The rich music history of the Capital Region was celebrated on Tuesday, June 7 with the Eddies Hall of Fame Induction Ceremony. Held at Universal Preservation Hall in Saratoga Springs. The eight honorees included folk, ambient, rock, and acoustic artists, as well as a promoter, writer/musicians, and an independent radio station founder.
Paul Rapp, a musician and entertainment rights lawyer, as well as a 2020 Eddies Hall of Fame inductee knew them all and gave opening remarks noting such. Rapp, drummer for renowned Albany act Blotto, weighed in on each musician, offering heartfelt thoughts and a few laughs as he discussed his connection and the impact each of the eight left on the Capital Region scene.
Paul Rapp – photo by Erin Reid Coker
Honorees included Joel Ross, a 7-time Grammy Award winner who engineered songs for Broadway musicals and TV shows, and worked with Ray Charles and Tony Bennett among many others.
Joel Ross – photo by Joe Putrock
Brooks Brown, founder of WEQX, an independent radio station, was referred to by Rapp as having “saved the Albany Music scene” by creating a radio station that played local bands that couldn’t be heard elsewhere. Rapp noted that Brown took great joy in telling corporations looking to buy his station to “go fuck themselves.”
Jason Keller and Mimi Brown – photo by Erin Reid Coker
Super 400 from Troy has had an impact felt as far away as Spain, which led to Spanish band Red Apple sharing via prerecorded video how they were looking for bands that were real and similar to them. In discovering Super 400, they found a band on the same wavelength, as well as future friends. Red Apple then performed “Green Grass End” in tribute to Super 400.
Super 400 – photo by Erin Reid Coker
Greg Bell, the promoter who made Albany a jam band mecca and must hit tour stop, has run Guthrie/Bell Productions since the early 1990s. His presence in the Capital District will be profiled in the upcoming documentary from Mirth Films, Grapplin’ Greg. Rapp noted that no one has done more to support local bands than Bell, adding, “Music promoters are like adding kindling to a fire. The good ones make it burn bright.”
Greg Bell – photo by Erin Reid Coker
Rich Ortiz, the “fishin’ musician,” comes from a family rich in music history and plays more than 300 gigs a year and has been featured on the cover of numerous fishing magazines.. If night fishing were a thing, we may not have this legend from the Lake George region. Saratoga Springs guitarist from 80’s band The Morons, Steve Candlen, later performed Ortiz’ “I Love You Everyone.”
Rich Ortiz – photo by Erin Reid Coker
Michael Eck is many things – a painter, arts writer, Caffe Lena board member, and Ramblin Jug Stompers spoke with great emotion in receiving the Eddies Hall of Fame honor. Candlen later performed an Eck original “You’re a Mountain,” with the fitting lyrics “you’re a mountain, you’re a legend, you’re a king.”
Michael Eck – photo by Erin Reid Coker
Sara Ayers, with an eclectic career that includes folk, punk, bubblegum, rock, electronica and especially ambient music, was a crowd favorite as she was honored for her contributions to the scene.
Sara Ayers – photo by Erin Reid Coker
Greg Haymes, a man who did so much for local bands, venues and aspiring writers and photographers, was the final honoree of the night. The late “Sarge” Blotto has a varied career in multiple genres and styles, and in founding local music website Nippertown, he had a connection to nearly the entire room of musicians, journalists and fans. Rapp pointed to one of the many quirks of Haymes, was his mentions in reviews of a musician’s shoes, considering those with good shoes to have ‘made it’, and with that, Rapp pulled out a ruby slipper. The unofficial Jug Stompers theme song, “Jug Band Music,” by the Memphis Jug Band, and performed by Tom Lindsay to honor Haymes.
A young Greg Haymes. Photo by Amy Modesti
While Haymes passed away in 2019, he was fêted by his fellow inductees in a slideshow retrospective. Ayers accepted on behalf of her late husband, noting that he lived an artistic life as a musician, a writer and a website publisher, and it was a life he was proud of. His not too serious approach to preparing himself for a performance on stage (whether with a customized washboard, or a typewriter for a percussion instrument), his experience as a musician made him want to share the passion of local musicians in the Capital District through his writing. In doing so, Haymes gave many writers and photographers a chance to, a tradition we continue at NYS Music.
If you’re searching for the eternal sound of summer, the alternative indie punk-pop outfit the Wrecks might be just the thing you need to remember the season is here. The Wellsville, NY band’s sophomore full-length album Sonder drops on June 10 across all streaming platforms via Big Noise Music Group.
Eleven tracks nod to the quintessential pop/punk sound of the early 2000’s paying homage to the pioneers of the genre. But in Sonder, the Wrecks have developed their own unique 2020’s twist incorporating elements of current pop trends and new wave style synth to the mix.
Lyrics are relatable; the kind of lyrics you can apply to your life without knowing original context or origin story. “I’d say our lyrics have always been honest and vulnerable,” noted Wreck’s vocalist/producer Nick Anderson, “and not only was I able to depend on that narrative compass once again, but I found it taking me to a whole new place this time creatively.” Anderson’s vocals shine. There is a powerful delicate balance to his vocal performance, a beautiful dichotomy that fits the band’s musical vibe – soft and tepid to robust and commanding and back again with a natural ease.
