Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear artists featured on Upstate Mixtape Vol.1 and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
For the next two weeks, EQXposure will feature bands and the music selected for Upstate Mixtape Vol 1, a compilations of artists from the 518 area, committed to amplifying Black voices and suppressing racism. 100 percent of sales of the release, which will be distributed to black artists.
Upstate Mixtape Vol 1. is part of antiracist grassroots fundraising efforts, spearheaded by Jammella Anderson, working with musicians that identify with antiracism values and commit to amplify Black voices. Among songs contributed to Vol 1. include demos, B-sides, album loose ends and more from a group that showcases the multifaceted nature of musicians in the 518.
Featured artists that you’ll hear on EQXposure from Upstate Mixtape Vol. 1 include Blue Ranger, “Everybody Lies,” Greens, “Go Somewhere,” Carl Daniels “Morning Pages,” and Front Biz “I Want You.” More tracks from Upstate Mixtape Vol. 1 will be featured next week, as this is a collection of tunes that deserves two weeks.
Also featured on EQXposure are two cuts from Liam Singer’s forthcoming release, The Ocean, due out on January 15, which features a mixture of vocal and instrumental pieces, in the vein of new-composition and experimental music. “Cannon Beach” features guest vocals by Arone Dyer (Buke & Gase, Mistresses, Drone Choir), and “Heavy Water / I’d Rather be Sleeping” is a cover of a song by the artist Grouper, from her 2008 album Dragging a Dead Deer Up a Hill.
Profound Storyteller, Matt Butler, releases a cinematic and heart-stabbing single “Counting The Days” today, Friday, November 27. A stripped down acoustic demo also companies the release.
The Manhattan singer-songwriter gets your heart pounding immediately, boasting you up as Mr.Tough Guy, but let’s not get too ahead of ourselves. If you’re a Matt Butler fan, you’re sentenced for life. After an interview with Matt at the last instalment of Vans Warped Tour, it was clear he is the real deal. Remarkably his synergy of music, storytelling and humbleness are all backed by a hunger to improve. That will never let the fire die in Matt’s eyes. He makes things real. He makes it personal.
“Counting The Days” is overwhelmingly vivid, released Nov. 27, 2020.
So many palatable emotions rush through your body throughout “Counting The Days” that it’s hard to react. The track opens with an ominous yet eloquent acoustic strumming. Sixteenth-note bass drum kicks make the listener’s heart anxious, ready to unleash a lifetime of pain.
Music is a provocative tool. Opening lyrics immediately cue a 35-mm story reel in the listeners head. Some close their eyes in hopes music will spark their mind’s subconscious and craft inspiration, “Counting The Days” takes out all of the guess work.“Sound of the flies buzzing like a drill / Blood pooling on the table with the beer he spilled / I was frozen still.“
Butler goes on. “Too hot outside to dig a hole in the sand. And too tired to hide the gun in my hand. There was never a plan.” The strings carry momentum, as the tape reel plays, and the image sways on your mind with the heavy 2 & 4 backbeat that Butler carries.
Now, let’s get back to Mr. Tough Guy. Butler hits home here with the stereotypical male complex, that builds you up as each chorus replays. It is easy to feel like that kid, or cowardly man Butler depicts, as the alter ego makes him stand up. As you anchor your feet into the floor, Butler sucks you right into the shoes of the protagonist. It’s unclear who Butler is singing about: You? Me? Himself?
Alright, did you come around here looking for a fight? Okay, cause boy you look like you got something to say Well I just might, are you ready old man to say goodnight? God be praised, now I’m locked in here I’m just counting the days It was always gonna be this way
Photo Courtesy of Matt Butler.
Butler’s songs are rooted deep in hardship. For those who don’t know Matt, he travels to prisons across the country; singing, sharing and engaging a locked-up community. These stories are so vivid that they bring a tear to your eye. Matt is compassionate and helps these people overcome through song. That effect is compounded on the average listener.
Moreover, when we last interviewed Butler he was on the brink of music school. Now that dream has come to fruition. “I actually produced most of this new track myself, been learning Logic and Ableton during quarantine,” said Butler.
” [I] did a day of tracking vocals and overdubs in the studio and Rocky, the engineer, really helped get the sound. It’s my first real genuine attempt at self producing.”
