On this day in 2001, Alicia Keys released her debut album, Songs in A Minor. Bolstered by the success of lead single “Fallin’,” it became an instant neo-soul classic and propelled Keys to R&B superstardom.
After the past half-decade defined by image-based teen pop acts such as Britney Spears and the Backstreet Boys, 20-year-old Alicia Keys carved out a space on the charts once more for scaled-back production and soulful vocals. Discovered by Clive Davis, Keys melded her classical piano background with modern hip hop beats. The gospel-influenced lead single “Fallin’” did it best: built on a simple two-chord riff, it feels timeless while foreshadowing the decade’s future in R&B. Keys has since surpassed the success of “Fallin’” with 2007’s “No One,” but her debut single remains her best.
Other highlights on Songs in A Minor include follow-up singles “A Woman’s Worth” and “Girlfriend.” Despite the album’s title, only one song here is written in the key of A minor: the Kandi Burruss-produced “Jane Doe.” That said, if the A is to stand for Alicia, Songs in A Minor delivers on its promise and more. From the Moonlight Sonata-interpolating opener “Piano & I,” it’s a moody young adult record that shares more in common with Jill Scott and Mary J. Blige than Keys’ same-age peers in Destiny’s Child.
Songs in A Minor went on to be a major commercial and critical success. It debuted at #1 on the Billboard 200 albums chart, and nearly doubled its sales in the second week. Taking home five awards at the 2001 Grammys, including Best New Artist and Song of the Year, Keys became the second female solo artist to win that many in a single night after Lauryn Hill in 1999. As the initial wave of Max Martin-produced pop acts fell out of favor, she ushered in a new era of female singer-songwriters like Norah Jones, Nelly Furtado and India.Arie, blending pop with jazz, folk and soul and emphasizing talent first and foremost.
Nelly Furtado, Alicia Keys and India.Arie covering a 2002 issue of Entertainment Weekly.
Keys went on to release her arguably better sophomore effort, The Diary of Alicia Keys, in 2004, and eventually scored more hits with “No One,” “Girl On Fire,” and Jay-Z’s “Empire State of Mind.” But still, “Fallin’” and Songs in A Minor remain her signature song and album.
In honor of the album’s 20th anniversary, an expanded edition of Songs in A Minor is available for streaming. It includes four previously unreleased songs, one being a new version of “Fallin’.”
While it may be Memorial Day Weekend, it’s also the ten-year anniversary of the one and only Phish run at the Bethel Woods Center for the Arts. In 2011, the band was still very much trying to gather its collective footing after reuniting only two years earlier. For some, these shows represent the first true “return to glory” moments for the band and fans alike. It’s only fitting that it took place on the hallowed grounds of Bethel, NY, the same ones that served as host for one the most influential music events of all time, Woodstock. Even though it was only Phish performing in Bethel this weekend, there were still plenty of magical moments to be had.
An argument can be made that some of the most passionate and inspired music of the entire weekend never even made its way to the public. On the night before the run was set to begin, Phish blessed their sound check with what many consider to be one of the best “Waves” of all time. It’s a version that stretches out to nearly a half hour, diving way beneath the surface without coming back up for air.
Night One – May 27, 2011
The first night of this memorable run also served as the 2011 summer tour opener. The only other show Phish had played this year to date was their 1/1/11 gig at Madison Square Garden to cap off the New Year’s run. Some rain leading up to this evening wreaked havoc on the fertile and lush grounds of Bethel Woods. But that certainly wasn’t going to deter anyone.
The rain had left some parts of the lower lawn in a treacherous state, to say the least. So boots, tarps and blankets were en vogue. But rather than play it safe and ease into the show, Phish instead opened night one of Bethel Woods with a raging “Tweezer” that caught everyone off guard, in a good way. Summer tour and the band’s third year since returning from a self-imposed breakup were now officially underway.
Considered tame by today’s standards, the show opening “Tweezer” doesn’t stray too far and elicits a mild jam. But the joy of it opening the show, and the tour, was never in doubt. Instead of stretching it out, they immediately transition into “My Friend, My Friend” and night one is off and running.
The rest of the first set is comprised of multiple covers that paint a clear picture of what influences Phish musically. First is their take on Ween’s “Roses Are Free,” a song forever immortalized in Todd Phillips’ Bittersweet Motel documentary. Next, keyboardist Page McConnell shines on his solo on Son Seals’ “Funky Bitch.” The first set also features a take on James Gang’s “Walk Away” that’s properly fueled by Trey Anastasio on guitar and it finishes with a splendid cover of Jimi Hendrix’s “Bold As Love.”
Aside from an earlier “Wolfman’s Brother,” some of the more exploratory work from the band in the first set came during “Stash.” A jam that starts from near ambience quickly picks up speed while never quite shaking the framework of the song. It provided a nostalgic glimpse of a song that used to be a first set powerhouse for a band still very much rounding into form.
With one set under their belt, Phish opens up the second with another rager, “Carini.” Those who called that and “Tweezer” both as set openers should be commended. Again, compared to modern day versions, this “Carini” doesn’t veer too far off the path, but rather sets the table nicely for the crescendo-building “Get Back On The Train” that succeeds it.