The album’s lead single, “Sonder” is a musical punch. Musically, the tune is sharp and demands attention. The chorus’s unexpected hook warrants a “car windows down, singing at the top of your lungs like no one is next to you at the red light” type of moment. “Where Are You Now” showcases a different side to the band’s sound – acoustic guitar and ethereal vocals create an unexpected ballad early in the track listing. The album’s latest single “Lone Survivor”, a flashy earworm, closes the album with a dance heavy bass groove that justifies using the repeat button for a few listens.
The Wrecks are currently touring in support of Sonder with a 33-show tour this summer. New York stops include dates in Buffalo at the Rec Room (June 29), Albany at the Empire Underground (June 30) and Webster Hall in New York City (Jul 8). Full tour dates can be found here.
Key Tracks: Sonder, Where Are You Now, Lone Survivor, I Love This Part
Future Islands played a sold-out three night run at Brooklyn Steel over June 2-4, with support from legendary funk-rock band, ESG. Fans were treated to the driving beats, energetic sets, and the nonstop thrills that have made Future Islands a breakout success.
Future Islands at Brooklyn Steel, Photographed by David Reichmann
Opening for Future Islands, ESG brought the exact energy to their funk-rock set you would expect from a band opening for the famously-animated Future Islands. ESG interacted with the crowd with laughter and enthusiasm. At one point bassist Nicole stopped the show and excitedly asked the crowd, “Is your mom as cool as our mom?” pointing to her mother and frontwoman, Renee Scroggins. The crowd raved throughout their sets, with palpable energy rising as they closed out each night’s set.
Future Islands took the stage each night to wild applause. Frontman Samuel Herring briefly thanked the opening band before declaring, “I’m not going to do too much talking. Let’s shut up and do it.” Samuel brought his trademark highly-animated style of performance that made the band a viral sensation following their network television debut of “Seasons (Waiting on You)” on David Letterman, which would go on to become the most viewed YouTube video in Letterman’s history. The entire crowd was jumping off the floor before the band’s second song concluded. Covered in a thick layer of sweat within minutes, Samuel joked, “It’s getting slippery up here!”
Future Islands at Brooklyn Steel, Photographed by David Reichmann
After Future Island’s third song finished (traditionally when photographers must exit the press pit), Samuel fist bumped a few of the photographers for their enthusiastic capturing of his performance. A rare show of class, as photographers are usually ignored by the talent. But in that brief moment, Sammuel showed a clear respect to the whole crew involved in bringing the show to life. He took every opportunity to interact with the crowd and photographers, leading to a dynamic and powerful show that was a joy to both attend and cover.
Each track on their setlist featured Samuel jumping, crouching, and contorting himself with operatic movement. Their set included several fan favorites, including “Peach,” “Plastic Beach,” “Balance,” “Like the Moon,” and their latest single, “King of Sweden.”
“We are meant to experience these things and remember them,” Samuel told the crowd before introducing “Lighthouse” with the story of the song’s inspiration. He told a heartfelt story of a friend who had lifted him from a dark time, and how he always thinks of them when performing this song.
Future Islands at Brooklyn Steel, Photographed by David Reichmann
Samuel performed high kicks, full body stage dives, locked his piercing eyes with several audience members, and put what seemed like 110% of his efforts into every second of the show. The band played with the same energy, pushing driving beats and deep synths. Each band mate brought something unique to the table. As far as frontmen go, some artists steal the show and some artists are the show — Samuel Herring is undoubtedly a frontman who is the show. And he performs as much for the back row as the front.
Future Islands at Brooklyn Steel, Photographed by David Reichmann
Before introducing their breakout hit, “Seasons (Waiting On You),” Samuel told the crowd, “This song is for people waiting on that special someone, I hope that someone is next to you tonight… if they’re not here that’s okay too. Don’t you waste too much time, now!” The crowd cheered and danced as the song played, reveling in Samuel’s all-out performance.
They closed the first night with “Little Dreamer.” Samuel told a tear jerking story of an old love and a specific room this song always brings him back to. He invited the crowd to remember painful moments throughout their lives, and never forget the most difficult times. “This is a dream. We’ve worked so hard for years to be here. This is a song we’ve been singing for 13 years.”
Future Islands at Brooklyn Steel, Photographed by David Reichmann
Future Islands’ sold out, three night run featured incredible setlists, touching and personal anecdotes from frontman Sammuel Herring, and ESG as the perfect opening act.
Future Islands is scheduled to play one more North American tour date in July, before embarking on their European tour in August. You can listen to Future Islands’ latest single and album here. You can also check out ESG’s music here.
Future Islands and ESG at Brooklyn Steel, Photographed by David Reichmann
Ron Carter received the perfect celebration for his 85th birthday at Carnegie Hall on May 10. The prolific Michigan-born jazz bassist is regarded as one of the most influential jazz musicians in the world, with a world record 2,221 recording session appearances since his career started in the 1960s.
Jazz connoisseurs were delighted by Carter’s presentation of three of his ensembles showcasing the diversity of his musical talents fit for the pristine acoustics of Carnegie Hall. His first set featured two traditional jazz settings supported by phenomenal musicians – the Golden Striker Trio and the Foursight Quartet – while his second set featured an orchestrated octet blending jazz and world music sounds. Closing the night after a sentimental birthday wish on stage from Carter’s son Quintell Williams Carter, he performed a solo piece on piccolo bass which is a signature invention by him and Stanley Clarke (a piccolo bass looks like a regular bass but is tuned an octave higher to give more prominence to solos and lead parts on the instrument).
