Utica’sall grown up boy wonder guitar god, Joe Bonamassa, has just unleashed another fantastic solo album, Royal Tea. Recorded at London’s iconic Abbey Road Studios. Bonamassa’s latest is a tip of the hat to his British blues rock heroes, Jeff Beck, John Mayall & The Bluesbreakers, Led Zeppelin, Cream and more. It is also as much a showcase for his increasingly progressive and mature songwriting, as is his always sizzling six-stringery.
The 10 originals here were co-written by Joe and Brit notables including former Whitesnake guitarist Bernie Marsden, ex-Cream lyricist Pete Brown and piano man Jools Holland of Squeeze fame. Bonamassa’s long-standing producer Kevin Shirley and his touring band, Anton Fig (drums), Michael Rhodes (bass) and Reese Wynans (keys), flew in for the sessions.
While Royal Tea is a nod to British blues masters, it is not at all about retreading the classics, or the simple but saintly joys of going round and round the 1-4-5 pattern. It’s an album full of songs that are firmly rooted in a blues feel, but with very progressive and surprising leanings. It’s all about the unexpected chordal turnarounds and multi-movements that span epic length, things that owe more than a bit to Brit prog acts of the ‘70s.
Bonamassa sets the tone with the album opener, “When One Door Opens.” It kicks off with baroque strings and brass that could’ve been mustered up by another true Abbey Road legend, Beatles’ producer George Martin. It’s a mournful ballad that feels a bit like Guns N’ Roses “November Rain,” until it shift into a nasty Led Zep-styled groove and then a boogie for a screaming wah-fueled solo. It solo winds down with rhythmic quote from “Beck’s Bolero,” before returning to the mournful orchestral mood for the close. A ballsy move, as this one clocks in at 7:34, making it the longest track on the album.
The title track follows. It’s another hard blues with a thick slamming groove and unexpected descending chordal turnaround, and yet another Beck-era Yardbirds’ quote in the solo. Here and everywhere on the album Joe’s guitar tones are killer, honey thick and biting. And his solos here are kept brief, always in service of the song. And why not? Joe’s got one of the world’s best employed vintage guitar collections to make these varied sounds, a virtual museum that can be viewed here.
“Why Does It Take So Long to Say Goodbye” is another of the many slow grooves here. Joe wrenches every bit of emotion out of the melody, with his guitar playing and his vocals, the latter which gets better in each passing album. This is another blues in a few epic movements over its six and a half minutes, where he complements thick power chording with sweet flourishes on his acoustic.
For a John Lee Hooker-styled boogie, with extra crunch, turn up “High Class Girl;” for a bit of Southern rock and slide, tap into “A Conversation with Alice.” On “Lonely Boy,” Joe and company go for broke, with a sprightly big band jump blues with rocking’ horn parts. Some beautiful soloing from Jools Holland and what must be flashy chromatic runs on a vintage Telecaster from Joe. This is a track that would be totally at home on a Brian Setzer album.
One of my favorites is the offbeat “Lookout Man!” This one combines another Jimmy Page-styled riff with Space Rock sound effects a la Gong/Steve Hillage, with a nasty blues harp and a chorus of female singers that sound like Ike and Tina Turner’s Ikettes. “Savannah” ends the album on an up tempo, with slamming’ country picking and a droney fiddle.
This week Royal Tea made a big splash on the charts, earning Joe Bonamassa his 24th #1 album on the Blues Chart, an incredible feat, more than any other artist in the history of the chart! More importantly, it’s gaining Joe fans beyond the narrow blues niche. He’s #5 on Current Albums, #6 on Indie Albums, #7 in Rock and #7 in Rock charts.
Bands like Cream and Zeppelin were successful because they took to the wonderful foundation of American electric blues and did something new and different with, with each album as their careers progressed. Bonamassa deserves their level of success because he is following in their progressive and bold footsteps.
KeyTracks: When One Door Opens, Why Does It Take So Long to Say Goodbye, Lookout Man!