The second set also contains a “Waves” that has its moments but doesn’t come close to the majesty and weirdness offered up in the one from yesterday’s soundcheck. And, of course, more choice cover selections. This included the always popular “Boogie On Reggae Woman” (Stevie Wonder), with Mike Gordon and his signature bass line/effect leading the way. The set picks up in a major way, and possibly peaks, with a deep dive of the Talking Heads’ “Crosseyed and Painless.”
Once drummer Jon Fishman finishes leading the group through a funkified version of this cover, the rest of the set plays out in somewhat traditional fashion. “The Squirming Coil,” replete with an enchanting, set-ending piano solo from McConnell closes out the set before “Julius” and its infectious “don’t take another step” mantra closes the book on the first night of Bethel.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/27/11
Set 1: Tweezer > My Friend, My Friend, Poor Heart, Roses Are Free > Funky Bitch, Wolfman’s Brother -> Walk Away, Stash, Bouncing Around The Room, Kill Devil Falls, Bold As Love
Set 2: Carini >Back On The Train > Boogie On Reggae Woman > Waves > Prince Caspian > Crosseyed and Painless > Wading In The Velvet Sea > Possum, The Squirming Coil
Encore: Julius
Wolfman’s contained a Streets of Cairo tease from Trey. Before Stash, Trey teased The Fish (Schindleria Praematurus) by Yes.
Listen to the complete show on YouTube, or track-by-track at PhishTracks.
The second night of the Bethel Woods run began as so many Phish shows do, with people scurrying everywhere to secure their spots as notes from the opening song rain down. In this instance, the selection is “Theme From The Bottom” while plenty of viable spots on the lawn are still being secured.
Traditional first set stalwart “NICU” then follows, with McConnell wasting no time getting down to business on the Hammond organ. A super funked out take of another Talking Heads cover, “Cities,” then gives those on the lawn and everywhere else more than enough reason to get down and dance. The “outro” jam lasts well longer than it should and serves as a legitimate highlight of the weekend.
The rest of the night two’s first set is best encapsulated by a couple of song pairings. “Halley’s Comet” picks up on the experimental vibe and takes it the distance, fomenting a certifiable Type II jam momentarily. But before it can explore any further, the opening chords of “Runaway Jim” enter the fray, serving as the back end of a powerful two-song sequence whose jam gets the full on ‘Plinko’ treatment. The first set then later wraps up with another Phish staple, “Bathtub Gin” that gets a taste of “Manteca” and a distinct “Golden Age”-type jam midway through before rounding back into form.
Like most Phish shows, much of the heavy lifting takes place in the second set tonight. An explosive “Down With Disease” starts things off nicely, with Jon Fishman providing one intricate drum fill after another in a jam that comes to an early vigorous peak. Instead of returning to finish “Disease,” the jam meanders for a while until Anastasio signals for a wonderfully patient “Free” to begin.
As the second set progresses, Phish continues to show their mastery of juxtaposition. A zany “Makisupa Policeman” immediately goes off the rails, with mentions of spliff smoking and imaginary trips to Mike and Page’s respective “houses” that eventually sends the Bethel Woods crowd into an uproar, along with a healthy clav-driven, mini-funk jam. But instead of going to Fish’s “house” and carrying on with the silliness, the band turns on a dime and crafts an emotional “Harry Hood.”
The set later concludes with another Phish classic, “David Bowie.” And another longtime cover favorite, The Beatles’ “A Day In The Life” puts the finishing touches on night two in Bethel. With two nights now in the books, only the Sunday show remained. And, as the saying goes, those are not to be missed.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/28/11
Set 1: Theme From The Bottom, NICU, Cities, Halley’s Comet > Runaway Jim, Gumbo > Quinn The Eskimo > Limb by Limb, Horn, Bathtub Gin -> Manteca > Bathtub Gin
Set 2: Down With Disease > Free > Backwards Down The Number Line > Makisupa Policeman > Harry Hood > Cavern > David Bowie
Encore: A Day In The Life
Gin included a mash-up jam of Golden Age and Manteca and later closed with a Manteca quote from Trey. Disease was unfinished. BDTNL featured a DEG tease from Mike. Makisupa included lyrics referencing several band members’ houses (and Trey’s favorite show, House).
As to be expected, Phish closes out the Memorial Day Weekend in fine fashion. The “AC/DC Bag” opener “gets the show on the road” in a major way and Phish coasts from there. “Ocelot,” still a fairly new tune at the time, gets a surprisingly monstrous jam attached to it. The “Ya Mar” and “Timber” that follow serve as a nostalgic throwback of sorts, giving the set a temporary old school vibe.
“Suzy Greenberg” makes a first set appearance and then instantly morphs into a rowdy “46 Days.” And the quality cover selections continue as well, with Lynyrd Skynyrd’s “Ballad of Curtis Loew” getting the call tonight. Just like old times (again) the opening set then concludes with a “Run Like An Antelope” that does just that.
