John Oates, one half of the iconic New York based duo Hall & Oates, has teamed up with viral sax player Saxsquatch to reimagine the chart-topping hit “Maneater” as an electro-jazz fusion.
The song was accompanied by a video released on Monstercat which see’s both artist revisit their hometowns of Nashville, Tennessee and deep with in a rainforest. The video then quickly pivots to an animated psychedelic experience, interlacing live action footage and animation throughout. “Maneater” was released in preparation for Oates Song Fest 7908, a charity livestream benefitting Feeding America hosted by John Oates and Saxsquatch.
I like music that gets people’s big feet tapping along. It’s been a tough year for everyone. We could all use music and stories that help us dance and feel less alone. I know a lot about feeling alone
Saxsquatch, Musican
John Oates is not only just a part of Hall & Oates, but a well accomplished artist on his own. He is a member of the Rock and Roll Hall of Fame, The American Songwriters Hall of Fame, recipient of the prestigious BMI Icon Award as well as numerous American Music, MTV awards, and multiple Grammy nominations. Since forming his legendary pop duo with Daryl Hall in the early 1970s, they have gone on to record 21 albums, which have sold over 80 million units, making them the most successful duo in rock history.
Saxsquatch is one of the biggest live streaming musicians in the US, with 300k weekly views, and Facebook’s #1 recurring music show, ‘Live From the Woods’. His usual blend of saxophone, electronic music, and Bigfoot folklore has catapulted him to viral fame, earning 1.5M followers and recognition from instrumentalists around the world.
Brooklyn based musician, Dräger, released his new single “Light Years” on March 11 and announced his debut album Goths à la Discothèque comes out May 7.
Dräger Credit: Andrew Segreti
Spencer Draeger founded Dräger as the essence of his modern dystopian era. “Light Years” is an upbeat song with a message about choosing the road less traveled and following the unknown. According to Under the Radar this is the perfect example of his “synthedelic pop” sound. Synthedelic pop is a mixture of modern pop, ‘80s new wave and the underground dance scene. The single explores the excitement of chasing thrills on the journey to the future.
Goths à la Discothèque delves into the many universal themes of modern times including technology, love and society, and makes it his own. His album was inspired by 2020 and the effect it had on the world as it switched to a digital reality and caused people to forge new ideas. He portrays the present-day issues and fuses it with a party sound.
The album consists of 11 songs which were all produced, written, recorded and mixed by Dräger in his home studio. “Light Years” is now available for streaming and the lyric video is on Youtube. The album Goths à la Discothèque drops in May under Trash Casual.
48 years ago today, The Grateful Dead wrapped up their first ever run at Nassau Coliseum. The venerable Long Island venue was almost completely new at the time, having only opened in February of 1972. In fact, the Dead were only the second band to ever play a concert in the building, surpassed only by their brethren in Chicago the year before. Today would wrap up the final show of their first three-day run here, planting the seeds for another 39 Grateful Dead shows at Nassau for years to come. This introduction ends in remarkable fashion with a show that’s got a little bit of everything: a first set that simply overpowers the second, unique costume wear from the band, and a powerful goodbye to a dear friend.
This show was a double bill of sorts with the Dead’s old friends New Riders of the Purple Sage performing an opening set to get thing started. So the Long Island crowd had already been given a taste of some West Coast psychedelic country and rock styling. Now it was the Dead’s turn. After a quick intro from promoter extraordinaire Bill Graham, they’re off and running with a feverish cover of Chuck Berry’s “Promised Land.”
Things then slow down and take an immediate emotional left turn courtesy of the “He’s Gone” that follows. This would be the song’s first live performance since the passing of the legendary Pigpen, a founding member of the Grateful Dead, just eleven days earlier. Jerry Garcia’s usually delicate vocals here are surpassed only by a supremely poignant guitar solo that simply oozes emotion. The declaration of “nothing left to do but smile, smile, smile” seems to hit a little harder on this one. And Donna Jean and the crowd both lend some audible support as well in a stirring version that’s more than a fitting tribute to the late Pigpen.
Ron “Pigpen” McKernan Sept 8, 1945 – March 8 , 1973
With the musical eulogy out of the way, the rest of the first set proceeds in a more familiar fashion. Bob Weir leads a quick jaunt through “Mexicali Blues.” And Garcia follows in fine fashion in a flawless, uptempo “They Love Each Other.” But the band doesn’t seem ready to say goodbye quite yet. This time Weir takes the helm on vocals and delivers a beautiful and inspired “Looks Like Rain” that’s comes off as one more nod to the somber circumstances of a friend’s recent death.
