Category: Reviews

  • Flashback: Megaforce Records Fifth Anniversary Show at The Ritz – August 10, 1988

    The Ritz in New York City played host to Megaforce Records fifth anniversary show on this day 32 years ago, August 10, 1988. The show featured S.O.D., Anthrax, Overkill, Testament, M.O.D., and King’s X.

    Megaforce Records, of course, was the great east-coast underground metal label from the gods.  Technically, Megaforce was a New Jersey label, not a New York label, but its founders, Johnny and Marsha Zazula, were New Yorkers, and later in the 80s when the label became associated with Atlantic Records, they became more New York-based.  Like the UK’s Neat Records which defined the northern British metal scene in 1980-83 or Minneapolis’ TWIN/TONE or Seattle’s SUB POP later in the 80s, Megaforce was the label that defined the East Coast, North American (and beyond) underground/thrash scene.

    In the early years, almost every release was flawless, you could buy the record based on the label alone: Metallica’s ‘Kill ‘Em All’ and ‘Ride The Lightning’, Raven’s ‘All For One’ and ‘Live At the Inferno’, Anthrax’s ‘Fistful of Metal’, Exciter’s ‘Violence & Force’, Overkill’s ‘Feel The Fire’, the great ‘From The Megavault’ compilation, and S.O.D.’s all-powerful ‘Speak English or Die’, just to name a few. Classic after classic after classic.

    Megaforce Records

    By 1988, when this gig happened, Megaforce had expanded well beyond the literal mom-and-pop operation that had organized gigs by bands like Anvil and Brooklyn’s Riot, brought Venom and Raven over from the UK for the first time, brought west-coasters Metallica out east and released the first Metallica records and first Raven records in the States. By now they were bigger-time, associated with major label Atlantic for most of their acts (except New Yorkers Anthrax, were on Megaforce-Island Records). I was doing a college radio show at WCDB up in Albany and we played piles of new and old Megaforce stuff and the Megaforce folks who serviced college radio were very cool gals. So this show – a Megaforce 5th Anniversary party with a bunch of bands – I had to go.

    I remember I drove down to NYC in whatever crappy old car I was driving in ’88, and met my buddy Steve K, a Brooklyn-ite who did the radio show in Albany with me but had a summer job in Manhattan. I think we got food and drinks at some place Steve knew that would serve underage kids like us, and then found a parking spot and went to the Ritz – and saw Scott Ian from Anthrax walk by with his guitar case. A good start.

    There were numerous bands – see the flyers attached. I think New York legend and KISS guitarist Ace Frehley, who’d just become a solo Megaforce act, was going to play but didn’t, which was fine with me. I love Ace, but it didn’t really fit in my mind what “Megaforce” was. The band all played short sets – either 3 or 5 songs, I think. I was hoping there’d be a surprise Metallica set or something, or maybe Raven or something, but it was not to be – the bands were as advertised, and S.O.D. was playing, which was unusual enough.

    Megaforce Records

    I don’t remember first band Prophet, but they were a bit more lightweight, commercial metal than the usual Mega-bands from what I recall about them, so we either missed or ignored them while getting beer. We managed to figure out how to get served, despite being underage – I’d just turned 20, Steve was younger – and blagged our way up to the balcony “V.I.P.” section. Beer was free up there, and you’d look around and see Danny Lilker from Nuclear Assault over here, Billy Milano from M.O.D./S.O.D. over there, Doug Pinnick from KING’s X walking by (I stopped him and told him how great their debut record was, he could not have been cooler), Rob “Wacko” Hunter who’d just left Raven at a table over there, and most memorably, Joey Ramone, hammered as the day is long, staggering by with a couple of punk rock chicks on each arm. I had to go over to Wacko and let him know I’d always considered Raven one of the great bands ever and he testily said “yeah … USED TO BE,” but was cool and shook my hand.

    Anyway, the bands. Recollections are dim and general, as the ale was flowing, but I remember being blown away by King’s X. This was my first time seeing them, heavy rock with melodic vocal harmonies everywhere, I loved that debut ‘Out of the Silent Planet’ record, and they didn’t even slightly fit on this bill. I recall them opening with “King” and closing with “Visions” and playing one other song. Fantastic band, and one I’ve loved since.

    West Coast thrashers Testament are a great live band, and I’d seen them play with Anthrax the summer before, but they sucked this night. I think they made it through not even two songs before having sound problems, having hissy fits onstage, knocking over their amps mid-song and stomping off. Lame.

    Megaforce Records

    M.O.D. played either before or after Testament (or maybe even after Overkill), were a big Megaforce push in the ’87-88 years, and were good, but I always thought they were a poor-man’s S.O.D. And the real thing was playing later.

    New Jersey thrash kings Overkill ruled, maybe the band of the night. I think they played a couple songs from the then-current ‘Under The Influence’ album, but they definitely played “Rotten To The Core” from the first record, and the place went off – I was down in the pit by then.

    Queens band Anthrax were a very big deal by 1988, so seeing them in a club already seemed unusual and special, even though they’d just graduated to the bigger halls less than a year before. They stuck mostly to the hits (“Indians”, “I’m The Man” I think), but I recall they played “Metal Thrashing Mad” from their debut Megaforce record, if I’m not mistaken, which brought down the house.

    And then: S.O.D. By now everyone in the house (including me), and the band probably too, were well into their cups. I remember Billy, Danny, Scott and Charlie walking on stage, starting with “March of the SOD” and the place exploded into a giant pit, bodies flying everywhere – S.O.D. had only ever played a handful of late ’85 shows when that record came out, and this was the first-ever show after the ‘Speak English or Die’ album had graduated to legendary status. It was like the crossover Beatles had reformed. “United Forces” had the whole place roaring. It went too quick and the gig was over.