For their last Bethel set, Phish decides to maintain the traditional feel and opens it with a vintage “Mike’s Song” > “Simple” -> “Weekapaug Groove” trifecta. “Simple” yields an especially spacey, ambient-type jam before the rhythmic law firm of Fishman & Gordon kickstart the “Groove.” Afterwards, the band takes some time to reintroduce a certain dance some may have forgotten.
The second set later comes to a close with another powerhouse trio. “Also Sprach Zarathustra,” aka “2001,” offers one last definitive dose of funk for the weekend before giving way to the newly established jam vehicle that is “Light.” And “Slave to the Traffic Light,” with its customary soaring jam that evolves from near silence is the final emotional stamp.
By the end of the weekend, so much great music had transpired that it was hard to take inventory of everything. That’s why it came as a shock to many when, after “Loving Cup,” the distinct riff of “Tweezer Reprise” rang out, bringing the entire weekend full circle. It’s more than an ideal choice to close out the final chapter of music for the weekend, with the hopes that it won’t be the last one Phish writes here.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/29/11
Set 1: AC/DC Bag > Sample In A Jar, Rift, Ocelot, Ya Mar, Timber (Jerry) > The Oh Kee Pa Ceremony > Suzy Greenberg > 46 Days > Twenty Years Later, The Ballad of Curtis Loew, Run Like An Antelope
Set 2: Mike’s Song > Simple ->Weekapaug Groove, Meatstick > Fluffhead > Joy, Also Sprach Zarathustra > Light > Slave to the Traffic Light
Encore: Loving Cup > Tweezer Reprise
Ya Mar included Express Yourself (Charles Wright & the Watts 103rd Street Rhythm Band) teases from Mike. Antelope contained a Curtis Loew tease from Trey and Manteca teases from Trey and Page. Page teased Magilla in Simple.
When terms like the Grateful Dead and Barton Hall come up in conversation, there’s a good chance the show being discussed is the band’s venerable May 9, 1977 performance. But there were two other shows played at this field house on the campus of Cornell University in Ithaca, NY. The final one occurred 40 years ago today. Pound for pound, it can certainly hold its own with the legendary ’77 show. And it’s certainly one of finer shows from 1981. So much so that the band recently included it on their massive 30 Trips Around The Sun box set that was released in 2015, 80 CDs worth of previously archived Dead shows celebrating the band’s lifespan. One listen shows why this was an easy choice for inclusion.
This year, the Dead take off from the starting blocks with “Feel Like A Stranger,” and Brent Mydland making his presence felt early with his electronic keyboards that are turned up way high in the mix. As the opener progresses, Jerry Garcia and the effects his guitar bring to the table rise to the top, giving it an injection of funk. For a song that had only been debuted weeks earlier at the Capitol Theater in Passaic, NJ, the groove is easy and seamless already, serving as the perfect opening salvo for this powerhouse show. Almost surprisingly, they decide to ease up immediately afterwards with a slowed down and soulful take of “Friend Of The Devil.” Mydland’s keyboard tone takes a turn for the heavens, lacing the Dead classic with an ethereal tone throughout. His efforts are rewarded with a spot for a solo and he produces a phenomenal one before handing the reigns back to Garcia.
The “Me And My Uncle” that follows finally gives Bob Weir a chance to take center stage and he navigates through the longtime Dead staple effortlessly. Mydland, still turned up plenty high in the mix, and Garcia go back and forth supplying the instrumental harmony for a band that sounds completely locked in. As was now Grateful Dead custom, once “Uncle” wraps up the drumbeat doesn’t stop and carries right over into a smoking “Big River,” highlighted by a jaw dropping run on the fretboard from Garcia. For gigs going as far back as 1978 and until 1982, these two songs would be joined at the hip just like this.
One of the real high points of the first set is the “Althea” that follows. It’s Garcia at his peak, delivering both soulful lyrics and another poignant guitar solo. Bassist Phil Lesh adds some nice extra layering on a somewhat slower but certainly potent version.
Weir then takes over again for “C.C. Rider.” But the Dead’s take on this blues standard is really fueled by another Garcia solo and the wailing rhythms emanating from Mydland’s Hammond organ. The two go back and forth once again, building the onstage chemistry that would be a mainstay of the ’80s.
The first extend inter-song break gives the Barton Hall crowd a chance to catch their breath and then it’s back to business with “Brown Eyed Women.” Garcia’s mid-song solo seems to go on a little longer than usual, only serving to ramp up the emotions even more. The band then shifts gears from old school to new with “Passenger,” with Mydland filling in the vocal part vacated by Donna Jean Godchaux. His raspy overtones don’t quite carry the same effect and, sadly, this song would be shelved for good at the end of the year. Though certainly not due to lack of effort.
