Category: NYC Metro

  • Wu Tang Wednesday: Cash Rules Everything Around Me

    With one of the more iconic hooks in hip-hop history, “C.R.E.A.M” (Cash Rules Everything Around Me) is by far Wu-Tang Clan’s most popular record, making them household names. The single was on their debut LP Enter the Wu-Tang (36 Chambers) and is considered a magnum opus of hip hop music. When you combine Method Man’s unique — yet silky-smooth flow — along with Raekwon and Inspectah Deck’s cutting-edge lyricism, you have the makings of a classic record. 

    “C.R.E.A.M” was recorded by the group in July of 1993, but was officially released November 9, 1993 as the eighth track from the 36 Chambers LP. RZA — the group’s defacto leader and beat maker — produced the song by sampling the opening piano riff from Charmel’s 1967 record “As Long as I Got You,” with a perfectly placed set of looping drum kicks added on.

    Despite all the praise the record received within the hip-hop community and its current status as a classic record, “C.R.E.A.M” was not a chart-topp. Debuting at number 96 on the U.S. Billboard Hot 100, it eventually peaked at number 60 later that week, also peaking at number 8 on the hottest hip-hop/R&B songs. It became certified gold officially in 2009, 15 years after its release.

    Cash Rules Everything Around Me
    “The Rza is just razor sharp, he always on point with the beats with the rhymes”

    In an interview for 247HH (hip-hop), Raekwon revealed the meaning behind the song’s tittle, revealing that “cream” was a slang term for money kids around the neighborhood would use. Saying that it came from cartoons like, Tom & Jerry, where the titular cat — Jerry — would slap Tom (the mouse) with whipped cream as they would fight over food. As a result, “cream” became something that they said when they were fighting over money or. in general, want of a better financial situation.

    He also revealed that the acronym “cash rules everything around me” came from group mate Method Man’s associate, Raid. Detailing that back then, people would write graffiti and would break words down to give them meaning so, Raid broke down “cream” to mean “cash rules everything around me.”

    Cash Rules Everything Around Me

    RZA shed light on how the record came about, in an interview with SiriusXM. Divulging that the name of the original track was “The Lifestyle of the Mega Rich” and it had about 8 minutes of material from Raekwon and Inspacteh Deck. He wanted them to condense their lyrics into more concise verses and thought it needed a great hook. That’s where Method Man came in to play. The most culturally transcendent of the group, RZA even acknowledged that it was Method Man’s melodic flow on the hook that took Wu-Tang from gold to Platinum.   

    In a more recent interview with DJ Vlad, Inspectah Deck revealed that it was the success of “C.R.E.A.M” that made him realize how big of a group they were. Recalling a memory from a show the clan in Webster Hall, noticing that many of his heroes were there to see the Clan perform. From Big Daddy Kane, to Tracy Lee and Q-Tip. 

    The songs music video paid homage to where each member of the group was from, as a form of imagery that added even more depth to the record. The music video begins in the projects of Staten Island and then sees the Clan make their way to a more lavish lifestyle, driving Mercedes and sipping champagne.     

    Raekwon And Inspectah Deck were the only members of the group to have verses on the record. With both relating to the harsh realities of being from the inner cities. Telling their life stories’ in each verse. Rae gives a timeline of his life from his move from to Staten Island and his time spent in New York City. His first two lines perfectly captures the environment he hails from.

    “I grew up on the crime side the New York times side

    Where staying alive was no jive.”

    Continuing with more personal tales of being separated from his father with his mother leaving and moving the family to Staten Island.

    “Second hands moms bounced on old man, then we moved to shaolin land”

    He chronicled his entire life on this verse and gave descriptive accounts of his times in the inner-city. The story being told is raw, real and vivid, something the man known as “the chef” is known for. Finishing his verse with: 

    “Figured out I went the wrong route, so I got with sick a** clique and went all out

    Catching kings from cross seas hauling MVP’s every week we make 40 g’s 

    N***a respect mine or here goes the tech nine ch-ch pow move from the gate now”

    Inspectah Deck took a similar approach to Raekwon, with similar accounts, while his verse detailed his own attempts at preventing the youth from following a similar path.  

