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  • Dio Flashback: On this day in 1985, the late, great Ronnie James Dio performs at the RPI Fieldhouse

    Ronnie James Dio, the Cortland native and heavy metal legend, brought his band DIO to the RPI Fieldhouse in Troy 35 years ago today, September 4, 1985.

    This was the second Albany-area appearance by Dio with his solo band – he’d played the Glens Falls Civic Center less than a year before, in November 1984 on the ‘Last In Line’ tour.  In 1985, the band was promoting the third Dio album, Sacred Heart, a patchier effort than the first two Dio albums.

    dio

    This was the last tour to feature the original DIO band backing Ronnie: NYC (ex-Black Sabbath) drummer Vinnie Appice, Scottish (ex-Rainbow) bass player (the late) Jimmy Bain, and Irish guitarist Vivian Campbell (ex-Sweet Savage), who would be fired midway through the tour, breaking up the original foursome which had made the classic first two Dio records.  

    The opening group was Rough Cutt, one of those spandex-ey LA bands, there by virtue of being managed by Dio’s wife, and they sucked.  The RPI crowd was unmoved.

    dio

    The house was packed for Dio’s set – despite the dip in quality offered by Sacred Heart, Ronnie James was in 1985 viewed as a deity in the heavy rock world, and the Fieldhouse was accordingly full of metalheads.   This was the era of over-the-top stage shows, and this one was particularly Spinal Tap-ish, with lasers, a giant crystal ball and a giant dragon (which Dio himself “battled” with a sword), pre-taped wizardly creepy voice intro to the song “Sacred Heart”, and each member getting a big long solo.

    Frankly, the whole thing would have been better if they dropped all that and just played a whole bunch of songs. That said, it was the 80s, you had to expect that kind of thing.  The bands opened with a couple of the better new songs (“King of Rock’n’Roll”, “Like The Beat of a Heart”), played a slew of already-classics from the first two records, and a couple of the less-essential new ‘Sacred Heart’ songs, such a the somewhat corny title track, and the depressingly commercial “Hungry For Heaven.”

    This tour featured less of the classic Ronnie James-era Rainbow and Black Sabbath songs that had featured in earlier Dio tours, all delivered during extensive medleys, and a truncated version of Sabbath’s “Heaven & Hell” got the biggest roar of the night.  Rainbow classics “Man on the Silver Mountain” and “Long Live Rock’n’Roll” were played – again, in shortened form – in a medley with new yawner “Rock’n’Roll Children.” In fact, medleys were a big part of the show – the band played an extended, almost 40-minute medley of the song “Last In Line,” which incorporated “Holy Diver”, solos by all band members, more “Last In Line,” “Heaven & Hell,” “Sacred Heart,” and concluded with more “Last In Line.”  The main set finished up with speedy early Dio classic “Stand Up and Shout” – a roaring highlight – and encores were Dio evergreens “Rainbow In The Dark” and a storming “We Rock.”

    All hail Ronnie James Dio!

    Setlist: King Of Rock’n’Roll, Like The Beat Of A Heart, Don’t Talk To Strangers, Hungry For Heaven, Medley: Last In Line/Holy Diver/Last In Line, Drum & Bass Solos, Heaven & Hell, Guitar & Keyboard solos, Sacred Heart, Last In Line, Medley: Rock’n’Roll Children/Long Live Rock’n’Roll/Man On The Silver Mountain/R’n’R Children, Stand Up & Shout, Rainbow In The Dark, We Rock.

  • CHQ Assembly Announces Fall Programming

    CHQ Assembly announced their fall programming including lots of musical programming. The programming will start in September and will wrap up in November. The CHQ Assembly programming will be posted on the CHQ Assembly’s website.

    CHQ Assembly

    The CHQ Assembly is a digital outlet of Chautauqua Institution which is a nonprofit organization that exists to explore the best in human values and the enrichment of life. The Assembly has some free content but also offers a subscription program for $3.99 a month or $45 a year after a 90 day free trial. People interested can subscribe here. Subscribers to the CHQ Assembly Video Platform will have year-round access to nearly all our 2020 broadcasts. People can revisit their favorite programs, or catch up with ones they missed over the course of CHQ Assembly’s jam-packed nine-week summer assembly season. The programs try to focus on exploring critical issues of the day through a range of experiences including lectures, artistic experiences, master and enrichment courses, and conversations.

