“My Sweet Lord,” the iconic song from George Harrison, was finally received an official music video, 51 years after it was first released. An all-star cast honors Harrison in a video directed by Lance Bangs and executive produced by George’s son Dhani Harrison, and David Zonshine.
The video stars Saturday Night Live’s Fred Armisen and Vanessa Bayer as metaphysical special agents who are tasked by the head of a clandestine agency, played by Mark Hamill, to search for that which can’t be seen. Along the way dozens of agents team up to look high and low for what may have been right in front of their face all along, mirroring the seeking nature of the song.
Over 40 musicians, actors, comedians, directors, artists and other creatives make appearances, ranging from Harrison’s friends and former band mates Ringo Starr and Jeff Lynne; to actors Darren Criss, Jon Hamm, Rosanna Arquette; musicians Joe Walsh, “Weird Al” Yankovic, Reggie Watts, comedians Moshe Kasher, Natasha Leggero, Patton Oswalt; comedy duos Tim and Eric (Tim Heidecker and Eric Wareheim) and Garfunkel and Oates (Kate Micucci and Riki Lindhome); and others like writer, actor, director Taika Waititi, and visual artist Shepard Fairey. The video also features Harrison’s wife Olivia Harrison and theirson Dhani Harrison, who appear in scenes with actress Aimee Mullins and actor Rupert Friend.
In addition to Harrison’s massive influence on popular music as a member of The Beatles and his successful solo career, the legendary songwriter, musician, film producer and peace activist also greatly influenced the comedy world through his groundbreaking British film studio, HandMade Films, which was responsible for such classic films as Monty Python’s “Life Of Brian,” “Time Bandits” and the cult favorite, “Withnail and I.” This music video pays tribute to the sense of humor that George Harrison possessed and his indelible impact on both music and comedy.
Making this was one of the most fulfilling experiences of my life. The approach was to represent the song visually while these agents and inspectors kept missing the metaphysical wonder around them. Images are choreographed to the sounds of vocal melodies, guitar strums, drum patterns, chord changes. George threaded a sense of humor through all of his videos, so we kept that spirit and filled the cast with friends and admirers of his music, many coming from the current comedy landscape. I tracked down vintage prime lenses from some of the films George’s HandMade Films had produced, and I hope that viewers can feel a sense of wonder and searching while they watch it, and that the song continues to add to all of our lives.
video director Lance Bangs
The video for “My Sweet Lord” boasts the new 2020 mix of the song mixed by triple GRAMMY Award-winning engineer, Paul Hicks (The Beatles, The Rolling Stones, John Lennon), released August 6 via Capitol/UMe on a suite of 50th anniversary editions of Harrison’s monumental masterpiece, All Things Must Pass.
Papadelic kicked off the opening night of his Holidelic holiday-residency on December 10 like no other, with vibrant lights, outrageous costumes, a full band, as he transformed traditional holiday tunes into upbeat funk classics. The “flashy, bass-heavy retro futuristic take on the holidays” (New Yorker) showcased GRAMMY-nominated Everett Bradley’s unbelievable ability to perform and entertain the audience with groovy vocals, dance numbers, outfit changes, and even reading a story to the crowd at the Lucille Lortel Theatre in the West Village.
Everett sent laughs spinning around the theatre and welcomed the crowd with open arms. Papadelic was quick to disclose that the room was filled with love no matter your background, culture, or religion just before busting a groove of “Dreidel Dreidel, Dreidel.” Each number had the slight reminisce of holiday songs with the new embedded humor and undeniable funk that made for an uncontrollable dance party in Lucille.
“DysFunktional” urged a full throttling bass line complimented with an oozing brass section and ad libs from three phenomenal background vocalists. Holidelic’s white afro, bug eyed sunglasses, red soldier jacket and tight sequin shorts hailed a rambunctious personality from the North Pole putting New York City in the holiday spirit.
Holidelic brought the full fledged experience of creating a light show within itself. Not only did Papadelic’s white afro glow in the dark, but the disco ball and running string lights through the theatre created varying ambiances through the show. For his solo number, he wielded a unique instrument that vibrated eerie synths and surged heavy reverb transporting us into an odd alter dimension. His band members retracted back allowing Papadelic to stand alone in the spotlight so we could take in his rich timbre, and have an intimate moment with the man himself in his own spotlight.