Spotify announced its plans to try to prioritize artists and labels in return for lower royalty payouts on Monday, November 2, 2020. The platform is introducing a new feature called, “Discovery Mode,” which will be appearing in Spotify’s Radio and Autoplay features upon launch.
Discovery Mode has become controversial across the community though because it will allow artists and record labels to influence the songs that are selected by its algorithm for personalized recommendations. How this will work is artists and labels won’t be required to pay anything up front, but by opting in to the Discovery Mode, they will agree to get paid a lower recording royalty rate for streams in those personalized sessions both in playlist radio stations and autoplayed songs after listeners songs, albums, and playlists end.
Artists and labels who opt out of the Discovery Mode will continue to have their tracks play in radio and autoplay, but their tracks will no longer be prioritized in radio and autoplay. They will continue to get the standard recording royalty rate for those streams. This is why Discovery Mode is controversial. Artists and labels will no longer be on the same playing field. Inorder to get a better chance of being heard by new audiences they are forced to accept less pay from Spotify.
According to an article written about Spotify and their profit margins earlier this year by NYS Music, “Spotify has a market value of about $21 billion in 2019 and Daniel Ek himself has an estimated net worth of nearly $2 billion. According to a Business of Apps article, “Estimates vary on how much a Spotify stream is worth to artist: from $0.006-0.0084 to as low as $0.00318/stream. At a pay rate of $0.006-0.0084 a stream it would take a million streams for an artist to make $7,000.”
It is still unsure what the new royalty payouts will be for artists and labels who opt into Discovery Mode. With already shallow payouts to artists and labels it won’t help anyone. Unless, that artist ends up blowing up from the prioritized radio and autoplay functions. Basically artists and labels will have to decide if they are willing to sacrifice their hard efforts for a chance of higher fame.
After eight long months of being shut down, The Park Theater in Glens Falls is proud to announce they will open their doors. On Nov. 18 the venue with host an event; ‘Dinner & A Movie: A Beautiful Day In The Neighborhood.’
Cover art for A Beautiful Day in the Neighborhood.
The screening of the movie will be accompanied with a three-course meal by Chef Matthew J. Delos. The guests will have their choice between three entrees and two different dessert. The 2019 film is about the late Fred Rogers, aka Mr. Rogers, played by Tom Hanks and his friendship with investigative journalist, Lloyd Vogel, played by Matthew Rhys. According to a press release by the theater, the movie “tells a story of kindness, empathy, acceptance and transformation.”
The Park Theater has been an entertainment staple in Glens Falls since 1911, where the town would watch silent films and vaudeville shows. In 1935, they closed their doors until The Post-Star bought and transformed the building into a printing plant. Over the years, numerous organizations tried to maintain the building’s reputation as a performing arts center, only to really make a change in 2018 by returning to its original name, The Park Theater and Doc’s Restaurant downstairs.
For the event, doors open at 5 PM, dinner starts at 5:30 PM and the movie will begin an hour after dinner service starts. The tickets are $60 (+tax) per person and can be purchased online or call the box office at 518-792-1150. The theater recommends buying tickets sooner rather than later because seats are bound to go quickly after not having an event for so long.
Mr. Rogers inspired children and adults throughout his career. This film demonstrates the impact he had on not only viewers of his show, but also his personal relationships.
I think the best thing we can do is to let people know that each one of them is precious.
Mr. Rogers
Event Poster for The Park Theater
For more information visit The Park Theater’s website.
If the Grateful Dead had an East Coast base outside of New York City, odds are it would be at The Capitol Theater in Port Chester. By November of 1970, the Dead had already done two previous runs at The Cap earlier in the year. This would be the third one and the show they would play here this year. This would be no typical show though. Tonight, they would be joined by fellow West Coast troubadours the New Riders of the Purple Sage. Along with a full acoustic opening set, the last Capitol Theater show of the year certainly leaves a mark.
