Category: Reviews

Billy Strings Capitol Theatre Deja Tu Experiment: Where The Spirits Go To Dance

Billy Strings completed a four night run of sold out shows at The Capitol Theatre in Port Chester over February 3rd to 6th. This was the second year celebrating a telepathic experiment conducted by The Grateful Dead 51 years ago.

Billy Strings Capitol Theatre Night 4 by Em Walis

Fans were asked to send images with their minds to selected celebrity participants while they sat at home for the duration of the concert, but without viewing it. After each show, Billy, Royal Masat (bass), Billy Failing (banjo), and Jarrod Walker (mandolin) interviewed participants via video call.

Song selections throughout the weekend ranged from bluegrass standards to hot tracks off the latest album Renewal. Grateful Dead favorites were peppered in for good measure.

Spiritual Dance Party

The Capitol Theatre has been a coveted venue for artists throughout the decades. A sense of importance could be felt. Perhaps a supernatural energy vibrated by those attuned to such mysteries. Security carried themselves with pride, as if they had answered a higher calling to protect the spirits as they arrived to dance.

Attendees young and old accumulated mass as the general admission section filled the room. Stories were passed about the first show, or the most recent. The conclusion was always that the best show was the most recent attended.

Left to Right: Jarrod Walker, Royal Masat, Billy Strings, Billy Failing by Em Walis

Going To Church

A man seeing Billy play for the first time questioned “is this Billy guy really as good as my buddy says he is?” A seasoned fan insisted Billy was about to take the new guy to church.

Not far into “Pyramid Country,” the new guy propped an arm on his buddy’s shoulder and signaled satisfaction towards the seasoned fan. “Ole Slew-Foot” played soon after. A big hug was given to the new guy’s buddy, promptly followed by a Slew-Foot sized hug with the seasoned fan. Comments were made about the playing being unreal as well as the superior mixing by Sound Engineer Andy Lytle. Suddenly, the new guy vanished, and was replaced with a glowing, dancing, euphoric human. This believer was free of ego and self doubt. Replaced in his soul was a cup filled with gratitude and joy.

Transformation

Little did this believer know that the experience was about to enter a next level of intensity: “Wargasm.’ With help from Lighting Designer Roger Gant, the anthemic powerhouse sound converged with light to take form in a way one might only read about in a fantasy novel series.

Shapes and colors woven harmoniously together with perfectly timed layers created a supernatural depth and texture.

Experiencing Billy Strings by Em Walis

Alive

At last, the theater walls which have seen so much, were given a voice to share stories of dancing bears and grinding gears. The visceral journey shattered any preconceived notion about what music should feel like.

As “Wargasm” built up in intensity, once again, the believer evolved. Transformation occurred during Billy’s guitar solo when the believer’s dancing slowed, eyes widened, palms with outstretched fingers rested over his temples and jaw slowly dropped. That is how a new disciple to the church of Billy was born.

Experimental

It was very clear why people traveled from 48 states. Those sequined jacket gals glistened like the snowflakes of Colorado from which they hailed. Tie dye armies converged, their uniforms unique by region like a family’s plaid and crest. All gathered and communicated as one stomping, singing, boisterous ball of life.

The people, all so different, blended together beautifully in a way that mimicked the pairing of projections on the walls and ceilings with the futuristic lights. Like the individuals in attendance, the music and the lights were on a journey all reflecting one another. Supernatural energy was conjured.

Life after experiencing a Billy Strings show by Em Walis

Clairvoyance

Lights paused, showing bright white lights in perfect timing with the return to the hook of the song. Spirits of the past materialized and could be seen all over the theatre.

Through the haze, there was a young woman glowing in white overalls perched in the balcony. She danced with one specific person down on the GA floor who emanated sonic maternal energy. It appeared as if they had known each other for decades.

Teleportation

The great mother appeared on the balcony beside the woman in white. As if to acknowledge all the spiritual boogie happening that weekend, and to continue the dream-like reality of the Deja-Tu Experiment, Billy showed up in the balcony next to the great mother and her friend in white. Billy performed an epic solo duel with mandolinist Jarrod Walker who played from the opposite side.

Each and every attendee experienced at least one form of Deja Vu over the cold February weekend. One attendee recalled feeling like they were back to mom’s couch with the tape player and the big headphones where “China Doll” tapes were listened to over and over. Another noticed the variety of swagger bassist Royal Masat carried with ease. That person was immediately taken back to a fond memory of that Rolling Stones show 30 years ago. As the deep pink lights blanketed the audience during “In the Morning Light,” a young couple were together reminded of when they met and realized life was about to change for the better.

Terrestrial

Waking up on Monday morning, all in attendance faithfully checked instagram for last night’s photos while sipping their morning coffee. Receiving the grounding signal from Photographer Jesse Faatz provided closure and peace for all that had been experienced. Colorful imagery depicted emotions and encapsulated memories. These photos confirmed that the past few days were more than just the feeling of Deja Vu.

