The holidays are upon us, and that means time once again for Jam for Tots! Since 2014, Jam for Tots has been held across New York State and the Northeast, bringing live music fans together to support those most in need in their local communities.
At 10 venues around New York State, fans are encouraged to bring an unwrapped toy for a child (under 13) and drop the toy off in the box. These toys will be brought to local charities within the venue’s community, to ensure that these toys brighten the day of children within the local area.
Things kick off this week at Lark Hall with The Last Waltz, on Wednesday, November 23rd. The second annual Last Waltz on Lark Street will feature local musicians, including Brian Bean (bass and vocals), Mike Coleman (bass), Tom O’Connor (guitar and vocals), Rick Rothermel (keyboards and vocals), Sarah Sheppeck (vocals), Joe Sorbero (drums and vocals) and Jeremy Walz (guitar and vocals). And, in the true spirit of The Band, Levon Helm and The Last Waltz, the band will joined by special guests throughout the evening.
Then on Saturday, November 26, eberwine and Quantum Cosmic will be at Putnam Place, with a night full of special guests in store.
See below for the full lineup of Jam for Tots shows across New York State (alphabetical order)
On Saturday, November 19, Goose and Trey Anastasio Band concluded their eight-show fall tour of the Northeast. The arena tour began in Portland, ME on November 9th, followed by performances in Lowell, MA, Uncasville, CT (at the Mohegan Sun Casino where Goose played their first arena show in February 2021), Glens Falls, Moon, PA, Fairfax, VA, and Syracuse. Endearingly referred to as “TABoose” over the past few months, the bands co-headlined the tour and sold out each of the nights, with each night of the run consisting of two 90+ minute sets of music opening with Goose and concluding the night with TAB, with various sit-ins throughout each of the bands’ performances.
Throughout the tour, both Peter Anspatch from Goose and Anastasio have expressed to the audience how grateful they were for the fall run and how much fun they have been having working, rehearsing, and chatting while on tour. Palpably so, fans have stated how much they’ve seen the tour has rubbed off on both the young indie-groove band and the veterans of the jam band scene.
Just after 7:30pm sharp, Goose took the stage, greeted with booming applause. The Connecticut-based five-piece began their set with “Flodown.” Referred to by fans as the “Flopener,” the jam’s introductory train-beat from drummer, Ben Atkind kicked the crowd into a barn dance style frenzy while guitarist, Rick Mitarotonda and keyboardist Anspach being to play around with space and chaos to pump the room’s energy to 11. As Goose’s skill and performance have evolved over the years, their older songs continue to grow and expand in composition. An example of this can be seen in the beginning of the “Flowdown” from the 2021 album, Shenanigans Nite Club. However the twisty angelic tones of the band’s 2022 Dripfield album could be heard in this performance tonight.
Goose continued the set with “Pancakes,” whose mysterious drum-beat and feedback are combined with fun audience participation clapping along with Peter Anspach. The punchy jam originating from Peter’s previous band, Great Blue, was filled with wailing overdrive from Rick while Anspach exercised his piano and organ playing skills. Rumblings from bassist Trevor Weekz provided subtle foreshadowing to the evil peaks and valleys at the end of the jam until the band’s speedy timing and turnaround at the end of the song.
To cool down the hot and bothered audience from the “Pancakes” jam, Goose provided a breezy rendition of their song “Turned Clouds,” a first time play on the tour. While the song’s back-end jam always provides fun vibes, the crowd was met with an extra flair from Trevor’s slap bass which built up intense tension and release to send the “Turned Clouds” sky high.
Next, the crowd at Santander Arena saw “Dripfield,” summoned by the usual entrancing synth from Peter, digital drumbeat kicked in by percussionist Jeff Arevalo, and mystifying beams of purple and green light from Andrew Goedde. The song’s eight-note trade-off between Rick and Peter on guitar pumped the energy through the crowd until the toms from Ben’s kit kicked in and sent the drip into an extremely primal sounding jam. Rick channeled the energy through his hollow body PRS sending commanding growls over the controlled chaos composed by the Connecticut quintet.
After this stunning performance, Peter took a moment to thank the fans, the 77-person crew working to get everything in place for the shows, and of course Trey for all the fun they have been having on the tour. With that, Peter welcomed Trey on to the stage and the group began the Vasudo original, “Rockdale.” Rick and Trey harmonized the opening notes of “Rockdale” in a style reminiscent of the Allman Brothers style. As the main jam began to take form both Rick and Trey dove into low frequency distortions creating a comfortable valley for the two to later shoot off. Rick began to wail as Trey filled the space with expression before the two wove through each other’s soloing in complimentary form. The rest of the band held down intense space and rhythm with Trevor Weeks holding it down on bass, Jeff and Ben shredding high hats and snares, and Anspach on organ.
