Each Sunday evening from 7-9pm on 102.7 FM, 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 music from Sydney Worthley, The Sweats, and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a 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.
From the Finger Lakes who just released their full-length debut album Caught in a Wave recorded at Pyramid Sound Recording Studios in Ithaca. You can pick up the album for contributions on BandCamp. Singer Travis Durfee says they hope to sell a few digital copies to make up what they’ve lost this year in live shows and that they are already working on material for a new album. Check out their quaratine videos on Facebook.
In February, Worthley went to Nada Recording Studio in Montgomery, NY to record five new songs in five days and you can hear them all on the new album Rose Colored Glasses. Worthley is a notable advocate for mental health awareness, having performed in Saugerties at the annual Hope Rocks Festival.
Greywolf, aka Jay Grey, bassist for rising powerhouse band Escaper, has released “Exit Key,” the first single off his upcoming debut album Operation Wolf.
“Exit Key” is a sample of what the multi-instrumentalist is able to do on his own. Haunting and beautiful, the lyrics evoke themes of love, loss, and wanting to make a change. The track opens with a droning synth, before dropping into love story lyrics. Prescient themes for these times are found, with change needed to be made after reaching a breaking point and wanting to make change.
Greywolf recorded and played all the instruments on this record in his home studio, including piano, synth, keys, guitar, bass and beat programming. The record as a whole addresses change, longing and one’s personal connection with nature and the universe. You’ll find an autobiographical feel and personal touch to the music and the album.
While Jay Grey is best known for his work with Escaper, he has branched off to deliver a sound all his own. Keep your eyes and ears open for more brilliance from this emerging artist.
“Groove Therapy,” a new podcast combining live music with health and wellness, launched in late August. Produced by Osiris Media and available through Apple Podcasts and Spotify, “Groove Therapy” explores the effects music can have on our minds and bodies.
Founded by Dr. Leah Taylor and Taraleigh Weathers, “Groove Therapy” has two episodes out with a third coming on Friday, September 4. So far, the podcast has explored the idea of “conscious partying” and interviewed Joel Cummins of jam band Umphrey’s McGee. Each episode will have a different guest, either a musician or mental health professional. Listen to the trailer below:
“Groove Therapy” seeks to explore the collective joy of live music with an educational twist. While there’s a time and place for sex and drugs in rock and roll, “Groove Therapy” is about replicating that ectastic feeling when the lights go down at a concert in healthy and responsible ways throughout daily life. “The world needs this now more than ever. What we’re doing is really different: we’re talking about health, hugs, and rock and roll,” said Dr. Leah Taylor in the podcast’s first episode.
Together, Leah and her co-host Taraleigh have over 35 years of experience in health and wellness. Leah has an MA in Counseling Psychology and a PhD in Mind-Body Medicine, while Taraleigh is the author of a book, How to Rock Your Life: Maintain the Magic of Live Music in Your Everyday Experience.
“Groove Therapy”’s September 4th episode is set to feature Zach Gill, of Animal Liberation Orchestra and Jack Johnson’s band. Leah and Taraleigh promise a “long list of fun people” in future episodes. For more information about the podcast, check out the Facebook community group.
Music venues across the United States plan to light up in red on the evening of September 1, 2020 demanding the passage of The Restart Act. The red lights illuminating the venues across the country will symbolize being in a ‘Red Alert’ as part of the the #RedAlertRESTART as a call to action to help venues during the coronavirus pandemic.
The purpose of this demonstration is to try to convince Congress to pass the Restart Act. The act, if passed, would provide much-needed assistance for millions of Americans who have lost income due to the coronavirus pandemic sweeping across the world. The call to action is being spearheaded by the #WeMakeEvents coalition. The #RedAlertRESTART campaign’s purpose is to try to bring awareness to the fact that live music and venues are being disproportionately affected by the COVID-19 pandemic and need support desperately.
In the recent Billboard article it explains why this act is so important. This relief bill, if passed, will offer, “up to 90% forgiveness for loans to companies that have high revenue loss and doesn’t penalize industries that rely on part-time employees. In addition, rather than basing loan amounts on payroll, the Restart Act includes grants that are made to eligible recipients in an amount equal to 45% of gross revenue from 2019, with a cap of $12 million” according to the article.
On Tuesday night from 9PM – 12AM PST music venues across the nation plan to light up in red to highlight that the live events industry, particularly music venues, are on red alert for their survival. This lighting up will involve venues physically lighting up their facilities in red light in any and every way possible.
Brad Nelms, director of WeMakeEvents North America, explained in a release reasoning behind the campaign saying, “The entire live events industry is on the brink of collapse. Without financial relief, many businesses stand to permanently close, and families risk bankruptcy and homelessness. We want to take this opportunity to show the world the scale of what it takes to make live entertainment events happen and demonstrate how much this crisis has affected our community. This is a human issue, not a political issue, and it requires immediate action. While we realize there are a lot of issues going on right now, and other organizations will be staging events on other dates, we feel very strongly we must act now to save our industry.”