    We made it back up to Albany alive somehow. I think I asked Steve to get us out of the city and I’d drive the rest of the way, passed out, and I dimly remember waking up and seeing him driving manically up I-87 with a giant cup of coffee, a Budgie mix-tape that was in my car cranked, and all the windows open. So I left him in charge and passed back out until we reached Albany – I think I had to work in the a.m. anyway. A mighty night. All hail Megaforce Records. 

  • Aqueous Delivers a Summer Blockbuster Double Feature at Silver Lake Drive-In

    A strange summer in a strange year has seen a dearth of entertainment options. No movies. No music. A small band of heroes, named Aqueous, sought to fill the void for at least two beautiful August nights at the Silver Lake Drive-In Theater, amongst the beautiful rolling hills of Western New York. In classic Drive-In fashion, it was a double-feature, rife with of edge-of-your-seat thrills, suspenseful popcorn-tossing excitement, and of course heart-touching drama.

    aqueous silver lake
    photo by Paul Citone

    Night one opened with the slinky grooves of “Phase III” and didn’t really let up from there, for what turned into a non-stop funk-out dance party, appeasing the live-music-starved audience. It wouldn’t be long before the band sunk it’s sharpening teeth into an epic 30-minute “Origami.” It explored multiple plot points before exploding in straight fire guitar shredding. Like donning 3-D glasses, fuzzy dissonance came into sharp jump-off-the-stage focus, throwing the crowd’s heads back in awe.

    The fans weren’t the only one’s missing live music. The band was clearly feeling the emptiness of the summer concert schedule, in particular the jam-scene mainstay Phish. They sprinkled multiple teases throughout the weekend. “Origami” featured some “Bathtub Gin” riffing, and then “Reba” and “Down With Disease” were jokingly teased before kicking into a full-fledged cover of “Horn” complete with real live horn honking from the crowd. Later on it came as a “Tweezer Reprise” hint here or a “Maze” segment there, like a famous actor playing a winking cameo in a smaller film.

    Having gotten the gang back and firing on all cylinders in night one, the story arc advanced in night two. The heroes intent on ousting the evil villain who had robbed the world of its live music energy source, called upon the Aquengers. And they wouldn’t disappoint. At least for a short time, the air would fill with sweet sounds, the audience would laugh, dance and smile, the world seemed to be right side up once again.

    The night’s opener, “On the Edge” dispensed with the booty-shaking funk of part one, and dropped quickly into a dark groove. Guitarist Mike Gantzer added in some twisted slide work while bassist Evan McPhaden pushed out monster-crushing bass blasts. It was some of the finest playing of the weekend, the band was locked in from the get-go. The ensuing “Random Company” rose and fell again and again, producing bigger and bigger swells of energy, in what would set the tone for an evening full of brilliant slow-building jams.

    photo by Paul Citone

    Knowing it was as big an enemy they would ever be called upon to defeat, the team added the friendly neighborhood Spider Man to their roster, with a fun instrumental run through the classic cartoon theme. Would it be enough? Even when the sound system went down during “Be the Same,” the band persisted, blasting through the minor hiccup with a set-closing rock out.

    The 3-song hour-plus final set featured even more suspense. The band was hyper-focused and patient, developing in-the-moment beauty time and again, with ever more revelatory peaks. David Loss’s multi-weapon attacks would reach a climax in the show-closing “Triangle” with rapid-fire guitar and an extended classic rock-out ending.

    Ultimately though, after the dust cleared the future of music is no clearer. No one knows when normal live music gigging will resume. Though drummer Rob Houk cut that tension with some much appreciated comic relief. He provided some fantastic banter throughout the two-night run, and also hammed it up on quality covers in the encore slots. Night one saw him singing from the roof on Pearl Jam’s “Dissident” while night two had him crushing Van Halen’s “Jump” after having hilariously threatened some Bon Jovi earlier in the evening.

    Aqueous Silver Lake
    photo by Paul Citone

    While a Drive-In concert is certainly not ideal, under the current circumstances, the promoters at Buffalo Iron Works and the venue Silver Lake Drive-In provided the band and fans a very safe environment to briefly enjoy some level of normalcy to what would usually be a summer full of long nights of live music in sheds, fields and anywhere you can fit a stage.

    Setlists

    Friday, August 7
    Set 1:
    Phase III, How High You Fly, Origami, Horn (Phish cover, debut) Eon Don
    Set 2: Skyway > Calling Out, Marty, Come and Go > Don’t Do It
    Encore: Dissident (Pearl Jam cover, debut) w/ Ryan Nogle on drums

    Saturday, August 8
    Set 1
    : On the Edge > Random Company > Spider-Man > Random Company, Weight of the Word, Be the Same
    Set 2: Dave’s Song, Color Wheel, Triangle
    Encore: 6’s and 7’s (debut), Jump (Van Halen cover, debut) w/ Ryan Nogle on drums

  • Flashback: Garth Brooks Holds the Largest Concert in Central Park history on this day in 1997

    It’s been 23 years since Garth Brooks rocked the Big Apple with a powerful concert dubbed “Garthstock” in Central Park, and people are still talking about it.

    Garth Brooks Central Park
    An estimated 980,000 people attended the 1997 Garth Brooks concert.

    On August 7, 1997, Brooks decided to perform on the grounds that so many acclaimed musicians had as well. Among the stars to play there were Diana Ross, Elton John and Paul Simon, to name a few. Could Brooks pull off the same notoriety as the past shows?

