Do you need more cowbell? Blue Oyster Cult thinks you do because they’re released music videos for “Box in My Head,” “That Was Me” and most recently, “Tainted Blood” off the Long Island classic rock group’s first album in over two decades, The Symbol Remains.
The early days of the Blue Oyster Cult.
“That Was Me” is one of the many singles being featured on their upcoming album, The Symbol Remains. Their new album comes out Oct. 9 and embodies the well-known saying, “Good things come to those who wait.”
Music video for new song, That Was Me.
Blue Oyster Cult started producing the album in 2019 and thinks it represents the where the band is ‘here and now.’ The album is a mix of music they worked on years prior and brand new tracks.
“With the song demos emerging for this record, we realized there was as much if not more variety in style and content on this record as any in our history. We embraced this and the thing tying all the disparate elements together is the band’s sound and performance,” said Eric Bloom, vocals/guitarist.
Blue Oyster Cult formed in Long Island, NY at Stony Brook University in the late 1960’s. There, Donald “Buck Dharma” Roeser and his friends created sounds of psychedelia and acid rock. Through a jam session, rock critic Sandy Pearlman overheard the band and decided they were worth it.
Over the years, they created a melody of rock tunes that would captivate the world. One of their most famous, “(Don’t Fear) the Reaper,” reached 12 on the Billboard charts and became a rock classic.
Roeser talked about the band’s goals in creating this new album saying, “The goal was for the new music to stand up to the quality and vitality of our legacy recordings, and I believe we have successfully done that. Other than that, the sound of our voices and style of our writing and playing can’t help but sound familiar to fans of our work.”
BOC has recently released the video for “Box in My Head,” the second single off The Symbol Remains, due out on October 9. For more information visit Blue Oyster Cult’s website.
The most recent premiered video for the single “Tainted Blood” was written by Eric Bloom and Richie Castellano, featuring lead vocals by guitarist Richie Castellano. The Symbol Remains will be released on Friday, October 9.
Labor Day weekend is a weekend to enjoy the last remnants of summer, catch up with friends and family. For most Labor Day weekends since 2000, moe. fans found themselves heading to Turin (or Mohawk), NY for the end of summer festival, moe.down.
We’re taking a look back at moe.down this weekend and reminiscing on the lineups, the incredible bands that were discovered, and of course, moe. But one aspect of moe.down that was always unpredictable were the special guest sit-ins, if not the weather. Explore these 10 choice sit-ins, presented in random order, for this weeks installment of moe.mondays.
We’ll start with something for the children, literally. moe.down 8 started out with an afternoon set that featured the Kids Tent joining the band on stage. That year’s theme for the kids was ‘Year of the Pig’ so naturally, “Buster” was the perfect song to invite the kids up to sing. With parents close by, 20+ kids took the stage and sang “Pig can fly!” alongside moe., for a spectacular start to the day’s music.
moe.down 8 indeed had more than its fair share of guests, and as the Saturday afternoon set came to a close, Meat Puppets Curt Kirkwood joined moe. for a shredding ~19 minute version of “Mexico.”
Curt Kirkwood sitting in with moe.
Jumping back to moe.down 4, and moe. took a unique spin on their improv-friendly “Rebubula” by playing it for an entire set – nearly an hour in length. Listen below or check out an AUD on the Internet Archive.
For two years (2010-2011), moe.down relocated to Mohawk, NY and performed on the Gelston Castle Estate, and brought out some heavy hitting names in the process. Bob Weir was a special guest with Levon Helm’s band, and Weir joined moe. for “The Other One” > “Smokestack Lightning” > “The Other One,” Dylan’s “Stuck Inside of Mobile With the Memphis Blues Again” and a set closing “Feel Like a Stranger.”
Of course, Weir has performed earlier in the day with Levon Helm’s band, and sang (among many others) one of the Dylan songs that The Band and Grateful Dead had in common, “When I Paint My Masterpiece.”
moe.down 6 was held over Labor Day weekend 2005, as the remnants of Hurricane Katrina soaked the crowd throughout the weekend. Keller Williams joined moe. for “Stairway to Watchtower” through the pouring rain.
