Independent comedy musician Donny Skipper has released a new single and music video for “She Farts Just Like Her Daddy.” With two albums already streaming and a third in the works, Skipper has been putting in the work. This latest track is based on the recent arrival of his baby, a daughter named Donna Skipper who farts so much he had to write her this song.
Originally born and raised in Saskatchewan, Canada, Skipper moved to Syracuse about 10 years ago where he was a delivery driver at Syracuse University. He later moved to Cohoes to pursue his career as a musician and TikTok star. That leads to now where he has released his latest song “She Farts Just Like Her Daddy”.
The music video was to accompany the song was made with Skipper’s neighbor Montrese as the star. It was filmed at random farms in Halfmoon and the crew were asked to leave a few properties by angry farmers but regardless of that fact they still got everything needed. The video is directed and edited by Donny Skipper himself.
The lead up to this release was accompanied by a series of videos posted on TikTok involving a high end baby crib called the Snoo. In the skit like videos, Donny Skipper tells the story of a fussy baby only put to sleep by the Snoo. Except after only a little while with peaceful sleep, the crib was stolen while he was away from the apartment. In the resolution of the conflict it is revealed that Montrese, Skipper’s neighbor, had stolen the crib in order to gain the starring role in the “She Farts Just Like Her Daddy” music video.
Feel free to find Donny Skipper on TikTok or Instagram @DonnySkipper. To listen to this single and his previous two albums visit Spotify, Apple Music, YouTube, or wherever you listen to music.
Twenty-seven years ago this weekend, Woodstock 94 took place on Winston Farm just north of Saugerties, New York. Woodstock 94, or “Woodstock II” was the next generation’s attempt to rekindle the same “Summer of Love” spirit their parent’s experienced at the original 1969 fest. This was the first shot at doing so, and many future attempts will completely flop, like Woodstock 50, or will end in fire-burning riots, like Woodstock 99. 1994’s rendition isn’t as shockingly awful, but some believe it’s still incomparable to ’69. This is Woodstock 94.
Woodstock ’94 poster, a playoff of the iconic Woodstock ’69 poster art.
Saugerties‘ Winston Farm is approximately 100 miles away from Bethel Woods and Yasgur’s Farm – the birthplace of “Woodstock.” But, Winston Farm was supposed to be the original location for the ’69 fest until the owners got cold feet. This change in location was a way of improving the flaws of the previous festival for the second time around, while still holding true to Woodstock roots.
The 1994 concert was scheduled for August 13–14, and Friday, August 12 was added after first-pool tickets sold out under 12 hours. Ticket prices hiked to $135, plus a three-day pass to the beer tent was $250 – a huge jump from 69’s $18 three-day pass. Tickets were only sold in sets of four, and one parking pass was provided per set.
A snippet of Billboard Magazine’s coverage
The star-studded lineup included ’69 alum mixed in with up-and-coming ’90s bands. Plus, the extra day allowed for many more artists to join the setlist.
Friday, August 12, 1994
Aphex Twin
Blues Traveler
Candlebox
Collective Soul
Deee‐Lite
Del Amitri
Jackyl
James
King’s X
Līve
Orbital
Orleans
Peace Bomb
Sheryl Crow
The Orb
Todd Rundgren
Violent Femmes
Huffamoose
Abba Rage
Lunchmeat
Saturday, August 13, 1994
Aerosmith
Blind Melon
Candlebox
Crosby, Stills & Nash
Cypress Hill
Fight
Hot Tuna
Joe Cocker
Melissa Etheridge
Metallica
Nine Inch Nails
Primus
Rollins Band
Salt‐n‐Pepa
Suicidal Tendencies
The Band
The Cranberries
Crosby, Stills & Nash
Youssou N’Dour
Zucchero
Sunday, August 14, 1994
Cypress Hill
Fight
Hot Tuna
Rollins Band
Salt‐n‐Pepa
Suicidal Tendencies
The Band
The Cranberries
The Roots
Weir & Wasserman
Green Day
Country Joe McDonald
Porno For Pyros
Sisters of Glory
Allman Brothers Band
Santana
Red Hot Chili Peppers
Spin Doctors
Traffic
Bob Dylan
There was no Youtube back then. If you wanted your band to get big, you had to hope it came on the radio. We hadn’t heard of bands like Blind Melon and Collective Soul yet, and a lot of these people (festival-goers) had never been to a concert before.