    Brooks tweets about the 20 year anniversary of the Central Park Concert.

    The pop-country musician started making headlines in the late 1980s, so by 1997, the crowd for his show was expected to reach thousands. Brooks won Country Music Award ‘Entertainer of the Year’ seven times, a first for any artist.

    The significance of this concert came from admittance being free and was broadcast live on HBO. He also had a couple famous special guests by the name of Billy Joel and Don McLean.

    The largest concert held in Central Park.

    The New York City Fire Department said that 980,000 people attended the concert, making it the biggest concert ever. Although there’s debate to whether that number was true, the crowd’s size surpassed all of the past artists.

    https://youtu.be/_ACGXBcA2XI?list=PL4nHA4cnNtyjU2VKrHMIoNt2R4URgrQjt

    On the 20 year anniversary of the Central Park concert, Garth Brooks sat down with ET.

    “I never seen so many people in my life. Try to remember, in my hometown, when I grew up, [there were] probably 17,000 people. So, to look out and see 40 times your hometown out there, it’s like — it was crazy. It was so beautiful.”

    Garth Brooks
  • Hearing Aide – “Audience of Summer” by Miserable Chillers

    Miserable Chillers’ new album Audience of Summer has been released today, Friday, August 7. Chillers’ songs primarily deal with growth and exploration, especially as climate change irreversibly alters our natural landscape.

    Miserable Chillers is a baroque pop project created by Miguel Gallego. While Gallego previously released three EPs, Audience of Summer is his full-length debut album. Its release was preceded by three singles: “La nave del olvido,” “The Glass,” and the album opener, “Saga’s Sword.” Made up of nine short tracks, Audience of Summer is a deeply pleasant listening experience that floats right by.

    Despite Gallego’s gloomy pseudonym, many of the songs are cool and upbeat, especially early on in the album. “Saga’s Sword” in particular has a beachy quality (further accentuated by the album cover), whereas vaporwave influences reign supreme on “La nove del olvido.” This is most likely intentional: vaporwave tends to satirize consumerism, and the track is about finding wrappers, plastic bags, and other eco-unfriendly debris on the ocean floor. The album track “Card Captor” is also a standout, in which Gallego’s vocals channel Imogen Heap over mesmerizing synths.

    Although a Brooklynite, Miguel Gallego grew up in suburban New Jersey. His fascination with nature began with a “bizarrely bucolic” creek in the woods beside his house, which he later discovered was man-made. “[Audience of Summer] is a document of where I was before things changed permanently and abruptly,” Gallego said in a press release. “I feel a personal affection for myself growing as a person and as an artist as I made this.”

    Audience of Summer is now available for streaming, as well as on digital album and cassette. 50% of proceeds for the latter formats on Bandcamp are going to Bed-Stuy Strong through August 7. Bed-Stuy Strong is an organization that provides food assistance in Brooklyn’s Bedford-Stuyvesant neighborhood.

    For more information, see Miserable Chiller’s Bandcamp page.

    Key tracks: Saga’s Sword, La Nave del Olvido, Card Captor

  • Walking in Bendt’s World: Rock Music Beyond the Surface

    An Albany passion project amongst friends has evolved into a molecular musical composition, otherwise known as Bendt. The four-piece rock group strands undoubted rock heritage with a meticulous nuance of modern yet technical tangents. In their most recent, and debut full length, Bendt tells a story that clearly roots deeper than their sonic surface.

    Bendt

    Bendt’s nine track album, Brightness in the Barrens, is sequenced in such a way that provokes the ear. With each track comes a new tone, walking you up a spiral staircase. It’s that moment where you inch closer, adjust your ear and grow more curious with each step. “Encumbered,” marks that sonic threshold where you’ve now entered Bent’s world – The Rock n’ Roll egg has been cracked and mutates before your own eyes.

    A Lonely shadow wearing down

    The flooding ends but the flames abound

    With knowledge worth its weight in gold 

    Encumbered minds best left unsold

    “Encumbered” – Bendt

    Notably, Bendt has made an effort with the albums opening track “Symptoms.” It debuted as a single in January and paired with a play-along music video. You can’t knock a band that leads with their musical foot forward. The opening hook is gritty with drum licks that make the listener jump more than once. Lead guitarist, Carl Blackwood, is impressive as he takes the bridge to atmospherical heights. Each instrument colors the piece in their own right, but Bendt is just getting warmed up.

    Bendt has that iconic rock sound, but thrives in their subtle textures. Tracks like “Dire Elevation,” “13th” and “Don’t” start at utter ends of the spectrum and contrast each other brilliantly. It’s a physical fitness test of the musical minds. Nothing yields way. Everything is continually changing.

    Bendt @ Sonelab Recording Studio 12/16/18 – Bryan Lasky

    Without ample background, Bendt punningly plays on the notes between the notes. Highlighting on a personal favorite, “Knife” cuts right through the bullshit. Downright gritty rock that highlights the strength of each player. Continually throughout the album Blackwood and bassist, John Longo push and pull against Matt Plummer’s lead vocals. Drummer Cody Bingham doesn’t play like an outright rock drummer. His nuance captures the intricate textures that non-chromatic instruments often miss – taking what’s his and bolstering the energy in the room. Then roaring on the floor tom, sharpening the band back into the hook.


    Album outliers “Open Spaces” and “Something” round out this debut and make way for a suspenseful setlist if weaved carefully as interludes, or stacked as dreamy encore.

    Bendt is a hip rock band that plays outiside the box. My guess: their live performances will keep the eyes and ears on edge, trying to absorb what’s actually going on. Gridlocked by the pandemic “Brightness in the Barrens” has not had its chance to bloom.

