Jammcard — a social marketplace for music professionals — along with Black Lives Matter co-founder Patrisse Cullors, partnered up earlier this summer to present the Black Power Live virtual music festival. Musicians including Terrence Martin, Kamasi Washington and Denzel Curry took part in the event, which gathered 1.7 million viewers via live stream on Twitch. Now they are releasing the powerful three-movement “Racism on Trial.”
Black Power Live was centered around the current social-political climate, with police brutality, systematic oppression and black empowerment being focus points. Each part of “Racism on Trial” begins with a slam poetry type of setting where Florida rapper Denzel Curry recites his work, accompanied by a jazz ensemble.
“Racism on Trial” follows Martin’s recent album Gray Area – Live at the JammJam, featuring the song “For Free?,” which Terrance wrote with Kendrick Lamar. The album was released on Jammcard Music in partnership with Sounds of Crenshaw and Empire Distribution. Recorded at Studio A of United Recording, packed with 300 Jammcard members surrounding the performers, the album is filled with some of the most exciting and powerful jazz music created in years. The performance features Ronald Bruner Jr., Kamasi Washington, Maurice “Mobetta” Brown, Ben Wendel, Paul Cornish, and Joshua Crumbly.
All proceeds from “Racism on Trial”will go to Crenshaw Dairy Mart, Trap Heals, Transgender Law Center, Sankofa.org, and Black Men Build.
The first movement, titled “The Voice of King Nipsey,” begins as Curry walks up to the mic and performs his verse in silence. He starts by articulating all variety of horrid things that happen in the United States. After he is finished, a Terrence Martin saxophone solo follows with Kamasi Washington and the rest of the band later joining in.
For the second movement, “Any Day Could be Your Last,” we again see Denzel opening up with a poem without the aid of background music, as he descriptively lists things he wants out of life. He ends his poem with the title of the feature, with the band once again following up, only this time, on a more somber note, with added vocals from Los Angeles singer, Alex Isley. Her vocals meshing with the jazz music, as well as added visuals of scenes from the civil rights movement.
The third movement, “Pig Feet,” being the last installment once again begins with Denzel Curry but without a poem, just an intro. The band immediately starts playing and more visuals of police brutality through the years get run throughout the concert. Denzel Curry does end up rapping with the band as his background beats and he is joined by battle rappers Daylyte and G Perico.
Written by the trio of Terrence Martin, Kamasi Washington and Denzel Curry, Racism on Trialwas directed by Devin DeHaven, mixed by Manny Marroquin and engineered by Ethan Mates. Denzel Curry, Daylyte, G Perico and Alex Isley served as vocalists, while Kamasi Washington played saxophone, Marlon Williams the guitar. Terrence Martin, Robert Glasper, Paul Cornish played the keys, Trevor Lawrence Jr. and Jonathan Pinson were on the drums, Allakoi Peete on percussion, Dominique Sanders on upper brass, Paul Cartwright and Yvette Devereaux played the violin, Molly Rogers on the viola and Peter Jacobson on the cello.
All proceeds from the sale of “Racism on Trial” will go to Crenshaw Dairy Mart, Trap Heals, Transgender Law Center, Sankofa.org, and Black Men Build.
And now for something completely different. Two New York-based guitarists, Harvey Valdes and Álvaro Domene, come together for an ear-opening album of nine deliciously deviant duets. It’s an ever-evolving, sonic tornado that is part free jazz, ambient somatic, mournful acousticity, industrial noise and the most searing, dark brand of heavy metal thunder – Nueva Guitarra.
Madrid-born, Kingston-based Álvaro Domene is not only a most formidable and original guitarist; he’s a tireless advocate for the creative music scene in the Hudson Valley and beyond. His Singularity Concert Series has brought many renowned musicians like guitarists Ben Monder and Elliot Sharp for intimate performances at his Kingston loft. Since 2013, his co-owned Iluso Records has released over two dozen discs featuring some of the most fearlessly composed and improvised music you’d even want to spin. As with this album, Domene continues his habit of keeping some heavy company, recording and performing regularly with the likes of Joe McPhee, Karl Berger, Henry Kaiser, Ches Smith, Michael Bisio, Billy Martin and many more.
Like Domene, Brooklyn-based Harvey Valdes is another guitarist (and oud master too!) for whom genre boundaries have little meaning. His three solo albums have encompassed the radical reshaping of jazz standards (“Roundabout”), Mahavishnu-esque jazz fusion fury meets math rock (“PointCounterPoint”) and the 18 concise solo guitar compositions of his latest, “Solitude Intones Its Echo,” mixed and mastered by sonic guitar innovator David Torn (David Bowie).
“Nueva Guitarra” is not designed for the faint of heart and that’s a very good thing.