Dan Lane, Woodstock 94 attendee
The fest can be credited for the growth of many young millennial bands. Even Green Day was just finding their fame as their second album Dookie, released six months prior to Woodstock 94, would hit #4 on the charts only weeks after the festival weekend.
Snap of the Woodstock ’94 stage art
Promoters ensured the event would be secure with drug dogs, security brigade nicknamed the “peace patrol,” hundreds of port-o-johns, and chain-link fence. Re-entry was not allowed, but festival-goers smuggled food and drink over fences and through bushes. There were no reports of excessive force or need for riot control like there was in 1999.
From the looks of it we thought we were gonna get strip-searched at entry, (with the dogs and officers) but it was pretty mellow, actually. I think the light security is what they tried to fix in ’99 but that all went wrong.
Dan Lane
500,000 young-adults flocked from around the country in fear they were going to miss out on something great. Woodstock ’69 attendees even paid a visit to see how they compared. Festival-goers did seem to enjoy the excitement of making history and there was a notable peaceful vibe across the farm. People were just happy to be there and enjoying music.
People are understanding that Woodstock 94 is a seminal gathering and a once-in-a-generation opportunity.
Promoter John Scher for Billboard Magazine
This fest was rumored to be even bigger than 1969, with two stages and constant MTV coverage. Unlike the first festival, ’94 hosted two large stages with constant live music on each. There were a mix of bands playing each stage, for example, while Green Day was playing on the South Stage, Weir & Wasserman were on the North. This helped spread audiences evenly and highlighted the divide of subcultures. DJ rave sets continued the party late into the night.
Don’t worry: The two stages, facing opposite directions, are about a third of a mile apart, so there’ll be little chance the sound from one will interfere with the other.
A rainstorm passed over the festival grounds, on top of the cooling sprinklers, leading to the notorious moniker of “Mudstock.” Described by the New York Times as “a sea of mud and trash and amid evidence of anarchy,” festival-goers took this opportunity to roll around, dance, and sling the wet dirt onto the stage – it did not help that Primus had their song called “My Name is Mud” on the setlist.
Aug. 14, 1994 — A couple dances in the mud to Traffic in the North Stage area (Credit: Times Union Staff Photo by Steve Jacobs ATU112)
There were mile-long conga lines with half-naked people running around. You could feel them coming – they wouldn’t stop either. If you were in the way, you were getting trampled by a train of muddy kids chanting “Primus Sucks.”
Dan Lane
Credit: Michael Greenlar
Was the hype just too much? Anything with the “Woodstock” name attached is bound to have some high expectations. At the time, some attendees complained the event was too saturated in over-commercialized gimmicks. Looking back 27 years later, It is difficult to compare Woodstock 94 to the pedestal Woodstock ’69 is on. After all, even ’69 was a commercialized event too, inviting the biggest names of the time to help put a spotlight on the era’s changing times. Even Led Zeppelin historically turned down Woodstock ’69 to make more money playing in Asbury Park on the same weekend.
All expectations aside, Woodstock 94 was just as good as fests like Lollapalooza were at the time. It’s the music and the people that make it a memorable experience, not the gimmicks.
Dan Lane
The mid-90s were a very different time compared to the late 60s as well, not everyone was in the same ex-Vietnam hippie-free-spirit in the 90s. There were people holding on to that Summer of Love spirit, but others were clad in platform boots, grungy flannels and buzzcuts.
Subcultures were everywhere. You’d be walking around thinking “wow that guy has a lot of facial piercings” and the same guy will be looking at you like “wow that guy has way too much tie dye on.” Like, immediately after Joe Cocker’s set you had people barricading the stage for Blind Melon. It was wild.
Dan Lane
(Image credit: Getty Images/John Atashian)
A commemorative double live CD set was released on November 8, 1994, nearly three months after the festival weekend. Titled “Woodstock 94,” the two-disc set documents the best song of each of the 27 performing artists. Check out our Woodstock 94 Spotify playlist based on the album, as well as a playlist with some live footage on Youtube.
After 27 years, it seems 1994’s rendition of Woodstock was, generally, pretty nice. Positive memories, crazy rumors and great music came out of it. The fest served as a cohabitation of multiple generations of music, so maybe, more peace and love came out of it than expected. Plus, Woodstock’s reputation was about to get much worse in the years to come. Enjoy ’94 while it lasted!
Other notable moments:
* A “protest concert” was rumored to go on at Yasgur’s Farm frontlined by ’69 alum, though many of the claimed attendees were playing at Winston Farm the same weekend. It is unclear if this rumor is true due to lack of media coverage.