Read More About Matt Butler on NYS Music
Matt Butler shows have an organic and mysterious quality. There are tears, but there is also laughter. Whether he’s performing at a theater, a state prison or delivering a keynote for a mental health conference, Butler delivers an experience that engages and transforms his audience. Everyone ends up feeling a little more whole, more human, and more connected – often with a changed view of the world around them. Blending rock and folk styles with a few lingering hints of his punk roots, Butler’s music shines a light into some of the darkest corners of our world. He paints vivid pictures of pain and truth while exposing the glimmers of hope that only exist in those raw moments where redemption is born.
“I was drawn to music for as long as I can remember, but music seemed very difficult and inaccessible… You have to risk being rejected and judged. That’s part of the plan, that it’s so scary. I think that whatever you’re scared of doing most, that’s probably what it is that you’re supposed to be doing – on an evolutionary level.”
Manhattan’s own, Matt Butler took an early set on the Monster Energy Stage. The folky, singer-songwriter gave a refreshing outsider’s perspective that pushed Warped fans outside of their comfort zone. Butler has gathered the sounds and stories of the road, shaped in ‘Warped’ roots; he grew up playing in punk and rock bands at CBGB’s and Arleen’s on the lower East Side. “My Favorite bands in high school were Nirvana and Fugazi… my favorite album was Ten by Pearl Jam,” said Butler. “I got more into folk and songwriting because of a band called The Replacements and Bruce Springsteen [laughing]. That’s always the bridge – as we say that in Boardwalk Hall, very appropriate.”
Butler’s set featured numerous tracks recorded this past March, but not yet released including soon-to-be single, “Tell Lucy That I Love Her.” Butler wrote the tune inspired by a tour of state prisons, and at this point he has played around 200 jails in the past 16 months. The idea quickly boomed from a fan-funded endeavour to Butler securing his 501(c)(3) non-profit, to officially bring curated arts programs to jails and underserved institutions – a heart-wrenching inspiration and driver for his music. At certain times it can be as little as four people in a room where they collectively share stories, experiences and music. “It’s a way to see the country, I’ll tell you that. This new song (Lucy) comes from the perspective of someone incarcerated.”
https://youtu.be/Iqto9tBus0M
“Counting The Days” Lyrics
Sound of the flies buzzing like a drill
Blood pooling on the table with the beer he spilled
I was frozen still
Too hot outside to dig a hole in the sand
And too tired to hide the gun in my hand
There was never a plan
But when I saw him sitting there watching TV
I knew he wasn’t planning on letting me be
One of us was always gonna end up dead
But he never saw it coming when he got up and said
Alright, did you come around here looking for a fight?
Okay, cause boy you look like you got something to say
Well I just might, are you ready old man to say goodnight?
God be praised, now I’m locked in here
I’m just counting the days
It was always gonna be this way
All summer long he was always around
Had a job painting houses in another town
But couldn’t hold it down
So I’d go out at night and I’d come home late
He’d have the lights turned off but he was wide awake
He was happy to wait
But I didn’t mind the hits I took
If it got my little sister off the hook
I can still hear the sound of her screams
And I can hear him shouting every night in my dreams
Alright, did you come around here looking for a fight?
Okay, cause boy you look like you got something to say
Well I just might, are you ready old man to say goodnight?
God be praised, now I’m locked in here
I’m just counting the days
It was always gonna be this way
I’ll tell you right now I always knew I was gonna end up in these prison blues
And if I had a choice, I’d do it again
When I hear that voice I say Amen
Alright, did you come around here looking for a fight?
Okay, cause boy you look like you got something to say
Well I just might, are you ready old man to say goodnight?
God be praised, now I’m locked in here
I’m just counting the days
It was always gonna be this way
MyGood has teamed up with a roster of roots creators and contemporary jazz artists to produce “Say Their Names.” Set to release online December 11, the four-movement composition urgently calls for social justice.
Featured on the track is Rastafarian vocalist Cedric Myton (singer of Jamaica’s legendary roots reggae band The Congos), jazz scat vocal improvisations from Maiya Sykes, pianist Ruslan Sirota, saxophonist Katisse Buckingham, bassist Benjamin Shepherd, and Latin GRAMMY-winning percussionist Diego Álvarez Muñoz. Los Angeles producer Ethan Sultry composed and arranged “Say Their Names.”
Cover artwork for “Say Their Names” is a concept by Toons One Colored by Allen Passalaqua of DC comics.