Umphrey’s McGee, who first caught the attention of moe. when Brendan Bayliss sent Al Schnier a demo of their cover of “Rebubula,” have appeared at multiple moe.downs, not to mention 20 Summer Camp Music Festivals together. Watch Umphrey’s join moe. for Pink Floyd’s “Time” from moe.down 13.
https://www.youtube.com/watch?v=N0nAjm8d3XQ
Earlier that day, Umphrey’s McGee welcomed Stanley Jordan for part of their set, including a “40’s Theme” -> “Hajimemashite” > “40’s Theme,” allowing Jordan’s guitar skills to shine.
More recently, moe.down 17, held over July 4th weekend 2019, featured Blackberry Smoke, Fishbone, Railroad Earth, Ryan Montbleau, Twiddle, and Mike Dillon Band, who welcomed moe. percussionist Jim Loughlin for their set. moe. would return the favor by bringing up Otto Schrang from Mike Dillon Band for “McBain,” adding a second percussionist on Coughlin’s vibraphone.
Rounding our our list, let’s go back to moe.down 8, which had a deep lineup as many moe.downs have. When Ryan Adams had to back out at the last minute, the festival was blessed with the founder of Lollapalooza himself, Perry Farrell and his Satellite Party. Few complained about this lineup swap, and after Farrell and his party worked through all the hits, moe. welcomed Farrell to the stage for the only hit not played yet – “Ocean Size.” After some banter behind the Mayor of moe.ville competition, the band broke into the Jane’s Addiction arena rocker.
In an attempt to emulate the 1969 festival for its 30th anniversary, the four day event, Woodstock 1999, saw over 90 bands perform. It drew more than 400,000 people to Rome, NY over the four days. There were high hopes for the festival which was only five years after Woodstock ’94.
The event started smoothly on July 22, 1999. As the weekend went on, the facilities deteriorated, leading to fires and riots. This gave the festival a sense of lawlessness that peaked during the Red Hot Chili Peppers’ set. The docuseries will explore this lawlessness that took place. It will do this by featuring “unseen archive footage and intimate testimony from people behind the scenes, on the stages and in the crowds, the series aims at telling the untold story of a landmark musical moment that shaped the cultural landscape for a generation” according to Deadline.
https://www.youtube.com/watch?v=W0Uhr5r6sUM
The festival has been covered in the past, most recently in 2019. The sports and culture website, The Ringer, put out an eight-part podcast about the event.
Recently, Netflix had success with a documentary about the failed Fyre Festival: Fyre: The Greatest Party That Never Happened that was also a festival that didn’t quite go according to plan. Hopefully the docuseries on Woodstock 1999 will be a success as well.
New York music venues decided to file a Federal lawsuit against State restrictions on live music on September 6, 2020 in the U.S. District Court in Manhattan. The lawsuit involves ten establishments across New York who believe the live music restrictions are unworkable and unconstitutional.
The Federal lawsuit challenges both the ad ban and the rule against charging for shows as being arbitrary since there is no evidence those actions have any effect on the slowing coronavirus spread.
Lark Hall lit up in red demanding the passage of The Restart Act. Photo by Zach Culver.
Last week New York state announced rules that aimed to contain the spread of the coronavirus according to state officials but many venues feel they have been disproportionately singled out in this new ruling. The rules allow only what the state calls “incidental” music to be performed at venues making it impossible to promote performances and therefore making it difficult for venues, bars, and restaurants to intrigue an audience to attend their establishment.
The ten establishments involved in the lawsuit are establishments that serve liquor and host or promote live music or entertainment. These venues come from all across New York state including four in New York City. The others are located throughout upstate New York in Buffalo, Niagara Falls and Clifton Park. The plaintiffs in the case are Turks Group, LLC, operating as The Sultan Room & The Turk’s Inn in Brooklyn, 49 Illinois Restaurant, LLC, operating as Buffalo Iron Works in Buffalo, The New York Independent Venue Association, a trade association, Columbus Ale House, Inc., operating as The Graham, in Brooklyn, Upstate Shows, Inc., operating as Upstate Concert Hall in Clifton Park, Jayarvee, Inc., operating as Birdland Jazz Club in Manhattan, Capitol Enterprises, Inc., operating as The Capitol Theatre in Port Chester, Jukimoo, LLC, operating as Littlefield in Brooklyn, nfinity on Main, Inc., operating as Tralf Music Hall in Buffalo, and Rapid Theater Niagara Falls USA, Inc., operating as The Rapids Theater in Niagara Falls.