*RHCP wore their iconic light bulb costumes for the first half of their Day 3 set, then changed into Jimi Hendrix costumes to pay homage to Woodstock ’69.
* Green Day engaged in a mud slinging fight with the audience.
* Green Day bassist Mike Dirnt was accidentally punched in the face by a security guard, knocking out some of his teeth.
* Rumors circulated that The Rolling Stones were to make a surprise appearance because they were scheduled to play a concert in New York that weekend.
* Johnny Cash was invited to perform on the last day, but after learning that he would not be performing on the main stage, declined to appear.
* Most of the ’90s-era bands (and their instruments) were completely caked in mud by the end of their performances, audiences were more respectful towards ’60s-era musicians.
Phish’s 2021 summer tour has finally made its way to the East Coast with a return to the land of chocolate in Hershey, PA. Hersheypark Stadium once again played host, with the band playing their fourth and fifth shows at the venue, and the first ones here since 2010. Although plenty of rain and isolated thunderstorms joined the fray as well, there was no dampening of the spirits inside the stadium.
The inclement weather prevented fans from entering right away on Tuesday as the gates remained closed while rain pelted down on the parking lot, accentuated by streaks of lightening in the distance. Thankfully, this was the last of the storms for the day and the rest of the night stayed dry. Once given the green light, fans entered en masse and were treated to an exhilarating opening 1-2 punch of “First Tube” and “Axilla.” After such a scorching start, “Fuego” made more than sense to follow as the humidity eased and the grooves increased. Instead of rounding back into form, “Fuego” drifted for a while before turning into a “Runaway Jim.” Other Phish originals such as “Sample in a Jar” and “Llama” were peppered throughout the opening set, giving it an old school feel, while newer tunes like “Steam” and “Death Don’t Hurt Very Long” proved old dogs can indeed learn some new tricks.
While there may not have been any “monster” 20-minute jams that this summer tour has been blessed with repeatedly, Tuesday’s second set only contained one real pause as Phish weaved in and out of another set that featured a masterful blend of newer material and longtime favorites. “No Men In No Man’s Land” immediately set a course for “funky” and the band took it from there. “Soul Planet” later emerged from this before an impressive segue into the rare second set “NICU.” The last major jam sequence of the evening was spearheaded by “Golden Age” which had all of Hersheypark Stadium dancing in a collective rhythm. Longtime fan favorite “Lizards” got dropped late in the second set, the first one since Mexico 2020. The one and only cover song selection of the evening, The Velvet Underground’s “Rock and Roll” left everyone feeling alright and more than hopeful for the promise of tomorrow.
Phish – Hersheypark Stadium – Hershey, PA Tuesday, August 10, 2021
Set 1: First Tube, Axilla, Fuego ->Runaway Jim, Gumbo > Sample in Jar, Steam, Sugar Shack, Llama, Death Don’t Hurt Very Long > Run Like an Antelope
Set 2: No Men In No Man’s Land > Soul Planet -> NICU > Joy, Scent of a Mule, Golden Age > Prince Caspian > Backwards Down the Number Line > The Lizards > Character Zero
Encore: Rock and Roll
On Wednesday, Phish gave a few nods to Chocolate Town U.S.A., kicking off the night with “You Sexy Thing,” by 70s funk band Hot Chocolate. They would return to the familiar riff a few times during the night, with Trey serenading the crowd and referring to them as ‘You Sexy Things.’
Despite the rain earlier in the evening as fans were arriving and pregaming in the Hersheypark lots, no spirits were dampened from the performance this night. A ‘Halley’s Comet’ clocking in at nearly 16 minutes provided liftoff for a set, thanks to Page McConnell keeping the jam going with his synth work. “Gotta Jibboo,” “Meat” and “Maze” rounded out one of the tightest first sets of the tour.
Set 2 started with a standard “Theme From the Bottom” but the true highlight came in the form of a nearly 20-minute “Birds of a Feather,” with a rainbow of lights punctuating the jam that unfolded. The chocolate references continued late in the set with Ruby (chocolate) Waves and “‘Choc’-Dust Torture,” which was also performed at Chocolate Night of the Baker’s Dozen, along with “You Sexy Thing.” “Show of Life” and “S.A.N.T.O.S.” rounded out the show, with fans setting their sites east towards Atlantic City
For two nights in early August, moe. played to a faithful crowd, much as they always do this time of year in Central New York. Whether at Saranac Brewery in Utica, Snow Ridge Ski Resort in Turin, or Apple Valley in Lafayette, moe. is a summer staple, and a perfect time to shake off the dust and get down with fellow moe.rons.