Transmutation

Billy Strings and The Capitol Theatre together created a healing fountain for people to connect, dance with spirits and feel alive again.

Setlist February 3: You Don’t Know My Mind (Bluegrass Allstars), Pyramid Country, Ole Slew-Foot (Johnny Horton), Cold on the Shoulder (Gordon Lightfoot), West Dakota Rose (Chris Henry), Love & Regret, Wargasm, Along the Road (Dan Fogelberg), Streamline Cannonball (Roy Acuff), Ground Speed (Earl Scruggs), John Hardy (Traditional), Bronzeback, Secrets, Slipstream (Bela Fleck), Red Rocking Chair (Traditional), Pretty Daughter (Danny Barnes), Love Like Me, Away From the Mire, Long Forgotten Dream, Dire Wolf (Grateful Dead), Come Down the Mountain Katie Daly (traditional)

Encore February 3: If You Hair’s Too Long (There’s Sin in Your Heart)

Setlist February 4: Know It All, How Mountain Girls Can Love (The Stanley Brothers), Tipper (Tony Rice), Run Down (Jeff Austin), There Is A Time (The Dillards), Dust in a Baggie, Dealing Despair, Living Like an Animal, Me and My Uncle (John Phillips), Heartbeat of America, John Deere Tractor (Larry Sparks), On the Line, Freeborn Man (Keith Allison), Thunder (Robert Hunter), My Love Comes Rolling Down (The Doc Watson Family), Ernest T. Grass (The Dillards), Air Mail Special (Jim and Jesse), Show Me the Door, Oh Babe, It Ain’t No Lie (Elizabeth Cotten), Rosa Lee McFall (Charlie Monroe), Turmoil & Tinfoil

Encore February 4: Roll On Buddy Roll On (Bill Monroe and the Bluegrass Boys)

Setlist February 5: Red Daisy, Thirst Mutilator, A Good Woman’s Love (Bill Monroe), A Robin Built A Nest on Daddy’s Grave (The Stanley Brothers), While I’m Waiting Here, Home of the Red Fox (Bill Emerson), Little Maggie (Traditional), China Doll (Grateful Dead), I’m Still Here (John Hartford), Last Train to Clarksville (The Monkees), Everything’s the Same, Doin’ My Time (Lester Flatt & Earl Scruggs), Running, Ice Bridges, In the Morning Light, Meet Me at the Creek, Shady Grove (Traditional), Deal (Jerry Garcia)

Encore February 5: Don’t Let Your Deal Go Down (Lester Flatt & Earl Scruggs)

Setlist February 6: Fire on My Tongue, Must Be Seven, Hellbender, Fire Line, Reuben’s Train (traditional), End of the Rainbow (Frank Wakefield), Running the Route, Home, Highway Hypnosis, Taking Water, The Likes of Me (Jerry Reed), All Fall Down (John Hartford), Tennessee (Jimmy Martin), Nothing’s Working, Doin’ Things Right, Peggy-O (Traditional), Hide & Seek

Encore February 6: U.S. Blues (Grateful Dead)

February 10, 2022
50 Years of King Crimson Celebrated in Forthcoming Documentary

The mercurial Robert Fripp and his ever-changing band of prog-fathers will be the subject of In the Court of the Crimson King, a new documentary by director Toby Amies premiering at the 2022 SXSW film fest.

Named after King Crimson’s earthshaking 1969 debut disc, the 86-minute documentary aims to be the definitive celluloid document on the band’s 50-year history – charting the many ensembles and evolutions in style via interviews with Fripp and collaborators like Adrian Belew, Bill Bruford, Mel Collins, Ian McDonald, Woodstock’s own Tony Levin and many more. Amies produced the documentary by following the band on its recent 50^th anniversary tour and securing the rights to some wonderful and rarely-seen archival footage.

photo by Tony Levin

According to notes provided by filmmaker Amies:

“What began as a traditional documentary about the legendary band King Crimson as it turned 50 mutated into an exploration of time, death, family and the transcendent power of music to change lives.

In the Court of the Crimson King is a dark, comic film for anyone who wonders whether it is worth sacrificing everything for just a single moment of transcendence. It explores the unique creative environment of King Crimson, one in which freedom and responsibility conspire to place extraordinary demands on the band’s members – only alleviated by the applause of an audience whose adoration threatens to make their lives even harder. It’s a rewarding and perilous space in which the extraordinary is possible, nothing is certain, and not everyone survives intact.”

photo by Tony Levin

Amies’ documentary comes on the heels of a successful summer 2021 tour by Fripp and his latest (and perhaps last according to the prog grapevine?) iteration of this legendary band. This especially powerful music is featured on the new 2 CD live set, Music Is Our Friend, one capturing the band’s final performances in Washington D.C. and at The Egg in Albany.