The duo make their uncompromising and delightfully madcap intentions known in the album opener, “A Crooked Odyssey.” It’s a sonic assault of tapping, looping, glissandos, drones, whammy dives and frizzled corrupted guitar signalry, a mad ride to the mountain top that only let’s up with a soothing ambient cloud appearing in the last 45 seconds of the six-minute outing.
The best place to start your listening might be with the two solo pieces, which showcase the players’ varied approaches and signature sounds.
Valdes’ “Zealous Reflections” is a chord and melody exploration, with close voiced dissonances alternating with pleasant resolutions that he lets ring out. “Biomimicry” is Álvaro Domene swinging for the fences. It’s all quicksilver, speeded up melodies over noisy pads, loops and thumps, over under upside down signals, otherworldly whammy bar and harmonizer torture. A noise jazz industrial racket of the highest order, from the bastard son of Buckethead and Albert Ayler.
My personal favorites, and maybe the easiest for the noise jazz newbie to dip into, are “Lady Dog Night Terror” and the album closer, “The Sophist Pundit.”
“Lady Dog Night Terror” emerges quietly from the darkness. Its deep warm volume swells from Domene’s rise to surround and complement Valdes’ clean chording and single note lines. Slowly, the dissonance in the melody and backdrop increases. It gets symphonic and fuzz laden, then slowly slips away just after the four minute mark.
https://youtu.be/p0idBsB0z6Q
With “The Sophist Pundit,” the duo saved the best for last. This is a summary statement of all the ideas set before, spread over nearly nine and a half minutes of guitar hellacious.
The track begins with stutter stop phrases looped to create a variable pulse, over which the duo improvise jagged lines. It just gets more intense as it goes on, with the duo creating a wall of feedback looped upon feedback, punctured by siren calls and squeals designed to melt your preconceived notions of what guitars can do.
All musicians have been hit by COVID-19, but not many have as hard as Domene. He battled the ailment all through the spring, but still managed to ready this and other collections for release.
If you want to do a good deed for music kind, and vastly widen your own appreciation of music and the creative possibilities still left in the guitar, download this uncompromising disc.
Key Tracks: Lady Dog Night Terror, The Sophist Pundit, Biomimicry
Sure to delight English teachers everywhere, Taylor Swift has released a literary analysis of her “Cardigan” music video. A Vevo Footnotes exclusive, the singer long known for her hidden Easter eggs revealed them all at once. She also shared how she prevented the song from leaking, a rare feat for a pop star of her stature.
The video begins in a dark cottage, with Swift sitting at a piano containing a C. S. Lewis-style magical woodland inside. Two pictures are hanging on the cottage walls, both of which she explained to Vevo Footnotes. The man in the photograph on the left is her grandfather, Dean, who landed on the beaches at the Battle of Guadalcanal in World War II. Later on in the album, Taylor tells his story on “Epiphany.” As for the painting of a white house on the right, Swift worked on it herself in the first week of quarantine. Also, the clock’s hands point to 1 and 3, representing her famed lucky number, 13.
Swift wrote and directed the video herself, playing the song solely through an earpiece so the crew wouldn’t be able to hear it during filming. Highly discreet about the entire project, she didn’t add the “folklore” logo to the central piano’s fallboard until release day via special effects.
Speaking on the album as a whole, Taylor said, “I view Folklore as wistful and full of escapism. Sad, beautiful, tragic. Like a photo album full of imagery, and all the stories behind that imagery.” Of course, “Sad, Beautiful, Tragic” is also a song from her 2012 album Red.
In addition to spilling the secrets of “Cardigan,” Taylor released a lyric video for Folklore’s bonus track, “The Lakes.” The song references Romantic poet William Wordsworth, and partially grapples with being a public figure in the social media age. The themes and lyrics mirror those explored in her 2017 Reputation album, except softer and less embittered.
“Cardigan” is the first single off of Swift’s eighth studio album Folklore. Both the single and album debuted at #1 on the Billboard charts to critical acclaim, with praise citing their lyricism, atmosphere, and mature direction. Folklore, including “The Lakes,” is now available for streaming on Spotify and Apple Music.
COVID got you down? Having some relationship troubles? Or maybe there’s a hankering for some good ol’ 2010 nostalgia? Take a listen to State Champs new album Unplugged and let it all out, in a true pop punk fashion. This collection was released to celebrate 10 years since the bands’ start in Albany. In their press release, they declare their change of pace as a “healthy growth spurt,” that will “set the table for the next ten years of their career.” They definitely have grown since their start a decade ago, but it’s arguable that they may have just aged out their genre, rather than growing into a new one.
This six-track album, with four original songs in their newfound acoustic sound, also features two covers of their highest rated songs, transposed into their new style. What’s fascinating is they’re able to keep that drive going in such a ‘low lit’ environment. This is their saving grace because, on its face, this album might not sound so appealing. How can you have a chill version of pop punk music about how your hometown sucks and you hate your ex-girlfriend? Well this is one way to do it. This feels highly multi-layered throughout. It’s not just a softer version of the songs you like, some are reimagined in creative ways.
