NYS Music 20​19

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  • In Focus: Marshall Tucker Band Keeps Southern Rock Alive At The Skyloft

    The Marshall Tucker Band was ‘born’ in Spartanburg, S.C. when Doug Gray teamed up with Tommy and Toy Caldwell, Paul T. Riddle, George McCorkle, and Jerry Eubanks. The name “Marshall Tucker” came from a piano tuner whose name was found on a key ring in their old rehearsal space. In 1973 Marshall Tucker Band opened for The Allman Brothers Band, and the following year, they began to headline their own shows.

    Marcus James Henderson – Multi-instrumentalist

    The SkyLoft in Albany, NY Crossgates Mall, was almost at full capacity on Saturday night, November 2, 2019. The crowd cheered as Doug Gray, the only original member of The Marshall Tucker Band, took center stage.
    At 71, and fronting the band since 1972, he still held his own.

    Gray almost took on the part of an orchestra conductor, when he wasn’t belting out a crowd favorite. He would share the moments with the highly talented band members, who proved their musical chops, which included a 13-minute version of the bands’ well-received hit, “Can’t You See.”

    “This is one song that’s played eight million times on the radio,” Gray told the crowd. “I want you to sing it with us.” And they did. Gray handed the microphone to two fans in the front row, and they sang a few bars. He then tossed his tambourine into the audience, and the crowd cheered again. You can see the appreciation in Gray’s eyes. The moment, it seemed, to say thank you for all the support over so many years. Truly, this must be what it is all about.

    With many southern rock bands, such as The Allman Brothers not performing any longer, and Lynyrd Skynyrd on their last tour, The Marshall Tucker Band kept the genre going. Today, the band members have all changed, with the exception of Gray. B.B. Borden is on drums, Tony Black, bass and vocals, Marcus James Henderson, commands keyboard, saxophone, flute, and vocals. Chris Hicks and Rick Willis shred the guitar and vocals.

    Fans become part of the show as Gray hands over the mic

    Similar to many of the crooners still touring of his generation, Gray did not sing on every song, he stuck to the classics and let the younger crew take charge, and take charge they did. Each band member had at least one showcase of their talent, with Henderson and his multi-instrumentals taking much of the spotlight. Chris Hicks wailed on guitar and vocals, sounding strong. After “Take The Highway,” Borden did an amazingly-energetic drum solo, which caused standing fans to inch closer into the magic. Recent American Idol finalist, Madison VanDenburg, made a brief visit to take the stage, and tambourine. The generation gap was evident, as she didn’t know the song as Gray tried to prompt her.

    If you are able to see this show, you owe it to yourself to do so. One can only hope the hard work and extended tour will help keep this genre alive for many more generations.

    Chris Hicks

    One of the few bands of this generation still doing an extended tour. You can find many upcoming shows on the band’s website

    Setlist: “Running like the Wind”, This Old Cowboy”, “Hillbilly Band”, “Take the Highway”, “Blue Ridge”, “Fire on the Mountain”, “24 Hours”, “Midnight Promises”, ” I’ll Be Loving You”, “Can’t you See”.

  • 2nd Generation Wu Release Debut Single

    The Wu Tang Clan legacy is alive and well, and is being carried on through the children of some of the iconic group’s more charismatic members. 2nd Generation Wu is comprised of iNTeLL (son of U-God), PXWER (son of Method Man), SUN GOD (son of Ghostface Killah), and Young Dirty Bastard (son of the late Old Dirty Bastard).

    While they each have their own respective solo careers and records, the second generation rappers have decided to come together to continue the legacy left by their fathers, and have taken the first step in doing so, with the release of “7.O.D.”

    The Jojo Pellegrino and J. Glaze produced record sees the younger Wu’s put their own spin on the Wu-Tang Clan’s most recognizable song, C.R.E.A.M.  The record, while an ode to the legends that preceded them, does not stop the young emcees from distinguishing themselves and making it their own.

    Aside from delivering their own personal lyrical warfare throughout the song, the famous line that Method Man employs on the original record, “Cash rules everything around me C.R.E.A.M., get the money, dollar, dollar bill y’all,” has been changed to, “God made everything around me, forget about the money, none of it is real y’all.” Showing that the new Wu is quite aware of their different upbringing, proving the content won’t always be the same. One thing that seems to be everlasting though, is the grittiness of the beats and the rhymes.

  • Hearing Aide: Citris ‘Delusions of Glamour’

    Brooklyn’s Citris has an animated energy synonymous with an experienced on the L-Train, when some bare chested entrepreneurs decided to bust into a dance routine. It’s a flash of joy when the rest of the day remains unsurprising; it’s that sort of spontaneity and uncertainty that Delusions of Glamour inspires.