Times Union Center lit up in red demanding the passage of The Restart Act. Photo by Zach Culver.
The defendant named in the lawsuit is the State Liquor Authority Chairman Vincent Bradley. The State Liquor Authority has been the leading charge in enforcing Governor Andrew Cuomo’s coronavirus orders. They do this by having the ability to suspend liquor licenses and impose fines on establishments not following the rules.
According to syracuse.com, “The lawsuit asks the court to halt the state’s enforcement of the orders. It also seeks payment for the cost of the lawsuit and lawyer’s fees, but does not specify monetary damages.” The state’s coronavirus rules are simple and easy to follow for most of these establishments. People being required to wear a mask, social distance, use hand sanitizer, having employee health checks, and ect would be very doable for establishments who host live music and yet they are being singled out from being able to promote their businesses.
The Federal lawsuit says, “The advertising and ticketing of shows would allow establishments to maintain better control over their limited capacity, allowing them to tell patrons in advance that an evening is sold out and thus avoiding the gathering of crowds trying to gain admission (and the increased risk of transmission that comes along with such gatherings).”
For more information on the New York’s new guidelines for establishments and how they effect the establishments and musicians read NYS Music’s article on the guidelines.
Among the many guitars in the cache of Jerry Garcia, “Wolf” stands as the most legendary of them all. “Wolf” was customized by luthier Doug Irwin, and was delivered to Jerry ahead of his appearance at a private show for the Hell’s Angels on September 5, 1973 in NYC.
Late in 1972, Garcia came across the first guitar Doug Irwin made for Alembic, which he bought on the spot for $850. He then asked Irwin to customize a guitar for him, and “Wolf” was born. Made from amaranth/purpleheart and curly maple with an ebony fingerboard and twenty-four frets, which were inlaid with African ivory (the first fret is mother-of-pearl).
The original version had a peacock inlay, later followed by Irwin’s eagle logo in its place. Later, a cartoon wolf licking his chops was placed by Jerry Garcia just below the tailpiece, which gave the name to the guitar. Irwin would later inlay the sticker into the guitar, which was labeled as “D. Irwin 001.” The guitar would cost Garcia $1,500, or around $8,700 in 2020 dollars.
“Wolf” would be played for two decades, becoming his most well known guitar and played across countless recordings, concerts and even in “The Grateful Dead movie.” Here, Irwin discusses the intricate detail of “Wolf.”
A few years after I delivered Wolf to Jerry, the guitar took several tumbles during Grateful Dead’s European tour. The first, a fall of about fifteen feet off the stage onto cement, had no effect on the guitar at all, but the second incident caused a crack to appear in the peghead. When Jerry finally brought me the Wolf for repair, the crack was actually very minor, but a stitch in time, saves nine. Repairing the crack wasn’t much of a problem, but having the guitar again made me reassess my early inlay work, and prompted me to reface the peghead with ebony and replace what I determined to be a poor excuse for a peacock with my signature eagle inlay cut from mother-of-pearl.
“Wolf” was played throughout the ’70s and ’80s, alongside “Tiger” and “Rosebud,” also designed by Irwin. “Wolf” was brought out of retirement in 1989 when Jerry explored using a MIDI synthesizer, and was played for the last time with the Grateful Dead at Oakland Coliseum Arena on 2/23/93.
In 2002, “Wolf” was purchased by a Deadhead, who later auctioned the guitar off for a great cause. The anonymous fans said:
I’ve been a fan of The Dead since I was a kid, and playing this iconic guitar over the past 15 years has been a privilege. But the time is right for Wolf to do some good. My wife and I have long supported the efforts of the Southern Poverty Law Center, and if ever we needed the SPLC, we sure do need them now.
Anonymous owner of “Wolf”
“Wolf” would be auctioned off at a price of more than $1.6 million, a bid that was matched by an anonymous donor, raising a total of $3.2 million for the SPLC.
