Primus brought their “A Tribute To Kings” US Tour to Beak & Skiff Apple Orchards in Lafayette, Saturday, May 29th. This tour is especially fun because it is two separate sets, with the first one being strictly Primus and the second being Rush’s hit album A Fairwell to Kings.
Les Claypool is one of the greatest bass players and man did he slap at this concert. With smooth transitions and build ups, Primus performed 10 of some of their most fun and groovy songs on their first set. Starting off with a packed crowd chanting “Primus Sucks!”, Primus takes to the stage with the bassline of “Those Damned Blue-Collar Tweekers” which set the mood for the rest of the evening.
Primus flawlessly played through the first set, stopping a few times to talk to the audience as well as doing a quick costume change to wear a pig mask for the performance of “Lacquer Head”. Primus played fan favorites such as “Seas of Cheese”, “Spegetti Western”, and “Professor Nutbutter’s House of Treats” before closing out the first set with “Shake Hands With Beef”, leaving everyone wanting more.
The band took a 20-minute intermission before beginning their second set of Rush. Opening with “A Farewell to Kings” into “Xanadu” showcased Les Claypool’s guitar playing as well as his vocal range. Hearing him perform songs other than Primus was really interesting and put a different spin on the band which was fun to watch. Following up with “Closer to the Heart”, Les Claypool mentioned how difficult the vocals are to perform, and that Rush fans are typically very critical while bringing up his own admiration for Rush, and how they were his first concert. The crowd applauded and cheered showing their support and satisfaction of the performance. Closing out the Rush set with “Cinderella Man” into “Madrigal” and ending with “Cygnus X-1” the crowd was roaring in applause.
Primus wasn’t done yet though, and with an epic 4 song encore of “Wynona’s Big Brown Beaver” > “Welcome to This World” > “My Name is Mud” > “Jerry Was a Race Car Driver” the band closed out their show with the best possible songs they could have played. Seeing Primus is always an absolute treat, and this was no different here. The atmosphere at Beak & Skiff was incredible, the drinks were delicious, and the view was beautiful. Having Primus perform for over 2 hours was a fantastic experience, and one that will make me want to come back for more shows at Beak & Skiff.
Setlist: Those Damned Blue-Collar Tweekers > Lacquer Head > Seas of Cheese > Mr. Krinkle > Spegetti Western > Groundhog’s Day > Conspiranoia > Professor Nutterbutter’s House of Treats > Del Davis Tree Farm > Shake Hands With Beef.
Setlist 2(Rush A Tribute To Kings): A Farewell to Kings > Xanadu > Closer to the Heart > Cinderella Man > Madrigal > Cygnus X-1
Encore: Wynona’s Big Brown Beaver > Welcome to This World > My Name is Mud > Jerry Was a Race Car Driver
In the world of music, Disco may seem like a distant memory or something your parents reminisce about when they hear it on their local oldies radio station. While the genre enjoyed a short, but lively existence in the 1970’s, its impact can be seen in every corner of modern music, from Silk Sonic to Harry Styles. As we enter the month of June, let’s take a walk down memory lane to celebrate the life, death and rebirth of Disco.
PC : David Redfern
Born as a response to the rampant homophobia, racism and riots of the 60’s and early 70’s, Disco provided a safe space for POC and LGBTQ communities. Some sources say that Utica born DJ David Mancuso birthed the new sound during his Valentines Day party at The Loft in 1972 (The Loft was more than just a club, it was a gathering place for the city’s LGBTQ, where they could safely meet and dance with those just like them). Other sources say that the sound originated in underground clubs, also known as discotheques, in Philadelphia and NYC.
PC : Tim Lawrence
Regardless of its specific origin, Disco quickly gained popularity around the country. Donna Summer could do no wrong as tracks like ‘Hot Stuff’, ‘Last Dance’ and arguably the genre defining ‘I Feel Love’ topped charts week after week. The Bee Gees were practically inescapable as they reached a new heyday with songs like ‘Stayin Alive’, ‘More Than a Woman’ and ‘Night Fever’, all of which were featured on the “Saturday Night Fever” soundtrack. The 1977 movie featuring John Travolta would further catapult the group and Disco as a whole into another realm of superstardom.