“A Thousand Hearts” really sets the scene as to how laid back they’ve become. It has decent drive and motivation, but it’s not at all parallel to their original work, with one of the only similarities being Derek DiScanio’s voice and lyrical theme. That’s fine and all, being that the band wants to move in a new direction. It might be a bit of a shock to long time listeners, as will the smooth as butter saxophone solos. “The Recipe” falls into the similarly romantic space, but presents a better sense of direction and drive, as well as more relatable lyrics about how relationships don’t need to follow a ‘recipe.’
“10 am” has a very unique, self proclaimed EDM sound, mixed with well produced, natural sounds. It’s got a catchy hook to it, but again, not the most revolutionary word-smithing going on in this one. Musically though, this is very well executed. Fun fact: the song was birthed by Evan Ambrosio, who was messing around with an automated drum loop, and ran with the idea, creating a song with a synthetic drum loop that has a natural sound to them. Most of the song sounds completely acoustic and man-made, but fades out with the drum beat, which slowly morphs into a more computerized, 8-bit sound – a fun nod to the muse of the song.
“Crying Out Loud” is the best original on the album. The hook is super catchy, the energy created both lyrically and musically is moving and it should resonate well among Champ fans. This could easily be transposed into their original style perfectly, but again, that’s not their vision.
“Criminal” is the first acoustic version of an original song and it feels more natural compared to the first four tracks on the album. They’ve thrown in a very poppy, bluegrass feel to it, which takes some getting used to but it’s still a fun song if you’re a fan of the original.
“Dead and Gone” is the perfect song to cover. The lyrics are edgy enough to give it the drive it needs and the music follows to help propel it even further. It’s not too busy, or trying to be something other than what it is. The most extreme change is a twangy guitar that pops in and out of the song. The double time effect that we hear during the verses, (that feeling of the music getting faster) comes through perfectly in this too – a cornerstone of pop punk music.
Pop punk is a culmination of a lot of music, so the logic should be sound – why not just add another genre in there, and we should sound different. But pop punk is already so many things: Emotional, energetic, silly, dramatic, loud. There aren’t many genres that can say they have all of those things and still be palatable to the masses. It’s also quite the challenge to change a group’s entire attitude, let alone pulling from another genre of music. This is a definitely a sensible direction to go for State Champs, as the pop punk area of music may start to trail off soon, if it already hasn’t. But if State Champs find that golden ratio, as they did in their “Dead and Gone” cover and “Crying Out Loud,” then they themselves will be golden and “set the table for the next ten years of their career.”
Ticketed music events will now be banned at bars, restaurants, and similar venues in the state of New York due to new coronavirus guidelines for Stage 3 and 4 reopening for licensed on premise establishments released on August 18, 2020. These new guidelines prohibit these establishments in NY from offering live music that customers pay for separately.
The Hollow, Albany – photo by Zach Culver.
Not only do they prohibit ticketing music events but prohibit any events where a patron has to buy a ticket. On top of that it prohibits venues from advertising live entertainment. These new guidelines will bring all events that have been planned by venues to a screeching halt. Music will be allowed at establishments but has to be “incidental” music according to the rules posted in Q&A format on the State Liquor Authority website. Incidental music basically means music can be at performed at establishments but it can’t be advertised and promoted as a reason people should go to the establishment.
“Restaurants and other on premises food and beverage establishments that have a license through the SLA are only allowed to offer on-premise music if their license certificate specifically allows for such activity (i.e., live music, DJ, recorded, etc.). A manufacturer that has an on premises license also must assure that its on premises license certificate specifically allows for the type of music it is offering. A manufacturer without a separate on premises license may offer music unless its license certificate specifically prohibits such music.
If offering music, indoors or out, all relevant aspects of the respective Department of Health guidance dining must be followed, e.g., patrons should not be standing except for necessary reasons (e.g., restroom, entering/exiting), standing patrons should wear face coverings, etc. Performers should be at least 12 feet from patrons.
All other forms of live entertainment, such as exotic dancing, comedy shows, karaoke etc., are not permissible currently regardless of phase.
Additionally, please note that only incidental music is permissible at this time. This means that advertised and/or ticketed shows are not permissible. Music should be incidental to the dining experience and not the draw itself.”
New York State Phase 3/4 Guidelines for Licensed On-Premises Establishments Answer for “Can I have live entertainment or a DJ in my indoor or outdoor dining area?”
This new coronavirus guidelines will disproportionately hurt musicians and venue operators. Many musicians depend on ticketed events for income. Many bars and venues depend on special music events to pay the bills. According the New York Upstate article Julie Leone, who is co-owner of The 443 Social Club & Lounge on Burnet Avenue in Syracuse had spoken to a State Liquor Authority enforcement officer August 18 and, “Was told the agency could automatically suspend the liquor licenses for any venues found to be advertising shows. That seems to be different from regular enforcement, in which officers physically visit the venues to verify non-compliance.”
