Category: Reviews

  • Machine Head Bring “Electric Happy Hour (Live)” To Brooklyn’s Saint Vitus Bar

    In the middle of a 38-date tour of smaller venues across North America that kicked off November 3 in Fresno, California, thrash metal titans Machine Head played an intimate show to a raucous Saint Vitus audience in Brooklyn on Tuesday, November 29. A live extension of the band’s “Electric Happy Hour” online shows, which were streamed remotely throughout the COVID-19 pandemic, the first half of the tour has seen their diehard legion of fans thrilled by a free-form style set filled with deep cuts.

    machine head saint vitus
    Robb Flynn | Photo by Michael Dinger

    Nestled in its Greenpoint neighborhood, Saint Vitus opened in 2011 and has been known as the premier heavy metal hang spot ever since. On this weekday night, the bar would be taken over by the quartet hailing from Oakland, California who are touring in support of their tenth studio album Of Kingdom and Crown. A 13-track concept album that follows the stories of two main characters, Ares and Eros, was released via Nuclear Blast/Imperium Recordings this past August.

    Arriving to the venue for my first time, I knew I was in the right place (despite the venue displaying no street signage as to its existence) when I spotted the band’s tractor trailer rig parked out front and a contingent of lucky VIP fans who were already making their way into the venue for soundcheck. The remaining fans, including myself, chatted and shivered together on the frigid evening as the general admission line steadily grew until it wrapped around the street corner.

    machine head saint vitus
    Jared MacEachern | Photo by Michael Dinger

    At approximately 7:00 pm, security returned to escort us into the warm confines of the 250-capacity concert hall. After my media credential was confirmed by the stamped application of the bar’s skull logo to my right hand, I walked through the bar area and headed straight for the coveted rail position. With no area designated for pit photographers, I was glad to be as close as possible to the metal action that would unfold before our collective eyes in a little more than an hour.  

    Without any opening support and Ozzy Osbourne’s “Diary of a Madman” playing over the house PA, the stage lights suddenly dimmed and the chants from the fans began . . . “Machine-Fucking-Head,” “Machine-Fucking-Head,” “Machine-Fucking-Head,” “Machine-Fucking-Head.” For the next 2 hours and 15 minutes, Robb Flynn (vocals/guitar), the only remaining original member, Jared MacEachern (bass), Wacław Kiełtyka (lead guitar) and Matt Alston (drums) would deliver a heart-pounding, 21-song set that fully displayed the hard-hitting musicianship that made Machine Head one of America’s pioneering influences in new wave heavy metal.

    machine head saint vitus
    Wacław Kiełtyka | Photo by Michael Dinger

    Performing a set that included at least one song from each of their studio albums – spanning the course of nearly three decades – the San Francisco Bay Area metallers’ first offering was “Imperium,” from Through the Ashes of Empires (2003). With Flynn urging the crowd to “open up that circle pit,” he took us back to 1997 with the speed metal single “Ten Ton Hammer” (The More Things Change…). Reverting to their thrash metal roots, we lost our collective mind during “CHØKE ØN THE ASHES ØF YØUR HATE,” taken from the aforementioned Of Kingdom and Crown and the first of three offerings that would be performed tonight from that 2022 release. The next trio of songs comprised two tracks from 2014’s Bloodstone & Diamonds (“Now We Die” and “Killers & Kings”), followed by “The Blood, the Sweat, the Tears” (The Burning Red, 1999). The night’s second contribution from Of Kingdom and Crown ensued, “UNHALLØWED,” an anthemic tune featuring dual-lead guitar lines and Flynn’s melodic vocals.

    machine head saint vitus
    Matt Alston | Photo by Michael Dinger

    With Machine Head’s set approaching the one hour mark and his plastic cup of Guinness running low, Flynn summoned crew member Junior to the stage to remedy the problem. After a quick refill of the Irish-made suds and another toast to the fans for coming out and their support, a special guest appearance was made by Joey Zampella (better known as Joey Z), guitarist for the Brooklyn alternative metal band Life of Agony that Joey Z co-formed in 1989. Taking over axe duties for Kiełtyka, the first of three cover songs followed, Life of Agony’s “This Time.”

    machine head saint vitus
    Robb Flynn | Photo by Michael Dinger
    Joey Z | Photo by Michael Dinger

    Over the next thirty minutes, Machine Head gave us “Old” (Burn My Eyes, 1994), “I Am Hell (Sonata in C#)” (Unto the Locust, 2011) and “Aesthetics of Hate” (The Blackening, 2007), with Flynn again urging his fans to form another circle pit that nearly engulfed the entire room. Following a brief pause in the action, Flynn reappeared, now armed with an acoustic guitar. Pulling his hair back and wiping the sweat from his eyes, Flynn addressed the steamy room of sweaty bodies:

    The song that we’re going to do for you here is about mental health. It’s about religion. It’s about music, and it’s about depression. And, you know, for me, I wrote this song when I was in a pretty dark place in my life. I wasn’t raised with religion. I never prayed to a God upstairs to help me when times went tough. No, the thing that I always, always turned to throughout my life was music. It could be Black Sabbath or Pink Floyd or Metallica or Slayer or Hatebreed or Life of Agony. [There were] a million fucking bands [with] the power to reach down and pull me up out of that hole. It was never my music. It was someone else’s.

