Deco & The Dusters are “wholesome original lyrics vocalized with attitude in a unique blend of Rock, Country, Blues and Irish Folk.” Two members of the group, Declan “Deco” Banko and Ignatius Marino came on The Rochester Groovecast Podcast to discuss their new tracks.
Listen To The Podcast:
https://soundcloud.com/rochestergroovecast/deco
Watch The Full Episode:
At Rochester Groovecast, the mantra “We’re Fans First!” harnesses the belief that the best businesses are built by fans. The podcast is deeply dedicated to playing an active role in the culture of its local scene.
The brainchild of Rochester native, Ben Albert, was created in 2016 to serve as a portfolio of the city, and nowadays, the entire region.
The podcast believes in the artistic brilliance abundant in Rochester, NY, and the surrounding regions. Ben seeks to play a pivotal role in our community by helping give Rochester a well-earned voice. He has seen first hand the abundance of talent, character, creativity, innovation, and beauty the Flower City has continuously offered. Listen to all episodes of the show:
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
SNL returned for the final three episodes of the season, with host Elon Musk and musical guest Miley Cyrus, who saved the episode with three musical appearances, beginning with a cold open featuring cast members and their moms.
Cyrus sang godmother Dolly Parton’s 1977 hit “Light of a Clear Blue Morning.” Miley was then joined on stage by her mom Tish, the cast and moms, to collectively open the show.
https://www.youtube.com/watch?v=KlEXNWjm1f8
This marked Cyrus’ seventh time on Saturday Night Live, and sixth as musical guest. Cyrus also appeared later in SNL show in “The Astronaut,” one of three pre-recorded sketches in the otherwise lackluster episode.
For her second musical appearance of the night Miley was joined by The Kid LAROI for “Without You,” marking the broadcast premiere of the single the pair released last month.
https://www.youtube.com/watch?v=6nbXBeYY1Po
“Plastic Hearts” was the third and final performance of the night from Cyrus, singing the title track of her recently released album. The highest energy number of the night featured a backing horn section and Cyrus in a flowing, feathery pink dress.
https://www.youtube.com/watch?v=hLLKzis7NfQ
Joining the show for a cameo appearance during a Wario courtroom sketch, musician Grimes played Princess Peach, with husband Elon Musk on the stand as Wario, on trial for killing Mario.
The penultimate episode of Season 46 of Saturday Night Live airs on Saturday, May 14 at 1130pm ET/PT. Keegan-Michael Key will host with musical guest Olivia Rodrigo.
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.
Some Kind of Jam 15 went down in Schuylkill Haven, PA from April 29th until May 2nd, 2021. While patrons started showing up Thursday, the main festivities began on Friday and despite unrelenting winds the festival went off in a well oiled fashion. Headlining Friday was Lespecial, eager to play tracks from their latest album, Ancient Homies, in front of a dance happy crowd. Saturday culminated with Colorado jam stalwarts the Magic Beans taking the main stage also with plenty of new material to play with their latest album, Slice of Life, dropping the day prior.
In between mainstage acts, the indoor stage kept revelers entertained and out of the wind. Lee Ross might have been the busiest man on site with no less than five sets throughout the weekend. Other sets of note were the psychedelic stylings of the Iceman Special and a latenight set by up and coming Neighbor that balanced catchy songs and deep jams to the delight of those in attendance.
While many aspects of the live music and festival landscape are still up in the air for 2021, the smiles and revelry of those in attendance at Some Kind of Jam 15 showed that a return to something close to normal is possible in these uncertain times.
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.
In episode 119 of the Rochester Groovecast Podcast, Ithaca’s Mosaic Foundation premiers two tracks off their new album, Unity Is Dub.
International roots reggae group Mosaic Foundation sits down with Rochester Groovecast to discuss their brand new album, Unity Is Dub! During the episode, we listen to two tracks for the very first time, “Love For All” and “Door of No Return.”
Listen To The Podcast:
Watch The Full Episode:
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At Rochester Groovecast, the mantra “We’re Fans First!” harnesses the belief that the best businesses are built by fans. The podcast is deeply dedicated to playing an active role in the culture of its local scene.
The brainchild of Rochester native, Ben Albert, was created in 2016 to serve as a portfolio of the city, and nowadays, the entire region.
The podcast believes in the artistic brilliance abundant in Rochester, NY, and the surrounding regions. Ben seeks to play a pivotal role in our community by helping give Rochester a well-earned voice. He has seen first hand the abundance of talent, character, creativity, innovation, and beauty the Flower City has continuously offered. Listen to all episodes of the show:
Episode 118 of the Rochester Groovecast Podcast highlights the new single by Hollowell, “Don’t Care.”
Hollowell, formerly Astraea, is an original female-fronted alternative rock band from Rochester, NY. Their inspirations draw from 90’s/early 2000s.
Episode 118 of The Rochester Groovecast podcast is an intimate chat and “Don’t Care” listening party.
Listen To The Podcast:
Watch The Full Episode:
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At Rochester Groovecast, the mantra “We’re Fans First!” harnesses the belief that the best businesses are built by fans. The podcast is deeply dedicated to playing an active role in the culture of its local scene.
The brainchild of Rochester native, Ben Albert, was created in 2016 to serve as a portfolio of the city, and nowadays, the entire region.
The podcast believes in the artistic brilliance abundant in Rochester, NY, and the surrounding regions. Ben seeks to play a pivotal role in our community by helping give Rochester a well-earned voice. He has seen first hand the abundance of talent, character, creativity, innovation, and beauty the Flower City has continuously offered.
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.