    Be sure to check out Bendt’s 2017 self titled EP that holds its own against Brightness in the Barrens eye for eye – or mixed on shuffle. “Odyssey” is a mysterious harmonic that lurks in the musical mastermind of Bendt – giving way with long-winding strums – so you can take it all in once again. It grows.

  • Cosmic throws a Birthday Party for Jerry Garcia

    Just as music fans the world over are clamoring to get their fix, so, too, are musicians longing to get out in front of actual crowds and ply their trade. No live stream can replicate the energy of a live concert, where musical notes serve as a conduit facilitating an infinite loop of energy travelling between the band and the audience. Live music requires presence —  you have to be there, to be sure — though not just in body, but in mind and spirit, too. Within that presence, as one finds alignment with the head, the heart, and the feet, is where the magic lives. As it has been said, “Seek and ye shall find.” 

    Bridging that thought, it’s been especially hard to find live music these days (no explanation necessary), especially that of the safe and socially distant variety with crowds respectful of both coronavirus and others’ personal space. Creativity has become the order of the day in terms of booking, and I’ve now been lucky enough to catch a few live shows in locales previously unthinkable: a field behind Woodbridge HS, the Asbury Park Elks Lodge, even a few backyards, not least of all my own.

    Cosmic Jerry Garcia

    Some days live music seems more poignant than others; Jerry Garcia’s birthday has always been one of those days. I’ll never forget seeing Jerry on his birthday at The Palace at Auburn Hills, August 1, 1994, one of just three performances by the Grateful Dead on this date. Well, in the summer of 2020, any live show is special, and just as I was one of the lucky ones to see Jerry’s birthday show in ‘94, so, too, was I lucky enough to see Cosmic open the Days Between (marked by the days between Jerry’s birth and death, 8/9/95) on August 1, 2020.

    After having spent the day on the beach in Asbury Park with my wife, we parted ways {one of the beautiful things about our marriage is that even though we have divergent interests, she unilaterally supports my passions} and I grabbed some primo socially distant real estate at the Asbury Elks Lodge, right up front near the band and in front of the PA. I’ve spoken of silver linings in other recent musings, but my favorite one bears repeating: encroaching on someone else’s personal space has become societally uncool, and that bodes really well for an abundance of dancing space. Punctuality has also become the order of the day and, since timeliness is next to godliness, mine was rewarded not just with the best 10×10 foot square in the house but also with soundcheck, a tasty version of “Beat It On Down the Line,” even if the band ultimately decided not to play a “seventy-eight beat intro for Jerry’s birthday” after briefly parrying the idea back and forth. 

    Just fifteen short minutes after the announced start time of 4:00, everybody was dancing in a ring around the sun as Cosmic took to the stage and opened this gorgeous afternoon with the Grateful Dead’s anthemic summer song, “The Golden Road To Unlimited Devotion.” This song has a short history with the Grateful Dead  and wasn’t to be played live at any time after 1967, wayyyy before my time, heck, even before the actual summer of love later that same year, but to me it’s always been a party tune and set a fiery tone for the day as the band implored, “Hey hey, hey, come right away. Come and join the party every day.” An impressive and energetic “Viola Lee Blues” followed (is there any other kind???), before the band played “Set Me Free”, the first of seven original tunes they would play on this sunny August afternoon. 

    Cosmic Jerry Garcia

    Shirtless guys and sun-kissed girls in long flowing dresses, spinning and twirling in a scene reminiscent of San Francisco’s Golden Gate park, the crowd was beauty personified. On this day, as we celebrated what would have been Jerome John Garcia’s 78th trip around the sun, none of us were thinking about the problems of the world, at least no more so than pertained to social distance and wearing masks. We were celebrating the life and music of Jerry Garcia, the outward expression of whose passion in turn shaped most of our lives. From the youngest among us who, forget about having seen Garcia live, probably shouldn’t have been drinking legally, to those with stories from the Avalon Ballroom and the last time they saw “Golden Road” live, our collective spirit embodied the principle of community. 

    Yet, in a whole world full of petty wars, “Throwing Stones” unfortunately seems to grow more relevant with each passing day. Political bullshit aside, it’s a fun song that set up one of the day’s highlights, “Cream Puff War”, driven by the insane timekeeping of drummer Dan Donovan, who would also provide an interesting bit of trivia during set break, “I wanted to make sure we worked this one into the setlist today since it’s the only tune (whose lyrics) were written by Garcia.” A short but combustible tune that the Grateful Dead only played in 1966 and 1967, Cosmic did it great justice on this most special day for Deadheads. That, I think, is the beauty of the Grateful Dead and the symbiosis they inspire between the musicians occupying their space and the deadheads taking it all in. Regardless of who’s holding the guitar, we’re all just fans (maybe fanatics would be more appropriate but let’s not parse words). 

    Another glorious original rocker followed, “Make Me Feel High,” as Wanda, Exalted Ruler of the Fraternal Order of Asbury Elks (I can’t shake the image of Fred Flinstone as Grand Poobah of the Royal Order of Water Buffaloes) made her way to the stage, seemingly intent on having a discussion with each band member during the middle of the song. Fully expecting a buzzkill announcement like “turn it down” or some shit like that, Wanda surprised me at the end of the song by taking the mic and welcoming us all while imploring us to “enjoy the music and the hospitality.” Poor timing aside, it was a nice message.