The Covid-19 Quarantine gave the ever-intense and oft misunderstood Fripp the chance to reveal his lighter side in a weekly series of “Sunday Lunch” videos made with his singer wife Toya Wilcox. The couple first took to YouTube on Easter Sunday 2020 to share some sonic cheer and comedy. In these vids, they don costumes to perform spirited and sometimes very goofy covers of tunes like “Rudolph the Red Nosed Reindeer,” “Blitzkrieg Bop,” “Goldfinger,” “Sharp-Dressed Man,” “Smells Like Teen Spirit” and the like. More than 60 videos can be found here.

Fans who can’t wait for the film but want the truly definite facts on all things Crimson should also check out Sid Smith’s wonderful comprehensive book, In the Court of the Crimson King: An Observation over Fifty Years.

At over 600 pages of very small type, it has everything a fan could ever want – interviews with all the key players, critiques of their many albums and recaps of every gig the band performed, from its 1969 debut through 2003. The book was originally published in 2001 and out of print for many years, until it was updated and republished in 2019. When it comes to all things prog and Crimson, Smith is a true expert. He’s an intimate who has worked directly with the band in recent years, and a freelance writer whose articles are regularly featured in Record Collector, Prog, Uncut, Classic Rock, BBC Music and many others.

In anticipation of the premiere, Amies has released a trailer that can be seen below.

February 9, 2022
Flashback: The Beatles Perform on The Ed Sullivan Show

58 years ago, on February 9, 1964, The Beatles played on The Ed Sullivan show in NYC, creating one of the most seminal moments in television history. A record-setting 73 million tuned in to watch the Fab Four perform “All My Loving,” “Till There Was You,” “She Loves You,” “I Saw Her Standing There,” and “I Want to Hold Your Hand.”

The Beatles with Ed Sullivan.

Consisting of John, Paul, George, and Ringo, The Beatles are one of the most influential bands to have ever existed. The group was formed in 1960 in Liverpool, England. They spent the first couple years playing small clubs in Europe and perfected their craft after playing eight-hour days in Hamburg, Germany. It wasn’t until their performance on “Val Parnell’s Sunday Night at the London Palladium” and the release of their first LP Please Please Me that Beatlemania truly began.

https://vimeo.com/385906665
Please Please Me by The Beatles full album.

Urban legend says Ed Sullivan first heard about the group when he and his wife were at an airport in London returning to NYC and witnessed 1,500 screaming fans welcoming The Beatles back from a successful tour in Sweden.

Actually, Sullivan found out about The Beatles before that, through his Talent Booker Jack Babb, and London-based agent Peter Prichard. Sullivan was eager to book the group but needed a selling point. Prichard said they had just performed in the Royal Variety Show where they were the first “long-haired boys” to be invited to appear before Queen Elizabeth II.

The Beatles meeting Queen Elizabeth II

On November 11, 1963, Beatles manager Brian Epstein met Sullivan in the Delmonico Hotel in NYC, and the deal was done with a handshake. The Beatles were booked for three performances, two live and one a taped rehearsal.

Before the debut performance on the Sullivan show, the group’s record “I Want To Hold Your Hand” was leaked before its planned US release. The record label was unable to stop the radio from playing it, so they released the LP earlier than expected, and it went to the number one spot on the Billboard charts before the month was over.

The Flight

The Beatles flew to America on February 7, 1964. When they arrived at the airport, they were surprised at the number of people there to see them. Paul McCartney commented on it during the Anthology sessions in the 90s.

There were millions of kids at the airport, which nobody had expected. We heard about it in mid-air. There were journalists on the plane, and the pilot had rang ahead and said, ‘Tell the boys there’s a big crowd waiting for them.’ We thought, ‘Wow! God, we have really made it.’

5,000 fans, mostly young girls, were crowded on the balcony of one of the buildings at JFK, waving banners and screaming at the top of their lungs.

They were able to get so many people there because the group’s American record company promised that every person who showed up at the airport would get a dollar bill and a t-shirt. The receptionists at Capitol Records would answer the phone, “Capitol Records – The Beatles are coming.” Every radio station was talking about it too.

The Beatles arriving at JFK.

The Ed Sullivan Show

Paul McCartney spoke about their appearance on the show also during the Anthology sessions.

It was very important. We came out of nowhere with funny hair, looking like marionettes or something. That was very influential. I think that was really one of the big things that broke us – the hairdo more than the music, originally. A lot of people’s fathers had wanted to turn us off. They told their kids, ‘Don’t be fooled, they’re wearing wigs.’

The band rehearsed the day before, and George Harrison was feeling ill, and their road manager Neil Aspinall stood in for him to mark where everyone would stand.