Deadheads will get a kick out of the first set’s “Wave That Flag,” a precursor to “U.S. Blues” that was played only 14 times and features vastly different lyrics. There’s also a decent bust-out as well. For the first time in almost three years and more than 270 show, “The Race Is On” is dusted off by the Grateful Dead and presented to the Nassau crowd.
No one would complain if tonight’s opening stanza ended with the flawless “China Cat Sunflower” > “I Know You Rider” that later followed. But, no, this set goes to “11.” Perhaps fueled by some of the emotions from earlier, the band just keeps motoring on. One more Berry cover in “Around & Around” makes an appearance. And “Tennessee Jed” keeps the faithful in the new Long Island barn collectively swaying.
Until finally, the first set is capped in grandiose fashion with a mad dash of a “Playin’ In The Band.” All the energy and emotions from earlier seem to get collected here and let loose in a near 16-minute gem that serves as a fitting cap to an exhilarating first set that stretches out past an hour and 40 minutes. The footage of it that follows is reported to be some of the only video of live 1973 Grateful Dead music. Members of the band can be seen in their “Nudie Suits,” bedazzled and sequined suits that were worn a handful of times at shows in late ’72 and early ’73. This psychedelic Country-Western garb is named after the designer Nudie Cohn and were popularized by the Flying Burrito Brothers at the time. This is supposedly the last show at which they were ever worn.
A whirlwind opening set like that would be nearly impossible to top. The second set has nice intentions, but the opening stretch is played somewhat close to the belt. The relatively new-at-the-time “Loose Lucy” kicks things off, with a more pronounced Keith Godchaux on piano coming through in the mix. “Lucy” made its concert debut only earlier last month. Then there’s a a string of “first set”-sounding songs like “Me And My Uncle” and “Big River” that follow. Bill Kreutzmann’s work behind the drum kit really shines on the Johnny Cash cover. And “Mississippi Half-Step” continues this trend of well played live Dead staples that just lack some of the improvisation normally found at this part of the program.
“Jack Straw” picks up the energy considerably in the second set and seems to fuel the band towards the finish line. “Truckin’” follows, paying tribute to New York, a state that’s “got the ways and means.” This yields the first significant jam of the second set, a bluesy little excursion spearheaded by Garcia. It even includes a distinct “Nobody’s Fault But Mine” instrumental nod as the jam begins to progress.
Jerry and Bob in their Nudie Suits, February 1973
A short and sweet “Drums” section then transitions seamlessly into “The Other One,” with Phil Lesh’s thunderous bass notes triggering the opening sequence. Along with Garcia-supplied guitar licks, the two lead an impressively patient and vibrant musical introduction before the first words of the song are even sung.
This and the near 17-minute “Eyes Of The World” that follows really serve as the foundation for this second set. This version of “Eyes” is fairly incredible in that it’s another new-at-the-time, this being only the tenth one ever played. The Dead move effortlessly through the composed section, sounding like they’ve been playing this song for years, before settling into another patient and intricate exploratory jam.
The “Johnny B. Goode” set closer completes the Berry Trifecta for this evening before a “Casey Jones” encore sends the Nassau faithful merrily on their way. Afterwards, the train would be getting on the tracks on heading upstate for two shows at the Utica Memorial Auditorium. It’s a well played set that has a few standout moments but, overall, just doesn’t compare to the emotional powerhouse the opening stanza delivered.
Listen to this great show track by track below, or all at once here.
Grateful Dead – Nassau Veterans Memorial Coliseum Uniondale, NY 3/19/73
Set 1: Promised Land, He’s Gone, Mexicali Blues, They Love Each Other, Looks Like Rain, Wave That Flag, Box Of Rain, The Race is On, Row Jimmy, El Paso, China Cat Sunflower-> I Know You Rider, Around & Around, Tennessee Jed, Playin’ In The Band
Set 2: Loose Lucy, Me & My Uncle, Brown Eyed Women, Big River, Mississippi Half Step, Stella Blue, Jack Straw, Truckin’-> The Other One-> Eyes Of The World-> China Doll, Johnny B. Goode
Forward People. It can mean a direction, or it can describe a group of people. With room for interpretation built into the title, Trey Anastasio shared his latest pandemic production, “Forward People,” on March 18. The release coincides with his first pandemic release on March 18, 2020, “Lost in the Pack.”
With a full Ghosts of the Forest vibe, Anastasio utilizes the Rescue Squad Strings, as well as a horn section, creating a full sound that is reminiscent of GOTF’s “Drift While You’re Sleeping.” For more than 14 minutes, horns and strings accent Anastasio’s uplifting and emotional surprise release.