    Citris has grunge rock principles, but remind listeners of experimental metal. While they’ve been described as a ‘pop grunge act,’ “Hell is a Place on Earth” vibrated with metal nuances, instantly. It’s Gwar infused with System of a Down’s political and social angst.

    Cirtis’ Angelina Torreano experiments with vocal passages, vocoder layering, and finds a way to lyrically loop varying emotional moods within a single song.

    Delusions of Glamour will also appeal to fans of Fleetwood Mac’s Rumors. It has solid, intricate drumming, lyrical themes of toxic relationships and societal disagreements, and incredible instrumentation throughout. They’re never scared to have intricate harmonies, with little bass lines like in the song “Genetic Makeup” that keep your ears glued to the track. Citris is a group to stream and enjoy during the remaining bitter sweet days of autumn.

    Key Tracks: Genetic Makeup, Hell is a Place on Earth

  • Jeffrey Martin and The Sea The Sea Sing for Folks in Rochester

    A Saturday night crowd, on a Monday, settled in for a wonderful night of folk songs in the cozy and warm exposed-brick confines of Restaurant Good Luck. Honest Folk Presents brought in two great artists representing both coasts. The crowd was familiar with Portland Oregon’s Jeffrey Martin, making his third stop at the venue. The Sea The Sea, from the much closer Troy, however, were making their first appearance in Rochester and would open the night.

    A male/female duo, featuring Mira and Chuck Costa, The Sea The Sea moved effortlessly between electric and acoustic guitars, a small percussion setup and an even smaller keyboard, mixing different combinations of sounds. Regardless of the instrumentation, their beautiful two-part harmonies were the true highlight throughout the night. It was remarkable how perfect their voices blended together, making a signature sound. They featured them so regularly that it started to become two parts of a single voice. On the rare occasions when only one voice rang out, it was almost as if one of the channels on the stereo was faulty.

    The pair has spent a good deal of the past year on the road, and also recently relocated to Troy, both of which have been providing inspiration for a bevy of fresh new tunes, some of which they shared, like “Foreign Country” and “Stumbling Home.” Most of the set was filled with their more well-worn material, like the palindromic “Love We Are We Love” and the familial “Good For Something.” They rounded those out with two choice covers, the Bob Dylan deep cut “I’ll Keep It With Mine,” and “No Love Today” from the under-appreciated songwriter Chris Smither.

    Jeffrey Martin was last on the Good Luck stage almost exactly two years to the day from this night. It was in fact the Monday after the end of daylight savings, just as it was on his previous visit. Martin’s music doesn’t really evoke blue skies and sunshine, so the fact that it was middle-of-the-night dark throughout the show, which ended at the Monday-friendly hour of 9:45, was very welcome. Perhaps it was both genius and coincidence.

    For an hour Martin held court on the Good Luck stage, telling stories both in song and out. Though sometimes it was hard to tell the difference, as he noodled on his guitar during his between-song bantering and there was just something lyrical about the way he spoke. Some of the stories spanned the songs that interjected, and the songs always related somehow with the stories. Some of the stories inspired the songs, sometimes real life followed the songs, and other times the story and the song were one and the same. Stories, songs, acoustic guitar and a rich singular voice made for about as pure a folk show as you can achieve. Seems so simple, and yet it’s so hard to achieve, but Jeffrey Martin pulled it off with a natural and unfettered brilliance. It’s no wonder Honest Folk has booked him again and again.

    As for the next Honest Folk show, they’ve just announced twin-brother outfit, appropriately named The Brother Brothers, who will be at The Arbor Loft on Wednesday December 11. Tickets are on sale now at early bird pricing for a limited time.

  • Philly electro-rockers Tweed make “Moves” in retro workout video

    With a wildly colorful, multi-screen retro workout music video, Philadelphia’s Tweed had fun in style with the release of “Moves.” The electro-rock powerhouse puts on a bright display of 80s-themed jazzercise and old-school fitness in a Wes Anderson-esqe compilation. Driven by an undeniable groove of thick bass, smooth vocals, and electrifying melody, the song is something you can kick back with, or dance to.

    Tweed cites hometown heroes The Disco Biscuits and Lotus as inspiration, but their music draws from indie rock, electronica, and disco – a combo of Phoenix meets Daft Punk. Having recently added violinist and multi-instrumentalist Charlie Field to the band, you can expect something unique from this lineup as Tweed prepares to release their debut full-length album.

    “The song (“Moves”) was a collaboration since its inception,” notes Tweed drummer, Joe Vela. “From writing in a cabin we rented in North Carolina while on tour, producing with Jeff “Mud” Mahajan and Jesse Miller of Lotus in the studio, to designing the film shoot with our director, Nicholas J Piser, and the help from our film team who made it happen, it was a big team effort.”