    So, I tell you what. If you relate to the words that I’m talking about, I want you to feel free to sing them as loud, loud as you want to. Be louder than me if you want to. I don’t care Brooklyn, you’re in a Machine Head show, New York. You can do whatever the fuck you want. Get your flashlights way, way, way up in the sky [and] turn the lights on for all of you who have a little bit of darkness inside you. This song is called “Darkness Within.”

    machine head saint vitus
    Robb Flynn | Photo by Michael Dinger

    In accordance with the show’s career-spanning theme, a foursome of songs followed, comprised of “Catharsis” (2018’s self-titled track), “Bulldozer” (Supercharger, 2001), “From This Day” (The Burning Red, 1999) and “Davidian,” a pulverizing, groove metal number from their 1994 debut album (Burn My Eyes) about the Waco, Texas siege the year prior. Following a brief moment offstage to collect their breaths for the final push, Machine Head performed two back-to-back covers as part of their encore. The first, Alice in Chains’ “Man in the Box,” was spontaneously played in response to a request from the crowd. A blistering rendition of “Roots Bloody Roots,” released by Brazilian metalists Sepultura in 1996, was performed next.

    The epic night of heavy metal ended with “Halo,” a second track played from 2007’s The Blackening, with Flynn addressing us for a final time: Brooklyn, New York, we love you fucking maniacs. You were absolutely incredible. Thank you for making us feel so good. We are Machine-Fucking-Head, good night! Before leaving the stage for the final time, all four Machine Head members took a long, gracious bow before Alston handed his sticks to a pair of blissfully stunned fans and handfuls of picks were handed out by Flynn, MacEachern and Kiełtyka. The metal festivities officially concluded with the exclusive Machine Head t-shirt award to the most worthy fan who raged the hardest, a young man I personally witnessed headbanging in the front row all night long, while screaming every lyric in unison with Flynn.

    machine head saint vitus
    Machine Head | Photo by Michael Dinger

    Machine Head will continue their string of U.S. tour dates until the tour finale at Ace of Spades in Sacramento on December 23. Additionally, on the heels of a recently postponed show in Portland, Maine due to “transportation issues,” that show has already been rescheduled for April 2023.

    Machine Head Setlist: Imperium > Ten Ton Hammer > CHØKE ØN THE ASHES ØF YØUR HATE > Now We Die > Killers & Kings > The Blood, the Sweat, the Tears > UNHALLØWED > Locust > NØ GØDS, NØ MASTERS > This Time (Life of Agony cover) > Old > I Am Hell (Sonata in C#) > Aesthetics of Hate > Darkness Within > Catharsis > Bulldozer > From This Day > Davidian > Encore: Man in the Box (Alice in Chains cover) > Roots Bloody Roots (Sepultura cover) > Halo

  • Columbian-American Artist Valley Latini Releases Sensual Electro Pop Album “Attention Lover”

    NY-based Columbian-American pop artist Valley Latini has announced the release of Attention Lover, a sexy dose of introspection for lovers of electro pop. Musically inspired by the industrial sounds of Bushwick, Brooklyn, the album is sensual and direct. This 11-track project drops on December 1 and shares stories of past relationships and love affairs as well as a deeper look at self-love and female empowerment. 

    Valley Latini Columbian-American Artist Releases New Album

    As a singer, songwriter and music producer, Valley’s creative style reflects on a lot of social issues, self-realization, and personal philosophies on romance, delusion, and joy. “Attention Lover” branches further into Latini’s personal life and the relatable chaos that ensues when attempting to fall in love. 

    A huge part that goes into her sound and lyrics are fun and chaotic love life.  Along with this, she is highly influenced by her religious background. In a transgressive way, she chooses to combine said elements with contrasting themes like sensuality and divinity as a unified entity. 

    A lot of her live performances are centered around the expression of individual freedom and finding power in her female essence. Having recently performed on her national tour with comedian and author Jacq Frances, Valley has performed in venues and bars all across NYC. Valley’s music has been featured in a few local blogs like Bushwick Daily, The Hudson Valley News, Indie Wire, La Mezcla, and so much more.

    The combination of her Colombian upbringing with the sounds of NYC offer a diverse musical background. In her lyrics she embodies true strength through fearless vulnerability, proving herself to be a modern day renaissance woman. 

    As stated in a previous article from NYS Music, Valley talks about herself as the triumphant protagonist, dangles a literal carrot in front of the priest and wreaks havoc on his deserving soul in her song “Tu Y Yo.” Ultimately, as it turns out, the “haux house” leads to a beach utopia where the women can enjoy the finer things in paradise anyway.

    Valley expands on the concept, “the video is a metaphor for a modern day ‘witch hunt’ caused by men in power that fear female sexuality and censor the female body and sex workers.”

    Listen to “Attention Lover” by Valley Latini below.

  • Twiddle Put the Frends in Frendsgiving at The Capitol Theatre

    Twiddle performed for two nights at the legendary Capitol Theatre for their annual Friendsgiving, this time welcoming Dogs In a Pile on Friday and Neighbor on Saturday.

    Dogs In a Pile have been quickly gaining fame and have been on tour with Twiddle. Twiddle welcomed a two-piece horn section and members of Dogs in a Pile for multiple sit-ins, notably a “How Sweet It Is” encore featuring both bands, as an homage to Jerry must be paid when playing The Cap.

