On March 26th, Long Island funk trio Baked Shrimp released their second studio album, Conscious. Known to many as Long Island’s best kept secret, Baked Shrimp has been expanding their audience and have had sit-ins from Brandon “Taz” Niederauer and Ryan Dempsey of Twiddle.
Cover art by Scott Reill
The band, who were among the finalists on NYS Music’s March Madness bracket, intended to release Conscious in time for their 2020 summer tour, but had to be postponed due to the COVID-19 pandemic.
Within this time gap, Lon “Conscious” Gellman—a close friend and loyal fan of Baked Shrimp—passed away. To honor Lon’s memory, the band named their album after his nickname.
Conscious has been in production since February of 2020, and was recorded in Patchogue, NY with help from Nick and Mike Rufolo of The Brothers Nylon who assisted in recording, mixing, and performing on all 10 tracks. The album’s final mix was done by Anthony Cimino at Mojo Music Studio in Franconia, New Hampshire.
Throughout Conscious, layers of horns, strings, keyboards, and synthesizers create musical textures that come together to create the defining ‘Baked Shrimp sound.’
The first track of the album, “NO2-4U,” is a fitting start, beginning with a classical acoustic guitar introduction that captures the listener and builds into a lively jam full of funky horn lines that drive the energy of the song.
Across the album, one thing you will always notice is the proficiency of each musician. The rhythm is always locked, the bass is grooving and locked in with the drums kick.
Each of the many instrumental, jam sections found in songs throughout the album fit the moment well and create bridges that effectively link to later sections. These moments help keep the energy of the track, but also allows the band to breath a little bit and show their chops.
Baked Shrimp performing in April 2021
“Rosa” is a good example of the dynamic instrumentals mentioned in the last paragraph. The track begins with a mellow but upbeat instrumental section that is carried by the spacey sound of the guitar and keyboard.
This instrumental section returns later in the track, except this time with more layers of keyboard and synthesizer parts that lift the energy, which is carried through the rest of the song until its end.
“Down the Drain” is riff heavy and has a very progressive-rock influenced sound. It definitely has a harder sound than most of the tracks on the album, but it shows the versatility of Baked Shrimp’s sound.
Now we can only look forwards to the days when more venues reopen and tours start rolling again, so Baked Shrimp can showcase the work they put into Conscious to a larger audience.
While opportunities for gigs are sparse now, Baked Shrimp was lucky enough to play at Lambrou’s Hall in Island Park, NY on April 3rd. In this show, the band was able to play through all of Conscious, as well as debut three other original songs. Baked Shrimp will soon be releasing full video and audio of the event.
There are big things in store for fans of Baked Shrimp. The band is eager to show their hard work to audiences around New York state and the country.
Chances are high that you haven’t had your usual dose of funk over the last year. The global pandemic has slowed the release schedule of many bands and while we have gotten some great releases over the last few months, it’s nothing compared to past years. That all changes today with Garage A Trois’ newest offering, Calm Down Cologne.
This sensational release from the band’s original lineup of prolific drummer Stanton Moore, master guitarist Charlie Hunter and multi-instrumentalist Skerik marks 22 years since their debut album, MysteryFunk. The band still delivers the same energy and excitement that they first showed over two decades ago.
The new album was recorded in 2019, across the street from Nectar’s Lounge in Seattle where the band was playing a 3-night, sold out run in Skerik’s hometown. Most of this offering is an improvisational documentation of what the trio was able to elicit together in that studio session, save for one pre-composed track. The resulting five songs are a testament to the prowess and musical moxie that each member possesses and is able to showcase as a group.
“No Zone” is the perfect choice to start the album and illustrates how sync’d up the members of GAT are. Guitar and Organ blend seamlessly as Moore’s drumming drives the trio through nine minutes of head-bobbing, in-your-face funk. The aptly named “The Epic” is a spooky and funky carnival ride, as if a funhouse had its own effects-pedal laden jam session with it’s driving funk and electro-cacophony.