Obvious acts from the era were joined by lesser remembered, but equally as talented performers, including Candi Staton, most known for 1977 release ‘Nights on Broadway’, Thelma Houston with her hit ‘Don’t Leave Me This Way’ and even the Bee Gees’ youngest brother, Andy Gibb with his song ‘I Just Want To Be Your Everything’.
Discotheques popped up in every city from Los Angeles to Manhattan, including world famous Studio 54 and one of its only worthy competitors, Club Xenon. Similar to Studio 54, Club Xenon was an intoxicating escape from reality, for everyday party goers and celebrities alike. Opened in June 1978 and once located on 124 West 43rd Street in Manhattan, Xenon welcomed some of the era’s biggest superstars, including Michael Jackson, Madonna and Mick Jagger. While living in Studio 54’s shadow, the club still had its own unique features including several adult “play” areas, electronic games and moving set pieces that would alternate throughout the night.
Elton John, Andy Warhol and Jerry Hall at Xenon, Late 70’s
Eventually closing their doors in 1984, Club Xenon seems to be a lost memory to those who were old enough to experience Disco at its peak. However, let us remember Xenon as not just another Studio 54 clone, but as a testament to the love people had for Disco and all it entailed. The dancing, camaraderie and love, as well as some casual drug use and other seedy club activities, were real world manifestations of the power Disco held and it shouldn’t be forgotten.
As with all oversaturated trends, the general public eventually grew tired of Disco. Following a quick, flashy peak was a swift and slightly dramatic fall from grace. Some cite Rick Dees’ ‘Disco Duck’ as their final straw while others resisted change and disliked the genre from the very start. The biggest display of hatred toward the genre occurred on July 12th, 1979 at an event called “Disco Demolition”. Joined by almost 50,000 disco haters, Disc Jockey Steve Dahl destroyed hundreds of Disco records in Chicago’s Comiskey Park.
PC : Paul Natkin
However, this event didn’t mark the end of Disco, it just pushed it back underground. From the ashes of Disco, rose House music, as well as the advancement of DJ techniques, independent music production and endless inspiration for generations to come. It popularized synthesizers, helped develop sound system technology and showcased the greatness that comes from some of our country’s most underrepresented groups.
The glitz, glamor and debauchery of the Disco era gave birth to many of the things we know and love today. Its influence can be heard in pop projects like Harry Styles’ latest release Harry’s House, as well as more obvious replications like Bruno Mars and Anderson Paak’s shimmering and funk laden, An Evening With Silk Sonic. From Doja Cat and Kylie Minogue to Dua Lipa and Daft Punk, the aesthetic and sonic appeal of Disco is hard to escape.
It would be easiest to say that Disco is an amalgamation of many subcultures and minority influences. It’s a genre built by and for those who have been discriminated against and disregarded by wider society. It was, and still is, an escape from suffering, stress and worry for all who dare to embrace it. Honestly, I think we could all use a little more Donna Summer in our lives.
Remember Jones has released a new single, “love will return” featuring The Horn Section.
The newest track promoting his new album HAHA BITCH! slated for July 8 release, features co-writing from Levy Okun and production from AGM3, a duo composed of Andrew Greacen and Max McKee.
Remember Jones and his band performing.
A simple dance pop song, “love will return” focuses on moving past personal hardship in aim of finding success and joy in the future with light, spacy verses contrasting loud, funky hooks. “Living in a bubble, it all seems like trouble, you just gotta think free,” Jones sings during the first pre-chorus.
Remember Jones’ vocal talents are on display with this track, flashing hints of Michael Jackson along the way.
The track’s premier source of flare comes from the aptly named Horn Section on well, horns. Their presence on the final two choruses amplifies the already funky song, only building its optimistic energy until reaching a conclusion.
“love will return” precedes a busy upcoming summer for Remember Jones. The release of HAHA BITCH! will also be supported by his first ever Summer Slay! Festival at the Stone Pony in Asbury Park, NJ on July 9. Also serving as a birthday celebration for Jones, a New Jersey native, it is one of many nationwide stops for his ongoing won’t you be my hater? TOUR.
Other acts of the festival include Quincy Mumford’s Lifted Laboratory, a long time collaborator with Jones, as well as Tor Miller, Zoe Sparks, and Levy Okun.
The event will be hosted by drag queens Jolina Jasmine, Miss Paradise of 2016 & 2021, as well as Tastie and Morrigan von Haunt, hosts of drag nights at Georgie’s Bar in Asbury Park. The three will also have performances of their own during the festival.