To many, this guideline seems shocking, unfair, and far out of left field. It will effectively shut down many establishments again that have only recently been able to reopen. These guidelines were implemented with the intention to try to keep people from mingling for prolonged periods of time to help contain the spread of the virus by Governor Andrew Cuomo and other state officials but to musicians and venue operators it feels like an attack on the music industry.
Funk n’ Waffles, Syracuse – photo by Josh Davis.
Dave Ehmann, owner and founder at Adirondack Independence Music Festival elaborated on his feelings about this implementation of these guidelines on his Facebook page saying, “I don’t know about anyone else but I feel like someone needs to hear enough is enough with this bullshit. This is nothing more than a straight up attack on the music industry. Why aren’t we yelling louder and pushing back? It’s gone way past being safe into straight up nonsense. Peaceful protests are in order here.”
The Haunt, Ithaca – photo by Casey Martin
Adam Gold, owner of Syracuse’s well know Funk ‘n Waffles gave his two cents on the new guidelines saying, “I was under the impression these were the regulations anyways. For me it was more of a reminder: ‘By the way, you still can’t do anything (music-wise). We aren’t currently having any indoor dining, even with it being technically allowed for several weeks now. It seems the one thing experts tell you to avoid doing is being near a bunch of strangers in a building for more than an hour.’”
Jarrett Hartstone, promoter at Hartstone Productions, feels that safety is paramount and guidelines should not limit live music performances.
Having closely followed this entire pandemic since the beginning, I fully believe in the need for reopening guidelines in order to keep people safe and control the spread of COVID-19. That said, I think that this latest order by the State and SLA saying that establishments can’t advertise live music and that it has to be “incidental” takes it step too far.
As long as an establishment is operating within the safety guidelines (ie; maintaining social distancing, requiring face coverings, frequently disinfecting, even making people remain seated at tables if need be), there is no reason why they can’t safely host live music and advertise it to help generate business to their already reduced-capacity establishment.
While safety measures are indeed critical to controlling the spread of the virus, so is the need to give businesses (in this case musicians, music venues, bars and restaurants) a fighting chance to survive.
If an establishment isn’t operating within the safety guidelines, by all means, issue a violation. But the focus should be on whether or not they are operating safely, which has nothing to do with advertising and hosting a particular band.
Jarrett Hartstone, Hartstone Productions
Corey Rossoff, owner of the Monopole in Plattsburgh, feels awful for musicians and bands who rely on live performances for income. He divulged on this saying, “I feel bad for all the musicians. We have cancelled all of our live music due to social distancing being impossible with a band playing. Everyone wants to be near the stage. We cancelled open mic because of all different people having to share instruments. We don’t even have the upstairs where bands play even open. With no end in immediate site I just have told bands there is no sense booking anything at this point. We have the downstairs open at reduced capacity at this time. This was even before this information was emailed to us from the SLA a couple of days ago. We don’t charge covers when we do have live music but under this ruling we could not even have any live music. So as I said I don’t know what avenue all the musicians have to make an income so I feel awful for all the many bands everywhere.”
If you are part of an independent music scene in New York State and would like to comment on this story, email nora@nysmusic.com.
In an excerpt from a previous interview with Street Pharmacy‘s Ryan Guay and James Searl of Giant Panda Guerilla Dub Squad on their collaborative track titled “They Don’t Give A $$$$.” Released July 2, both artists took the time to reflect on the past few months. The radical adjustments and adaptations both of them needed to make in order to survive the lockdown music industry were foremost in their minds. With the lockdown came an increased online presence for the both of them, which meant more online interactions with right-wing fans that became heated around the release of “They Don’t Give a $$$$,” interactions which both James and Ryan elaborated further upon in the context of a divided political climate.
Thomas Lent: COVID-19 has negatively affected a majority of the entertainment industry, but how has each of your group’s plans and strategies around shows and monetization changed?
Ryan Guay: I’ll let James take this one first.
James Searl: Well, our situation, I think. In Giant Panda Guerilla Dub Squad, anytime outside conflict has come up with the group we’ve always gotten more efficient and a little bit more communicative about whatever hole we needed to plug previous to that conflict. So when people left the band we didn’t expect to leave. We had to address that. We kind of really get tighter and more trusting of each other, because people who were originally in the band, the founders with me, found that actually, we have to work harder to find what we have now. That turned out to be something that works better. The next example would be any of us having children. Was this gonna, kill our ability to tour or come up with music? We just got more efficient at touring and putting out albums that we’re happy about. With Coronavirus I think we felt pretty good about the time that we have the kind of reflected and work on new material. We’re recording a new album which we’re having a hard time finding the time and money to get that together in a quick manner. Now we have even a bigger block of time. We’re securing news funds, recording music, and working on new songs, because nobody has anything else to do playing live for the next, god knows how long. Because, at least in the states, I don’t know people are really gonna feel how serious this is.