The track is an open protest against the senseless police killings of George Floyd, Breonna Taylor, Ahmaud Arbery, and countless other black men and women. Sounds emulating the Black Lives Matter marches in Los Angeles make the bones of the song. The moving chant “Something’s not right I fear, people gone who should be here, I don’t feel okay today, so I’ll march and say their names,” echos the feelings of anger and despair that have been felt by too many.
I knew the composition needed a spiritual guide who held ancient truths, one who has experienced real artistic rebellion. While visiting Papa Michigan at Mixing Lab Studio in Jamaica, I heard the unforgettable falsetto of Cedric Myton. He blew me away. During the LA protests, I marched downtown. Macy Gray and I had previously begun to talk about collaborating on something and so immediately I reached out to her. I was hoping she’d sing the song, but our schedules didn’t align so we ultimately connected to raise awareness for her new non-profit MyGood. Subsequently, Cedric came to mind, and he recorded his takes out of Tuff Gong Studio. ‘Say Their Names’ really took off from there.
Ethan Sultry, Los Angeles Producer
Macy Gray found MyGood in July 2020. The non-profit’s mission is to bring relief to those that lost loved ones due to police violence. Recognizing the traumatic effects the event has on the families left behind MyGood offers financial, mental health and advocacy support regardless of circumstances behind the incidents.
“Say Their Names” can be downloaded on all major online music retailers and will be available for free on sirsultrymusic.com. Donations can be made to mygood.org.
Macy Gray speaks on “making the world a better place.”
Western New York has always provided safe haven for the Grateful Dead and among their more popular stops in the region is Rochester, specifically the War Memorial. The band would play 15 known gigs in the Flower City during their historic touring career. Ten of them would be in this building. Unfortunately, the later part of this 1978 tour had to be cut short due to an ailing Jerry Garcia. But there were certainly heaters to be had before then, this show among them.
After an opening roar of electric guitars, the show begins in earnest with “Promised Land,” a popular Chuck Berry cover. Keith Godchaux plays some inspired keys on this one behind the guitar play and makes his presence felt early. Afterwards comes the first of three “Take A Step Back” announcements from Bob Weir, looking out for the “bug-eyed” folks in the front row. Once that’s accomplished, the instrumental into of “They Love Each Other” kicks in with Jerry Garcia manning the vocals. Unfortunately, some feedback issues mar this one a little bit early on. It’s salvaged though with a delightful Garcia solo and the continued strong play of Godchaux on keys.
Following an extended tuning break, the band bursts into “Cassidy,” with Donna Jean Godchaux now added to the vocal mix. It’s is a tidy yet superb version with the whole band in full synchronicity. This lays the foundation that’s topped with another poignant Garcia solo.
Choosing not to run with this momentum, another tuning break follows which seems to fuel the rabid audience even further. Out of this, “Dire Wolf” rears its head. Garcia’s vocals seem to improve a little on this one from earlier in the show before he infuses it with his traditional guitar licks.
Then comes round two of “Take A Step Back.” This time Weir’s pleas for the people on the floor to move back as much as they can is accompanied by a spattering of “Finiculi Finicula” from the band. Afterwards, Weir stays on the mic for lead vocals and leads the band through their Western classic, “Me And My Uncle.” They waste literally no time at its conclusion before launching into a raging “Big River,” thanks to an ultra-seamless transition they’ve perfected for these songs.
Things then slow down a bit with the relaxed pace of the “Row Jimmy” that follows. Jerry and Donna Jean’s vocals eventually merge nicely in this delicate yet fairly straight forward version. Afterwards, it’s Weir’s turn once again as he leads the Dead through “New Minglewood Blues.” Believe it or not, the five-show gap between its last performance was actually a fairly large one for this first set standard. Another opening set regular, “Loser,” follows before one last notable segue closes things out. A raucous “Jack Straw” that’s fueled by some blistering Garcia-supplied guitar licks towards the end. Before the last “wine” is even finished being sung, “Deal” starts up instantly. This concludes a first set that’s fairly standard in terms of song selection, but executed to near perfection.
