except express anger and sadness. While only five songs, Period gives a good snapshot of the band’s capabilities melding between hard rock, trippy blues, and a more subtle, lighter side at times. Already sounding like a refined, authoritative group, Adapter will be a fun band to watch grow as they continue making music.
Bob Dylan returns to Beacon Theatre in New York City from Nov. 23 to Dec. 6, with a 10-night run. The historic venue has a longstanding tradition of multi-night runs with acts like the Allman Brothers Band, Steely Dan and, most recently, Tedeschi Trucks Band.
The shows will come at the end of the famed songwriter’s mostly college/university fall tour. Dylan first played at Beacon Theatre back in 1989 and continues to establish a tradition of end-of-the-year performances at the Upper West Side venue. He previously played the Beacon 33 times including a seven-concert residency in 2018.
A stop in Central New York will also be on the schedule. Bob Dylan & His Band will
perform at the Ithaca College Athletic and Events Center on Sunday, Nov. 17 as
part of his upcoming tour dates.
The fall tour kicks off Oct.11 in Irvine, CA. Tickets are currently available for purchase through Ticketmaster.
Bob Dylan Tour Dates: Oct. 11 – UC Irvine – Irvine, CA Oct. 12 – Santa Barbara Bowl – Santa Barbara, CA Oct. 14 – Stanford University – Palo Alto, CA Oct. 17 – The Mission Ballroom – Denver, CO Oct. 19 – Pinnacle Bank Arena – Lincoln, NB
Oct. 20 – Arvest Bank Theatre at the Midland – Kansas City, MO Oct. 22 – Stifel Theatre – St. Louis, MO Oct. 23 – Iowa State University – Ames, IA Oct. 24 – Mankato Civic Center – Mankato, MN Oct. 26 – Eagles Ballroom – Milwaukee, WI
Oct. 27 – Indiana University – Bloomington, IN Oct. 29 – Illinois State University – Normal, IL Oct. 30 – Credit Union 1 Arena at UIC – Chicago, IL Nov. 1 – Morris Performing Arts Center – South Bend, IN Nov. 2 – Ball State University – Muncie, IN Nov. 4 – Ohio State University – Columbus, OH Nov. 5 – Michigan State University – East Lansing, MI Nov. 6 – University of Michigan – Ann Arbor, MI Nov. 8 – Northern Kentucky University – Highland Heights, KY Nov. 9 – University of Akron – Akron, OH Nov. 10 – Robert Morris University – Moon Township, PA Nov. 12 – University of Maryland Baltimore County – Baltimore, MD Nov. 13 – Virginia State University – Petersburg, VA Nov.15 – Penn State University – University Park, PA
Nov. 17 – Ithaca College – Ithaca, NY Nov. 19 – University of Massachusetts – Lowell, MA Nov. 20 – Providence Performing Arts Center – Providence, RI Nov. 23 – Beacon Theatre – NYC Nov. 24 – Beacon Theatre – NYC Nov. 26 – Beacon Theatre – NYC Nov. 27 – Beacon Theatre – NYC Nov. 29 – Beacon Theatre – NYC Nov. 30 – Beacon Theatre – NYC
On September 21, 1970, Vida Blue no-hit the Minnesota Twins in his eighth career major league start for the Oakland Athletics. 49 years later and fresh off the release of their new album Crossing Lines, Page McConnell’s All-Star band with the same namesake reunited at the Capitol Theatre in Port Chester and knocked the ball out of the park.
Vida Blue
The band played every song from their new album and a few tasty “seasoned veteran” Vida Blue songs as well as covers from prior tours. The main set included heavy hitters “Jealous Guy” by John Lennon and “Sheep” by Pink Floyd. Gary Numan’s “Cars” was part of the encore, and really got the balcony shaking.
Page McConnell, Adam Zimmon, Russell Batise and Oteil Burbridge love playing together.
Vida Blue’s current batting order includes Page McConnell (keyboards), Russell Batiste (drums), Oteil Burbridge (bass), and newcomer Adam Zimmon (guitar). McConnell, best known for his work with the rock band Phish, was full of banter throughout the show and introduced his bandmates halfway through their marathon two and a half hour set. McConnell, Batiste, Burbridge and Zimmon were all smiles the entire time and clearly loved playing together. At one point, McConnell mentioned that they plan to play together again soon, causing the crowd to erupt with excitement. The fans sincerely loved the show and want more Vida Blue.