Neil Aspinall standing in for George Harrison during the rehearsals.

Their live debut broke record for television viewing figures, as a record 73 million people tuned into the show. The group even got a telegram from Elvis Presley and his manager Colonel Tom Parker, wishing the group luck. Harrison made a witty remark about the show, during the Anthology sessions.

We were aware that Ed Sullivan was the big one because we got a telegram from Elvis and the Colonel. And I’ve heard that while the show was on there were no reported crimes, or very few. When The Beatles were on Ed Sullivan, even the criminals had a rest for ten minutes.

The band came on and played “All My Loving” to an audience full of ear-splitting screeching from teenage girls. Then they played “Til There Was You,” and while the song was playing, a camera cut to each member of the band to introduce them, and when the camera cut to John Lennon, the caption said “SORRY GIRLS. HE’S MARRIED.”

The band played three more songs, “She Loves You,” “I Saw Her Standing There,” and their number one hit “I Want To Hold Your Hand.” After the show, The Beatles were whisked away to the Playboy Club with a police escort.

The Beatles’ success on The Ed Sullivan show paved the way for the British Invasion, for groups like The Rolling Stones and The Animals. The group have also inspired the works of many bands, like the Ramones song “You’re Gonna Kill That Girl,” a parody of the tune “You’re Gonna Lose That Girl” by The Beatles.

February 9, 2022
In Focus: Tom Rush and Matt Nakoa at Caffe Lena

On Sunday, February 6, Tom Rush made his way down from Vermont to Saratoga Springs to perform at Caffe Lena with Matt Nakoa. The relatively warm weather brought out a packed crowd for the duo’s first of two shows on Sunday. Tom took the stage by himself to open the show with “Best of a Bad Situation’, and he set the tone for what was to come. The show was filled with masterful finger-picking on guitar, witty lyrics, and personal storytelling. And all of that was seamlessly accompanied by Matt Nakoa on the piano.

Rush and Nakoa were operating at exactly the same wavelength all night long. Intricate finger-picking on guitar was combined with beautifully delicate runs on piano. Neither musician stepped on the other’s toes, instead their parts danced in perfect unison. This chemistry was nothing new though, as was pointed out by Tom when he told a story about one of their first shows together. In the story, Tom and Matt arrived at a venue much later than anticipated, and were left with no time to rehearse. Despite this, Matt took the stage and accompanied Tom as though he had been playing his songs for years.

After a few songs, including covers of songs by Joni Mitchell and Sleepy John Estes, Tom left the stage while Matt took over for a few songs by himself. The lefty picked up a guitar and showcased his ability to play and sing beyond his role on piano. Nakoa, standing somewhere well above 6’3″, was exceptionally dexterous, fretting chords using all five fingers with total ease, a task which would cripple most guitarists.

Shortly after leaving the stage, Tom returned and performed his “big hit on YouTube” as he put it: ‘Remember Song.’ As the set drew to a close, the energy rose while Tom and Matt lost themselves in the music. The duo would end the night with songs including ‘Train Song’ by Murray Mclauchlan and Rush’s ‘River Song.’ ‘River Song’ was played as a part of the show’s encore, an encore which was not preceded by a stage exit. Only when you have been performing over the span of seven decades like Tom Rush has, do you get to decide whether or not an encore break is necessary. As the encore drew to a close, and the musicians’ final notes rang out, the crowd rose to their feet to applaud in a standing ovation.

Both Tom and Matt will be traveling the country and performing live in the coming months. You can find Tom’s upcoming shows, accompanied by Matt, on his website here. For Matt’s solo shows, you can find them listed on his own site. The two will be all over the Northeast mostly, with a two show trip out west to California. Be sure to check out their websites to stay up-to-date on all their happenings. And for future shows at Caffe Lena, check out the their website.

February 8, 2022
Film Review: Red Rocket

A24’s Red Rocket is filmmaker Sean Baker’s latest look into the lives of struggling lower-class Americans faced with morally questionable choices, and features his signature style of understated and character-driven storytelling. The film stars Simon Rex as Mikey Saber, a washed-up pornstar who returns to his Gulf Coast hometown after a 17 year absence. He moves back in with his estranged wife, Lexi (played by Bree Elrod). Mikey meets and quickly falls for a 17-year-old donut shop girl, Strawberry (played by newcomer Suzanna Son). The film follows Mikey and Strawberry as they fall into each other’s orbit, and is a thought-provoking and challenging look into the fallout of their new relationship and Mikey’s toxic and destructive personality.

Image Courtesy of A24

Despite its small similarities to Lolita or even A Star Is Born, Red Rocket stands entirely on its own and finds new ground within the themes of nymphomania and washed-up stardom. Simon Rex’s performance captures a manic and narcissistic persona in Mikey that often seems to echo the 45th President’s personality. This is a juxtaposition that Baker doesn’t shy away from, often placing the former POTUS and Mikey within the same frame. Although Mikey is a character that’s easy to judge as morally reprehensible, his reality distortion field seems to affect more than just the characters on-screen, as his victories and losses become the viewer’s.