The title track is the only non-improvised song on the album, but it’s one that you’ll find yourself listening to on repeat. Skerik’s ability to play horns and organ blend magically with Hunter’s bass as Moore provides hints of New Orleans throughout the short, but sweet ditty.
“In-A-Pro-Pro” is the longest track on the album and is a jam that’ll get you to stand up and dance. This song is nothing short of incredible as each instrument bubbles to the surface to play their perfect part. “In-A-Pro-Pro” is like a good seltzer… effervescent with the perfect amount of flavor. Hunter has the chops and energy of at least two guitar masters as he lays out a flurry of sounds from the guitar and bass that comprise his Hybrid Big6. The album closes with the laid-back fuzzy funk of “Numinous,” a track that is reminiscent of walking off into the sunset. The drums, bass and keys paint a canvas that allows the horns and guitar to really pop in and shine.
It might only be April, but this release will certainly be in the running for Best Album of 2021. Stream on various platforms here, and purchase the LP from Royal Potato Family or on GAT’s Bandcamp, where you can also purchase the digital album as well.
Key Tracks: Calm Down Cologne, The Epic, In-A-Pro-Pro
New York City synthpop trio January Jane excitedly stake their musical claims with their with their debut EP Your Drug. The band consists of lead vocalist Pat Via, guitarist Mitch C. Mitchell, and keyboard player Peter Scialla. The EP is planned to be released on June 18 via Whiskey Vinyl/BGM.
Your Drug borrows from a diverse array of influences ranging from modern day pop to 80’s pop rock in the style of songs like “Your Love” by The Outfield. The EP can be broadly categorized as pop but the band takes inspiration from several different decades and styles of pop. The soaring upbeat choruses that many of the songs offer can be directly tied to the styles of millennial pop of acts like Walk The Moon and Imagine Dragons. The band differs from many of its contemporaries by adding a 80’s rock edge to its songs. Via’s voice has a much more distinct gruffness to it which pairs nicely with the moody synth and guitar tones of the verses.
Songs like “Addicted to The Night” offers a deceptively simple but extremely sticky hooks that that refuses to leave your head hours after you’ve listened to it. Paired with a verses that build the tension of the song with its dueling electric guitar creating a song that would go off well at any party. The edge added by Via’s voice sets many of the songs of the songs off from their contemporaries. The versatility in Via’s vocal inflections allows him to pull of the clear shimmery pop hooks as well as the more 80’s-eque moody verses.
The infectious grooves on these tracks display their influences and love for ’80s rock and pop while sounding undeniably modern and perfect for the ’20s.
Matt Pinfield, DJ
The consistent infectious energy is certainly the strong suit of Your Drug. The band doesn’t miss a beat with any song, offering an EP that has a signature sound throughout but still switch up the style between each track. The 80’s throwback sound dose not come off as a gimmick, rather a new completely new direction for modern electro pop.
The EP is also an extremely easy listen, toping out at just under 17 minutes. The exciting mixture of sounds act as perfect soundtrack for the dancefloor and exciting midnight drive. Overall, Your Drug is extremely likeable and is suitable for just about any kind of pop fan – no matter the age.
Key Tracks: Addicted to The Night, Versions of You, NYC
Hometown horn funk favorite, Victory Soul Orchestra, features the dirty sounds of New Orleans’ driving brass, with influences including Galactic and The Dap Kings. You can find them fronted by Albany’s own JB aka Dirty Moses and singer Dali Soto. Their efforts combined help create a funk/rap show that brings the house down. In January 2019, they released their first album, Astrobeat, which is available on vinyl and all streaming platforms.
C.K. and the Rising Tide’s brand of music features poetic, nostalgic lyrics supported by music that is rockin’ and emotionally evocative. Curtis K. Flach (“C.K.”) appreciates how a film’s soundtrack enhances and cements the emotions portrayed on-screen. C.K. has a similar agenda for his tunes: “I write music as a soundtrack to daily life – a way to express things you might not be able to say otherwise…or may not want to say.”
Tickets are available via Eventbrite for Victory Soul Orchestra on April 17 and C.K. and the Rising Tide, with special guest Julia Alsarraf on April 24. Expect more live music announcements from Lark Hall in the coming weeks.