Cracking jokes in between made the performance more lighthearted, and one couldn’t help but hear the roots in his voice that birthed each moment. One can easily forget that underneath the costume, Everett Bradley is a renowned artist, choreographer, songwriter, and multi-instrumentalist who worked alongside the greats like Daryl Hall & Oats, John Bon Jovi, and Carly Simon.
Everett’s illustrious vocals and intimate moment with the audience, walking down the aisle eagerly asking audience members to help sing “Frosty the Snowman,” distracted us from the band regrouping on stage for their next big number. Complete with outfit changes and all Everett, revealed an all new white fringed jacket and new white costumes for the band. Back with a full house groove, Papadelic brought out the real star of the show, Santa Claus. They performed a delightful humorous act “Down The Hatch” bringing a bottle of Jack Daniels on stage as a little “present” and proceeded in taking shots throughout the piece.
Everett’s long standing Holidelic show at the Lucille Lortel Theatre has shown no signs of slowing down from its debut in 2002. The original idea of starting this show to bring some cheer after 9/11 still holds true, as we all need a little spirit after enduring the recent/on-going pandemic. Bradley was sure to include the importance of visiting the family for the holidays, never knowing when it might be our last.
Puddles Pity Party performed this past Sunday, December 12 for a few hundred engaged fans at The Egg in Albany. You may be familiar with Puddles from his over 800,000 subscriber Youtube Channel, his appearance on America’s Got Talent, or his performances with Post Modern Jukebox. For the uninitiated, Puddles appears as a large and somber clown and sings reimagined covers with his bellowing voice of gold.
Puddles may be a sad clown, but his performance was filled with humor, irony, and a positive outlook on life. The singing clown put his own spin on a number of hits including Billie Eilish’s “When the Party’s Over,” Lorde’s “Royals” and REM’s “Everybody Hurts.” These covers were often accompanied by videos and act outs that gave new meaning to the lyrics. Musician and comedian, Dave Hill, also joined Puddles on stage throughout the night after opening the show.
Puddles and Co. were full of energy and made themselves at home in The Egg. The stage slowly became littered with tissues, glitter, picture frames, and clothes as the show progressed. Puddles Pity Party found themselves running from the mess and into the crowd throughout the night as they sang and soloed with the audience. At one point, Puddles moved from fan to fan while he took their phones, and recorded himself singing before handing the phones off to anyone but their rightful owners. The crowd jumped to their feet at the end of the show to applaud what was a fun and original night of covers.
You can see Puddles Pity Party live at his final New York State show on Dec. 16 at the Tarrytown Music Hall,and you can view all of Puddles’ tour dates on his website.
A stellar post punk triple bill hit the Lower East Side’s Bowery Ballroom on Friday, December 10th featuring Preoccupations, METZ and FACS. The tour is actually a co-headline with Metz and Preoccupations switching each night with FACS providing the support. The tour hit Bushwick’s Elsewhere on Thursday night with METZ as the headliner, and Preoccupations took the late slot on Friday at Bowery.
FACS at Bowery Ballroom, 12/10/2021. Photo by Buscar Photo
Support for the shows on the tour came from the Chicago based band FACS. The band boasts a robust rhythm section with the driving drums and bass being front and center and psychedelic and dark guitar tones filling the void. FACS have three LPs under their belts since making their debut in 2018. Void Moments was released during the pandemic in 2020 and their third record, Present Tense was released earlier this year; both of which are seeing their live debut on this tour.
FACS at Bowery Ballroom, 12/10/2021. Photo by Buscar Photo
Canadian punk vets METZ took the stage next, in full support of their excellent 2020 LP Atlas Vending. Vocalist Alex Edkins spoke to the crowd between songs, explaining how weird it felt to finally be able to play the record live more than a year after it’s original release. The band played the first 5 tracks of the new album to start their set, with a couple more towards the end. Atlas Vending is METZ at their peak, and fans at Bower Ballroom on Friday were thrilled to finally experience it live.