A knowledgeable crowd greets the show opening “Dire Wolf” with approval. The second verse seems to trip Garcia up a little but he makes up for it with a bit of an extended instrumental bridge. A true acoustic and relaxed version of “I Know You Rider” follows. This one is played on its own, with no “China Cat Sunflower” lead in, and at about half its typical speed, if not slower. Garcia takes the helm on vocals and leads the rest of the band through a really interesting take on this Dead staple that has the audience clapping along in time at parts.
Bob Weir then takes the lead on vocals and leads the group through the relatively new-at-the-time “Dark Hollow,” which debuted earlier in the year at New York City’s Fillmore East. After some bizarre group banter about Godzilla, it’s Garcia’s turn once again for “Rosalie McFall.” This was another new number at the time, also debuted only months earlier at the Fillmore East. The band does their best to steer around some feedback issues for this little bluegrass jaunt that’s ideal for an acoustic set.
The (new) hits keep coming, courtesy of Weir-led “El Paso,” only the seventh one ever. Performances number five and six took place the prior two evenings at The Capitol Theater. Afterwards, Pigpen finally gets a chance to lead and sings the last ever performance of the American Beauty gem “Operator.” Short harp solo – short time left with band? Another Beauty cut, “Ripple,” follows this, with the audience instantly engaged. And it would be a Beauty trilogy with the acoustic “Friend of the Devil” that followed. It certainly made sense from a promotional standpoint. The seminal Grateful Dead album was released exactly one week ago. It would later peak at No. 30 on Billboard’s Pop Albums chart.
A boisterous cover of The Everly Brothers’ “Wake Up Little Susie” then follows, with even more additional audience “percussion.” It’s the last time the Dead would ever play this one in a live setting. The opening acoustic set then comes to a close with another Dead classic that was still a relatively new song at the time, “Uncle John’s Band.” This officially has the Capitol Theater crown whipped up into a frenzy before Garcia mentions they’ll be back shortly with the New Riders.
For the second set, the New Riders of the Purple Sage delivered their unique brand of acid-washed country and rock tunes. At this point in time, Garcia and Mickey Hart are still involved in the band along with its co-founders David Nelson and John “Marmaduke” Dawson. Jerry plays the pedal steel guitar throughout and adds some beautiful interludes on “All I Ever Wanted.” “Fair Chance To Know” also has a “Teach The Children Well” feel to it, likely due to the aforementioned pedal steel and the same man playing it on each. “Cecilia,” though not the Simon & Garfunkel cover, features some legitimate yodeling. But the set does end with a cover, a rollicking take on The Rolling Stones’ “Honkey Tonk Women.” It’s a lively set that adds a totally different dimension to a Grateful Dead show and certainly worth a listen.
Afterwards, the Dead come out swinging with a “Morning Dew” third set opener. They slowly glide through the composed section to an appreciative Cap crowd with Garcia’s dynamic vocals seeing it through. It’s a wonderfully patient and patiently evolving “Dew.” After things settled dow a bit, Weir takes over for a run through of “Me and My Uncle.”
This is followed by the one and only live performance of “Mystery Train” with Garcia on vocals, resembling a NRPS song in nature. Then it’s right back to an early cover of Chuck Berry’s “Around and Around,” the first time the Dead would play this longtime crowd pleaser. More rarities would ensue with “New Orleans,” only the second of four ever played. Still led by Weir on vocals, this ambles into “Searchin’,” the first of the only two ever played, with Pigpen reassuming vocal lead duties.
A Bob Dylan cover on the back end of this elicits yet another positive crowd reaction and the Northern California troubadours are off and running again with “It’s All Over Now, Baby Blue,” with Garcia, once again, re-establishing lead vocal duties. Dylan covers were certainly no stranger to the band at this point. But this would be the last “Baby Blue” performed in nearly 20 years.
“Casey Jones” with yet another Cap Theater clap-a-long follows, another song tested earlier the last few nights. Speaking of “new” songs, the Dead would then roll out a song that would soon become synonymous with second sets, “Truckin’.” This Dead staple had only been debuted a few months earlier at the Fillmore West in San Francisco. This was another one the band decdided to “test run” the previous few nights at The Cap. It’s safe to say, by Sunday, they had this instant classic worked out.