A slow shuffle beat then signifies the start of “High Time,” and it never lets up. Garcia and company nail the harmonized vocals and delightfully toy around with this crowd favorite. The Dead then shift gears in the blink of an eye, with Weir quickly strumming and Garcia moving in rapid fire up and down the fretboard as they launch into “Let It Grow.” This one means business from the get-go as the rest band follows in pursuit, led in earnest by Lesh on bass. There’s a four-minute span before the song’s breakdown that’s a pure whirlwind, with each band member almost chasing one another, creating a rich texture of sound. It’s another one of the true first set highlights. A quick run through “Don’t Ease Me In” then caps off another stellar first set of Dead at Barton Hall.
The second set starts off with a “Shakedown Street” that seems to live up to its title early with some shaky lyrics from Garcia. As it progresses though, the kinks get ironed out and the funk increases, albeit at a somewhat slower pace. Weir’s rhythm guitar and Mydland’s keyboard fills mesh perfectly, and before long, a bluesy three-part vocal harmony is in full gear. But the real action takes place once this breaks down, with Garcia and Mydland soon engaging in a call and response-type jam. In keeping with tradition, “Shakedown” is immediately answered with “Bertha,” just like the Dead opened last year’s second set at Barton Hall.
https://www.youtube.com/watch?v=1IDpVffVSY4
Afterwards it’s another vintage Dead 1-2 tandem with “Lost Sailor” once again spearheaded by Weir. It proves as a more than worthy respite until the familiar chimes of “Saint Of Circumstance” kicks in. Weir navigates seamlessly between the two, with emotions respectively aligned with the respective moods of each. Almost abruptly, “Saint” comes to a halt and another immersive jam begins to develop. This one manages to work itself into a full fledged “Spanish Jam,” with influences from Miles Davis and his Sketches Of Spain album in full bloom.
As the “Spanish” element of the jam recedes, “Drums” begin to kick in and takes its usual assignment in the latter portion of the second set. The last Dead show at Barton Hall show has a lot to offer still , and the drumming tandem of Kreutzmann and Hart plays a major part. A particularly rowdy last movement of percussion soon finds its way into the familiar overtones of the beginning of “Truckin’.” As to be expected, the State that’s got the “ways and means” gets an appropriate response in Ithaca,
The ensuing jam soon sparks another one of the show’s highlights, as it devolves into a bluesy, funky ” Nobody’s Fault But Mine” jam that would make Led Zeppelin proud. Although no lyrics are sung, the sentiment is made clear and creates one of the better, off-the-cuff moments that make this last show at Barton Hall a special one.
https://www.youtube.com/watch?v=PrGmm6fEsXc
“Stella Blue” then emerges from this, winding things down and allowing one last chance to get sentimental. Garcia delivers the lyrics, and another staggering guitar solo, with raw emotion and just a bit of flare. The music slows a near crawl at one point, with the Cornell crowd so rapt and quiet one can hear a pin drop. Before long, the energy skyrockets back, with “Blue” turning into more of a rocker, a true testament to the Dead’s versatility.
This gives “Going Down The Road Feeling Bad” an opportunity to make an appearance and the Dead run with it. Afterwards, Bob Weir gets the last laugh, closing out the second set by leading the band through a peppy and near raucous “One More Saturday Night.” Barton Hall rings out in a roar of applause at its completion, leaving no doubt about their feelings on this one. The Dead then grace the crowd with a bit of an atypical encore selection. Instead of a cover or a quick song, it’s an “Uncle John’s Band” that produces one last patient and inspired jam – more than a fitting choice for the final song they would ever play at Barton Hall.
Grateful Dead Barton Hall – Ithaca, NY 5/16/81
Set 1: Feel Like A Stranger-> Friend Of The Devil-> Me & My Uncle-> Big River, Althea-> CC Rider, Brown Eyed Women, Passenger, High Time-> Let It Grow-> Don’t Ease Me In
Set 2: Shakedown Street-> Bertha-> Lost Sailor-> Saint Of Circumstance-> Spanish Jam-> Drums-> Truckin’-> Nobody’s Fault But Mine-> Stella Blue-> Goin’ Down The Road Feelin’ Bad-> One More Saturday Night
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 new music fromHaley Moley, Architrave and many 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.
Haley Moley
Haley Moley’s newest release, “Narcissus,” is equal parts rock and electronic. Sporting a silver spoon on the single cover, the song’s lyrics speak of a selfish lover. Jennifer Maher Coleman’s vocals fade in and out, acting as another instrument beside the pulsing guitar and synths. Based in Troy, NY, Haley Moley also features Paul Coleman on guitar, Andrea Kosek on keyboard and guitar, Pat Thorpe on bass and Mike Broomhead on drums.
Architrave
Architrave, another project from Jennifer Maher Coleman and Paul Coleman, channels the new wave of the early 80s. The title of their recent single, “Headcount,” is deceiving. Its opening lines say, “There’s safety in numbers, here’s the headcount / One, one, and another one, I’m the only one.” While equally moody as “Narcissus,” Coleman’s vocals take center stage here.
Anacortez
Anacortez harkens back to the alt rock sound of the early 2000s. Consisting of Jessie Comtois, husband Michael Comtois and drummer Kevin Couture, the band is named after a town in Washington. Their latest single, “Another Sad Song,” resides on the softer sound of 00s rock.