With the energy up, the honking and hollering fans were then treated to a bustout of “Elmeg the Wise,” which this author would describe as peak Goose. The enchanting hymn, written by Mitarotonda, describes a being on a path searching for wisdom and inspiration. As the song punched into the jam, the band’s enchantment of the crowd quickly lit up.
To cap off the set, the band welcomed the TAB horns players, James Casey, Natalie Cressman, and Jennifer Hartswick to the stage shortly before Rick tore into the opening notes to the fan favorite, “Hot Tea.” In its studio debut on Dripfield, the classic jam was paired with horns for the first time. With seasoned trumpet, trombone, and saxophone players on stage, the crowd was in for a raging tea party and received nothing short of it.
Goose Setlist:: Flodown[1], Pancakes, Turned Clouds, Dripfield, Rockdale[2], Elmeg The Wise[2], Hot Tea[3][1] Flopener. [2] With Trey Anastasio on guitar. [3] With Trey Anastasio on guitar, James Casey on saxophone, Jennifer Hartswick on trumpet, and Natalie Cressman on trombone.
The Trey Anastasio Band graced the stage for the final time of the tour and was greeted by the sold out crowd with eruptions of warm applause and cheers. The love and reception of Trey in the arena felt like an entire crowd welcoming their rock star father to melt faces.
The set began with “Push on Til the Day,” whose bouncy rhythm kept Trey hopping and bopping around the quick and concise composition. Things cooled things down with “Love is What We Are,” a fun reggae half-time beat was adorably paired with percussionist Cyro Baptista playing a small bow and arrow to appear as a bearded, can-jingling Cupid.
To fire things up again the band erupted into “Mozambique” with a jazzy salsa style that kept the crowd moving as Trey ran back and forth across the stage. “Cayman Review” came next followed by an incredibly funky “Camel Walk.” Bassist Dezron Douglas kept everything locked in place as keyboardist Ray Paczkowski revved up his organ. Trey took this as a queue to glide through a solo which was met at the end with a palpably strong call and response jam between saxophonist James Casey and the rest of the band.
“Twist” had a fun jam paired with some high kicks and “woo’s” from Trey, who showed off a fair amount of his looping skills that he has grown partial to over the last couple of years. “No Man in No Man’s Land” kept the night moving with tight and concise horns and on-the-dime turnarounds. The jam concluded with a drum and space style solo from Cyro and drummer Russ Lawton.
“Life Beyond a Dream” captivated the crowd next with harmonic crescendos from the horn/vocal section. “Dark and Down” was a highlight of the TAB set with its intense vibe and composition. Trey’s soulful solo raised the hearts of the crowd and left the room speechless before its eruption of applause.
While waiting for Mitarotonda and Anspach to join the stage on guitar and keys, Cyro treated the crowd to a spacey jam consisting of Vargan playing and voice modulated poetry. Rick and Peter sat in for “Ghost” where the jam sent the crowd once again into overdrive. While waiting for Trey’s fried amp to be fixed, Peter shared some words that he heard from Trey at one of his first Phish shows. Anspach recounted that Trey asked the crowd, “Hey, any youngsters out there? This is a pretty good job!” With that Peter encouraged the young people of the crowd to pursue music if their passions lie there.
“Hey Stranger” and “Everything’s Right” brought joy and whimsy to the crowd as the night neared the end. For the last song of the set, the rest of Goose rejoined the stage for “First Tube,” where Dezron and Trevor wove through heavy basslines together and brought even more energy. A disco ball at the top of the stage canopy shone throughout the arena while the rhythm section turned around and played to the crowd behind the stage.
Both bands came to the stage for the encore and ripped into a beloved slow version of the Phish jam, “Llama,” whose final lyric, ‘Taboot’ was appropriately changed to ‘Taboose’ for the night. The slow and melodic “Show of Life” came next and as Trey ended the song and thanked all the band members and crew, Trey said, “We don’t want the party to end. So I say keep the fuckin’ party going!” With this, the group punched into “Party Time” which ended with a New Orleans-Style parade walk off guided by Cyro’s whistle and the TAB horns.
Trey will be back with Phish for their NYE run at Madison Square Garden over December 28-31. Goose is scheduled to play two nights at 1stBank Arena in Broomfield, CO for two nights of their Annual Goosemas show on December 16-17, with other scheduled Goose events at the Fox Theater in Boulder on December 18, two nights of New Years Eve at the Brady Music Center in Cincinnati, and five nights at the Capitol Theatre in Port Chester from March 8-12.