The event will include giveaways and audience-involved drag makeovers, and local restaurants Larry Cadillac & Mutiny BBQ will promote the festival with special menu items at their locations.
Aussie psych-mavens King Gizzard and the Lizard Wizard last played in Rochester almost exactly seven years ago, a half-full affair at the Bug Jar. Since then, they have put out an astounding 14 albums. In those same seven years, Water Street Music Hall, their venue of choice on their return to town Tuesday night, has been closed and opened under different names multiple times before finding it’s way back once again to Water Street Music Hall. This show sold out hours after going on sale and anticipation has been building ever since.
The line to get into the show stretched the full length of Water Street. Once inside, the sold-out crowd was bounding with potential energy, a powder keg waiting to be lit. Every test by every roadie for every instrument and every light and video screen was met with screams of excitement in the lead-up to the band’s arrival. “Gizzard” chants started, stopped, and started again.
Opening with “The Dripping Tap,” an 18 minute epic off of their just out Omnium Gatherum, the sextet quickly erupted into their frenetic guitar-heavy signature. The fireballs of energy shooting off the stage set the crowd afire. Everyone was bouncing off the floor, bouncing off each other and bouncing off the walls. It was kinetic.
A screen on stage displayed colorful and glitchy animations that perfectly matched the bonkers activity of the musicians in front of it. The wild off-kilter lyrics, the everything all at once onslaught of sound, spasms of motion and color. Senses were sated, the audience transported.
King Gizzard and the Lizard Wizard smashed jams from no less than nine of their 20 albums into two near non-stop hours of energetic rock. Songs flowed effortlessly in and out of each other. Guitars, bass, harmonica, keys, electronics, flute and whoops and screams wove a thick mesh of sound that blanketed the vast music hall. Drummer Michael Cavanagh inhumanly kept the pace throughout, a gong seeming to serve as a protective shield for most of the night until it was finally crashed in a late set “Straws in the Wind.”
The band and the crowd running on fumes, King Gizzard slammed on the accelerator one last time, closing out the night with one of their more recognizable and more frantic tunes, “Rattlesnake.” There was still enough left in the tank, the crowd revved the energy back up to a fever pitch one last time.
Water Street Music Hall has been an important piece of the Rochester live music scene for decades. From the show announcement to the final notes of the show, King Gizzard and the Lizard Wizard helped revive the venue to it’s former glory. A sellout show that won’t soon be forgotten.
NYC-based singer-songwriter Rachel Bard has released a new track, “The Buildings Are Fake,” her third song to be put on streaming services.
Having written it in 2018 after visiting Los Angeles as a first year film student, the track “is a heartbreak song about the City of Angels.”
Cover art for “The Buildings Are Fake.”
Produced by Brian McTear and Amy Morrissey, the song takes a stripped down garage rock approach. Almost Pixies-like it sets a nice quiet-loud contrast between its imagery-driven verses and disillusioned, anthemic choruses as the track builds towards a loud finish.
As for Bard’s vocal performance, comparisons that ring strongly include Nico and Dan Bejar of Destroyer. Her gloomy, vibrato-laden delivery faithfully match the song’s cynicism and rise to meet the track’s energy during louder moments.
In “The Buildings Are Fake,” Bard is quite visual in how she delivers her ideas. During the verses she muses about pushing “through crowds of teardrops and sunscreen” and “watching the stars all over the floor,” picturesquely reflecting the excited curiosity of a young film student.
It’s all for nought however. “The buildings are fake, and so is your job,” Bard shouts on the hook, comparing the glamorous facade of Los Angeles and the artificial nature of movie sets to that of a dishonest romantic partner, enforcing the track’s general sense of disappointment.
While Rachel Bard doesn’t stray from being artsy and metaphorical in “The Buildings Are Fake,” its message never fails to be clear. This air of let down and heartbreak is conveyed in full articulation over a solid slacker-rock backdrop, making for a fine new addition to Rachel Bard’s resume.
On Tuesday May 24th 2022, MVP arena in Albany hosted Knotfest Roadshow, featuring Slipknot and Cypress Hill with Ho99o9 (Horror) as the opening act. Slipknot is currently on leg two of their roadshow that runs until June 18th in the USA. Slipknot is an American heavy metal band formed in Des Moines, Iowa, in 1995. This show marked 12 years since the passing of their original bassist Paul Grey on May 24th 2010.