Danger! Ken
Lastly, multi-instrumentalist and composer Danger! Ken will be playing “Astral Traveler” off his new release, Up is Down.
The Grateful Dead have always been able to find shelter in Syracuse. Much like the band’s much lauded previous year, 1978 would feature an extensive spring tour up and down the East Coast. 43 years ago, two nights after playing a show at RPI in Troy, NY, the Dead returned back to Syracuse and the Onondaga War Memorial. This would be the fourth of six times they would ever grace this venue, before moving on to a bigger room..er..Dome.
The Syracuse show starts off in interesting fashion with a “Franklin’s Tower” opener. The crowd is instantly engaged, clapping along in unison at the outset. Jerry Garcia’s lead vocals are backed up nicely by fellow guitarist Bob Weir and Donna Jean Godchaux. For an opener, it develops a surprisingly intense little jam that peaks nicely, setting a wonderful tone for the rest of the night. The set then proceeds in a little more customary fashion with Weir next belting out “New Minglewood Blues.” He even throws in a “And I’ll do it again” when singing about stealing women from their men. “Row Jimmy” then slows things down a bit and features a few delicate Garcia guitar solos and more Gochaux-supplied harmonies. Donna Jean and Weir then team up for a beautiful “Looks Like Rain” that has the Syracuse crowd enraptured.
With the exception of the rousing finish to “Looks Like Rain,” the generally relaxed, current vibes carry right over into “Friend Of The Devil,” played ever so slowly and deliberately around another dazzling Garcia guitar run. After some deliberation, “El Paso” is selected, with Weir regaining lead on the classic country-western first set staple. Then it’s Jerry’s turn to sing about “pretty women” as he leads the band through “Candyman.” The Dead finally rev it up a little for the ending of this Syracuse first set, starting with “Passenger.” The harmonies from Weir and Godchaux drive this one as Garcia delivers run after run of pedal steel-sounding guitar licks behind them. This gets a well deserved roar of applause from the War Memorial crowd that soon transitions to the beginning of “Deal,” with more audience clapping in tow. The ending peaks with some absurd harmonies from all singers on stage and a flurry of guitar notes, ending the first set in grandiose fashion while setting hopes high for the second one.
The second set begins with everyone’s favorite crowd management game, “Take A Step Back,” directed, as usual, by Bob Weir, in an effort to keep the people at the front of the stage from getting squished entirely. After some requisite tuning, the percussive intro of “Samson And Delilah” starts up, soon followed by some melodic riffs from Garcia on guitar. This produces a mild jam, with Garcia continuing to riff over the drumming tandem of Bill Kreutzmann and Mickey Hart.
“Ship Of Fools” fills in the two-spot in the second set, much to the Syracuse crowd’s delight. This allows Garcia another chance to drop a poignant guitar solo in the midway through a version that’s rife with energy and emotion. But the highlight of the set may be the extended “Dancin’ In The Street” that comes next, the Dead’s own take on this Martha & The Vandellas number. It’s a funk-laden version, with Garcia relying heavily on his favored Mu-Tron guitar effect early, that later evolves into a full group effort that escalates nicely. It winds up producing one of the longer stretches of pure improvisation and jamming this evening before rounding back into form
This energy carries right over into the “Drums” portion of the evening. And what a portion it is – well more than 15 minutes worth of pure percussive madness. At multiple points, at least one Caribbean-esque steel drum can be heard. After the requisite “Space” chaser, the latter part of this Syracuse show begins to wrap up with another vintage Dead cover selection, “Not Fade Away.” This seems to reenergize the crowd as they once again begin clapping along in time earnestly. A surprisingly intense jam develops between verses, giving this NFA a little extra kick.
Instead of taking things even further, the Dead then slow things down one last time and turn left into “Black Peter.” Another soulful Garcia solo serves as the foundation for this one, with each note, both sung and played, piercing through the sound with ease. Yet another cover closes out the second set, with Weir leading the charge on a wild romp through Chuck Berry’s “Around & Around.” They do a fun little vocal breakdown on this one, with Donna Jean getting in on the act. They bring the volume to near whisper-level, with the Syracuse crowd and their applause overpowering them towards the end. For an encore, the Dead donned Halloween masks and treated everyone to “Werewolves of London,” wrapping up just another ho-hum Syracuse gig.
Bob Weir wearing a wolf mask – shared by Bob Weir’s Facebook page
Grateful Dead Onondaga County War Memorial Syracuse, NY 5/9/78
Set 1: Franklin’s Tower, New Minglewood Blues, Row Jimmy, Looks Like Rain, Friend Of The Devil, El Paso, Candyman, Passenger, Deal
Set 2: Samson & Delilah, Ship of Fools, Dancin’ In The Streets-> Drums-> Not Fade Away-> Black Peter-> Around & Around
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 new music fromThe Wufs, Red Light Rivals and many 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.
The Wufs of Hollis, New Hampshire are debuting new music on Sunday, May 9. Their 2020 single, “Naked In Line,” is an earworm thanks to its simple yet arresting guitar riff. More recently, the Wufs released the groovy “Searchlight” last March.