The opening lyrics to the ballad have a positive, uplifting vibe, something that has been Anastasio’s trademark in the past decade – “Light,” “More,” “Everything’s Right,” “The Greater Good,” “A Wave of Hope” – among others.
We are one, you are not alone, all things are connected, and we are reaping what we’ve sown. But even out there on your own, We cannot be divided, You are not alone, You’re never really alone.
“Forward People” lyrics – Trey Anastasio
The song continues to touch on themes of self-reliance, hope and perseverance, Anastasio sings “Sway in the light… an invisible hand is conducting the melody. We think that we are composing, but the music is pointing beyond me now,” a broader universal theme that has been seen in his pandemic recordings.
One of the most restless musicians during the pandemic, Anastasio had recently spoken with WCAX, hinting at Phish’s plans for this year, and if something was in the works. Trey slyly said “I’ve got a secret.” It’s safe to say Anastasio has more than one secret, with a composition like this up his sleeve and the potential for a return to the stage, with audiences, possible as soon as the fall.
In 1986 Dorf founded the Knitting Factory, a venue in New York City celebrating independent music. He managed to make the Knitting Factory an international success by expanding to Europe and Asia with tours, record deals and more. His relationships with Apple, Intel, MCI and Bell Atlantic made him a pioneer for producing music on the web.
Dorf left the Knitting Factory and worked on the Carnegie Hall concert fundraising series, founded a Hebrew School and ventured into winemaking. In 2008 combined his love for winemaking and music and founded City Winery. It became notorious as it is the city’s first winery, restaurant, music venue and space for private events. The company is now in six different states and Washington D.C.
Michael Dorf Presents’ began in 2004 and became an annual Carnegie Hall Tribute Series called Music of. The fundraising series honored many major legends throughout the years including Aretha Franklin, Prince, David Bowie and much more. Through these concerts, they raised over $1.5 million and donated to organizations dedicated to music education for children.
With COVID-19 precautions still in effect, Michael Dorf Presents’ “The Best of Music ‘The Music of’ 2004-2020” will be virtual this year. The show will be live streaming from Carnegie Hall with a lineup of 21 artists including Billy Gibbons from ZZ Top, Patti Smith, and Glen Hansard to name a few.
Tickets for the live stream are $25 and there are also some VIP packages available. Viewers can pay $50 for entry to the live stream and for a signed poster or $50 for entry and a chance to talk to Michael Dorf on zoom before the show. There is also the $1,500 Give more donation package which includes entry to 20 upcoming streams and 100 percent of the donation going towards the donors chosen music education program.
“The Best of Music ‘The Music of’ of 2004-2020” is presented by City Winery and is powered by concert streaming platform, Mandolin. It streams on April 15 and begins at 8 p.m. Tickets are available for purchase on the City Winery website.
On March 18, 2019, Fleetwood Mac played the second of two sold out shows at Madison Square Garden supporting their “An Evening With Fleetwood Mac” tour. The lineup consisted of Stevie Nicks, Christine McVie, Mick Fleetwood, John McVie, Mike Campbell and Neil Finn.
Originally the tour was referred to as the “Farewell Tour” with plans of having the Rumours lineup including Lindsey Buckingham, but a few weeks prior to the start of the tour, the band had announced their separation with Buckingham.
The reason for the separation was reportedly due to disagreements about the tour. In a Rolling Stone interview, Buckingham later revealed that the real reasons he was fired was that Nicks took issue with the fact that he “smirked” during her thank you speech at the Musicares person of the year event, and also the way that Buckingham reacted to being introduced with Nick’s “Rhiannon.” Vocalist/guitarist Neil Finn and guitarist Mike Campbell joined the band shortly after Buckingham’s departure.
Despite Buckingham not being present, the show was still fantastic. The band opened the show with three huge hits, “The Chain,” “Little Lies” and “Dreams.” Their set also included more hits like “Say You Love Me,” “Rhiannon,” “Gypsy” and “Go Your Own Way.” Each of the new members also had a chance to shine with Neil playing Crowded House’s “Don’t Dream It’s Over” and a cover of Tom Petty’s “Free Falling” as images of Tom and Stevie were projected on the screen behind them. Another highlight was when they played “Black Magic Woman” which was written by original member Peter Green before Santana turned it into a huge hit.
In a 2020 interview with the Los Angeles Times, Nicks said she hasn’t spoken to Buckingham since his departure, but she did write him a note after he suffered from a heart attack in February of 2019. On March 27, 2021, there will be an All Star Tribute to Peter Green available on demand that was recorded at the London Palladium on February 25, 2020, just days before the global shut down due to COVID-19. A live album of the concert will also be released on April 30, 2021.