    “Spent 22 long hard years we still struggling

    Survival got me bugging but I’m alive on arrival

    I peep at the shape of the streets 

    And stay awake to the ways of the world cause sh*t is deep”

    With Raekwon’s story-telling abilities an entire story was told in one perfectly executed verse. From this verse alone, we learn, that at 15 he had plans of making “cream” but, was sent to jail for selling drugs. Yet, he only sold drugs because he never had much and only wanted a piece of the finer things in life – a sentiment many incarcerated Black men can share in. In the end, his life was taken away for trying to get his version of the American dream. 

    “Life as a shorty shouldn’t be so rough.

    Though I don’t know why I chose to smoke sess

    I guess that the time when I’m not depressed

    But I’m still depressed, and I ask; what’s it worth 

    Ready to give up so I seek the old Earth” 

    “C.R.E.A.M” has left behind a significant legacy in hip-hop. The song’s popularity helped shift the balance of power from the West coast to the East, even going on to transcend any tension between the differing coasts. 

    The record has been sampled or interpolated by Drake on “Pound Cake/Paris Morton Music 2,” Notorious B.I.G on his hit record “Notorious Thugs,” featuring Bone-Thugs-N-Harmony. Other artists include Joey Bada$$ on his song “Paper Trail$” as well as, Mos Def on “Mathematics.”

    With contributions from Maxwell Amankwah

  • Rave Party at Kosciuszko Bridge leads to National Distress

    Not too long after parts of the nation started reopening, did many individuals start to ignore the CDC’s recommendations to help stop the spread of COVID-19.

    Rave Party NYC
    A picture of the secret rave held under Kosciuszko Bridge.

    Footage of a secret rave at Kosciuszko Bridge in Brooklyn showed people gathered without participating in social distancing. Regardless of the global pandemic, hundreds of guests attended and many didn’t wear masks.

    This happened not too long after a Chainsmokers concert had the same outcome. Governor Andrew Cuomo expressed his anger with large gatherings.

    “Huge parties whether on land or boat are: Illegal, Disrespectful, violate constant decency, rude,” Cuomo tweeted.

    Renegade, the rave organizers, told Gothamist that there’s no stopping people from gathering. One organizer said, “people need a release,” referring to quarantine.

    This was not the first time Renegade held a group gathering during the pandemic. On July 4, they organized a rave supposedly for the Black Lives Matter Movement.

    Among artists asked to play was DJ and producer Mike Simonetti. According to Guest of a Guest, Simonetti declined. He felt the event was disrespectful after his father died alone from COVID-19.

    Although many attended the rave, some guests felt uncomfortable once they arrived.

    https://www.instagram.com/p/CDblAYOjKJC/?utm_source=ig_web_copy_link
    Footage taken from attendees shows no social distancing among the rave.

    An attendee told Gothamist that him and his friends stayed on the outside and stating, “I would not do that again….It was too soon for too many people in one spot.”

    Renegade continues to defend the cause of the rave, but said it got out of hand.

    “I don’t want people to go back to putting their heads in the sand. We need to stay on top of this and keep marching and keep protesting,” said one organizer.

  • Hawkins Release Debut Pop Rock Anthem “Lights Off”

    Hawkins has released their debut single, “Lights Off,” having arrived on the local music scene in New Haven, CT in May 2019. Hawkins is known for balancing energetic rock ‘n’ roll mixed with infectious hooky pop sophistication. The band consists of Hawkins French (vocals), Joseph Frank (guitar), Richard Frank (bass), and Joshua Frank (drums). 

    hawkins

    Their debut single is a pop rock anthem that blends soaring guitars, thunderous drums, and melodic bass lines along with the catchy hooks that you’ll hear in contemporary pop music. The subject matter of this track discusses the current superficial state of relationships and wanting more than just a one-night stand. This song intertwines their ability to create memorable pop hooks, lyrics that compel you to sing along, all balanced under a monumental sound that instantly demands the listener’s attention. 