Throughout the program, emcee Lester Holt and guest speakers/fellow bass virtuosos Stanley Clarke and Buster Williams spoke in great repute about Carter’s diverse talents in music, writing, collaboration, and education and each echoed his great character and humor as a person which he demonstrated throughout the night while explaining the compositions or sharing an off-the-cuff story. “We’re gonna keep comin’ out here til we get it right!” he exclaimed during each of his ensembles sets, slightly ironic to Carnegie Hall’s famous line of “practice, practice, practice!” before his closing remark of “well, I guess we finally got it right.”
After a brief intermission, Lester Holt welcomed to the stage Mikio Mori, Ambassador and Consul-General of Japan in New York. Amb. Mori expressed the deepest of gratitude to Carter for “helping jazz evolve as a language between Americans and the Japanese in the spirit of friendship and peace” which has flourished a jazz movement in Japan over the last several decades. From his various contributions along with performances in Japan following the Sept. 11, 2001 attacks and following the devastating earthquake in March 2011, Carter was bestowed the honor of the Order of the Rising Sun with Rosette in 2021.
Witnessing Mr. Carter’s performance at Carnegie Hall was an immersive exhibit of world-class talent. We would like to extend our warmest of wishes for his 85th birthday and look forward to hearing more of his virtuosity.
Ron Carter at Carnegie Hall Setlist (composer listed in parenthesis):
Golden Striker Trio: Laverne Walk (Pettiford), Candlelight (Carter), Soft Winds (Henderson)
Ron Carter Foursight Quartet: 595 (Carter), Mr. Bowtie (Carter), My Funny Valentine (Henderson), You and the Night and the Music (Schwartz)
Intermission
Ron Carter Octet: Abide with Me (trad.), El Rompe Cabeza (Carter), Song for You (Russell), Song for a Friend* (Carter), All Blues (Davis), Just a Closer Walk with Thee (trad.)
*”Song for a Friend” written in dedication to Carter’s father
Sir Paul McCartney returned to Syracuse on Saturday, June 4th to open up the first concert at the JMA Wireless Dome (formerly Carrier Dome). With a near full capacity crowd of over 35,000 in attendance, Paul McCartney was ready to rock Syracuse with a nearly three hour set.
With mounting anticipation, the show began around 8:20 p.m., as Paul McCartney took the stage to a massive roar of applause alongside his backing band which included Brian Ray, Rusty Anderson, Paul Wickens, and Abe Laboriel, Jr. Seeming to really take in the Syracuse welcome, McCartney walked around the stage briefly waving to the crowd and smiling before putting his hand up into the air behind the mic and kicking off the set with The Beatles classic, “Can’t Buy Me Love.”
Throughout the set, fans were treated to his versatility in playing multiple instruments which included piano, bass, guitar, and ukulele. When McCartney wasn’t singing or playing an instrument, he engaged the audience with stories and memories with other members of the Beatles.
The concert featured tons of Beatles hits, including “Lady Madonna”, “You Never Give Me Your Money”, “Blackbird.” The energy of the crowd only grew as the set progressed later into the evening with the audience singing popular tunes, “Ob-La-Di, Ob-La-Da” and “Get Back.” Continuing on with some of the biggest hits including “Band on the Run” into a sing along of “Let it Be” followed by a fiery display of pyrotechnics and fireworks during “Live and Let Die.”
The climax of the performance this evening was during “Hey Jude” when the entire audience sung along for several minutes to the “Na na na Na Na Na Na!” This was one of the most amazing experiences to be a part of with just a feeling of unity among everyone, especially given vast struggles currently in the world.
Paul McCartney left the stage saying goodnight, however not many people were so easily convinced that he was done. As if his 30-song set wasn’t enough, the band returned to the stage with thundering applause waving the Ukranian Flag, UK Flag, Pride Flag, and New York Flag.
With a massive 6-song encore that included favorites such as “I’ve Got a Feeling” which McCartney performed essentially a duet with John Lennon. The screens broadcast footage of Lennon performing on a rooftop from Peter Jackson’s “Get Back” documentary, which sounded as if he were on stage performing right there with Paul and synched perfectly. Finishing out the encore with “Helter Skelter”, “Golden Slumbers”, “Carry That Weight”, and ending with the fitting Beatle song “The End.” Paul McCartney delivered what many can consider the greatest concert they have ever seen.
Being able to witness the inspiration for just about all modern music was awe-inspiring. Paul McCartney has a way about him that just commands your attention, and the performance he continues to give over a 60-year career as he pushes 80 years old cements his legacy as an all time great. This was truly a unifying and magical music experience that I would recommend anyone to see if given the chance.