The first show that Jerry Garcia would play “Wolf” at was a private show dubbed “Pirates Ball” on September 5, 1973, a private Hell’s Angels party aboard the S.S. Bay Belle. Performing with Merl Saunders in New York Harbor, the ship was known as the “largest marine ballroom afloat,” and was renamed to the Sound Line later after the show. The show also featured Bo Diddley, Elephant’s Memory and Mission Mountain Wood Band.
The S.S. Bay Belle, later named Sound Line
The guitar can be see in the movie/documentary Hell’s Angels Forever, directed by Richard Chase, Leon Gast, Kevin Keating, and Lee Maden.
Setlist: It Ain’t No Use, Favela, You Can Leave Your Hat On, Mystery Train, Harder They Come, Think, Finders Keepers
Wolf’s first appearance with the Grateful Dead was at the Nassau Coliseum on September 7th, two days later. The Dead were off the road for a month, and were refreshed getting back to business. Donna Godchaux was pregnant at the time, with her husband Keith having taken over keyboard duties from Pigpen a year prior.
This show marks the debut of Weir/Barlow’s “Let It Grow,” and one of the last “Bird Song’s” of 1973 before the song was shelved for a few years. Highlights include “New Potato Cabooose,” the jam that arose from “Playin’ in the Band,” a hefty jam from “The Other One,” and the “Eyes of the World” that followed.
Deadheads reported a heavy police presence that evening, with many fans arrested at or after the show. Cops reportedly drove on the sidewalks as the show ended and attempted to clear the crowd. They also seemed to use their batons to clear the area in front of the band between sets. This would influence the Dead’s decision not to return to Nassau for many years, until January, 1979.
Setlist: September 7, 1973, Nassau Coliseum, Uniondale, NY
Set 1: Promised Land, Sugaree, Mexicali Blues, They Love Each Other, Jack Straw, Looks Like Rain, Deal, El Paso, Bird Song, Playin’ In The Band
Set 2: Here Comes Sunshine, Me & My Uncle, Loser, Let It Grow-> Stella Blue, Truckin’-> Drums-> The Other One-> Eyes Of The World-> Sugar Magnolia, E: Around & Around
The livestream will celebrate The Capitol Theatre’s eighth anniversary since reopening in 2012. FANS will host the daylong musical event. In a partnership with Lagunitas Brewing Company, the stream will include archival sets, live performances, staff and artist interactions, and words from the community about the importance of The Capitol Theatre involvement in New York’s music scene. More information about the lineup will be released in the coming days.
Donations to The Capitol Theatre are encouraged to help support the present and future of live music. A portion of the proceeds will benefit the National Independent Venue Association, whose mission is to preserve independent live music venues and promoters in the U.S.
The Capitol Theatre’s eighth anniversary Livestream Contest provides fans a chance to win the ultimate Cap experience. The grand prize includes a tour of the Capitol Theatre with Peter Shapiro, a copy of The Capitol Theatre Volume 1 forwarded by Phil Lesh and signed by Cap staff, and a Cap merch package. To enter the contest, fans can purchase a $5.00 minimum raffle ticket. Not only does a raffle ticket support The Capitol Theatre but also increases the chances of winning the grand prize. The winner will be awarded on Monday, Sept. 14.
Capitol Theatre and Conscious Alliance, a nonprofit dedicated to feeding those in need with their “Art that Feeds” drive, have collaborated to create a commemorative poster fans are eligible to receive if they make a donation during the livestream.
Fans can also email a video or write up about their favorite Cap memories for a chance to be featured in the stream. Send submissions to Memories@TheCapitolTheatre.com – the deadline for submissions is Monday, Sept. 7 at 12:00 p.m.
Click here to view the upcoming livestream and click here to buy raffle tickets for The Capitol Theatre’s Livestream contest.
