On Saturday, May 21, the Dirt Farmer Festival returned to the Arrowood Farms. The day was beautifully clear, hot and picture perfect. This is the second Dirt Farmer Festival to be held at Arrowood Farms. This festival has deep roots in the Hudson Valley. The first festival was originally held at the Arrowood Farms on August 19, 2018 and for several years prior, the Levon Helm Band played a series of free fall concerts at Gill’s Farm, just a few miles up the road, in Stone Ridge, NY.
This concert festival was greatly anticipated and the show was everything anyone could possibly hope it would be, and then some. This day, this festival belonged to Amy Helm and it also belongs to Levon Helm and his legacy of supporting the local farming community. Amy made the day special. It’s not easy to look glamorous when the sun is strong enough that you can overheat just standing in place. How does Amy Helm do it? She does it with poise, a warm smile, a love of the music and the musicians, her friends and family and everyone in attendance. From the main stage, introducing Oliver Wood, Amy suggested that everyone should drink lots of water available at the bar area water station and stay hydrated.
Arrowood Farms is a huge field with several buildings, hops growing on the west side, a brewery with an excellent locally brewed beer selection, an open air bar area and a relaxed easy going atmosphere. For this event, there were two concert stages, one is a permanent main stage and the second stage, a mobile stage wagon brought in for the event. There were nine scheduled performances alternating between the two adjacent stages.
The performances ranged from full-on electric high energy dancing and boogie music to acoustic relaxed, let’s sit down, kick-back, enjoy the beautiful day and the live music. The show highlights, and there were a ton of great musical moments, but if one stood out, it was #1 Mavis Staples and #2 Mavis Staples and also, make no mistake, it was Mavis Staples. She is loved and adored. Her voice is strong and she played to her audience knowing she had full command of the stage. For the final song of her set, the crew and all the musicians in attendance piled into the front of the stage area to share the moment. You could feel the love, you could see the love. Seeing Mavis perform, everyone knew this was a special moment.
The load-out and load-in between the Connor Kennedy Band and the final performance of the festival, the Midnight Ramble Band, was like watching organized chaos come together in a massive effort to get it right and do it on the fly. The musicians and stagehands, the sound crew, were all participating, unwinding cables, plugging-in and checking the sound. When you see Teresa Williams moving her own monitor, you know the division of labor went right out the window and it’s an all hands on deck effort. This was very clearly a local one-off concert and nothing like watching a national tour stage set-up. This one was for friends and family and it all came together for the Midnight Ramble Band’s set.
The day absolutely belonged to Amy, but of course she could have not have done this all by herself. To all of the Levon Helm Studios staff and to everyone that worked diligently to make the Dirt Farmer Festival a successful event, thank you. The effort is greatly appreciated. Arrowood Farms, let’s do it again next year.
There’s a very good argument to be made that Felix Cavaliere may be one of the most underrated songwriters, singers and instrumentalists to emerge during the Sixties. The latest evidence for this comes in his long overdue autobiography, Felix Cavaliere: Memoir of A Rascal.
As founder, principal songwriter and lead singer of The Rascals, Felix was the force behind nine of the greatest Top 20 hits of the mid-1960s. The roster includes the #1s “Good Lovin’,”“Groovin’” and “People Gotta Be Free” and the still-ubiquitous “A Beautiful Morning,” a #3 hit in 1968 that remains one of the most licensed tracks in movies, television and breakfast cereal adverts! As the first white act signed to the R&B-centric Atlantic Records, Felix was in the thick of the drive for civil rights. His band refused to play concerts that didn’t feature a black act on the bill and crafted the aforementioned “People Gotta Be Free” and “Ray of Hope,” two anthems of the civil rights and anti-war movements. Like his friend Beatle George, Felix’s work and life were forever changed by his encounter and lifelong commitment to a guru, Swami Satchidananda. And while Cavaliere’s forceful, Ray Charles-influenced vocals are often namechecked in “Best Of” lists, his massive chops as an instrumentalist on the Hammond Organ and as an arranger/producer are largely overlooked.
Cavaliere’s story begins in Pelham, New York. He was the son of two Italian-American professionals, a dentist dad and pharmacist mom, who wanted him to become a doctor. While his family was solidly middle class, there was still prejudice towards them in their suburban hometown, something that would forever inform his advocacy for equal rights. His love of music began early, with eight years of thrice-weekly lessons absorbing Bach, Beethoven and Chopin. With the death of his mother when he was 13, Cavaliere changed course and channeled his grief and full energies into music. He combined his love of the classics with his new-found passion for Boogie Woogie, Fats Domino and, especially, Ray Charles, who would prove his most profound vocal and instrumental influence.
In high school, Felix would join his first band, an integrated vocal group called The Swingin’ Six. He would also commence his habit of scrounging in record shops to find obscure tunes for his band to cover. This is something that would lead to his first smash hit with The Young Rascals, The Olympics’ tune “Good Lovin’.” His musical aspirations really solidified while at Syracuse University when he founded the band Felix and The Escorts. His combo would compete for gigs at frat parties with another led by a “beatnik” classmate, Lou Reed. While playing a summer gig at a resort in the Catskills, Cavaliere would meet Joey Dee, leader of the Starliters of “Peppermint Twist” fame. Dee would soon ask him to join his band on a tour of Germany where the opening act was the pre-fame Fab Four.