    The musical programming starts on September 15 at 12PM with a release of 2020 Piano Recitals featuring Gavrylyuk, Kobrin, Paremski, Buechner, Taylor, Zhu and many more. On October 1 there will be a Lecture by Grammy Award-winning Violinist Nicola Benedetti speaking on the impact of music education and to inspire us through music.. On October 6 at 12PM there will be an DEAs in Classical Music series. This four-part series of conversations on inclusion, diversity, equity and accessibility will explore issues in the classical music industry. And then in November with a to be determined date and time there will be a premiere of Chautauqua Opera Company’s A Cappella Song Cycle. This is a three-month project featuring 2020 Chautauqua Opera Company Young Artists and created by Composer-in-Residence Frances Pollock and librettist Jerre Dye.

    For more information on the CHQ Assembly programming visit their website

  • Make Music Winter Celebration Returns in 2020

    Make Music Winter celebration will return in 2020 across the country on December 21. The celebration is free, outdoor, and will take place in different cities nationwide. Attendees of the musical event will not only be it’s audiences but also it’s participants into music makers.

    The third nationwide rendition of the Make Music Winter takes place on winter solstice, December 21, while its counterpart the Make Music Day takes place on summer solstice, June 21. The the winter celebration first started in 2011 in New York City. Since then the celebration has grown  and last year it took place in nearly 40 cities in the United States in 2019. The celebration will ring in the longest night of the year, and celebrate the end of 2020. Both celebrations are presented by The NAMM Foundation.

    Most of the celebrations include parades. Unlike a traditional parade, most of the events for this celebration will stay on the sidewalks. Some march through a park or along an elevated rail line, or ride on bicycles, or take place on train cars and platforms. However you do it, being mobile brings music throughout your city, and helps you stay warm in the winter weather. The events are also participatory. Meaning that everyone is invited to be part of the music-making, whether by singing, playing an instrument, tap dancing, carrying a boombox, or whatever the event calls for. The whole idea of the celebration is for everyone to make music together in celebration of winter solstice.

    This year’s celebration will be a socially-distanced event and will focus on keeping it’s participants as face as possible. People interested in participating should fill out this short form to register an event somewhere close to home.

    For more information on the Make Music Winter celebration this year visit their website.

  • Farm Aid Announces Lineup For 35th Anniversary Virtual Festival

    Farm Aid organizers have announced that the annual benefit concert for farmers will occur this year via FANS online platform. Dubbed “Farm Aid On The Road,” this special livestream event will be available to watch on FANS.com September 26 from 8 p.m. to 11 p.m. EDT.

    Willie Nelson, John Mellencamp, Neil Young and Dave Matthews will be headlining the festival. Joining them are Bonnie Raitt and Boz Scaggs, Brandi Carlile, Black Pumas, Chris Stapleton, Jack Johnson, Margo Price, Nathaniel Rateliff and many others.

    “This pandemic and so many other challenges have revealed how essential family farmers and ranchers are to the future of our planet,” Willie Nelson said in an official statement. “Farm Aid 2020 is going to give the whole country a chance to learn about the important work of farmers and how they’re contributing to our well-being, beyond bringing us good food.”

    Farm Aid

    Equally important are the included stories from many family farmers across America, showcasing why they farm, how they have manage to stay strong during the pandemic and where they believe the future of agriculture lays.

    Started in 1985 by Nelson, Mellencamp and Young, the festival’s mission has remained raise money and share stories from American farmers. Over the years the farm festival has made two stops in New York; Randall’s Island (2007) and a sold out day at Saratoga Performing Arts Center (2013).

    Farm Aid
    Neil Young Performing At SPAC (2013) photo by Jim Gilbert

    “Since we started in 1985, Farm Aid has kept its finger on the pulse of farm country and deployed funds and resources to help farm families confront the challenges they face,” said Executive Director Carolyn Mugar. “It’s clear that this is a critical moment for farmers and ranchers. We risk losing their important contributions to our communities and our families if we do not adequately respond as a country.”

    This year’s festival is free of charge but donations are being accepted. Farm Aid accepts donations year-round here. Visit FarmAid.org for more information.