Setlist
Can’t Buy Me Love (The Beatles)>Junior’s Farm (Wings) >Letting Go (Wings)>Got to Get You Into My Life (The Beatles)>Come On to Me>Let Me Roll It (Wings)>Getting Better (The Beatles)>Let ‘Em In (Wings)>My Valentine>Nineteen Hundred and Eighty-Five (Wings)>Maybe I’m Amazed>I’ve Just Seen a Face (The Beatles)>In Spite of All the Danger (The Quarrymen)>Love Me Do (The Beatles)>Dance Tonight>Blackbird (The Beatles)>Here Today (tribute to John Lennon)>Lady Madonna (The Beatles)>Fuh You>Being for the Benefit of Mr. Kite (The Beatles)>Something (The Beatles)>Ob-La-Di, Ob-La-Da (The Beatles)>You Never Give Me Your Money (The Beatles)>She Came in Through the Bathroom Window (The Beatles)>Get Back (The Beatles)>Band on the Run (Wings)>Let It Be (The Beatles)>Live and Let Die (Wings)>Hey Jude (The Beatles)
Encore
I’ve Got a Feeling>Birthday (The Beatles)>Helter Skelter (The Beatles)>Golden Slumbers (The Beatles)>Carry That Weight (The Beatles)>The End (The Beatles)
What is there to say about Curren$y… a legend, a stoner rap icon, and also quite the performer. Coming off of a recent release, Curren$y gave the audience at Sony Hall a dynamic and intimate performance Friday night, May 27th.
Shante Scott Franklin, better known as Curren$y is a rapper, songwriter and record execuive with his own label Jet Life. The Louisiana native existed in the underground rap scene for over a decade finding his own niche within the stoner rap sub-genre with the likes of Wiz Khalifa and Mac Miller.
Some of his best work include The Marina which features Smoke DZA, Action Bronson, French Montana and Wiz Khalifa. Curren$y shows his charisma and charm through this thought provoking lyrics and smooth punchlines.
During the show, Curren$y stopped the music to go on a quick aside on his love for the movie Scarface. He urged the audience to understand the deeper implications of the movie and the way it represents how a unhealthy desire for fame and fortune can corrupt.
Curren$y brought down the house at Sony Hall on Friday night. Curren$y recently released Continuance which features production by esteemed producer Alchemist. He played most of his new album during his performance in additional to his beloved classic songs.
After its absence in 2020 and 2021 attributed to the coronavirus pandemic, Boston Calling returned to the athletic complex of Harvard University in Allston, MA this past Memorial Day weekend for the first time in three years. Inaugurated in 2013, the eleventh edition of the festival (it was held twice per year from 2013 to 2015) was a welcome event not only for the 40,000 fans in attendance each day (who were able to roll their tickets over from the two previously cancelled years), but also for the musical artists, some of which had yet to play their new material to a live audience.
A 7-foot tall Boston Terrier sculpture, made of high-density polyurethane foam by Sean Roach, greets fans. | Photo: Michael Dinger
This year’s headliners were heavy metal legends Metallica (formed in 1981 in Los Angeles) and industrial rockers Nine Inch Nails (formed in 1998 in Cleveland). Nine Inch Nails replaced the previously announced headliner Foo Fighters who cancelled the remaining dates on their tour following the tragic death of drummer Taylor Hawkins back on March 25. Trent Reznor, Atticus Ross and company also graciously stepped in for The Strokes on Day 2 of the festival after a late scratch Friday afternoon related to COVID-19. The coronavirus would claim one more casualty during the long weekend, King Gizzard & The Lizard Wizard, the psychedelic rock band from Australia who were initially scheduled to perform Saturday evening.
The three-day festival lineup included forty-eight (48) other artists performing across four stages, including the following: HAIM, The Struts, Rüfüs Du Sol, Cheap Trick, Avril Lavigne and Oliver Tree on Day 1 (Friday); Black Pumas, Run The Jewels, Orville Peck and Glass Animals on Day 2 (Saturday); and Weezer, Modest Mouse, Goose and Japanese Breakfast on Day 3 (Sunday).
A replica of Fenway Park’s famed Green Monster displays the 3-day lineup across all four stages. | Photo: Michael Dinger
Across social media accounts related to Boston Calling, it was hard not to notice several festivalgoer posts voicing their displeasure with the line-up changes and merch lines – which did appear to be long every time I walked by. That aside, the festival was a welcome reprieve from the recent and very sad news regarding gun violence in our nation, with relatively few other hiccups.
Day 1 (Friday)
The gates to the festival grounds opened promptly at 1:00 pm and patrons had four stages (designated by color) from which to choose from throughout the day – Green, Red, Delta Airlines Blue and Tivoli Audio Orange (the smallest of the stages which showcased Boston-area acts). Being a fan of Nine Inch Nails since the early ‘90s and wanting to witness their set as close as possible, I opted to ‘camp out’ at the Green Stage where the band would be playing a mere eight hours later! And I was not alone, as I met Jeremy Dubiel and Scott Mack from Holyoke, Massachusetts and Stafford, Connecticut, respectively, who also had the same game plan as I did. Little did I know at the time, but these two gentlemen would be my concert cohorts for the entire weekend.
A map depicting the four stage locations throughout the festival grounds. | Photo: Michael Dinger
After devouring the first of four Tasty Burgers I would have this festival weekend (they are delicious and we don’t have these in New York!), I made the short walk over to the adjacent Red Stage where model/actress/singer Paris Jackson (daughter of the “King of Pop” himself) would be the first performer of the weekend. Nearing the end of her 30-minute set, I headed back to the Green Stage to catch Grandson, a Canadian-American singer that can best be described as an Eminem-Justin Timberlake hybrid. Of the fourteen (14) musical acts I was to see over the next few days, Grandson would be right near the top. I was blown away by his onstage energy as he repeatedly flew from the top of the drum kit riser, ran along the perimeter of the stage apron clutching the hands of his fans or climbing the security rail as he jumped into a sea of people.