Large welcome sign inside the front doors of MVP Arena. Photo credit- Mike Miller
Slipknot played many of their hits including Wait and Bleed, Psychosocial, Duality and Spit it out. Throughout the show Slipknot used pyrotechnics, many flame throwers and use of special effect lighting that was blinding at times to people in the front. The crowd in the front rows could feel the heat radiating from the flames bursting in the air. Crowd surfing and mosh pits were expected but their Albany fans brought more energy and raw emotion to the floor than other cities have their singer Corey Taylor said. Security was on point and ready to respond to any issues that arose and escorted any crowd surfers back to the floor section very quickly.
The fans against the barricade. Photo credit Mike Miller
To keep their look fresh, Slipknot has new masks this year. Their image is always changing slightly to stay aligned with their new music. They are expected to release their seventh album sometime this year. There was also VIP tickets for sale that included a walk through the Slipknot traveling “Museum”. It featured instruments of band members, and prior masks used, fans could view and interact with. New York hosted Knotfest Roadshow multiple last year in Syracuse and Darien Lake.
Singer Corey Taylor. Photo Credit- Mike Miller
Setlist: Disasterpiece, Wait and Bleed, All Our Life, Sulfer. Before O Forget, The Chapeltown Bag, Dead Memories. Unsainted, The Heretic Anthem, Psychosocial, The Devil and I, Snuff, Vermillion, Duality, Spit it out, People = Sh*t, Surfacing.
It’s been almost seven long years since Rush played what would become their final NY Metro area shows at Prudential Center in NJ and Madison Square Garden in NYC as part of their 40th anniversary tour. The talent of the trio – Geddy Lee, Alex Lifeson, and the late Neil Peart – has left remarkable influences on many musicians touring today. Primus has been on the road performing their own songs as well as an entire set dedicated to performing Rush’s A Farewell to Kings in its entirety; the tour appropriately billed as “A Tribute To Kings.” A few of those recent stops were in Albany and this past weekend, The Capitol Theatre in Port Chester. Check out our coverage of Primus’ Albany show here.
NYC-based duo Battles, who formed back in 2002, put on an intriguing opening set as an excellent compliment to the rest of the evening. In some ways, the duo seemed like a live performance of a DJ, minus the turntables. Using samples, they crafted remixes and improvised jams on guitar, synths, and drums, and certainly held the attention of The Cap.
Primus took to the stage to the immediate delight of the full house crowd (which seemed to be nearly sold out at a quick glance of the room). Les CLaypool’s driving bass sound led a signature role through the first set as the band navigated through their repertoire, including the recently crafted ode to Volodomyr Zelensky, “The Man With The Iron Balls.” Proceeds from sales of that song, when released April 2022 went to benefit non-profit organization Nova Ukraine.
Donning bit of the spacey glam garb as a nod to 1978, Primus returned for the second set to perform Rush’s A Farewell to Kings in its entirety. The anticipation for this moment of the show was visible even before entering The Cap; the sheer number of Rush album and tour t-shirts in the crowd might make one wonder if they were actually at a Rush fan convention. But in fairness, for the loyal Rush fans it certainly felt that way.
Claypool noted his experience attending a Rush concert in his younger years, looking up to Geddy Lee as a tremendous influence and dreaming about someday playing bass on stage. Almost note for note, Primus recreated the album with remarkable precision to dynamics, tone and style, although Claypool joked about how difficult it was to mimic Geddy Lee’s high octave range (which he pulled off the few instances where he reached for that range).
Rounding out the night, Primus returned for an extended encore to dive back into their own songs.
Primus – The Capitol Theatre – Port Chester – May 20, 2022
Set 1: Those Damned Blue-Collar Tweekers, Lacquer Head, Groundhog’s Day, Polka Dot Rose, American Life, HOINFODAMAN, Conspiranoia, Professor Nutbutter’s House of Treats, Hamburger Train, Harold of the Rocks, The Man With the Iron Balls
Set 2: (A Farewell to Kings): A Farewell to Kings, Xanadu, Closer to the Heart, Cinderella Man, Madrigal, Cygnus X-1
Encore: On the Tweek Again, Over the Electric Grapevine, Jerry Was a Race Car Driver, Tommy the Cat, Follow the Fool
On Saturday, Sound Mind Live hosted their fourth annual music Sound Mind Live Music Festival, an event which aims to raise awareness and support for mental health programs.