Shortly after his return and a continued stint with the Starliters, 20-year-old Cavaliere ventured to create his own band. His began by enlisting “rockabilly crazy” Canadian guitarist Gene Cornish, whom he had played with in the Starliters. He then found his “cocky” co-songwriter and co-lead vocalist Eddie Brigati at the Choo Club in Garfield. The band was completed with the stick-twirling Dino Danelli, who Cavaliere found playing at the Metropole Jazz Club in Times Square.
The band’s big break came when they were discovered while playing a summer residency at The Barge in the Hamptons by Sid Bernstein, the man who brought The Beatles to Shea Stadium. Unlike many managers of the era, Bernstein and his partner Walter Hyman proved to be both fair and savvy. They set the young musicians up with their own publishing company, pension plans and also a contract with Atlantic Records, one that gave them free unlimited studio time and full creative control, right down to album cover art. It also gave them access to superlative session musicians like bassists Chuck Rainey and Ron Carter and saxman King Curtis, engineering by the renowned Tom Dowd on the world’s first 8-track recorder and the arranging talents of the peerless Arif Mardin, the man behind a boatload of classics from Aretha Franklin and Roberta Flack to The Bee Gees and Nora Jones.
As for their band name, Felix believes it was suggested by TV kiddie show host Soupy Sales when they went to see him to pitch themselves as his backing band. Drummer Danelli asserts he came up with it after watching The Little Rascals on TV. Either way, they at first got tagged The Young Rascals by Atlantic to avoid confusion with another very different act, The Harmonica Rascals.
Felix and his band’s ascent was supersonic –“six months from rehearsing in my parent’s basement to the top of the charts with ‘Good Lovin’” according to Cavaliere. Luckily for us, he devotes a good deal of the book to the writing and recording of his classic hits, many composed with Brigati.
Felix would generally come up with the titles, choruses and music and leave the verses to Brigati. Atlantic only began to have confidence in their writing with the Cavaliere-penned “(I’ve Been) Lonely Too Long,” a Top 20 from their second album, 1967’s Collections. With his recollection of “A Beautiful Morning,” Felix discusses how it was inspired by and written in Hawaii, a locale that had a special reverence for his band. According to Felix, the #1s “Groovin’” and “People Gotta Be Free” almost weren’t released. The first because of its overtly laid back Latin feel and lack of drums. This track, which spent five weeks at the top of the Top 40, was only released after the powerful DJ, Murray the K, made an appeal to label A&R chieftain Jerry Wexler. At first “People Gotta Be Free” was thought to be too controversial for release during the turbulent summer of 1968, but it was eventually issued and raced to the top of the charts.
Cavaliere notes The Beatles and Sgt. Pepper as influence on albums like their psychedelic Once Upon A Dream and the double-disc Freedom Suite. But at the height of their popularity, there was a mutiny in the ranks when an exhausted Cavaliere headed to Mexico for a couple of months of R&R. In his words, he went there to chill and protest the war and paying taxes to fund it. The rest of the band went into the studio to record an album without him; something that proved a dismal failure.
In his memoir, Cavaliere shares many interesting anecdotes about life on the road and The Rascals’ many TV performances, especially the grueling six-day rehearsals for each of their performances on The Ed Sullivan Show. Due to Brigati and Cornish’s fear of flying, the band largely drove from gig to gig, with Felix behind the wheel. He talks about weird gigs playing a bullfighting ring in Puerto Rico, co-headlining the Fillmore West with a “very unpleasant” Van Morrison, taking the stage at Shea Stadium in 1971 and his many tours to Hawaii, where he would bring along his whole family and guru. He talks of his admiration for other Italian-American stars before him, Dion and Frankie Valli, and his contemporary NYC-born hitmaker, John Sebastian of the Lovin’ Spoonful. He also recalls Jimi Hendrix, whom he knew from his own time with Joey Dee and the Starliters and his efforts to try and get the guitarist away from drugs.
A pivotal point in his life and art came with his meeting Swami Satchidananda through Steve Paul, owner of the famous Scene Club. Before becoming a guru, Satchidananda was a businessman who ran a company that made cars that ran on wood! After the death of his wife, Swami took to the path, something which Cavaliere did eagerly himself by becoming a vegetarian and practicing Hatha Yoga and meditation daily. His guru would give Felix the name “Paalitha,” for protector, and tell him that “Music and bringing joy from it was his karma.” Felix’s Swami would go on to open the Woodstock Festival, found a large teaching ashram called Yogaville and number among his devotees Carole King, Jeff Goldblum, model Lauren Hutton and other boldfaced names.