Trey Anastasio Band Setlist: Push On ‘Til the Day, Love Is What We Are, Mozambique, Cayman Review, Camel Walk, Twist, No Men In No Man’s Land, A Life Beyond The Dream, …And Flew Away, Dark and Down, Ghost [1], Hey Stranger [1], Everything’s Right[1], First Tube [2]
Encore: Llama [3], Show of Life [4], Party Time [5]
[1] Rick Mitarotonda on guitar and Peter Anspach on keys. [2] Rick Mitarotonda on guitar, Peter Anspach on keys, Trevor Weekz on bass, and Jeff Arevalo and Ben Atkind on percussion. [3] Rick Mitarotonda on guitar, Peter Anspach on keys, and Jeff Arevalo, Ben Atkind, and Trevor Weekz on percussion; performed in an alternate arrangement. Final lyric changed to “Taboose.” [4] Rick Mitarotonda on guitar, Peter Anspach on keys, and Jeff Arevalo, Ben Atkind, and Trevor Weekz on percussion. [5] Rick Mitarotonda on guitar, Peter Anspach on keys and vocals, and Jeff Arevalo, Ben Atkind, and Trevor Weekz on percussion. Ended with the horns and everyone else on percussion playing as everyone walked off stage.
Billy Bragg, the English singer, songwriter and left-wing activist, blends folk, punk and protest music with lyrics that address political and romantic themese. Forming the punk rock band Riff Raff in 1977 and touring London pubs and venues, the band did not receive wide exposure from singles that were released, leading Bragg to become disillusioned with his music career. In 1981 he joined the British Army but after three months, bought his way out of the army for £175 and returned home, having never served in a regiment as a soldier. From there, Bragg made music his career.
For more than three decades since, Billy Bragg has had milestones including topping the singles chart, having a street named after him, delivering a seminar on accountability at the Bank of England and meeting the Queen. RadioRadioX interviewed Billy Bragg ahead of his performance at Troy Savings Bank Music Hall on October 12.
RadioRadioX: It’s very nice to be talking with you. How have you been?
Billy Bragg: Not too bad and you?
RRX: Things have been weird but okay.
BB: Things have been weird here as well.
RRX: So, you’re in the UK right now?
BB: I am indeed and you’re in Troy?
RRX: Close to Troy, I’m actually right across the bridge.
BB: That’ll do for me.
RRX: So, you’re coming to the Troy Savings Bank Music Hall on October 11th with Alice Phoebe Lou as the supporting act. We’re excited to have you. And this is a US/Canada tour that you’re kicking off. Are you excited about that?
BB: I am, I’ve never been to Troy before. It’ll be a first time for me. I’m looking forward to having a stroll around between sound check and the gig to see the place.
RRX: It’s an interesting historical theater, going back in time. This is a place where Ella Fitzgerald would’ve been standing on that stage.
BB: I love those kinds of gigs. We have some in London where Charlie Chaplin and the Marx Brothers performed, you know, old theaters. I always love playing in those places.
RRX: Traveling wasn’t so easy back then.
BB: That’s true. I think they probably relied on the railroad a lot more than we do.
RRX: Absolutely. You’ve been described as a singer/songwriter and activist. I’ve got to address it and it’s big news. How does the queen’s passing affect someone like you?
BB: It’s very strange. On an emotional level I’ve found it has affected me quite a bit because my parents, like the queen, were both born in the 1920’s. They both passed away now but with the queen dying it’s kind of the end of their presence in our lives, that generation. They’re not just any generation, they are the generation that lived through the second world war. It’s a generation that rebuilt our country, quite an important generation. She was like the final representative, who was still in our national life and whose role in the war still resonated. So, on one level, I feel it, I really feel it and on the other side there’s the legacy of the British Empire and the role the monarchy plays in our society, that really we should be able to question. You know? King Charles will be crowned next year with a crown that most of the jewels on it have been stolen from someone.
RRX: Right.
BB: But I can tell you right now that we won’t be able to have a discussion about that. It’s unfortunate because there’s probably not a better time before they’re putting the damn thing on his head. So, it’s not just a single feeling. I posted something about this on Facebook and a lot of people are having similar feelings. Feelings of sense of loss but also a need for reform, to talk about the way the modern monarchy is in our lives and to deal with the legacy of the British Empire. That discussion is like the legacy of slavery in the United States of America.
RRX: Sure.
BB: There are people that refuse to recognize what effect it’s had on our society. Increasingly there are people who want to discuss that legacy and I’m hoping that the change, the death of the queen will allow us to begin that discussion. It’s going to be a painful discussion but equally it’s one that we really need to have if we want to be able to live in the diverse society that we are. There are so many people in our country, particularly people of color because their parents were part of the British Empire, they came that way. The other weird thing is that the death of the queen has ramifications beyond our borders. These are very interesting historical times but at the moment we’re all a bit amazed it’s come to this because we’re so used to her being there. It would be like if Dwight Eisenhower was still president of the United States or still around and turned up on your TV every Christmas and said a few words about the world. It would be very weird if suddenly he wasn’t there. So, a mixture of feelings really, Rob.