The instant the fledgling “Truckin’” comes to a close, the longtime Dead classic “Dark Star” wastes no time in starting up. It would also return at their next show at the fabled Port Chester venue, 2/18/71. This one gets way dark and spooky, rewarding the folks that have stuck around for this long for some visual and aural trickery.
“The Main Ten,” is an incredible look at an instrumental version of the early renderings of a Grateful Dead classic. It’s a primordial and slower version of “Playin’ In The Band” before it ever came to fruition. This would be the last ever “beta” version of it before it would fully bloom into the first official PITB ever at this very same venue slightly more than three months later in February of 1971.
Amazingly, this seems to trigger a particularly early closing sequence. An early drums fakeout segues into “Not Fade Away” and the Port Chester crowd is alive. After some impressive interplay, the jam soon lends itself to NFA’s running mate, “Goin’ Down The Road Feelin’ Bad,” another new song at the time that was just starting to develop as a show closer. Eventually, this steers itself back into “Not Fade Away,” and a close to this thunderous late second set sequence.
One last abbreviated “Drums” sequence leads to the last song and de facto closer this evening, a rendition of The Rascals’ “Good Lovin’” that sees Pigpen get one last chance to lead an ecstatic Capitol Theater crowd through one last cover. Another “Drums” sequence serves as one last percussive explosion before “Good Lovin’” eventually rounds back into form, capping off the last Grateful Dead show in Port Chester for 1971.
Grateful Dead w/ New Riders of the Purple Sage Capitol Theater – Port Chester, NY 11/8/70
Set 1: Dire Wolf, I Know You Rider, Dark Hollow, Rosalie McFall, El Paso, Operator, Ripple, Friend Of The Devil, Wake Up Little Susie, Uncle John’s Band
Set 2: Six Days On The Road, Superman, Whatcha Gonna Do, Glendale Train, All I Ever Wanted, Fair Chance To Know, Portland Woman, Cecilia, Truck Drivin’ Man, Last Lonely Eagle, Louisiana Lady, Honky Tonk Women
Set 3: Morning Dew, Me And My Uncle, Mystery Train > My Babe, Around And Around, New Orleans > Searchin’, It’s All Over Now, Baby Blue, Casey Jones, Truckin’ > Dark Star > Dancing In The Street, Drums > Not Fade Away > Goin’ Down The Road Feelin’ Bad > Not Fade Away > Drums > Good Lovin’ > Drums > Good Lovin’
Foo Fighters were the musical guest for the first post-election Saturday Night Live last night, which was also the record sixth consecutive show for the NBC late night institution.
With comedian Dave Chappelle returning for the second time, the first since November 12, 2016, which was also a post-election show but one that had a much more somber tone to it. The tone for the election results this past week would be set by the master comedian, who offered up a lengthy, thought provoking, and hilarious intro monologue.
Foo Fighters have performed seven times prior on Saturday Night Live, and just before the show announced via Pitchfork that they are releasing a new album, Medicine at Midnight, due out February 5, 2021. They performed “Shame, Shame,” a slow rocker that stands out as different than past Foo Fighters songs. Guitarist Chris Shiflett told The Brag, “It’s definitely a little different than anything we’ve ever done before and it’s a little bit different than anything else on the record, although the record has a lot of songs that are, you know, groove-based like this one is.”
https://www.youtube.com/watch?v=Dh_vJ-E337g
For their second song of the night, Foo Fighters went back to their 2002 release One by One for a fitting “Times Like These.” The true-to-the-moment version, with lyrics that are nearly two decades old hold true in the wake of a monumental election, with Dave Grohl notably repeating with increasing emotion, “It’s times like these you learn to live again.”
I—I’m a one-way motorway I’m the road that drives away Follows you back home
I—I’m a street light shining I’m a white light blinding bright Burning off and on
It’s times like these you learn to live again It’s times like these you give and give again It’s times like these you learn to love again It’s times like these time and time again
I—I’m a new day rising I’m a brand new sky To hang the stars upon tonight
But I—I’m a little divided Do I stay or run away And leave it all behind?