With gravelly vocals and a gritty country feel, the verses to Red Light Rivals’ “There Ain’t Enough Time” sound like an updated Johnny Cash. The chorus and bridge are much poppier, closer to Fleetwood Mac’s Rumors, but Red Light Rivals is able to navigate both territories with ease. Rather than succumbing to whiplash, it showcases their versatility.
“Daycare Dropout” is the first song off the Pine Boys’ EP, Electric Minnow. A quirky rock ballad about a rebellious toddler, it evokes “Another Brick in the Wall” and Frenchy from Grease equally. Where Alice Cooper would protest pencils and books, this song’s protagonist is more concerned with Crayola and naptime. Deceptively simple, repeat listens show the song is more sonically interesting than it has any right to be. The Pine Boys are a trio from Albany, NY, consisting of Andrew Cerone, Brett Maney and Sam Laskey.
Toronto pop artist Dani Doucette today brings forth the captivating, neon-hued single “Craved,” fusing elements of R&B, disco, and pop setting the scene for Doucette’s velvety vocals.
The narrative of “Crave” describes an entrancing feeling in a club when you lock eyes with someone across the room who may not be suitable for you, yet you gravitate towards them overwhelmed with mystery. With confidence, power, and sensuality, Dani Doucette displays how being craved is a superpower. The lyrics describe losing yourself to love but only enough to leave a craving for more, pairing with a vibrant backing track accompanying Doucette’s voice.
Doucette fell in love with music at the young age of four when her father brought to their Toronto home a baby grand piano spending days practicing in her family’s sun-soaked music room. Aside from being an artist, she is an accomplished model, adding the glamour and excitement of her world-traveling experiences to her music. An aspiring humanitarian, Doucette also uses her platform to work with young people on their journey of self-discovery.
Applying her own struggles with confidence and feeling unfulfilled in the modeling world as her inspiration, she hosts self-esteem and confidence-boosting workshops for young women. Consistent with her goal of bringing about positive change in the world, Doucette strives to help people overcome adversity by sharing her own life experiences openly.
Charged with an ethereal vision, Dani has developed an individual pop sound, with captivating songs that feature a strong autobiographical and rebellious quality. Doucette arrived on the scene in August 2020 with “GO,” and the R&B pop song “Selfish” in January 2021.
Co-written with Thomas McKay, Dani channeled some of her favorite pop idols and a sci-fi energy, bringing the ambiance of an interstellar party.
While writing this song and working on harmonies we had MJ and Britney vibes that we were feeling. I remember Thomas and I just knew we had made something special.
The Grateful Dead played their one and only show in Alfred, New York, 51 years ago today. After gigs at their usual stomping grounds like the Fillmore West and the Family Dog in San Francisco the previous month, May 1970 kicked off with the Dead going to school, playing this evening at Alfred College and the following night at Harpur College in Binghamton. These legendary performances serve as the first known “An Evening With The Grateful Dead” shows, where the band would be joined by others and play interlocking sets.
Their friends in New Riders of the Purple Sage would join the Grateful Dead at Alfred College this evening, and the following night, playing a joint opening acoustic set, before a set of their own music, with a set of electric Dead wrapping things up. It can be argued that this helped lay the groundwork of the formation of a traditional Grateful Dead show: an opening set with more acoustic, straightforward tunes before a set of heavy improvisational numbers.
The show starts off with an acoustic “Deep Elem Blues” with guitarist Jerry Garcia on lead vocals. The harmonies are certainly a little richer on this one, thanks to the additional backing support from their friends in New Riders. In an interview later this year, Garcia would explain this brand new format and the kind of live show it created.
What we’ve been doing in the States lately is having like ‘an evening with the Grateful Dead.’ We start off with acoustic music with Bobby and I playing guitars, light drums and very quiet electric bass. Pigpen plays the organ. Then we have a band we’ve been travelling with, The New Riders of the Purple Sage, where I play pedal steel, not guitar, Mickey plays drums, and three of our friends from the coast, musicians that we’ve known for a long time, are fronting the band. So we start off with acoustic music and then The New Riders of the Purple Sage — it’s like very snappy electric country-rock; it’s kinda hard to describe — and then we come on with the electric Dead, so it keeps us all really interesting, and it’s six hours of this whole development thing. By the end of the night it’s very high.
Jerry Garcia, 5/24/70
After “Elem,” a traditional blues cover the band recently re-adopted after playing once in 1966, the opening set carries on with a unique version of “I Know You Rider.” This one is played at a super slow, folksy tempo compared to the traditional Dead version of later years and features an additional verse with the lyrics: I’d rather drink muddy water / Than sleep in a hollow log.” Definitely not your customary “Rider.” Following this, fellow guitarist Bob Weir promises the rapt Alfred College crowd a song about “simian creatures behind the wheel” and the band delivers a quick take of “Monkey And The Engineer.” At its conclusion, Garcia does not cease strumming and quickly leads the group into a flawlessly acoustic “Candyman.”
