Episode 122 of the Rochester Groovecast Podcast highlights a returning guest, Anthony Siciliano of “Head To The Roots.”
From high energy stomp to mellow campfire acoustic, Head to the Roots is the music mind-child of Anthony Siciliano. Anthony pulls at the roots of folk, blues, rock and reggae music. The fabric of his songwriting is both thought-provoking and playful, woven with themes of life exploration, travel, and love, while carrying undertones of spirituality and human coalescence.
From the main stage at Rochester’s beloved Cornhill Arts Festival to stages spanning across the Northeast, and New England, Anthony has shared his music in New York, Vermont, New Hampshire, and Maine. In the midst of his musical career, Siciliano has shared the stage with members of Twiddle, and has played with members of The Buddhahood, and Multibird.
Since September 2020, Head to the Roots has evolved into its mightiest form yet, with joining members Chris Palace (drums) and Drew Rosenberg (bass and keys) bringing power and groove to this newforming trio. Aside from live performance, Anthony continues to write, produce and release original music, where April 2021 marks the horizon line for a brand new album release.”
In this episode, host, Ben Albert, and Anthony Siciliano discuss what’s happened this past year, most importantly, Head To The Roots’ new album, “Seeker.”
During the podcast, the boys isten to and discuss two brand new tracks, “Seeker” and “Flower City!” Keep in touch with Head To The Roots on their website.
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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 firsthand the abundance of talent, character, creativity, innovation, and beauty the Flower City has continuously offered.
I must say that I am frequently stunned by how little thought seems to go into the selection of sound engineers and production crew at clubs, bars, and music halls. I see venues spend so much time and money trying to make their businesses as successful as possible. They carefully scrutinize their bartenders, servers, cooks, and cleaning crew. They train and supervise their service staff and make sure everything is being done as expected. Many venues have cameras that surround the bar to make sure the bartender is not stealing money or giving away too many drinks. Every night someone is responsible for running the sales report, cleaning the bar and kitchen areas. Someone is tasked with ordering the replacement alcohol and food to make sure there is always something for the customers.
Then for whatever reason, there is a completely different situation for the production team. Imagine, if you will, that you are a venue owner or manager. You have spent countless hours working in and on your business with the intention being to accumulate a solid customer base through the delivery of your product and services. You select the best mood lighting and paint colors and various other interior design elements. You create a menu that you believe will bring in and maintain your customer base. You have done everything you can to ensure the success of your establishment. Now imagine that you hire a group of bartenders and servers and give them complete and total free rein. They are allowed to function in any way they want. Coming into work with a bad attitude? No problem. Failing to treat the customers with respect? No problem. Coming in late? Fine with you! Serving inferior food and drinks? That’s ok. Letting people abuse and break glasses and dishes? No big deal.
I am assuming most would agree that the aforementioned scenario would be a foolish way to operate any kind of business. That however, is precisely what I see when it comes to the way many venues run the live entertainment portion of their business. Their production and booking teams so frequently lack the talent, skill, and professionalism required to put on great events. Further, very often production crews don’t even understand the vision and process for how a live event should be prepared for and executed.
So let’s look at one of the potential causes of sub-par production staff at venues.
Let’s start with another analogy.
Imagine that you have chosen to open a restaurant/bar that will feature live music. You decide that you want to have a certain food theme. Perhaps you decide that you are going to do Italian/American cuisine. With the help of your friends and newly hired staff, you choose the food items that will be on the menu. So far so good. Then the opening day comes where for the first time you will be hosting customers at your new establishment. You prepared for this day by spending time and money to promote this opening event. People start to show up. Perfect! Before long the restaurant is full and orders are coming into the kitchen. Everything is great! Then, after a while, as people begin to finish eating and getting up to leave you notice half-full plates left on the tables. You go back to the kitchen and realize that there is a lot of uneaten food. You think to yourself that maybe your portions are too big. As each day comes and goes you find that instead of having the number of reservations and customers growing, it is shrinking. Within a month or so the restaurant is fairly empty most of the time.
With this realization, you begin to ask questions of your servers and people who you know that have been to the restaurant. After some discussion, you find out that people just don’t think the food is very good. Upon asking one of your good friends why they have not returned for dinner they answer your question with a question. They ask “Well, what do you think of the food that you are serving? Do you think it is good Italian cuisine?” You think for a second and then you respond by saying, “ Well you know it seems pretty good to me but I don’t actually eat a lot of Italian food or go to many Italian restaurants”. Your friend looks at you somewhat stunned and asks the obvious question. “If you don’t understand what good Italian food tastes like then how do you know if the food you are serving is good or bad?” Your response might be, Well the food seemed fine to me”. Here you are a month or two into the opening of this new restaurant and no-one told you that the food was not good. They simply stopped coming back. The food was not terrible, it was simply not enjoyable enough for them to choose to come back and spend money and time at your establishment. There are many restaurant options for customers and they are always going to choose the ones that they most enjoy going to.
The very same thing happens with live music at many venues. The owner of the venue decides they want to offer live music. They hire a production person. Often they hire someone who knows someone else with whom they are both friends. It’s the whole “Hey I know a guy” type of situation. During the interview, this “production person” spouts off some big words and talks about all the bands they have worked with. Then before you know it there might be a new improperly designed sound system in the venue and the shows begin to happen. The owner has attended many concerts but they have no idea how to evaluate the production staff. They don’t know what is required to put on high-quality events. They don’t understand the pitfalls of advancing and producing shows. Often the venue puts on the first group of shows and there is a decent crowd. Then before long, the crowds start to diminish. Perhaps the quality of bands that you are attracting begins to diminish as well. Or perhaps the quality of the clientele starts to diminish. For some reason, that great band that you hosted last month is now telling you that they are booked and that they can’t come to play again at your venue for dates you are suggesting.
Have you ever been to a venue that regularly offers performances from amazing bands, who always seem to be in a good mood when they are playing there, where the venue always has great sound, where nothing is too obnoxious or too loud, where every show is just right, pleasant and enjoyable? You can be sure that if you are at a place that offers this experience regularly that the owner or management very likely understand what great sound is, how to prepare for and run a high-quality show and as a result know exactly what they were looking for and the value of a great production person. They didn’t just look for that person who could pull off a show and was willing to work cheap. Instead, they have a vision and understand that the sound engineer can be as important as the chef or bartender. They understand that the production crew not only sets the stage but also sets the mood for the show. As I have mentioned in my past blog posts, there are very important elements to preparing for a concert. Most of those elements are the same whether it’s a little bar show with an audience of 40 or a music festival with thousands of concert-goers. One thing to consider about compensation for engineers at clubs and halls.