Oteil Burbrige
Setlist: Analog , Real Underground Soul Sound, Where Did It Go, CJ3, Jealous Guy, Phaidon, Dry Spell, Checking Out, Where’s Popeyes, Weepa, Maybe, Who’s Laughing Now?, If I Told You, Final Flight, Sheep, Most Events Aren’t Planned
The 19th Annual Native American Music Awards will take place at Seneca Niagara Hotel and Casino in Niagara Falls on Nov. 2. Among this year’s nominees are four New York-based acts. Public voting is now open through the NAMA website.
Syracuse’s Irv Lyons, Jr., Joanne Shenandoah, and the Ripcords were each nominated as well as Buffalo’s Nick Lone. Lyons earned two nominations, one for Best Rock Recording for his Sisters and Brothers album and one for Song of the Year, “Looking for the Light” from that album.
Lyons recorded his latest album at SubCat Studios in Syracuse with an all-star cast of area musicians that included Joe Driscoll, Billy Harrison, Melissa Gardiner, Edgar Pagan, Melanie Krahmer, Richie Melito, and others. Lyons is a Oneida Nation native and also a member of the Ripcords, who have also been nominated this year. His band’s sounds are rooted in blues, Latin jazz and country. The lineup he put together for his latest album brings hip-hop, jazz, rock, Latin jazz performers, producing a truly eclectic album.
Irv Lyons, Jr.
Shenandoah is up for Best Indie Single of the Year for her song “We Will Rise Up.” She is a Grammy-winning and 14-time Nammy winning Oneida Nation Native that not only writes and performs but is also an internationally recognized humanitarian and peace advocate. She is a founding member of the Hiawatha Insitute for Indigenous Knowledge and has performed for the Dalai Lama and Nelson Mandela. The Associated Press has described her as “America’s most celebrated and critically acclaimed Native American musicians of her time.”
Joanne Shenandoah
Buffalo’s Nick Lone is nominated in the Best Rap/Hip Hop/R&B category for his song “Native Pride.”
The Ripcords are a Syracuse-based band influenced by the blues, roots rock, rock-a-billy, and the music of New Orleans. They’ve been on the Syracuse music scene since 2003 and have performed throughout the Northeast. The band has been nominated in the Best Blues and Best Live Video categories for this year’s Nammys for their album Live at SubCat Studios.
The full list of this year’s nominees is below.
19th Annual Native American Music Awards Nominees:
Artist of the Year
Bear Fox (Mohawk) – Life Blanket
Murphy Platero (Navajo) – Butterflies, Horses and Guitars
Shelley Morningsong (Northern Cheyenne) – Simple Truth
Tonemah (Lumbee) – Red Dirt Remark
Vince Redhouse (Navajo) – A Distant Star
Wade Fernandez (Menominee) – Journey of the Heart
Group or Duo of the Year
Crazy Flute (Cherokee) – We Belong To The Music
Cree Confederation (Cree/Various) – Medicine Horse
Larry Redhouse Quartet (Navajo) – Naomi’s Dance
Sihasin (Navajo) – Fight Like A Woman
The Cody Blackbird Band and Connor Chee (Dakota, Cherokee, Navajo) – Live From White Horse Black Mountain
Young Spirit (Plains Cree/Various) – Red Dress Special/Love, Life, Round Dance
New Artist or Debut Artist of the Year
Alex FireThunder (Lakota) – Makȟóčhe Kiŋ Theȟíla (Love For The Land)
D Johnson (Navajo) – K Town
David Lopez (Comanche/Tarahumara) – If I Won The Lottery
Rock icon Buster Poindexter returns to Café Carlyle, October 8 & 9. As a founding member of the New York Dolls and in a prolific solo career, David Johansen has been a seminal force in rock and roll, influencing countless singers and bands to this day.
For these performances, Buster Poindexter, Johansen’s celebrated alter ego, will showcase his songwriting, spanning his career from New York Dolls until now, in his inimitable elegant style, interspersed with amusing anecdotes from life in New York, past and present. As Poindexter, his previous engagements have been sellouts and he has become one of the most revered artists to grace Café Carlyle.
The E Street Band’s Steven van Zandt has said of past performances, “Buster Poindexter at the Café Carlyle is one of the great shows of the year. David Jo does an impressionistic look back at his life through his alter ego’s lens and it all works. It’s a jazz performance. His actor’s chops riffing comedy in between songs. Don’t miss it!”
