On Thursday, October 28th, Montage Music Hall in Rochester was host to a pretty wild show. If you like most pits, thrashing around, and some heavy metal, this was a show to see. This lineup was stacked all the way from the bottom with the locals and the headliners, Bodysnatcher.
The lineup started with two Rochester locals, Deadbeat, and White Tides, followed by Left to Suffer from Atlanta, Georgia, Mouth Of War from Colorado Springs, Colorado, Boundaries from Hartford, Connecticut, and the main act, Bodysnatcher from Melbourne, Florida. The montage is known for bringing some great shows with many different types of acts, this lineup was for the metalheads and Rochester turned up.
Bodysnatcher is no stranger to this venue as they had played back in 2019 and had a great turn out then as well. One band that really brought the energy was the front man Mouth Of War, it was hard to keep an eye on him as he moved about jumping and thrashing as if he was in the pit himself. It would not be a metal show without mosh pits and throughout there was plenty which unfortunately lead to someone getting hit but it was minor and they carried on. Though this show is done and gone, there are plenty more lined up for the Montage and I would recommend checking out what they have in store!
Parquet Courts touched down in Burlington, VT on Wednesday night, bringing their latest album and older favorites to a grateful Higher Ground.
The Brooklyn indie rockers released their seventh studio album, Sympathy for Life, on October 22. The stunning effort leans into their expansive sound while feeling more crowd-worthy than ever. With thought-provoking lyrics and mind-bending instrumentals, the band makes a statement on their identity for the dancing masses.
Samantha York of Public Practice. Photo by Hattie Lindert.
New York City band Public Practice opened for Parquet Courts. Their dreamy, punky disco-rock moves as smoothly as lead singer Samantha York sashaying across the stage. The sparkling frontwoman of the band celebrated her birthday that night; Austin Brown of Parquet Courts brought her a celebratory cupcake onstage. As the crowd sang “Happy Birthday,” he knelt to the ground so she could blow out a birthday candle.
Urging the crowd to dance along, York emphasized: “how good it feels to be together and listen to music and move our f*cking bodies.” Her lilting vocals, perfectly complemented by bassist Drew Citron’s high harmonies, begged to be danced to.
Parquet Courts took the stage in the Ballroom after roughly 45 minutes. The crowd remained patient and was rewarded with an “Application/Apparatus,” an opening jam of wild synths, and a breakneck guitar riff exemplifying Parquet Courts’ unique brand.
Sean Yeaton and A. Savage of Parquet Courts. Photo by Hattie Lindert.
Sympathy for Life’s mesmerizing and unexpected melodies draw you in immediately. Performing live, Parquet Courts take their best tracks to the next level with unique riffs and intuitive breakdowns. The jumpy “Almost Had To Start A Fight/In and Out of Patience” felt stadium-sized as Sean Yeaton and A. Savage screamed into their mics. And on “Plant Life,” A. Savage’s masterful melodica was the cherry atop a woozy breakdown that felt wonderfully endless. As swirling green lights took over the stage, in the shape of leaves, the venue seemed transformed.
A. Savage of Parquet Courts. Photo by Hattie Lindert.
The band had a hold on the Vermont crowd, heavy on college kids. Parquet Courts shouted out notorious Burlington spot Pure Pop Records, “for all the vinyl heads out there.” They knew their crowd, and cheers erupted from the pit.
Austin Brown of Parquet Courts. Photo by Hattie Lindert.
After 11 years of “pure unadulterated hits,” as Brown joked, their catalog is far too lush to fit in one set. But the selection Parquet Courts presented showed them at their finest. Their strange, raw music and emotionally charged lyrics can speak on many different levels, to many different emotions. One of their shows is nothing short of a rollercoaster.
Sean Yeaton of Parquet Courts. Photo by Hattie Lindert.
Yet all night, the crowd stayed right there with them. Moments after one chosen individual crowd-surfed to loser’s anthem “Stoned & Starving,” the entire crowd swayed slowly together to mournful, reflective “Pulcinella.” Though the band did not resurface to calls for an encore, the ballad was the perfect conclusion. My personal favorite song on Sympathy for Life (and it’s closer), the stunning outro evokes a cinematic emotion of nostalgia and change. Savage’s soft hum could be a lullaby; he sounds unrecognizable, yet completely himself. Before I knew it, I was swaying in time with the rest of the crowd.
Parquet Courts. Photo by Hattie Lindert.
Parquet Courts will continue their North American tour into 2022, with two New York dates scheduled for next year. See the full list of shows and venues below:
November 6— Stone Pony *– Asbury Park, NJ
November 17 — White Oak Music Hall- Houston, TX
November 19—Stubbs BBQ- Austin, T.X.