The second set begins with one last plea from Weir to everyone on the floor to move back as much as possible. Then the Dead are off and running with “Bertha.” This longtime first set staple had now shifted to a regular spot in the second one in 1978. Starting with this tour and well into 1979, it was featured in the second set each time. And it was followed every time by a cover of The Rascals’ “Good Lovin’.” Tonight would be no different. While it may not have the same cachet as other traditional song pairings, “Bertha” > “Good Lovin’” was a verified couple from the middle of 1977 until late 1979, appearing next to each other every time played.
Jerry Garcia then leads the group through “Stagger Lee,” a cover of a traditional folk song about the murder of Billy Lyons by “Stag” Lee Shelton in 1985. Lloyd Price would later find fame with it thanks to his 1959 recording that topped the charts. After this rather atypical beginning to the second set, things begin to take a more familiar turn. “Estimated Prophet” sees Weir’s wailing vocals paired with Donna Jean’s harmonies that give it a nice touch. But the highlight is the tail end that sees Garcia gradually escalate a mesmerizing sequence through his guitar’s signature tone for this song. Bassist Phil Lesh is also heavily involved as the jam progresses.
Then, somewhat suddenly, Garcia pivots and begins strumming the opening rhythms to “Eyes Of The World.” This version is vintage 1978, with Garcia again taking lead and navigating the rest of the band through this beautifully crisp and funky rendition.
As the “Eyes” jam slowly peters out, The Rhythm Devils then take things over. Drummers Bill Kreutzmann and Mickey Hart get their moment in the sun with an all out 10-minute percussive assault in the traditional “Drums” section. The ecstatic War Memorial crowd and their approval can be heard loudly throughout.
After a brief “Space” section, the beginning of “Not Fade Away” starts in almost comical fashion with Garcia coming in extremely late on the beginning vocal section. It gets cleaned up nicely though and eventually stretches out into a full-fledged jam that melodiously stretches well past the ten-minute mark. Weir’s frenetic rhythm guitar play back Garcia wonderfully before the jam devolves into a slower pace and “Black Peter” appears. This, too, extends nicely with a patient and deliberate pace that’s peppered with more brilliant Garcia guitar fills.
The show maintains its vague theme of some odd song placements with a “Truckin’” that closes out the second set. The Rochester crowd once again noticeably voices their approval after the “New York’s got the ways and means” line as well as the nod to Buffalo.
In true Chuck Berry “bookending” fashion, the show ends with another cover of his, a quick romp through “Johnny B. Goode.” This puts the finishing touches on the fourth of ten overall shows the Grateful Dead played at the Rochester War Memorial.
Grateful Dead – War Memorial, Rochester, NY 11/21/78
I: Promised Land, They Love Each Other, Cassidy, Dire Wolf, Me & My Uncle> Big River, Row Jimmy, Minglewood Blues, Loser, Jack Straw, Deal II: Bertha> Good Lovin’, Stagger Lee, Estimated Prophet> Eyes Of The World> Drums> Space> Not Fade Away> Black Peter> Truckin’ E: Johnny B. Goode
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear the latest from Saratoga’s Ugly Muppets and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Ugly Muppets is a three piece psychedelic indie garage band coming from the sewers of Saratoga Springs, and straight into your heart. With fuzzed-our guitars, blistering kazoos, and sometimes-on-key vocals, people have said of the band, “Oh yeah, I think I’ve heard of them.”
This group of proto-post-punk weirdos includes Josh Clark (vocals, guitar, bass), Daniel Burt (vocals, drums), and Jeremy Katz (vocals, bass, guitar, kazoo, synth, production)
Pulling on influences including The Stooges, Brian Jonestown Massacre, Black Rebel Motorcycle Club, The Black Angels, Black Lips, Black Flag, Black Sabbath, and pretty much any band with black in the name, and for Josh Clark, Oasis, Ugly Muppets has been together for five years, while performing in various bands since high school both independently and together.
The sound of Ugly Muppets is has an overall character that is as much a result of wanting to create something raw while embracing the happy accidents.
Ugly Muppets have well crafted songs that retain a raw production quality, which ties the full band sound together and in a way, becomes a character, if not member of the overall band.
Katz says of their sound, “We used a franken-rig of all our collective gear to do the recording and tracked as much as we could live so the sounds already had their own unique character, which we tried to lean into when we did the mixing,” with Burt adding, “It took us a while to form a sound we where happy with, a heavy garage influence was inevitable considering the music we were listening to and the gear we were working with.”