Held in Central Park, performers included Outkast’s Big Boi, rock bands Cold War Kids and American Authors, KAMAUU, Wrabel, and Allison Russell.
Cold War Kids frontman Nathan Willett promoted the event in a CNN interview on Saturday.
Speakers at the festival included Talinda Bennington, widow of Linkin Park frontman Chester Bennington who passed away from suicide in 2017, New York State Office of Mental Health Commissioner Ann M. Sullivan, Matt Kudish, the Executive Director of NAMI-NYC (National Alliance on Mental Illness NYC), and Chris Bullard, the Executive Director of Sound Mind Live.
Sound Mind Live Executive Director Chris Bullard speaking during the event.
“Sound Mind is based on the premise that collectively our voices are stronger, and that by amplifying artists who are speaking openly about their mental health, we can elevate the conversation and build a community and culture that breaks the stigma that exists today,” reads the “Our Vision” page on Sound Mind Live’s website.
Non-profit partners of the organization include The National Action Alliance for Suicide Prevention, the American Foundation For Suicide Prevention, the Trevor Project, and several others.
Big Boi of Outkast fame.Cold War Kids performing Saturday.American Authors lead man Zac Barnett.American Authors performing Saturday.Kamau Mbonisi Kwame Agyeman, better known by his stage name, KAMAUU.KAMAUU performing Saturday.Stephen Wrabel, professionally known by just his last name.Wrabel performing Saturday.Canadian singer-songwriter Allison Russell.Russell performing Saturday.Talinda Bennington, widow of Linkin Park frontman Chester Bennington.Bennington speaking during the festival.New York State Office of Mental Health Commissioner Ann M. Sullivan.Matt Kudish, the Executive Director of NAMI-NYC speaking during the festival.Chris Bullard speaking during the festival.
The longevity of the hip hop era has yet to cease. Its influence within the music industry, as well as the significant role it plays in cultural shifts worldwide is ever-growing. With the help of stellar records, powerful performances, captivating music videos and the puissant storytelling, hip hop has become engrained in everyday life, down to basic communication. Over decades it has been fragmented into sub-genres with its origins deriving globally, with one of the most bodacious being drill music. It may have first originated from Southside Chicago, but nonetheless has extensively embedded itself within the rap game forever.
Kid Flvsh
This sub-genre of music began in the early 2010s and was pioneered by the notable, King Louie and Chief Keef. Nonetheless, drill has yet to falter, as it has grown from underground to mainstream music, preeminently within New York and the United Kingdom. Every drill song has a storyline, centered around gun violence, disses, and gang culture which touch upon the realities of surviving the streets. Its raw nature is what also connected people, as well as led rappers from a life of poverty, a higher degree of institutionalized racism, and crime within the hood, to a better life with riches and fame. After consummating such accomplishments, many take on the role of the hero within their hometowns and devote their time, as well as their money to giving back.
Fivio Foreign, Alicia Keys, and Ye, also known as Kanye West, are the three prominent artists who collaborated to create the timeless song, “City of Gods”. Considering the trio’s hometowns are New York City and Chicago, the cultures from both were intertwined to perfection.
In an interview with DJ Clue on 105.1, Foreign compared his song with another credible record by Keys and Jay Z, “Empire State of Mind”, which is a New York classic. The idea for “City of Gods” was first established by none other than musical genius Ye. When Foreign first received the beat, it was a sample from The Chainsmokers’ 2015 song, “New York City“. Soon after creating his verse, he shared everything with Ye, who then envisioned a new path for it. Ye not only mixed up the beat, but also encouraged the drill rapper to alter some of his lyrics to further reinforce his message. After adding in his own verse, the only thing missing was the chorus and Ye knew undoubtedly, the one person who could tie this masterpiece together was Keys.
At first I had said ‘ain’t no King of New York, nobody really in charge’ and Ye like ‘yo you gotta say you the King of New York, you the one that’s in charge.’
Fivio Foreign
Not only did Foreign tribute “City of Gods” to New York City, especially his hometown of Brooklyn, but he dedicated it to his friend and fellow drill rapper, TDott Woo, who was fatally shot soon before the record was released. This tragedy is a prime example of the message behind the passionate lyrics, “New York City please go easy on me tonight. New York City please go easy on this heart of mine.” These are more than just lyrics for another hit song but are words that electrify the hearts of so many who experience the same livelihood of violence and crime within their neighborhood.