Saturday night was highlighted by an always stellar “Recreational Chemistry” to start Set 2, and a trio of “Big World” > “Ricky Marten” > “Mar De Ma” to follow. A cover of Pink Floyd’s “Comfortably Numb” stole the show, and worked its way into “Opium” and “Plane Crash” to close the night.
Marco Benevento opened Sunday night with a rousing set, accompanied by Karina Rykman on bass and Andy Borger on drums. moe. came out for their first set at 6:30pm for an ideal set to watch the sun set behind the stage. A unique take on “St. Augustine” featured “Tubing the River Styx” and “The Pit” being sandwiched in between sections of “St. Augustine.” A nod to Jerry Garcia, who passed away 26 years ago this day, came in the form of “West L.A. Fadeaway,” which was accompanied by a rainbow in the distance.
Set 2 found moe. getting dark, starting out with “Meat” that moved into “Kyle’s Song” and smoothly into “Bearsong,” which gave birth to “Timmy Tucker.” A jazz bass breakdown from Rob Derhak was met with Chuck Garvey’s furious guitar work, leading to the jam of the night. Al Schnier took charge later in “Timmy”, leading the band unexpectedly into “Moth”, and again jumping back into “Meat” (on a dime) to lead to the end of a triumphant set. “Spine of a Dog” and a jam on “Franklin’s Tower” closed the night at Apple Valley.
moe. – Apple Valley Park, LaFayette, NY – Saturday, August 7, 2021
Set 1: Captain America > Bullet > Hector’s Pillow, Bring You Down, Where Does the Time Go?, LL3 Set 2: Recreational Chemistry, Bring it Back Home, Big World > Ricky Marten > Mar De Ma, Along for the Ride > Comfortably Numb > Opium, Plane Crash Encore: Wind It Up
moe. – Apple Valley Park, LaFayette, NY – Sunday, August 8, 2021
Set 1: Understand > St. Augustine > The Pit > St. Augustine, The Pines and the Apple Trees, Mexico* > West LA Fadeaway Set 2: Meat > Kyle’s Song > Bearsong > Timmy Tucker > Moth > Meat Encore: Spine of a Dog* Franklin’s Tower jam
Spencer Barnett, rising indie-pop genius from Brooklyn, has just released a new music video for his catchy single, “Dancing.” The video features groovy moves from Spencer and a unique color palette that makes it delightful to both the eyes and the ears.
“Dancing” is written and produced by Spencer Barnett alongside Jon Hill and Alessandro and Gianluca Buccellati [Arlo Parks, Tei Shi] and follows the release of Spencer’s dynamic Welcome To My Mind EP. Welcome To My Mind is the final part of Spencer’s three-part EP trilogy which came directly after debut EPs I’m Fine (“Waste My Time”) and Reckless (“17”). His first EPs gained him lots of attention from influential tastemakers such as Paper, V MAN, Ones to Watch, and Flaunt. They also led him to be included on the most coveted playlists on Spotify and Apple Music.
Welcome To My Mind blends soulful melodies, indie rock leads, and bedroom-inspired guitar riffs while keeping his youthful side through majestic lyrics. “Dancing” encapsulates the fun feeling of youth while incorporating mature musical and production skills. The video is a perfect next step for the up and coming indie artist that has an exciting future ahead of him.
In 1989, New Orleans had its own gold lit resilience of funk around town. Many helped add to the consonant grooves inside legendary buildings turned nighttime studios. Every great musician in town was collaborating and famous artists were there to help feed in the rhythm. Tony Hall was part of this golden era and is still a staple in the New Orleans sound.
Hall had been grooving with the renowned Neville Brothers on St. Charles Avenue. Tony played the chilling bass line on their album Yellow Moon. The track “Healing Chant” off the album won best pop instrumental performance at the 32nd Grammy Awards in 1989.
Tony has gone on to work with bayou locals like The Meters, Dr. John, Aaron Neville, Harry Connick Jr. Trombone Shorty, and Marc Broussard.
He has been part of infamous studio sessions with Bob Dylan, Emmylou Harris, Trey Anastasio, Dave Matthews, Willie Nelson, Joan Baez, Brian Eno, Daniel Lanois, Jewel, Edie Brickell, Linda Ronstadt, Pretty Lights, Herbie Hancock and Maceo Parker.