  • Disco Biscuits Make it a Long Weekend at the Drive-in

    Chicago Cubs legend Ernie Banks is famous for the saying “Let’s play two!” Well, The Disco Biscuits have decided to “play four” and have added two more shows to their weekend stay at the Yarmouth Drive-in on Cape Cod. After the first two shows scheduled for October 16 and 17 sold out in under an hour earlier this week, shows for the 18th and 19th are now scheduled as well.

    Tickets are on sale now at yarmouthdrivein.com. Tickets will also be available the night of show at the gate, subject to availability. Each ticket will cover one car with up to four people in it each night. They will range from $165 to $300 depending on the parking spot. Fans with more than four guests in their vehicle can purchase additional tickets. Those are capped at three tickets for $40 each.

    Disco Biscuits Drive-in
    The Disco Biscuits

    Ticket seeekers should join the Cape Club at yarmouthdrivein.com for the latest news about upcoming attractions, and first access to tickets. The Yarmouth Drive-in on Cape Cod is located at 669 Route 28, West Yarmouth, MA. The venue is acting as a haven for live music right now with other upcoming performances scheduled for the likes of Marcus King Band, Pink Talking Fish and Goose.

    These performances at the Yarmouth Drive-in will be the Disco Biscuits’ only shows for the remainder of 2020. Aside from a one-set performance in June at an empty Citizen’s Bank Park in Philadelphia , they have not taken the stage since beginning the year with three shows at the Riviera Theater in Chicago.

  • Escaper bassist Greywolf drops debut single “Exit Key”

    Greywolf, aka Jay Grey, bassist for rising powerhouse band Escaper, has released “Exit Key,” the first single off his upcoming debut album Operation Wolf.

    Greywolf

    “Exit Key” is a sample of what the multi-instrumentalist is able to do on his own. Haunting and beautiful, the lyrics evoke themes of love, loss, and wanting to make a change. The track opens with a droning synth, before dropping into love story lyrics. Prescient themes for these times are found, with change needed to be made after reaching a breaking point and wanting to make change.

    Greywolf recorded and played all the instruments on this record in his home studio, including piano, synth, keys, guitar, bass and beat programming. The record as a whole addresses change, longing and one’s personal connection with nature and the universe. You’ll find an autobiographical feel and personal touch to the music and the album.

    While Jay Grey is best known for his work with Escaper, he has branched off to deliver a sound all his own. Keep your eyes and ears open for more brilliance from this emerging artist.

  • Glens Falls Park Theater Adds Sound To The Silent Era With “The Marriage Circle”

    On Thursday, September 10, Glens FallsPark Theater is hosting a virtual fundraiser with the streaming of silent film The Marriage Circle. Silent film accompanist Ben Model will supplement the film with an original live score. The show begins at 7:00 p.m. with a presentation from the Chapman Museum about Glens Falls’ 1920s theater scene following the 1928 Spanish Flu pandemic.

    Glens Falls Park Theater

    Ben Model plays piano and organ, and his scores have been used by adult orchestras and high school ensembles alike. In addition to The Marriage Circle, he’s produced scores for the films of Charlie Chaplin and Buster Keaton. Over the past 30 years, Model has composed scores for hundreds of silent films both long and short.

    The Marriage Circle, a 1924 comedy, was directed and produced by German-born director Ernst Lubitsch. The film’s writer, Paul Bern, was inspired by Lothar Schmidt’s 1909 play “Nur ein Traum (Only a Dream).” One of The Marriage Circle’s actresses, Esther Ralston, lived in the Glens Falls area in the 1970s. Ralston has a star on the Hollywood Walk of Fame.

    Glens Falls Park Theater
    LA Times.

    Tickets for The Marriage Circle livestream are $15. Attendees will receive a link to join 30 minutes before the stream begins. For more information on the event, visit the Glens Falls Park Theater website.

  • Indie Groove Band Goose Announce Two Social Distancing Shows at South Farms

    Groovy, Connecticut based jam-band, Goose, is excited to announce two socially distant concerts at South Farms in Morris, CT on Sept 16 and 17.

    Goose South Farms
    Cover art poster for Goose concerts at South Farms.

    Unlike many shows being held during the pandemic, these shows will not be drive-in, rather have designated grids for the audience.

    The group started their winter of 2020 tour at Bowery Ballroom in Manhattan and then at the Williamsburg Hall of Fame, selling out both shows. They, unfortunately, could not play their spring concerts due to COVID.