    “Moves,” the single for the video, is out now on all streaming platforms and will be featured on Tweed’s debut full-length of the same name expected before the end of 2019. Having already performed at Camp Bisco, Peach Festival, Beardfest, and their hometown curated SENSORiUM Festival, the band has their eyes set on a big 2020.

    Upcoming Fall shows

    11/27 Sprout Music Collective – West Chester, PA

    11/30 The Shaskeen – Manchester, NH

  • LOCKN’ Changes Dates, Moves to Three Days – 8th Annual Event to Celebrate Phil Lesh’s 80th

    LOCKN’ returns for its eighth year at Infinity Downs and Oak Ridge Farm in Arrington, VA on June 19-21, a shift from it’s usual dates in late August. This year’s festival will be extra special as LOCKN’ has put together a star-studded celebration of Phil Lesh’s 80th birthday. Lesh is best known as a founding member and bass player for the Grateful Dead.

    “I am honored that Peter and the LOCKN’ family are throwing me the most special kind of birthday bash this year!” says Lesh. “It’s perfect because I’ve had so much fun there over the years — not just playing, but also getting to hang out and spend time with good friends and collaborators, some of whom I have just met and others whom I have been playing with since this all began. We are going to have a lot of fun.”

    Lesh at 2016’s LOCKN’

    Festival co-founder Peter Shapiro stated, “We’re going to celebrate Phil’s 80th the LOCKN’ way.” He continued, “He means so much to all of us, and we really are determined to give him the best party he’s ever had. We want to celebrate the man and his music in the best way possible. No better way than on our farm in that setting.”

    LOCKN’ 2020 has pulled out all the stops for the celebration. Attendees will be able to experience for the first time ever at the three-day event the option of adding the Thursday before. Dubbed as “Steal Your Thursday” attendees can start the party early with a “Jerry Dance Party” on June 18. Expect a psychedelic audio/visual experience that celebrates the music of Jerry Garcia and the Grateful Dead. If that is not enough LOCKN’ for you, there is an option to come on Wednesday that gives you early access to the farm.

    LOCKN’ LUMNI tickets will be available beginning Friday, Nov. 8 at 8:08 a.m. For complete ticket information and much more, please visit the LOCKN’ website here.

  • Indie Argentine-American Belén Cusi releases video for “Estrella Fugaz”

    Belén Cusi, an Argentine-American singer-songwriter based in Brooklyn has unveiled the video for her second single, “Estrella Fugaz” (Shooting Star). Shot over the course of six months around Manhattan and Brooklyn, “Estrella Fugaz” was directed by Tatiana del Fuego, among a diverse core team of mostly LatinX women. Belén Cusi will perform on Saturday, November 9 at Groove in the West Village of Manhattan.

    https://www.youtube.com/watch?v=G0qfpfHtUDg

    In directing “Estrella Fugaz,” del Fuego expressed to Cusi how it important it was for her to helm the ship of a very heavy femme team, “and how important it is for femmes to dictate what we consider sexy and empowering. This is 100% the female gaze, and it’s very delicately executed.”

    Belén Cusi Estrella Fugaz

    Cusi appreciated this vision, and sought of the video to be elegant, feminine, and to show a strong female character that, despite singing about being played on by her partner, emerges as victorious and empowered at the end of the video. “I think we succeeded at that,” said Cusi.

    Born to Argentine parents, Cusi was raised in San Antonio, TX, where she began studying classical piano at age 8. She studied at Boston University where she began singing and writing songs. After working with a local producer on what would be her (unreleased) first LP, Closer, and a two-year leave of absence from college, Cusi felt restless and dissatisfied creatively upon the album’s completion, she returned to school, studying philosophy and traveling to Argentina to connect with her familial roots.

    https://www.youtube.com/watch?v=TEVFpotmNl0

    After an almost five-year hiatus from music, Cusi experienced an epiphany reading the book Mastery by Robert Greene and decided to return to her music career indefinitely. She quickly assembled a band and became a local regular at various Boston clubs, before moving to New York City in 2017.

    Upon her move, she began recording new music with DJ Afro and has since become a local staple at legendary clubs like Groove in the West Village. Lauded as a “whimsical performer who can transport you with just one song,” Cusi has proven herself to be a formidable artist. She consistently hones her craft and takes inspiration from other disciplines. In addition to driving her music project single-handedly, she also works in architecture PR to pay the bills and goes to acting school at night. Cusi is not your average triple threat.

    Listen to her previously released single “Me Has Liberado” (You’ve Released Me) below.

    https://www.youtube.com/watch?v=CLyBbD-OqtE

    Don’t miss Belén Cusi on Saturday, November 9 at Groove in the West Village of Manhattan. Click here for details.

  • In Focus: Mihali at Pearl Street Pub

    Twiddle frontman Mihali Savoulidis performed to a near sold out crowd at Pearl Street Pub in Albany on Friday, November 1. A wide array of Twiddle songs, some new songs and a closing cover of Harry Nilsson’s “Lime in the Coconut.”