Suzanna Son’s performance as Strawberry captures a raw sexual energy that is undeniable and impossible to look away from. Her relationship with Mikey evolves from dealing and smoking weed together, to Mikey attempting to convince Strawberry they could be the next big couple in the porn industry.

Suzanna Son displays a surprising extra talent in one of the film’s highlights, an intimate scene in which she performs a stirring keyboard ballad version of NSYNC’s “Bye Bye Bye.” All four members of the band signed off on the creation of the cover song specifically for the film. You can listen to it here.

Despite its challenging themes and setting, Red Rocket is a sincere and entertaining look into the lives of characters not often focused on in modern media. It is gripping, hilarious, and newcomer Suzanna Son displays extraordinary talent throughout.

Red Rocket will be available to own on digital and on demand February 8, 2022, available to rent on digital and on demand March 1, 2022, and on Blu-ray March 15, 2022. You can watch the official trailer below.

February 8, 2022
The Mommyheads Give 1991 Fan-favorite Bootleg a Proper Release

The Mommyheads’ Swiss Army Knife has never had a proper release. Trapped in obscurity, the long-awaited album will be out February 11th, 2022, for fans to enjoy.

The Mommyheads (Adam Elk, Michael Holt, Dan Fisherman, Jason McNair) are an indie pop band from Brooklyn, who played from around 1987 through 1998. They disbanded for a decade, and then reformed in 2008. After the death of original drummer, Jan Kotik, The Mommyheads re-united for a tribute show in New York City. Shortly after, they decided to reform and record a new album, “You’re Not A Dream.” In 2021, Big Takeover Magazine dubbed Adam Elk and Michael Holt, “two of the best songwriters currently active.”

“Four decades later and the Mommyheads are still undisputed godfathers of Baroque Prog Pop.”
Relix

Swiss Army Knife displays vocals from the wild creativity of Mommyheads songwriter, Adam Elk, who independently recorded these tunes on four-track during his teen years in Brooklyn. The album is striking in it’s eccentricity: schizophrenic wordplay, mind-bending chord structures, acoustic mayhem, and DIY experimentalism all meld together within these colorful song fragments.

Swiss Army Knife, The Mommyheads

When listening to the album, the manic creative energy is infectious throughout. There is an unrelenting playfulness to this set that makes it so enjoyable to listen to. Tracks such as “They Call it Accident,” have a playful, plucking bassline paired with sublime vocals that overall make the track a fun one to listen to.

“If you wanna do music, you have to have a really thick skin. You have to really wanna take the abuse of not making money for years and years.”
says Adam Elk

That most unique aspects of this album are its use of unusual use of instruments and vocals that make the album feel so raw featured in songs like “Freak Out Jam,” “I Won’t Eat Anymore,” and “They’ve Finally Landed.” Other tracks like “Lemon Merengue People” have fun melodies of guitar and vocals that pair with each other.

Another song, “We Are Intertwined,” can be described as having a waltz, up-beat and psychedelic sound. “Canoe Driver” is also another gorgeous piece of baroque pop with glorious melody. The Mommyheads Swiss Army Knife is a masterpiece of 90s-sounding baroque progressive pop.

Swiss Army Knife is available to listen to on Soundcloud.

February 8, 2022
Hudson Valley Singer Sam Kogan Announces EP And New Single “Barbed Wire”

NY singer-songwriter Sam Kogon has announced a four-track self-titled EP, and the release of his new single “Barbed Wire.”

Kogon describes his new approach to songwriting as an “Upstate country rockabilly crooner,” as he spends his time in the Hudson Valley. He has always been an old soul as he is a big fan of The Beatles, and even worked with Al Jardine of The Beach Boys.

Sam Kogan.

Sam Kogon had a lot to say about the new single.

‘Barbed Wire’ is a song about accepting love, denying love, unrequited love, infatuation, and coming out of the closet. It’s inspired by two friends exchanging songs they write as coded love letters. One friend wants their love to come off the page and the other friend can only express their true feelings in song. Running away with or from someone who isn’t emotionally available can get you tangled in the barbed wire fences they put up at the first signs of vulnerability, so I chose that as the title of the song. The one friend trying to move forward is asking (rhetorically) ‘Is this love? Is this love? I need to know right now…and could you even tell me right now.’ They already know the answer: Sometimes there isn’t a happy ending or closure; sometimes we get burnt like tires, and that’s ok.

“Barbed Wire” is a pop, rock, and country ballad, and makes the listener want to get up and dance. It was produced by John Agnello (Dinosaur Jr., Kurt Vile) and mastered by Steve Fallone (Arcade Fire, Angel Olsen, Big Thieif).