Producer and musician Daniel Lanois felt these sounds in his soul. He assisted in some of these collaborations and on his own work. Tony covers bass for Lanois’ famous original composition “The Maker.” It has been honored with covers by Willie Nelson, Jerry Garcia Band and Dave Matthews Band with Victor Wooten.
Tim Reynolds said this summer of his old band mate Tony, “You know those guys when you’re playing a gig, he’ll look right at you? That’s him. He’s a bad ass.” This past spring Tony just released a new studio record with his band Dumpstaphunk for the first time in seven years. He took some time to talk about the timeline on these projects with NYS Music.
MR: Daniel Lanois claimed Oh Mercy was a record you listen to at night because it was, “designed at night. Bob Dylan had a rule, we only recorded at night.” What did that session look like behind the scenes in a house turned studio in New Orleans?
TH: We would go in at about 4 in the evening and Dan had a lot of ideas of the songs so we went through a bunch of them. Then… when Bob came… It would all go out the window. He’d start a groove and we would follow him. Let’s just match whatever he was doing.
TH: It was all of us in a circle in a room, facing each other. Very long hours on this record. So many different versions of songs.
MR: Well how about the funkiest collaboration on the track Everything is Broken?
TH: It started with Bob playing his line and we just came in. Willie (Green) grooves and I jumped in on the spot (bass line humming).
Ivan Neville, Keith Richards, Tony Hall, Don Was
MR: Was Dylan just playing harp on that track for his solo?
TH: No, he’s on guitar for that as well. He played guitar on a lot of songs and piano too. Brian Stoltz played with all of us as well on guitar.
MR: Was that just a studio experience? Did you get to bring that on the road?
TH: Just a studio record. Never got to play it live.
TH: My experience working with Daniel Lanois came from him producing the Yellow Moon Recording, Bob Dylan’s Oh Mercy, and Emmylou Harris’ Wrecking Ball. I recorded on his solo album Arcadia. He had a completely different approach.
TH: He pulls everything you got in you…out. On “The Maker,” was me noodling and I kept adding parts. He even wanted to add a harmony part to one line. It has five different bass parts on that track
TH: I met Dave Matthews in the early 90s. The Neville Brothers and DMB did a show together. I saw him in 2001 at a Emmylou Harris show and he knew as me the guy from “The Maker” that his band went on to cover
TH: When we did the Dave Matthews solo record Some Devil in 2003 it felt so good. Brady and Trey all suggested we should be a band. “Hey let’s take this on tour.”
MR: How was it behind the scenes during that legendary studio collaboration with Brady Blade, Trey Anastasio, Ray Paczkowski, Dave and Tim Reynolds?
TH: Dave had all the songs written and we just came in and added our own parts to it. When you hire people to do a record, you have them bring what they do to the table, you know? So you can give them a lot of options. You play some stuff… like this? Sometimes the first thing is the one. “How about that?” No you did it already… (laughter)
TH: I had a lot of fun with that record. One of my favorite songs is “So Damn Lucky.” And the song “Too High.” I love the end. The groove on the end is killing. We even overdubbed The Seattle Symphony to it. The big line everyone is playing together is led by Dave on the guitar. It’s killing. Its a great record!
MR: Where does he come up with those unique sweet up and down chord progressions? Are they easy to jump on?
TH: That would be a question for him (laughter). Some of the chords are open tuning with a lot of different fingerings for it. But it’s cool as shit. It works well together.
MR: Then there was the Some Devil live tour that went to every major arena in America. Headlining sets at Bonnaroo and Vegoose Music Festivals. Even a Caribbean Cruise with Bob Weir special guesting on the boat. Who chose all those great covers ranging from Sly and the Family Stone, Chaka Kahn, Little Feat, Joe Walsh, The Band, Bob Dylan, Paul Simon, Peter Gabriel, Stevie Wonder, Hendrix, Zeppelin and Stones?
TH: That was Dave and Trey’s call any given night. Ya know during the break sometimes (laughter). Let’s go do this…
MR: After meeting Trey Anastasio and Ray Paczkowski at this project you ended up in the studio with him for his Album Bar 17.