    Taking the break as a chance to confess their hunger and ask for provisions, a familiar drumbeat signalled the start of “Samson & Delilah,” with bassist John “Jelly Roll” Nemeth taking lead vocals. John was a noticeable force on the bass all afternoon and I’m sure glad I had a hand in getting his mix turned up during soundcheck. “Wine Women Rock”, another original, this one with keyboardist Billy Siegel on lead vocals, was so good that one fan felt inspired to drop a tip in the bucket on stage left in the middle of the song.

    Cosmic Jerry Garcia

    Even when he’s not singing Dead tunes, Billy still has the Brent Mydland thing going on and I just love his vocals, this last being my favorite of the “Billy” tunes. Lead singer and guitarist Michael Jaskewicz went off script with the next one, a lovely version of Dylan’s “When I Paint My Masterpiece” before an explosive “China Cat Sunflower” > “I Know You Rider” that closed the set 75 minutes and almost 10,000 steps later. 

    I love that this band, with a local and loyal following behind them, has the balls to play their own songs in key spots of the set. Opening the second set with “This Fire”, they continue to make the statement that they are so much more than a Dead cover band. I haven’t asked but I suppose that’s why they dropped “Jerry Band” from their moniker, as they seek to grow and develop their own material. I’ve now heard eleven original songs over two shows these past couple of weeks, and here’s to hoping there’s an album release on the horizon. 

    “Foolish Heart” is always a treat and Jaskewicz characteristically dazzled with both his guitar and his voice. “The Wheel” gave way to “Crooked Tree”, another rockabilly original that really slams as Siegel pounded the black and whites. Some fine setlist wizardry gave an emphatic Siegel the chance to continue stealing this segment of the show with the joyous “Hey Pocky Way” that followed. There would be no MVP, however, on this sun-soaked afternoon, as it was a total team effort. “Run For the Roses” was the first turn through the Jerry Garcia catalog before “We Are Divine,” an original dripping with proggy funk that was one of the best songs of the night, GD or otherwise.

    During “Terrapin Station,” I closed my eyes and transported to another time and place, enjoying the simultaneous delicacy and raw power of a song that, from the first time I heard it, literally shaped the rest of my life. The Rolling Stone’s “Loving Cup,” even if it felt more like Phish’s version, rocked like the set closer that it could have been (my notes here simply read, “Sweet Jesus!”), even though there was still a “Loose Lucy” and a “Might As Well” on tap. Singing thank you, for a real good time!

    I’d have gone home happy right then and there, fully spent having shared all of my love and energy with the band and the folks around me, but if the band was going to treat us to one (or three) more, I’d dig deep and continue to give all of myself right back. One more original was followed by a pair of JGB tunes, the powerful “Mission In the Rain” and the prayerful “Sisters and Brothers”. “Mission” has long been a personal favorite, a song by Robert Hunter that really paints a picture of the human condition.

    Of this song, Garcia, in an interview, once said “Mission in the Rain” was “… a song that might be about me. It’s my life; it’s like a little piece of my life. Hunter writes me once in a while.” I felt every bit of that with Nemeth’s foreboding bass notes and Jaskewicz’ stirring vocals. As for “Sisters and Brothers”, what better way to close the day than with the hopeful gospel of Charles Johnson song popularized by the Jerry Garcia Band, “My Sisters and Brothers.” I’ll leave you with the power of its words …

    I wanna say to my sisters and my brothers
    Keep the faithWhen the storm flies and the wind blows
    Go on at a steady pace
    When the battle is fought, and the victory’s won
    We can all shout together, we have overcome
    We’ll talk to the Father and the Son
    When we make it to the promised land
    If we walk together, little children
    We don’t ever have to worry
    Through this world of trouble
    We gotta love one another
    Let us take our fellow man by the hand
    Try to help him to understand
    We can all be together, forever and ever
    When we make it to the promised land

    18,651 steps on the lawn of the Asbury Elks. Who’d have thunk it???

    Setlist

    Soundcheck: Beat It On Down the Line

    Set One: The Golden Road (To Unlimited Devotion) > Viola Lee Blues, Set Me Free*, Throwing Stones > Cream Puff War > Make Me Feel High*, Samson & Delilah, Wine Women Rock*, When I Paint My Masterpiece, China Cat Sunflower > I Know You Rider

    Set Two: This Fire*, Foolish Heart, The Wheel, Crooked Tree*, Hey Pocky Way, Run For the Roses, We Are Divine*, Terrapin Station, Loving Cup, Loose Lucy, Might As Well

    Encore: unknown original, Mission in the Rain, My Sisters & Brothers 

  • ‘Remain In Light’ Remain Inside — Talking Heads’ COVID-19 Prophecy

    You’ve likely read the comment, “This album is ahead of its time,” but what does that even mean?

    Just before the Talking Heads created their most critically acclaimed album, Remain in Light, the group was getting sick of talking to each other. David Byrne was considered “too controlling” by the other 75% of the band and like all rising rock stars, hinted at leaving the group in early 1980 to pursue his solo career. Lucky for music enthusiasts, art prevailed over war. The ‘70s are proof that tension in the recording studio has a track record of birthing masterful albums. Fleetwood Mac’s Rumours, Pink Floyd’s The Wall and The Beatles’ Let It Be, stand the test of time in terms of compositional and lyrical genius, but nothing foreshadowed our current social and economic COVID-19 pandemic like the Talking Heads fourth studio release. 

    Remain In Light transformed a new-wave, post-punk quartet into a 10-piece worldbeat-funk band in just eight African-inspired tracks. And where there’s polyrhythmic improvisation, there is prophetic intellect. Evidence of Talking Heads time travel can be found in the album made public on October 8, 1980. Nearly 40 years later, the 40-minutes body of work speaks to our society more than ever. 