One of the better Grateful Dead shows at the Fillmore East was aided by its surprise attack. Allegedly, two nights before at the same venue, Grace Slick, on behalf of Bill Graham, announced an impromptu “pop-up” show with Jefferson Airplane and the Dead at the same venue that would take place just days later. Since Slick was still pregnant at the time, Jefferson Airplane wound up being replaced as the opener by Hot Tuna. The New Riders of the Purple Sage played an opening set as well as was customary for this tour.
There’s also some previous controversy surrounding this show. For years, it’s been misidentified as an 11/23/70 show at the Anderson Theater in New York City. After a Bill Graham introduction, the band is off and running immediately with a “Casey Jones” that ably motors down the tracks. Next, Bob Weir leads them through the traditional first set stalwart of “Me and My Uncle.”
Oddly, the house PA seems to cut in after this with a recording of Elton John’s take on “Honkey Tonk Women.” This leads into a a cut version “Friend of the Devil.” Despite this lapse, Garcia’s vocals sound pristine in the recording and the band is on point. Then, after essentially a “no huddle” transition, a short yet crisp version of “Cold Rain and Snow” takes place. Afterwards, Pigpen finally gets to take lead for a while as he leads the Dead through a cover of Slim Harpo’s blue standard “I’m A King Bee.” The opening harmonica solo and later interludes between that and guitar solos stretch this one out into a healthy, bluesy jam.
Another classic first set pairing ensues with “China Cat Sunflower,” eventually joined by its traditional partner, “I Know You Rider.” A seemingly quick transition jam later sees the band in full vocal harmony on this spirited take of yet another classic blues cover.
At this point, a special guest joins them on stage in the form of Traffic’s Steve Winwood. The blues sentiment that had been previously established seems to carry right over to the cover of Otis Redding’s “Hard To Handle” that follows. Once again, Pigpen lends his signature vocal prowess to this classic Dead cover. Winwood’s backing on Pigpen’s Hammond organ is immediately felt and can be heard throughout. This one gets into a serious jam with Pigpen taking a backseat and Winwood soloing on top of the groove. Then came the relatively new “Big Railroad Blues,” yet another cover, written by Noah Lewis of Cannon’s Jug Stompers that dates all the way back to 1928.
Right after, the heavily percussive intro of “Not Fade Away” begins with. Chris Wood and Jim Capaldi of Traffic join the band on a half-hearted attempt at the vocals. This eventually evolves into a deep, drum-led jam. More splendid Winwood outbursts later lead into “Goin’ Down The Road Feelin’ Bad” with Garcia and Weir reassuming command. Surprisingly, at its conclusion, this shifts right back into one more quick take of “Not Fade Away,” albeit this time with Weir confidently taking the lead on vocals.
After more than three minutes of a break between songs, Weir once again takes lead on the “Mama Tried” that follows. This is followed by one of the better two-song sequences of the evening. The relatively fresh “Truckin’,” debuted only months earlier at the Fillmore West, follows. Hot Tuna’s Will Scarlet adds a touch of harmonica to this one. Another percussive laden jam follows that seamlessly steers itself into a mesmerizing version of “The Other One.”
The jam that ensues gets spacey midway through before settling back into its normal progression. This is followed with the unofficial encore of “Uncle John’s Band” with more early harmonica fills from Will Scarlet – a near acoustic version until the drums kick in. It’s still fairly new song at this time, but this version is flawless as it continues to build its reputation. This put the cap on the Dead’s “surprise” Fillmore East gig.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear the latest EP from Albany’s Son of a Gun and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Son of a Gun – “Call of Days Past,” “Wind of Change,” and more!
In Fall 2018 Ben Sokol (vocals/guitar), Tyler Treacy (bass) and Rob Piccola (drums) started jamming through a mutual friend who worked at a music store. Rob had a place to jam and Ben and Tyler had been playing together in another band that had gone through some lineup changes. It was time for something new. It was clear pretty quickly that the chemistry was good. Work began immediately on some songs Ben had written and as Tyler and Rob contributed their pieces to them an overall sound took shape. From there, Son of a Gun was born.
Ben would often (and still does) record rudimentary versions of his original songs with the basic structures and lyrics on an acoustic guitar, and Tyler and Rob would come up with parts. Those parts would almost always get tossed at the next rehearsal, the band preferring the material they would come up with on the fly when improvising off each other.