    The band has performed on countless major stages across the East Coast. Notable performances include Mohegan Sun Casino, The Bitter End, Foxwoods Casino, and the Pleasantville New York Music Festival. In Pleasantville, the band shared the stage with illustrious acts such as ​Blues Traveler​, ​Suzanne Vega​, and​ Living Colour​. In November they are still planning to headline at the Toyota Oakdale Theatre. 

    Speaking on “Lights Off” the band explains:

    “This track evokes the feeling of when relationships don’t have a clear direction and are solely based upon superficiality. This is our commentary on the common tug of war that can occur in tumultuous relationships that people in their youth experience.” 

  • Bobby Shmurda turns 26; Best Gift of all still to come

    Incarcerated rapper Bobby Shmurda celebrates his 26th birthday today, with hopes of it being his last behind bars. On the heels of  the anniversary of his breakout record, the Brooklyn-born drill rapper may have even more good news to look forward to, as a parole hearing — set for August 17— will determine his immediate future. 

    Bobby Shmurda
    Why they wanna pin a felly on me?

    After a countdown from a website seemingly belonging to the embattled rapper set a date for August 4, many began to speculate about the meaning, with some assuming it was related to his release. Speaking to TMZ in late July, The rapper’s mother — Leslie Pollard — confirmed that the rapper was indeed scheduled for a parole hearing in August. While also divulging his plans for a documentary about his life, as well as new music as soon as he gets out — as the rapper is still contractually tied to Epic Records. For his birthday, GS9 cohort Rowdy Rebel’s official Instagram, shared its own social media ode to his label-mate, hash-tagging “3months left.” It is unclear whether it is referring to his own release or that of Bobby Shmurda. 

    https://www.instagram.com/p/CDeM1vQnXIF/

    Nonetheless, rumors of a release as early as August 5, set social media ablaze, with most eliciting thoughts of joy.

  • Sculpting Sounds at Brooklyn’s Soapbox Gallery

    When COVID-19 hit New York City in March, the music, as Jim Morrison crooned, was over.  But one place it never stopped was at Soapbox Gallery, one of Brooklyn’s most unique and eclectic performance venues.

    Soapbox Gallery is not the brainchild of a veteran promoter, profit-seeking barkeep or musician, but a music-loving sculptor with a true D.I.Y. spirit, Jimmy Greenfield.  

    A native of Poughkeepsie, Greenfield moved to NYC’s SoHo in the mid-1970s to pursue a career in art.  While there, he drank in and was inspired by the loft jazz scene percolating at homey little venues like Sam Rivers’ Studio Rivbea.  Like many visual artists, Greenfield became friendly and collaborated with the adventurous musos on that scene. And like many a SoHo artist, he was eventually priced out of the tony neighborhood and helped pioneer a new scene with a move to Brooklyn in the early 1980s.

    Greenfield came to the street-level space at 636 Dean Street that would become Soapbox in 1996. He utilized it for years as his sculpture studio, with the street frontage being dedicated to installations by visual artists he loved. 

    soap box

    “The gallery was inspired by the idea of a soapbox, the humble stage that one stands upon to deliver a message, a narrative story, that can start a movement that can perhaps change the world,” says Greenfield. “It functioned that way for our art shows and, since 2014, with our escalating program of musical events.”

    Music became a part of Soapbox Gallery in 2014, when Greenfield made his venue the home to periodic shows by critically acclaimed Brooklyn Raga Massive, a collective of world class musicians dedicated to furthering the understanding of Indian classical and Raga forms.  Within a couple of years, Greenfield decided to move his sculpture studio to another location and, over time, convert Soapbox into a full-time performance space.