The first musical moment of the show, however, came in the cold open, featuring Alec Baldwin’s President Trump, finding the lame duck sitting down at a piano to sing a sad version of The Village People’s “Y.M.C.A.” The musical moment was a nod to the first post-election show in November 2016 that had Kate McKinnon’s Hillary Clinton singing an emotional version of Leonard Cohen’s “Hallelujah,” with Baldwin even saying a line similar to McKinnon’s, “I will never give up, and neither should you.” However, this time the performance by the losing candidate was met with laughs from the audience, and not a somber reception followed by ecstatic applause as was the case in 2016. Jim Carrey’s Joe Biden and Maya Rudolph’s Kamala Harris also closed out their celebration dancing to “Lose Yo Job” as the open wrapped up.
Phish had not yet started their Fall 1997 tour, one that would be dubbed “Phish Destroys America,” yet they were already debuting new tunes for fans. On November 7, 1997, Phish performed on Late Night with Conan O’Brien, giving fans a first taste of “Farmhouse,” despite being there to promote the just-released live compilation Slip Stitch and Pass, before heading west a week later to kick off their Fall Tour in Las Vegas, NV.
As Glide Magazine points out, Phish was not prone giving names to their tours, but Fall 1997 quickly earned the “Phish Destroys America” moniker by fans, thanks to a controversial Ames Design tour poster used to advertise the tour opener at Thomas and Mack Center, althought the title fits the tour perfectly.
The performance on Late Night featured a stand alone version of “Farmhouse,” a song that lent its name to their May 2000 studio album. The mild reggae vibe brings to mind Bob Marley’s “No Woman, No Cry” and could be found in Phish’s regular rotation beginning in the summer of 1999. Guitarist Trey Anastasio can be seen enjoying the guitar solo thoroughly during the more than four and a half minute version of the song.
Following the performance of “Farmhouse” and Conan coming over to introduce and thank the band, O’Brien said “Take it away guys,” and Phish quickly moved into the intro to “Mike’s Song,” as they might do in live performances, much to the glee of lucky fans in the audience.
Phish would return to Late Night with Conan O’Brien once more on June 27, 2000 to perform “Get Back on the Train,” which would also be featured on the band’s ninth studio album, Farmhouse.
Each Sunday evening from 7-9pm you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear the latest EP from Slaughterhouse Chorus, Trampoline Jetstream and more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
… In the Name of Progress is the first Slaughterhouse Chorus recording to a music collective, Built4BBQ. Albany audio extraordinaire Ryan Slowey tracked the band live in vocalist Chris Jordan’s rural Rensselear County cabin, resulting in a lean and mean collection that fully represents their on-stage energy and lyric-driven songwriting. While the band’s previous recordings occasionally incorporated an “Honorary Chorus” of auxiliary instrumentation ranging from banjos to horn sections, … In the Name of Progress relies entirely on two electric guitars, bass, drums, and vocals – with the notable exception of one high-lonesome bluegrass harmony section provided by John “Henry’s Rifle” Pipino and Dan Wilson of Kimono Dragons and the Rechorduroys.
From the opening garage-punk ripper “Greenplates” to the ZZ Top thump of “Used Tombstones”, from the signature country-punk barnburning of “Hambone” and “Pedestrians” to the cathartic dirge of closing track “Wellsville”, … In the Name of Progress finds The Slaughterhouse Chorus stretching their sound into narrative songs that unfold like short stories set to boot-stomping sing-alongs. Simultaneously pared down to basics and more expansive than anything else they’ve recorded, it’s a fitting swan song for a band that’s spent ten years doing things their own weird way.”
As for what’s happening now, even with The Slaughterhouse Chorus coming to an end, the band never really stopped getting together to write and record new music. Weekly basement practices due to COVID precautions were put on hold, and later moved to Chris’ socially distanced garage and started working on fleshing out a batch of Chet Atkins/Jerry Reed style acoustic guitar ideas he’d been kicking around for years that never really fit in with Slaughterhouse. This evolved into a project they’re calling Timing. It has a lot of the country/Americana side of Slaughterhouse, but much more weirdness and much less punk rock.