RRX: Couldn’t have said it better. So obviously you’ve got this tour coming up, anything else on the horizon for you?
BB: Yeah, next year will be the 40th anniversary of my first album. So, I’m currently knee-deep in my archives pulling together tracks for that. 2024 will be the 40th anniversary of my first visit to the United States of America. The changes I’ve seen in that time are just incredible. When I first came over I opened for Echo and the Bunnymen.
RRX: That’s cool.
BB: It was cool. It was amazing. I just sat on the back of their bus, and we drove around East Coast lakes, New Orleans, Texas, it was incredible. There were places we went on that tour that I’ve never been able to find again. That’s why it’s going to be interesting coming to Troy because I don’t know anything about Troy. When I came for the first time to North America it was all new. A couple of years ago I did a tour with a new pedal steel player (CJ Hillman), all of his life he’s been obsessed with America, but he’s never been there. It was so great touring with him because everything was new to him. We ended up somewhere in Arizona, I can’t remember exactly where it was now, but we had a day off. He and I went walking off to find a record store, of course.
RRX: Of course.
BB: We stood at this traffic light and a guy pulled up on a big motor bike, it might have been a Harley and he had flip flops and shorts on and that was about it. CJ said to me, “Bill, the thing about America is it’s just so American, isn’t it?” I’m now working on avoiding the part of America that I hate the most… that of course is the airports.
RRX: (Laughs) Yeah, no kidding, they’re terrible.
BB: Buffalo I haven’t been there since 1985 with R.E.M., so I’m looking forward to that. I’m just trying to keep it interesting. It’s a job like anything else. I don’t want your readers to imagine I’m living some kind of fabulous rockstar lifestyle. It is a schlep, even in England it’s a schlep. Someone once said they pay me for the travel, I do the gigs for free. So, cutting that (airports) out, not just for my benefit but for the environment as well, means that there will be more visits to places like Troy. Places I’ve never been or haven’t been for a long time, keeps it interesting for me.
Back in October, for seven straight nights, in seven different venues around Rochester, over 90 different artists from near and very far, became a part of the first ever Rochester Experimental Week. The quasi-festival was put on by promoter Eclectic Overdrive, a relative newcomer to the area’s scene.
Bonnie Kane and Tracy Lisk, photo by Raimund Selke-Fisher
Each night was jam-packed with quick hit sets from an eclectic group of musicians. Experimental music is an expansive and open descriptor for music. As such, styles ranged widely, from heavy and in-your-face, to quiet and reserved. But everything left of left-of-center. It was incredible free-form and incredibly, all free of charge. And nearly every venue was able to maintain all ages shows, a free for all that was quite literally free for all.
Nick Gianni & Reggie Sylvester, photo by Raimund Selke-Fisher
The week filled some of the more unique music spaces around town, like the Bug Jar, UUU Art Collective, the Spirit Room, Rosen Krown and 75 Stutson. Some nights stretched all the way into the mornings, Saturday’s schedule finished at 4am! NYS Music was in attendance for night five, at the budding creative space and music venue Dutch, a small old church off of Main Street bordering the Neighborhood of the Arts.
The centerpiece for the evening was Japanese percussionist Tatsuya Nakatani’s Gong Orchestra. Employing fifteen volunteer gong-ists from the area to follow his instructions and direction, Nakatani presented an exhilarating near-hour of non-stop gonging. Through bowing on the gongs’ edges and hitting them with various mallets, the Gong Orchestra pushed the gong’s sound to it’s limit. With every sound multiplied by fifteen it was about as loud and absorbing as un-amplified music can get. Any film makers out there looking for a soundtrack for their mysterious and eery project (thinking Midsommar, Dark etc), give Nakatani a ring, this sound is perfect.
Nakatani Gong Orchestra, photo by Raimund Selke-Fisher
Nakatani followed that up with a solo set, employing his unique kit, of course including a couple of gongs, and his unique playing. Unlike anything most have heard coming from a percussionist previously, and that was the core of the theme for the night, and week. The evening at Dutch also included a short set from Bonnie Kane (saxophone, flute, electronics) and Tracy Lisk (drums) improvising on what could best be described as avant-garde jazz. Another duo, Nick Gianni (saxophone, keys) and Reggie Sylvester (drums) similarly improvised around the outer edges of jazz with Sylvester interspersing some spoken word, with a vague running theme about the pandemic.
Tatsuya Nakatani, photo by Raimund Selke-Fisher
The week’s experiments were as much on stage as they were off. Rochester music lovers came out in strong support, ready to lend an open mind and open ears to widen their net of musical experiences. The question being asked wasn’t “What is experimental music?” it was simply “What is music?” It isn’t clear if Rochester was left with more questions or answers. Either way, Eclectic Overdrive will continue to give the artists a time and a place to run their various experiments. Next year’s Rochester Experimental Week II is already set and in the planning stages, see you in 2023, October 9-16!