METZ at Bowery Ballroom, 12/10/2021. Photo by Buscar Photo
Closing out the show on Friday was fellow Canadian band Preoccupations who are still touring strong behind their 2018 LP New Material. Preoccupations have been playing this record live for a while now, but this time around tracks such as “Antidote” were given a whole new live arrangement. A couple of new, unfamiliar songs were played during the set, indicating a new record may be on the way soon although nothing has been announced just yet.
Preoccupations at Bowery Ballroom, 12/10/2021. Photo by Buscar Photo
The tour continues this week with shows in Columbus and Chicago, before two hometown shows at Lee’s Palace in Toronto. Preoccupations, METZ, and FACS complimented each other so well at Bowery Ballroom and all have exciting new material either just out or on the horizon. It is certainly a show not to be missed.
moe. welcomed an array of special guests to their Capitol Theatre shows last weekend in honor of their guitarist Chuck Garvey who was recently hospitalized due to a stroke. Special guests on Friday included Scott Metzger, Aron Magner, Warren Haynes, Shannon Lynch, & Emma Derhak (daughter of moe.’s very own bassist Rob).
Metzger sat in for the first three songs which included an “Annihilation Blues” opener and “Stranger Than Fiction.” Aron Magner then tagged in for the remainder of the show. The first set ended with an emotional “Bring You Down.”
Spirits were high and lots of love was expressed for both Chuck and the band all weekend. The special guests provided an incredibly lively dynamic to some classic moe. material like Warren Haynes sitting in on a second set “Opium” and a super charged set-ending “Recreational Chemistry” as well as some beloved classic covers like Pink Floyd’s “Time” & Led Zepelin’s “Immigrant Song” which both served as the first night’s encore.
Saturday night saw Strangefolk’s Reid Genauer sit in for the first two songs, including “Akimbo” which featured Chuck’s nephew also on guitar. Nate Wilson manned keys for almost the entire night, lending his prowess to first set songs like “Captain America” and “Moth.” The second set was highlighted by Schleigho’s Suke Cerulo who amazed on guitar.
An intense “The Pit” and the classic Chuck song “Four” were just some of the gems from this set. But perhaps the best thing seen all weekend were video images of a rehabilitating Chuck himself playing guitar that were streamed on the walls of the Cap, indeed giving hope for the new year.
moe. ~ The Capitol Theatre ~ Port Chester, NY ~ 12/10/21
I: Annihilation Blues*, Stranger Than Fiction*, Dangerous Game*^%, Deep This Time^%, Blue Christmas^%&, Where Does The Time Go?^%, Bring You Down^
{Entire show without Chuck. #Chuckside * w/ Scott Metzger ^ w/ Aron Magner % w/ Shannon Lynch & w/ Emma Derhak $ w/ Warren Haynes
moe. ~ The Capitol Theatre ~ Port Chester, NY ~ 12/11/21
I: All Roads Lead To Home*^, Akimbo*^&, Big World^ > Ricky Marten^ > Captain America^, Zed Naught Z^&, LL3^ > Moth^%
II: Blue Jeans Pizza^$, New Hope For The New Year$, Tubing The River Styx^$ > The Pit^$ > Silver Sun^$, White Lightning Turpentine^$, Four^$ > Spine Of A Dog^$#
E: Okayalright^$#
* w/ Reid Genauer ^ w/ Nate Wilson & w/ John Carlo Pecheone % w/ Kirin Rogers $ w/ Suke Cerulo # w/ Emma Derhak
Dave Hanlon brought his power jazz trio to the 443 Social Club & Lounge on Friday, December 3rd with Ron France on bass and Ed Vivenzio on keys in tow. The trio delivered a Blue Note style-esque performance of their take on classic funk jazz compositions. Twenty seven pieces were on the set list to be exact. All performed with the same on the spot fervor that all good jazz is created in.
The group put their spin on greats by Thelonius Monk, Chick Corea, Herbie Hancock, Steely Dan and a rock block of Joe Sample cuts. The trio did a classic two set & encore performance for the candle lit table crowd at 443. Without a doubt the 443 is Syracuse’s most intimate room for those looking to really listen to the notes coming off the bandstand. Dave Hanlon shared the 2005 and 2015 SAMMY awards with Phish drummer and Syracuse native Jon Fishman.