TH: The Trey thing, musically, was very talented. I didn’t know him before Some Devil. He had me come to Atlanta to do a session and sent me the songs to learn. But it wasn’t a session. It was an audition. Which is a cool way to audition somebody. Make them think it’s a session so if it doesn’t work you pay them and they just go. You don’t have to tell them they suck (laughter). But afterwards they said hey you got the gig. I’m like cool… what gig? (laughter)
Brady Blade, Tony Hall
TH: But the composition “Goodbye Head,” that song I listened to and it was a very long jam. I thought, “Oh, I got this,” and during rehearsals Trey’s like, “You have it down?” (of course). But I didn’t check the end of the tape where there was a whole ‘nother section. It got to the jam part and I just stopped. This tune gave me a run for my money. That song kicked my ass, I got to tell you that right now.
MR: Then you went on a US tour with Trey Anastasio as part of an ever changing cast on stage in 2005 and 2006. It had special guests like Stewart Copeland, Bill Kreutzmann, Jon Fishman, Skeeto Valdez and Jeff Sipe along the way on Drums. Yet It always had you on bass and Ray Paczkoswki on keys as a constant. There was even Raymond Weber from New Orleans with you holding the bottom end down on drums at one point.
Trey Anastasio, Stewart Copeland, Tony Hall
TH: Yea Raymond ended up in the band after Trey came to sit in with us for the Dumpstaphunk show at B.B. King’s in New York City. So we call some stuff I got him to do, “46 Days” and um, “Cayman Review?” Raymond killed it on “Cayman.” He was like, “Damn you hear that on the bell? That reminds me of New Orleans.”
TH: But our official live band release came from Original Boardwalk Hall Style in Atlantic City on New Year’s Eve 2006. That was the most cast with an 11-piece band. Yea, but I had a lot of fun playing with Trey. He would kick into a groove and then I’d pick up. He’s like, “OK this is your job, when it mellows out you take the way.” I think it was good for him to have someone who’s like, “Come on. Come on.”
TH: He was always adding songs though. Like that Frank Zappa “Peaches En Regalia.” By it being new at soundcheck, I would learn it that night. So afterwards in Albany, between eating, I’m making notes before the start of the set figuring it out (laughter).
MR: Heading Back to The New Orleans studios in 2017 you were a part of Trombone Shorty’s record that has the ultimate cover of Ernie K Does “Here Come the Girls.” Shorty is also on your new record this year.
TH: Yeah that’s nice. I think George (Porter) is on the original version. I’ll have to look it up.
TH: We have known Shorty since he was young. Coming up he’s always been extremely bad ass. In the beginning he used to do some shows with us and then did his own shit. Then blew up. He’s the man and puts on a hell of a show. Phenomenal player on the trumpet and trombone. It’s like nobody can touch him. But he also plays everything else like drums, keyboards and sings.
Joseph “Ziggy” Modeliste, George Porter Jr, John Mayer, Bob Weir, Bill Kreutzmann, Tony Hall
MR: Speaking of horns you were on legendary sax player Maceo Parker’s album released last year recorded at an old New Orleans hotel turned studio.
TH: Yea at Goat’s studio down in the ward, who’s Maceo’s soundman. It was fun and great to be on a record with his original track MACEO. Then great covers by Dr. John on “Right Place Wrong Time” that Dumstaphunk started doing.
MR: The new Dumpstaphunk record you just released this year has some just straight funk instrumental tracks. Where did the “Dumpstamentals” come from?
TH : Some of those came up at soundcheck. Me and the drummer Deven Truscleir started jamming on some stuff and other people came in. Ian (Neville) always records those on his phone and so do I so we can revisit them. Ian came up with Backwash when checking his rig during warm up and things like that.
TH: We recorded a bunch of these songs and didn’t finish them lyric-wise. Vocal-wise we can always change. It goes kind of like vice versa. We’re all a band that can sing and play too, ya know? We did two of our favorite covers by Sly and the Family Stone for “In Time” and Buddy Miles’ “United Nations Stomp.”
MR: How about Buddy with Band of Gypsies? He also covered “Don’t Keep Me Wondering” into “Midnight Rider” by The Allman Brothers for his own record.
Tony Hall Beacon Theatre
TH: He also covered their song “Dreams.” I know those from Buddy and I found out later they were Allman Brothers songs. Just like “Down By the River,” I learned that from Buddy and then found out after it was a Neil Young song
TH: Yea Buddy’s the man. He’s one of my favorites. One of my mom’s favorites. She used to play it all the time. His live release is one of the best records. One of my top favorites.
MR: Last time Dumstaphunk played New York State was headlining the 2019 Blues Fest in downtown Syracuse. After hours you and Deven Trescleir on drums came for a special sit-in with the band at Funk n Waffles for a bass-leading cover of The Temptations “Standing on Shaky Ground.” Less than a month later Dumstaphunk was opening for The Rolling Stones at the Louisiana Superdome in front of 60K. Are you ready to get at it like that again in 2021?