For the penultimate stop on Trey Anastasio Band and Goose’s fall tour, the two bands took over War Memorial Arena in Syracuse. Over two sets, both groups showed their comfort level in the arena setting and playing with each other that they have gained over the tour so far.
Goose began their set with “Slow Ready”, easing in with the sultry synth-drenched songs. Eagle-eyed fans may have noticed a change in guitarist Rick Mitarotonda’s amp setup – instead of the Mesa Boogie Express 5:50 we are used to seeing behind him, last night in Syracuse he used a setup not unlike Trey’s classic Mesa Boogie III and a 2×12 wooden cabinet.
Ripping into “Jive I” next, the first of the Jive triptych to make an appearance this tour saw Mitarotonda and multi-instrumentalist Peter Anspach trading licks over a hot intro jam ahead of a strong take on the song. “Jive Lee” offered just under ten minutes of solid improv, bassist Trevor Weekz laying down a foundation for Anspach and Mitarotonda to work over.
“Bob Don” came next – an apt performance possibly in honour of the release of EP Undecided yesterday, a surprise drop of four songs recorded during the Dripfield sessions in 2021. “Bob Don” is included on this release, though under the song’s original name “Undecided”. Last night’s version featured the extended outro jam beloved by fans – Anspach’s gentle piano and percussionist Jeff Arevalo’s contributions accentuate the laid-back groove.
A surprise performance of fan-favourite “Factory Fiction” continued the set – the song’s shortest gap ever at just three shows. After a dissonant jam that led to a blazing peak, Goose invited Trey on stage to help close out the set. Starting the sit-in with the highly anticipated “Madhuvan” (or Madhuvanastasio, as it has been called), Anastasio added perfectly to the song, throwing in little riffs and accents as Mitarotonda sang his way through.
Beginning the jam in a spacey motif, Anspach laid some vibraphone-infused piano down as the two guitarists explored the terrain. Starting up a descending progression on piano that the rest of the band quickly locked in to, Anastasio led the way through a major-key section as Mitarotonda joined in for some spot-on harmonization work. Insistent playing from drummer Ben Atkind gradually increased the pace and intensity as the peak drew closer. Locking in on some twin sustain action, the dual-guitar attack shredded the classic Goose jam vehicle to pieces before quieting down into some tension/release runs. Undeniably the improvisational highlight of the night
Bringing out TAB drummer Russ Lawton to help close the set, Goose brought out the catchy “Animal”. With one show remaining, the quintet has proved beyond a doubt that they are up to the arena-size sound.
Goose Setlist: Push On ‘Til the Day, Love Is What We Are, Mozambique, Cayman Review, Camel Walk, Twist, No Men in No Man’s Land, A Life Beyond The Dream, …And Flew Away, Dark And Down, Ghost[1], Hey Stranger[1], Everything’s Right[1], First Tube[2]
Encore: Llama[3], Show of Life[4], Party Time[4]
Coach’s Notes: [1] With Rick on guitar and Peter on keys. [2] With Rick on guitar, Peter on keys, Trevor on bass, and Spuds and Jeff on percussion. [3] Performed in a slow funk style. With Rick on guitar, Peter on keys, and Trevor, Spuds, and Jeff on percussion. [4] With Rick on guitar, Peter on keys, and Trevor, Spuds, and Jeff on percussion.
Before TAB began their set, Trey took a moment to note that percussionst Cyro Baptista would be absent from last night’s concert – an emergency health issue had popped up before showtime. Dedicating the opening “I Never Needed You Like This Before” to the absent percussionist, Trey immediately began stretching his legs improvisationally more than he has all tour with TAB.
The patience and more extended takes on songs continued through “Blaze On” and “Wolfman’s Brother”, seeing Trey leading jams yet also weaving melodies with keyboardist Ray Paczkowski.
“Blazing Down the Twisted Wire” from 2022’s Mercy offered an uptempo breather ahead of “Sand” – bassist Dezron Douglas digging into the song’s signature riff as Trey once again stretched the song slightly beyond its normal length. The peppy “Shine” came next before a deep and groovy “46 Days”. The Phish song saw the horn section departing the stage as Trey shredded over the moody groove. Paczkowski provided the perfect backdrop to the fretboard fireworks on organ and clav.
Numerous peaks later, Trey brought Mitarotonda and Anspach back on stage for an extended sit-in that began with the tour’s second “Mr. Completely”. Taking the first part of the jam to face off with Mitarotonda, Trey traded licks with the Goose guitarist before handing it off to Jen Hartswick on trumpet. Modulating into the typical solo section, trombonist Natalie “Chainsaw” Cressman stepped up next as we were treated to an extended solo where she and Trey faced off at centre stage. Anspach took a solo next, Paczkowski egging him on just like in Glens Falls earlier in the tour.