The song is available to stream here, and Sam Kogan’s new self-titled EP will be out in April.

February 7, 2022
Phish Brings The Fire to Roseland Ballroom: February 6, 1993

As the early 1990s progressed, Phish would continue to make their mark in and throughout the Northeast. A major hub for this was obviously New York City. After years of playing The Wetlands, Phish had finally progressed to the Roseland Ballroom, starting with a gig there in March of 1992. The tour that began 1993 would add two more shows here and today marks the anniversary of the second one. Amazingly, this would somehow be their only shows in the city this year as tours began to stretch nationwide. They certainly made the most of their stay though, ending their brief Roseland residency with a show that features a healthy helping of new songs, classic favorites, and a remarkable pair of special guests to help them close it out.

An enthusiastic Roseland crowd seems to recognize “Golgi Apparatus” right away and the show is off and running with the venerable Phish classic. This is followed up with “Foam,” another hit off the band’s seminal Junta release. Despite some brief feedback issues, it’s a quick yet crisp version with a seemingly extra peppy bass line provided by Mike Gordon.

“Wilson” then has a bit of an extended intro with a different feel, with only the band singing the name of the fictional Gamehendge ruler as this pre-dates the now customary crowd chants. In an extended break before the “blap boom” ending portion, Trey Anastasio throws in both “Simpsons” and “Random Note” guitar signals that a good portion of the crowd seems to recognize. Then Phish steers into “My Friend, My Friend,” a track from their album Rift that was officially released just days earlier. As soon as “Friend” finishes, Phish wastes no time in doubling down on first set Rift tunes with Jon Fishman starting up the iconic drum intro to “Maze.” A rousing McConnell organ solo is supplanted with one from Anastasio and the first set at Roseland this evening is officially firing on all cylinders now.

After a standard run through of “Horn,” another first set staple, Phish launches into a flawless “Divided Sky” that features some more wonderful interplay between McConnell and Anastasio, with the latter spitting pure “fire” by song’s end in a potential nod of what was still to come. The now raucous Roseland crowd makes their feelings known after this one before Phish slows things down a tad with McConnell taking lead crooning duties on “Lawn Boy.”

Afterwards, the band breaks out a fairly new song (at the time) with only the third “The Wedge” ever performed live, after debuting three nights prior. It’s got a real jazzy, piano-fueled intro that makes it stand out when compared to its modern day version and McConnell follows this up with a dazzling solo mid-song that seems to have Trey yelling along in approval. A fairly standard “Bouncing Around The Room” follows this before the first set comes to a screaming halt in the form of a rabid “Run Like An Antelope” that has the whole band working together as one to bring the jam to a proper peak.

Tonight’s second set picks up right where the first one left off in the form of “Chalkdust Torture.” While this classic Phish number produces its typical high octane guitar and bass riffs, it doesn’t yield much of a jam. Instead, after a quick wrap up of “Torture,” the band dives back into the Rift chest and pulls out the Mike Gordon-penned “Mound.” But exploratory-wise, the second set doesn’t really take off until the “Stash” that follows, with Anastasio throwing out probing guitar fills atop some intense rhythms generated by Gordon and Fishman.

The call is then made for some mid second-set a cappella and Phish goes with the first “Sweet Adeline” of 1993 before an especially attentive Roseland crowd. Then, after Phish’s instrumental ode to NPR with “All Things Reconsidered,” the heavy hitters come back into play, starting with a “Mike’s Song” with a fun little verse added to the intro. Gordon has a little fun with the standard lyrics as well before the song takes a turn into its typical dark and foreboding ambiance. It’s a standard “Mike’s Groove” with the bliss-filled “I Am Hydrogen” dropped in the middle before “Weekapaug Groove” whips the Roseland crowd back into a collective frenzy. After this classical trifecta, Phish brings it back to the new school with the second ever “Lifeboy” performed live.

After this insightful newcomer, Phish decides to integrate some bluegrass into the show and breaks out an extremely tight “Uncle Pen” before a “Big Ball Jam” breaks out, the short-lived Phish gag in the early ’90s where giant inflatable balls were thrown out into the crowd with each band member “playing” along to a respective ball and its bouncing trajectory. Not much of a jam ensues though so Anastasio jumps behind the drum kit and Fishman then emerges for “a sad song” called “Lengthwise,” despite being prodded by the crowd to recite “The Prison Joke” again. After urging the crowd to break out lighters for the song, he adds an extra verse about burning his finger for holding one too long.

With the Big Ball and Fishman theatrics now out of the way, the show comes to a legendary finish, starting with “Buried Alive” where none other than Blues Traveler’s John Popper emerges to sit in and adds an absolutely ferocious harmonica solo that takes this song to another level. He then stays on for a set-closing “Possum,” adding a lovely touch to the intro before leading one of the more explosive jams of the evening.