I don’t know about you but I have been to many shows where the sound was so bad, or so loud, where there was feedback or some element of the music that was almost unbearable because of bad processing or a bad mix, that I just simply could not stay for the whole event. I have experienced this at little pubs with local bands as well as at our area’s biggest rock clubs with smaller national acts that use the venue’s house engineer. I have even experienced woeful sound with outside production companies that I have hired to do some of my bigger events along with my production company where they run one stage and we run others. As far as I can tell, it pretty much always comes down to the same few issues. 1. Lack of knowledge by the engineer 2. Lack of preparation by the engineer or 3. Lack of caring and professionalism of the engineer. I don’t want to understate how much of a difference bands can make in the sound of an event with proper preparation but even an ill prepared band can have a mix and volume that is not offensive to the audience when there is a good, prepared, respectful engineer at the console.
With this in mind, I think it’s worth considering how much of a difference the production crew can make not only in the quality of the show but also in the amount of revenue that is generated from the show. How many more drinks would have to be sold to justify paying your sound engineer an extra $50? Why do I use the amount $50? We have done a good amount of research and found that a $50 increase in compensation for club and music hall sound engineers will typically buy you a substantially more experienced and capable production professional. If you are currently only paying $100 then bumping it to $150 will definitely get you a better engineer. If you are currently paying $150 then bumping it to $200 will start to get you a truly professional engineer who you should be able to expect to spend decent time advancing, preparing and running your events. When you go from $200 to $250 that is the threshold where you can get some serious veteran live sound engineers with substantial resumes.
If you pay more, you can and should expect more. I’ve been to concerts where the sound was so pleasantly immersive that I just wanted to hang out all night. If just 10 people decide to stay for an extra hour at your venue then it is probably safe to say that paying your engineer an extra $50 would be worth it. How about the impact on the venue’s bottom line when it becomes known for great-sounding shows all the time? More people will attend more often. That must certainly make your engineer worth an extra $50 per show. How about when you have that fun, outgoing engineer who is full of personality. The engineer who knows most of the regulars that come to your venue. The engineer who the customers are proud to know and who the bands look forward to working with? Surely that engineer must be making an impact on the bottom line that is worth an extra $50 per show.
Let me finish with two final thoughts.
When my company, The Denis Entertainment Group (DEG) gets contracted to set venues up and create new production teams, we find that the key to successfully putting a great crew together is clearly conveying to the team what exactly is expected of them and precisely how to know if they are doing a good job. You might think this would be obvious but we have found that it is not at all. When we are contracted by venues the first question I ask the management is “What do you need and expect from your production crew and how will they know if they are doing a good job?” This question is usually met with silence. Once again, going back to one of the analogies I used earlier in this article, you would never let your chef or cook come to work with no idea of what their goal is and how to evaluate if they are successfully performing their duties. The same goes for your cleaning crew. Everyone needs to know exactly what is expected and how to evaluate if they are doing well. Venue management must clearly define the responsibilities of the production crew and they must make sure that the production crew and everyone else who works for the venue understands the vision and mission. If you do not know how to define these things then I suggest doing some research or call a company like DEG to help you out.
One final issue.
How many jobs can you name where the employee/contractor is allowed to consume alcohol when they are working? The only thing worse than having an engineer that lacks knowledge and preparation is having a drunk engineer or an engineer who is under the influence of some sort of substance when they are working. I have a strict no-drinking policy for all of my engineers. If we are working then we are not consuming any substances that could cloud our judgment or present us as unprofessional. Too often I see venues that get away with paying their production crew less than they should because they let them drink for free. Think about that for a second. Imagine having an engineer who is willing to work for less so that they can get buzzed or drunk while working your event. That is the antithesis of what this whole article is about. Venues need to do themselves and the entire music business a favor and stop letting this happen. Let’s hold our production people to a high standard. Let’s pay them what they are worth. Let’s raise the bar for the venue production crew. Let’s put on better shows. Let’s treat the music business like a business. Let’s all find success together. If you learn the ins and outs of putting on a high-quality professional show then you will know how to train your production people. If you chose not to learn these things then you will never have control over the live performance part of your business.
Here is to better, smoother, more rewarding and epic shows.
This summer, Joe Russo’s Almost Dead (JRAD) performs monthly at Westville Music Bowl in New Haven, CT. With shows from Memorial Day weekend through September 4, there are ample opportunities to see the fantastic reimaging of the extended Grateful Dead catalog, along with a heavy dose of improvisation.
Revisit the shows below with photos by Vince Brazen, video from the band, and the detailed setlists for each night.
JRAD at Westville Music Bowl – September 4, 2021 Setlist
Set 1: Don’t Ease Me In*> Cats Down Under the Stars w/ Norwegian Wood and Throwing Stones teases> Tell Me, Momma w/ Jessica tease> Mama Tried, Candyman, Jam w/ The Other One tease> Truckin’ w/ The Other One teases and New Speedway teases
Set 2: Feel Like A Stranger> Help on the Way> Throwing Stones w/ Shakedown teases> Shakedown Street W/ throwing Stones teases> Throwing Stones reprise w/ Land Down Under and Shakedown teases, Comfortably Numb> Morning Dew**
Joe thanks the crowd, tells them we all need live music! Dave Niedbalski from Westville Music Bowl/Lovely Day Presents thanks everyone, said it was the best 9 nights of the summer! Then they unveiled a banner from the upper deck commemorating the 9 show residency.
Encore: One More Saturday Night***>Sugar Magnolia
*First since 3/3/19, 5th time played by JRAD **First time played since 9/13/19 ***First time played since 9/14/19
JRAD continued their no repeat streak in their Westville Bowl residency from July 30-August 1. Amid perfect weather all weekend, a nice change of pace from their two previous runs this summer. The partial capacity crowd (~3,000) at Westville had more seating on the floor this weekend, making it feel a little more crowded, but still short of 50% capacity at the tennis stadium.
Saturday’s show had a jam of Pink Floyd’s “Pigs” during “Birdsong,” bassist Dave Dreiwitz singing “Broken Arrow”, and a monster “Terrapin Station” suite to end the second set. The venue erupted during “Sugar Magnolia,” marking 16 sets of no repeat Grateful Dead covers.