    “The idea was to create an intimate space, a sanctuary that was almost like a mini-concert hall,” adds Greenfield. “I wanted the best sound and atmosphere, so we completely renovated the space, with soundproofing, a dropped ceiling with acoustic tile, high-end sound mitigation and amplification.  We wanted the room to be a draw, the perfect acoustic environment that would attract the very best musicians.”

    soap box

    It was serendipitous that Greenfield tapped his neighbor, filmmaker Dave Power, and his brother, the sound-painting saxophonist Hayes Greenfield, for advice on cameras and sound, and to execute all the physical labor.

    “Our intention was to create not only a world-class performance space of intimate size, but a top-of-the-line production center as well,” adds Greenfield.  “We designed where the camera drops would be, where the computers and controls would be, even a system to move the sound around the space and the stereo spectrum, all anticipating the era of streaming.  So we were ready for what has, unfortunately, become the performance model of today.”

    Another thing Jimmy did to attract a top-flight coterie of performers was purchase the world-class piano, the lightly used Yamaha C7 that is the physical centerpiece of the space. 

    “My friend Ludwig found that for us, a 1998 Yamaha Grand that was barely used,” continues Greenfield.  “It was another stroke of good luck in the collective, all D.I.Y. effort to build this space and scene.”

    The scene started to gain critical mass in 2019 with Soapbox Gallery’s weekly Piano Hangs, organized with David Berkman, noted pianist, author and director of the Jazz Department at Queens College.

    “Every Saturday, we would invite four to five pianists to perform and discuss their work,” adds Greenfield.  “The series attracted high-caliber talent from the worlds of jazz, classical and beyond, like Fred Hersh, Chano Dominguez and Bruce Barth.” 

    Into 2020, Soapbox Gallery continued to expand its palate of performances.  Greenfield added small groups like jazz trios, classical quartets, a virtual fest with the New England Conservatory Jazz Lab, and solo performances by notables like electro-jazzer Adam Neely, looping violinist and vocalist Natie, singer/songwriter Tracey Yarad and many more.

    Hayes Greenfield Electro-Acoustic Looping Musician 4 parts from Hayes Greenfield on Vimeo.

    One mainstay of the space has been Jimmy’s renowned musician-brother Hayes Greenfield and his Immersive Surround Sound Experience.  Here, Hayes employs his saxophone, flute, kalimba, harmonica, voice and a plethora of delays, synths, effects pedals and loopers to create meditative sound environments reminiscent of Brian Eno’s ambient works.  With the assistance of Hayes’ sponsor, Eventide, Soapbox Gallery has been outfitted with a system that produces true 3D sound that can be moved around the space and within the heads of stream listeners.

    When COVID-19 closed down NYC’s live performance venues in mid-March, Jimmy and Hayes were quick to provide a sonic salve for the quarantined masses, in New York and wherever there was a broadband connection.

    For weeks after the shutdown, Hayes performed his Sound Meditations nearly every day at 3 pm from the Soapbox Gallery, more than 30 total events and counting.   As soon as WNYC’s Greene Space began streaming in early April, Soapbox Gallery began programming more events, from its space and the homes of some of its coterie of musicians.

    Since May, Soapbox Gallery has been presenting live-stream performances six days a week from Greenfield’s former sculpture studio. Its state-of-the-art, three-camera system provides a great view of the action, and video overlays are increasingly a part of the performance equation, providing a unique multimedia experience. 

    One notable upcoming event that will make the most of the technology is Soapbox’s three-day Sonic-Vision Looping Festival, August 26– 28.   The event will include adventurous performances by noted percussionist Will Calhoun (Living Colour, Pharoah Saunders), Hayes Greenfield and the ambient guitar duo, Guitars A Go Go, who will perform their hypnotic improvisations to fractal videos.  