    “Apples” proved to be a lengthy, psychedelic jam. Favorites such as “Orlando’s,” “Syncopated Healing,” and “Lost in the Cold” were great within a jam heavy set list, especially with the added horns section.

    Twiddle “Frendsgiving” – The Capitol Theatre, Port Chester – November 25, 2022

    Set 1: Every Last Leaf I [1], Beautiful, Stroganoff, Life Back Now, Complacent Race [2], Moments [2], Latin Tang [2], Polluted Beauty [2] > The Box#

    Set 2: Syncopated Healing [2], Distance Makes the Heart [3], Enter [2] > Orlandos^ [2], Apples > White Light > Mushrooms of the Sea > Apples, Lost in the Cold [2]

    Encore: How Sweet It Is (To Be Loved By You) [4]

    [1] First time played. With Adrian Tramontano on guitar
    [2] With Michael Bafundo and Mike Oehmen (Horns)
    [3] With Brian Murray and Sam Lucid (Dogs In A Pile)
    [4] Marvin Gaye (Debut). With Jeremy Kaplan and Jimmy Law (Dogs In A Pile), plus Michael Bafundo and Mike Oehmen (Horns)

    # with Mihali Cowbell Jam
    ^ with Crosseyed and Painless teases

    Twiddle “Frendsgiving” – The Capitol Theatre, Port Chester – November 26, 2022

    Set 1: Frends Theme, The Devil, Dr Remidis Melodrium [1], Fighting For, Every Soul > Mamunes The Faun [2] > Every Soul

    Set 2: Grandpa Fox > The Mission, Beethoven & Greene, Frankenfoote > Grandpa Fox, Slippin in the Kitchen [3]

    Encore: Why Can’t We Be Frends [4] > When it Rains it Poors > Every Last Leaf II [2]

    [1] Apples Vocal Reprise
    [2] With Scott Hannay
    [3] With Rick James (Neighbor) & Scott Hannay
    [4] WAR (Debut)

  • Hearing Aide: Queens’ Iceblynk Washes and Swirls on Dreamy Self-Titled EP

    Queens dream pop group Iceblynk’s eponymous debut EP is a solid five-song, 25-minute effort that showcases the best of the genre.

    Appearing to be named after the acclaimed Cocteau Twins track “Iceblink Luck,” the group leans into dream pop’s prized traditions. From reverb-tinged vocals that ring familiar of the easy melodies and loose enunciation of Elizabeth Frazer, to the whirring, effects-drenched guitar playing of My Bloody Valentine, Iceblynk captures key elements of the genre with precision.

    iceblynk
    Cover art for the record.

    Notes of surf rock are obvious as well, especially on the EP’s first two tracks. Summery guitars characterize “Tragic,” an upbeat opener with slippery drumming and wistful lyrics that define the record. Its follow-up, the new-wavey “Spared,” is a highlight with its infectious, harmonic-laden guitar riff and a simple chugging bassline. It also features some of the EP’s most pointed lyricism, with lines such as “and then you’ll ask me to explain, I know I know that you won’t do the same.”

    All tracks are consistent but none are static, with guitar solos and waves of swirling effects padding out almost every song to around five minutes in length. Such is the case for track #3 “Imagined Life” with its subtle verses of watery synths contrasting atmospheric guitar-driven choruses. While melancholic, it’s not depressing with lyrics such as “and when you can’t imagine life, another day of asking why, I’ll take you to a quiet place.”

    This subdued energy continues on “Seen Gone,” the only number shorter than four minutes. Genuine lines such as “I always take two moments to break it all apart, to form a simple sentence from my scattered thoughts” add vulnerability to this lowkey, surf-rock oriented track, which also features some of the record’s grooviest drumming.

    This EP starts upbeat and fast, becoming subdued and meditative, before finishing loud with “Sunshine.” A slow, waltzy closer, its array of synths and vocal effects reminisce a bit of Animal Collective. Uplifting lines such as “sunshine, you always make me feel like I’m the only one in the sky” make this a final note that comes off as genuinely uplifting.

    Iceblynk’s debut EP doesn’t reinvent dream pop or shift drastically in tone at any point, but it doesn’t need to. The band’s musicianship is solid, the lyrics are endearing, and the songs are enjoyable. While just five songs long, this is a fulfilling debut project.

  • Two New Books Explore the Intricacies and Staying Power of Pop’s Most Iconic Songs

    Earlier this month, Bob Dylan made waves with the publication of his long-awaited critique of 66 of his favorite tunes by other songsmiths, The Philosophy of Modern Song.  Now veteran music journalists Marc Myers and Steve Baltin are weighing in with their own fascinating and divergent explorations of this turf, with Anatomy of 55 More Songs (Grove Atlantic Press) and Anthems We Love (Harper Horizon).

    iconic songs

    Unlike Dylan’s book, which doesn’t delve into the paint-by-numbers makings of the classics, Myers and Baltin’s approaches are straightforward explorations of the creation and lasting impact of some of pop’s most iconic compositions. Where Dylan often employs his selections as jumping off points for impressionistic, very personal essays about the subject matter of his chosen songs (divorce, career crash, gambling, etc.), Myers and Baltin serve up approaches that are far more direct and satisfying, especially for music-makers.