JRAD at Westville Music Bowl – July 31, 2021 Setlist
Set 1: Stagger Lee > Stuck Inside of Mobile with the Memphis Blues Again* > West L.A. Fadeaway^ > Unbroken Chain jam > West L.A. Fadeaway > I Need A Miracle@ > Birdsong > Pink Floyd Pigs (Three Different Ones) jam > Birdsong Set 2: Broken Arrow > Throwing Stones$ > Ship of Fools > Dark Star > Terrapin Station (full suite) Encore: Sugar Magnolia
*w/ Big Boss Man and Eleanor Rigby teases ^ w/ Uncle John’s Band, Let It Grow and “Your Party” (Ween) teases @ w/ vocal jam and Dark Star teases $ w/ 2001 teases and Phishy Duo jam
On Friday, “Jack Straw” > “Wharf Rat” > “King Solomon’s Marbles” closed a strong first set, and they returned with no let up for set two, with a stellar stretch of “Althea” > “Lost Sailor” > “Saint of Circumstance,” and an acoustic “China Doll” as well, featuring Eric Johnson of Fruit Bats taking lead.
JRAD at Westville Music Bowl – July 30, 2021 Setlist
Set One: Jam -> Friend Of The Devil -> Jack A Roe, Jam -> Black Throated Wind @ -> Jack Straw > Wharf Rat # -> King Solomon’s Marbles Set Two: MB Solo -> Yazoo St Scandal $ -> Jam % -> Golden Road To Unlimited Devotion, Althea > Lost Sailor ^ > Saint Of Circumstance &, China Doll *+, Box Of Rain * Encore: Never Been To Spain *, When You Love Somebody * @@
@ – With a Jack Straw Jam – With Dark Star Teases (TH) $ – With Tennessee Jed Teases (Band) % – With “Maze” (Phish) Teases (Band) ^ – With Let It Grow & Playing In the Band Teases (JR) & – With Terrapin Station Teases (MB & TH) and a “I Can’t Help Myself (Sugar Pie Honey Bunch)” (Four Tops/Holland-Dozier-Holland) Tease (DD) With Eric D. Johnson (Fruit Bats) on Acoustic Guitar and Vocals Not Played by Almost Dead since 2017-10-13, Brooklyn Bowl Brooklyn, NY, a gap of 101 shows @@ – Fruit Bats Cover, Not Played by Almost Dead since 2019-08-16, Greek Theatre, Los Angeles, CA, a gap of 25 shows
Six shows into their run at Westville Music Bowl and JRAD has still not repeated a song. More than 70 songs have been performed since their Memorial Day weekend run, meaning that perhaps, when JRAD returns to Westville July 30-31, they may still continue this streak. To start the night, a 5-piece brass band walked through the crowd towards the stage. Many of them sat in throughout the course of the show, which had four The Band covers, with violinist Katie Jacoby sat in on “Rag Mama Rag.”
JRAD at Westville Music Bowl – June 20, 2021 Setlist
Set 1: Iko Iko, China Cat Sunflower, Ophelia, Operator, Why Don’t We Do It in the Road?, Hard to Handle, Casey Jones
Set 2: Alabama Getaway, Feel Like a Stranger, Mississippi Half-Step Uptown Toodeloo, Good Lovin’, Let it Rock, Road Runner, Rag Mama Rag, Cats Under the Stars, C.C. Rider
Encore: The Night They Drove Old Dixie Down
Highlights from June 19 include JRAD playing the Bob Weir solo tune “Gonesville” as well as working in a few Allman Brothers tunes. “Whipping Post” was teased during “Cumberland Blues” and in Set 2, “In Memory of Elizabeth Reed” got the full band treatment.
JRAD at Westville Music Bowl – June 19, 2021 Setlist
Set 1: Jam ->They Love Each Other ->Gonesville ->Cumberland Blues @, Row Jimmy, Mr. Charlie # ->Viola Lee Blues ->Brown-Eyed Women Set 2: Jam ->Here Comes Sunshine >Uncle Johns Band, Alligator >Man Smart, Woman Smarter $, In Memory of Elizabeth Reed %, Peggy-O Encore: Brother Esau @ – With “Whipping Post” (The Allman Brothers Band) Teases (Band) # – Unfinished $ – With a “Reveille” (Traditional) Tease (SM) % – With Dark Star Teases (TH) & a JR Solo
On June 18, JRAD returned to Westville Music Bowl for their second run of the summer. With five bustouts and covers including “All Along The Watchtower” and “Atlantic City,” a sold out crowd was treated to a rare cover of Warren Zevon’s “Werewolves of London” to close the night.
JRAD at Westville Music Bowl – June 18, 2021 Setlist
Set 1: Jam @ ->New Speedway Boogie # ->Let It Grow, Black Muddy River >All Along The Watchtower$ > Greatest Story Ever Told % -> Dear Prudence Jam -> Greatest Story Ever Told Reprise ^ Set 2: Atlantic City & ->Tell Me Mama * ->Big River, Tennessee Jed +, Cryptical Envelopment @@ ->Crazy Fingers -> The Other One > Stella Blue Encore: Werewolves Of London ##
@ – With “Spoonful” (Willie Dixon ) Teases & Truckin’ Teases (TH) # – With a Playing In The Band Jam & Let It Grow Teases (Band) $ – Scott Vox, Not Played by Almost Dead since 2014-12-29, Capitol Theatre, Port Chester, NY, a gap of 212 shows % – With a “Dracula” (MMW) Tease (MB) ^ – Not Played by Almost Dead since 2018-03-17 State Theatre, Portland, ME, a gap of 74 shows & – With “China>Rider Transition” Teases (Band) * – With a “Chuckles” (Wolf) Tease (SM) + – With a Hell In A Bucket Tease (Band) and a bit of a “Becky” (Benevento Russo Duo) reference (MB & JR) @@ – Part One, With a Dark Star Jam, Not Played by Almost Dead since 2019-03-16 Masonic Auditorium, Cleveland, OH, a gap of 34 shows ## – Not Played by Almost Dead since 2019-03-01 Palace Theater, Albany, NY, a gap of 40 shows
Over three rainy nights at Westville Music Bowl in New Haven, CT, Joe Russo’s Almost Dead (JRAD) brought music back to life and satiated sold-out crowds with their improvisational takes on the music of the Grateful Dead.