Utica’s Trampoline Jetstream will also be featured on this week’s EQXposure, with Pearson spinning their song “Jerry.”
The four person indie rock band began to record “Jerry” in Utica two years ago. Before they could finish, vocalist Nick Vanderwood suffered an injury that left him unable to sing. The band put the project on hold until February 2020, just before the COVID epidemic put everything on pause. Trampoline Jetstream had finished recording, but had to delay production and gigs further. Read more on Trampoline Jetstream here.
The fifth performance of Trey Anastasio‘s eight-week residency at New York City’s Beacon Theatre took the exact form of one of his many recent side projects. From the opening zoom to the stage that soon showed backup singers and a different looking drummer, it was clear early on that tonight would finally be a variation of the core lineup from the first four weeks of The Beacon Jams. Tonight, Trey took his Ghosts of the Forest side project out for its first run in well over a year. If there was any rust on it, it was minimal.
Expectations for this evening started getting a little hyped up early on Friday, thanks to a nondescript Twitter post from Don Hart, Trey’s longtime orchestral and arrangement collaborator. A warning shot like this will rarely go unnoticed within the Phish community.
Immediately, hopes ran high with some sort of orchestral configuration of a Phish song or multiple songs. Perhaps an updated version of “Times Turns Elastic” or an elaborate run through of “You Enjoy Myself”? Apparently, per Trey, Mr. Hart was was still composing arrangements for this evening right up until 20 minutes before showtime, so anything was fair game.
Instead of traditional Phish canon, tonight’s orchestration was directed to one of the more recent Anastasio solo efforts, his Ghosts of the Forest album that was performed a handful of times in early 2019. It’s a complete album with more than 20 songs in all, written by Anastasio in the emotional wake stemming from the death of one his longtime friends, Chris Cottrell.
The opening zoom in to the stage immediately revealed a different lineup tonight. There were three backup singers visibly present: Celisse Henderson and Jennifer Hartswick, both from the original GOTF format, as well as “newcomer” Jo Lampert. The other distinct difference was a scruffy-haired Jon Fishman behind the drum kit this evening instead of Russ Lawton who manned it the first four nights. Together, with other Beacon Jam mainstays like Tony Markelis on bass and Ray Paczkowski on keys, this completed tonight’s GOTF ensemble.
With the “new” Ghosts of the Forest lineup established, they wasted no time in going into the outfit’s namesake song. Even though this was only the band and camera crew onstage, the fog and echo effects that accompanied this one were crowd-ready. “Drift While You’re Sleeping” followed, with the backup singers directing the the bulk of the vocal effects this time. Another sophisticated reverb effect introduced the reggae-ish breakdown sequence and it was clear early on nothing was being held back production-wise.
After this impressive opening sequence, Trey took the time for a quick round of band introductions, including one for Fishman, aka “some guy he picked up hitchhiking,” as well as new backup singer Jo Lampert. Trey made sure to remind folks that Lampert not only served as a clone in Phish’s New Year’s show at MSG last year, but also as one of the backup singers for their Ziggy Stardust musical costume from Halloween 2016. So she was certainly no stranger.
It wouldn’t be a “Beacon Jam” without some sort of spatchcock reference and that’s exactly what led into into the next GOTF song, “Friend.” Instead of the traditional four-piece Rescue Squad Strings that had accompanied Trey the previous weeks, this one would be “spatchcocked” into a fuller and doubly richer eight-piece ensemble Trey’s lead solo sounded even richer with the backing of the additional strings on this one.
photo by Jake Silco
After a quick shoutout to the Phish Chicks Facebook group, the backup signers returned and then it was right into “Sightless Escape,” complete with a “No Men In No Man’s Land” tease and a monstrous vocal breakdown from Celisse at the end. Afterwards, Anastasio honestly confided they were “having too much fun” tonight. “Halfway Home” featured a slowly building and ascending jam topped off with another Trey solo and sterling backup vocal harmony. After this, it was a quick switch to the acoustic guitar for “If Again” which sounds like it could be the uptempo cousin of “The Inlaw Josie Wales.”