    Myers’ newest is the second book culled from his long-running Wall Street Journal column, “Anatomy of A Song.” The first, a critical smash released in 2016, provided oral histories on the making of 45 era-defining hits from interviews with the artists that crafted them, names like Mick Jagger, Jimmy Page, Stevie Wonder, Joni Mitchell, Rod Stewart and Roger Waters to name a few.  Myers’ latest takes on 55 more including Creedence Clearwater Revival’s “Bad Moon Rising,” The Beach Boys’ “Good Vibrations,” Black Sabbath’s “Paranoid,” Joan Jett’s “Bad Reputation,” The Spinners’ “I’ll Be Around,” Blondie’s “Rapture,” Donovan’s “Sunshine Superman,” The Youngbloods’ “Get Together” and Journey’s “Don’t Stop Believin’.”

    In his interviews with the songwriters and collaborators like producers Tony Visconti and Bob Ezrin, Myers brings you backstage for an incredibly detailed view of their inspirations and creations. These are engaging narratives that are dressed up with offbeat trivia that will make you the star conversationalist of any cocktail party. 

    John Fogerty tells how his “Bad Moon Rising” was a marriage of the short story, “The Devil and Daniel Webster,” and Scotty Moore’s guitar licks on early Elvis records.  The secret sonic sauces?  He did it with his Les Paul tuned down to D and slapback echo on the vocals that make everyone think his final lyrical couplet may be “there’s a bathroom on the right.” The latter is something Fogerty now periodically deploys in concert to the amusement and delight of his audience. The versatile Todd Rundgren shares how his twice-recorded “Hello It’s Me” may not have come to be if his high school girlfriend’s dad hadn’t turned the garden hose on him for having long hair or if he hadn’t heard jazz organist Jimmy Smith’s version of “Johnny Comes March Home.”  Tommy James and the Shondells’ “Crystal Blue Persuasion” was not an “acid song” as many believe.  It was something inspired by a poem put in James’ hand after a college gig by a kid who was never heard from again. Bob Weir of The Grateful Dead shares that their “Truckin’” really crossed over largely because of the harmony tricks they had picked up from jazz great Jon Hendricks.  As for AC/DC’s “Highway to Hell,” it also was almost not to be when the cassette containing the rough rehearsal demo became unraveled and was nearly destroyed before they could share it with producer Mutt Lange.

    iconic songs

    Shock rock pioneer Arthur Brown’s hit “Fire” sprang from a poem he had written at 15, while Steve Miller’s “Fly Like An Eagle” only solidified after he added electronic trimmings from “the cheapest, dumbest synthesizer” he could find at his local music store.  Steely Dan’s “Peg” only got its finishing touch when they wrestled the perfect guitar solo from session man Jay Graydon, the eighth musician to try his hand at it. Earth, Wind & Fire’s lyric collaborator Allee Willis never knew the significance of the date in their song “September” until years after leader Maurice White’s death (September 21 was the due date of his son as told by his widow to Willis).  And even though she begged White 20 times or more, he would not replace the “ba-dee-yah” in the song’s refrain with lyrics “that made sense.”

    Myers’ book also provides astute musical analysis that places the songs within the context of their time and meta musical trends.  His chapter on Journey’s “Don’t Stop Believin’” begins with a pocket history of power ballads of which this tune is a solid gold example. Myers’ traces the birth of the power ballad to days of movie musicals and Judy Garland’s show-stopper, “Over the Rainbow,” from The Wizard of Oz.

    Where Myers is more focused on the big bang of their creation and immediate aftermath, Steve Baltin’s book is more focused on the reverberations – how hit songs with a unique staying power become anthems that connect with generations and have many lives beyond their time on the charts.

    Baltin’s book investigates 29 iconic songs that have grown to anthem stature with the passing of time.  These include everything from 60s classics like The Temptations’ “My Girl,” The Beach Boys “Good Only Knows” and The Doors “Light My Fire” to more modern rock and pop staples like Linkin Park’s “In the End,” My Chemical Romance’s “Welcome to the Black Parade” and TLC’s “No Scrubs.”

    To become an anthem a song needs two things per Baltin – timelessness and universal appeal.  Most anthems are “mistakes.”  Some like Tears for Fears’ “Everybody Wants to Rule The World” were throwaways that nearly didn’t get finished or recorded (it only was when Roland Orzabal’s late wife insisted that he decided to complete what he called his “rubbish song”).  Others like Chic’s “Le Freak” were almost too silly in the minds of their creators, while still more like Graham Nash “Our House” were deemed almost too simple to be really proud of, even with their runaway success. 

    Baltin’s chapter on “God Only Knows” is a good template for his approach.  While Paul McCartney and others called it “the greatest song ever written,” it was buried on a now-classic album that was largely ignored upon its release, Pet Sounds. Beach Boy Al Jardine compares it to “The Nutcracker,” a classical not pop production, something that its writer, Brian Wilson, also admits. He notes the “Tchaikovsky-influence” on his writing at the time. As with most of the entries here, Baltin goes on to note the many cover versions of the song (200 and counting for this one, from the likes of mellow crooner Andy Williams to art rockers Flaming Lips).  He also completes many entries with a list of their frequent and very lucrative use in film, television and commercials.