JRAD at Westville Music Bowl – May 28, 2021 Setlist
Set 1: Not Fade Away@ -> Ruben & Cherise -> New Minglewood Blues, Sugaree#, The Wheel$ ->Touch Of Grey% Set 2: When I Paint My Masterpiece^, Foolish Heart& -> Help On The Way -> Slipknot!* -> Hey Bulldog Jam+ -> Slipknot! Reprise, Hell In A Bucket, Dancing in the Street@@, Ripple## Encore: Fuckin’ Up $$ @ – With a “Serpentine Fire” (Earth Wind & Fire) tease (SM) # – Not played by Almost Dead since 2018-01-13 $ – With a “Cold Rain & Snow” Jam (Band) % – With “Ruben & Cherise” Teases in the intro (TH) ^ – Bob Dylan Cover, second time played. Not played by Almost Dead since 2016-11-12 & – With Slipknot! Teases (TH) * – With a “Tom’s Diner” (Suzanne Vega) Tease (SM & JR) + – With some lyrics. Not played by Almost Dead since 2016-11-12 @@ – Proceeded by a Dark Star Tease, with a Loose Lucy Tease (SM), a DD Solo, an MB Solo, hints of “The Wizard” (Black Sabbath), and a JR Solo ## – Not played by Almost Dead since 2019-01-18 $$ – Neil Young Cover, with Chris Harford on Vocals and Guitar
JRAD at Westville Music Bowl – May 29, 2021 Setlist
Set 1: Silvio ->Bertha, Me & My Uncle ->Shakedown Street@, Black Peter# >Music Never Stopped Set 2: Such A Night, Cream Puff War >Truckin$ -> New Speedway Jam% -> Truckin Reprise^ ->St. Stephen& >Tough Mama > I Know You Rider Encore: On The Road Again * @ – With Let It Grow Teases (Band) # – Not played by Almost Dead since 2018-07-19 $ – With a Cryptical Tease (TH) % – Not played by Almost Dead since 2017-08-31 ^ – Not played by Almost Dead since 2018-07-19 & – With Not Fade Away and Good Times Bad Times Teases (JR) and a Caution-esque Jam * – Not played by Almost Dead since 2016-12-29
JRAD at Westville Music Bowl – May 30, 2021 Setist
Set 1: Eyes of the World> Estimated Prophet, Cassidy > Going Down the Road Feelin’ Bad > Candyman, The Eleven, Franklin’s Tower Set 2: Scarlet Begonias > Fire on the Mountain, Beat It on Down the Line, He’s Gone >Playing in the Band, Samson and Delilah Encore: Born to Run
Stuart Bogie sat in on saxophone and flute throughout the night
Soule Monde went to Mad River Road at Sugarhouse Soundworks in Waitsfield, VT to musically start their sound for 2021, having just cut their new recordMimi Digs Iton site. The duo treated fans to a live performance of the material this past Saturday May 29 to kick off the Laughing Eagle Summer concert series on location.
Some Hollow and Mark Legrand kicked the sunny Saturday afternoon off. Legrand threw a nice cover of the Wood Brothers “I Got Loaded” to close their set. Lawson’s finest liquids sip of sunshine IPAs was the exclusive tent for drinks to celebrate the evening.
Sometime after sunset Soule Monde took the outside sugar shack stage. It being just a few yards away from where they recorded their new album. The band was playing off the energy of a live audience to receive these new sounds. Everyone in attendance was grooving into the starry, chilly Vermont night. The duo covered material from their first gig ever all the way through their most recent collaboration.
As Afro beat funk jams dominated the sound all evening the duo took time to dedicate a song to Tony Markellis. Ray Paczkowski’s mic cut out and ran to the front of the stage acapella to regale everyone with an important story of his band mate.
My friend Tony Markellis told me this story once. He met this guy from New Orleans in New York City. So Tony loved to know where to get good food. But he’s talking to none other than Dr. John. Tony asked him where do I get the best New Orleans food in New York? Dr. John said you to go to the Balkan Dog. So Tony looked for it and weeks went by and he thought oh it must be closed. He ran into Dr John later and said hey I looked for that place Balkan Dog and it’s nowhere. Dr John’s reply…A Balkan Dog? It’s a BarKing dog…Woof!!!! Soule Monde then launched in to their newly recorded tune from Sugarhouse titled “Theys a Balkan Dog”.
Soule Monde started an outdoor groove the right way with Mimi Digs It, for the much anticipated return of live music across the land. Check out their upcoming 2021 dates to catch them funk out yourself
Brooklyn-based Wild Yaks have announced Live at Rippers, their fifth LP and first live album, due July 16, 2021. Alongside its digital release, Live At Rippers will be available in a run of 500 LPs with jackets hand-screened in Rockaway Beach, NY. Wild Yaks are proud to be the first band back at the venue in 2021, setting a performance there for July 17.
For Wild Yaks, music is the ability to take the horrible parts of life, and elevate them into a sacred, firey riot.
I think my chief interest is to transform despair into moments for celebration. What I’m trying to do is rejoice in what’s fragile, and rejoice in what’s already broken. The only thing that I will accept is being fully abandoned. It’s about moving and singing with no concern for the consequences.
Wild Yaks’ frontman and songwriter Rob Bryn.
Live at Rippers presents this vision and the band’s “sense-clobbering” performance better than any album to date. It was recorded at the Rockaway Beach punk-rock-beach-burger-joint Rippers in October of 2019. Bryn again:
Almost all of the songs grew out of moments that happened in Rockaway. And to perform them at Rippers on the altar of blood from which so many of these things sprang is strange and amazing.
Wild Yaks play an ecstatic fusion of punk rock and big-city folk reinforced with passionate vocals (often delivered in unison by the full membership). The band was formed in the fall of 2007 in Brooklyn, New York by singer/guitarist Rob Bryn and drummer/vocalist Martin Cartagena.
While many players have made their way through the Yaks’ over the years, today’s lineup is Jose Aybar (bass), Patsy Carroll (guitar), Giovanni Kincade (Farfisa), Matt Walsh (guitar), plus Cartagena and Bryn. The Yaks’ discography also includes the EP 10 Ships (Don’t die yet, 2009), and full-length albums Million Years(2012), Rejoice! God Loves Wild Yaks (2015), and Great Admirer (2019). The band’s music has been featured in numerous television shows and films, most notably their live performance in an episode of Law and Order SVU.