    Remain in Light

    BORN UNDER PUNCHES (THE HEAT GOES ON)

    David Byrne greets the listener with, “Take a look at these hands,” an ode to obsessive hand washing during a time of paranoia, uncertainty, and cleanliness. 

    All I want is to breathe. I’m too thin.
    Won’t you breathe with me?
    Find a little space, so we move in-between. In-between it.
    And keep one step ahead, of yourself.

    Look up symptoms of COVID-19, and find “shortness of breath or difficulty breathing” at the very top of the list. How can we prevent the spread? By creating a safe space (six-feet to be exact) between us. 

    Don’t you miss it, don’t you miss it.

    Some ‘a you people just about missed it! Last time to make plans!

    Well I’m a tumbler…
    I’m a Government Man.

    The government men across the globe have canceled social gatherings to prohibit the spread. Before everyone had a chance to say their last goodbyes to each other, bars, restaurants, college campuses, sporting arenas, public parks, coffee shops, and libraries were closed down until further notice. 

    Never seen anything like that before.

    The nation is under attack as we fight an overwhelming and unprecedented battle. Quarantined citizens are emotionally drained, sick patients are physically deteriorating, workers are financially crippled and hospital works are most of the above. 

    All I want is to breathe.
    Won’t you breathe with me. Hands of a Government Man.
    Find a little space so we move in-between.
    And keep one step ahead of yourself. Don’t you miss it! Don’t you miss it!

    As compassionate people come together to praise essential works, conservative Americans are unable to face themselves at home as they fight to reopen and build a wall around logic. “Born Under Punches” describes a government turning a blind eye to human suffering, a lack of air, social distancing and unprecedented events. And that’s just the first track.

    CROSSYEYED AND PAINLESS

    David Byrne now plays a man gone mad from media. 

    Lost my shape

    Trying to act casual

     Can’t stop, I might end up in the hospital

    Some die and some are asymptomatic, but all are impacted by COVID-19. Emotionally, physically, or socially. For the majority of Americans, a privileged, everyday life came to a screeching halt as cases began to skyrocket. 

    They’re back, to explain their experience.

    In the age of social media, many stories are told, most are fake news. This disease was considered to be extremely deadly in some circles, yet many citizens have recovered, and even more may have had it without knowing. 

    I’m ready to leave
    I push the fact in front of me
    Facts lost
    Facts are never what they seem to be
    Nothing there!
    No information left of any kind
    Lifting my head
    Looking for danger signs

    No right answer. Scientists and reporters are doing their best to report facts, but the paranoid public isn’t confident they are moving in the right direction. 

    The island of doubt
    It’s like the taste of medicine
    Working by hindsight
    Got the message from the oxygen
    Making a list
    Find the cost of opportunity
    Doing it right
    Facts are useless in emergencies

    The White House ridiculed New York’s Governor Cuomo for asking about respirators.  The cost of respirators was said to be too high as the governor tried preparing for the rising curve. Regardless of the emergency, egos and economics got in the way, deeming the facts useless. 

    Friends. Live Music. Incomes. Lives. Society as we know it. We are all “still waiting” to understand the next moves. “Get the message from the oxygen.” Speaking of curves, let’s move to the next track.

    Remain in Light

    THE GREAT CURVE

    Sometimes the world has a load of questions

    Seems like the world knows nothing at all

    The world is near but it’s out of reach

    Some people touch it, but they can’t hold on

    Who do we believe are the experts as the disease is studied more every day? Exiting our front door can be deadly. Our neighbors live next door, but it is against the rules to interact with them. Some ignore the rules and socially gather only to contract the disease and lose everything. 

    She is moving to describe the world
    Night must fall now-darker, darker
    She has messages for everyone
    Night must fall now-darker, darker

    Byrne draws a connection between a woman and Mother Earth. Across the world, we see positivity and optimism from an environmental perspective. As we focus on the COVID-19 curve as a human race, there is a much bigger picture we are not concentrating on. The woman in this song is part human and part Earth and we need to protect her. She is shifting as some of the most densely packed cities in the world react to COVID-19. 

    A world of light, she’s gonna open our eyes up

    For the first time in decades, densely populated cities like Punjab, India are experiencing the positive impact of global lockdown as the human-influenced smog lifts. They now open their eyes to the Himalayan Mountain peaks for the first time this millennium. 

    ONCE IN A LIFETIME

    One of the Talking Heads most popular tracks might also be one of their most 2020 quarantine-relevant. 

    And you may find yourself

    Living in a shotgun shack

    And you may find yourself

    In another part of the world

    And you may find yourself

    Behind the wheel of a large automobile

    And you may find yourself in a beautiful house

    With a beautiful wife

    And you may ask yourself, well

    How did I get here?

    Remember in 2019 when people were not forced to remain inside and reflect? It was okay to be on autopilot and walk the streets or fields or cities in between and just be without being. In quarantine, we are tasked with the most impossible job of all—learning to cope with ourselves with little outside influence. 

    Letting the days go by, let the water hold me down
    Letting the days go by, water flowing underground
    Into the blue again after the money’s gone
    Once in a lifetime, water flowing underground

    We stand over the sink, hands under the water, repeating the birthday song in hopes of resolving and removing the one-in-a-lifetime virus from each finger. We would love to return to a same as it ever was time, but it will likely be a new normal. Will we remain in our houses forever or return to the world we once knew? Or will it be a hybrid?

    Remain in Light

    HOUSE IN MOTION

    The second half of the album must disprove the notion of a sonic COVID-19 quarantine conspiracy, right?  If you are currently pacing in your home, reading, thinking, moving, and wondering more than usual, then this one is for you. 