TH:That was a great show, Most of the time when you’re an opening act people are just walking in doing your set or the place doesn’t fill up until your last song, but that show the crowd was there and it was a lot of our fans, the energy was high and we felt the love. It was our home town, it felt great!
MR: The Woodstock 99 documentary just released features your performance with Brady Blade and Jewell. Any memories of that infamous Sunday gig in Rome NY?
TH: We drove over night to the festival, I woke up on the bus at the site. I didn’t do much. I watched a few bands from the side stage. We had a good set. We stayed to watch the Red Hot Chilli Peppers show and left right before everything went down. The people from the documentary reached out about my experience there. I was only able to tell them what I’m telling you (laughter).
Badflower have always spoken unapologetically through their lyrics about feelings, mental health, and relationship issues. Their latest single and video release “Don’t Hate Me” is no different.
“It’s a lot of self-awareness” Josh Katz (vocals) explains. “On the bridge, there’s a meta dialogue where I explain how I’ve changed my entire life and appearance to make somebody else like me more. I think I have experienced versions of trying to be something else for someone else throughout my life, I think everybody has.”
Badflower never drift into sappy territory, however. They address serious issues either with startling directness, or with a dose of lightness, mockery, and humor, which makes their music relatable to a broad audience. The music video for “Don’t Hate Me” is a spoof about morphing into others in order to belong. It is funny, creating caricatures of our weaknesses, and as all Badflower videos, entertaining and very well made. The band produce most of their videos “in house,” with cameo appearances from friends and family members. They forgo large manufactured productions, in favor of genuine hands-on creativity from everyone involved.
Catch Badflower at one of the major festivals, or on their headlining tour starting in September. They will play at Webster Hall in New York City on September 23.
Wednesday, August 4 kicked off the Capital Concert Series at the Empire State Plaza in Albany and it did not disappoint with headlining act 90s favorite R&B singer, Ginuwine and opening act Freedom Stratton.
Gracing the Albany stage for the first time in 25 years, Ginuwine kept the crowd dancing and smiling with hits like “In Those Jeans” and “Pony.” While a large crowd was drawn to the Plaza with the chance to see an old school performance on a warm summer night, they had the perfect warm-up in the form of an opening act that came across as an artist with years in the business.
Setting off the night of dancing was a young local artist Freedom Stratton. Popping onto the stage with an energy that reached beyond his stature, his vocals and movements took up the massive staging area. Slated to do two 10-minute sets, Stratton focused on his newly released singles. During the first set, listeners got to hear Stratton’s singles ‘Ray Banz’ and ‘Prophecy’, which gave them a taste of Stratton’s clever lyrical power.
Born and raised in Albany, Freedom Stratton very recently celebrated his 21st birthday only days before the performance but is no stranger to the struggle and beauty of making music in the 518. At an early age, Stratton fell in love with musical theater, which led to his participation in high school plays, studying modern dance at Berkshire Ballet, and also a slew of performances in community productions across the Capital Region.
During the second set, he got the crowd dancing to more r&b/pop inspired singles ‘Tell Me What You Need’ and ‘New Things’. The audience bounced and grooved along all the way until Ginuwine took the stage. After Stratton’s second performance NYS Music had a chance to sit down with the budding artist.
NYS Music: What started your career in music?
Freedom: About three years ago I started working with BChaps. Then I had this idea to get a bunch of artists together for an album called “The Future” and it broke over 400,000 streams in less than a year. Then I knew.
NYS Music: What sets you apart from other artists?
Freedom: The drive. The drive to know that nothing is going to happen without you doing something to make it happen.
NYS Music: Do you have a dream collaborator and why?
Freedom: Anderson Paak. Oooh. He’s spicy. He’s spicy right there. I feel like that’s one of the most influential people to me in the music industry. It’s like that newer version of the old school.
NYS Music: Do you have any music that you often listen to these days? And who are the musicians that inspired you?
Freedom: Jason Derulo, gotta throw him in there. Ariana Grande. Justin Bieber, I ain’t gonna lie. I really mess with pop, like Dua Lipa. It’s the kind of music that I’m pushing for. More mainstream but at the same time they can make a heartbreak song, or a happy song, or a love song. I just love the diversity pop brings.
NYS Music: How would you like to see music help the community?