As the song drew to a close, Lawton and Douglas eased their way into the “Plasma” groove. Trey led the way on this jam, first on some eerie whammy pedal work and then switching on his various synth pedals for a more dissonant section. Paczkowski’s distorted organ perfectly suited the spacey and out-there jam, evolving in one of the most experimental TAB performances of the tour. The 10-piece band then delivered a hot “A Wave of Hope” to close the extended sit-in and set.
For the encore, Anspach and Mitarotonda returned to the stage for the tour’s first “Quantegy” and another blazing reading of “Money, Love and Change”, once more highlighting how locked in the two lead guitarists are to each other at this point in the tour.
With one more show left in TABoose tour, both bands are primed to deliver incredible performances in Reading, PA.
Set 1: I Never Needed You Like This Before, Blaze On, Wolfman’s Brother, Blazing Down the Twisted Wire, Sand, Shine, 46 Days, Mr. Completely [1] > Plasma[1] > A Wave of Hope[1]
Encore: Quantegy[1] > Money, Love and Change[1]
[1] Rick Mitarotonda on guitar and Peter Anspach on keys; setlist via Phish.net
The organization was formed in 2004, by educators and musicians who really, really have a passion for music. And they created it to preserve and celebrate Long Island’s musical heritage
Ernie Canadeo
Grand Opening
Joan Jett
The Hall of Fame will feature world-class displays and unique memorabilia that showcases Long Island’s rich and diverse musical and entertainment history. This past week Joan Jett’s classic Jaguar will be on display along with other donated memorabilia from Billy Joel, Twisted Sister, The Good Rats, Debbie Gibson, Blue Oyster Cult, and from the families and estates of Harry Chapin, Guy Lombardo, John Coltrand and so many more.
The Hall of Fame and Museum is open Wednesdays-Sundays from noon to 5pm. The first exhibit, created by world-renowned designer Kevin O’Callaghan, is titled “Long Island’s Legendary Club Scene – 1960’s-1980’s and is designed to be “a club crawl” through Long Island’s legendary 60’s, 70’s and 80’s club scene.
The Long Island Music & Entertainment Hall of Fame (LIMEHOF) is dedicated to preserve Long Island’s musical heritage for future generations. To date the organization has inducted more than 100 musicians and music industry executives and also offers educational programs, scholarships, and awards to Long Island Students and educators.
Besides supporting future musicians, Chairman Canadeo spoke to the healing power of music and how LIMEHOF will be partnering with one of their sponsors, Catholic Health Services:
We will be partnering on a program called Health and harmony next year, where we will be sending musicians and comedians and bold types of entertainers into senior centers into hospitals.
Ernie Canadeo
During the interview on The Long Island Sound podcast Erne and I both recognized the pent up need to reconnect with the community after the quarantine and Covid. There is great pride in being a Long Islander, and recognizing the wellspring of talent in the region. I invite you to review the List of over one hundred LIMEHOF Inductees over the past years, it’s quite remarkable.
Grand Opening in Stony Brook
Simon and Garfunkel (inducted 2008) and their song Homeward bound is so appropriate for the emotions surrounding this Grand Opening:
Home, where my thought’s escaping. Home, where my music’s playing. Home, where my love’s lie waiting, silently for me, silently for me.
Simon & Garfunkel
Everyone needs a place to call home. Now the musician and entertainment community with roots on Long Island have a place to call home in Stony Brook. With the rotation of new exhibits, the Hall of Fame is sure to attract musicians, students, educators and those headed homeward bound.
During this holiday season, let’s be generous with our joy, and let the music take us on a journey.
Each Sunday evening from 7-9 p.m. you’ll find EQXposure on WEQX, featuring two hours of local music from up-and-coming artists. Tune into WEQX.com this Sunday night to hear new music from No More Death Stars.
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
This week the new album .jpg by No More Death Stars will be played on EQXposure. The group comes out of Albany and is the creative brainchild of Kevin Cardinale, and a bunch of collaborators. They self-identify as a pop-punk collective, being compared to indie-punk contemporaries such as Jeff Rosenstock and AJJ.
The group reemerged this year to create their new album, which takes influence from Radiohead and Brian Wilson. It incorporates orchestral instrumentation composed by Cardinale and performed by newcomers Anthime Miller, Ben Burt, and Sam Mark.
The songs off the new album “Halloween 2008,” “Have you ever wondered if Osama Bin Laden has ever fallen in love?” and “Emotional Lint Roller” will be played on EQXposure.