Cavaliere spends a good deal of time speaking about discrimination and his lifelong efforts to counter it. He recalls how his parents were not allowed to join the country club in Pelham due to their Italian heritage and how one of his high school classmates, Michael Schwerner, was among the three volunteers killed while registering black voters in Mississippi in 1964. He estimates he and his bandmates lost millions by having in their concert contracts the necessity of having black acts on the bill.
Cavaliere goes on to discuss the breakup of the band and their move from Atlantic to Columbia Records, where they made two ambitious albums in an increasing jazzy/gospel vein, Peaceful World and The Island of Real, collections whose stature has only grown with the passage of time. According to Cavaliere, Atlantic wanted to resign but only Felix as a solo artist. But he wanted to keep the band together, hence the move to Columbia. He also bemoans the premature decision by the band to sell its publishing.
Felix describes his post-Rascal years with pride, from his first stint as producer for Laura Nyro to his underrated solo albums and his duo disc with Stax guitar/songwriting legend Steve Cropper. He also waxes poetic about his love of Nashville, his home for several decades and its vibrant music scene, and also the fun of touring with Ringo Starr’s All-Star band. And, like any good Italian boy, he talks with deep love about the sacrifices and support of his parents and his love for partners and daughters.
If it wasn’t for The Rascals, Steve Van Zandt may never have gotten his role as Silvio Dante in The Sopranos. His humorous induction speech for the band at the 1997 Rock and Roll Hall of Fame Ceremony is what caught the imagination of series creator David Chase. Cavaliere laments that The Rascals: Once Upon A Dream, the multimedia show/concert event Van Zandt created for the band, had such a limited Broadway run and in a subsequent tour. He also expresses regret that the band itself cannot quite get it together for a proper reunion/farewell tour.
Cavaliere is presently on a nationwide tour with Legends Live alongside Micky Dolenz of The Monkees. Visit his website to order the book and tickets for the tour. www.felixcavalieremusic.com
Pre-Goose Peter Anspach project, Great Blue, wrapped up a memorable five-show run of dates through the East Coast over May 14-19. Featuring their first festival appearance of the season, the short-lived mini-tour managed to create a significant buzz amongst the jam scene faithful and included stops in Philadelphia, Rhode Island, DomeFest in Ohio, and a pair of New York shows in Rochester and Saratoga Springs, respectively.
Peter Anspach of Goose performing with Great Blue in Saratoga Springs 5/19/22
While the fun-loving Anspach is mainly known for his work with breakthrough psychedelic improv rockers Goose, these shows shinned the spotlight on a different side of “Handini.” Fully embracing the excessive “rock star” persona that’s partially been suppressed with his main band, it was in these more relaxed club-like environments where Anspach was truly able to get his “ya-ya’s” out. The result was nothing short of live music magic.
Couldn’t make it to any of the shows? No worries! NYS Music caught up with the band for their instant classic performance at Putnum Place on Thursday, May 19, and has all the sights (and some of the sounds) of the what many in attendance could be heard calling “one of the best show they’ve ever seen.”
Kicking off the show with an outstanding opening set from genre bending electronic rockers Escaper, the NYC based band were also joined by special guest Luke Bemand of Lespsecialon bass for the evening. With positive lyrics, danceable grooves and impressive compositions, even their seemingly simple jams morphed into straight-up heaters, particularly when the hard slapping hand of Bemand took the reins. After closing their set with a new, 9 minute sprawling epic called “Spaceship,” Escaper front man Will Hanza humbly took the opportunity to express his sincere gratitude to those in attendance, saying “Thank you guys so much. You know, after all we’ve been through, all of us, it means a lot that we can all gather for these things, so thank you and please keep doing it.”
Will Hanza of Escaper and Lespecial’s Luke Bemand performing at the Putnum Place in Saratoga Springs 5/19/22
After a brief intermission, the Thursday night funk party resumed in full force as our evening’s headliners Great Blue set their controls for the sun and lifted off like a rocket ship from hell, opening up with the songs “Lily’s Tiger” quickly followed by “Willy” from their 2013 album Rewind. While many Goose fans are only just discovering Great Blue, make no mistake, this is anything but a new band. Comprised of four longtime friends, their origins go all the way back to their high school days in the basement. Along with Peter Anspach, Great Blue is also comprised of Ethan Michael on guitars and sometimes keyboards, Seth Suzker on bass, and presumably paying homage to the late Taylor Hawkins by wearing a Foo Fighters shirt, was Nick Hanna on drums.
Together, Great Blue has been performing for more than a decade now and have four studio albums to their credit. With no shortage of songs in their back catalog to choose from, the band would amp things up even more with a high octane rendition of “Together Not The Same” that featured an insane guitar solo from Anspach whole completely lost himself in the music, smiling ear to ear while thrashing about the stage in a pure punk rock fury. After working their way through “Banana Jam” and a cover of Vampire Weekend’s “Sunflower,” Goose fans in attendance became audibly excited as the bass-heavy reggae groove of “Doc Brown” swept over the room. While the “Back to the Future” inspired jam was originally written by Great Blue, in recent years the song has been adopted by Goose and has become a regular staple of their live show, but the surprises wouldn’t end there as the quartet seamlessly sandwiched into another familiar Goose song in the form of “Whales” before eventually returning back to the reggae roots of “Doc Brown.”