The lineup for the 8th-anniversary livestream on Saturday, September 12, features performances by Big Head Todd and the Monsters, Billy Strings, Bob Weir, David Crosby & The Lighthouse Band, Deep Banana Blackout, Foreigner, Galactic, God Street Wine, Hot Tuna, Joe Russo’s Almost Dead, Lake Street Dive, Mac DeMarco, moe., My Morning Jacket, O.A.R., Phil Lesh & Friends, Pigeons Playing Ping Pong, Portugal. The Man, Robert Plant & The Sensational Space Shifters, Taj Mahal Trio, Tedeschi Trucks Band, The Black Crowes, The Marcus King Band, The Revivalists, The String Cheese Incident, Trey Anastasio Band, Umphrey’s McGee, and Widespread Panic.
As well as special appearances by Brendan Bayliss, Chris “Coach” Rodriguez of 107.1 The Peak, Gary Lambert of Tales from the Golden Road, James “Fuzz” Sangiovanni of Deep Banana Blackout, Jason Crosby of Phil & Friends, Terrapin Family Band, Jessie’s Girl, Jimmy Fink of 107.1 The Peak, Joe Russo of Joe Russo’s Almost Dead, Joel Cummins of Umphrey’s McGee, Marc Roberge of O.A.R., Peter Shapiro, Richard “Fritz” Falanka (Mayor of Port Chester), Rita Houston of WFUV, Rob Barraco of Phil Lesh & Friends, The Phil Lesh Quintet, Dark Star Orchestra, Rob Derhak of moe., Ross James of Terrapin Family Band, and Warren Haynes of Gov’t Mule and Allman Brothers Band.
The free livestream will encourage donations to support our temporarily shuttered venue so that we may continue to bring musical experiences to the Westchester community long into the future. A portion of proceeds will benefit the National Independent Venue Association and its mission to preserve and nurture the ecosystem of independent live music venues and promoters throughout the United States.
Grab a limited-edition poster commemorating the 8th-anniversary to help feed families in need! This weekend, Conscious Alliance is hosting a Virtual ‘Art That Feeds’ Food Drive—fans are encouraged to participate by making a cash donation for the poster created by Pete Schaw.
New Jersey Governor Phil Murphy announced on Monday, August 31 that indoor performance venues would be allowed to reopen, with reduced capacity, starting Sept. 4.
New Jersey Performing Arts Center pre-COVID.
Included in the executive order are music venues, performance centers and movie theaters.
Murphy’s rules are simple: continue to follow CDC recommended guidelines, and along with the recommendations, a capacity limit is in place at 25% or 150 people.
NEW: Today, I’m signing an Executive Order allowing for movie theaters and other indoor performance venues to reopen on Friday, September 4th. ☑️Face masks required ☑️Social distancing required ☑️Capacity will be capped at the lesser of either 25% capacity, or 150 people
Although for many artists this is good news, travel restrictions and capacity limits are still a concern as far as profiting off of the shows go.
Around 40 clubs and venues in New Jersey are members of the National Independent Venues Association, which made headlines last month when they started the #SaveOurStages Act. They continue to petition for nationwide financial aid to struggling music venues.
According to nj.com, some industry workers believe there will be a huge turn out with large-scale events, while others don’t think the country is even close to going back to any normalcy.
A mighty gig this was. 35 years ago tonight, on Sept. 5, 1985, AC/DC and Yngwie Malmsteen’s Rising Force performed at Glens Falls Civic Center.
Remember Ticketron?
This was actually AC/DC’s first headline gig in New York’s Capital Region – they had played Albany’s Palace Theater in the Bon Scott era in 1977, 1978 and 1979 opening for Rush, Rainbow and UFO, but the band skipped the area on the ‘Back In Black,’ ‘For Those About To Rock’ and ‘Flick of the Switch’ tours. Thus, the Civic Center was packed this night.
photo by Jim Polkowski
The opening band was Swedish guitar phenom Yngwie Malmsteen with his solo band, Rising Force, playing their first area gig. Yngwie had played Albany’s Palace Theater the year before with his old band Alcatrazz, opening for Ted Nugent, but in the year since he had released two solo albums, and the songs this night were tracks from his mostly-instrumental solo debut, and then-new record ‘Marching Out,’ featuring vocalist Jeff Scott Soto who was the singer for this gig. The sound for Malmsteen was fairly horrible and full of echoes in the hockey arena this night, opening with then-single “I’ll See The Light Tonight” and including some instrumental workouts like “Far Beyond The Sun” and “Black Star” which, despite the dazzling guitar playing, received a muted response due to the wretched sound.