November 21 — Corona Capital 2021 – Mexico, Mexico
February 27, 2022—The Orange Peel- Asheville, N.C.
February 28, 2022— Georgia Theatre– Athens, GA
March 02, 2022– Variety Playhouse – Atlanta, GA
March 03, 2022— Saturn- Birmingham, AL
March 04, 2022— Cannery Ballroom- Nashville, TN
March 05, 2022— The Pageant – St. Louis, MO
March 07, 2022— Liberty Hall – Lawrence, KS
March 10, 2022— First Avenue, –Minneapolis, MN
March 11, 2022 — Turner Hall Ballroom- Milwaukee, WI
March 12, 2022—Riviera Theatre – Chicago, IL
March 13, 2022— Museum of Contemporary Art Detroit – Detroit, MI
Amayo, lead singer of influential Brooklyn Afrobeat group Antibalas, has announced he will depart the group after 23 years. His departure was shared in a message to fans on Friday morning.
Amayo infused their music of Antibalas with charisma, energy, and flair. Growing up in Lagos, Nigeria, he found a penchant for Afrobeat sneaking into The Shrine, where Fela Kuti once played.
Amayo with Antibalas at Industry City in 2019. Photo by Jamie Huenefeld.
Amayo joined Antibalas in 1999, after founding members Martin Perna and Gabriel Roth encountered him on the south side of Williamsburg. After inviting him to see a show, they eventually asked him to fill in for their percussionist. Soon enough, Amayo began composing lyrics, eventually falling into the role of lead vocalist. Amayo would stay at the helm of Antibalas through a Grammy nomination, three generations of musicians, and countless sold-out festival crowds.
“After the success of theFu Chronicles album, the down time with COVID, the birth of my son, and a move across the country, circumstances have provided me with the opportunity to leave Antibalas on a high creative and artistic note,” Amayo wrote, with deep unconditional love for you, our fans, and all of the musicians who have played with me over the years.
Antibalas performs at the Brooklyn Bowl in 2019. Photo by Mickey Deneher.
Amayo played his last show with Antibalas, fittingly, in New York, at Central Park Summerstage on September 18. Amayo thanked the crowd at the show for making his last night so memorable.
As the vocalist looks ahead, there remains music in the future.
“It’s time for me to embark on a solo career,” he wrote, “one dedicated to my rich Nigerian Afrobeat roots.”
Antibalas at the Brooklyn Bowl in 2019. Photo by Mickey Deneher.
In their own footnote message, Antibalas wished Amayo the best in his future endeavors. The band also encouraged fans to look ahead with positivity, not doubt. Antibalas released their last album, Fu Chronicles, to positive reviews in February 2020.
“We are excited for both of our futures,” the band shared, “and bringing new music to you all in 2022!”
Antibalas will continue on scheduled tour dates, playing two upcoming shows at the Brooklyn Bowl on November 12 and 13.
Bearsville Theater enlisted a new talent buyer after it’s recent renovations which will help make Bearsville a key hotspot for music in the Catskills and north of NYC.
Edward Maier has been appointed the new talent buyer for Bearsville Center including the historic Bearsville Theater and the Utopia Sound Studios by the owner of the Bearsville Center, Lizzie Vann. Maier is known for his work with ElmThree Productions. The hope is he will be able to bring his extensive contacts and experience to help create Bearsville Theater into the hotspot it can be.
Bearsville Theater and The Bearsville Center are located in Woodstock NY. The center was created during the musical revolution during the ‘60s. Albert Grossman who was the founder of the center and was known as one of the most important managers of artists at that time, envisioned a 15-acre complex to provide an imaginative rustic oasis, where artists could create, rehearse, perform, record and promote their music. He built housing, a recording and video studios, a formidable record label and 3 restaurants. His final project was the acoustically planned 8,000 sq. ft 400-seater Bearsville Theater. The Mission of Bearsville under the current ownership is to nurture and Inspire future generations. Today, the theater acts as a stimulus for creativity and enjoyment. The theater embarked on extensive renovation over the last two years and have finally come to the time where they can focus their energy on up-and-coming new bands.
Maier started his career in the music business back in the late ‘90’s with booking local acts in Burlington Vermont. Over the years he moved onto working for touring bands and site co-coordinating national tours with Jay- Z/Beyoncé and Eminem/Rihanna. In 2007 he moved into talent buying, and since then has purchased and produced over 1000 shows. Elm Three Productions is Talent Buyer for: Madison Marquette, Paramount Theatre, the Convention Hall, The Wonder Bar and Stone Pony along with the popular series – Jams On The Sand and AC Jams and the Daydream Farm Concert Series.
Between Maier’s years of experience and the legacy of Bearsville Theater and it’s new renovations it will definitely be a venue to keep an eye on.