    In his chapter on Neil Diamond’s “Sweet Caroline,” Baltin relates how this bit of sunshine pop from 1969 became a sports anthem for The Boston Red Sox and something that helped heal the city when Diamond performed it at Fenway Park five days after the 2013 Boston Marathon bombing.  Jefferson Airplane’s Grace Slick labels her “White Rabbit” a “rip-off of Ravel’s Bolero and Alice in Wonderland.”  She credits its popularity to the “sex build up to climax” of the song’s arrangement.  Interestingly, her favorite version of the song is not her own, but the one done by Pink – though she would still love to hear a cover by Barbra Streisand.  In the same spirit, the Tears for Fears duo actually now prefers the downtempo electronica version of “Everybody Wants to Rule The World” recorded by Lorde for The Hunger Games: Catching Fire soundtrack.  It’s an arrangement they sometimes perform in concert and have considered re-recording.

    The only anthem in the book that was conceived as one was KISS’s “Rock and Roll All Nite.”  According to guitarist Paul Stanley, the president of their record label, Casablanca, Neil Bogart, said to the band they were still struggling need an anthem to really breakthrough.  Stanley went straight to his hotel room and penned the killer chorus which was fused with a partial tune by bassist Gene Simmons, “Drive Me Wild.” The tune did not really take off until it was re-recorded and featured on their 1975 live album, Alive.  

    The descriptions above just scratch the surface of these fine books, ones which belong on the bookshelf of any diehard music-lover and every music-maker seeking to capture lightning in a bottle.

  • East goes West: An Unforgettable Day 2 at WonderFront Music and Arts Festival 2022

    On Saturday November 19, WonderFront Music and Arts Festival 2022 continued on for an unforgettable Day 2. Since the last festival in 2019, WonderFront has made a comeback with headliners Kings of Leon, G-Eazy, Lauren Daigle and Swae Lee, all making headway to restore the annual festival within Seaport Village along the pier in downtown San Diego. 

    Kings Of Leon – WonderFront Music and Arts Festival 2022 Perri Sage Photography

    Starting the day with Fitz and The Tantrums at the Events.com main stages, the show-goers belted the lyrics to fan favorite “Out of my League” which was a huge milestone in the band’s early career. Saturday’s afternoon sun became the perfect natural spotlight for the indie pop rock band founded in 2008 by lead vocalist Michael Fitzpatrick when they released their first hit single “Breakin’ The Chains of Love” in 2009.

    The festival moved towards transpiring viral success Tai Verdes, known for his pop and indie inspired music. Tai grew to fame during the pandemic in 2020 for his hit single “Stuck in The Middle,” which successively sprung him into a well-deserved music career. The crowd grew full as Tai was engaging with fans with an urge to hurl over the pit’s rail guard, as Verdes made it all worth the wait, especially when the performance of hit single “A-O-K” was embraced by a sea of loyal fans.

    wonderfront music festival 2022
    Tai Verdes – WonderFront Music and Arts Festival 2022 Perri Sage Photography

    As the sun started winding down, singer/songwriter Bill Dess took a stand on the stage with his blue electric guitar. Going by the stage name of Two Feet, Bill balances a groove with a heavy tone and edgy electric guitar riffs. Representing the east coast, Bill Dess was born and raised in Manhattan where he began the production of his music career. Dess set the tone for those around as he strung his hit release “I Feel Like I’m Drowning” which reached number 36 on The US Hot Rock Songs Chart.

    Two Feet – WonderFront Music and Arts Festival 2022 Perri Sage Photography

    Leading into one of the top headliners of Saturday’s lineup was the unforgettable Swae Lee performed an impressive and crowd pleasing show. Swae leaped onto stage telling the crowd “I’m gonna make this shit unforgettable for y’all,” leading into featured hit release “Unforgettable” with French Montana. Leaning over the guard rails into the crowd, Swae was standing over the monitors, jumping from stage left to stage right and throwing his shirt into the crowd. Festival goers swung left to right as top hit “Swang” boomed through the bass. He made his appreciation for the fans known, putting on quite a remarkable show.

    wonderfront music festival 2022
    Perri Sage Photography

    Swae Lee has been best known for songs from the album SremmLife from a duo Rae Sremmurd with his brother.. Swae Lee has featured artists on many tracks, such as Jhene Aiko, Post Malone, Traviss Scott and Nicki Minaj. Some of his fan favorites include “Unforgettable,” “Sunflower” and “Sativa” For one of WonderFront’s many headliners, Swae Lee put on an unforgettable show.

    Swae Lee – WonderFront Music and Arts Festival 2022 Perri Sage Photography

    Headliner G-Eazy made an appearance Saturday night, having risen to attention in 2014 when his first major label album These Things Happen hit number 3 on the US BillBoard charts. G-Eazy cherished this show in honor of his fanbase to carry on their support over the years.

    Playing one of Saturday’s concluding shows in San Diego’s all time ocean overlook, Ruocco Park. Echosmith took the stage to honor their last show on the band’s 2022 tour. Lead singer and keyboardist Sydney Sierota held a special place for San Diego, it being her hometown, which made their last show of the year more memorable for the fans and the alternative pop band.