Watch fan shot footage of Great Blue performing “Doc Brown” live from the Putnum Place in Saratoga Springs 5/19/22
Following that up with 2014’s “Crossfaded Mammoth,” Great Blue then unveiled their latest neo-psychedelic jam “Blue Marbles.” After “Pancakes,” someone in the audience yelled out “You guys are so fucking good!” to which Anspach enthusiastically replied from the stage, “It’s this band!” pointing over to his mates. “These guys are awesome, I love them.” Shifting gears, Peter would take a moment to reflect on former beloved band mascot Leo, a golden retriever who was with them back in their earliest days in the basement, always sitting in no matter how loud the PA was turned up.
“Lion in the Grass” was then played in memory of Leo and also featured one of the most memorable moments of the evening when Anspach and guitarist Ethan Michael ended up playing a portion of the song while both laying down on the stage. “Jeff Engborg,” both a real person and a real song came next while the main portion of the show wrapped up with an emphatic rendition of “Seeker.” As the clock approached 1am on this Thursday night, Great Blue still had one more surprise up their sleeve. Like a spaceship returning from the great beyond, our fantastic voyage then touched down with a cover of the Red Hot Chili Pepper’s smash hit, “Around the Word.” Suddenly, in what appeared to be a spontaneous last second call, the band then busted into Goose fan favorite, “Yeti,” perhaps the most well-known song originally penned by Great Blue and later adopted by their high flying friends.
Guitarist Ethan Michael performing with Great Blue in Saratoga Springs 5/19/22
As the house lights came on and fans scurried to buy up any and all Great Blue merch, more than one person could be heard calling this “the best show they’ve seen in years” and “the best $15 they’ve ever spent.” Indeed, it was a good one. Full of unbridled energy, youthful exuberance, danceable funk-filled grooves, soaring sonic peaks and over-the-top charisma, Great Blue unleashed an instant classic performance on this night in the Spa City. With their mini-run now in the rearview, all eyes are looking ahead to the Westville Music Bowl this weekend when Peter Anspach rejoins his “other” band, Goose, for their highly anticipated summer tour kick off.
Watch fan shot footage of Great Blue covering RHCP and ‘Yeti” from Saratoga Springs 5/19/22
Great Blue | Putnum Place | Saratoga Springs, NY | 5/19/22
Setlist: Lily’s Tiger, Willy, Together Not The Same, Banana Jam > Sunflower (Vampire Weekend) > Rogue II, Butterflies, Doc Brown >The Whales<Doc Brown, Mammoths, Blue Marbles, Pancakes, Lion in the Grass, Jeff Engborg, Seeker
Encore: Around The World (Red Hot Chili Peppers) > Yeti
Escaper | Putnum Place | Saratoga Springs, NY | 5/19/22
Setlist: Res Magna > No Stings > Breakaway, Cicada, Rare Form, Enjoy the Silence, Spaceship
*This set featured Luke Bemand of Lespecial sitting in on Bass
For more audience recorded video and images from the show, check out the full gallery by NYS Photojournalist Zak Radick below:
Welcome to the fuzzy synth, wet bass and glittery guitar that is Harry’s House. Superstar Harry Styles‘ third album release has some old formulas, new movement, and as always, a lot of falsetto. It shouldn’t surprise any fans that this record is also packed with mushy moments, breakup stories, and rather scandalous dirty talk, as this is Harry’s first record since landing his new lady Olivia Wilde.
Even in the throes of a public relationship, Harry does not fail to bring a variety of influences and ideas into his music to create something that feels truly like home.
Straight away, it is jarring to hear a brass band mixed into Harry’s energetic first track “Music For a Sushi Restaurant”. The masterful blend of disco rhythms and 80s influenced electronic elements creates the whipped cream that tops many songs on the album, including the pop marvel “Daydreaming”. This masterpiece of a track has an engaging hook that samples the Brothers Johnson and earns Quincy Jones a spot on the album’s writing credits. It’s clear that Harry Styles is doing his research into soul music, and songs like the sultry r&b number “Daylight” and the rhythmic “Grapejuice” have a modern, funky foundation to tie the album together seamlessly.
It’s satisfying to see Harry take so many new directions, but what needs trimming are the formulaic songs that round out this album. The acoustic love songs surrounded by waves of harmony or the ambient breakup anthems are very familiar, and it seems the rock and roll energy we’ve seen in Harry’s 2017 title album is missing in Harry’s House. His live shows are a huge affair, and harder rock songs like “Kiwi” and “Only Angel” are the perfect choice for these live performances. As he rightfully progresses into funk, he shouldn’t retire his rock frontman persona just yet. This is a chain of many great albums to come, but let’s hope he dives deeper into the realm of brass funk, leaves behind the old successes, and gives us more of the modern rock and roll we need right now.