On Friday, November 5, John Hall of 1970s pop band Orleans (“Stay With Me,” “Still the One”) will kick off NYS Music in Motion Season 3, as he sits down with our host, rocker Frank Palangi.
Sponsored by Helping Friendly Hemp Company, the series brings together seasoned musicians who hail from the Empire State or have made New York their home, alongside Palangi, a Warren County native.
Guests for Season 3 of NYS Music in Motion include Hudson Valley guitarist Kristen Capolino, Lake George multi-instrumentalist Rich Ortiz, PEAK guitarist and front man Jeremy Hilliard, Glass Pony drummer Chanda Dewey, and Ithaca-based promoter Dan Smalls.
Tune in starting on Friday, November 5 for each installment of Music in Motion on the NYS Music YouTube and Facebook page.
Palangi will have a sit down conversation with each artist, with a lineup of musicians from across New York State. A homegrown indie rock recording artist, singer, songwriter, and guitarist, Palangi fuels his positive ambition naturally by serving up a feeding frenzy of edge heavy guitars, with a side of deep, gritty vocals. With a no-quit mentality, Palangi draws on influences from 80s & 90s rock, including post-grunge and heavy metal.
NYS Music in Motion Season 3 Schedule
November 5 – John Hall November 12 – Kristen Capolino November 19 – Rich Ortiz December 1 – Jeremy Hilliard December 8 – Chanda Dewey December 15 – Dan Smalls
Live from the legendary Levon Helm Studios in Woodstock, critically acclaimed Brooklyn band The Antlers recently emerged from hibernation for their first show in over two years. Playing their latest studio album, Green to Gold, in its entirety followed by a second set of career spanning material, the enthralling, emotional, and dream-like performance on October 22, 2021 was nothing short of awe-inspiring. The road to get there, however, was a long time coming.
Rising to prominence in 2009 with their breakthrough masterpiece Hospice, a semi-autobiographical concept album that tells the story of a hospice worker falling in love with a terminal cancer patient, The Antlers had not released any new music since 2014’s Familiars. It was later revealed in 2017 that primary songwriter and bandleader Peter Silberman had quietly stepped away from the band after being diagnosed with permanent, career threatening tinnitus and vocal lesions. The Antlers would remain silent until October 2020 when seemingly out of the blue, they released a single for “Wheels Roll Home” and officially announced their first album in seven years, Green to Gold would be released in March of 2021 via Anti Records/Transgressive.
While no touring plans were made in support of the album, the band confirmed a special one-time only performance of Green to Gold would soon take place at the most storied barn in the Catskill Mountains. For diehard fans, you’d be hard-pressed to find a more perfect setting than Levon Helm Studios.
For those who didn’t already know, some free advice: arriving late to a show at Levon’s is like being late to church on communion Sunday; there’s simply no way to enter without being disruptive. The ‘last minute Larry’s’ on this particular night found that out the hard way when classically trained jazz minimalist David Moore of Bing & Ruth kicked off the evening with a beautifully subdued piano recital. The acoustics in the room so clear, every footstep and whisper of the late arrivals was heard. Unphased by any of it, Moore’s focused, cinematic set was but a precursor to the splendor yet to come.
After a brief intermission, it was finally time for a performance that was years in the making: The return of The Antlers. A must-see bucket list band for some, one person I spoke with at set break confessed they traveled all the way from Minnesota to Woodstock for this one-time-only, once in a lifetime show. Spoiler: the band did not disappoint.
Bathed in lavender light and taking the stage to a chorus of cheers and smiling faces, the mood gradually turned dead serious as a chorus of cicadas and crickets soon engulfed the room. Just like on the studio album, The Antlers opened with the first track off Green to Gold, a dreamy, ethereal, post-rock styled instrumental called “Strawflower.” Each of the four members adding a new layer of sound and texture while joining in one by one, it wasn’t until “Wheels Roll Home” that we would hear the instrument most vital to The Antlers signature sound, Peter Silberman’s remarkable voice.
Showcasing his impressive vocal range through half-sung/half-whispered melodies that often guide the listener to an astonishing falsetto peak, when you hear Silberman sing in person, you know you are witnessing a special talent. A vulnerable, rare kind of performer who can effortlessly send shivers up your spine or tears down your face on any given song; an artist willing risk it all for the sake of his craft, defying doctors’ orders after being told he may never perform again. Sounding magnificent on this cool autumn night at the barn, hearing Silberman pour his heart out to a live audience felt like nothing short of a blessing.
Describing “Wheels Roll Home” as “a simple song about the hopeful promise of reunion after a long time gone, the experience of waiting out tumultuous times and longing for stability,” Silberman touches on a theme most can relate to, particularly in the wake of the global pandemic. Never a band to shy away from difficult, dark and emotional subject matter, their bread and butter since the beginning, just two songs into the set and you could feel a sense of renewed optimism from The Antlers, something rarely heard on their previous albums.