Originally opened in 1955, Café Carlyle is New York City’s bastion of classic cabaret entertainment, a place where audiences experience exceptional performers at close range in an exceedingly elegant setting. Since composer Richard Rodgers moved in as The Carlyle’s first tenant, music has been an essential part of The Carlyle experience. No place is that more evident than in the Café Carlyle.
Reservations can be made online. Café Carlyle is located in The Carlyle, A Rosewood Hotel (35 East 76th Street, at Madison Avenue).
Hailing from Jamestown, NY, Cold Lazarus is a fusion four-piece that melds funk, psychedelic rock, reggae and soul with indie-style vocals and introspective lyrics. With three releases now in their discography, the band is established in their sound and aesthetic. Their albums all have a great flow, and in the past offered consistency with each song. While this is the case as a whole with the new release, Colors and Lights, there are a lot of new ideas presented that break the band away from their regular brand of psychedelic jam-rock. This new release brings a lot of composition and arrangement without compromising on the live feeling Cold Lazarus emulates so well. Cold Lazarus is unconventional in their songwriting, and unrelenting in their audacity to make something distinct.
The opening track on the album, “A Dream Serene” sends the listener straight into space with a multi-dimensional ambient piece with a heavy emphasis on vocals. The harmonies are tight and varied, and offer a real pallet cleaner to usher in the titular track “Colors and Lights.” The low-fi funk opening leaves room for the song to build, as the band expands the production and enters the realm of hi-fi. The composition is very unique to Cold Lazarus- as opposed to each member holding big chords, the group has each person playing one or two notes that create a moving chord progression more similar to classical funk, and even classical music at that. The drums are agile with fills, fresh and diversified between phrases. The keys and guitar find themselves in conversations atop a steady and arresting bass line.
There are some really fun tunes on this album. “Don’t Hide” is a great illustration of how the band can combine extended jams with compact choruses. While the song can meander into new spaces and ideas, there is always a return to home base. Something the band has that sets them in a league of their own are their longer jams that incorporate motifs and themes. The meat of the song is the organic performances in these live-feeling jams, but the potatoes are certainly the choruses. The characteristic harmonies that play off each other give these choruses more muscle and tension.
Between songs you will find interesting electronic-inspired breaks. “Trepidation” and “Dimension Ascension” highlight an entirely new aspect of the band’s abilities. Making use of 606’s and glitchy drum beats, these sketches add more variety to the album than past projects.
Cold Lazarus has certainly accomplished their goal in creating an adventurous psychedelic rock album that doesn’t place itself solely in the realm of one genre. The talent of the band absolutely shines through in different ways in each of the songs. While some of these songs last upwards of 10 minutes, they never become tedious. Interesting composition and tight production work together to construct something that keeps the listener engaged and excited to see what the next turn brings.
Key Tracks: Don’t Hide, Spiral Sea Unending, Colors and Lights
It had been 11 years since Phantom Planet had played a live show. Many wondered if the group was ever going to end their hiatus and get back together, even after releasing their new track “Balisong” earlier this year.
Phantom Planet performed an intimate show on September 18 at Elsewhere in Brooklyn, NY.
On September 18, members Alex Greenwald, Sam Farrar, Darren Robinson, and Jeff Conrad performed to a sold-out show on the rooftop of Elsewhere in Brooklyn. It truly felt like a homecoming for the band.
“We feel like we’re returning home,” Greenwald said in a statement. “The boys in Phantom Planet are my brothers, and we figured it was time for a full-fledged reunion.”
The venue was packed with fans who either have been following the band since the members were teens or those who are just discovering them for the first time through their latest singles “Balisong” and “Party Animal.”
The guys performed the new singles along with hits like “California” and “Big Brat.” But for the first time during a live show they also included “Local Black and Red” from their first record, Phantom Planet is Missing. The crowd had a chance to choose which song should be sung at certain moments during the set. One of the many reasons why Phantom Planet has always been one of the most engaging bands out there.
Even though official tour plans have not been announced, the band has confirmed that more music will be coming out and official tour dates are in the making.
In the meantime, fans will be happy to hear that they will be opening for Maroon 5 for a New Year’s Eve show in Las Vegas for two shows on December 30 and December 31. Read our recent interview with Phantom Planet here and catch up with the band in 2020.