As if one special guest weren’t enough tonight, Phish once again doubles down and brings out another one for the encore. With Popper still on stage, Phish do two “fake” botched intros to Jimi Hendrix’s “Fire,” seemingly blaming Gordon for the errors. So instead, Mike moves over to keys and they nonchalantly bring out none other than Noel Redding himself, the original bassist for the Jimi Hendrix Experience, to come out and do the honors. It caps off an incredible finishing sequence to, amazingly, the last New York City show of the year for Phish.

The whole show can be streamed here at PhishTracks with many audio clips found on YouTube as well.

Phish Roseland Ballroom – New York, NY 2/6/93

Set 1: Golgi Apparatus, Foam, Wilson, My Friend My Friend, Maze, Horn, Divided Sky, Lawn Boy, The Wedge, Bouncing Around The Room > Run Like An Antelope

Set 2: Chalkdust Torture, Mound, Stash, Sweet Adeline, All Things Reconsidered, Mike’s Song > I Am Hydrogen > Weekapaug Groove, Lifeboy, Uncle Pen, Big Ball Jam, Hold Your Head Up > Lengthwise > Buried Alive, Possum

E: Fire

February 6, 2022
The Sounds of the 1980 Winter Olympics: Chuck Mangione’s “Give it All You Got” and the Crane School of Music Compose a Soundtrack for Lake Placid

As the XXIV Olympic Winter Games take place in Beijing, China, we look back 42 years to the XIII Olympic Winter Games held in Lake Placid from February 13, 1980 to February 24, 1980. Home of the Miracle on Ice and speedskater Eric Heiden winning five gold medals, the Lake Placid Winter Olympics brought together 1,072 athletes from 37 countries to take part in 38 official events in February 1980.

Opening ceremony photo courtesy Lake Placid Olympic Sites

The games also featured a theme song, in the form of Rochester Jazz legend Chuck Mangione’s “Give it All You Got,” a tune released a week before the games, that would chart as high as #1 on the Adult Contemporary, #18 on the Billboard 100 and #32 on the R&B chart, and recently named by Billboard as the #1 Olympics theme song of all time. ”Give it All You Got” was Mangione’s second single to reach #1 on the Adult Contemporary chart, after “Feels So Good” achieved that feat in 1978.

Mangione was asked by Roone Arledge, then ABC Sports president, to craft a song for the Winter Olympiad. ABC had used Mangione’s recordings, including “Chase The Clouds Away,” four years earlier during their coverage of the 1976 Summer Olympics in Montreal. Featuring a lineup of Charles Meks (bass), James Bradley Jr. (drums), Grant Geissman (guitar), and Chris Vadalla (saxophone), Mangione, America’s most famous flugelhorn player wrote the Grammy-nominated song for his 1979 album Fun and Games.

Richard Challen wrote in 2020 about “Give It All You Got”:

This is fusion jazz at its most peppy and pristine, the network TV version of “gritty.” Mangione and saxophonist Chris Vadala volley the theme back and forth for nearly half the track’s six-minute runtime, content to let that breezy melody do most of the work. There’s some inspired composition going on beneath the surface: the way the chord structure keeps dancing between major and minor, the spots where flugelhorn and sax each converge in twin harmony. Throw in Charles Meeks’ slippery bassline and some Nile-Rodgers-style rhythm work from Geissman, and you’ve got the perfect soundtrack for cruising L.A. in a ’74 Stingray convertible.

Mangione told Wesley Hyatt for his 1999 book The Billboard Book of No. 1 Adult Contemporary Hits about the process of composing the music for the instrumental, saying:

(my) vision was to think about the athletes and their efforts to do their best now. They’re giving it all they’ve got. And we almost got to be like the athletes because we also got to perform the song at the ceremonies.

“Give It All You Got” was nominated for best instrumental composition at the 1981 Grammy Awards, losing out to John Williams’ score for The Empire Strikes Back.

Mangione would perform “Give it All You Got” live at the Winter Olympics closing ceremony (as well as the song “Pina Colada”) on Sunday, February 24, 1980, just hours after the conclusion of the gold medal hockey victory for Team USA over Finland along with the Hamilton Philharmonic Orchestra from Ontario, Canada.