Joey Calfa of Cousin Earth drops his exhilarating new solo EP, Baby Kangaroo Baby Cow, Part II, bringing spring into summer with his vibrant sound.
Baby Kangaroo Baby Cow Part II Album Artwork
The EP opens with the track “Brain Lehrer” and is immediately funky with its building guitar grooves. This track can be easily imagined in a bar, feeding the room with its danceable beat. As a tribute to the legendary WNYC/NPR host, “Brian Lehrer” is an ebullient song that deserves a listen.
The second track “Double Whammy” opens with harmonic, virtuosic guitar lines. The shredding and the funky bassline intertwine for a sublime groove. Inspired by video game music, its technical prowess is shared with an ensemble put together by Calfa, including Frankie Coda and Ryan Liatsis (SchwizZ).
The third song on Baby Kangaroo Baby Cow Part II is “Small Hands,” which draws inspiration from Frank Zappa, as well as features an FDR snippet from 1941 that eerily parallels the politics of today. The guitar work is once again wildly funky, interspersed with 80s-inspired synths. Calfa’s vocals interacting with the vocal sample is creative and catchy.
Baby Kangaroo Baby Cow Part II is a solid EP, full of songs that become earworms after the first listen. Members included throughout the EP range from members of his main band Cousin Earth, as well as long time high school friends of Joey Calfa. The quirky, funky release is out now! You can listen here and find more information about Cousin Earth here.
The East Village of Manhattan has been home to immigrants, the working class, Beatniks, hippies and artists over the last 300 years. Originally home to the Lenape tribe before the arrival of Europeans, the East Village today is comprised of Alphabet City (the setting for the musical RENT), Ukrainian Village and the Bowery (home to CBGB). In the early to mid-20th century, it would be home to Jewish gangsters and Dixieland jazz at the famed Stuyvesant Casino.
The name Stuyvesant has roots in America dating back to the 17th century, with the arrival of the Dutch in New York Harbor in 1624. Peter Stuyvesant would serve as Governor in Chief of Amsterdam in New Netherland, later named New York after surrendering the city to the British in 1664.
While he was effective with trade in New Amsterdam and created a sense of law and order for a diverse colony, Stuyvesant was intolerant of full religious freedom in the colony. In 1657 he refused to allow Lutherans the right to organize a church, and later refused to allow the permanent settlement of Jewish refugees from Dutch Brazil in New Amsterdam, joining Jewish traders already there.
Ultimately, directors of the Dutch West India Company needed to pressure Stuyvesant to allow Jewish immigrants to stay in the colony as long as their community was self-supporting. Still, Stuyvesant and the company would not allow them to build a synagogue, leading them to worship at a private house instead.
The name Stuyvesant would end up having a negative connotation, as he did few favors in his life to gain support of those he was placed in charge of. Upon turning over New Amsterdam to Britain after no one would defend the city, his name was tarnished. He would eventually settle on a farm, a bouwerie, until his death in 1672.
Two and a half centuries later, the name Stuyvesant would be fading as a surname, but was the given name of an East Village casino with a rich 20th century history.
140-142 Second Avenue are indicated by the red arrow, and 138 Second Avenue is indicated by the orange one. Image via VillagePreservation.org
The Bowery attracted Irish and German immigrants starting in the 1850s, Poles and Ukrainians arrived in the 1880s, and by the early 1900s, Italians and Eastern European Jews arrived.
Originally a German YMCA beginning in 1881, the building was a pair of late federal-style houses, dating back to around 1830 when the area was known as “Little Germany.” The building stayed intact and in its original form, with sloped peaked roofs and dormers at the top, meaning the YMCA had not changed much of the exterior, and perhaps the interior as well.
Around the late 1800s, this area of Manhattan’s Lower East Side became the center of Jewish life in America. Crowded and culturally vibrant, a rise in crime would lead to gangs forming by the end of the century. Second Avenue was a main road, bustling with theaters, cafes, nickelodeons, bars, and vaudeville houses, making the region a draw beyond its residents.
Stuyvesant Casino
In 1910, Stuyvesant Casino opened at 140-142 2nd Avenue, owned and operated by Gerson Schmidt, an Eastern Europe immigrant from Galicia (now located in Ukraine). This stretch of 2nd Avenue encompassed part of Stuyvesant’s farm, and thus the name was given to the business.
The Stuyvesant Casino offered sumptous food, dazzling decor, and a first-class house band. High rollers and hitmen were among the clientele, particularly Big Jack Zelig, head of the Eastman Gang after the death of “Kid Twist” Max Zwerbach, in 1908.
Big Jack Zelig
During a party on December 2, 1911, Zelig lured a drunk “Julie” Morrello, an Italian gangster called “one of the most notorious gun and knife fighters on the east side, to Stuyvesant Casino. Around 1am, the lights went out and four shots rang out. As the lights flickered on moments later, Morrello was lying prone on the dance floor, filled with bullets.
In post-World War I New York City, Stuyvesant Casino would be a notorious hangout for Jewish gangsters, but by World War II, the venue became known for music producing the hits.
In the 1940s and into the 1950s, Stuyvesant Casino became a popular destination thanks to the arrival of New Orleans and Dixieland jazz artists. Big names such as Sidney Bechet, Wild Bill Davison, Rex Stewart, James P. Johnson, Georgie Lewis, Joe Sullivan, the great Bunk Johnson, and the Conrad Janis Tailgate Jazz Band could be heard for the low cost of $1.25.
Owner Gerson Schmidt was at one point encouraged by the Stuyvesant’s head waiter to allow a band consisting of his three sons to perform at the Casino. The three Perelmuth Brothers – Pinchas (violin/vocals), Michoyl (piano) and Sender (bass) – were a hit, leading to partygoer and movie theater impresario Samuel Lionel “Roxie” Rothafel, to discover Pinchas’ voice and recognize his potential. When Roxie asked why he was only singing in a “mere catering hall,” Perelmuth responded, “I would love to be an opera singer, but don’t have the money for a vocal coach.”
Opera legend Jan Peerce got his start at Stuyvesant Casino as a child
Roxie would take Pinchas under his wing and helped him get his break, helping him study voice and making his name among the opera elite of New York City. Perelmuth would make his debut at the Metropolitan Opera in 1933, under a new name, Jan Peerce. He would make his Broadway debut in 1971 in Fiddler on the Roof, a far distance for the son of Russian immigrants to travel from the Lower East Side.