Key Tracks: Music For a Sushi Restaurant, Daylight, Daydreaming
Brooklyn-based progressive rock band Nerd Salad has released a new single, “Dogmeat.” The song is the lead single in promotion of their debut album Press Start coming June 3, is the group’s first new music since their 2018 release Your Father and I Aren’t Angry, We’re Just Disappointed.
Artwork for “Dogmeat.”
“Dogmeat” follows a highly transformative structure over its seven-and-a-half minute runtime, going from basic verse-chorus format to instrumental breakdown before returning to its original melody in the song’s conclusion.
The song’s dreamy opening riff gives off a nice warmth that contrasts the apocalyptic subject matter on the verses. “Our future is grim and bleak, all alone to find what you seek,” they sing in the track’s opening lines over a funky blues guitar rhythm. The song’s verses paint a detailed Mad Max-like picture of a world past salvage. “Found you in this desolate wasteland, digging through trash and scraps of old tin cans,” they sing in the second verse’s opening lines.
The melodic chorus gives release to this tension, where all instruments crash together on top of the song’s defining words, “the ceiling’s now the ground, we’re all just dogmeat now.”
The instrumental bridge after the third verse fully plays into the chaos described here, with a long disjointed guitar solo being paced by hyper-frenetic drumming. This part of the song keeps up with the track’s understanding of tension and release, as this section closes out with a heavy blues jam. We then hear the chorus one more time, reinforcing the song’s musical identity before the song’s outro.
All members of Nerd Salad are very talented musicians, and while the song displays this clearly, no part of “Dogmeat” leans into self indulgence. This is even true during the “Paranoid Android” reminiscent freakout which closes the song, as every part of the track properly serves its purpose of detailing a world in havoc.
“Dogmeat” is a creative and chaotic piece of progressive rock, and is a good sign of what’s to come from Nerd Salad next month.
The Bacon Brothers have announced bi-coastal tour dates for this summer in support of their new EP Erato, to be released July 8.
The tour includes three performances in New York, with the band stopping in Rochester for the Rochester International Jazz Festival on June 24, New York City at City Winery on the 25th, and Caroga Lake at Sherman’s Park on July 30.
Cover art for Erato by the Bacon Brothers.
Erato, the five song EP, is slated to be the brothers’ 11th studio release. They call their sound “Forosoco – a blend of folk, rock, soul and country influences.” “We’re still exploring the sound we began making 25 years ago; we’ve just gotten a lot better at it,” says Michael Bacon, an Emmy-winning composer whose found success alongside his brother Kevin, an A-list Hollywood actor.
For the EP’s lead single, “In Memory (Of When I Cared),” the brothers collaborated with Desmond Child, a Songwriters Hall of Fame member whose credits include Bon Jovi’s “Livin’ on a Prayer,” Aerosmith’s “Crazy,” and Joan Jett’s “I Hate Myself For Loving You.”
The Bacon Brothers also found collaboration from Kevin’s son Travis, who produced the track “Karaoke Town.”
The Bacon Brothers Tourdates
Jun 24—Rochester, NY—Rochester International Jazz Festival Jun 25—New York, NY—City Winery Jun 26—Atlantic City, NJ-–Sound Mind Music Festival July 14—Minneapolis, MN – Dakota Jazz July 30—Caroga Lake, NY – Sherman’s Park July 31—Waterville, ME – Waterville Opera House Aug 2—-Ocean City, NJ – Ocean City Music Pier Aug 5—-Plymouth, NH – The Flying Monkey (Rescheduled) Aug 6—-Brownfield, ME – Stone Mountain Arts Center (Rescheduled) Aug 7—-Beverly, MA – The Cabot (Rescheduled) Aug 24–San Juan Capistrano, CA – The Coach House Aug 25–Solana Beach, CA – Belly Up Tavern Aug 26–Agoura Hills, CA – The Canyon Aug 27–Napa, CA – Blue Note Napa Aug 28–Napa, CA – Blue Note Napa Sep 9—-New Braunfels, TX – Gruene Hall Sep 10–The Woodlands – Dosey Doe Sep 11—Lubbock, TX – Cactus Theater
Today we celebrate the anniversary of the first Phish show ever held at New York City’s esteemed Radio City Music Hall. Fresh off the heels of a New Year’s Millennium celebration in the Everglades that made headlines worldwide, Phish was ready to take on the year 2000 with a Spring Tour of Japan on the books. But first, they would play a few gigs in New York City to dust off the cobwebs and help support their album Farmhouse which was released just days earlier. On this the first of a two-night run here, Phish would wind up playing about half of the new album’s songs while mixing in other classics in a show that certainly lived up to the anticipation surrounding it.
Phish seems to soak in the applause for a bit from a raucous Radio City Music Hall before starting the show with thunderous “First Tube” that seemed to move the ground itself. Mike Gordon’s constant, unwavering bass line dominates this one pulled from Farmhouse that continues to be a mainstay at shows to this day. A familiar first set face in “Wolfman’s Brother” gets played next, adding a veritable dose of funk to the revered music hall, with sound coming through in pristine fashion thanks to Radio City’s amazing acoustics.