    Catch Twiddle November 29-30 at The Capitol Theatre in Port Chester for their annual Frendsgiving, with Aqueous opening both nights.

    Mihali setlist (via iTwiddle): New Song, Everysoul, Son’s Gonna Rise, Strongest of our Kind, Round Here, Stubborn Smile, New Song, Apples, Heart Song, Carved Lines, New Song, Mickey’s Medley (Orlando’s > RickiSnick > Nicodemus Portulay > Frankenfoote > Jamflowman > Carter Candlestick > Frankenfoote), Lost in the Clouds, Girl I Want to Lay you Down, Over Land & Sea, Hatties Jam > When it Rains it Poors, Lime in the Coconut

  • Stefan Alexander covers Tweet/Missy Elliot classic “Oops (Oh My)”

    NYC-based queer pop artist Stefan Alexander, whose promising initial surge began three years ago with his debut single “Skeleton,” has released a video for his cover of Tweet’s “Oops (Oh My)” feat. Missy Elliot.

    “Back when I was a kid, the song (and the iconic music video) felt so scandalous in the best way possible,” says Alexander. “Now, from an adult perspective, I understand the lyrics to be about self-pleasure and independence, especially for women and femme-identifying folks, who are too often stigmatized for their sexual desire. The message is timeless!”

    Stefan grew up in an artistic household in Northampton, MA playing multiple instruments including cello, piano, guitar and mandolin. While attending NYU’s Clive Davis program, he formed a folk band opposite pop singer Phoebe Ryan. In the NYC folk clubs, Stefan honed his songwriting and vocals, realizing his strengths as a pop musician. Stefan soon began collaborating with producers Elliot Jacobson (Verité, Elle King) and Andrew Horowitz (John Legend, Janelle Monae) to discover his sound.

    With his smooth as silk vocals laid over a very stylized R&B bed, Stefan switches up the perspective, tackles the track, and posits it in a very modern take, while maintaining all of the flavor. Replacing the sparse Timbaland production with a more synth-driven texture, he embraces all of Tweet’s sensual delivery and turns up the heat, making the song more intimate and seductive.  

    Tackling such an iconic song is no easy feat, and Stefan told Stitched Sound, “I tried to modernize the song with some more current production, but I wanted to stay true to the original as much as possible. The most important thing was to keep the sensuality of the original, so hopefully that comes through.”

    Although his career trajectory was cut short when he succumbed to a mysterious pain disorder (Central Sensitization Syndrome) that made it impossible for him to perform music, much less most physical activity, Stefan has picked up where he left off. He is using his platform to speak honestly about his chronic illness and hopes his story can inspire others to overcome whatever challenges they may be facing in their lives.

    Back in the ring, Alexander released the much-lauded EP Thunderclap earlier this summer, signaling his return to form, of which The New Nine said, “An emotional pop masterpiece that will get stuck in your head but also make you cry if you let it sneak up on you.”

    Stefan plans to release his second EP in early 2020, with more music coming throughout the spring and summer.

  • Hearing Aide: Full Body ‘Always There’

    Full Body is a Rochester-based rock band that has been making music that fits their name. The band’s deep brand of gangly rock is unique and rounded, tying in elements of shoegaze and post-rock to make something in the realm of noise rock. Their most recent release, Always There, cements their sound in a well produced record. The band is composed of Dylan Vaisey, Jack Chaffer, and Jacob Kotler. Full Body has been navigating the local scene with a sound that stands out, relentless in their writing of melancholy and bittersweet music. 

    The album has just eight songs, but is constantly engaging. Each song has a sweet melodious center, but the band fills out the rest with oblique instrumentals. “Hard Drive” is a great example of this, with its lurid opening slowly building out chorus-washed guitars into a vigorous guitar solo. The vocals carry the tune well, though they never really take the spotlight away from the mood the song is conveying. This is the case throughout the album as each song is more a product of its parts.

    The tunes are short and to the point; there’s no meandering and no ideas that feel unfinished. The third track, “Alias,” is a great look at the band’s ability to mesh together different ideas and grooves to create coherent and viable songs. Though each part compliments the others, it should be pointed out that the drumming on this album is stellar and warrants a close look on its own. The deft navigation of song structure in the rhythm section, including bass, adds a lot of thickness to each tune. “Sonic Boom” is another hard hitting song that shows this. 

    Overall, Always There is certainly worth a listen through. It is short, interesting, and very well written by a band that is making their own sound and owning it. Full Body has found a niche, but they are not afraid to break out of that to take creative risks that ultimately pay off. Be on the lookout for Full Body to come to your town, and make sure to support by streaming their music on services such as Spotify and Bandcamp.