On Saturday, April 10, Lark Hall welcomed The Wheel and a crowd of 70 or so Deadheads who barely found time to take a break from dancing. It seemed like everyone was letting loose the pent up dance moves honed over the past year. With two sets packed with Grateful Dead classics, including a fiery “Help on the Way” > “Slipknot” > “Franklin’s Tower,” the crowd was elated and showed the band their love all throughout.
Spring of 2021 marks a first time release from the unexpected duo of Mick Jagger and Dave Grohl. Like anyone waiting around at home for the world’s next move, Mick Jagger had the idea for a new song while sitting in limbo. The single “Easy Sleazy” was sent to Dave Grohl who says “It’s beyond a dream come true. Its the song of the Summer, with out a doubt”
The duo sent parts to each other back and forth over the past month, with Mick Jagger on vocals and guitar and Dave Grohl handling guitar, drums, and bass. Mick says of the duo “Dave likes it ’cause it rocks hard. I like to rock hard, too, so it feels good in that way.” The song covers almost all of the world’s hot topics from the view of someone who might still have Sympathy for the Devil.
“Shooting the vaccine, Bill Gates is in my bloodstream, It’s mind control… there’s Aliens in the deep State.” Jagger’s lyrics immediately suggest not wanting to fall in line with the masses right now. “I haven’t written loads of songs about it. ‘Eazy Sleazy’ is the only song I’ve written on this subject. I wrote it quickly a few weeks ago”
Jagger’s point of view on the experiences of the kind of general long lock down is relatable. “You see a pretty girl, but you can’t take any chances before the vaccine. And then all the silly things that you could try and do to pass the time because you feel you got to “better yourself.” Everyone tried to do something, didn’t they? Cooking and dancing and learning another language badly.” Jagger expresses this during the tune while singing, “I think I’ve put on weight, I’ll have another drink and clean the kitchen sink”
He addresses his own angle during this time on whether or not he actually tried to better himself. Mick Jagger is as open as we all should be to one another when loved ones are checking in “Not really, to be honest. No. It’d be so stupid if I said, [puts on sarcastic voice] “Oh yes. I did say that I bettered myself. It was an introspective time for me.” It’s a piss-take out of all these things; I mean, you try and learn another language and all this.”
Remembering when Mick first went solo outside of the Memory Motel of The Rolling Stones in 1970, he released “Memo From Turner” with lyrics all ready reflecting on previous times experience. 51 years later, Mick is still relevant to the times and the world around him. This single is his newest memo to all: “Please Me, It’ll be a Memory You’re Trying to Remember to Forget.”
Brooklyn Lo-fi indie R&B duo Fake Dad strike back with their silky smooth new EP Old Baby. The duo consist of Andrea de Varona as the lead vocalist and Josh Ford doing most of the albums production. The EP releases today on all streaming services.
Old Baby is a masterclass example of creating a vibe. Personality oozes out of every corner of this EP and that is largely thank to the project’s supreme production along with de Varona’s incredibly serene vocals. Verona’s voice glides effortlessly over the production on nearly every song on this EP. Several songs such as “Listen” see Verona’s vocals distorted and mixed in some incredibly inventive ways. The signature nasally deliver of Verona makes every song incredibly comforting and welcoming. Ford comes through on the song “Breakfast In New York” adding a refreshing bass filed contrast to Verona’s high pitched R&B inflection.
Verona’s vocals is only one half of the equation as the production is a feat of its own. The glossy production is reminiscent of contemporary indie band with a classic R&B flare added by de Varona’s vocals. The groovy bass leads and chilled out synth keyboards are a highlight in songs like “Breakfast in New York”.
A unique assortment of instruments are present on the EP, with every song having its own uniquely identifiable musical motif. Motifs such as the trumpet present on the song “Knit Sweater” acts as a lowkey corner stone to the songs peaceful energy.
Fake Dad take listeners on a trip down memory lane — but it feels closer to a cautionary tale than a fond retelling.