An early show “Squirming Coil” then makes an appearance. The “Little Jimmy’s off to camp” line seems to get a noticeable roar of approval from the crowd, perhaps in respect to last summer’s legendary (and sweltering) Camp Oswego festival in Upstate New York. After a fairly brief Page McConnell closing piano solo, the opening to “Possum” emerge which reenergizes Radio City and then some with the floor once again seeming to have a discernable bounce to it, especially on the upper levels of the building. After a brief pause, the funk returns once more, this time courtesy of a bubbly “Moma Dance.”
Once “Moma” comes to a rolling stop, the opening chords to “Limb By Limb” ring out, a fellow Story Of The Ghost selection. “Limb” elicits one of the finer jams of the first set, one that slowly increases in fervor and intensity, with McConnell and Trey Anastasio on guitar musically sparring back and forth, before it closes with Jon Fishman alone on drums. “Character Zero” then wraps a bow around the much anticipated first Phish set at Radio City, a spirited and well-played one with fairly standard selection of songs for 2000.
The second set stays very much in that same vein, beginning with a “Gotta Jibboo” that produces the next standout moment of the evening. The band is instantly locked in on a blissful jam that takes off right away, aided by Anastasio’s signature digital delay loop running underneath it the entire time. This momentum carries squarely into the “Down With Disease” that comes next. The band rips through the composed section and jumps immediately into an aggressive high-octane jam that starts strong and never really lets up, with Fishman pushing both the tempo and the limits in a masterclass of drumming. Eventually, Trey reintroduces the digital delay loop with Page adding in some harrowing organ fills as the band takes their time crafting this one. It all adds up to a 20-minute “Disease” that’s the highlight of the show and one of the better ones ever played to date.
In a true case of juxtaposition, Phish lets the crowd catch their breath a little and trots out the introspective “Dirt,” yet another Farmhouse selection. This would actually begin a three-song run from the new album (and four of five including “Jibboo”) in the second set as “Twist” follows and brings with it a mellow, groove-infused jam that turns into near ambience.
This lays the foundation for “Piper” and its customary (at the time) slow build introduction. “Piper” goes from slow to lightening quick in a hurry, with Anastasio shredding out the main chords in rapid fashion with Fishman, once again, doing some otherworldly business on the drums. Instead of stretching “Piper” out further, it comes to a rather abrupt stop and Phish pivots to “Harry Hood,” much to the delight of the Radio City crowd.
Phish doesn’t mess around with “Hood” and delivers a splendidly euphoric version of one their signature songs, a slow build of emotion before cresting perfectly. A second set full of music and memorable jams could have easily ended right there with few complaints. But from the ashes of “Hood,” McConnell emerges alone on piano and begins “Wading In The Velvet Sea” to add another emotion-provoking song to the list. Afterwards, both he and Trey expressed their appreciation for being able to play at Radio Music Hall, where they had both been able to see the great Stevie Wonder perform, with Trey making some especially poignant and heartfelt remarks about the current state of Phish and the scene it has created.
With that said and done, the resurrected “Guyute” then closes out the second set in grand fashion. The “I hope this happens once again line” at its completion gets another extra round of applause from the crowd. For an encore, Phish trots out one last Farmhouse selection with the acoustic “The Inlaw Josie Wales” before “Loving Cup,” the lone cover song of the night, sends the Radio City crowd home glowing, eagerly anticipating what’s to follow in round two tomorrow.
Take a listen to the whole show below or song by song at PhishTracks.
Phish Radio City Music Hall – New York, NY 5/21/00
Set 1: First Tube, Wolfman’s Brother, The Squirming Coil, Possum, The Moma Dance > Limb By Limb > Character Zero
Set 2: Gotta Jibboo, Down With Disease > Dirt, Twist > Piper, Harry Hood > Wading In The Velvet Sea, Guyute
Celebrating 518 Day on May 18th, bass-heavy psychedelic prog rock ‘bastards’ Primus made their triumphant return to Albany. Amidst a special 46 date, coast-to-coast tribute tour paying homage to fellow prog-rock legends Rush and drummer Neil Peart, the influential Bay Area trio performed two distinct sets; one of original music and the other, a full cover set of Rush’s seminal 1977 album A Farewell to Kings.
Curated by charismatic Primus front man and bass playing virtuoso, Les Claypool, the only logical venue suited for an occasion of such royal proportions was downtown Albany’s historic Palace Theatre.
Les Claypool of Primus performs at the Palace Theatre in Albany 5/18/22
The man, the myth, the compulsive entertainer, Les Claypool has arguably been one of rock’s most influential players of the last thirty years. Creating a mythical, almost cult-like following through his multitude of side projects, some may know him from his time with Trey Anastasio and Oysterhead , or with Buckethead and The Flying Frog Brigade, or more recently with his “Delirium” collaboration with Sean Lennon, son of Yoko and John. An impressive pedigree to be sure, but make no mistake, Primus has always been the bread and butter for Les and also his most successful.