Trey then took the time to give personal introductions to all eight members of tonight’s Rescue Squad Strings, including one whose friend formerly dated Jon Fishman. The strings added a wonderfully delicate touch to “In Long Lines” as well as “There’s A Path Above.” Afterwards, Trey thanked and mentioned Don Hart’s involvement, confirming arrangements were being completed right up to the last minute. Naturally, this somehow digressed to another spatchcock reference that ended with Trey telling Fish he plays a song quite regularly about this, “Split Open and Melt.” This led into one of the few GOTF numbers that’s seeped into the Phish repertoire, an electric “About To Run” with no strings or singes, just another ferocious Anastasio solo, capped off with an election and a “running for office” pun.
“The Green Truth” saw the backup singers return in a big way as they seemed to dominate the tail end of this one. “Beneath a Sea of Stars Parts 1 & 2” followed and featured a nice, drawn out opening sequence with Fishman taking lead on drums for a while. “The lights are flashing” line seemed to nod to the simple yet highly effective combination of flashing house lights and the minimal light rig used onstage. The Rescue Squad Strings then re-entered before “Mint Siren Dream.” This delicate little number saw Trey in full crooner mode, using only the microphone to sing while being supported by the strings and timely fills from Ray on keys.
“Stumble Into Flight” featured more lively play from Paczkowski, that meshed with a distinct echo effect from Trey and powerful backing vocals to produce a notable jam that contained a “Pigtail” quote at one point. Immediately afterwards, with no hesitation, “Ruby Waves” started up, giving this two-song section of the evening a distinct Phish taste. Although no Alpine Valley version, this “Ruby Wavs” got plenty deep and developed another intriguing jam that grew organically, sounding by far the closest to anything purely Phish from “The Beacon James” so far, including the still impressive lighting display.
The strings ambled back on stage for “Shadows Thrown By Fire,” a brief instrumental number with the backup singers adding airy vocals atop. “Wider” was another highlight of the evening, with heavy bass play from Markelis early on bass and a catchy “Gonna get wider when I die” lyric. More strong play on the clav and organ from Ray added to a bit of an extended jam.
Trey then gave the chat room one more nod, and noted that up to $400K in donations have been made to date towards The Divided Sky Fund. This elicited more heartfelt thanks with Anastasio advising a site for the proposed rehabilitation house has been found, and it’s on track to open in late 2021.
photo by Jake Silco
The strings returned once more for “Life Beyond The Dream,” an appropriate song to follow talk of a rehab house with its “don’t give up hope” lyrics. As expected, the string ensemble took this song to another level in a dazzling display of orchestration towards the end. “In This Bubble” followed, with its wishful “going home” lyrics and a melody once again driven by the backup singers who were all in great form all night. This immediately transitioned to the end of the “Sea of Stars” suite with “Beneath a Sea of Stars Part 3 (blue)” that was appropriately heavy on all available shades of blue house lights.
This effectively ended the set. The encore began with another spooky, echoey effect that bled into the beginning of the hauntingly somber “Brief Time,” with Trey again on acoustic. “Pieces of the Machine” with more “Ghosts of the Forest” vocal teases finished things for the evening – a complete performance of Ghosts of the Forest exactly as it had been played in its handful of performances earlier last year. Or, in other words, just another Friday night at The Beacon for Trey.