At its conclusion, Garcia beckons their friends David Nelson and John “Marmaduke” Dawson from NRPS to join them on stage. They make their collective presence immediately felt with a super-harmonized take on “Me And My Uncle.” This alt-country tune about gambling and betrayal sits square in the Riders’ musical wheelhouse and their presence make this one a truly pleasant version. The same can be said of the “Mama Tried” that comes next.
“Cumberland Blues,” a Dead tune that lends itself perfectly to vocal harmonies, goes off without a hitch next, with all guitars (and voices) on stage very much in synch. Nelson and “Marmaduke” stay on stage for the rest of the opening acoustic set and later contribute to a cover of The Everly Brothers’ “Wake Up Little Susie” which is succeeded by “New Speedway Boogie.” It’s only the tenth ever version of this Dead original penned by Garcia and famed lyricist Robert Hunter and the first ever on the East Coast. It’s a version so tight that it has Garcia and a least one other audibly “whooing” in delight mid-song.
The incredible musicianship and harmonies that serve as this opening act comes to a close with “Cold Jordan,” another traditional cover with hymnal-like lyrics that the Dead and NRPS would play together this year. And then a pristine take of “Uncle John’s Band,” replete with three-part harmonies. While it may not have all the accolades of the following night’s acoustic set at Harpur College in Binghamton, it’s beautiful in its own right and certainly merits a listen.
At its conclusion, Garcia states they’ll be back later with their “electric” stuff and preps the crowd for an incoming Pigpen performance. To start this last portion of the evening, “Not Fade Away” is the selection, done in traditional Grateful Dead-style. Garcia fires off a bevy of emotional guitar riffs and the double drumming tandem of Hart and Bill Kreutzmann only add to the power this one generates. Then, as promised, Pigpen takes center stage and lends his signature vocal prowess and swagger on a cover of Otis Redding’s “Hard To Handle.”
For a listen to this classic acoustic set and the opening two “electric” numbers check out the video below or go here.
The Grateful Dead close out the Alfred College gig with an absolutely ferocious “The Other One,” that’s sandwiched by “Cryptical Envelopment” on both sides, quite commonplace during this era. Bassist Phil Lesh finally gets a chance to let loose and explore the fret board, leading the band through this high octane, psychedelic sequence. The latter half of “Envelopment” gets particularly spacy and intricate at parts.
“High Time” gives Garcia one last chance to sing lead, justifiably slowing things down significantly from the improvisational madness that preceded it. Pigpen then sends the crowd home on a high note, ripping through another R&B-infused cover, this time Bobby Bland’s “Turn On Your Lovelight.” It serves as a more than fitting final number for a show that may have subconsciously helped shape the way live Grateful Dead shows are formatted for years to come.
Grateful Dead – Alfred College, Alfred, NY – May 1, 1970
Set 1: Deep Elem Blues, I Know You Rider, Monkey and the Engineer -> Candyman, Me And My Uncle, Mama Tried, Cumberland Blues, The Race Is On, Wake Up Little Susie, New Speedway Boogie, Cold Jordan Uncle John’s Band
Set 2: Not Fade Away, Hard To Handle, Cryptical Envelopment ->Drums -> The Other One ->Cryptical Envelopment, High Time, Turn On Your Lovelight
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 new music from Joshua West, Jade Relics and many 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.
Songwriter and brilliant musician Joshua West will share his tune “Feel That Pulse” off his forthcoming release, Let Your Voice Be Heard which is planned for release over the summer.
“Feel That Pulse” was written back in 2016 in response to the Pulse Nightclub tragedy in Orlando. The song’s message is one of love, equality and acceptance – urging us to let everyone “Sing the song they were born to sing.” It features Mihali Savoulidis of Twiddle on lead guitar, along with a great list of Vermont and upstate NY musicians.
Vermont independent group, Jade Relics, comprised of IamE, RicoJames, and Elder Orange latest single, “ISLAND” is a mind blowing tune that takes a serious groove adjustment mid-way through, as if it is the sonic equivalent of grabbing someone by the arm to pull them away from getting hit by a speeding train. The feel switch pulls the aritist in and figuratively forces their attention on where the song is taking them.
Athena Burke give us a powerful and positive anthem to remind us to stand strong in these off centered times. In her own words, “I will not fall “ is an emotional power anthem I wrote to help heal a past filled with trauma. A call to our inner strength in times of challenge. My sister, Lori had a life mantra. It came from our childhood. She had these dolls called Weebles. The slogan was ‘Weebles wobble but they don’t fall down.’ This song is dedicated to all of us who won’t fall down. And my sister Lori, who didn’t make it but inspired everyone around her. I hope this song will bring you love and power and strength on those days when you need it.” Produced by Devon Seegers of Bathrobe Robots.
By 1971, The Grateful Dead had firmly established the Fillmore East as their New York City base of operations. But as the saying goes, all good things must come to an end. The Fillmore East would be shuttered by the end of the summer, but not before one last run of Dead shows, which began 50 years ago today. The five-night run would serve as the band’s last hurrah at Bill Graham’s legendary East Village venue. It’s also the source of material for one of their essential live albums, Ladies and Gentlemen….The Grateful Dead. Tonight’s show features some iconic Dead tunes that were still in the early roll out stages combined with some short-lived classics.