But what made him want to start playing music in the first place?It all goes back to a single day in 1978 when a young Claypool attended his first ever rock concert. Performing that night was a young Canadian banned named Rush. Mesmerized by what he saw on stage, it was then Claypool decided music was what he wanted to do with the rest of his life. 14 years later and now spearheading a colorful band of his own dubbed “Primus,” things came full circle when they were offered a supporting slot on Rush’s 1992 tour. They say never meet your heroes or you’ll be disappointed, but in the case, the two bands shared an instant connection and would develop a close friendship organically through years of touring together. According to Claypool, paying tribute to Rush is simply a way to say “thank you” for all of their inspiration.
Primus performs at the Palace Theatre in Albany 5/18/22
Bringing the “Tribute to Kings” Tour to the Palace Theater this past Wednesday, fans turned out in droves, but not necessarily to see Primus. With the passing of iconic drummer Neal Peart, Rush played their final show in August of 2015, yet based on the sheer amount of vintage Rush t-shirts and memorabilia that was present at the Palace, it’s fair to say there is still a significant demand for their music. If there is any three-piece unit that has the talent and the chops to fill that void, it would have to be the mighty Primus.
Taking the darked Palace stage as the customary Danny Elfman “Pee-Wee’s Big Adventure” theme piped in over the PA, Claypool, along with guitar player Larry “Ler” LaLonde and frummer Tim “Herb” Alexander, wasted no time in letting their intention be known. Playing the type of songs that don’t exactly fit well with the radio format, class was in session early as Primus opening their performance with an “American Life” history lesson. Complete with a massive rear projector high above the stage displaying hypnotic video loops and depicting things like immigrants registering at Ellis Island, the Statue of Liberty, along with images of Mount Rushmore and Honest Abe, the projections would subtly change to a ‘military marching orders’ theme during classic Primus cuts like the songs “Too Many Puppies” and “Sgt. Baker.
The low-end pulse would beat a little louder (and darker) on the next song, 1989’s repetitive, percussion-heavy trance educing song “The Pressman,” after which Claypool claimed the band had not played in a while. One of the highest highlights of the first set came next with a rare “Professor Nutbutter’s House of Treats” which segued nicely into a “Del Davis Tree Farm” bust-out, played for the first time since 2017. Sensing an opportunity to slip in something new, Primus then unloaded their brand new sprawling and groovy single, the covid-inspired, tongue in cheek eleven minute opus “Conspiranoia.” The opening set concluded with a condensed mash-up of “Welcome to This World” and the always awesome “My Name Is Mud.”
Primus performs at the Palace Theatre in Albany 5/18/22
From there the Rush was on, literally. In an evening billed as a “Tribute to Kings,” Primus would honor their musical heroes by performing the 1977 classic Rush album A Farewell To Kings in its entirety. Other than a minor wardrobe change and Claypool trading in his signature Carl Thompson ‘Rainbow’ bass for a black and white Rickenbacker model, Primus tore through the set with such complete confidence it almost made you forget these were someone else’s songs.
Technically proficient, it was the vocals that proved to be the biggest challenge for Claypool. At one point addressing the audience between songs, acknowledging Geddy Lee’s high pitched (and often polarizing) vocal style isn’t exactly “easy” to mimic and then encouraged those who knew the lyrics to try and help sing the next one, then launching into one of Rush;s biggest radio hits, “Closer to the Heart.” For a brief time during “Xanadu,” both Claypool and Ler could be seen wielding a pair of huge, double necked axes. Allegedly the first to ever play an electric 12 string bass, Geddy Lee claims Rickenbacker specifically built the first one for him.
After witnessing Lee perform with the mammoth instrument at his first ever concert, Claypool confessed he’s wanted one ever since and joked that it took him all these years to finally be able to afford one. Always cracking wise, Claypool would also make several light-hearted jabs at the people in the first few rows who were still inexplicably sitting down, saying “it’s that mutual exchange of energy that [he] feeds off and that if he has to remain standing through the entire performance, everyone else should be up off the asses too.” Les then dove into his favorite Rush song of all time, the set closing “Cygnus x-1.” Just prior to the encore, Claypool would later apologize to anyone who may have been offended by his heckling and then proceeded to drop into the opening notes of Primus Frizzle Fry fan favorite “Groundhog’s Day” from 1990. Still not satisfied, fans begging for “just one more” were treated to a tune Claypool introduced as “a true story about a friend…who was addicted to crack.” His name was Harold.
Primus performs at the Palace Theatre in Albany 5/18/22
Coming to a close a little before midnight, most people stayed all the way to the end as the theme from the original “Charlie and Chocolate Factory” helped send them home with a smile. There was a little something for everyone at this show. Sure, real Primus fans want to hear all Primus all the time and the faithful Rush fans were probably a little overwhelmed by the undeniable heaviness and some of the weirdos the Primus scene tends to attract, perhaps even hoping for another radio hit like “Tom Sawyer” or “Spirit of the Radio.”