The songs still stay between the lines of the basic structure that was written, but they end up with a more custom paint job, and that can be true at live shows too. They wouldn’t consider themselves a jam band, but the hunt for new sonic territory is always there, and each show has moments of spontaneity. The band started to make the rounds locally, and sold out their first show at Albany’s Jupiter Hall. It was a kickoff to winning over audiences all over Upstate New York.
Crowds overwhelmingly responded positively wherever the band played, and their connection with the original songs was especially apparent, Lyrically the songs deal with subject matter that sometimes comes from Ben’s personal life, but other times the narrator of the song may be a character. Regardless, Ben doesn’t mince words. Whether he’s writing about something he’s been through, something he’s seen from others, or something else entirely, if you listen to the songs, you’re going to know how he feels about it.
The simple beauty that makes it work is that you’ve felt like that too. The band self-recorded their eponymous debut album at Rob’s studio (Sundog Sound) in Voorheesville, NY, and released it in January 2020, just in time to begin cancelling touring opportunities that had begun to materialize. The band did what the band does, and hit the rehearsal room again with a new batch of songs. As of this writing an EP has been recorded and the guys are working to get it mixed, mastered, and digitally released in the early part of 2021. The plan is to get back to torching stages as soon as possible, hopefully to support the EP that’s coming your way!
Alternative rock band from New York City, Black Suit Youth, released their new environmental anthem “The World Is Almost Over,” on October 30. The release date for their upcoming 5th LP, The World is Almost Over, is set for 2021 and will feature the newly released single.
Black Suit Youth blends a combination of punk rock, classic rock and indie rock into their music. The four-person group includes Bryan Maher (vocals/guitar), Fed Canalos (guitar), Juan Orellana (bass), and Ray Mazza (drums). The group’s original name started out as The New York Dynamite in 2004. In 2007, the band changed their name and released their debut album Our Future is History.
A song they eventually scrapped called “A Black Suit For My Youth” inspired the group’s name change. Since their formation, they have has released seven projects and had 10 different members throughout the group’s tenure. The band has amassed various touring experiences including opening up for acts such as Story of the Year, Alien Ant Farm, The Undead, and more. Following their 2017 release of their LP False South, Black Suit Youth looks to lean toward a new musical direction while maintaining their usual punk rock style.
The song is about the reality that we all see, but often ignore things while we deal with our immediate troubles. At some point, the bigger picture is going to become too big to ignore and it may already be too late to do anything about it. History is happening all around us and it gave us the opportunity to film in a desolate, boarded up Times Square, something you’d normally only see in a post-apocalyptic movie.
In 2016, they signed to 59 X Records and released FalseSouth in 2017. Black Suit Youth single The World Is Almost Over will be their second project released under the label.
When we were young they said our future would be so bright we’d have to wear shades Well there weren’t completely wrong It’s gonna be so hot we’re gonna melt in our graves Now we’re lost inside a mindless paper chase As the oxygen is leaking into space Yeah the worlds almost over Throw a life preserver to a drowning polar bear Yeah the worlds almost over So have another drink cuz no one cares The ocean is the first casualty Of our never ending worship of the GDP So what is left for you and me? When all the fresh water is owned by corporate entities I’m sorry to say but things are looking bleak It’s the new dark ages so pop off a few more tweets Newsflash we’re all gonna die poor As the refugees from the countries we destroy are knocking at our door We don’t ever take any blame It’s always some Boogieman We’re too afraid of change Yeah we’re dead and gone We’re living on krypton We pretend it isn’t true Yeah we’re dead and gone Hallelujah it’s the great beyond Ces la vie and bye bye baby blue
If the Grateful Dead had an East Coast base outside of New York City, odds are it would be at The Capitol Theater in Port Chester. By November of 1970, the Dead had already done two previous runs at The Cap earlier in the year. This would be the third one and the show they would play here this year. This would be no typical show though. Tonight, they would be joined by fellow West Coast troubadours the New Riders of the Purple Sage. Along with a full acoustic opening set, the last Capitol Theater show of the year certainly leaves a mark.
A knowledgeable crowd greets the show opening “Dire Wolf” with approval. The second verse seems to trip Garcia up a little but he makes up for it with a bit of an extended instrumental bridge. A true acoustic and relaxed version of “I Know You Rider” follows. This one is played on its own, with no “China Cat Sunflower” lead in, and at about half its typical speed, if not slower. Garcia takes the helm on vocals and leads the rest of the band through a really interesting take on this Dead staple that has the audience clapping along in time at parts.