Paris Jackson | Photo: Michael DingerGrandson | Photo: Michael Dinger
Shortly after Grandson’s set concluded, Rick Nielsen and Rock & Roll Hall of Famers Cheap Trick appeared on the Red Stage, thrilling the crowd with their hits, including “Dream Police,” “The Flame,” “I Want You to Want Me” and “Surrender,” performed with Paris Jackson.
Up next on the Green Stage were The Struts, a British rock quartet fronted by their flamboyant frontman, Luke Spiller. Among several standout offerings from their 8-song set was the closing number “Could Have Been Me,” along with the ‘70s style pop duet “Low Key In Love,” performed with Paris Jackson. Ms. Jackson was making the most of her Boston Calling debut as she navigated back and forth between the Red and Green Stages, looking like she was having the time of her life.
Luke Spiller of The Struts | Photo: Michael Dinger
The third act to hit the Green Stage on Day 1 were HAIM, a pop rock band based in Los Angeles comprised of sisters Danielle, Este and Alana, the last of which who starred as an actress in last year’s Licorice Pizza, written and directed by Paul Thomas Anderson. Clad in matching black bikini tops and stylish leather pants, all three young women displayed their musical prowess, each playing several different instruments (guitar, bass, drums, piano) with great proficiency.
HAIM (from left to right – Alana, Danielle & Este) | Photo: Michael Dinger
Right on schedule, Nine Inch Nails entered the main stage at 9:00 pm Friday night to thunderous applause from the audience grateful to have them there. Their first tour in nearly four years, this band holds a special place in the collective heart of Generation Xers, who first fell in love with Reznor’s studio wizardry more than 20 years ago. At that time, there were no other bands creating their now signature, chaotic sound of drum machines, keyboards and guitars, accompanied by dark and tormented lyrics.
Trent Reznor of Nine Inch Nails | Photo: Michael Dinger
Side-by-side on stage with fellow composerproducer Atticus Ross, a frequent collaborator on numerous film scores, Nine Inch Nails’ performance was also visually stunning, set against high-intensity, flashing strobe lights. The 21-song set list covered a wide range of their discography, including “Closer,” “Sanctified,” “The Perfect Drug,” “Head Like A Hole” and “Hurt,” including a stirring cover of David Bowie’s “I’m Afraid Of Americans.” For any fans who missed Friday’s performance, or wanted to do it all over again, they had less than 24 more hours to wait for an encore performance on Saturday night.
Trent Reznor of Nine Inch Nails | Photo: Michael DingerAtticus Ross of Nine Inch Nails | Photo: Michael Dinger
Day 2 (Saturday)
After spending most of the day at the Green Stage on Friday, I perused the entire festival grounds to take in the entire vibe of the festival. Arriving just as the Boston-based indie band Dutch Tulip’s last song was finishing up on the Tivoli Audio Orange Stage, I made my way to the Blue Stage where Charlotte Sands was set to perform at 2:20 pm. Shadowed by a 100-foot Ferris wheel that is a staple at Boston Calling festivals, the Blue Stage’s floor area was packed with mostly young adult fans waiting in anticipation for the hip-hop rapper with folk-style lyrics.
Charlotte Sands | Photo: Michael DingerFerris wheel | Photo: Michael Dinger
Not wanting to miss the end of Hinds’ set, a Spanish indie rock band from Madrid, formed in 2011 and comprised of Carlotta Cosials, Ana García Perrote, Ade Martin and Amber Grimbergen, I made the longest walk between stages back to the Green Stage. Near the conclusion of their set, I made the quick jaunt over to the Red Stage, weaving through the crowd until I was a few rows back to see Celisse, an R&B and soul singer-songwriter who plays face-melting, blues-tinged guitar with infectious hooks.
Ana Perrote of Hinds | Photo: Michael DingerCelisse | Photo: Michael Dinger
After a brief stop at one of the strategically-placed medic tents for a bandage wrap (my feet were already killing me early on the second day), I headed back to the Blue Stage to catch Frances Forever, best known for their song “Space Girl,” which became a viral hit on TikTok in 2020, at 3:30 pm. However, moments before their time on stage, it was then when I noticed that the skies above had turned an ominous gray, and the stagehands did too – as they quickly swooped in to cover up Frances Forever’s instruments under plastic sheeting.
Only a couple of minutes later, due to nearby lightning and thunderstorms, a directive came over the PA system that all fans and staff were to evacuate the festival grounds and take shelter in nearby Harvard Square or Harvard Stadium. I was one of the many thousands who headed to the stadium, packed into the historic concourse beneath the stands for nearly the next 2 hours. Time passed quickly, however, aided by a positive attitude from the collective people seeking shelter from the torrential downpour. It was in these damp and dark quarters where an impromptu sing-along erupted to the chorus of Neil Diamond’s “Sweet Caroline,” an eighth inning tradition at nearby Fenway Park, home of the Boston Red Sox. Others passed the time by participating in random “Go Celtics” chants ahead of their Game 7 NBA conference final playoff game that was to take place at TD Garden the following night.