As noted in the book The Jews of Capitol Hill, Gerson had a son, Mordechai, who married Myra Bank, the daughter of Galician immigrants. The two would have a son, Lawrence Jack Smith, a Democrat from Florida who served five terms in the House of Representatives from 1983-1993. Smith, whose parents ran catering establishments in the New York kosher catering scene, would work for their business and at Stuyvesant Casino from an early age.
When the Dixieland jazz made its way north, Gerson’s Stuyvesant Casino was the natural stop for an eclectic melting pot of music. Saxophone great Steve Lacy hung around the Casino as a teenager was exposed to early Dixieland Jazz greats, some of whom he would join there on a regular basis, including Henry Red Allen, Pee Wee Russell, Buck Clayton, and his teacher, Cecil Scott.
New Orleans bandleader Bunk Johnson would frequently perform at Stuyvesant Casino, occasionally joined by Louisiana-born bluesman Huddie “Leadbelly” Ledbetter, who lived on nearby East 10th Street. Trumpeter Hot Lips Page recorded a version of the 1924 classic “When My Sugar Walks Down the Street” at the Casino, and would later open rival venue Birdland with Charlie Parker, who lived nearby on Avenue B, in 1949.
Portrait of Bunk Johnson, Leadbelly, George Lewis, and Alcide Pavageau, Stuyvesant Casino, New York, N.Y., ca. June 1946
Robert Thompson, a Dixieland drummer known for his group The Red Onion Jazz Band, recalled Bob Maltz as an organizer of jam sessions at Stuyvesant Casino that attracted well paid world class musicians. The Red Onion Jazz Band served as legendary Dixieland revivalists, borrowing the name from Clarence Williams’ traditional New Orleans supergroup Red Onion Jazz Babies, which included Sidney Bechet and Louis Armstrong playing together for the first time in studio.
via Jazz Lives
The Red Onion Jazz Band would perform into the 1960s, just as folk music made its way through Greenwich Village. In the Traditionwould bring together folk musicians by way of Dave Van Ronk and his Prestige label, along with jazz musicians for a unique album. Vocalist Natalie Lamb would perform with The Red Onion Jazz Band and in 1972, married Thompson. A few years later, the group’s long-time trombonist, Dick Dreiwitz and his wife Barbara – a Hunter College alumnus who switched from French horn to tuba so she could play Dixieland jazz – would welcome a son, Dave. Now the bassist for Ween and Joe Russo’s Almost Dead, Dave Dreiwitz continues a tradition forged in the East Village confines of Stuyvesant Casino. The Red Onion Jazz Band would continue to perform until Thompson’s death in 2010.
From: A Pictural History of Jazz by Keepnews and Brauer. L to R, Buster Bailey, Vic Dickenson,Wilbur deParis, Omer Simeon, Hot Lips Page, Rex Stewart.
A first hand account of Stuyvesant Casino from Mr. Madison Arnold, as shared with Jazz Lives:
I was one of the steady jazz loving week-end customers at the Central Plaza and Stuyvesant Casino from around 1950 to 1952 and got these post cards weekly. This is the only one I kept. I started when I was still in Erasmus Hall H.S. (they didn’t card in those days). My favorites were Bechet & Wild Bill but I loved them all. Among my memories: I helped Pops Foster put his bass in a cab one night and we went to the Riviera on Sheridan Sq., Red Allen pulled me up on stage once and we sang “The Saints Go Marching In” together. I became friendly with Baby Dodds and invited him over for dinner one evening to our apartment in Brooklyn. I also visited his place in Harlem. I have a Xmas card he sent me, written, I think, by his lady friend as I don’t think he could write. My personal Louis Armstrong stories are even better! (at least to me). He was a wonderful guy.
Mr. Madison Arnold
An autographed show promo from Stuyvesant Casino
By the mid-1950s, due in part to restrictive immigration laws and a rise in crime and building abandonment, Stuyvesant Casino would close its doors. A home for Eastern European refugees since the late 1800s, new immigrants from Poland and Ukraine headed to the East Village for an escape from communism in the mid-20th century, in addition to Puerto Ricans who had U.S. citizenship.
Stuyvesant Casino also contained the Ukrainian National Home, a community center that opened in 1958, an effect of the change in neighborhood demographics. Offering cultural and social services to the East Village’s Ukrainian population, an area now known as Ukrainian Village, the “Ukie Nat” hosted a diverse array of artists in the 1980s including Elvis Costello, New Order, and the Misfits, as well as balalaika music filling the Ukrainian Home Restaurant.
New Order would perform their first American show at Ukrainian National Home, testing out new material that built off Joy Division’s sound. During the 80s post-punk era, synth-based freestyle and electro could be heard at downtown clubs – a melding of white, Latino and Black artists who were mixing in the same area where punk rock inspired New Order’s early sounds.
Looking back on Stuyvesant Casino’s heyday, jazz music from beyond New York would find a home in this region of the city that so many others had sought refuge in for centuries prior. Home to Germans, Jews, African-Americans, Ukrainians and many more, the area at 140-142 Second Avenue has been a bustling center of cultural diffusion and artistic growth for nearly two centuries, and continues to be so today. The original Stuyvesant Casino building burned down in 1985.
In January 2023, Ev Grieve shared news that during renovations at 132 Second Ave, a flyer for Stuyvesant Casino was found on a pole, decaying but clearly showing an event on a Saturday night.
photo by Kevin Goodman
As we close out this look at Stuyvesant Casino, listen to a WMGM broadcast from Friday, March 14, 1952, via Jazz Lives, featuring Master of Ceremonies Aime Gauvin, joined by Jimmy McPartland (cornet), Ziggy Elmer (trombone), Bud Freeman (tenor saxophone), Bob Wilber (clarinet), Kenny Kersey (piano) and Don Lamond/George Wettling (drums). They perform a medley including “Saints, “Lady Be Good,” “Coquette,” and “The World is Waiting for the Sunrise.”
While it may be Memorial Day Weekend, it’s also the ten-year anniversary of the one and only Phish run at the Bethel Woods Center for the Arts. In 2011, the band was still very much trying to gather its collective footing after reuniting only two years earlier. For some, these shows represent the first true “return to glory” moments for the band and fans alike. It’s only fitting that it took place on the hallowed grounds of Bethel, NY, the same ones that served as host for one the most influential music events of all time, Woodstock. Even though it was only Phish performing in Bethel this weekend, there were still plenty of magical moments to be had.