TL: Well, I can say that in Buffalo at least, I live in a suburb outside of Buffalo and specifically East Aurora, and we have an elder.
JS: That’s where my whole family is from!
TL: Really? Small world! I think about thirty-five people died in that place alone so I would say that people are taking things far more seriously.
JS: I hope so, that’s not what it’s like where I’m living. I went to get some beer at a store in southern Michigan. I live near the border around there and nobody is wearing a mask and the cashier said something about it and I’m like “I’m wearing this for your protection!”, So I said I didn’t know if masks were required here or not, I know that Michigan has some pretty serious laws right now and they said that “We tell people they don’t have to wear masks because we would lose half our business” and I’m like ok, but really, “Half the people? Really?” you’re selling beer and cigarettes, two products that people are going to be getting anyway. But as far as moving forward goes theirs a different presence online and I don’t like being ultra-online. I don’t like that idea like everybody being so online, but I also can’t imagine what this would have been like twenty years ago, I just can’t imagine it. Now because we have all these different ways to still be together with apps and to stay in communication with music. I mean, every Tuesday when I’m putting my kids to bed and start to clean the house and stuff and I can find a show for RootFire where I get to listen to classic Reggae tunes, whereas like before, I probably wouldn’t have gotten to see that. Clinton Fearon, one of my heroes, actually plays every Sunday at his house and he’s in his 70’s! So I think it’s nice for him to not have to leave his house to share with his fans all over the world. Could we have done this before? Sure, but nobody did. And we’ve just been accelerated into the future about what live music is gonna look like. What live music is about is connection and that goes back to the fans with the MAGA hats at the front row of the Panda show. I wanna find a way to talk to you because I’m glad you’re listening to the music and I’m glad that we’re connecting with the music but obviously theirs a personal disconnect that probably could be reconciled as well as it could without conflict. It would be easier reconciled just to listen to a song and having your own time to reflect on this stuff. Especially not having to deal with you personally, I’ll say.
RG: That’s a good point. I’ve definitely seen some or received some comments from fans that are no longer fans and not supportive of what our video and what our song represents because they’ve interpreted it in a way that they feel almost insulted. That’s not the intent here. We’re trying to communicate with people that need not understand the premise. They quite frankly get the wool pulled over their eyes and were just trying to have a conversation. James says that “Now we’re having good conversation” in the second verse and we want to have good conversation, a positive dialogue. If anything that’s the way that social media has proven that this discourse is anything but civil. As a result of being locked down and everything else that has occurred. I think that probably, other than stuff James already mentioned, as to how this has affected musicians, that is also the same thing with us but being online means you’ve gotta put yourself out there in a way. It can be volatile out there. I experienced this first hand. The first week that this song has been out I’ve had to mitigate these comments where fans have felt betrayed that we have done something like this and my response is “Sorry that you feel that way but this is how we feel about it and you should really look into this because our lyrics over the last 15 years that we’ve been playing, you’ve probably missed some of that.” So it’s yeah it’s kind of like the idea that people are tweeting against Rage Against the Machine that have been fans for 20 some odd years and then realize that they have left-wing values.
TL: When I was listening to your track I thought that you weren’t just punching one way or the other. You have clips of Nancy Pelosi in there as well. I don’t think you were particularly going after one side, you were going after one class though. It’s not as if it is a good class, particularly if you’re talking about the one percent there and you know, who’s defending them? Why would you?
JS: Exactly who in the 1% is listening to this song? Like if this song is about you, if you’re the person that doesn’t give a fuck about us, then there’s only so many people that could be.
RG: Their probably not hearing this song in reality.
JS: And ya to be fair, at least Panda, I was thinking about how over the years Ryan would say that he got some pushback on a song, like I’ve been dealing with pushback online just for speaking and trying to change people’s minds about being anti-racist and pro-environment for many many years and it has been incredible to realize how many, I mean, I’m not trying to pigeon hole people but it’s always a white dude. It’s a white young man commenting, “Why don’t you shut up and play music,” “What about black on black crime.”, just you know straw man arguments. Stuff that we just don’t have the time or energy to deal with on that level, but we always try to be there and are open to have conversations but people don’t want to listen. Reggae, Rage Against the Machine, and hip hop all of this is revolution music that has been around since recorded music acts as a pressure valve for people to be more comfortable, and they’ll say “I am tolerant I listen to Bob Marley, and I’m voting for Donald Trump,” and it’s like, well you know what, I think we should have some more detailed dialogue about that stuff.