The Wild Honey Pie
Old Baby offers the perfect soundtrack to any relaxing experience, weather that be studying or chilling at the beach. The universality embodied by this album makes it recommendable to nearly everyone. The smooth vocal will satisfy any R&B fan and the mix between hip hop and indie pop will be loved by any fans of each respective genre. The EP is available for purchase here.
Key Tracks: Pretty/Ugly, Breakfast in New York, Knit Sweater
Capital Repertory Theatre has completed renovations after a recent move to Albany. Founded in 1981 and first operating at 111 N. Pearl St., a former Grand Cash Market, theRep’s prior location housed performances for 39 years, ending the era on March 13, 2020 with a performance of “The Irish and How They Got That Way.”
With Maggie Mancinelli-Cahill as Producing Artistic Director since 1995, the theatre became fully affiliated with Proctors in 2013. theRep was a member of the League of Resident Theatres, under its contracts and regulations.
The new and renovated relocation now sits in the traditional lands of the Mohawk and Mohican people, taking over what formally was a St. Joseph’s Church. The new location has a capacity of 302 occupants, rather than a limit of 286 at the former location. Only half a mile from the old venue, the new building serves as a step-up for the theatre, expanding on everything to be desired at the old location.
The $14 million project couldn’t have been done without the donations and support garnered through loving fans of the venue, and with increased seating and other new luxuries, the venue will surely repay the favor.
You can view even more of the Capital Repertory Theatre renovations with a sneak peek and stay updated on upcoming shows at their website. If you’ve ever visited the previous venue or are looking for shows in Albany, we recommend staying in the know by signing up to the Proctors Collaborative newsletter.
On April 1, Rochester native, drummer and producer Dr. Steve Gadd released Steve Gadd Band at Blue Note Tokyo, from a tour of Japan in December 2019. That same year The Steve Gadd Band’s self-titled album won a GRAMMY for Best Contemporary Instrumental Album. The group also played the Rochester International Jazz Festival that summer, leading up to this year end performance in Japan.
The line up features former Beatles collaborator David Spinozza on guitar in lieu of Micheal Landau, Jimmy Johnson on bass, Kevin Hays on keyboards, Walt Fowler on trumpet and Dr. Gadd on drums.
Blue Note Tokyo is a jazz venue in the Aoyama district of Tokyo, Japan that seats about 300 people and makes for an intimate performance. The band played to the disciplined fervor the crowd has for live music. Frank Zappa alumni Walt Fowler helped write the musical intro to the show, an arrangement from the film Cape Fear. The same theme is also found in the new series Ratched, which serves as a prequel to One Flew Over the Cuckoos Nest. The whole band feeds the chilling composition, segueing to an iconic Gadd pocket groove for the tune “Where’s Earth?” World-renowned musicians like this might need some help finding it when their sounds stretch outside of our planet.
Gadd switches to a Latin beat on the drums securing his role as the consummate chameleon man of different musical genres for “Timpanogos.” Fowler and Spinozza then spread out nicely intertwining spicy solos before Hays helps cool things down with his Fender Rhodes. For those looking for a signature Gadd drum solo during the performance, there is only one to remind you why the man behind the kit is headlining the venue. “One Point Five” trails off Jimmy Johnson on bass to a full drum crescendo to end the song.
When asked about the tune “Way Back Home,” and if it has any significance to the comfortable corridor of his Upstate New York roots, Gadd said,
I like the song, I’ve played it with a lot of different bands, I did a live album in Rochester and titled it after that. I like the groove we get on it no matter how we do it, we get a good feel, it grooves, that one for me it keeps building, it gets pretty intense at the end and it takes a while to get there but it feels great the whole way to me, I love that track.
Steve Gadd
Only two tracks have vocals on the ten song performance. During a take on Bob Dylan’s “Watching the River Flow,” Hays channels appropriate lyrics for today: “That this ol’ world, will keep rolling on you know, so I’m gonna sit right on this bank of sand and watch the river flow.”
The bonus track on the Blue Note Tokyo album “Foameopathy” is one of five tracks (including “One Point Five”) played live from the GRAMMY Award winning album that year.