Up next came a beautiful song called “Solstice”, co-written with long time Antlers drummer Michael Lerner (who opted to play on Levon’s vintage red kit instead of his own), the band describes the tune as a “flashback to the infinite days of peak childhood summer, innocent barefoot hikes, staying outside all afternoon and late into the evening, well past it being too dark to see. But it’s remembered from the vantage of a present day that feels unbearably long rather than joyously endless. It’s an invocation of those simpler times, an attempt to conjure the lightness of youth, before life got so damn complicated.”
Building on the soul-searching mood, the introspective journey continued with “Stubborn Man” before fading out into a sea of ethereal ambience that left the mesmerized crowd in stunned silence. As the emotional weight and integrity of the band’s performance grew with each successive song, up next came one of the biggest standouts of the evening “Just One Sec,” a song that noticeably left several people in tears.
“I’ll free you from the person I was sure I knew I’ll free you from a reputation you outgrew I’ll free you from behavior I’d expect to see And my interpretation of history ‘Cause I boxed you in unconsciously And I saw you and I thought you ought to be But by loving you imperfectly For just one sec, I’ll free you from me”
“Just One Sec”
Segueing perfectly into another song about hindsight came “It Is What It Is.” Also written by Silberman and Lerner, the richly textured song tackles the topic of learning from your mistakes, asking the listener to ponder “what might have changed had you handled things differently back then, and the reluctant acceptance that it’s too late for all that now.” The Antlers then seamlessly worked their way into “Volunteer” before transitioning to the hypnotic title track of their latest album, “Green to Gold,” a song that contemplates the inevitability of life and it’s ever-changing seasons. The gentle soul-searching sway of “Porchlight” lead us to the album closer, bookending the set with another languid, post-rock influenced instrumental called “Equinox.” The relaxing, layered groove would simply dither out and conclude the Green to Gold portion of the show the same way it began, in chorus of crickets and cicadas.
After a short brake, the emotionally elated audience welcomed The Antlers back for round two. There was no mystery during the opening set, but now it was anyone’s guess. Opting to go with the opening track from 2014’s Familiars was the beautifully brilliant song “Palace.” From there we were treated to back-to-back songs from the bands critically acclaimed album Hospice, first was “Atrophy,” then perhaps the most well-known song of the evening, just down the road from Bearville, came “Bear.”
“We’ll play charades up in the Chelsea Drink champagne although you shouldn’t be We’ll be blind and dumb until we fall asleep None of our friends will come They dodge our calls And they have for quite a while now It’s not a shock You don’t seem to mind and I just can’t see how”
“Bear”
After the stellar rendition of “Bear” was the bittersweet anthem “Parade.” Taking a moment between songs to clear his throat with a large drink of water, you just knew whatever was next, Silberman was going to give it everything he had left. As the richly textured, dream-like melody of “Corsicana” began, a tangible “hairs-on-the-back of your neck, get your cell phone out and record this” feeling swept over the audience. The only song to be played from 2011’s Burst Apart, it was then that Silberman uncorked one of the most unbelievable, heartfelt falsetto croons these ears have ever heard; one that still gives me shivers just thinking about it. Following an extended well-deserved applause, we were treated to one final thought-provoking number, a little-known song written by Silberman, but never released by The Antlers called “Ahimsa.”
“Time is all we have, I hope I have enough
Enough to show you love before my time is up
Before you wake the dead, take a pause
Instead of deafening nonsense, share silence
No violence today
No violence, no violence, no violence today”
“Ahimsa”
With an extraordinary end to an extraordinary evening, the band members then took center stage and hugged it out with each other first before bowing to the standing ovation. Not just a special night for fans who thought they’d never live to see an Antlers performance, but a special night for the band themselves. Coming full circle and finding perspective by letting nature run its course, time has been good to The Antlers. From writing somber songs in a Brooklyn bedroom, to playing Green to Gold in a legendary barn surrounded by friends, family, and some of their biggest fans, those who were lucky enough to be at Levon Helm Studios on this night will never forget it.
As the season for “best of the year” lists rapidly approaches, be skeptical of any that does not include The Antlers and 2021’s Green to Gold. Seven years in the making, this is an album that will stand the test of time.
The Antlers – Levon Helm Studios – Woodstock, NY – 10/22/2021
Set 1: Strawflower, Wheels Roll Home, Solstice, Stubborn Man, Just One Sec, It Is What It Is, Volunteer, Green to Gold, Porchlight, Equinox
Set 2: Palace, Atrophy, Bear, Parade, Corsicana, Ahimsa
Over his career, Chris Jehnert has taken many routes, such that you may know for his acting chops or even frontman status in the internationally recognized boy band Larger Than Life. Chris since then has developed a more mature sound, solidifying himself in the alternative rock scene with his debut EP Chapter One: The Hollow.