RG: The discourse that were trying to have here is to cut the extraneous bullshit that that people are being fed. This is how we end up with the culture of you know. Young white men that feel disenfranchised. But actually they are a more privileged class, you know- and it’s mind-boggling to me- that some of these lyrics could be misinterpreted. At the end of the day, the purpose of this song is to cut through the bullshit and the same with the video. The video shows that on both sides, that when you’re at the top, those people don’t really don’t give a fuck about you. No matter who you are. They only care about the bottom dollar, the bottom line, just like you said about share prices, people being concerned about yeah reporting, rail blockades because they’re worried about shareholders losing you know a lot of money or losing faith in the company. That is absolutely ridiculous. We’re facing catastrophic climate change that could end humankind as we know it and somebody is worried about stock prices. That seems so wild to me. You know people need to talk about these things, and you need to understand that this is coming from great, and you know I hate to quote Warren Buffet, but I’m gonna do it. You know when people are fearful he says to be greedy when people are greedy he says to be fearful. Right now you know the people at the top of the top are perpetuating this fear in society and it’s resulting in an exorbitant amount of greed. How is the stock market not ya know completely shattered? It doesn’t make any sense!
TL: When it comes to the young white men who are you showing up to your shows wearing MAGA hats being obtuse my current hypothesis is that conservatism represents a counter-culture and the youth enjoy rebelling and they enjoy being contrarian. They feel that when all their professors and their teachers are all liberal. “I’m gonna be conservative because that’s what they don’t like and that’s what they aren’t.” It’s to be contrarian, would you agree with that?
RG: Yeah. I agree with that yeah that makes sense. I think that a lot of these young white men and other people that are taking the uber-conservative side of things, I think that they lack a spiritual connection with themselves and they’ve lost their sense of identity. This counter-culture is that identity. That search for an identity, where they feel the need to identify with something that looks like them and that’s what I found with having to defend this song. When I’m looking up their Facebook profile, I’m seeing just “Being lost,” and I’m seeing that they are not being sure of themselves or who they are. That seems to be the case for a lot of these people I’m assuming. I’m Canadian so this might not be as big here so I might not be seeing it as often. James, what do you think of that?
JS: I think there’s a good degree of that on both sides and that’s like a bigger conversation about the American psyche or the American identity. When I was growing up all suburban kids listened to hip hop. And it’s like, why is that? Why are they listening to music that is directly about where you’re not from and not made by people in your position? In a lot of ways, it could be really beautiful because that’s one way that some people that are in an oppressed situation are making communication and it is being observed by people on the other side. That would be the call that we would all answer too. I think that that’s been my motivation in my life for my music, doing as good of a job as I can do. I’m not like a, you know, I don’t feel great about everything that I’ve accomplished for human rights since I’ve listened to Rage Against the Machine when I was 11 years old. It’s like, “Oh this is the side that I’m not being told”, “This is what I’m not experiencing” and I feel like it’s my responsibility as a moral person to bring justice and rights and to improve culture by talking about it because if you’re not talking about it then you’re supporting it.
And that’s from Zack Del La Rocha from his concert in Minnesota that I had a recording of that I was listening to when I was 13 years old. “If you’re not a part of the solution then your apart of the fuckin problem” that was in the middle of the speech in “Wake Up” and I’ve never forgotten that speech. It gave me goosebumps then, it gives me goosebumps now. He was talking about Leonard Peltier from the American Indian Movement in that speech. The thing I wanted to say about the young men who are rebelling and being conservative as apart of rebelling, what troubles me about that is that in the sixties, early seventies, in the eighties, with whatever that rebellion was I’m not sure, or grunge in the 90s was everybody was the, the counter culture was resistant to the greater culture, the hegemony, the mainstream. What’s scary about these guys is that there is already a structure ready to like accept them with this counter-culture and give them the tools to carry out this system. This includes tons of legitimate journals, newspaper writers, college professors, and ya know the money that’s given to colleges.
TL: They’re not organizing in garages, they’re being given grants from super PACs.
JS: Right! When I was in college I studied international relations and, being taught by hip-hop and African music things that I didn’t learn about growing up in the suburbs necessarily, points of perspective. I knew that jobs I would get to try and fix those things, there was no money there. Not even to pay me but not even to exist in a way that was meaningful. My counterparts in college were like, republican conservative people who went on to be funded by the Koch brothers and went on to be the president of not-for-profit groups in Washington D.C. who use 49% of their power to influence politics and 51% to influence culture because that’s what they have to do to be a non-for-profit. These are Koch brother founded organizations. That makes me really scared about these, that was going to have to be dealing with these young people as adults with power that are already coming from privileged places and they’re ready to be moved right along into positions of power.
Matt Gaetz, the 37-year-old Congressman from Florida, he’s just atrocious. Stephen Miller for instance he’s my age. If you thought these guys were old and dying out you’re wrong they’re being replaced with more young people. In the verses that I wrote in the song with Ryan I think one of the main points is to not be passive about this. Be active. Get on the streets. Sacrifice as much as you can because this is a fight that needs as much energy as possible because the people that don’t give a fuck about you. They also have all the money and a lot of them have all the guns.
RG: All the guns.