We worked hard mixing it too, my son Giancarlo and I, and then Rich Breen mastered it and sprinkled some magic over the whole thing and I like the way it sounds.
Steve Gadd
Keep an eye out for a full interview with Dr. Steve Gadd about his musical origins in Monroe County to his performances around the world. Download the album here.
Key Tracks: Wheres Earth?, Timpanogos, Way Back Home
Imagine the antics of a punk rock basement show mixed with jangle-pop sensibilities, and you have Burlington, Vermont’s Boys Cruise, a self-proclaimed boy band who are set on raising hell in the music scene. Known for their memorably chaotic stage performances, Boys Cruise is gearing up to deliver their self-titled sophomore LP.
Boys Cruise is a return to the band’s experimental roots; screeching lead guitar lines, soaring singalong harmonies, and gritty guitar textures are some of the aesthetics you can expect while playing through this record.
Boys Cruise is a follow-up to 2018s Girl Cruise EP which set the band up for the potential to fame after touring much of the northeast DIY circuit and leaving behind a path of destruction leading up to their nearly sold-out circus theme show at Higher Ground in Burlington. However, 2021 sees the boy band returning to their punk roots, embracing harsh guitar tones, heavy production, and instantly catchy hooks, reminiscent of early 2000 Garage Punk acts such as the White Stripes. The album was recorded over the span of one week at Burlington’s 37ft Productions with the help of Bloomstien.
As far as the album’s track listing goes, it makes for an enjoyable experience, starting off with the instantly catchy and infectious “ Charolastra” which kicks the album off with a witty sample introducing “the illustrious Boys Cruise.” Track one is a banger, setting the attitude for what’s to follow, a fun punk record you can put on and dance around your room to.
“Flying Colors,” a jangle-pop anthem, you can get a good sense of the group’s party antics from this track, it plays along like the soundtrack to a cold night out bar hopping in Burlington. The song ends with a most worthy, swung, outro sure to get fans excited to hear this jammer live.
Boys Cruise proves that with this release fans have something to get excited about with the anticipated return of live music. Celebrate Boys Cruise and the release of their sophomore album by streaming Boys Cruise on Spotify, keep up with the band by following their Instagram and their Linktree.
Key Tracks: Flying Colors, The Owls, and Eyes Without a Face
Two words succinctly sum up the driving force behind the first ever Phish show at Nassau Coliseum: Island Tour. It’s the impromptu run of shows that are now viewed as essential elements of Phish lore. As the legend goes, the band was preparing to record their new album and wanted to test run some of the new songs. The previous year saw them at the height of their powers to date so a last minute tour announcement was sure to have few issues. And, somehow, Phish had never played Nassau Coliseum before. This all changed with the Island Tour and an opening show that saw new songs debuted and older ones stretched out in the new, infectiously funky sound the band had begun to hone.
There’s no time wasted this evening, as Phish thoroughly rips a “Tube” opener to the delight of the Nassau Coliseum crowd. Page McConnell on keys drives the jam in its early stages with heavy clavichord work. After that, it’s not long before the band is in full funk mode with a digital delay loop in full effect, picking right up where 1997 left off. This “Tube” is a great sign of things to come. The band seems locked in from the get-go as they stretch this one to nearly eight minutes.
After a quick conference, “My Mind’s Got A Mind Of Its Own” is the selection, filling the customary bluegrass spot that was more prevalent at this point in time. Bassist Mike Gordon nails the lyrics before this quick one ends with a flourish on piano from McConnell. “Sloth” emerges next to the delight of the crowd as Phish takes a quick trip to Gamehendge. Despite some lyric fumbling from Trey, they’re able to make it out of this one fairly unscathed. “NICU” follows this which sees drummer Jon Fishman in fine fashion keeping the time on this older Phish tune. Afterwards, Trey makes his now famous comment about the band “being bored at home” and “wanting to do some shows.”