The band wastes no time and dives right into a roaring “Truckin’” to open the show. It’s a crisp, early version of this Dead classic to-be that was barely a year old at the time. It would also serve as the opener for three other shows during this Fillmore run. After requesting some “cranking up” of the monitors, Jerry Garcia then leads the group through “Loser,” carrying over the alt-country psychedelic vibes established earlier by the New Riders. A short, but hauntingly beautiful guitar solo from Garcia highlights this one. The collective mood then gets lifted in a major way with “Hard To Handle.” The charismatic Pigpen, who has several shining moments this evening, takes the lead on vocals in his signature, blues-riddled style. Garcia and drummer Bill Kreutzmann seem to take turn raising the fervor and intensity which yields a hearty early jam.
After a vintage extended tuning session, the show resumes with “Me And Bobby McGee,” this time with Bob Weir leading the way on vocals for a cover song. Afterwards, Weir shouts out some more friendly advice to the monitor guy before “Cold Rain And Snow” lifts off. Garcia’s aggressive guitar tone and thunderous bass notes from Phil Lesh give this always emotional number a little something extra tonight. This sets the stage for Pigpen to take charge once more, this time with harmonica in tow for “The Rub.” This Lightnin’ Hopkins cover, also known as “Ain’t It Crazy,” would only be played 13 times by the Dead, properly shelved for good after Pigpen’s passing.
Weir then gets back on the mic for “Playin’ In The Band,” another soon-to-be Dead classic that was debuted only months earlier at the Capitol Theater in Port Chester, NY. It’s essentially just a run through of the composed portion, with no jam to speak of with the song still in its nascent stage. Garcia then notes that “we used to do this song acoustically” before an uptempo rendition of “Friend Of The Devil” takes place.
The first set then wraps up with a few already established staples of the Grateful Dead’s live catalog. The instrumental segue between “China Cat Sunflower” and “I Know You Rider” is near-seamless, with Garcia delivering a flurry of emotional guitar fills on the latter. “Casey Jones” then drives the Fillmore crowd off to intermission, capping off a whirlwind first set. Garcia and Weir both take it upon themselves to advise everyone they’ll return shortly.
The Dead kick off the second set at the Fillmore in grand fashion with a supercharged “Morning Dew.” Steadily progressive rhythms supplied by Lesh and Kreutzmann secure the framework for another Garcia guitar solo that drips with emotion, much to the crowd’s delight. After a quick run through “Beat It On Down The Line,” it’s Pigpen’s turn again as he and his harp rip through a cover of the bluesy “Next Time You See Me.”
Pig then gets back behind the organ for “Bertha,” another fresh tune at the time, debuted only months ago. Afterwards Garcia seems to make note of Mickey Hart, who had recently begun his hiatus from the band, “not being with us tonight” but that his grandmother was in attendance. This clears the deck for “Sugar Magnolia.” Garcia has the wah effect on full blast for this one, almost overpowering everything else. After some more griping about the in-house monitors, the Dead’s cover of Smokey Robinson and The Miracles’ “Second That Emotion” smooths everything over. It would the fourth performance of this song that the band only ever played five times – all in April of 1971.
But this would not be the cover selection that blows the doors off the second set. That honor belongs to the “Good Lovin’” that follows, sung in Pigpen’s signature style and immediately supplemented with a majestic drum solo from Kreutzmann. As the wave of “Drums” begins to recede, a loose form of “Good Lovin’” reemerges, spurred on by Pigpen and his improvisational crooning. With the rest of the band fully locked in behind him, this sequence sees the Dead at their full powers and steals the show.
Things would slow down considerably after this, with “Sing Me Back Home,” another Dead tune with a short shelf life. Although it would be played the following two nights as well. One of the last inter-song tuning sessions is memorable as this one has a distinct “Spanish Jam” element to it. Finally, the opening shuffle beat of “Not Fade Away” takes shape, initiating the final sequence of the evening. In following tradition, another silky smooth transition follows into “Goin’ Down The Road Feeling Bad” before turning back into NFA. The Grateful Dead then treat the ravenous crowd to an “Uncle John’s Band” encore, wrapping up the first night of this last ever run at the Fillmore East.
Grateful Dead – Fillmore East – New York, NY 4/25/71
Set 1: Truckin’, Loser, Hard To Handle, Me And Bobby McGee, Cold Rain & Snow, The Rub, Playin’ In The Band, Friend Of The Devil, China Cat Sunflower-> I Know You Rider, Casey Jones
Set 2: Morning Dew, Beat It On Down The Line, Next Time You See Me, Bertha, Sugar Magnolia, Second That Emotion, Good Lovin’-> Drums-> Good Lovin’, Sing Me Back Home, Not Fade Away-> Goin’ Down The Road Feelin’ Bad-> Not Fade Away