    2020-07-19 19-15-44 from Soapbox Gallery on Vimeo.

    Also not to missed are the latest installments of its on-going “Couples in Harmony” series, curated and hosted by Tracey Yarad, which presents real-life couples in performance, often for their first artistic collaborations.   On Sunday, August 16, Soapbox Gallery will feature jazz vocalist and bassist Teri Roiger and John Menegon; on August 23, singers/songwriters Lisa St. Lou and Tor Hyams.

    For a list of upcoming performances, visit soapboxgallery.org

  • 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

  • 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.
  • Fire on Ice: Grateful Dead light up Nassau Coliseum

    We head back to the Island for this week’s Jerry Sundays installment with a Grateful Dead show at the legendary Nassau Coliseum from 1979. The band played two shows here earlier that year in January, more than five years after their first appearance in Uniondale in 1973.

    Now, in the middle of hockey season, and at the peak of the NY Islanders hockey dynasty no less, the Dead played three shows at the famous arena that surrounded Halloween. This was still the dawn of a new era of Dead as the band was still breaking in keyboard player Brent Mydland, new to the band as of April that year.

    The tone for this evening is immediately set through a ferocious “Jack Straw” that starts the show off in grand fashion. Weir’s vocals are matched in intensity only by the lead guitar fills supplied by Jerry Garcia. “They Love Each Other” ends with a flippant comment from guitarist Bob Weir afterwards about Russia “bombing Staten Island” that evening. The Cold War Era was truly a different time. A robust and particularly uptempo “Mama Tried” that follows seems to take the place of the usual early show “El Paso” due to the “Mexicali Blues” that starts up immediately afterwards.

    Another gem from this first set is a crisp version of “Peggy-O,” with delicate vocals and guitar play both handled wonderfully by Garcia. The swaying emotions that the cover of this traditional ballad brings with it would be a staple of Dead and Jerry Garcia Band shows for years to come. This one has a smooth delivery thanks to an in-sync rhythm section that motors along behind Garcia effortlessly.

    The first set “Candyman” features even more howling guitar play from Garcia and the “Looks Like Rain” that follows is filled with even more emotional guitar fills that accompany nicely with Weir’s vocals that steadily build in ferocity as the song develops. And the newcomer gets a first set contribution as well as the Mydland-penned ballad “Easy To Love You” makes one of its earlier appearances.

    But the true “meat and potatoes” of this show is the opening sequence of the second set. Some consider this longest “Scarlet Begonias” > “Fire On The Mountain” combination that the band has ever played. And they would have a legitimate argument as this one effortlessly stretches out past thirty minutes in all. Garcia and Mydland start hooking up as the “Scarlet” jam progresses and this carries all the way into and through a “Fire” that more than lives up to its name.

    The rest of the second set is certainly no slouch, but the extended break and rabid fan reaction after these first two songs marked the end of something special. The “Terrapin Station” that follows later in the set features more of the same relaxed tone in some of its transitional sections that stretch out a little longer than usual. This eventually gives way to a “Playin’ In The Band” that races through its composition and serves up another psychedelic offering with more heavy Garcia-Mydland interplay steering the collective ship.

    grateful dead nassau coliseum

    A late second set “Black Peter” gives Garcia’s guitar the spotlight and a chance to blissfully wail away again. And the “U.S. Blues” encore hits all the right notes, courtesy of more passionate playing from Mydland. But the legendary “Scarlet” > “Fire” pairing that opens the second set is what makes this show so special – one of the greatest versions of one of the band’s greatest pairings. In other words, just another typical New York Grateful Dead show.