Concertgoers seeking shelter from the rain in Harvard Stadium | Photo: Michael Dinger
With the rain finally letting up, but before the fans and staff were permitted to return to the festival grounds, I made the decision to return to the main grounds in search of a ‘porta potty.’ It was there that I encountered an eerie, almost post-apocalyptic scene – a field that was once filled with thousands upon thousands of concertgoers earlier in the day, was now completely void of any souls (albeit two pink rain poncho clad girls). Seeking refuge in a beer tent until the last of the rain had finally dissipated, fans were allowed to return at approximately 5:30 pm. I watched as they trickled in, back through the main gate, while the Green and Red stages were being brought back to life by various staff and roadies.
Poncho-clad fans | Photo: Michael DingerA rainbow following Saturday’s downpour | Photo: Michael Dinger
With a revamped schedule for the remainder of the day, the musical festivities would resume with Black Pumas on the Green Stage at 6:30 pm, a psychedelic soul band based in Austin, Texas, led by singer/songwriter Eric Burton and guitarist/producer Adrian Quesada. Coming off their first Grammy Award nomination in 2020 for Best New Artist, Mr. Burton thoroughly enjoyed himself, playing tag with the photographers in the pit as they chased him while he posed for the camera with the fans as a backdrop.
Eric Burton of Black Pumas | Photo: Michael DingerEric Burton of Black Pumas | Photo: Michael Dinger
Outside of Metallica and Nine Inch Nails, I was most excited to see the performance by Run The Jewels (a.k.a. RTJ) on the Red Stage, which commenced shortly after 7:30 pm on Day 2. RTJ are the hip hop duo composed of Atlanta-based rapper Killer Mike and Brooklyn-based rapper and producer El-P. The former is a sociopolitical activist whose anti-establishment messaging and calls for peace and an end to police violence are evident throughout his lyrics. As the sun began to set halfway through RTJ’s set, the mosh pit opened up while a few crowd surfers rode the wave to the front of the stage where they landed into the arms of waiting security.
Killer Mike of Run The Jewels | Photo: Michael DingerEl-P of Run The Jewels | Photo: Michael DingerRun The Jewels Mosh Pit | Photo: Michael Dinger
After by-passing the Tasty Burger food tent, it was not easy (trust me), I had more than thirty other options from top, local area restaurants to choose my next meal from. I finally expanded my culinary horizons and opted for a mouth-watering pastrami Reuben from Mamaleh’s, a sandwich that would rival the famous Katz’s Deli, a Jewish institution in Lower Manhattan dating to 1888. After washing it all down with an Oatmeal Stout by Beer Geek Breakfast (7.5%), I maneuvered my way through the packed audience towards the rear of Harvard’s athletic field where I positioned myself to view the remainder of Nine Inch Nails’ set from the exact opposite vantage point from the previous night, taking in the enormity of the venue and the miraculous stage lighting. Hoping to grab an Uber ride back to my Airbnb before the local streets of Allston were crammed with others trying to do the same thing (a lesson learned from Friday night), I exited the festival grounds while Nine Inch Nails were nearing their set’s completion – mission accomplished.
Nine Inch Nails | Photo: Michael Dinger
Day 3 (Sunday) The festival’s final day arrived without any other surprises such as another line-up change or looming bad weather – aside from the size of the crowd, because James Hetfield, Lars Ulrich, Kirk Hammett and Robert Trujillo of Metallica would be concluding the festival weekend in epic fashion later this night.
But before Metallica, there was still a full afternoon of music to be had by all. The first band to play the Green Stage on Sunday were Peach The Rascals, an indie music collective from San Jose, CA who also achieved fame via TikTok with their song “Mariposa” last year. Cults followed next, the pop band duo of Madeline Follin and Brian Oblivion hailing from New York City. Although their set was hindered with an apparently faulty guitar instrument cable that was not resolved until the final song, their heavily-layered instrumentation was still a joyful listen.
Tarrek Abdel-Khaliq of Peach Tree Rascals | Photo: Michael DingerMadeline Follin of Cults | Photo: Michael Dinger
The Green Stage’s penultimate act of Day 3 were Glass Animals, a jovial rock band from England that lead singer Dave Bayley formed in 2010 with childhood friends Joe Seaward, Ed Irwin-Singer and Drew MacFarlane. Easily one of the best performances of the weekend, their stage setup was the cover of their latest record Dreamland (released in August 2020), reincarnated with hanging neon signs, pastel purple palm trees, a giant television and pyramid, basketball hoop, and of course, their pineapple mascot.
Dave Bayley of Glass Animals | Photo: Michael Dinger
Not wanting to chance it by veering too far away from my coveted spot on the Green Stage’s rail, I made the difficult decision to sacrifice checking out performances by Japanese Breakfast (fresh off their Saturday Night Live season finale appearance) and Goose on the Delta Airlines Blue Stage, as well as Modest Mouse and Weezer on the Red Stage. A case of FOMO hit me hard as I glanced over in the direction of the Red Stage often, taking in the visual images of Rivers Cuomo and his Weezer bandmates as they appeared on the large, vertical video boards on either side of the stage.
On this very hot Boston afternoon, dehydration also hit me hard, as well as many others in the first several rows who were packed shoulder-to-shoulder like sardines in a tin can. Thankfully, security guard Scott Turner, who I had gotten to know earlier in the day from chatting with him, repeatedly pushed bottles of water into the waiting hands of desperate audience members.