People looking to participate and support the movement can follow these simple steps posted on the WeMakeEvents’ website. There is three steps to follow. First, contact your representatives below using the Action network widget. Second, post a red-tinted photo of your favorite live event to your social media with the following caption: “#RedAlertRESTART: the live events we love may never recover from the pandemic, we need to take action! Take two minutes to contact your representatives here, and post a red photo of you at your favorite event, too. You can turn your photo red here. And lastly, check out the hashtag #RedAlertRESTART and share/RT images of venues and live events workers you love.
For more information on this call to action visit WeMakeEvents’ website.
Bandcamp announced their plans to waive their revenue on September 4, 2020 from midnight to midnight Pacific Time to support musicians facing hardships during COVID-19. The music company plans to keep waiving their revenue for these first Friday of the month days for the rest of the year.
According to the Crack Magazine when Bandcamp withdrew its fees for a day back in March as a promotional act people ended up buying $3 million worth of music in 24 hours. Since then BandCamp has continued these waved revenue days periodically including a 3 month stretch back in May, June, July of this year as a move intended to help independent artists and labels, who are being affected by the coronavirus pandemic.
According to Bandcamp’s website since the pandemic hit in March, people have bought more than $75 million worth of music and merchandise directly from artists and labels, and to date, fans have paid artists over half a billion dollars on Bandcamp.
Bandcamp started waving it’s revenue on the first of the month back in May saying, “To keep supporting musicians during the Covid-19 pandemic, we are waiving our revenue share on all sales this Friday, May 1, from midnight to midnight PDT. Let’s come together as a community to put money directly into artists’ pockets” via their Twitter page.
To keep supporting musicians during the Covid-19 pandemic, we are waiving our revenue share on all sales this Friday, May 1, from midnight to midnight PDT. Let’s come together as a community to put money directly into artists' pockets: https://t.co/hPhgm7WBR4pic.twitter.com/DG6KYI2IN5
Bandcamp announced plans to continue the first Friday revenue waiving until the end of the year considering the pandemic is far from over. The following dates will continue this first Friday tradition: September 4, 2020, October 2, 2020, November 6, 2020 and December 4, 2020.
New York favorites to check out and support on September 4
Giant Panda Guerilla Dub Squad are a Western New York favorite by reggae fans. They formed in 2011 and are based out of Rochester. Giant Panda Guerilla Dub Squad’s sixth studio album MAKE IT BETTER was released September 16, 2016 on Rootfire Cooperative and debuted at #1 on the Billboard Reggae Chart. Their newest single “Good Love” released on February 7, 2020 is available for $0.99 on Bandcamp along with more of their content.
Aqueous is another Western New York favorite hailing from Buffalo New York. They have a devoted following for their indie-jam rock sound. They have recently made it into the national music scene due to their unique way of performing where no two shows are ever the same. They enjoy blurring the lines between a multitude of styles and genres. Their latest live performance for the Live From Out There streaming performances are available on BandCamp for each song for around $5 along with more of their content.
Consider the Source is another favorite from New York City. Consider the Source is an instrumental trio formed in 2004. They are self acclaimed SiFi/ MiddleEaster/ Fusion sound that breaks normal genre concepts. The group has released five studio albums, two live albums, and one compilation album. They have become widely known especially by Radiohead fans for their Radiohead inspired performances. Their latest album You Are Literally A Metaphor was dropped in 2019 and is available on Bandcamp for $10 along with more of their content.
For more information on Bandcamp and their first Friday revenue waiving visit their website.
One of the true gems of southwestern New York on Chautauqua Lake is the Chautauqua Institution. There you can find a blend of arts programming, educational and religious opportunities and recreational activities are available to those who visit the grounds during the year. And every few years, the music event Jazz at Chautauqua is part of the annual programming.
The Institution, originally the Chautauqua Lake Sunday School Assembly, was founded in 1874 as an educational experiment in out-of-school, vacation learning. It was successful and broadened almost immediately beyond courses for Sunday school teachers to include academic subjects, music, art and physical education.
Thanks to Jazz Lives, who consider Jazz at Chautauqua 2013 “another unforgettable interlude of music and friendship,” we bring you a selection of ballads from the September 22, 2013 Jazz at Chautauqua performances. A medley of ballads began and ended the music-filled weekend, including “Easy Living,” “Daydream,” “Can’t Help Lovin’ That Man” and “I Know Why (And So Do You).” Featured players include Marty Grosz (guitar), Harry Allen (tenor sax), Dan Block (clarinet), Bob Havens (trombone) and Duke Heitger (trumpet).