photo by Jake Silco
Trey Anastasio “Beacon Jams” Beacon Theatre – New York City, NY 11/6/20
Set: Ghosts of the Forest > Drift While You’re Sleeping, Friend [1], Sightless Escape, Halfway Home > If Again, In Long Lines [1], There’s a Path Above [1], About to Run, The Green Truth, Beneath a Sea of Stars Parts 1 & 2 [1] > Mint Siren Dream [1], Stumble Into Flight > Ruby Waves, Shadows Thrown By Fire [1], Wider, A Life Beyond The Dream [1], In This Bubble > Beneath a Sea of Stars Part 3 (blue)
Encore: Brief Time [1], Pieces in the Machine
Notes: [1] With The Rescue Squad Strings : Katie Kresek, Maxim Moston, Phil Payton, and Mary Jo Stilp on violin, Monica Davis and Rachel Golub on viola, and Eleanor Norton and Anja Wood on cello
System Of A Down released new music on November 6, 2020 for the first time in 15 years. The band dropped two songs, “Protect The Land” and “Genocidal Humanoidz” both speak of the dire and serious war happening in their cultural homelands of Artsakh and Armenia.
The heavy metal band, System Of A Down, formed in Glendale, California back in 1994. They are an Armenian-American band who have released five studio albums throughout the years. Three of those albums debuted at number one on the US Billboard 200 and were even nominated for four Grammy Awards. Their most well known song is “B.Y.O.B.” which won a Grammy Award for Best Hard Rock Performance back in 2006. The band is made up of founding members Serj Tankian who does lead vocals/ keyboards, Daron Malakian who does vocals/ guitar and Shavo Odadjian who plays bass/ backing vocals as well as John Dolmayan who plays drums. John Dolmayan replaced original drummer Andy Khachaturian back in 1997.
The new songs “Protect The Land” and “Genocidal Humanoidz” are the bands way of trying to inspired people to speak out about the horrific injustices and human rights violations occurring by the hands of the Azerbaijan and Turkey (along with Isis terrorists from Syria). They have attacked the Republic of Nagorno-Karabakh which we as Armenians call Artsakh. Civilians young and old have been awakened day and night by the frightful sights and sounds of rocket attacks, falling bombs, missiles, drones and terrorist attacks. People have had to find sanctuary in makeshift shelters while trying to avoid the fallout of outlawed cluster bombs. Their attackers have set their forests and endangered wildlife ablaze using white phosphorus, another banned weapon.
The band asks people to donate and help those who have been affected by the ever growing accounts of crimes against humanity currently happening to the Republic of Nagorno-Karabakh. In return the band offer downloads of the two new songs for just $2. These funds will be used to provide crucial and desperately needed aid and basic supplies for those affected by these hideous acts.
For more information on the release and reasonings behind “Protect The Land” and “Genocidal Humanoidz” visit System Of A Down’s website.
Of the many fabled rappers that have hailed from Brooklyn, AZ might be the most overlooked. When great Brooklyn emcees are the topic, the usual suspects are The Notorious B.I.G., Jay- Z, Big daddy Kane, amongst others. Rarely is AZ ever brought up and that is seemingly how he prefers it, having given himself the moniker “AZ Quiet Money.”
AZ — whose rise to notoriety came from his classic guest-verse on Nas’ magnum opus debut-LP, Illmatic — has mastered a rare skill in a profession that is filled with ubiquity and hubris. The art of playing the background and biting your time. It also helps that as a famed lyricist, AZ has laurels to rest on.
Which is why it comes as no surprise to see the “Sugar Hill” rapper tease the sequel to his platinum-selling debut, Doe or Die,on his own accord. In an Instagram post which features a teenage picture of AZ and Nas, the caption reads “We been cooking up since 94 & We still cooking.,, Doe or Die 2 Coming soon!”
Although talks of a sequel to his debut can be traced as far back as 2015 (the album’s twentieth anniversary), there seems to be a re-invigoration from the “Mo Money, Mo Murder” rapper, having released a new record — “Found My Niche” — and an accompanying music video earlier this year.
A return album would be AZ’s first since 2009’s, Legendary. The “Firm” rapper (along with close associate, Nas) has gained a reputation for a specific style of rap. While gangster and mafioso Hip Hop ruled the mid-1990’s, AZ’s claim to fame was that while he was from the areas where great dangers lied, his records weren’t always in first person and oftentimes portrayed stories from the neighborhood. In addition, AZ’s knowledge of self and higher learning has always made him a favorite among hip hop connoisseurs, making a possible release to Doe or Die 2,much anticipated.