As dusk approached, and Weezer’s encore offering of “Buddy Holly” having concluded, Tuukka Rask, the recently retired goalie who played for 15 seasons with the Boston Bruins, took a quick seat at Lars’ drum kit for a quick photo op, before he and his small entourage exited stage left to the crowd chanting, “Tuukka, Tuukka, Tuukka!”
Boston Calling Archway | Photo: Michael Dinger
Not before long, AC/DC’s “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll)” played over the house speakers, signaling Metallica’s imminent arrival. However, as per tradition at every Metallica show since 1983, Ennio Morricone’s “The Ecstasy of Gold” played next, accompanied by video footage from the classic 1966 Western film starring Clint Eastwood, The Good, the Bad and the Ugly. At 8:50 pm, drummer Lars Ullrich was the first band member to appear on stage in front of the largest Boston Calling crowd of all time, followed shortly by guitarist Kirk Hammett and bassist Robert Trujillo. James Hetfield was the last to arrive, and equipped with his iconic white, well-worn Flying V, these metal gods launched into the first of sixteen songs, “Whiplash,” from their debut studio album Kill ‘Em All (1983).
James Hetfield of Metallica | Photo: Michael DingerRobert Trujillo of Metallica | Photo: Michael DingerKirk Hammett of Metallica | Photo: Michael DingerLars Ullrich of Metallica | Photo: Michael Dinger
Over the next two hours, diehard fans in attendance would be treated to hits taken from Ride the Lightning (1984), Master of Puppets (1986), …And Justice for All (1988) and Metallica (1991), better known as The Black Album. The unforgettable night culminated with a three-song encore of “Battery,” “Nothing Else Matters” (with a restart needed when Hammett humorously bungled the intricate guitar picking of the song’s introduction) and “Enter Sandman.”
Last year, Mitchell Cohen partnered with former Sparks/Roxy Music bassist Sal Maida on one of the most enjoyable reads about pop arcana ever penned, The White Label Promo Preservation Society: 100 Flop Albums You Oughta Know. Now Cohen is back, riding solo this time, to tell the story of the last quintessential New York record label. It’s the imprint that either launched or revitalized the careers of Barry Manilow, Patti Smith, The Kinks, Lou Reed, Aretha Franklin, Gil Scott-Heron, The Grateful Dead, Iggy Pop and, of course, Whitney Houston, in the ‘70s and early ‘80s – Clive Davis’ Arista Records.
Cohen’s Looking for the Magic (Trouser Press Books) tells the story of Arista from its inception – a label built upon the foundation of the singles-centric Bell Records to the conclusion of its freewheeling indie era with a mid-1980s merger with industry giant RCA. And although Cohen worked at the label in publicity and A&R from 1977 – 1993, he largely remains absent from the narrative, a humble factor that’s a very good thing for the storytelling.
“Looking for the magic” is a record industry maxim. It says that success is spelled by a label’s ability to realize what’s a hit and, more importantly, what is not! Clive Davis, the man who defined Arista, was unparalleled in his ability to sniff out both hits and artists who grow to become mega-selling legends. It’s something he had done from his early days at Columbia thru Arista to his latter run at J Records.
But before the book gets to Arista, Cohen tells the equally fascinating story of its forerunner, Bell Records, and its intriguing head Larry Uttal.
Uttal’s singles-focused label didn’t do artist development or produce records. It licensed them from a host of talented outside producers like Allen Toussaint and then did the savvy sales and promotion that made them big hits.
Mitch Ryder’s “Devil with the Blue Dress On,” The Box Tops’ “The Letter,” “I’m Your Puppet” by James and Bobby Purify and Merrilee Rush’s “Angel of the Morning” were some of the independent productions Bell drove to the upper reaches of the charts. Uttal also sourced England for hits by Spooky Tooth, Suzi Quatro and Vanity Fair. And after Bell’s purchase by Columbia Pictures came hits from its TV division, The Partridge Family, and Tony Orlando and Dawn. Interestingly, Bell was the partner label for the proto-metal of Leslie West and Mountain and released one of the weirdest records you’ll ever hear, 1971’s For You. This crockpot of kooky features the erotic poetry of Brit thespian/singer Anthony (“What Kind of Fool Am I?”) Newley set to orchestral music by Neely Plumb, the father of child actress Eve Plumb of “Brady Bunch” fame.
Clive Davis enters the picture at Bell as a “consultant” after he is summarily fired from Columbia Records due to an accounting scandal in 1973. By 1974, Davis is in charge and changes the name of the label to that of his high school honors society.
As he had at Columbia with Santana, Sly & The Family Stone and Janis Joplin, Davis made his first order of business signing up talent he could grow – both the new and the established. A vast majority of these would come from NYC like his first signings: the proto-rapper Gil Scott-Heron and Barry Manilow, the cabaret-styled singer who would become the label’s true triple platinum-selling cash cow. Arista would be in the thick of punk with the signings of Patti Smith and punk godfather Lou Reed, whose flagging career would be revitalized with Arista albums like Street Hassle. The Kinks and The Grateful Dead would see their careers soar again with their respective Arista releases, Low-Budget and In the Dark, the latter which featured The Dead’s only Top 40 hit, “Touch of Grey.”
Interestingly, jazz was a very important part of the mix at Clive’s Arista. This was perhaps due to his experience at Columbia Records with Miles Davis and Herbie Hancock. These were forward-leaning jazz stars who crossed over to a rock audience and Gold Record sales with their respective fusion masterworks, Bitches Brew and Head Hunters. Jazz was relatively cheap to record and market and they could break even without the huge sales of rock. So, Clive and company rolled the dice on jazz often, garnering both solid cash returns and even more lasting artistic results.