Setlist: The Chain, Little Lies, Dreams, Second Hand News, Say You Love Me, Black Magic Woman, Everywhere, Rhiannon, World Turning, Gypsy, Oh Well, Don’t Dream It’s Over, Landslide, Hold Me, Monday Morning, You Make Loving Fun, Gold Dust Woman, Go Your Own Way
Love, New York, a virtual concert fundraiser will take place on the one year anniversary of New York City declaring a shelter in place for the COVID-19 pandemic. Featured musicians include Rich Medina, Paris Monster, and James Casey. It will stream live on March 20th, 2020 at 7 PM EST.
A year later, the end of pandemic is far closer, yet music still needs relief and artistic outlet. Love, New York is comprised of creatives, visionaries, musicians, street performers, dancers, Broadway artists, and lovers from New York.
The festival is organized by Sound Mind Collective, a Brooklyn based community organization founded in 2017 by Katherine Powell (KP Artist Management), Chris St. Hilaire (musician, The London Souls, Sinkane, Doyle Bramhall II) and Nikhil P. Yerawadekar (musician, Nikhil P. Yerawadekar & Low Mentality). Sound Mind Collective’s goal is to connect independent artists with local communities to encourage growth through social justice advocacy, policy change, and much more.
The proceeds from Love, New York will be allocated amongst the performers and independent music venues that are at risk of closing indefinitely as the virus continues to keep doors closed.
The legendary Apollo Theater revealed its Spring 2021 programming and virtual events which includes the return of their highly favored programs.
On Saturday March 20 and Sunday March 21 the Apollo Theater presents the fifth bi-annual WOW (Women Of the World) festival in collaboration with the WOW Foundation. The theme for this year’s festival is “Black Women Transcending” and will consist of panels, workshops, performances and speakers. Some of the famous participants are awarding-winning actress Aunjanue Ellis, writer and activistNikki Giovanni, co-host of The Talk and writer Elaine Welteroth and more. WOW: Teen Summit is also a part of the agenda focusing gender politics and its impacts on girls and women of color globally.
The Apollo Theater located in Harlem is a staple in Black entertainment and for the Black community. It was one of the first and few non segregated theaters that provided opportunities for Black performers in the 1930s. Their renowned contest Amateur Nightbegan in 1934 where many legends and notorious artists began and launched their careers.
Some of the legends who began or performed at The Apollo are Ella Fitzgerald,Billie Holiday, Stevie Wonder, Aretha Franklin,James Brown, Gladys Knight and more. The Apollo is built on the foundation of music including genres like jazz, gospel, hip-hop, R&B, soul and more. However, its programming extends to different art forms such as dance, theater, and spoken word.
The Apollo is a non-profit presenter of different art forms and commissioner as they produce festivals, musical and dance works through initiatives dedicated to projecting the African American narrative. In 2019 they announced their first Master Artist-in-Residence with Ta-Naheisi Coates with a theatrical adaptation of his novel Between the World and Me. They are involved in many multidisciplinary collaborations with various organizations, some of which are featured in their programming for this Spring.
More events are taking place for the spring programming. The Apollo Comedy Club: A Look Back on Laughter on April 2, celebrates the past comedic talents at the theater, features new upcoming comedians and is presented in partnership with Def Jam producer Bob Sumner. On April 3 Roc Nation’s sibling band Infinity Song performs for Apollo Music Cafe.The Apollo Education Career Panel called Cinematography – Shifting the Looking Glass takes place on April 20.
Another Apollo Education Career Panel, FootPrint- Design and Creativity in Sneaker Culture, happens on May 6. Finally, on May 20 Apollo Film Presents: ImageNation’s Cocktails & Sol Cinema is a collaboration with Harlem based company ImageNation, screening of Pan-African films with a reception consisting of a live performance or DJ and followed by a talkback.
Tickets and more information regarding these events are available on The Apollo Theater’swebsite.
Brooklyn duo Fake Dad return with their new EP Old Baby, and its final single “Listen.” The band is previewing the album on March 19th via Baby’s TV, a livestream series presented by Williamsburg venue Baby’s All Right.
Fake Dad, comprised of Andrea de Verona and Josh Ford, formed in early 2018. Their sound is defined by their signature butter-smooth R&B vocals combined with buzzing hip-hop and electro-pop textures that form a dizzying cocktail that always finds its groove. The band has three singles in preparation for their debut, “Summerhill”, “Breakfast in New York”, and their newest single “Listen”.