Bob Weir then takes the lead on vocals and leads the group through the relatively new-at-the-time “Dark Hollow,” which debuted earlier in the year at New York City’s Fillmore East. After some bizarre group banter about Godzilla, it’s Garcia’s turn once again for “Rosalie McFall.” This was another new number at the time, also debuted only months earlier at the Fillmore East. The band does their best to steer around some feedback issues for this little bluegrass jaunt that’s ideal for an acoustic set.
The (new) hits keep coming, courtesy of Weir-led “El Paso,” only the seventh one ever. Performances number five and six took place the prior two evenings at The Capitol Theater. Afterwards, Pigpen finally gets a chance to lead and sings the last ever performance of the American Beauty gem “Operator.” Short harp solo – short time left with band? Another Beauty cut, “Ripple,” follows this, with the audience instantly engaged. And it would be a Beauty trilogy with the acoustic “Friend of the Devil” that followed. It certainly made sense from a promotional standpoint. The seminal Grateful Dead album was released exactly one week ago. It would later peak at No. 30 on Billboard’s Pop Albums chart.
A boisterous cover of The Everly Brothers’ “Wake Up Little Susie” then follows, with even more additional audience “percussion.” It’s the last time the Dead would ever play this one in a live setting. The opening acoustic set then comes to a close with another Dead classic that was still a relatively new song at the time, “Uncle John’s Band.” This officially has the Capitol Theater crown whipped up into a frenzy before Garcia mentions they’ll be back shortly with the New Riders.
For the second set, the New Riders of the Purple Sage delivered their unique brand of acid-washed country and rock tunes. At this point in time, Garcia and Mickey Hart are still involved in the band along with its co-founders David Nelson and John “Marmaduke” Dawson. Jerry plays the pedal steel guitar throughout and adds some beautiful interludes on “All I Ever Wanted.” “Fair Chance To Know” also has a “Teach The Children Well” feel to it, likely due to the aforementioned pedal steel and the same man playing it on each. “Cecilia,” though not the Simon & Garfunkel cover, features some legitimate yodeling. But the set does end with a cover, a rollicking take on The Rolling Stones’ “Honkey Tonk Women.” It’s a lively set that adds a totally different dimension to a Grateful Dead show and certainly worth a listen.
Afterwards, the Dead come out swinging with a “Morning Dew” third set opener. They slowly glide through the composed section to an appreciative Cap crowd with Garcia’s dynamic vocals seeing it through. It’s a wonderfully patient and patiently evolving “Dew.” After things settled dow a bit, Weir takes over for a run through of “Me and My Uncle.”
This is followed by the one and only live performance of “Mystery Train” with Garcia on vocals, resembling a NRPS song in nature. Then it’s right back to an early cover of Chuck Berry’s “Around and Around,” the first time the Dead would play this longtime crowd pleaser. More rarities would ensue with “New Orleans,” only the second of four ever played. Still led by Weir on vocals, this ambles into “Searchin’,” the first of the only two ever played, with Pigpen reassuming vocal lead duties.
A Bob Dylan cover on the back end of this elicits yet another positive crowd reaction and the Northern California troubadours are off and running again with “It’s All Over Now, Baby Blue,” with Garcia, once again, re-establishing lead vocal duties. Dylan covers were certainly no stranger to the band at this point. But this would be the last “Baby Blue” performed in nearly 20 years.
“Casey Jones” with yet another Cap Theater clap-a-long follows, another song tested earlier the last few nights. Speaking of “new” songs, the Dead would then roll out a song that would soon become synonymous with second sets, “Truckin’.” This Dead staple had only been debuted a few months earlier at the Fillmore West in San Francisco. This was another one the band decdided to “test run” the previous few nights at The Cap. It’s safe to say, by Sunday, they had this instant classic worked out.
The instant the fledgling “Truckin’” comes to a close, the longtime Dead classic “Dark Star” wastes no time in starting up. It would also return at their next show at the fabled Port Chester venue, 2/18/71. This one gets way dark and spooky, rewarding the folks that have stuck around for this long for some visual and aural trickery.