Kid Flvsh’s vision, for the cover art of “City of Gods”, was to make a statement with the vibe of New York City, as well as all of the emotions from the song. The drawing is in honor of TDott Woo who mirrored what drill is all about.
“City of Gods” is a biblical term that refers to Heaven, which is why Foreign chose it to represent the city that means the absolute world to him. Additionally, the drill rapper shares this nostalgia with New York City natives, Nas, and Jay Z, who are viewed as “gods” within the world of hip hop. All-embracing, Foreign knows the massive impact his city holds, regarding the rap legends it birthed.
Throughout the record, Foreign continued to shed light on how much he appreciates love from his city and is always considering ways to improve its livelihood, especially for people of color. Nonetheless, he spoke of its terrors and how to survive them, which correlates to his album title B.I.B.L.E., Basic Instructions Before Leaving Earth.
On Ye’s verse he mentions “It’s a Sunday Service in Brooklyn”, which refers to the time when him along with his gospel group, performed at DMX’s Memorial in Brooklyn. Sunday Service was recognized globally after their appearance at Coachella on Easter of 2019.
Ye proceeds with a juxtaposition, “It’s the city that come with the lights. I’m with the drillers that come with the night.” The first line describes the city that never sleeps, specifically Brooklyn and how it is a city of light. However, the next line emphasizes how dark and gloomy it is at nighttime, considering all the violence that occurs. This topic is nothing new to Ye, as he once bared witness to the crimes of Chicago growing up.
New Yorkers continuously support and respect Ye’s music, cultural influence, and commitment to his artistry. Resultantly, every chance Ye receives he praises New York, hence his reference to Frank Sinatra, “I feel like Sinatra in these streets.” Sinatra is accoladed with being one of the greatest musicians of the 1900s, which Ye compares to how the world views himself in this generation. Additionally, the 20th century singer once created a record in honor of the city, called “New York, New York“.
I’m from the Chi but I’m always New York. In the city, they treat me like Jesus is walkin.
Ye
Although, many claim drill music to be detrimental to the culture and that it supports ongoing violence, Foreign is an advocate of the contrary. In fact, he firmly believes this style of music provides people with the freedom to express themselves and discuss what their ferocious world entails daily. Furthermore, rising to stardom, provides an opportunity for monetary gain, which leads to a better life and keeps more Black men off the streets. Notwithstanding this perspective, he discusses that many artists do not write their own lyrics, and according to Foreign, would make it unjust for laws to be used against them based on the messages relayed.
As a respected voice of this generation, Foreign is currently planning to unify distinguished artists in support of one another to cultivate change. Those he mentioned who were already in agreement are Ye, Jay-Z, Dave East, 2 Chainz, Fabulous, Jim Jones and more. Moving forward, Foreign would love for younger artists to connect and take part in this brotherhood.
Essentially, no matter how much recognition and fame Foreign receives worldwide, he knows that his home will always be right here in the “City of Gods”.