JS: They have all the guns because we’re non-violent people! We know that if you put a gun in your house you’re twice as likely to die from it. You know it’s like everything points to, I don’t want to have a gun but what am I gonna do when all these crazy people, ya know, it’s all about certain numbers. It feels good to go to a protest. Not on the internet. Actually out on the streets with people who believe in these things as much as you do. Ya know to these young MAGA kids it’s never the way that you see it on the news. It’s never a bunch of violent people (at the protests) its young, old, men, women, non-binary people, everybody’s there at these protests and so many times the cops just come bust it up. In Denver, my friend was in one for the boy Elijah and everybody was playing violins outside and the police came and tear-gassed everybody. This is not a time to be passive. You know Ben Shapiro, Jordan Peterson, they all tell you to watch. Wait and watch and just see what happens all of this is gonna come crashing down. Donald Trump is gonna rid the world of pedophilia, I’ve heard this from so many people, panda fans included. It’s just like “Sit and Watch, Sit and watch other people do this for you”!?! Why aren’t you apart of your movement that you speak so highly of?
“French-vanilla, butter-pecan, chocolate-deluxe, even caramel sundaes is gettin’ touched, and scooped in my ice cream truck, Wu tears it up.”
Iconic lyrics, on an iconic beat, this Raekwon and Method Man collaboration is one of the many iconic records that have solidified RZA’s status as one of hip hop’s best producers. Yet, the man behind some of hip hop’s most recognizable beats isn’t finished composing songs about ice cream.
And as of recently, French-vanilla, butter-pecan, chocolate-deluxe ice cream will now be served from Good Humor ice cream trucks sans-racially insensitive undertones. Celebrating their 100thanniversary, the pioneers of the ice cream truck have decided to make a much-needed change to their marketing strategies, ditching their old theme — with racial undertones and history — for a fresher, more inclusive version, composed by the Wu Tang head honcho.
They called me up and was like ‘We gotta do something about this, Riz. We can change the dynamics, we can make a new ice cream jingle for a new era. We wanted to make a melody that includes all communities, that’s good for every driver, every kid.
– RZA in a social media video accompanied by the new jingle.
The old jingle “Turkey in a Straw” is tainted with a history of being performed in 19th century minstrel shows, with the lyrics often replaced in favor of more egregious options.
Good Humor has said in a statement that it is now “calling on all drivers to stop playing ‘Turkey in the Straw’ immediately” and, to ensure that, they have released the song as a free download for every ice cream truck to use.
The RZA endorsed jingle, keeps many of the same elements that will continue to endear children to ice cream trucks, while incorporating sped up drums, giving it a faster pace, as well as a hip hop feel.
Syracuse‘s Charley Orlando will release his newest album, Note to Self on October 30. The songs on the album reflect the last eight years of Orlando’s life through music.
The origins of Note To Self are found in 2013, when Orlando stopped touring as a musician and became a talent buyer in Syracuse. Without touring to back up releases, he was dropped from his record label and stopping playing and writing music for a bit.
Orlando recorded the audio for Note To Self in 2019, then in April and May of 2020 he recorded new versions of each song live on video, with a 2020 mind set. The result: a video album and audio album that have different takes on the same songs. Videos are released weekly, one song at a time, with the full album available on October 30.
“Ascent” started its life under a different name. I was asked to write by my buddy Big Daddy who was deep into the 99% movement, one that I believe in. So I wrote the tune for that situation but while I was on tour.
I pulled off the side of the road in NoCal in the redwoods and wrote the tune and did a little video on my phone and sent it off to him. I hadn’t played the song since it was written and I came across it one day and thought “this one fits today with a little work.” So I rewrote some lyrics and it became “Ascent.”
Charley Orlando
“River Rollin’” is a brand new song. I needed a happy tune at the time and that is what popped out. It’s an everyday life song to make me smile
Charley Orlando
“Take Cover” was written right after POTUS was elected in 2016 but it wasn’t a finished product until the album really. Basically it’s a plea for all of us to stop beating up on each other so hard.
Charley Orlando
Orlando’s latest videos, “All it Can Be,” “Torch” and “Surreal” have just been released.
“All it Can Be” is a mellow tune that deals with the grey areas that use to exist being more black and white than ever.
Charley Orlando
On “Torch,” I wanted a kicking bluegrassy tune in there so I whipped up this tune. It’s folk by nature but designed to be up and fun.
Charley Orlando
This tune just materialized out of the air and I grabbed it and gave it some form. It was a surreal moment while writing this song so I gave it that name. Sometimes things are that simple. Enjoy!
Premiering on October 2, “Pure Sunshine” is the first of Orlando’s videos in color. “I made a point of making all my videos for this album in black and white to get the point across that the grey area is gone!” Orlando wrote this song three years ago following his father’s passing. “He was the biggest influence in my life and this song was my way of continuing the conversation with him in song.”
“Note to Self” is the title Track and final song that Charley shares in advance of the release of Note to Self.