“The Main Ten,” is an incredible look at an instrumental version of the early renderings of a Grateful Dead classic. It’s a primordial and slower version of “Playin’ In The Band” before it ever came to fruition. This would be the last ever “beta” version of it before it would fully bloom into the first official PITB ever at this very same venue slightly more than three months later in February of 1971.
Amazingly, this seems to trigger a particularly early closing sequence. An early drums fakeout segues into “Not Fade Away” and the Port Chester crowd is alive. After some impressive interplay, the jam soon lends itself to NFA’s running mate, “Goin’ Down The Road Feelin’ Bad,” another new song at the time that was just starting to develop as a show closer. Eventually, this steers itself back into “Not Fade Away,” and a close to this thunderous late second set sequence.
One last abbreviated “Drums” sequence leads to the last song and de facto closer this evening, a rendition of The Rascals’ “Good Lovin’” that sees Pigpen get one last chance to lead an ecstatic Capitol Theater crowd through one last cover. Another “Drums” sequence serves as one last percussive explosion before “Good Lovin’” eventually rounds back into form, capping off the last Grateful Dead show in Port Chester for 1971.
Grateful Dead w/ New Riders of the Purple Sage Capitol Theater – Port Chester, NY 11/8/70
Set 1: Dire Wolf, I Know You Rider, Dark Hollow, Rosalie McFall, El Paso, Operator, Ripple, Friend Of The Devil, Wake Up Little Susie, Uncle John’s Band
Set 2: Six Days On The Road, Superman, Whatcha Gonna Do, Glendale Train, All I Ever Wanted, Fair Chance To Know, Portland Woman, Cecilia, Truck Drivin’ Man, Last Lonely Eagle, Louisiana Lady, Honky Tonk Women
Set 3: Morning Dew, Me And My Uncle, Mystery Train > My Babe, Around And Around, New Orleans > Searchin’, It’s All Over Now, Baby Blue, Casey Jones, Truckin’ > Dark Star > Dancing In The Street, Drums > Not Fade Away > Goin’ Down The Road Feelin’ Bad > Not Fade Away > Drums > Good Lovin’ > Drums > Good Lovin’
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear the latest EP from Slaughterhouse Chorus, Trampoline Jetstream and more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
… In the Name of Progress is the first Slaughterhouse Chorus recording to a music collective, Built4BBQ. Albany audio extraordinaire Ryan Slowey tracked the band live in vocalist Chris Jordan’s rural Rensselear County cabin, resulting in a lean and mean collection that fully represents their on-stage energy and lyric-driven songwriting. While the band’s previous recordings occasionally incorporated an “Honorary Chorus” of auxiliary instrumentation ranging from banjos to horn sections, … In the Name of Progress relies entirely on two electric guitars, bass, drums, and vocals – with the notable exception of one high-lonesome bluegrass harmony section provided by John “Henry’s Rifle” Pipino and Dan Wilson of Kimono Dragons and the Rechorduroys.
From the opening garage-punk ripper “Greenplates” to the ZZ Top thump of “Used Tombstones”, from the signature country-punk barnburning of “Hambone” and “Pedestrians” to the cathartic dirge of closing track “Wellsville”, … In the Name of Progress finds The Slaughterhouse Chorus stretching their sound into narrative songs that unfold like short stories set to boot-stomping sing-alongs. Simultaneously pared down to basics and more expansive than anything else they’ve recorded, it’s a fitting swan song for a band that’s spent ten years doing things their own weird way.”
As for what’s happening now, even with The Slaughterhouse Chorus coming to an end, the band never really stopped getting together to write and record new music. Weekly basement practices due to COVID precautions were put on hold, and later moved to Chris’ socially distanced garage and started working on fleshing out a batch of Chet Atkins/Jerry Reed style acoustic guitar ideas he’d been kicking around for years that never really fit in with Slaughterhouse. This evolved into a project they’re calling Timing. It has a lot of the country/Americana side of Slaughterhouse, but much more weirdness and much less punk rock.
Utica’s Trampoline Jetstream will also be featured on this week’s EQXposure, with Pearson spinning their song “Jerry.”
The four person indie rock band began to record “Jerry” in Utica two years ago. Before they could finish, vocalist Nick Vanderwood suffered an injury that left him unable to sing. The band put the project on hold until February 2020, just before the COVID epidemic put everything on pause. Trampoline Jetstream had finished recording, but had to delay production and gigs further. Read more on Trampoline Jetstream here.