    EchoSmith – WonderFront Music and Arts Festival 2022 Perri Sage Photography


    To conclude an eventful Day 2 of WonderFront Music and Arts Festival. headliner Kings of Leon dropped an outstanding closing performance. The crowd was packed with show goers urging to get upfront for a better view along the marina, where fans filled the venue from front to back. With millions of follower on Spotify, their listeners were ecstatic for their show and appearance to the multi-genre festival. The group, composed of brothers Caleb, Nathan, Jared and their cousin Matthew Followill, performed “Sex on Fire,” “Use Somebody” and “Closer” from Kings’ most iconic album release, Only By The Night.

    wonderfront music festival 2022
    Kings of Leon – WonderFront Music and Arts Festival 2022 Perri Sage Photography

    The wait for the American rock band was worth the wait when the crowd belted each song and roared of applause. The closing on Saturday November 19 set the bar for a remarkable show, raising high hopes for the final day of WonderFront Festival.

  • Sweats Hit All Bases on “I End Where You Begin”

    Finger Lakes rock band Sweats has released their second studio album, I End Where You Begin, a 50-minute project showcasing strong musicianship and vulnerable lyricism. A multi-disciplinary record, incorporating elements of bluegrass, hard rock, and funk, the band also shows no mind to brevity, with most of the project’s 10 songs angling towards the five-minute mark with solos abound.

    sweats i end where you begin
    Cover art for I End Where You Begin by the Sweats.

    This approach is well introduced on “Indulgent Days,” a swinging opener with subtle, echoey verses contrasting the noisy, pounding chorus. It also sets the tone for the record’s lustful lyrical approach, with lines in the chorus such as “license to misbehave, you can’t take em to your grave, these indulgent days.”

    Relatively playful, the album’s opener contrasts a bit from what follows. The next track “Broken Life” features a dark lead riff, screechy rhythm guitars, and a menacing hook. “You and I pick up the pieces of a broken life, hold em together see they fit right if we hold each other tight,” the chorus articulates. “Broken Life” is also a great example of the record’s dynamics, with bendy soloing, cymbal crashing, and urgent vocals highlighting the track’s climax.

    This continues for the following two tracks. The guitar work on “Whiskey Thursday” is both urgent and dream-like, with an urgent keyboard riff on the verses setting the tone for a moody track that maybe shows off the best solo on the album. The album’s impressive drum work is on display for the funky grunge-like “Lose My Mind,” with moments of creepy, metal-esque vocal delivery, and forboding lines such as “he sleeps through days and is up all night, he said ‘it’s always dark before you see the light.’”

    The record’s tone doesn’t stay this way though, with playful moments such as “Strawberry Girl,” an upbeat funk rock cut with lyrics like “juices are on my chin, summer nights begin,” and the danceable piano rock of “Holding Hands” with a romantic mantra being repeated for the last minute of the song: “I know you’re getting tired of the way things have to be, you don’t ever get tired of dreaming away with me.”

    When I End Where You Begin isn’t angsty or cheery, it has its stretches of lust and melancholy. On “Witchoo,” the song’s jagged guitar solo adds expression to its slow, subdued approach, assisting wistful lines such as “thinking of the right things to say and do, as I dream away the night time just trying to be with you.”

    “Nicks,” the longest song on the album at nearly seven minutes, marks the record’s emotional point as its penultimate track. “I saw you with a friend of mine I hadn’t seen in years, you saw me with a soggy mind after a couple beers,” the opening line articulates. While also subdued, the song’s two solos and explosive outro make the emotional payoff of the song all the more visible.

    The album’s final track “Too Many Cooks” is much more playful and laid back than what comes before it, with sardonic lyrics that almost seem political. “Everything’s broke, no one needs fixin, everything’s a joke, nobody’s gigglin’, and if you see smoke don’t be surprised, it’s just the world on fire,” the chorus articulates. It’s a closer which doesn’t relate much to the rest of the record, but it still fits, covering a bit of extra musical ground.

    Overall, I End Where You Begin is a strong album with impressive showings of musicianship on each track. Its lyrics are personal, it covers plenty of stylistic territory, and finishes right where it feels right.

  • Quantum Cosmic w/ Eberwine in the Water

    On Saturday, November 26th, two worlds collided and if you were lucky enough to be at Putnam Place in Saratoga Springs, you would know that doesn’t imply disaster. With Buffalo band Eberwine and 518-based Quantum Cosmic, it was an explosion of extraordinary talent, guitar riffs like you’ve never heard before, and a superjam by some of the best in the Northeast.

    Annie in the Water drummer Josh West

    Eberwine in the Water

    Opening things up Saturday night was Eberwine in the Water, or Annie in the Wine – the name is a matter of debate. With members from both Annie in the Water and Eberwine, the name mattered far less than what was happening up on that stage. Todd Eberwine and his bassist Pablo Zabrycki joined members from Annie in the Water including Brad Hester, Matt Richards, Josh West, and Michael Lashomb.

    eberwine quantum cosmic
    Eberwine in the Water

    The combination was an absolutely genius idea and the opening set was an epic superjam, unlike anything I have ever seen. The members of each band seemed to pull something extraordinary out of the others; it was like they were chasing one another around the stage, but with music.

    eberwine quantum cosmic

    Eberwine

    Eberwine is new to the jam scene, especially here in Eastern NY. However, if you haven’t checked them out yet, you are really missing out on something incredibly special. These guys are a rock band that jams. And with Todd Eberwine on lead guitar, I promise you haven’t heard anything like this before. I highly recommend that you check them out as soon as possible. Check out their upcoming tour dates here.

    eberwine quantum cosmic

    Quantum Cosmic

    Local band Quantum Cosmic closed out the evening, which included members of Annie in the Water. I haven’t gotten to see this band since well before the pandemic, and I was pleasantly surprised that they have gotten even better since I last saw them perform — and they were amazing even when they were brand new. They brought guitarist Mark Edwards from Eberwine out for a sit in and he can absolutely shred.