After his “Welcome To The Hollow” single in 2019, which has garnered over 100,000 streams, Chapter One: The Hollow delves further and expands on the intricacies of of love, loss, isolation, and obsession. With song titles like “Raise The Dead,” “Ghost,” and “Love You to Death,” this EP uses dark and haunting metaphors to delve into personal issues.
One of Jenhert’s song off the EP is “Ghost” which recounts a time when Jehnert was accused of ghosting after ending a fling. “I Love You To Death” is dedicated to his fans, specifically those that are willing to give their life away for Jehnert despite their lack of personal relationship. “Raising the Dead” is actually about rekindling a flame with an ex lover although the relationship was toxic, the title describes the resurrection of all the emotions and traumas from hooking up
The EP itself is all based off of journal-style lyrics, where I take the things I’m dealing with internally and create metaphors for them. I then write the songs as if those metaphors were literal. Equating The Hollow to being a place cold and empty that people are drawn to and trapped in, but it’s a metaphor for my personal relationships
Chris Jehnert
Chris has been trained as a triple threat from early on with singing, dancing, and acting. Complete with a vocal performance degree from CCBC Essex, Jehnert worked alongside world class singers Jennifer Hudson and Kristin Chenoweth in eight productions at Disney World. Touring with the Concert Anniversary Tour of “Hairspray” led him to settle in New York City.
Chris is a member of “Larger Than Life: The Ultimate Boy Band Tribute” and has traveled around the world performing in their concerts alongside Lance Bass, Joey Fatone, Jeff Timmons, Aaron Carter and many more. Having taken a lead role in the Streamy-nominated series “Disposable Teens,” Chris now has pursued releasing his own music as always intended.
The Del Lago Casino venue “The Vine” is bringing an infamous night from San Francisco’s Winterland Ballroom back to life. The famed concert of “The Last Waltz” will be recreating music by “The Band” at the Del Lago Casino on Saturday November 13th. The evening’s playbill includes over 40 performers as part of “The Salt City Waltz.” The 2021 edition promises to feature new faces and music added to the show. The production inside The Vine offers a glimpse into the 1970’s Winterland Ballroom. It will transport the concert goers to the same movie lens Martin Scorsese shot the original in.
Rick Danko of the Band
The classic house band will feature Los Blancos from Syracuse featuring Mark Tiffault on drums, Colin Aberdeen on Guitar, and Steve Winston on Bass. The addition to their core of Scott Ebner on Piano, Mark Westers on Guitar, and Bill Barry on Organ will help shape the Vine stage nicely.
To make the performance sound full circle at the Vine please welcome the Levon Helm Studio Horns. Featuring Jay Collins on Tenor Saxophone, Erik Lawrence on Baritone/ Alto sax, Steve Bernstein on Trumpet. Special guest on trombone and tuba, from Bruce Springsteen E Street Band Clark Gayton will join the Waltz this year. As Levon Helm once said, “I love horns and the bigger the band, the better it sounds in my ear.”
Producer Stacey Waterman has curated all four editions of the Salt City Waltz; creating an atmosphere very much like that Thanksgiving night in 1976, right down to a chandelier. The idea behind this show is to celebrate the music of The Band and The Last Waltz. The musicians who assemble for this each year are the cream of the crop and leave the audience feeling thankful. You can purchase tickets to the event here.
Levon Helm’s infamous studio barn in the Hudson Valley is still hosting their own live music. The music never stopped through his daughter Amy Helm and the list of other great acts to still turn the same wheel. Music also lives on at Bob Dylan’s Big Pink House that The Band famously recorded at in Woodstock as well.
The Power of Music just kinda kills all those ills. It cures everything and you’ve got more energy because of the music. And I’ve Never Seen it Fail. Its good for ya…real good for ya
In support of her seventh studio album Faster (Rounder Records, 2021), Samantha Fish returned to The Stephen Talkhouse on the eastern end of Long Island for her first performance at the iconic venue in more than two years. Having released her first album in 2009, Samantha Fish is a blues and rock singer-songwriter and guitarist originally from Kansas City, Missouri, and current resident of New Orleans, Louisiana.
After briefly chatting with some fans of Ms. Fish who had arrived early and were waiting in line on this chilly autumn evening, the doors to the former boarding house built in 1834 opened and we were warmly greeted by the bar’s staff. Once inside, the prominent backdrop to the stage could not be missed. It was a large black and white tapestry of Stephen Taukus (“Talkhouse”) Pharaoh, a native American who was known for his daily, marathon-distance walks delivering mail from The Hamptons to New York City during the late-1800s. Featuring local artists and internationally-renowned performers since 1987, The Stephen Talkhouse was decorated in the spirit of Halloween, complete with a spooky playlist that eerily emanated from the “house” speakers, who according to one of the bartenders, was curated by Ms. Fish herself.