An argument can be made that some of the most passionate and inspired music of the entire weekend never even made its way to the public. On the night before the run was set to begin, Phish blessed their sound check with what many consider to be one of the best “Waves” of all time. It’s a version that stretches out to nearly a half hour, diving way beneath the surface without coming back up for air.
Night One – May 27, 2011
The first night of this memorable run also served as the 2011 summer tour opener. The only other show Phish had played this year to date was their 1/1/11 gig at Madison Square Garden to cap off the New Year’s run. Some rain leading up to this evening wreaked havoc on the fertile and lush grounds of Bethel Woods. But that certainly wasn’t going to deter anyone.
The rain had left some parts of the lower lawn in a treacherous state, to say the least. So boots, tarps and blankets were en vogue. But rather than play it safe and ease into the show, Phish instead opened night one of Bethel Woods with a raging “Tweezer” that caught everyone off guard, in a good way. Summer tour and the band’s third year since returning from a self-imposed breakup were now officially underway.
Considered tame by today’s standards, the show opening “Tweezer” doesn’t stray too far and elicits a mild jam. But the joy of it opening the show, and the tour, was never in doubt. Instead of stretching it out, they immediately transition into “My Friend, My Friend” and night one is off and running.
The rest of the first set is comprised of multiple covers that paint a clear picture of what influences Phish musically. First is their take on Ween’s “Roses Are Free,” a song forever immortalized in Todd Phillips’ Bittersweet Motel documentary. Next, keyboardist Page McConnell shines on his solo on Son Seals’ “Funky Bitch.” The first set also features a take on James Gang’s “Walk Away” that’s properly fueled by Trey Anastasio on guitar and it finishes with a splendid cover of Jimi Hendrix’s “Bold As Love.”
Aside from an earlier “Wolfman’s Brother,” some of the more exploratory work from the band in the first set came during “Stash.” A jam that starts from near ambience quickly picks up speed while never quite shaking the framework of the song. It provided a nostalgic glimpse of a song that used to be a first set powerhouse for a band still very much rounding into form.
With one set under their belt, Phish opens up the second with another rager, “Carini.” Those who called that and “Tweezer” both as set openers should be commended. Again, compared to modern day versions, this “Carini” doesn’t veer too far off the path, but rather sets the table nicely for the crescendo-building “Get Back On The Train” that succeeds it.
The second set also contains a “Waves” that has its moments but doesn’t come close to the majesty and weirdness offered up in the one from yesterday’s soundcheck. And, of course, more choice cover selections. This included the always popular “Boogie On Reggae Woman” (Stevie Wonder), with Mike Gordon and his signature bass line/effect leading the way. The set picks up in a major way, and possibly peaks, with a deep dive of the Talking Heads’ “Crosseyed and Painless.”
Once drummer Jon Fishman finishes leading the group through a funkified version of this cover, the rest of the set plays out in somewhat traditional fashion. “The Squirming Coil,” replete with an enchanting, set-ending piano solo from McConnell closes out the set before “Julius” and its infectious “don’t take another step” mantra closes the book on the first night of Bethel.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/27/11
Set 1: Tweezer > My Friend, My Friend, Poor Heart, Roses Are Free > Funky Bitch, Wolfman’s Brother -> Walk Away, Stash, Bouncing Around The Room, Kill Devil Falls, Bold As Love
Set 2: Carini >Back On The Train > Boogie On Reggae Woman > Waves > Prince Caspian > Crosseyed and Painless > Wading In The Velvet Sea > Possum, The Squirming Coil
Encore: Julius
Wolfman’s contained a Streets of Cairo tease from Trey. Before Stash, Trey teased The Fish (Schindleria Praematurus) by Yes.
Listen to the complete show on YouTube, or track-by-track at PhishTracks.
The second night of the Bethel Woods run began as so many Phish shows do, with people scurrying everywhere to secure their spots as notes from the opening song rain down. In this instance, the selection is “Theme From The Bottom” while plenty of viable spots on the lawn are still being secured.
Traditional first set stalwart “NICU” then follows, with McConnell wasting no time getting down to business on the Hammond organ. A super funked out take of another Talking Heads cover, “Cities,” then gives those on the lawn and everywhere else more than enough reason to get down and dance. The “outro” jam lasts well longer than it should and serves as a legitimate highlight of the weekend.
The rest of the night two’s first set is best encapsulated by a couple of song pairings. “Halley’s Comet” picks up on the experimental vibe and takes it the distance, fomenting a certifiable Type II jam momentarily. But before it can explore any further, the opening chords of “Runaway Jim” enter the fray, serving as the back end of a powerful two-song sequence whose jam gets the full on ‘Plinko’ treatment. The first set then later wraps up with another Phish staple, “Bathtub Gin” that gets a taste of “Manteca” and a distinct “Golden Age”-type jam midway through before rounding back into form.
Like most Phish shows, much of the heavy lifting takes place in the second set tonight. An explosive “Down With Disease” starts things off nicely, with Jon Fishman providing one intricate drum fill after another in a jam that comes to an early vigorous peak. Instead of returning to finish “Disease,” the jam meanders for a while until Anastasio signals for a wonderfully patient “Free” to begin.
As the second set progresses, Phish continues to show their mastery of juxtaposition. A zany “Makisupa Policeman” immediately goes off the rails, with mentions of spliff smoking and imaginary trips to Mike and Page’s respective “houses” that eventually sends the Bethel Woods crowd into an uproar, along with a healthy clav-driven, mini-funk jam. But instead of going to Fish’s “house” and carrying on with the silliness, the band turns on a dime and crafts an emotional “Harry Hood.”
The set later concludes with another Phish classic, “David Bowie.” And another longtime cover favorite, The Beatles’ “A Day In The Life” puts the finishing touches on night two in Bethel. With two nights now in the books, only the Sunday show remained. And, as the saying goes, those are not to be missed.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/28/11
Set 1: Theme From The Bottom, NICU, Cities, Halley’s Comet > Runaway Jim, Gumbo > Quinn The Eskimo > Limb by Limb, Horn, Bathtub Gin -> Manteca > Bathtub Gin
Set 2: Down With Disease > Free > Backwards Down The Number Line > Makisupa Policeman > Harry Hood > Cavern > David Bowie
Encore: A Day In The Life
Gin included a mash-up jam of Golden Age and Manteca and later closed with a Manteca quote from Trey. Disease was unfinished. BDTNL featured a DEG tease from Mike. Makisupa included lyrics referencing several band members’ houses (and Trey’s favorite show, House).