Then, the first song with some real exploration since “Tube” comes next in a complex “Stash”. It features some early dissonant playing from Anastasio on guitar that the band uses as fuel for this particular jam. Before long, Phish has filled Nassau with a dark, foreboding jam that’s accentuated by a menacing light show. The digital delay loop then makes another appearance as the jam then shifts into a near ambient space. It stays in this mode for a while, with the band patiently crafting this one. It’s a truly exploratory section that yields little payout, however. Instead of bringing it back around to the finish, the jam slowly trickles out and the opening chords of “Horn” ring out.
Trey shows a little rust on the guitar solo, but overall it’s a harmless effort that wraps up quickly. “Waste” comes up next, a popular track from Billy Breathes, their most recent studio album. Trey nails his part on this one, as it finishes with an inspirational flourish. Then, as if to make up for the last two “slower” songs, an absolutely incendiary “Chalkdust Torture” wraps up the first set. Immediately, Anastasio is in rapid-fire mode on guitar for this “Torture” which seems like it’s intentionally sped up. The rest of the band is up to the challenge though. Gordon on bass goes tit-for-tat with Trey while Page pounds away on the baby grand on this simply (and literally) electric Phish classic that sends the Nassau crowd into set break.
But you don’t have to take my word for it. Check out the nice fan-shot video footage of the first set below or here.
https://www.youtube.com/watch?v=gehEr7EOLn0
The second set picks right back up with a return trip to Gamehendge courtesy of “Punch You In The Eye.” Once again, Phish exhibits impeccable patience and craftmanship as they deftly stretch out the intro to this one, much to the delight of the Nassau crowd. The rest of the calypso-style rocker is played to perfection, with Gordon shining on bass throughout.
“Simple” fills the two-spot for the second set, and after a standard composed section, eventually yields a spiritual instrumental jam spearheaded by Anastasio. Majestic, soaring guitar lines help create an incredible soundscape on one of the better extended pieces of improvisation this evening. As the jam winds down to a standstill, the choice is then made to drop the debut of a brand new song. The first ever “Birds Of A Feather” then leaves the nest, soon to be featured on the band’s upcoming Story Of The Ghost album they would record the following week. Instantly, everyone can tell this song has a bright future as another digital delay loop and some intense wah-wah from Trey warmly welcome this one to the live Phish catalog.
After some more banter from Trey about the new tune and upcoming album, the familiar opening chords of “Wolfman’s Brother” ring out. Gordon’s bass seems to has a little extra “pop” on this one and helps power yet another funk-fueled excursion. Eventually, McConnell reintroduces some more heavy clav sound and Phish ever so subtly slides right into their cover of Robert Palmer’s “Sneakin’ Sally Through The Alley.”
But there would be no customary vocal jam accompanying this “Sally” – the funk is too deep. Instead, the jazz-shuffle jam that had developed wanders for a bit before taking a turn to the dark side and into the debut of “Frankie Says.” This harrowingly beautiful number, with McConnell on lead vocals here, would also wind up featured on Story Of The Ghost. Although it hasn’t been played live in nearly six years now.
The final major improv of the evening then follows in the form of “Twist.” Once the opening vocals are out of the way, this one takes off with a another frenetic jam with McConnell emitting a myriad of tones and styles on keys with Fishman playing in metronome-like fashion on drums. An inspired Trey on guitar helps give this jam yet another ethereal feel that soon devolves into outright ambience with a drumbeat.
Phish then wraps up the second set of their first ever show at Nassau Coliseum with a couple of crowd favorite sing-a-longs. “Sleeping Monkey” takes it on down to the shore and a blisteringly fast “Rocky Top” puts a cap on a memorable set of music. For an encore, Phish goes dark one last time with “Guyute,” giving the Nassau crowd one last taste of what to expect on the forthcoming album.
Phish Nassau Veterans Memorial Coliseum – Uniondale, NY 4/2/98
Set 1: Tube, My Mind’s Got A Mind Of Its Own, The Sloth, NICU, Stash > Horn > Waste > Chalkdust Torture
Set 2: Punch You In The Eye > Simple > Birds Of A Feather, Wolfman’s Brother->Sneakin’ Sally Through The Alley->Frankie Says->Twist > Sleeping Monkey > Rocky Top