As 7:00 pm approached, several patrons eager for a great night of live music had already filtered inside, assuming coveted positions along the length of the bar, or at reserved table seating intimately arranged in front of the stage. A frequent touring partner and collaborator of Samantha Fish, Jonathan Long was the first to take the stage. Hailing from Baton Rouge, Louisiana, Mr. Long is a virtuoso blues artist whose career launched in 1997, when he was named Guitar Center’s “King of the Blues.” Accompanied only by his Martin guitar, Long featured songs from his newest album, Parables of a Southern Man, released on Samantha Fish’s very ownWild Heart Records label in 2021. His electric set of blues compositions concluded with a “roof raising” rendition of Chris Thomas King’s “John Law Burned Down The Liquor Sto.’
After a short intermission, and while the theme music from the 1978 horror movie classic “Halloween” could be heard over the PA system (courtesy of Ms. Fish once again), Sarah Tomek (drums), Matt Wade (keyboardist) and Ron Johnson (bassist) took the stage. Within a few brief moments, Samantha Fish also appeared, clad in her signature look of “fire engine red” skintight pants, a black lace top and stiletto boots.
Samantha Fish’s 16-song set included 11 songs taken from 2021’s Faster, including the show opener “Loud,” which was followed by the guitar-driven “All Ice No Whiskey.” A song about empowerment, and the first single released from her new album, “Twisted Ambition” was up next. When she was not playing her white Gibson SG or another one of her axes from her impressive arsenal, Fish opted for her famed cigar box guitar, which she has been incorporating into her live sets since 2012.After performing “Hypnotic,” featuring Fish’s alluring vocals, the final quintet of songs included a generous mix of offerings from past albums, including those from Black Wind Howlin’ (2013), Wild Heart (2015) and Kill Or Be Kind (2019). Before exiting the stage for her encore, Fish and her band ripped through “Bulletproof,” the fan favorite with an infectious guitar riff, which left everyone in attendance wanting more.
If you have not yet been able to see Samantha Fish perform live, you still have the chance! She will be continuing her North American tour over the next couple of months, until it commences at the Macon City Auditorium in Georgia on New Year’s Eve. After that, Ms. Fish will be heading off to the United Kingdom in early-2022. You can get your tickets here.
Setlist: Loud > All Ice No Whiskey > Twisted Ambition > Chills & Fever > Forever Together > Don’t Say You Love Me > Crowd Control > Better Be Lonely > Kill Or Be Kind > Watch It Die > Hypnotic > Black Wind Howlin’ > Dream Girl > Bulletproof
Encore: I Put A Spell On You (Screamin’ Jay Hawkins cover) > Bitch On The Run
Make no mistake. Don LaSala is not Conrad Hilton and he’s not in it for the money. Since 1998, LaSala and his wife Sue have been the owners and loving caretakers of one of the holy sites of rock history, the humble salmon-colored house in West Saugerties, N.Y. known as Big Pink. From early 1967 – 1968, Big Pink and its makeshift basement recording facility served as the woodshed where Bob Dylan and The Band created a cache of classic songs that would forever redirect the course of popular music.
photo by William A. Loeb
Since 2014, the LaSalas have been enabling fans to enjoy weekend and longer retreats at this fabled house and its many peaceful, woodsy acres. It’s one that remains virtually unchanged since the days when The Band lived and worked there. This includes the rosy sided exterior immortalized on the cover of The Band’s 1968 debut, Music from Big Pink, along with its Atomic-era kitchen and appliances, its living, dining, bedrooms and, of course, its famous subterranean music space. The LaSalas have added to the authentic retro vibe by curating many period artifacts throughout. These include a 1966 local phone book, a Bakelite rotary telephone in basic black and a vintage typewriter, just like the one Dylan used to fire off lyrics. The mood is also set with classic photos of Dylan and The Band taken here and around Woodstock by its most famous local lensman Elliot Landy.
The story of Big Pink commences in February 1967, when The Band’s bassist Rick Danko rented the house where he would cohabitate with bandmates Garth Hudson and Richard Manuel. Danko. The trio were working with their guitarist Robbie Robertson, who secured a home close by with his soon-to-be wife Dominique, on Dylan’s film of their 1966 tour together, “Eat The Document.” Dylan had been sidelined from touring by a July 1966 motorcycle accident leaving his manager Albert Goldman’s house in adjacent Bearsville. Now, he was playing the seemingly retired family man/country squire/filmmaker, while quietly forging ahead with what would be his most productive year ever as a songwriter.