It is my most honest song about emotion and depression that can sneak into all of our lives over various events or moments that are just really hard to shake. It made me breathe easier once I wrote this song. I truly hope it works the same for everyone else.
Note To Self was recorded at Lion’s Den in Memphis, NY by Brian Lauri, produced by Charley Orlando, and mixed and mastered by Andrew Graecen at Moresound in Syracuse. Pre-save the album here
After a long hiatus from live performance due to the COVID-19 pandemic, Vermont jam quartet Twiddle returned to the stage this weekend for three socially distanced Drive-In shows. Taking place in Essex Junction, VT, the three sold-out shows were a welcome return to live performance for the band, with over 250 car passes sold for each night.
We can’t thank our fans enough for making our first live shows back such an incredible and safe experience. It felt amazing playing live again with the boys and having our brother Taz join us, elevating the band as he always does.
Mihali Savoulidis (Guitar, Vocals)
Twiddle kicked off a stellar weekend of music with a fantastic first set on Friday, August 14, during which the band seamlessly segued through their first set without a break between songs.
After sunset, the band took the stage for an improvisation-heavy three-song second set, featuring “Gatsby the Great,” “Doinkinbonk” and “Cabbage Face.” The show closed with fan-favorite sing-along “Orlando’s.”
Saturday presented material from various phases of the band’s 15-year career. Highlights from set one include “Zazu’s Flight” > “Bronze Fingers” > “Zazu’s Flight,” as well as a tender rendition of “The Machine,” featuring drummer Brook Jordan on vocals. Twiddle closed the first set with a raging rendition of “Every Soul,” with special guest 16-year-old guitar phenom Brandon “Taz” Niederauer.
Saturday’s second set was rife with deep jams and segues, including the introspective ballad “River Drift” sandwiched between “Dr. Remidi’s Melodium” and “Nicodemus Portulay.” Taz sat in on “Tom’s Song” during set two and returned for a “Comfortably Numb” encore, played for the first time in over nine years.
Wrapping up the weekend, Sunday’s first set showcased a healthy mix of Twiddle’s bluegrass influences and improvisational acumen, with twangy acoustic takes on “Hattibagen McRat” and “Fat Country Baby.”
Twiddle rounded out the weekend in Vermont with a trip down memory lane, with set two featuring throwback favorites “Invisible Ink” and “Tiberius,” before closing out the show with an epic “Beethoven and Greene.”
Night One – 8/14/2020 – Drive In – Essex Junction, VT
Cait Devin is an 18 year old indie/alt pop/rock singer-songwriter from Utica. Although young, this self-described “strummer and shredder” is musically and creatively talented. Cait currently is an independent artist, but recently released her first album and has collaborated with several other artists.
Cait tells NYS Music, “I’ve been singing my whole life, but picked up an acoustic guitar in my mid teens. I began playing lead guitar two and a half years ago and ever since, I’ve spent a lot of my time diving into it more.” Her album, Cait Devin (Unplugged), is entirely acoustic; however, she still spends a lot of time with her electric guitar.
Cait says that “just keep playing” has been her motivational mantra since the start of her career, and she has not disappointed herself. Despite her young age, she “has written hundreds of songs.” When she was just 16, she was a SAMMY’s People’s Choice Award finalist before even having a record out. She won “Extrodinary Talent of the Week” in Syracuse, and, later that year, released her first EP, “Gemini Rising.” Soon after, she booked a tour in Nashville.
Cait frequently uploads original songs and covers of various artists online and proves to have a wide range of talent. She’s covered The Cranberries, MGMT, The Beatles, Slipknot, and more. She’s covered so many artists that she “wouldn’t be able to pick” her favorite. She even remixes famous songs and themes, making them entirely her own. She has entire playlists of covers and originals on YouTube available for free.
Cait writes about her own experiences, saying she draws inspiration from life. “I take random inspiration here and there and just write about it,” she comments. “Some of my influences for my songwriting include Ed Sheeran, Taylor Swift, Grimes, and the Weeknd. As far as my lead playing goes, I would say players like Nita Strauss and Steve Vai.” The great variation in her top influential artists perfectly shows how Cait’s music style and skill are so adaptable. She can blow audiences away with soft acoustic pieces but still shred like a pro. Her powerful and emotional vocals shine brightly in every piece she writes or covers.
Although a young independent artist, Cait’s talent is attracting attention. She’s performed at different venues, and recently went live on the News 12 Facebook page and played two songs from her album, and has previously been featured on top NY radio stations. She has over 2k subscribers on YouTube, and more than 8k followers on Facebook. She’s collabed with Jared Dines, Hiram Hernandez, and more, and recently appeared on the single “Unbroken” by Michael Angelo Batio, along with Vinnie Moore and Andy James. She also has a new, big “shred collab” project in the works, but can’t say much about it. Be sure to follow her for updates!