As to be expected, Phish closes out the Memorial Day Weekend in fine fashion. The “AC/DC Bag” opener “gets the show on the road” in a major way and Phish coasts from there. “Ocelot,” still a fairly new tune at the time, gets a surprisingly monstrous jam attached to it. The “Ya Mar” and “Timber” that follow serve as a nostalgic throwback of sorts, giving the set a temporary old school vibe.
“Suzy Greenberg” makes a first set appearance and then instantly morphs into a rowdy “46 Days.” And the quality cover selections continue as well, with Lynyrd Skynyrd’s “Ballad of Curtis Loew” getting the call tonight. Just like old times (again) the opening set then concludes with a “Run Like An Antelope” that does just that.
For their last Bethel set, Phish decides to maintain the traditional feel and opens it with a vintage “Mike’s Song” > “Simple” -> “Weekapaug Groove” trifecta. “Simple” yields an especially spacey, ambient-type jam before the rhythmic law firm of Fishman & Gordon kickstart the “Groove.” Afterwards, the band takes some time to reintroduce a certain dance some may have forgotten.
The second set later comes to a close with another powerhouse trio. “Also Sprach Zarathustra,” aka “2001,” offers one last definitive dose of funk for the weekend before giving way to the newly established jam vehicle that is “Light.” And “Slave to the Traffic Light,” with its customary soaring jam that evolves from near silence is the final emotional stamp.
By the end of the weekend, so much great music had transpired that it was hard to take inventory of everything. That’s why it came as a shock to many when, after “Loving Cup,” the distinct riff of “Tweezer Reprise” rang out, bringing the entire weekend full circle. It’s more than an ideal choice to close out the final chapter of music for the weekend, with the hopes that it won’t be the last one Phish writes here.
Phish – Bethel Woods Center For The Arts – Bethel, NY 5/29/11
Set 1: AC/DC Bag > Sample In A Jar, Rift, Ocelot, Ya Mar, Timber (Jerry) > The Oh Kee Pa Ceremony > Suzy Greenberg > 46 Days > Twenty Years Later, The Ballad of Curtis Loew, Run Like An Antelope
Set 2: Mike’s Song > Simple ->Weekapaug Groove, Meatstick > Fluffhead > Joy, Also Sprach Zarathustra > Light > Slave to the Traffic Light
Encore: Loving Cup > Tweezer Reprise
Ya Mar included Express Yourself (Charles Wright & the Watts 103rd Street Rhythm Band) teases from Mike. Antelope contained a Curtis Loew tease from Trey and Manteca teases from Trey and Page. Page teased Magilla in Simple.
Boston Calling Festival has announced their return to the Harvard Athletic Complex on May 27-29, 2022, with headliners Foo Fighters and Rage Against the Machine.
Foo Fighters and Rage Against the Machine were both set to headline Boston Calling in 2020 with the Red Hot Chili Peppers before the festival was cancelled due to the pandemic. These two iconic rockers will top the bill of a lineup with over 60 performers next year, including an additional headliner, that have yet to be announced.
RATM’s performance will be the band’s only New England show on their 2022 North American tour, where the band will be reuniting for the first time after a decade. Foo Fighters, who are celebrating their 25th anniversary and their induction into the Rock and Roll Hall of Fame, will be performing at Boston Calling as the fourth stop on their 2021-2022 tour.
A limited number of early bird 3-Day General Admission, VIP, and Platinum tickets are on sale now on the Boston Calling website. According to festival coordinators, the early bird period features all three ticket tiers at its lowest pricing for Boston Calling 2022.
Anderson .Paak’s performance at Boston Calling 2019
Aside from musical performances, Boston Calling plans to showcase new forms of entertainment from DJ sets to comedy shows, alongside extensive food and drink offerings from over 35 vendors.
A shot from Boston Calling at City Hall Plaza in 2016
Expanded offerings in the VIP and Platinum tiers in 2022 have also been announced. Fans can expect new viewing areas within the sections, including views of both the Red and Green Stages, and an expanded viewing deck within the Platinum section.
More information will be shared as it is announced. Check out the Boston Calling website for more in-depth details on the festival’s offerings.
https://www.youtube.com/watch?v=dHX72IH79a8
Boston Calling 2022 Teaser Video
Update on 7/14/21: Run the Jewels and Black Pumas join the lineup. This will be Run the Jewels’ third time performing at the festival. Black Pumas are making their Boston Calling debut. A limited number of early bird 3-day tickets are on sale now at www.bostoncalling.com. The early bird 3-Day General Admission tickets ($299.99), 3-Day VIP tickets ($799.99), and 3-Day Platinum tickets ($1,599.99) are on sale now. A special limited 2-pack of early bird 3-Day GA tickets ($549.99) is also available. This early bird period will offer the lowest pricing for 3-Day tickets for Boston Calling 2022.
Pencildive, an indie rock band that has been aptly described by fans as “a post-punk visual nightmare” is gearing up to release their debut full-length record, Grown-Ups, out May 28th via Albany startup, Paintbox Records.
Pencildive is a name that may ring familiar to Capital Region music fans. The band has been active since 2018, releasing their debut EP When I Go Outside, in 2019, which was recently reissued by Paintbox Records this past April. Pencildive released a short video to accompany the release of their song “Cricket Man,” which was awarded an Eddies nomination for the best music video category in 2019.
Gina De Nardo, the songwriter of the group, graces the mic with her haunting vocals and a lyrical focus centered around losing love, sleepless nights, and the overall human condition, all composed into the group’s wild, electric arrangements in an eclectic frenzy of gloomy post-punk.
Since the first EP we’ve all become more comfortable with the recording and production process which I think shows in Grown-Ups. Creating a full-length also gave more of an opportunity to tell a story through the songs and explore sounds more conceptually.
Gina De Nardo on the Grown-Ups recording process
Grown-Ups was written by De Nardo over the course of a decade, the first full-length album the Upstate rocker has written on her own and that sense of growth is felt throughout the entirety of the project. Grown-Ups was safely recorded in October 2020 in a cabin in the Adirondacks. The ten-track album features strings, noise improvisations, and haunting cries from the insides of a vintage Leslie speaker.