Local to the Hudson Valley, Soul Blind released their newest alternative single “Feel It All Around” on November 11th. “Stuck In A Loop” leans into the band’s ‘90s alternative influences, flowing through rich guitar tones into an intoxicating breakdown.
As you listen through tracks like “Ain’t Hard To Tell” and “System (Failing),” it’s easy to see the juxtaposition of the environment the band grew up in bleeding into how they approach music. The songs serve as a pair centered around people sucking the life out of you, as “Ain’t Hard To Tell” takes the viewpoint of watching a person change into someone unlikable, “System (Failing)” finds one progressing past the relationship.
The band explains how inner struggles serve as a recurring theme throughout the album, this particular track feeds into the paranoia of the mind. “Imagine the visual of being stuck in a loop inside one’s thoughts due to a mental lapse onset by a drug induced night, and not knowing how to escape” vocalist Cen comments on the song’s lyrical content. “The ‘view’ is this other, brighter side that you can put yourself in, but the ‘glue’ has you stuck in a loop until you can get yourself out.”
Soul Blind is Cen (vocals/bass), Justin Sarica (guitar), Finn Lovell (guitar), and Steve Hurley (drums).
Much of Feel It All Around was written in Soul Blind’s hometown of Hudson Valley, NY, which the band describes as “a place of beauty within hopelessness of its people, where you find the richness between the despair.”
Alternative rock band Soul Blind pushes the boundaries of their genre with a rich collage of sounds and emotionally charged lyrics. Formed back in 2018, the band hit their stride in 2021 with the release of their critically acclaimed Third Chain EP. They have been praised for lush, distorted riffs and divine, whirling vocals, the band build on those elements on their upcoming full-length album, Feel It All Around.
To listen to Soul Blind releases and Feel It All Around, click the link here.
The punk cabaret duo The Dresden Dolls, created by Amanda Palmer and Brian Viglione in 2001, held nothing back deep in the woods of Woodstock for a three night run at The Colony from November 10th to November 12th. The best way to experience this band is up close and personal, which made the Colony the perfect place for their first live performances since 2018 in the UK, as the venue held roughly 150 people from the floor to the balcony.
Palmer, now 46, still performs like she is 25 at the start of The Dresden Dolls’ birth. Her raw energy and flawed flawlessness that she puts into any one of her performances is something that cannot be explained through words, it’s something that needs to be experienced. Her vocals are unmatched with a mix of melodic sounds and scream-singing and her skills on the piano complement that so well. She is one of the most passionate artists out there and is a sight to behold. Her passion is so strong that it spills out from her voice into her piano and every single move she makes. She breathes a new breath into every single performance.
Viglione on the drums, back-up vocals, bass, electric and acoustic guitar complements that beautifully. He matches her energy and that brings every performance from a 10 to a 20. The things he can create, on the drums especially, is an artform all by itself. The two clad in cabaret styled clothes and mime-like face paint created an experience for the audience that is part rage, part beautiful storytelling, with a little bit of everything mixed in. Everything includes a cover of “Fight For Your Right” by The Beastie Boys where Amanda got up from her piano and took over the drums while Brian played guitar and guest bass player Manta joined in.
The performance overall was a mash up of high-energy rage-filled songs like “Girl Anachronism” and some lower-energy ballads. This included their song “Delilah” which was accompanied by a newer artist named Veronica Swift who’s vocals were out of this world. It was truly show-stopping.
The performance and the reaction of the audience breathed new air into The Dresden Dolls and if you’re lucky enough to score a ticket to any one of there other performances, GO. Long live the Punk Cabaret.
Setlist: Good Day, Sex Changes, Gravity, Bad Habit, Backstabber, Modern Moonlight, My Alcoholic Friends, Missed Me, Mrs. O, Astronaut, Delilah (with Veronica Swift), Gardener, Ultima, Fight For Your Right, Amsterdam, Mandy Goes To Med School, Coin Operated Boy, War Pigs, Half Jack, Girl Anachronism
Encore: Truce, Sing
Amanda Palmer and Brian Viglione rocking out Colony. Photo by Samantha Rychlicki
Bob Riley is a singer extraordinaire, in more than one groundbreaking hardcore band, blazing a smoke strewn trail from Troycore to New York Hardcore. He’s fury and force, and a guy who sits down with his morning coffee and enjoys the peace of Motown with the waking dawn.
One of the enduring mysteries of music, all art really, is that the performer exists and the person exists, and if you didn’t know both of them, you might not guess one would inhabit the same flesh and bone of the other. Art gives people a chance to step out of the confines of who they are, who an orderly society needs them to be, and become who they need themselves to be, and in that transformation, a little magic escapes to the crowd.