According to a conversation LaSala had with Danko, Dylan would arrive at Big Pink around 9 am each morning, right after dropping his daughter Maria off at school. He would then make a pot of coffee, roll a joint, smoke a few cigarettes and write lyrics, on yellow legal pads and/or his trusty typewriter, all while sitting at the living room table gazing out a picture window at the mountains in the distance. When Danko, Hudson and Manuel arose at around 11 am, he would make another pot of coffee for the boys and the arriving Robertson. They would then head down to the basement and try out the new songs just written by Dylan or fool with covers of old traditional chestnuts like “Kickin’ My Dog Around.” Keyboardist Hudson engineered the recordings using two stereo mixers and a tape recorder borrowed from Dylan’s manager and microphones on loan from folk trio Peter, Paul and Mary. The magic was committed to reel upon reel of 1/4” Scotch or Shamrock tape.
In the late afternoon, the two coupled guys, Dylan and Robertson, would head home. The remaining trio would then either head into the town of Woodstock to party or bring the party home. The routine with Dylan reportedly went on from May – October 1967. Eventually drummer Levon Helm would return from the South and move in and the band would continue to work at Big Pink through January 1968, crafting and polishing the songs that would appear on the debut album named in honor of their home/studio.
Some of the 30 new Dylan originals recorded would first see light of day on a 14-song demo tape. It was circulated in October 1967 by his publishing company, Dwarf Music, to hopefully generate income from covers by other artists. They included some of the most celebrated songs of his career including “I Shall Be Released,” “This Wheel’s on Fire” co-written by Danko, “Quinn the Eskimo (The Mighty Quinn),” “Tears of Rage” co-written with Manuel and “You Ain’t Goin’ Nowhere.” Seven of these unreleased versions were included on the double-disc The Great White Wonder, the first rock bootleg album illegally issued in July 1969. Some of these would ultimately end up on the first official release, 1975’s oft maligned The Basement Tapes on Columbia Records. Note that the cramped basement in the album’s cover photo is not Big Pink at all; it’s from a YMCA in Los Angeles. And some of the tracks featured are not from Big Pink or are The Band recordings sans Dylan.
photo by William A. Loeb
The story of how the LaSalas came to own Big Pink is rather traditional, one reflected in the great migration to the Hudson Valley we see taking place today in Covid-19 times.
“After almost a decade working in the music business in San Francisco, we moved back East and rented a placed in Westchester to help with my family’s real estate management business,” says Don LaSala. “Suburbia was a real culture shock. My wife grew up in the Northern Adirondacks and I had been coming up here a lot in the 1980s, when I was working as a live production manager for NRBQ, most of whom lived right in Saugerties. We always loved their area and hoped to one day, maybe, get a place here, but that was still a distant dream.”
One day, a friend in Woodstock, Mike Densmore, called me up and said there’s a tiny ad in the local classifieds saying — ‘Famous Rock-n-Roll House for Sale by Owner’. We thought, ‘What the hell? Why don’t we just take a look at it to see what it’s like inside?’ We were just curious like fans are today. But we weren’t really looking at the time and, in our wildest fantasies, we didn’t think we’d ever come to own it.
Don LaSala
LaSala, who is also a guitarist/songwriter, hit it off with the bass playing owner, Mike Amitan, who urged him to consider buying it, even though he didn’t think he could muster the $149,000 asking price. Two weeks later, the New York Times ran a huge story saying that the house had been sold to a consortium of investors. But this deal and several others would fall through before LaSala raised the funds and closed on the house in April 1998.
photo by William A. Loeb
From 1998 – 2014, Big Pink was the LaSala’s primary residence thought they spent part of each week at their downstate rental working for the family business. Its fabled basement became the clubhouse where band Don plays in, The Hooligan Band, would write, rehearse and record, just like Dylan and The Band. Playing together since 1978, The Hooligan Band have released two albums recorded in the famous basement, including Basement Hooligan – Live Recordings ’08 & ’10 and Hooligan in the Pink. LaSala has also released a handful of solo offerings recorded at Big Pink including 2011’s Home Brew. It has also continued to be the site of Big Pink Socials, where LaSala and other local musicians like Robin the Hammer, Julia Nichols, Avalon Peacock, Justin Love, Denise Parent and The Hooligans would party, play and record.
“At the time we bought Big Pink, Dylan was pretty much out of the public eye,” continues LaSala. “He was coming off his religious period, Dylan and the Dead, his acoustic albums and he hadn’t quite hit his renaissance with Time Out of Mind.”