Brooklyn-based electro-duo Fake Dad bring that same energy to their new single, “Breakfast in New York,” a bite of R&B-tinged bliss guaranteed to make your mouth water for a bacon, egg, and cheese from your bodega or deli of choice (for those of us outside The Big Apple, maybe an Egg McMuffin at the very least).
The All Scene Eye
Other song on the EP include “Pretty/Ugly” which sees the duo imagining themselves among the ranks of famous pop stars. The song “Knit Sweater” offers an innate comfortability, seeing the band reaching for something safe and whole. The newest single, “Listen”, is grounded in silky meditations offering a serene mood. The unique soundscape offered by this EP see the band meld these inflection points together for something both invigorating and comforting. The EP is an exciting a bold move for the promising duo.
Tickets for the March 19th preview livestream are available here.
St. Patrick’s Day is normally for pints of Guinness, Irish music, parades, and indeed in New York City that was the case in 1990, as always before the plague temporarily swept all that away. The Pogues had played a Friday night gig at the Beacon, and were playing Saturday Night Live on this night, the parade happened in Manhattan, the pubs were no doubt full, but in Brooklyn there was nary a tin whistle in sight, only the loud and the heavy. This was a killer triple-bill on St. Patrick’s Day that had naught to do with being Irish: Quebec heavies Voivod, Seattle bruisers Soundgarden and just-achieving-stardom west coasters Faith No More, at L’Amour in Brooklyn – doubtless one of the great gigs ever.
This was the final night of this tour – Voivod and Soundgarden had been on tour together for months, with FNM the opening band on early shows, and then again at the end of the tour. So there was a celebratory air, each of the bands getting on stage during the other bands’ sets, jamming.
Voivod headlined. Soundgarden was in the middle slot. This seemed unthinkable just a year or two later, when FNM and Soundgarden both blew up, but in 1989-90, Voivod was the bigger band, beloved left-field underground metal kings.
Voivod jamming with Soundgarden and Faith No More – Chris Cornell with two beers in hands. Photo by Greg Fasolino
So Faith No More, on ‘The Real Thing’ tour, opened the night – they were certainly the least-known of the bands, but shortly before this gig, MTV started playing the “Epic” video on heavy rotation, and FNM were the trendy new band of the moment. ‘The Real Thing’ started selling bucketloads. Consequently, L’Amour, a Voivod stronghold that would have been full even without the other two bands, was utterly sold out, jam-packed before FNM hit the stage.
The crowd went apeshit. When they played, they were excellent, opening with “From Out of Nowhere,” playing a roaringly-received set of mostly ‘The Real Thing’ songs (plus old chestnut “We Care a Lot”) and closing with Sabbath’s “War Pigs.” Various guys from Soundgarden and Voivod jammed along.
photo by Greg Fasolino
Soundgarden played second, promoting their heavy, killer Louder Than Love record. I’d seen them not long before this, but they were definitely my favorite band in 89-90, so I had to see them (and Voivod) again. They played “Flower,” the pummeling “Gun,” “Loud Love,” “Hands All Over” and a bunch of other sludge-metal classics.
Snake from Voivod – photo by Greg Fasolino
During “Big Dumb Sex” Voivod guys sexually harassed Chris Cornell with an inflatable sex doll, and at one point Chris Cornell crawled out over the crowd hanging from the low ceiling and dropped right in to the packed, swirling pit. Mighty. They finished with Spinal Tap’s “Big Bottom,”,and the creeping, all-consuming doom-metal of “Beyond The Wheel” closed the show.
Photo by Greg Fasolino
Voivod headlined, touring behind that godlike Nothingface record, played almost that whole record, plus a few choice oldies and a cover of ZAPPA’s “What’s The Ugliest Part of Your Body?,” during which song drunken Soundgardeners and Faith No Mores jammed or just undulated around them like 60s bellydancers, with Mike Patton running around with a sex toy strapped to his head. Which was odd. Great night, amazing bands, and this one was up there with the best triple-bills ever.
Setlists
Faith No More: From Out Of Nowhere, Introduce Yourself, The Real Thing, Underwater Love, Zombie Eaters, We Care A Lot, Sweet Dreams, Surprise! You’re Dead!, Epic, Woodpecker From Mars, War Pigs
Soundgarden: Flower, Hands All Over Me-American Woman, Gun, Loud Love, Get On The Snakel Big Dumb Sex, Full On Kevin’s Mom, I Awake, Big Bottom, Beyond the Wheel
Voivod: The Unknown Knows, Nothingface, Tribal Convictions, X-Ray Mirror, Tornado, Pre-Ignition, Missing Sequences, Brain Scan, Into My Hypercube, Astronomy Domine, Inner Combustion, What’s The Ugliest Part of Your Body?