    I’m walking a line

    I’m thinking about empty motion

    I’m walking a line

    Just barely enough to be living

    Get outta the way (no time to begin)

    This isn’t the time (so nothing was done)

    Not talking about (not many at all)

    I’m turning around (no trouble at all)

    You notice there’s nothing around you, ’round you

    I’m walking a line

    Divide and dissolve

    Good news, you get to leave your home and walk around the grocery store in a paranoid state. The aisles are blocked off, forcing you to treat your neighbors like Neanderthals. Saying hello isn’t the same without a mask and we can barely say goodbye without wondering what level of COVID-19 they left on us. The same beautiful house that was written about in “Once in a Lifetime” is the same place you escape to wash the outside-world filth from your potentially pandemic-covered hands. 

    I’m walking a line
    I hate to be dreaming in motion
    I’m walking a line
    Just barely enough to be living
    Get outta the way (no time to begin)
    This isn’t the time (so nothing was done)
    Not talking about (not many at all)
    I’m turning around (no trouble at all)
    I’m keeping my fingers behind me, ‘hind me
    I’m walking a line
    Divide and dissolve

    Does this scare you? We are social creatures. We are supposed to be fully living and interacting with peers according to our elementary schooling. The narrator is crushing the idea of social contact and, instead, inviting the paranoia of his peers. Full-blown, introverted paranoia.

    SEEN AND NOT SEEN

    He would see faces in movies, on T.V., in magazines, and in books…

    He thought that some of these faces might be right for him…

    And through the years, by keeping an ideal facial structure fixed in his mind…

    Or somewhere in the back of his mind…

    Are we spending too much time streaming music, watching Netflix or staring in a mirror? The focus of this spoken-word-by-Byrne reflective track is post-pandemic physical appreciation. Who cares about what happened in 2019 if it’s possible to reinvent in 2020? We finally escape out of quarantine, but what is stopping us from impulsively mistaking our own identity? Should we redefine our social, physical and emotional selves, or is this a good spot to restart? 

    They may have picked an ideal appearance based on some childish

    Whim, or momentary impulse…

    Some may have gotten half-way

    There, and then changed their minds.

    He wonders if he too might have made a similar mistake.

    Is the narrator saving face for the previously mentioned government man or is he just trying to act casual? 

    Remain in Light

    LISTENING WIND 

    What happens to people in countries that lack access to 5G or vaccines or respiration or clean water? Is Mother Nature watching out for her children or is it the lack of tourism that prevents their people from the global disease? 

    Mojique buys equipment in the marketplace
    Mojique plants devices in the free trade zone
    He feels the wind is lifting up his people
    He calls the wind to guide him on his mission
    He knows his friend the wind is always standing…by.
    Mojique smells the wind that comes from far away
    Mojique waits for news in a quiet place
    He feels the presence of the wind around him
    He feels the power of the past behind him
    He has the knowledge of the wind to guide him…on.

    A return to nature. The wild is calling. What were the redefined terms of survival of the fittest in 1980 (or 2020)? 

    THE OVERLOAD

    A dark, eerie, Brian Eno-driven piece closes the album with an apocalyptic exclamation point.

    A terrible signal
    Too weak to even recognize

    A gentle collapsing
    The removal of the insides
    I’m touched by your pleas
    I value these moments
    We’re older than we realize
    In someone’s eyes

    Free healthcare was the topic of debate less than two months before 2020 changed America. Who is this “someone” Byrne speaks about? What is the underlying ignorance that haunts us throughout an album recorded in 1980? 

    A change in the weather
    A view to remember
    The center is missing
    They question how the future lies
    In someone’s eyes

    We are reminded that Mother Earth is slowly healing during human dormancy, yet the pessimistic power of the composition reminds us that there is a serious problem.  Midtown Manhattan’s Times Square is one of the most photographed locations in the world. A central hub of a global city. Currently, it’s empty and missing. 

    The gentle collapsing
    Of every surface
    We travel on the quiet road
    …the overload

    The closing lyrics of the album are about as poignant as the opening. As local and state governments look for ways to reopen a social society, they call for extra hands to sanitize surfaces, and open up roads for people, not cars. Has Mother Nature finally forced us to abide by her rules or is our society too ignorant and self-centered to protect one another? Either way, the answer is overwhelming. 

    A favorite album will transport you to a time when you needed the music most. But an iconic album encapsulates the present, whether you like it or not. Remain in Light was written during the political, economic, and social injustices of the late ‘70s, yet it connects the same unprecedented, introspective, unusual feelings we have during a global pandemic – mask off and same as it ever was. 

  • Flashback: Billy Joel closes Nassau Coliseum on this day in 2015

    On August 4, 2015, Billy Joel played the final show at the original Nassau Coliseum. Billy played for over 3 hours at the 43 year old arena with a setlist that touched on every decade of his career. The thing that made this show special was the way he built the show specifically for a Long Island Crowd. He had many Long Island anecdotes including his first gig at Holy Family Church in Hicksville, and fights he had in a Northport restaurant. 

    The place went crazy when Billy said “I’d like to bring out a fellow Long Islander and one of the great songwriters of our time” and out walked Paul Simon. It got even louder when he played the first few notes to “Me and Julio Down by the Schoolyard.” They also did a duet of “Homeward Bound” and then a horn section came to the stage and they played “Late in the Evening” for the last song with Simon. Later on, another Long Island native, Kevin James came out and did the intro to “Miami 2017” before Joel took over the song. 