    Goose hails from Norwalk, CT. In the band is, Rick Mitarotonda (vocals, guitar), Peter Anspach (vocals, keyboards/guitar), Trevor Bass (bass), and Ben Atkind (drums). Their eclectic tunes come from growing up together and sharing their love of music and story telling.

    Tickets are on presale now. General tickets go up Sept. 4 at 10 a.m.

  • Karma 3: Dave East still searching for his own Direction on New Album

    In the most recent installment of his Karma mixtape series, Harlem rapper Dave East makes his latest attempt at solidifying himself as one of New York’s head honchos. The 15-track, 53-minute project features notable guest appearances. Trey Songz, French Montana, Benny the Butcher, A Boogie wit da Hoodie, dancehall artist Popcaan, along with R&B legend Mary J. Blige, all lend-a-hand, in what felt like East’s best attempt at a commercially successful project. 

    The mixtape opens up with arguable its best record. “Handsome” is a thumping and fast paced track where East confesses his life’s agendum, which are “to not break the code,” “try not to die,” and “praying that he gets old.” It is an ode to the lifestyle that many from the inner-city can have an appreciation for. In 2:53, East captures the hopes and dreams of a generation of men, which is wealth and health, while staying loyal to their compatriots. What makes the record even better is that, while it has a radio feel to it, the authenticity remains. And with it being just shy of 3 minutes, the replay value is high. He follows it up with a record that feels straight of a Caribbean crime film. Backed by loud and distinctive horns, “Unruly,” features Popcaan and serves as an antithesis to its predecessor. While “Handsome” described the perfect outcome from a life in the streets, “Unruly” sees East chronicle the dangers that come with operating on the other side of the law. 

    The third track is where the album takes a turn, in the Trey Songz assisted “The City,” East tries recreating one of Jay Z’s better records “Heart of the City.” While a noble attempt, he lacks the soulfulness to pull it off. Not to mention, at the time of the original recording, Jay-Z was arguably the biggest rapper in the game and thus metaphorically was the “Heart of the City.” We do not think of Dave East in the same vain (or any current New York rapper for that matter). The same issue follows him on the fourth track, “Get the Money.” It’s a solid enough song, as he details his chase for financial prosperity. A god-awful French Montana chorus — along with a bridge that sees Dave East try his hand at harmonizing – completely derail it. He completes a hat-trick of melodically challenged songs with “Thank God.” Featuring A Boogie wit da Hoodie, East tries his hand at a club record, but the song never takes off, as the duo lack chemistry and it ultimately ends up feeling forced. 

    This ebb-and-flow continues throughout, as the best records see East stay in own pocket, solid beats, along with well put together verses, while his attempts at diversifying himself see him fall short. “Said What I Said,” “Broke or Not,” “Mission,” “Menace” and the Three 6 Mafia inspired “F**ck Dat,” are all good songs. While “Stone Killer,” — featuring Benny the Butcher — is absolutely explosive. The Mary J. Blige assisted “Know How I feel,” was a nice surprise as East meshed well with the r&b icon. Yet, for some reason, it did not serve as the outro. That was reserved for the self-reflective “Believe It or Not,” and while it is a good enough record, it left the project a bit anti-climactic. 

    All in all, this is a solid body of work, yet it feels as though the pressure for commercial success inspired a few of the songs. The problem is, Dave East isn’t and will probably never be a top-selling (or charting) artist and that’s okay. While he hasn’t led New York back to dominance as some predicted, his abilities as a rapper is still a rare and valuable commodity in this current era of New York hip hop. 

  • Wu Tang Wednesday: The Clan Brings Da Ruckus

    “Bring da Ruckus,” from the Wu Tang Clan‘s debut 36 Chambers LP stands as one of the rawest songs in rap history. As the lead single, and intro track on the album, “Ruckus” set the tone and established the Wu as a crew to be reckoned with. Not a particular long record (4:12, with plenty of filler), each member of the Clan was tasked with establishing themselves as individuals in short yet, impactful verses. With that, came the birth of an organic (gutter) sound that has yet to be replicated. 