  • Duke Ellington Visits Buffalo During Wartime – November 27, 1943

    On Saturday, November 27, 1943, Duke Ellington and his Orchestra performed in Buffalo at the Trico Products Factory, for a performance that was broadcast on the NBC Blue Network. The show was recorded for the Coca-Cola Spotlight Parade of Bands #372, part of the Victory Parade of Spotlight Bands. The recording was preserved through Special Services and the Internet Archive.

    The Trico Factory made windshield wipers and was located at 817 Washington Street, before closing in 2002 after 85 years of operating on the edge of Downtown Buffalo. Where in the building – one that used electroplating, smelting, die-casting, rubber extrusion and metal fabrication – this show took place is as mystery, but all indications point to Trico Products Factory as the venue for this performance.

    Most recently, construction on the Trico Building began in September 2022 to convert the factory into loft apartments, a modern repurposing of a building that had been listed on the National Register of Historic Places since 2001.

    With the Second World War having been on the front pages of newspapers and forefront of American minds for nearly two years, various military bases and defense plants across the country hosted shows like this one. As a method of paying for the venue space, the promoter and/or artist would simply provide the recordings to Special Services who would repackage them as “Victory Parade” for the Air Force Recruiting Service.

    Musicians including Benny Goodman, Charlie Barnet, Les Brown, Guy Lombardo, Ted Fio Rito, Jack Teagarden, Louis Armstrong, Lawrence Welk, as well as the Duke Ellington performance in Buffalo, and many others, would be featured on the program, with broadcasts beginning with a bugle call. A roll call would then start with the band leader, the band members and then the workers at the facility the show was visiting, all giving a military accent to the performance. Old Time Radio Catalog notes that Victory Parade recordings are some of the best of the Swing Era.

    duke ellington buffalo

    Coca-Cola Spotlight Bands was a notable, if not important and influential music radio series that debuted just days before the attack on Pearl Harbor on December 7, 1941. The series initially had various popular bands, instead of just one specific band, and was aired on Mutual Broadcasting System stations six nights a week. From Monday through Friday, a 15-minute program would be broadcast nationally at 10:15-10:30 p.m ET. On Saturday evenings, a 30-minute program would be broadcast at 10:15-10:45 p.m. ET, which would feature the artists with the largest national record sales for the previous week. The identity of the band was kept secret from the national audience until the program went on the air, in order to attract a larger audience.

    In August, 1942, Coca-Cola entered into agreement with the Blue Network (formerly the NBC Blue Network) launching the revised “Spotlight Bands” series. The Blue Network was the former NBC Blue Network. In 1945, Blue would become the American Broadcasting Company (ABC) after being purchased by Edward J. Noble. Music historian Wayne Knight notes “Not only did Coca Cola send the bands to these locations at their expense, but, each time, the bands were booked and paid to play a three hour engagement.”

    NBC Blue Network logo

    With Blue having a wider audience than Mutual Broadcasting System, Coca-Cola and the Blue Network entered into a new 26-week agreement and the name of the program was changed to “The Victory Parade of Spotlight Bands.” The weeknight programs were extended from 15 minutes to 25 minutes, airing at 9:30-9:55 p.m ET, with the last five minutes of the half-hour devoted to news.

    Listeners directly influenced the bands which would appear, with two polls – one by civilians and one by service personnel and workers at defense plants – replacing record sales as the criteria. The second series launched on September 21, 1942, with Harry James performing at the Marine Barracks, Parris Island, South Carolina. Click here to read more about Victory Parade Of Spotlight Bands.

    An advertising segment of this Duke Ellington performance in Buffalo begins halfway through the recording, with the announcer saying, “From an American soldier somewhere a few thousand miles away, comes a letter with these words.” A second voice says “I’ll tell you another thing I would sure go for right now and that’s a Coca-Cola. My mouth is absolutely watering for one.” While it is doubtful a GI would write an ode to Coca-Cola in a letter home, brands of all sizes showed their support for the war effort, building war propaganda into advertising. The announcer ends the ad spot, saying “For many Americans overseas, that Coke is not so far away, because Coca-Cola is bottled in 35 allied and neutral countries ’round the globe, and there, our soldiers, by the thousands, enjoy the goodness of its cheery refreshment, just as you do at home.”

    Giving the listening audience a sense of normalcy among soldiers stationed abroad is punctuated by connecting the listener at home to the soldiers, uniting the war effort to the sugary goodness of this all-American beverage. A commercial from 1944 or 1945 can be seen below, hammering home the Americanness of Coca-Cola, something that German soldier were not unfamiliar with and unable to enjoy. Watch until the end for a surprise bottle opener.