Fishman was inducted as a lifetime achievement award recipient in 2015 and he naturally introduced Dave Hanlon into the Hall of Fame at The Dinosaur BBQ & Eastwood’s Palace Theater in 2005. A 13 year old Fishman once took lessons from Hanlon. Jon brought the sheet music Hanlon gave him at their first lesson to the induction ceremony. “Can you believe that? I flipped out.” Dave Hanlon still has various projects he dabbles with as we approach the end of this year. He took some time to talk with NYS music at Syracuse’s Blue Note style room, the 443, for a chat.
Matthew Romano: Steve Gadd spoke of the Ridgecrest Inn in Rochester where he could watch legendary drummers perform up close. With the same as my proximity to you on the bandstand at 443 tonight. What were some memories of live music you attended in New York State that you can remember as an influence that started to instill a groove in you?
Dave Hanlon: Mahavishnu Orchestra & Ravi Shankar at Syracuse University quad. Billy Cobham on drums absolutely blew me away in 1972. Wait not the quad… it was SkyTop field on SU Campus.
MR: What about on the gigging side and educationally?
DH: My first kit was from Stagnitta music and I used a trash can for the snare drum. I took a couple lessons at Stagnitta music but it was at Auburn Community College with Dick Howard were I took my first lessons. From there I went to Detroit to finish college and started playing out in bands. Not studying music, just gigging. Back to Syracuse I was part of a big regional band called DOVE. It was a great rock and roll experience. After that ended I went to New York City to study at the percussion center with Norman Grossman. There I met Jim Chapin for a few lessons. Chapin is notable for his independence jazz drumming book. So that combination was a huge influence. I’d take the train to New York for class during the day and then to Buddy Rich’s club at night. I’d sit and watch him play with his six piece band. Next I went to Los Angeles. It was big as I did a clinic with Louie Bellson who originated the double bass drums. At 28, I did a show at the Los Angeles Percussion school as a guest, not a student. I performed with him in front of 250 other drummers. It was the highest pressure situation I’ve ever found myself in but a dream come true.
When I came back to Syracuse I formed my first solo funky five piece jazz band. In 1976 we got a 13 month residency at the “Spirit of 35” on Carrier Circle where Joeys is now. It helped really give us time to hone our skills balls out ya know? All instrumental. We even had Edgar Winter come sit and play a whole set with us after a show he had in Syracuse. The promoters brought him to hear us. It was well before cell phones and the word still got out so it went to the standing room only in 15 minutes. It was definitely the most memorable moment there.
In 1977 I joined the band CRAC and their original album All For You was re released in 2020 by King Underground Record Company out of England on Vinyl. From there I recorded with Duke Jupiter out of Rochester on two of their albums on Mercury Records. Duke Jupiter made its way in to Rochester music hall of fame in 2014. In the 1980’s I formed the first cookbook band which was all instrumental that had a year long residency at the Lost Horizon. Ava Andrews joined me on vocals for the next version of the cook book and she remained an original member with me for 34 years. Funky Jazz Band formed in 2016 as fresh five instrumental. The trio out of it works well for a lot of other style rooms. Diana Jacobs Band out of Auburn I collaborated with in 2018 that has a full horn section, we just released “Love Each Other, Love Our World” the day after Thanksgiving this year. The CD just made its way to Soundgarden with streaming options available soon.
MR: What great studio sessions have you recorded on?
DH: I love being a part of Studio Jams with producer Tom Emmi in Philadelphia. The concept is to get different musicians together completely unprepared, roll the tape and see what they come up with. We might pick a song from another artist and put our own stamp on it. It’s educational and entertaining. I’ve done 15 of them. They do it all over the country. I was able to do Herbie Hancock’s Watermelon Man at Sub Cat Studios in Syracuse that got over 2 million views and counting. Everyone donates their time to simply give back to the music. It’s a really beautiful thing. He arranged a series for fallen artists titled “Lest We Forget” as well so that their musical groove can live on.