Later, ballads including “My Funny Valentine,” “Please,” “Laura,” “If We Ever Meet Again” (Horace Gerlach) and “Sophisticated Lady” seem to tell the full range of relationship through their titles. Selections are peformed by Randy Reiinhart (cornet/trumpet), Andy Schumm (cornet/trumpet), Andy Stein (saxophone), Marty Grosz (guitar), and Rossano Sportiello (piano).
From 2009, enjoy “Chinatown,” performed by Pete Siers (drums), Frank Tate (string bass), Ehud Asherie (piano), Bob Havens (trombone), Dan Block (clarinet), and Duke Heitger (trumpet).
Today’s Dead-trospective takes us to a Glens Falls Grateful Dead show at the Civic Center played 41 years ago. August of 1979 was interesting time for the Grateful Dead. New keyboardist Brent Mydland was still getting himself acclimated, having joined the band in April. This is only his 19th show, but his second time performing in New York with the Dead after they played Broome County Arena in Binghamton in May.
1979 featured a lot of short tours spread out over the course of the year. This would be the opener of one of them, a six-show tour in the Northeast with the last three at Madison Square Garden. This is the first time the Dead played the Civic Center. They would come back and play a single show the next three years as well.
The show begins with “Promised Land,” a Chuck Berry cover and “Dire Wolf.” It’s a fairly pedestrian 1-2 opening punch with plenty of post-song tuning. Bob Weir’s “Cassidy” follows, now in its new form with Mydland on backing vocals.
After some more tuning and indecision, things begin to take off with “Loser,” the Garcia-sung card playing saga. Jerry has a little fun with the lyrics on this one as the “Ace of Diamonds” comes up once instead of the usual Queen. The recording gets a little bass-heavy in the brief jam that follows but is well worth it. A typically poignant Garcia solo on top of everything else seems to genuinely excite the Civic Center crown.
A brief patch of the AUD recording doesn’t deter from a “Peggy-O” that hits all the right spots with Garcia’s vocals in top form. The first set also has a spot for newcomer Brent Mydland’s “Easy to Love You,” only the second one ever played. Afterwards, Bob Weir gives a little “love” to the locals in “New Minglewood Blues” with a change of lyrics to “New York women.”
This being another transitional period for the Dead, new songs and playing styles would continue to emerge. “Lost Sailor” had only been played four times prior to this, debuting earlier in the month. But this show in Glens Falls would feature the first ever “Saint of Circumstance” as it blended in immediately afterwards, making it sound almost like one song, which it would continue to do for years. This is really the last multi-song composition purposely crafted by the band.
A slow to start “Shakedown Street” begins the second set but it soon turns into a boisterous one with plenty of Garcia-fueled funk. The next song would be the return of a forgotten hero with only the second “Greatest Story Ever Told” since it was shelved towards the end of 1974. Garcia seems to tease “Black Peter” afterwards, a sign of things to come, before the “Ship of Fools” that follows.
The recording slips back to the AUD source towards the end of the stretched out “Estimated Prophet” that follows. But this give a great insight to the feel of the room. Swaths of people can be heard clapping along to the “Eyes of the World” that Garcia transitions to frenetically. This one is uptempo and bouncy from the get go with Mydland dazzling on the electric keyboard.
The highlight of the show comes later in the second set with a remarkable transition from the “Drums” section to “Not Fade Away.” The whole band is locked in atop an infectious rhythm as Garcia continues to pull all sorts of tones out from his bag of tricks. It’s a powerful segue, and executed perfectly, as the jam continues right through “Not Fade Away.”
Fittingly, the show is bookended with “Around and Around,” another Chuck Berry cover. Perhaps curfew was an issue as there does not appear to be any record of an encore for this show. But these two sets would pack enough of a punch on their own with new material and some exquisite second set jamming.
The Grateful Dead would travel to Rochester after this show, for a show at Holleder Stadium. But it’s clear they found a nice new place to play in Glens Falls, the music proves it. Upstate New York fans wouldn’t have to wait too long for a reunion though. The band would return in May next year for another masterclass in psychedelic rock.
Grateful Dead 8/31/79 Glens Falls Civic Center – Glens Falls, NY
Set 1: The Promised Land, Dire Wolf , Cassidy, Loser, El Paso, Peggy-O, Easy To Love You, New Minglewood Blues, Althea, Lost Sailor > Saint Of Circumstance > Deal
Set 2: Shakedown Street, Greatest Story Ever Told, Ship Of Fools, Estimated Prophet > Eyes Of The World > Drums > Not Fade Away > Black Peter > Around And Around
Recording starts with brief AUD patch before switching to SBD source. Patches also heard in “Peggy-O,” “Minglewood,” “Estimated Prophet” and “Eyes of the World.”