RadioRadioX: Murderer’s Row is the name of your band. It’s a historical term, coming from a bad section of the tombs in New York City, and also a fearsome section of the 1927 Yankees lineup with Ruth and Gehrig. Was there a tie or a nod back to the history of the phrase, or is the idea of a Murderer’s Row just universal?
Bob Riley: No, Murderers Row is definitely a nod at the Ruth, Gehrig Yankees lineup of 1927. The original lineup of Murderers Row would get together every Sunday to rehearse and watch the Yankees game. We would play during commercials. I suggested the name knowing it had been used here and there in the past but seeing as how we are Yankee fan New Yorkers and live three hours from the stadium that we would use it. Bring it home back to NY!
RRX: Murderer’s Row, by all accounts, would be considered Troycore. There’s a lot of sentiment surrounding all things Troy, and Troycore has a deep vein. But what does it mean? Is it a situation of everybody living in Troy, so a geography, or is it a unique sound, like Muscle Shoals or Chicago blues?
BR: There has always , long before me, an us vs them attitude with Troy people. South Troy against the World is an old saying long before my dad and his friends were using it. It most certainly stems from Troy having so many factories back in the day. The “Collar City”, as we are nicknamed, was and still is very working class. Also, the “Home of Uncle Sam” Working people are tough and proud and that’s Troy in a nutshell. It’s only natural that angry proud music is made by Troy people. We labeled ourselves “Troycore” to say, “Hey, we are the outcasts of the outcasts, and we are proud of it!” There’s some old school people who believe that the original five Troy bands Cranial Abuse, Dead End, Final Terror, Direct Attack and Rude Awakening was Troycore and that’s it period it’s over. I don’t agree at all. I love that these newer kids in bands are flying the Troycore banner keeping it alive!
RRX: You been down the long road with hardcore and punk. Cranial Abuse, Stigmata, Murderer’s Row and more that I don’t know, more that maybe no one except the people in the room knew about. You’re in a good band then you’re in a good band; you’re in three, then maybe it’s you who got something. What’s the secret to having something?
BR: I’ve been involved in music my whole life at this point. I love what I do and it shows. People can sense that, especially a live audience. You can’t fake it. I’m so happy and very lucky I have people who want to make music with me. I’m so happy I have people buying our music and coming to see us play. Music has given me so much it has gotten me around the world many times. And I’ve met so many great people. I love what I do so maybe it’s just as simple as that!
RRX: Hardcore gets a bum rap among the pleasant folks in the PTAs and the Homeowners’ Associations. Because those people listen to hardcore too. Violence and aggression, but people in the scene, people deep in the scene, including, have a pretty laid-back mindset. Is hardcore cathartic? If so, why do you think that is?
BR: It’s easy to see outsiders see hardcore metal or punk as negative because sometimes, well, it is. It’s many different things to many different people. Hardcore gives you that platform to complain about your bad day that jerk who cut you off or that crappy 9 to 5 job or worse. For me it was to get my anger and negativity out. Yell it, scream it, pound it out as loud and as angry as possible into people’s faces. So yes, aggressive music can be very cathartic.
RRX: You bring a ton of energy to the stage when you’re on it. And that; I can’t imagine its always easy. Do you have to prepare yourself, punch yourself in the face in front of the mirror backstage? Punch someone else in the face backstage? (kidding.) How do you go beyond just bringing a melody to the stage to bring a strong feeling?
BR: Thank you for the compliment but nowadays I do a lot of pointing. I was more energetic was I was younger. Jumping off the stage into the crowd. Fell off the Saratoga Winners stage so many times. And bashing my head off the beam above the drum riser so hard I saw stars. As I’ve gotten older, I put together Murderers Row because I wasn’t so angry anymore and I could use my humor in my lyrics. I also wrote a song for my daughter called “My Little Molly”. If there’s violence in an Murderer Row’s song, and there is, I compare it to Three Stooges violence. Nowadays, I’d rather laugh than fight.
RRX: Everybody thinks of match-ups. But let’s go a little weird. Instead of wishing you had such and such a person on drums, let’s say you could have a nameless drummer that is a master of one kind of fill. Can you give us that? Not people, but specific talents. What specific instrument talents would you want in a dream team?
BR: That’s a good question because I’ve made music with a lot of amazing musicians over the years people who played in big named bands. Machinehead, Possessed, Danzig, Biohazard, Cromags and even Glen Campbell. I’m going to mention some names and only those living. If I was to put together a heavy rock kinda band dream team for myself Phil Rudd: drums, Harley Flanagan: bass, Tom Warrior: rhythm guitar, Michael Schenker: lead guitar.
RRX: Here’s where you answer the question I didn’t ask. Comments or remarks? Hype and promo? Educate, enlighten, emote – the floor is yours.
BR: Keep making music, live hard, love hard, work smart, make mistakes but learn from them! Have fun always all ways! Thank you, Liam, and Xperience!