Arista Records’ forays into jazz deserves some serious attention. The effort was led by Steve Backer, the man who earlier signed Keith Jarrett and Gato Barbieri to Impulse Records. The imprint, Arista Freedom, kicked off with marquee signings of avant-garde notables like Anthony Braxton, Julius Hemphill, Cecil Taylor and the like. In the way of more mainstream fusion, Arista made a splash with The Brecker Brothers and Larry Coryell’s Eleventh House. The latter was a contender to the crown worn by Columbia Records’ resident guitar god John McLaughlin and his fearsomely talented and financially successful Mahavishnu Orchestra. With the purchase of the Savoy Records catalog in 1975, the label did a splendid job repackaging and turning a new generation on to the classic works of Charlie Parker, Dizzy Gillespie, Dexter Gordon and many more. Arista Freedom eventually morphed into Arista Novus. It released a bevy of beautiful, edge-pushing jazz from the likes of Muhal Richard Abrams, Oliver Lake, Air with Henry Threadgill and guitarist Michael Gregory Jackson, whose 1979 album Heart and Center is a masterpiece of genre-leaping future funk.
With the licensing of Passport Records, Arista even dabbled in progressive rock, distributing discs by the likes of Camel, Brand X and synth wizard Larry Fast. By the dawn of the ‘80s, Arista also had a nice piece of MTV-era pop with the success of acts like A Flock of Seagulls, Haircut 100 and The Thompson Twins.
In 1983, things would begin to change. That’s when RCA acquired a 50% stake and took over distribution for Arista. That year, Clive Davis would see the future when he witnessed Whitney Houston singing at the Upper West Side club called Sweetwater. He took his time finding the right songs and style that would make her long-delayed 1985 debut not only an unprecedented smash with three #1 singles, but the template that would be followed to build the careers of everyone from Mariah to Britney.
But that’s another story and that’s where Cohen choses to end this very gratifying one.
On Friday, May 20, Albany folk singer Sabrina Trueheart released her debut EP, Holding Onto Something Good. The four-song project follows the release of singles “To Die Alone” and “Wait,” released in January and March respectively.
Cover art for Holding On To Something Good.
The instrumentation of Holding Onto Something Good is almost as simple as possible, featuring nothing more than Trueheart’s voice and acoustic guitar along with a simple drumbeat on the title track.
Trueheart’s singing is the EP’s best element, with her soft voice matching the project’s focus on tender emotions. She also makes sure to save her impressive vocal range for the right moments, going high in the final seconds of “Honey Bee” and “Skinny Dipping.”
In terms of Trueheart’s guitar work on the EP, while the first two songs consist of slow and simple finger picked melodies, the second half showcases some technical prowess with the quick chord changes on “Skinny Dipping” and closer “Two of Us.”
Lyrically, Holding Onto Something Good is introspective, with musings centered around romance and moving past personal hardship. “Used to wanna run, but those days are gone,” she sings on the pre-chorus of the title track, a moment showing the project at its catchiest.
The EP’s title track showcases the project at its catchiest.
“Skinny Dipping” shows some vulnerability with its use of imagery, as Trueheart sings, “your body glistening, medicine for my troubled mind.”
“Two of Us” closes the EP on an intimate note, painting a picture of romance between two imperfect people. “Life’s good when it’s the two of us, but I’m still me and you’re still you,” she sings in the closing seconds.
While just 12 minutes long, Holding Onto Something Good rings clear, painting Sabrina Trueheart as a person who acknowledges her growth and is looking forward.
Key Tracks: Holding Onto Something Good, Skinny Dipping, Two of Us
North Country’s premier post-outlaw country band, Austin and the In-Laws, have just released their newest album titled “Songs From the Woodshed.” The album just came out on May 10th, giving their audience original tunes of cold weather country delivered in our signature post-outlaw style. They will be coming to play in Plattsburgh on June 24th, at Elf’s Farm Winery 5:00pm.
The band is formerly known as “Cash Journey,” due to their covers of the classic outlaw country style music by Johnny Cash. If you want an evening of country classics and original tunes, be sure to check out the upcoming show dates from the In-Laws.
https://www.youtube.com/watch?v=hXMopxSHi1o
Regardless of their covers of Johnny Cash’s infamous songs, the band has just released their first original album. The band produced, recorded, mixed, and mastered all the songs on this album. Check out these five new original tunes in the classic outlaw country style.
The band is made up of four talented members including Austin Petrashune (Vocals, guitar, piano), Matt Hall (Drums), Ann Petrashune (Bass), and Reggie Duncan (Pedal steel guitar on Dark As Dusk). They are often seen on social media platforms like Facebook, TikTok, and more covering Johnny Cash’s infamous songs like “I Walk The Line” and “Folsom Prison Blues.”
Upcoming shows
June 17th, 6:00 pm, Austin and the In-Laws in Keeseville
June 24th, 5:00 pm, Austin and the In-Laws at Elf’s! in Plattsburgh
July 9th, 4:30 pm, Austin Petrashune plays the music of Austin and the In-Laws in Bloomingdale
You can find lyrics, upcoming shows on their Bandcamp page linked here.