In addition to Mangione, the Crane School of Music at SUNY Potsdam contributed to the Lake Placid Winter Olympics as well. A 600-member Olympic chorus and orchestra, a 50 member wind ensemble and three Olympic bands of 50 members each, who were bused in daily and wore weather appropriate parkas and boots, instead of the typical tuxedos and gowns. Brass performers tested their instruments in the meat freezer of the local supermarket in Potsdam as they prepared for the Games.

photo by Christopher Lenney

Feb. 9, 1980 featured the Collegiate Singers, directed by Brock McElheran, as they performed for the International Olympic Committee, along with visiting dignitaries from participating nations.

photo via the Crane School of Music

Four Crane School of Music faculty members composed original works for the Olympic Games, including Elliot Del Borgo, Arthur Frackenpohl, William Maul and Robert Washburn. When American gold medal winners, including speedskater Eric Heiden, received their medals, they were accompanied by an arrangement of the “Star Spangled Banner” by Frackenpohl, who also arranged the Greek and Yugoslavian national anthems. Washburn composed “Parade of Nations” for the opening ceremonies, while Del Borgo wrote the piece played during the closing, “When Dreams Are Dreamed and Dreams Are Won,” and Maul composed “March of the Athletes,” used for the closing ceremonies.

photo via the Crane School of Music

Crane School bands would provide music for the award ceremonies each evening, with Professor Emerita Rebekah Covell leading the Crane Symphonic Band for 14 performances over 14 days. With an added degree of difficulty, Covell and the musicians would often have less than an hour to rehearse national anthems needed for the medal award ceremonies, prior to playing the songs outdoors, often in freezing temperatures. Notably, Robert Mero, a former technical assistant at Crane, came out of retirement to assist musicians with technical services during the Games, per Robert Gibbs, a professor and emeritus member of the Crane School alumni board.

Between Chuck Mangione and students and faculty at the Crane School of Music, all music for the 1980 Winter Olympics can be credited to talented born and/or raised New Yorkers. Here’s to the Winter Olympics returning to Lake Placid in the coming years, perhaps split with Montreal.

February 5, 2022
Cory Wong, Antwaun Stanley and Sierra Hull Hit All the Right Notes in Rochester

When funk mavens Cory Wong and the Wongnotes announced, over two variants ago, that mandolin phenom Sierra Hull would be opening their winter tour, it seemed like an odd pairing. With the tour finally getting underway, their recent stop at Anthology in Rochester on Sunday, January 30, proved it to be a brilliant choice.

As Hull took the stage, the crowd was already near capacity, escaping the deep-freeze portion of the Rochester winter and taking advantage of what little scraps of live music could be found amongst the pandemic-ravaged scene. The audience was immediately rapt with Hull’s masterful playing as she strummed and picked through “Poison” off her 2020 release, 25 Trips. It didn’t take long for the bill to pay dividends as Wongnotes saxman Eddie Barbash came out to join her on a fantastic duet cover of “People Get Ready” and would stay out for the rest of her short set. After a blazing bluegrass number she brought out more Wongnotes: Sunny T on bass, Kevin Gastonguay on keys and Petar Janjic on drums. They played through Hull’s “Weighted Mind,” Del McCoury’s “Blues Rollin’ In” and closed out on blazing instrumental that showcased the groupings unique collective talents.

After a short break, Cory Wong took the stage with his full Wongnote unit. A five-piece horn section including members of Prince’s New Power Generation Band and Jon Batiste’s Stay Human joined Janjic, Sunny and Gastonguay to round out the band. They blasted non-stop through high-energy funks, bluesy grooves and dancehall throw-downs, going five songs into the set before taking a breather. Wong was content to lay the groundwork from which his bandmates could shine. He was happy to play bandleader and not draw the spotlight to his own playing as much as one would expect. Then midway through the set he broke free on a ripping effects-laden solo. With the reins loosened, he would rock out a bit more liberally in the second half of the set.

Nearing the end of the first set, it was time for Hull to come back to the stage. Bela Fleck and the Flecktones are not a band that draws a lot of comparison, with good reason. But what Cory Wong and the Wongnotes pulled off with Hull on stage could worthily be described as “Flecktones-ian.” The unique blend of funk, soul, jazz and bluegrass with a splash of Irish jig highlighted in a brand new song Wong and Hull penned together, brought to mind the distinct sounds Bela and his band introduced to the world. Stunning stuff!

As if backing a bluegrass mandolin and then a guitar-led instrumental funk band wasn’t enough of a flex for the Wongtones, they emerged after another short break for a closing set backing R&B singer Antwaun Stanley. Converted to a full bore party band, they ably kept pace with Stanley as he bounded and twirled and preached and effused love. The crowd, who were fully engaged since note one of the opening set, were easily molded into Stanley’s party-goers. They were at the ready, clapping the beat, waving arms in sync, or singing in call and response with only a hint of a prompt. Whether it was on originals like “Speed Of Night,” and “Where Are We Now” or on a Stevie Wonder Medley, the results were the same, this was Sunday night party and we were all invited.

The moments unfolded in exciting and enjoyable fashion one by one, but the show’s dynamic presentation, when taken as a whole in the rearview, revealed a one-of-a-kind concert experience.

January 31, 2022

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