Freedom: Bringing people back together, you feel me? People are literally scared to be around each other. Music can bring us back together.
Things shifted in 2018 though once it became clear to Stratton that pop stardom would achieve his goal of leaving “a legacy. Something that will carry on forever and be able to touch people for generations”. Stratton began working with local music producer, Brian Chiappinelli(B.Chaps) to capture music that makes people happy. All the hard work has already begun to pay off. Just last year Stratton released his first full-length studio album dubbed “The Future”. With a loaded roster of other 518 artists, Stratton pushed himself out of his typical style comfort zone. Not only did the success of the album cause him to release a deluxe version that included a whopping thirty songs but “The Future” was also picked up for distribution by record label Rexius Records in Sweden.
Already back in the studio, Stratton has 2 singles set to be released this month. ‘First Love’ with Kortnee Simmons is dropping on Empire Media on August 13 and ‘For The Summer’ with B. Chaps and Money Montage is dropping on Foundation Media on August 20.
Freedom Stratton is available on all major streaming platforms (iTunes, Apple Music, Amazon Music, Spotify, and Google Play).
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 Caity Gallagher, Joseph Beaty 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.
Caity Gallagher
With its calming piano and breezy vocals, singer-songwriter Caity Gallagher’s single “Give It All” would fit right in at the Lilith Fair. Equal parts Fiona Apple and Sarah McLachlan, the song is about hesitance in starting a new relationship: “What’s holding me down? What happened to the lightness I thought I’d found?” Gallagher and her band, collectively known as Caity and the Gallaghers, are playing at The Linda on Thursday, August 12.
Joseph Beaty
Joseph Beaty’s latest album Rust, You Can Leave Me Now is available for pre-order. The Adirondack musician and producer creates a gloomy atmosphere on its singles, the industrial “Thick of Things” and the grungy “Still Forming,” which he acknowledges in the Bandcamp notes:
[This album] is the embodiment of 2020. Things in my life (in all our lives) were put in perspective and it was time to remove the negative bits. This record was my catharsis, my therapy. It is gritty, unsafe, and dark. No sense in sugar-coating it. You will hear many lyrics talk about knocking the rust out. This therapy experiment helped me arrive as a new, more focused person for 2021.
El Modernist
Albany band El Modernist gives us a geometry lesson on new wave song “Lines.” Its talk-singing style hearkens back to the early 1980s, when Blondie and Talking Heads flirted with spoken word and early rap.
Indie rock band Japanese Breakfast returned to Rochester on August 3. Earlier this year, Japanese Breakfast released their newest album Jubilee. This textured and imaginative album brought even more joy when the songs were performed live.
Opener Mannequin Pussy brought intense energy to Anthology. The Philadelphia punk band is made up of Missy on lead vocals and guitar, Colins “Bear” Regisford on bass, and Kaleen Reading on drums. Michelle from Japanese Breakfast described this trio as the “punk self-help motivational speaker that we all need.”
Front woman Michelle Zauner has transferred from her previous album dealing with grief to now a new era searching for happiness. Michelle keeps her ambitions high while constantly trying to search for new ways to express indescribable feelings. She has utilized her love of creation to develop unique tracks that cater to her childhood love in an adult catered world.
When Japanese Breakfast took the stage there was instant euphoria that took over the crowd. The band opened with their popular song “Paprika” that sent the crowd into a dreamlike state. The profound instrumentation in addition to Michelle’s airy vocals made the vision for the album come alive on stage.
Returning to Rochester after previously playing at the Bug Jar in 2018, Japanese Breakfast paid tribute to many die-hard fans in the crowd. Some fan favorites of the night included “Be Sweet,” “Posing in Bondage,” and “Everybody Wants to Love You.” A member from Mannequin Pussy even joined on stage as well. She performed a saxophone solo for Michelle’s single that’s dedicated to her love for soccer: “Slide Tackle.”
With a packed crowd, entrancing instrumentals, and Michelle’s angelic vocals, the performance left everyone mesmerized. Japanese Breakfast is continuing on their tour throughout the U.S. and even returning to Brooklyn in the fall. Tickets are available here.
Setlist: Paprika, Be Sweet, In Heaven, The Woman That Loves You, Kokomo, IN, Tactics, Boyish, The Body Is a Blade, Savage Good Boy, In Hell, Posing in Bondage, Road Head, Slide Tackle, Ballad 0 (Bumper Cover), Everybody Wants to Love You, Posing for Cars Encore: Diving Woman