“City of Gods” Lyrics
New York City, please go easy on me tonight New York City, please go easy on this heart of mine
Nigga, this my shit Welcome to the city of Gods Pop was the king of New York Now I’m the nigga in charge Only the drillers, the city is ours We found out the opps and we pick ’em apart I give ’em my time so I give ’em my heart If the city love me, then I’m really a star New York City, please go easy on me tonight New York City, please go easy on this heart of mine ‘Cause I’m losing my lover to the arms of another New York City, please go easy on me
Yeah, look, this is the city of money and violence Everything we do is gon’ come with a challenge Every bitch you fuck is gon’ come with a balance Every shooter with me is coming in silence And you niggas better pick a side You niggas side hoppin’ If I want ’em to not let you come into the city, it’s my option This is the home of the fly shoppin’ This where the bitches gon’ watch pockets When I’m on TV, I gotta look good ‘Cause I know the whole block watchin’ If you chill with the opps, we is not vibin’ If I see ’em in person, we Fox 5 ’em Yeah, the police is on us, we not stoppin’ (Yeah, the police is on us, we not stoppin’, nah)
This is the town of the big drip (big drip), smooth talk (smooth talk, ha) Milly Rock (Milly Rock), Shmoney Dance (Shmoney Dance), Woo Walk (Woo) You will not survive being too soft Been a long time, we took a new loss Shooters shootin’ ’til we got a new corpse If we stop then we lettin’ it cool off
New York City, please go easy on me tonight New York City, please go easy on this heart of mine ‘Cause I’m losing my lover to the arms of another New York City, please go easy on me
We went off the grid We ain’t watch the throne, we took it We went viral on ’em, they lookin’ It’s a Sunday Service in Brooklyn It’s the city that come with the lights I’m with the drillers that come with the night They ain’t do four years in college But they’ll do 25 to life
We make money every night Never too big of a price After I buy the Chicago Bulls Imma go link with Mike And if I let ’em have my wife, niggas should thank me With this Balenciaga and Balenci’ boots and a new blue Yankee
This is Ye, I’m so focused, throw on a mask, no COVID Imma turn your life to a meme, let Justin LaBoy post it You got an album? Postpone it I drop two and they both going I got a feeling they in they feelings They filmin’ a show, but won’t show it
You gotta watch me in slow motion, I’m in that wide-body Benz I go back to college, do an album, and then drop out again Took me a minute to get here, my vision is crystal clear Ayy, Fivi’, excuse me, but this the feature of the year
I feel like Sinatra in these streets Me and Drizzy, we at peace This the backpack with the Polo and the first Jesus piece I’m from the Chi’ but I’m always New York In the city, they treat me like Jesus is walkin’ I been through the pain and all of the torment I’m sayin’ His name, I make that important
Now it’s time to give ’em hell Ask my staff, I pay ’em well This afternoon, a hundred goons pullin’ up to SNL When I pull up, it’s dead on arrival They act like they love you, they don’t even like you They throw a party, won’t even invite you I seen the same thing happen to Michael
You black and you rich, they sayin’ you psycho It’s like a cycle If you text me anything hype You better text back and say it’s a typo The city of Gods, no city is like you This the new New York, Ye is the GOAT Fivi’ is viral and this is the B.I.B.L.E.
New York City, please go easy on me tonight New York City, please go easy on this heart of mine ‘Cause I’m losing my lover to the arms of another New York City, please go easy on me
Don’t leave me, go easy, go easy, go easy Don’t leave me, go easy, go easy, go easy Don’t leave me, go easy, go easy, go easy
Chuck Garvey shared a health update this week on Podcrash as he continues to recover from a stroke he suffered in November 2021.
A new podcast from the band, Podcrash features all members addressing all things moe. In the new episode, Harvey shared that he was first and foremost ‘getting some speech going on’ as the most important part of recovery. Garvey went on to say “I just wanted to talk. When I woke up I just wanted to see everyone that I’ve ever known.”
It was great to see you guys, but I couldn’t say what I wanted to say so that was hard. Working on the speech is because I want to talk to everybody and now all the stuff … getting back on my feet was a big thing so I could get out of a chair was the next thing. And then the next thing was getting my hand to work so I could play.
Chuck Garvey
“Working on everything to get the fine motor skills on my hand is really big because I want to play again,” explained Chuck. “I want to play with the band. I want all the fun things that we can do with music is … I want to try that again.”
Chuck Garvey will miss moe.’s upcoming shows this summer, including at Summer Camp Music Festival this weekend, with Suke Cerulo (Schleigho) and Nate Wilson (Assembly of Dust, Percy Hill) filling in. Discover how their recent Monkeys on Ecstasy show at Empire Underground in Albany unfolded.
moe. 2022 Summer Tour Thurs, May 26 – Sun, May 29 – Chillicothe, IL – Summer Camp Music Fest Fri, June 10 – Norfolk, VA – HarborFest Sat, June 18 – Philadelphia, PA – City Bisco 2022 Wed, July 6 – Albany, NY – Empire State Plaza Concert Series Thurs, July 7 – Buffalo, NY – Buffalo Outer Harbor Fri, July 8 – Marshfield, MA – Levitate Music Festival Sat, July 9 – Patchogue, NY – Great South Bay Music Festival Sun, July 10 – Seaside Heights, NJ – Live at the Heights, The Beach Stage Fri, September 2 – Jay, VT – Jay Peak Resort Sat, September 3 – Sun, September 4 – Lake George, NY – Adirondack Music Festival^ Fri, September 23 – Sat, September 24 – St. Helena, CA – Blue Note at the Charles Krug Winery