With the critical mass of Internet connectivity in the early 2000s, more and more people started finding their way up the ¼ mile dirt road from Stoll Road in West Saugerties to Big Pink. Fans themselves, the LaSalas were always gracious when encountering visitors, sharing trivia and letting them take a few exterior photos.
photo by William A. Loeb
But the real explosion of interest came with the 2014 release of The Bootleg Series Vol. 11: The Basement Tapes Complete, a lush box set containing 138 tracks, 117 previously unissued, from Dylan and The Band’s 1967 home recordings, the vast majority from Big Pink. This was followed by The New Basement Tapes, a British-American supergroup including My Morning Jacket’s Jim James, Elvis Costello, Marcus Mumford, Taylor Goldsmith of Dawes and Rhiannon Giddens put together by producer T Bone Burnett. Also in 2014, the group recorded Lost on the River: The New Basement Tapes, an album of tunes based on newly uncovered lyrics handwritten by Bob Dylan in 1967 during his period at Big Pink. The collaboration was chronicled in the documentary Lost Songs: The Basement Tapes Continued. This included reenactments with young actors of Dylan and The Band’s at work filmed right in Big Pink’s basement.
These events drew more fans and many reporters to the site. This included a Rolling Stone Magazine video crew who documented The Band’s keyboard wizard Garth Hudson’s emotional return to the house after 47 years.
This renewed spotlight coincided with the emergence of vacation rental sites like AirBnB and VRBO. By that time, the LaSala’s lived at another home in Woodstock, but Don continued to use Big Pink as his musical space and hang.
“Over the years, I learned I couldn’t stop the fans, so I decided I might as well just let them have it,” laughs LaSala. “Owning this place, I always wanted to do justice to the history – to the fans who love this place and have a deep emotional connection to the creativity that unfolded here.”
Practicality was also an issue. “It cost a good deal to maintain this old house,” continues LaSala. “Even though we endeavored to keep it unchanged, there were still many costs like putting in a new heating and cooling system, roof and, of course, yearly property taxes. But we wanted to stay true to the legacy and not do something tacky for the almighty dollar.”
The LaSalas started slowly opening up Big Pink to guests in 2015. “It’s sort of an unofficial artists’ residency in my mind,” adds LaSala. “People come here from all over the world. The majority seem to be creatives – musicians, painters, photographers and writers who want to have the kind of creative meditation, the productive retreat it provided for The Band and Dylan. Many are older folks who grew up on the music. But increasingly it’s drawing younger people, ones for whom the music created here is a requisite listening experience.”
“With three bedrooms and two baths, the place can comfortably accommodate 5 – 6 people,” observes LaSala. “So, groups are using it for reunions, to bring together friends, family and creative collaborators from faraway places. It’s not only about the house itself, but the nature surrounding it – the peace and creativity that springs forth from the solitude and raw natural beauty. Many come here to write, paint, and like Dylan and The Band, make music.”
photo by William A. Loeb
The LaSalas recommend a minimum three-night stay though some visitors stay longer. The wicked Woodstock winters mean that Big Pink is only available from mid-April to early November, on dates when LaSala and company are not making music. Full details, including videos and photos, can be found at their rental site on VRBO.
Visitors have free rein of Big Pink’s upper levels and outer patio but not, strictly speaking, the famous basement.
“It’s my private rehearsal space with own gear, so guests just can’t come and go as they please and everyone seems to understand this,” adds LaSala. “What I will do is schedule a time to give an informal tour, where I tell them the full story of Big Pink and all the creative magic that happened here. To keep people focused on the present, I discourage them taking too many photos. It’s something I even do with my friends at my Big Pink Socials. I want them to stay in the present moment, and to have this Big Pink experience live in their memories and imaginations.”
photo by William A. Loeb
The fans who have found their way to Big Pink have shared some amazing new info with LaSala; some verified, some not.
“It’s known that George Harrison visited here when he came to Woodstock and stayed with Dylan at his place in Byrdcliffe, Woodstock’s famous art colony,” recalls LaSala. “It’s also believed that he brought Eric Clapton here too. According to one British expert who visited, it’s believed George played The Band and Bob some songs he wanted to run by the Beatles like ‘While My Guitar Gently Weeps’ and ‘All Things Must Pass.’ And that, that another time, he and Eric rehearsed in the basement and played an early version of ‘Badge.’ In both cases, they were running them by Dylan and The Band to see if they were any good! Like Big Pink itself, these are misty legends that really spark your imagination.”
With the emergence of Covid-19 in March 2020, the LaSalas suspended their rentals until Spring 2021. Since then, they have taken all the necessary precautions, even installing a pricey air filtration system.
With winter coming in, Big Pink will just have to live in your imagination at least until next Spring, when the LaSalas plan on opening its doors once again to discerning and respectful visitors.
“Until that time,” concludes LaSala with a Dylanesque quip and smile, “I’ll be in the basement mixing up the medicine, medicine of the musical kind, of course!