    Grateful Dead 11/1/79 Nassau Veterans Memorial Coliseum Uniondale, NY

    Set 1: Jack Straw, They Love Each Other, Mama Tried-> Mexicali Blues, Peggy-O, Minglewood Blues, Candyman, Looks Like Rain, Don’t Ease Me In, Easy To Love You, Promised Land

    Set 2: Scarlet Begonias-> Fire On The Mountain, Samson & Delilah, Terrapin Station-> Playin’ In The Band-> Drums->Space->Black Peter-> Good Lovin’

    Encore: U.S. Blues

  • Hearing Aide: Evan Alexander Moore’s “The Perennial Millennial”

    Evan Alexander Moore dropped his debut album The Perennial Millennial is a defining snapshot of our time on May 22, 2020. A quirky social commentary on the American millennial experience in 2020, it’s a concept album through and through. In its sprawling length of 70 minutes, the NYC singer-songwriter tackles capitalism, the ruling class, and most entertainingly, “millennials are destroying x industry” clickbait.

    Despite his varied influences from Bob Dylan to Kendrick Lamar to Joni Mitchell, Evan Alexander Moore sounds fully original. While it’s easy to spot the aforementioned artists’ impact, he retains his own unique style. One of the album’s strengths is that the sound mixing is crackly and distorted like an old record from the 60s or 70s—a comforting contrast to its intense topical lyrics. It’s also quotable from start to finish: the opener, “Millennial,” has the line “I feel like Atlas with all this school debt on my shoulders.”

    Standout tracks on The Perennial Millennial include “Our Time,” “Grand Little Symphony,” and “The Price of Cereal.” And while not full songs, its two interludes offer some of the album’s most genius moments. On “Brian’s Interlude,” Moore remarks that “pitting generations against each other is just fucking clickbait shit.” He also pays homage to Bob Dylan on “Hey, Mr. Zimmerman!” The album admittedly feels long at times—the title track “Perennial” is over 14 minutes—but it’s certainly ambitious for a debut effort.

    After pondering what legacy millennials will leave, Evan Alexander Moore ultimately concludes that “our generation will grow out of the cement that has been paved over us.” For younger generations, The Perennial Millennial is an inspiring, reassuring, and guilt-free experience.

    Stream The Perennial Millennial here:

    For more information visit Evan Alexander Moore’s website.

  • Hearing Aide: Cousin Fungus ‘22, Vol. 1′ and ’22, Vol. 2′

    Long Island jam band veterans, Cousin Fungus, have a long history of strong live performances. Some even credit them with contributing strongly to the establishment of a much more vibrant jam band scene today. With the release of 22, Vol.1, the band has released its best recorded material to date. With Volumes 2 and 3 promised to be right behind, veteran as well as new fans are in for quite a sonic treat.

    cousin fungus

    The band is made up of three brothers: Thomas (bass guitar, vocals), Christian (drums, percussion) and Henry (guitar, vocals) Stanziale. Good friend, Dennis Belline, Jr. (lead vocals, keyboards), rounds out this group of stand-out musicians.  The tight knit bonds between the members are on display on here in the cohesiveness of their sound. The collaboration just feels natural and easy.  

    From the opening keyboard notes on 22, Vol.1 evoking the Who, the songs sound both nostalgic and yet contemporary. This volume clocks in at just over forty minutes and the seven songs included are positive, almost celebratory. As bands and fans gear up for the return to live music shows, keep an eye out for Cousin Fugus. They are at the top of their game and ready to get back to the jam!

    Key Tracks:  Embrace, Black Cat Black Dog, Caravan

    With the release of 22, Vol.II, the Cousin Fungus crew unleashes their first album of live tracks. These seven songs have been honed and developed over the years, crafted with audiences watching. The guitar work is as steady and solid as you’d expect from these jam band veterans. And the keyboard contributions really stand out, sometimes as featured solos, but also as a connective agent between all of the pieces assembled here.

    cousin fungus

    Cousin Fungus doesn’t shy away from exploring different styles of music either. There are bluesy elements, funky stylings and straight ahead roaring guitar riffs.

    The final installment of the “22” trilogy will be released in the coming months.

    Key Tracks: Bridges, Ignis Fatuus, The Taunting