MR: What is your angle over time on dealing with the composition & improvisation world that we dabble in daily. Those moments that can’t be recreated concept ya know?
DH: The creative process is key especially for jazz musicians who are supposed to be free to create. The preparations for studio jams are like night and day. You just go for it and you don’t even know it’s coming. You’re in the moment. But Lest we forget that also takes a lot of preparation because you got to know that tune the best you can on behalf of that fallen artist. Always different, you know what I mean?
DH: The trio and five piece funky jazz band are also examples. There’s the head, bridge and the solo section of the tune. For the most part for consistency you want to stay in the groove for the song but when solo times open up your creative freedom kicks in. Staying in the context of the song can help you work on your creativity. One of things drummers have at their command, I’f they have that command… is dynamics. We don’t have that many notes to deal with. Dynamics give us a much greater vocabulary. My approach to music is to become the best as I can be in my sense of dynamics within the context of music and the song. It creates tremendous tension and release. When you go to a concert there’s dynamics that people don’t realize they respond to.
When there’s a solo section and the whole band just brings it down from this really loud piece to almost silence. Whats the response? The audience loves it. The effect musically is very powerful
Dave Hanlon
MR: It is powerful. That Jon Fishman Radio City show I sent you from October has a moment like that during “In Rounds”. You’ve got this five piece playing a song for the first time in their third ever live set in Rockefeller. Everyone’s bouncing off ideas. Ya know? 27 minutes into it the funky groove turns to air on Radio City’s great proscenium arch, before falling back to bring it home.
DH: Yea that was a beautiful concert. That’s the beauty of when musicians are listening really to each other and not themselves. That won’t happen otherwise. I wasn’t aware of that percussionist. He was excellent. That was my first time seeing Jon perform with a percussionist and they played off each other remarkably well.
MR:Steve Gadd played with Cyro Baptista on Paul Simon’s Rhythm of the Saints and was unfamiliar with Phish. I’ve seen Jon perform live with percussionist Gionavvi Hidalgo for a cover of Little Feats Waiting for Columbus album on Halloween in Atlantic City. He has a great live version of Surrender to Air from the Academy in New York City with Oteil Burbridge and Sun Ra Orkestra
DH: It was great to be able to reunite with him at Studio jams of all places after 37 years in August of 2015. We spent the afternoon while he had time in between shows in Philadelphia. We just did five songs off the cuff with three other guys. Its Your Thing (Isley Brothers),Hottentot (MMW with Scofield), Freeway Jam (Jeff Beck), Ode to Billy Joe (Bobby Gentry) and Cantaloupe Woman (Grant Green). Yea we had those lessons but this was our first time playing together. It was just like being with an old friend. It was really cool. Jon’s a down home guy, there’s no air to him. He’s just a cat that wants to play. He also happens to be in one of the most popular bands in the world.
It was great to see Fish at a Charlie Bertini’s Apple Jazz Band gig. I played at Little York Pavilion in Preble, New York. That ensemble played the Southern tier for thirty years.
Dave Hanlon
Dave Hanlon Trio (Ron France-bass & Ed Vivenzio- keys) The 443 Social Club and Lounge, December 3 2021
Set 1: Cold Duck (Eddie Harris & Les McCann), Ruby (Ray Charles), Chain Reaction (Diana Ross), Fe Fi Fo (Wayne Shorter), 7 Steps/ Song Father ( Miles Davis), Carmel (Joe Sample), Randy Uptown, Round Midnite (Thelonius Monk), Sermonized (Joe Sample), Blue Bossa (Joe Henderson), Human Nature (Micheal Jackson), A Child is Born (Thad Jones & Mel Lewis Orchestra), Spain (Chick Corea)
Set 2: Maputo (Bob James & David Sanborn), Ricky Don’t Lose that Number (Steely Dan), Hippies on the corner (Joe Sample), Bottswanna Bossa (David Benoit), Aja (Steely Dan with Steve Gadd), Watermelon Man (Herbie Hancock), Christmastime is here (Vince Guaraldi), Spellbound (Joe Sample), Girl From Ipanema (Stan Getz and Joeao GIlberto), Jellybeans & Chocolate (David Benoit), Pointciena (Ahmad Jamal), If you want me to stay (Sly Stone), Sudden Samba (Neil Larsen)
Rolling Stone’s “new folk-rock heroes” Mt Joy stopped in Buffalo for their Fall 2021 tour on December 6.