Each Sunday evening from 7-9pm on 102.7 FM, 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 music from Millington, Liam Davis, and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a 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.
From their album Beatdown Generation, Millington has played at EQX events such as the battle of the bands and Frogtober Fest at Frog Alley Brewing in Schenectady. Singer/Producer Cody Okonski learned a lot during his time working in Goldfinger frontman John Feldman’s studio. In that time Cody observed the techniques of Blink-182, 5 Seconds of Summer, and Sleeping With Sirens. Other members include Cody’s close friends John Bintz, Alex Maloy, and Brandon Rutski.
Liam, from Mount Vernon, NY, has toured with some notable acts in the Albany scene over the past few years. He was born in NYC and has been playing multiple instruments from a young age. His influences include Led Zeppelin, Jeff Buckley, and Stevie Wonder. EQXposure has also featured his song ‘In Your Dreams‘ and this one has a bit of a different vibe than that.
On August 29, 2019, MC5 founding guitarist Wayne Kramer brought his supergroup MC50 to Le Poisson Rouge in New York City to celebrate 50 years of punk rock greatness. The group consisted of guitarist Kim Thayil (Soundgarden), drummer Brendan Canty (Fugazi), bassist Billy Gould (Faith No More) and singer Marcus Durant (Zen Gorilla).
MC5 is considered one of the most important American hard rock groups of their era. The band performed as part of the protests of the Vietnam War at the 1968 Democratic National Convention in Chicago that were broken up by a police riot. According to Kramer in an interview featured in the documentary “Get up, Stand Up,” the band played for over eight hours straight when the other bands scheduled to perform didn’t show because of the chaos.
“Kick Out the Jams” was released as a single in March 1969 by Elektra Records. It has been covered by numerous bands including Bad Brains and Rage Against the Machine. The band’s debut album of the same name was released a month earlier and was recorded at Detroit’s Grande Ballroom over two nights, Devil’s Night and Halloween, 1968.
The band played the entire “Kick Out the Jams” debut album. They also played songs from MC5’s other two albums including “Tonight,” “Everything” and “Let Me Try.” They sounded great as they ripped through their 80 minute set at the very intimate but temporarily closed Greenwich Village venue LPR. The show was one of the only three shows the band played in the United States in 2019 before going to the United Kingdom to open for Alice Cooper for another seven shows.
Some of jazz legend Mynton Marsalis’ best work of the last four decades has been influenced by socio-cultural and political issues. In 1985, his Black Codes(From the Underground) won a Grammy, in 1996, Blood on the Fields became the first jazz piece ever to win a Pultzier Prize, All Rise was performed by Symphonic Orchestras all across the world in 2002, and in 2007, From the Plantation to the Penitentiary was said to “[reveal] some important truth about this country with a lot of anger and heart.” It seems only fitting that now, during this historical time of national protest, Wynton Marsalis release a new work that reflects on these human rights issues.
The Ever Fonky Lowdown directly addresses the racism, deception, and greed that clouds the country’s chances of human rights for all and pushes us further away from democracy. It was written in 2018 to combat human suffering and exploitation on the universal scale, but is now, in 2020, more topical than ever. The album’s narrator, “Mr. Game,” says it himself: “We are here tonight, but this is an international hustle. It has played out many times across time and space and is not specific to any language or race. It takes on different flavors according to people’s taste, but always ends up in the same old place.” These issues have been happening to countless all throughout history, and it is time to strip away the distractions to attack the injustice’s sources directly.
https://www.youtube.com/watch?v=IurvhGqimkY
The Orchestra singers act like a narrative Greek chorus and call upon several different forms of jazz, Gospel, American folk, swing, New Orleans funk, and more. The celebratory music is its own character and satirically expresses the joy with which humans hurt one another. The 53 track piece is both entertaining and thought provoking.
“Usually I research and learn a lot of new material for longer pieces. For this one, I went with music and mythology that I have lived. From the music my father and great New Orleans drummer and composer James Black played in the 60’s, to the funk we played in the 70’s, to the modern jazz we have been blessed to play, teach and shape over these last decades, The Ever Fonky Lowdown is an antidote to the poisonous (and largely unquestioned) cultural mythology that continues to infect our general quality of life.”
Wynton Marsalis
Marsalis wants the listener to question what is shown to him: the propaganda, media, and populism. He encourages all to look beyond what is shown to us and find our immediate reality and work to improve it. Essentially, The Ever Fonky Lowdown asks, ‘Where do we go from here?’ Marsalis answers:
“There’s no real answer on the Left or the Right. The solution lies outside of the game. But, we have to rise above our position on the board to get a broader view…..and then decide individually, if we have the will to fight for a collectively better country (or world) populated with ‘others’. It boils down to the basic question of predation vs. symbiosis—do we want to help one another or exploit each other?”