https://www.youtube.com/watch?v=ooJCjKGYF28
No such troubles for the headliners though. AC/DC were promoting the Fly On The Wall album (which history has not shown to be one of their most beloved albums) and they opened with the title track, before settling into a set of rapturously-received classics and hits: “Back In Black,” “Shook Me All Night Long,” the rarely-played “Have a Drink on Me” and a rousing “Shoot To Thrill” were mixed with a couple of the better new songs (“Shake Your Foundations,” “Sink The Pink”) and a whole host of older Bon Scott-era favorites: “Dirty Deeds,” “The Jack,” “Jailbreak,” “Highway To Hell,” “Whole Lotta Rosie” and an extended, Angus-doing-a-walkabout “Let There Be Rock” which finished the main set and brought the house down.
photo by Jim Polkowski
The encore was similarly no-filler: “Hell’s Bells” and the giant bell, a raucous “TNT” had the entire arena roaring, and the show finished with an explosive “For Those About To Rock,” Angus duckwalking and headbanging across the stage, Brian Johnson howling like he was going to burst a blood vessel, Malcolm and the rhythm section locked in with deadly groove, and of course the cannons exploding during the fast part at the end. Has there ever been a better live heavy rock band? Few can compare. All hail the mighty AC/DC.
photo by Jim Polkowski
Rising Force Setlist: I’ll See The Light Tonight, On The Run Again, Far Beyond The Sun, Anguish & Fear, Guitar Solo, Black Star, Caught In The Middle.
AC/DC Setlist: Fly On The Wall, Back In Black, Shake Your Foundations, Dirty Deeds Done Dirt Cheap, Shook Me All Night Long, Have A Drink On Me, Jailbreak, The Jack, Shoot To Thrill, Highway To Hell, Sink The Pink, Whole Lotta Rosie, Let There Be Rock, Hell’s Bells, TNT, For Those About To Rock (We Salute You)
PearlPalooza Music Festival will go virtual for their 2020 celebration on September 19. It will feature exclusive performances, interviews, and more. PearlPalooza will be free and available to everyone via live-stream.
PearlPalooza generally takes place on Pearl Street in downtown Albany. The festival hosts musical performances, food, and more and organizers calculated that in 2019 over 10,000 people attended the festivities. This year’s Virtual PearlPalooza is presented by 102.7 WEQX – The REAL Alternative, Sugar Productions, Downtown Albany, New York BID, The Hollow Bar + Kitchen, High Peaks Event Production, and media sponsor Albany.com.
This year’s Virtual PearlPalooza will feature performances from some of Albany’s favorite musicians. The performances will start with a performance from MIRK at 1:00 PM. Then Victory Soul Orchestra will take the virtual stage at 2:15PM. The Wild Adriatic will then perform at 3:30PM. Then wrapping up the live performances Eastbound Jesus will take the stage 4:45PM.
PearlPalooza is teaming up with MVP Health Care to present YogaPalooza 2020 on September 19, 2020 at 11AM. People can join for a free, socially-distanced outdoor yoga class celebrating wellness and community at two Downtown locations. On the lawn at the SUNY System Administration Building at 353 Broadway and at Tricentennial Park at Broadway & Columbia Street.
For more information on the virtual 2020 PearlPalooza Music Festival visit Downtown Albany’s website.
Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. Tune into WEQX.com this Sunday night to hear music from Sydney Worthley, The Sweats, and many more!
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
From the Finger Lakes who just released their full-length debut album Caught in a Wave recorded at Pyramid Sound Recording Studios in Ithaca. You can pick up the album for contributions on BandCamp. Singer Travis Durfee says they hope to sell a few digital copies to make up what they’ve lost this year in live shows and that they are already working on material for a new album. Check out their quaratine videos on Facebook.
In February, Worthley went to Nada Recording Studio in Montgomery, NY to record five new songs in five days and you can hear them all on the new album Rose Colored Glasses. Worthley is a notable advocate for mental health awareness, having performed in Saugerties at the annual Hope Rocks Festival.