Photo Credit: Maddie McCafferty
Amy Allen opened up the show at Asbury Hall with eloquent vocals paired with her emo song writing skills. Her past work writing alongside Harry Styles, Halsey, and more has built her reputation, but her additional ability to captivate the crowd stood out greatly. She performed a couple of her hits such as “Tom Brady,” and “A Woman’s World.” Allen and her guitarist Griffin were the perfect duo for creating the appropriate ambience before Mt. Joy took the stage.
Photo Credit: Maddie McCafferty
From the back of the pit to the sides of the balcony had so many people pumped for Mt. Joy. Even Buffalo Bills fans came out during game day to see the folklore legends. The energy for the Bills transcended across the band members and the crowd while chants spread through the venue. Mt. Joy consists of members Matt Quinn (singer/guitarist), Sam Cooper (guitarist), Michael Byrnes (bassist), Sotiris Eliopoulos (drummer), and Jackie Miclau (keyboardist).
The group got together for their iconic sophomore album Rearrange Us which gave them major breakthroughs and achieved new records. Their new work had high expectations following their 2018 masterpiece, but it did not disappoint. Crowd favorites proved to be “Acrobats,” “Let Loose,” and “Strangers.” These newer works brought a sense of psychedelic reflection to Quinn’s poetic words.
Photo Credit: Maddie McCafferty
Mt. Joy still goes back to their folk-stomp roots though with singles “Sheep,” and “Jenny Jenkins.” These classics create an atmosphere that is particularly resonate with the youth in an age of chasing one’s dreams while simultaneously adjusting to the turbulence of getting older. Of course, this group finished off the night with their #1 hit on the AAA Radio Charts, “Silver Lining.”
Photo Credit: Maddie McCafferty
Make sure to check out upcoming shows at Asbury Hall at Babeville Buffalo. Tig Notaro takes over the venue on January 15 and Brian Fallon performs on January 16.
Setlist: Acrobats, Strangers, I’m Your Wreck, Let Loose, Phenomenon, Sheep, Jenny Jenkins, Lemon Tree, Cardinal, Astrovan, Mt. Joy, Every Holiday, Evergreen, Julia
Silverstein brought their 20 Year Anniversary Tour to Webster Hall this week on Wednesday December 8th. A long time in the making, the tour was first announced back in October 2019 before being forced into postponement due to the pandemic. The revamped tour featured some larger venues, more dates, and the band’s longest sets to date. Support for the night came from New Jersey locals Can’t Swim and Ohio’s The Plot In You.
Silverstein at Webster Hall, 12/8/2021. Photo by Buscar Photo
The Plot in You are a classic screamo/hardcore band and were a perfect fit to open this tour with Silverstein. Vocalist Landon Tewers thrived in Webster Hall’s Grand Ballroom and plenty of their merch was seen on fans raging on the dance floor. Photos from their solid 10-song set below.
The Plot In You at Webster Hall, 12/8/2021. Photos by Buscar Photo
Some shows on this 20 Year Anniversary Tour featured full performances of Silverstein’s iconic 2005 LP Discovering The Waterfront. While Webster Hall did not get this full album performance, fans were treated to a nearly two hour, 3-set performance. The first was a career spanning set of greatest hits featuring “Smashed Into Pieces,” the opening track from the band’s debut When Broken Is Easily Fixed. Vocalist Shane Told joked about fans complaining online about the band not playing their favorite songs live right before a lengthy medley featuring “I Am The Arsonist,” “The Artist,” and “Broken Stars.”
Silverstein at Webster Hall, 12/8/2021. Photo by Buscar Photo
The second set was a solo acoustic performance by Shane, featuring renditions of “Replace You” and “Aquamarine.” The rest of the band came out on stage afterwards and performed three straight Discovering The Waterfront tracks to close out the main show, including the band’s big hit “Smile In Your Sleep.” There have been a lot of anniversary tours in recent years but Silverstein took the concept to a much grander scale for these shows. The band has a long catalog full of great albums, but these shows showcased the band at their most creative and engaging.