A full 48-piece orchestra filled the Fenway Park stage on September 13 to back up and showcase a long list of Who tunes, many of which were from the band’s two great blockbuster albums – Quadrophenia and Tommy. The latter helped coin the term “rock opera.” The Who celebrated its 50th anniversary in May of this year. This evening, they paid tribute to Eddie Money who died that day at age 70 after he had been diagnosed with stage 4 esophageal cancer. The show was dedicated to Eddie
One can only imagine this show must be the vision that Townshend had for these albums over four decades ago as the pieces that would push The Who beyond its previous pop-rock limitations and into an area far more radical, which features the 74-year-old artist windmill-strumming his six-string surrounded by violins, french horns, bassoon, and timpani.
This huge 31-date tour has been labeled the “Moving On!” tour and promotes the band’s eponymous new album that has a release date in November of this year simply titled Who, its first since 2006. But this two-hour set was a celebration of the band’s past penchant for an over the top performance, a once-in-a-lifetime opportunity for enduring fans to witness the songs performed as they were meant to be showcased. Pete Townshend and Roger Daltrey deserve much respect for constantly finding new ways to extend this final tour, allowing fans to continue to want to see them and not see the same old show.
The thought of a full symphony orchestra and a rock band duking it out to be heard would be tough at even the most acoustically perfect venues. And Fenway Park is not known for the best acoustics, however, congratulations to the sound team on this one. The rock band was sharp and crystal clear, and conductor Keith Levenson’s orchestra cut through with precision rarely heard in situations like this.
Jon Button, Zak Starkey, Roger Daltrey, and Pete Townshend of the Who performs at Fenway Park in Boston on Friday, September 13, 2019
As with a standard symphonic piece, the concert was sectioned into three movements: first, a Tommy-centered medley with the orchestra at full strength; then a cluster of early-career odds and ends without the symphonic outfit; and finally a Quadrophenia-focused segment that concluded as most Who shows have in recent memory, with the grandiose “Baba O’Riley.”TheTommy block ran through seven of the albums 24 tracks, from the elaborate “Overture” to “Sparks,” which allowed Townshend to shred with a blur of arms and fingers, proving at 74 that he is still one of rock’s most virtuosic guitar men. The favorites “Who Are You” and “Eminence Front” were also placed in this section and boomed raucously.
Pete Townshend
The orchestra left the stage after almost an hour of music and the core band — now merely a seven-piece — ran through a handful of “golden oldies, just like we are,” as Daltrey put it. Here fans heard an animated “I Can See For Miles” —the band’s only Top 10 single in the U.S. — and a folksy rendition of “Won’t Get Fooled Again” featuring only the duo of Daltrey and Townshend.
A cellist and a violinist soon returned to the stage to add background to “Behind Blue Eyes,” a song whose exceeding vocal demands Daltrey continues to manage. At 75, Daltrey is among the most seasoned singers left performing at the arena level, and considering he underwent throat surgery earlier this decade his vocal abilities have held up amazingly well. He was unbeatable during the third act’s larger-than-life rendition of “Love, Reign O’er Me,” which began with a piano interlude and reached its peak during Daltrey’s wails. While the rest of the performance was exciting and bright, these moments brought on the emotions and made the fans feel goosebumps.
Daltrey has suggested this tour could feasibly be the band’s last. “I’m just being realistic about going through the 75th year of my life,” he told Rolling Stone in January. If that were to happen, and The Who never get to showcase whatever new material is coming, this would be a fantastic send-off: tracks from its most respected projects, revamped by a magnificent orchestra and unleashed in a way that showcases one of the greatest bands to ever rock.September 13, 2019, Fenway Park, MassachusettsWith orchestra: “Overture”, “1921”, “Amazing Journey”, “Sparks”, “Pinball Wizard”, “We’re Not Gonna Take It”, “Who Are You”, “Eminence Front”, “Imagine a Man”, “Hero Ground Zero” Without Orchestra: “Substitute”, “I Can See For Miles”, “You Better You Bet”, “Won’t Get Fooled Again”(acoustic), “Behind Blue Eyes” (with orchestra string section accompaniment) With orchestra: “Ball and Chain”, “The Real Me”, “I’m One”, “5:15”, “The Rock”, “Love, Reign O’er Me”, Baba O’Riley