    Bring da Ruckus
    cousin’ terror, quick damage ya whole era

    The record was formatted to sound like a hip-hop cypher but, with a hook from RZA. Four verses and a bridge and everyone on the record went off with aggressive verses and flows. The song has three major samples, interpolating the drums from Melvin Bliss’s 1973 track “Synthetic Submission” and “CB#2” by Ralph Vargas and Carlos Bess. The song begins with a sample of the English version to the film, Shaolin Shadow Boxing

    In a 2015 interview with London-based music technology company Roli, RZA explains how he came up with the sound for Wu-Tang and how he came up with the beat for “Bring Da Ruckus.” He explained that he wanted to use sounds that represented New York City in his beats and sound effects to bring more color to their songs. “When we were making a song called ‘Bring Da Ruckus,’ we took the snare and put it in an elevator sound and recorded it.” He went on to reveal that the reason he used martial arts soundbites was to edit out curse words, thus making songs playable for radio, which he believes is what had kids gravitating to them. RZA loved manipulating sounds to make beats, to him, any kind of sound effect had a musical connotation to them that could be used for any beat. 

    Beginning with the skit from Shaolin Shadow Boxing, you get a raw and dingy sounding intro,  RZA’s hook is then heard but, in a supporting role to the beat, as he shouts “bring da mother f**king ruckus” about four or five times before we get the first verse from Ghostface Killah.

    “Ghostface catch the blast of a hype verse

    My Glock burst, leave in a hearse, I did worse

    I come rough, tough like an elephant tusk

    Your head rush, fly like Egyptian musk

    Aww sh*t, Wu-Tang Clan spark the wicks, an’

    However, I master the trick just like Nixon

    Causin’ terror, quick damage your whole era”

    Ghostface is aggressive, setting the tone and stage for the others to follow. His verse embodied what RZA envisioned for the record, as he hoped for a pull no punches attitude from whoever rapped on the beat. The verse was quick but to the point, as Ghostface established himself as a someone to be reckoned with, bringing an attitude full of terror and dominance. Raekwon followed up, without a break from the chorus.

    Bring da Ruckus
    Given’ bystanders heart attacks

    “No doubt, and you watch a corny n***a fold

    Yeah, they fake and all that, carryin’ gats

    But yo, my Clan rollin’ like forty macks

    Now you act convinced, I guess it makes sense

    Wu-Tang, yo, soooo represent!

    I wait for one to act up, now I got him backed up

    Gun to his neck now, react what?

    And that’s one in the chamber, Wu-Tang banger

    36 styles of danger”

    Rae followed Ghost with a great verse painting a picture like he loves to do in his rhymes and directly putting you in the scenario that he paints. His tone and his delivery made you imagine him actually putting a gun to some one’s neck waiting on him to “act up.” Finishing up with a reminder that the clan was made up of different members, who each brought something to the table, or as he said, “36 styles of danger.” 

    Bring da Ruckus wu wear
    36 Styles of Danger

    Rapping third, Inspectah Deck might have had the best verse of the entire song, using wild terms, metaphors and rhyme schemes that kept the listener captivated. Like he said in his verse he verbally assaulted this track leaving listeners stunned like literal stun guns. 

    “I rip it, hardcore like porno-flick b***hes

    I roll with groups of ghetto bastards with biscuits

    Check it, my method on the microphone’s bangin’

    Wu-Tang slang’ll leave your headpiece hangin’

    Bust this, I’m kickin’ like Seagal: Out for Justice

    The roughness, yes, the rudeness, ruckus

    Redrum, I verbally assault with the tongue

    Murder One, my style shocks your knot like a stun gun”

     GZA (aka da Genius) was tasked with finishing off the record and he didn’t disappoint. 

    “Givin’ bystanders heart attacks

    N***as try to flip, tell me, who is him?

    I blow up his f***in’ prism, make it a vicious act of terrorism

    You wanna bring it, so fuck it, come on and bring the ruckus!

    And I provoke n***as to kick buckets

    I’m wettin’ cream, I ain’t wettin’ fame

    Who sellin’ ‘caine? I’m givin’ out a deadly game

    It’s not the Russian, it’s the Wu-Tang crushin’ roulette

    Slip up and get fucked like Suzette”

    He ends the songs perfectly, adding to the theme of the record and showcasing his now famous lyricism

    “Bring Da Ruckus” is one of the more impactful intro songs in hip hop history. It highlighted four of the major members of the group, establishing their style and unique sound and slang, while also previewing a new era of hip hop, one that celebrated being from the streets not only in lyrics but in how the records were produced and mixed. 

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