    Meanwhile on that day in World War 2, President Franklin D. Roosevelt, Prime Minister of England, Winston Churchill, and President Chiang Kai-shek of the Republic of China were meeting at the Cairo Conference in agreeing to the Cairo Declaration, which said that “all the territories Japan has stolen from the Chinese, such as Manchuria, Formosa, and The Pescadores, shall be restored to the Republic of China” and that U.S., the U.K. and China “covet no gain for themselves and have no thought of territorial expansion”, setting instead the goal that “Japan will also be expelled from all other territories which she has taken by violence and greed” and “that in due course Korea shall become free and independent.”

    Meanwhile, the Battle of Wareo began between Australian and Japanese troops in New Guinea, and the Army–Navy Game was played at West Point, with No. 6 Navy defeating No. 7 Army by a score of 13–0. Only 15,000 spectators were on hand due to wartime travel restriction that only allowed residents from within 10 miles of the game site to attend. Thus, the surrounding towns near West Point – Fishkill, Cortlandt Manor, Mahopac, Newburgh, Woodbury and Beacon – would make up the entire crowd that afternoon.

    As for the music in Buffalo this evening, Ellington was already well established by this point, having been a staple of the Harlem Renaissance. Ellington had held long engagements at the Hollywood Club (later known as the Kentucky Club) and the Cotton Club, signed with agent/publisher Irving Mills who brought Duke and his recordings to multiple record labels. In 1927, Ellington began a weekly radio broadcast, which increased his name recognition, especially to the white and wealthy clients of the Cotton Club. And Ellington was no stranger to the Queen City, having performed at The Colored Musicians Club in the 1930s.

    The variety of music performed in those broadcast – of which only 22 minutes was aired and preserved for audiences today – gives a taste of Ellington’s broad appeal and range. Shrill horns, dance numbers, both male and female vocalists joining in the fun, plus jitterbugs and light comedy that was appropriate for the times. Great thanks to Jazz LIVES for bringing this performance to light.

    duke ellington buffalo
    photo courtesy of JAZZ Lives

    Joining Ellington this evening were Rex Stewart (cornet), Wallace Jones and Harold “Shorty” Baker (trumpet), Ray Nance (trumpet, violin, vocals), Joe Nanton and Lawrence Brown (trombone), Juan Tizol (valve-trombone), Jimmy Hamilton (clarinet, tenor saxophone), Johnny Hodges (alto saxophone), Otto Hardwick (alto saxophone, clarinet), Skippy Williams (tenor saxophone, clarinet), Harry Carney (baritone saxophone, clarinet, bass clarinet), Fred Guy (guitar), Junior Raglin (string bass), Sonny Greer (drums) Betty Roche and Al Hibbler (vocals) and of course, Duke Ellington on piano.

    Listen below to the preserved recording of Duke Ellington and his Orchestra, performed to a wartime audience at an atypical venue for musical performance.

    Duke Ellington – Trico Products Factory, Buffalo – November 27, 1943

    Set: Blue Skies, Do Nothing Till you Hear From Me, A Slip Of The Lip, Sentimental Baby, I Wonder Why, Rockin’ In Rhythm

  • The Weight Band at The Bardavon, A Hudson Valley Homecoming

    The Weight Band and special guests Larry Campbell and Teresa Williams started off the pre-Thanksgiving festivities at the Bardavon Theater in Poughkeepsie on Saturday, November 19th. With many performing having roots in Woodstock, The Band, and Levon Helm’s Midnight Ramble the night was more than just another show. 

    Larry Campbell and Teresa Williams proved to be the perfect opening act. The duo employed their roots rock style to originals and covers.  A few songs in, Larry and Teresa invited Brian Mitchell of The Weight Band to grab his accordion and join them on stage.  Jim Weider (also of The Weight Band) would follow a few songs later. This was an indication of how the night would progress. Close friends joining in at various points celebrating their love of music. 

    The Weight Band at The Bardavon
    The Weight Band

    The Weight Band’s (Jim Weider (guitar, mandolin & vocals), Michael Bram (drums & vocals), Brian Mitchell (keyboards & vocals), Matt Zeiner (keyboard & vocals), Albert Rogers (bass & vocals)) set included numerous Band classics. Crowd favorites  “Up on Cripple Creek”, “Life is a Carnival,” bellowed through the house.  The band threw in a few covers including The Allman Brothers “Come and Go Blues,” and The Grateful Dead’s “New Speedway Boogie” to round out the setlist. 

    The Weight Band at The Bardavon
    Larry Campbell and Teresa Williams

    Between songs memories of Allen Toussaint, Levon Helm and Bob (yeah, that one) were shared. The intimacy of the evening gave you the feeling that you were sitting around with old friends reminiscing. Song selection directed the activity on stage. Larry Campbell and Teresa Williams joining in at various times. Players switching from electric to acoustic guitar, keyboard to accordion, and fiddle to mandolin and back as the night progressed. It was loose, it was fun. 

    The Weight Band at The Bardavon
    The Weight Band with Larry Campbell and Teresa Williams

    With the clock inching toward midnight, the evening came to an end.  Everyone joined in on iconic song “The Weight,” sending off it off into the ethos of the Hudson Valley. From the smiles and glow affixed to those on stage, this proved to be more than just a show. This was a musical homecoming.

    And take a load off Fanny
    Take a load for free
    Take a load off Fanny
    And (and, and) you put the load right on me
    (You put the load right on me)

    “The Weight”
    Robbie Robertson

    The Weight Band

    Larry Campbell and Teresa Williams