Silverstein at Webster Hall, 12/8/2021. Photo by Buscar Photo
The tour is nearing it’s end, with a show in Albany tonight, December 11th, at Empire Live and one final show in Toronto on Sunday. Silverstein played both of their brand new singles “Bankrupt” and “It’s Over” at Webster Hall so be on the lookout for the rest of the upcoming album in the near future and check out the video for the latter below.
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 The William Deuel Band, Dustin Sawyer 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 WIlliam Deuel Band
The William Deuel Band released their newest LP, Moment in Time, in August 2021. The blues-rock band’s second full-length project, they formed in 2018 in Saratoga Springs and have since made waves worldwide. They’ve found success on Australian radio, as well as in the UK and South Africa. Inspired by a conversation between Deuel and his mother, Moment in Time’s title track is upbeat and energetic with a killer breakdown just before the three-minute mark.
The following song, “Call Me Crazy,” is much more acoustic and scaled-back, at least until the halfway point. Deuel’s vocals gradually become more raw and passionate, culminating in a grand finale.
Dustin Sawyer
One of two new songs from Americana artist Dustin Sawyer, “Take Me Away” premiered in October. In its music video, the Mayfield singer and songwriter wanders through the wilderness as gnomes and other fantastical elements appear. The song is addressed to God, with Sawyer opening it saying “Father, forgive me ‘cause I know what I’d do / Given that opportunity to walk a mile inside your shoes.” It also references the forty days and nights the Israelites wandered to find the Promised Land.
Hailing from the Collar City of Troy, pop-punk band Playoffs have released “Lickety Splitz,” the first single off their upcoming debut album, due out on December 20, 2021.
Formed out of a cover band that ran face first into the year 2020, Playoffs band members Cody Sargood (guitar/vocals), Alex Foster (vocals), Daniel Livermore (drummer) Bill Milhizer (keys/guitar) and Neal Makela (bass) found themselves like many of us, stuck inside and only able to create their sound from virtual messaging.
With all their powers combined, Playoffs was able to come to the table to record their first self titled album with producer Neil Schneider. While navigating the worst year and strangest times, Playoffs became more than just an idea, they became a goal. Schneider also served as producer, engineer, mix/masterer, and collaborator on the album, drawing on a relationship he has had with Cody since grade school.
Like many songs on the upcoming Playoffs LP, “Lickety Splitz,” released on November 22, draws from from the inner perspective of someone’s mental health. The song tells of relationship troubles by addressing self-struggle and the outward projection of those struggles. Mental health issues can suffocate and ravage an individual’s mind, like a troubled relationship that cannot get out of its own way. “Lickety Splitz” became a typical relationship song, but to deal with and address mental health issues that plague so many individuals today. Playoffs hope that people can connect with the song and realize that no mental health issue is too big or small to ask for help, and that there are people in your life that love you and will help you.
I think each one of us — whether a father, expecting father, newlywed, or just human — had an eye-to-eye mindframe. We were all able to see how awful things were for everyone. This project allowed Cody and myself to write what we were feeling while embracing the style of music we already liked playing. Everyone kind of got it. It worked, and everything came together. Whether it was writing the lyrics one-on-one at someone’s house, or going through the recording process, we maintained communication with one another and having that outlet for ourselves is truly beneficial and hopefully transfers to the people who listen to it.
Alex Foster
Prior to forming Playoffs, the band members were involved in a pop punk/hip hop/90s musical jukebox cover band performing at bars under the name kidbilly. Playoffs started just before the world shut down from COVID, but with the uncomfortable and disconnected feeling that grew from having to sit home and see no one and do nothing, the group recorded the album in pieces and parts, some even from across the country with the help of Makela.
Being able to meet online, play music virtually, embrace the hardship that literally the entire world was facing, and turn it into a reflective piece of art was an amazing experience for the group, especially as they are able to highlight mental health amid the frightening state of affairs of 2020 and having to watch the world slow to a crawl.