    It was Joel’s 32nd concert at the Coliseum and the last before the $130 million renovation and featured Michael DelGuidice to open the show. It was a sad event for fans like myself who grew up going to Islander games and concerts at the Coliseum our entire lives. They couldn’t have picked a better person to end that chapter of the Coliseum’s history. That’s probably why Billy also reopened the arena on April 5, 2017.

    Setlist: Movin’ Out (Anthony’s Song), Zanzibar, Summer, Highland Falls, Everybody Loves You Now, No Man’s Land (first since 1995), Just the Way You Are, The Entertainer, The Longest Time (with Doo wop tribute intro), The Downeaster Alexa, Me and Julio Down by the Schoolyard*, Homeward Bound*, Late in the Evening*, The Ballad of Billy the Kid, New York State of Mind, Miami 2017 (Seen the Lights Go Out on Broadway)^, Until the Night, Allentown, Goodnight Saigon@, Keeping the Faith, She’s Always a Woman, My Life, Captain Jack, I’ve Loved These Days, The River of Dreams, Scenes From an Italian Restaurant

    Encore: Piano Man

    * with Paul Simon

    ^ with Kevin James on piano

    @ with veterans on stage

  • Utica’s Big Blue North hosts moe. for weekend live streams

    Well, moe. was supposed to perform at Vernon Downs this past weekend, but the powers that be pulled the plug just two days prior to the shows. Making lemonade out of lemons, moe. instead streamed both nights of shows from Big Blue North Recording Studio in Utica, where they had been rehearsing for the shows. The band sent the following video message to fans prior to the show.

    Over the two nights, fans were treated to a tracks off the new album, This is Not, We Are, a few classic moe. jam vehicles and a couple of choice covers that left the fans buzzing on the couch and online.

    Highlights from the two shows included a “St. Stephen” jam in the new song “Crushing,” “Timmy Tucker” and “Brent Black” both providing ample room for improvisation, and a cover of Lou Reed’s “Walk on the Wild Side,” sandwiched in between “Bear Song” to end the first set of the weekend.

    On August 1, the band paid tribute to Jerry Garcia on his birthday with a “West L.A. Fadeaway” that was anything but your typical cover of a Dead tune. Rob starts this out with heavy funk in his bass as Al’s gutiar takes a spacey journey to the lyrics. Full of just the right amount of notes, the band put a most unique twist on the song, one you’ll want to check out below.

    With a rousing “New York City” to end the two nights, moe. tipped their hat to the Big Apple with their ode to the heart of the Empire State and epicenter of COVID-19 pandemic in America.

    If you missed the shows, order here from Tour Gigs.

    Setlist – July 31, 2020

    Set 1: Johnny Lineup, Akimbo, Along for the Ride,
    Tubing The River Styx > The Pit > Dangerous Game > Bearsong > Walk On The Wild Side > Bearsong

    Set 2: Brent Black > Mar-Dema > Who You Calling Scared, Four, ATL, Can’t Seem To Find, Billy Goat > Brent Black

    Encore: Plane Crash, Jazz Cigarette

    https://www.youtube.com/watch?v=7uKkKXyMpKA

    Setlist – August 1, 2020

    Set 1: Buster, Downward Facing Dog > Deep This Time, Undertone > Letter Home, Tailspin, Skitchin’ Buffalo > Skitchin Buffalo Reprise > Wind it up

    Set 2: George, Blue Jeans Pizza > Crushing > LL3 > Bullet, Don’t Wanna Be > Timmy Tucker

    Encore: West L.A. Fadeaway, New York City

    https://www.youtube.com/watch?v=tZwlrwxqfT8
  • Council Release Internally Charged EP “Haunts Me”

    A trio of brothers came together to form the band, Council. Now, they have a powerful new EP under their belt, Haunts Me.

    Council
    Cover art for Council’s new EP Haunts Me.

    From Farm Life to Musical Talent

    Pat, Doug and Andy Reeves hail from Baldwinsville, just outside of Syracuse, where they worked the fields on their family farm. While they worked during the day, they had time to practice at night.

    The three musically educated themselves by listening to their father’s record collection. They say they were athletes growing up, so they never performed as kids. They decided to perform together nine years ago at a local library.

    “We were so nervous we asked them to not record us, as we were expecting the worst,” says the band.

    Council band members Pat, Doug and Andy Reeves.

    Family Knows Best

    The idea of working and playing music with family might mean fun all the time, but that’s not what the guys say. In their experience it could be very difficult at times.

    “We have 3 different opinions about everything and have no issue with arguing over everything. We often times find two of us huddled together creating secret pacts against the third so an idea gets passed or someone catches more of the blame than the others,” They say.

    That doesn’t mean a family band is bad, though. The trust between the three of them is strong and they all grew up with the same musical past. They say if anyone tries to join the trio, it never ends up well.

    The First Council Release was a Success

    The Reeves brothers continued to work on their musical career over the years, with their first release of, “Rust to Gold,” that both American Idol and the Winter Olympics featured.

    Haunts Me Empowers Internal Battles

    While “Rust to Gold,” symbolized an introduction to their band, they say Haunts Me is “internally based”. One of the tracks, “Born Ready,” came out of their personal struggles they were dealing with at the time. It embodies the idea of being able to handle whatever life throws at you because you are born ready.

    The current state of the world made many feel a bit detached from society. Haunts Me guides not only the listener, but also the mind to a more powerful outlook on how life has become.

    Council expanded their live streaming from their website to BOSE, Twitch and Sessionslive. Because of the global pandemic they are currently on tour, so live streaming will be their outlet to perform and connect with fans. Haunts Me is set to release on Aug. 4.

    https://youtu.be/6e_k5w6V5OE
    Get Numb is on Council’s latest EP, Haunts Me.
Built in Breakdance