The real winners on this night were the scores of young fans in attendance. Similar to the way Les Claypool’s life was forever changed by his first concert, you couldn’t help but notice the abundance of skid fathers who brought their boys with them. Perhaps the sentimental notion of passing the prog-rock crown from Rush to Primus? Or maybe they just couldn’t find a babysitter? Or maybe, just maybe the next great virtuoso bass player was sitting right there in the Palace Theatre all along, absorbing the magic of live music at their very first concert. One thing is for sure, Primus most certainly does not suck.
Primus | May 18th, 2022 | Albany, NY | Palace Theatre
Set 1: American Life, Too Many Puppies(>)Sgt. Baker(> ‘Too Many Puppies’ reprise), The Pressman, Last Salmon Man, Conspiranoia, Professor Nutbutter’s House of Treats, Del Davis Tree Farm (First time live since 2017), Welcome to This World, My Name Is Mud
Set 2: A Farewell to Kings, Xanadu, Closer to the Heart, Cinderella Man, Madrigal, Cygnus X-1
Encore: Groundhog’s Day, Harold of the Rocks, Follow the Fool >Harold of the Rocks Reprise
Ricky Persaud Jr.’s discography is stellar, to say the least, and is ever-growing as his versatility continues to elevate his status. Although, the multi-instrumentalist is a recent graduate from the prestigious Berklee College Of Music in Boston, his professional music career has been years in the making. The talented musician is known to cover a multitude of genres ranging from pop, rock, reggae, funk and more, while providing fans with a unique experience.
Michael D. Spencer
At two-years-old Persaud Jr., began his musical journey with the banjo. Since music was his main priority, he became a child prodigy within a short period. By four-years-old, Persaud Jr. had begun playing percussion and while attending the Newark School of the Arts, studied the drums.
At the tender age of 9, he played the guitar for the first time and realized there were no limits to how he could express himself. After receiving professional training, he was not only a proficient guitar player, but was able to add the bass, as well as the piano to his repertoire.
Thanks to his mother, Valerie Persaud, there were no limits to Persaud Jr.’s ambitions as she encouraged him to excel at each instrument. She dreamt of playing the piano herself, but was denied the opportunity, so she ensured her children would not have the same experience. Besides, music ran in the family.
Persaud Jr.’s father, Ricky Sr., engineered Caribbean albums and often played Bob Marley, The Wailers, and Third World, which quickly influenced his infant son. Contrarily, his mother favored classic-rock music, particularly the Beatles, who are Persaud Jr.’s favorite musicians along with Michael Jackson, Nirvana, and Bob Marley.
I never paid attention to music until I heard the Beatles. With them it’s not just about the sound of the instruments, but the message being relayed. Their music is all about love and inspiration.
Ricky Persaud Jr.
While his love of instrumentation was fostered at home, his songwriting exploits were a way to escape the outside world. As a victim of bullying, Persaud Jr. was encouraged by his mother to express himself through songwriting. Soon enough he realized this was a powerful way to overcome the social adversity he dealt with. In the end, songwriting became his main coping mechanism, which only made him a better musician.
When you bottle up everything inside you are hurting yourself. Therefore, I truly believe people should use platforms like music and sports to release their emotions and express themselves. Songwriting was like a diary for me.
Valerie Persaud
Having built a great amount of mental fortitude over the years, his self-belief even applies to his music. While on quarantine during the pandemic, he was faced with the obstacle of connecting with other musicians without physical touch. It was during this time that an already tight familial bond continued to grow. He connected with his mother and brother to continue their musical work as a band, by the name of Ricky Persaud Jr and Crossroads.
Outside of his immediate family, the Indie Collaborative (IC), an organization for independent musicians and professionals to come together as one, has been essential in Persaud Jr.’s development. On April 25, he performed alongside other IC artists at Carnegie Hall.
The Indie Collaborative helped me as far as my artistry, confidence, networking, and exposure to other talented artists. I will always be grateful for them and the opportunities they presented me with.
At such a young age, Persaud Jr. has been awarded a 2016 Governor’s Award for Excellence in Music, the Artist of The Year in Pop award at the 2019 Josie Music Independent Awards, a 2020 Global Music Award, he was named 2020 Best Male Artist in Pop at the Indie Music Channel Awards and is a Grammy voter. However, according to him, his most heartfelt achievement was not only being accepted into the reputable Berklee College of Music, but being awarded a full four-year scholarship.
The people who selected me for the full four-year scholarship, said they chose me because of how active I was with my work on social media. If I was to give others advice, it would be to take pride in their work, show off their craft, and post professionally.
Persaud
Persaud Jr.’s most recent album, Enlightenment, relays the message of “shining some positivity into the world.” Meanwhile the featured song “Cease Fire”, sheds light on racism, Black Lives Matter and police brutality.
If there is any advice I would give other musicians of color, it’s that there will be a lot of discrimination along the way, but no matter what believe in yourself and use what God instilled in you.
Although Persaud Jr. has proven himself within the music industry, he feels that he has only scratched the surface of his potential. With plans on becoming a Grammy-award winner and having a “musical connection worldwide,” Persaud Jr.’s future is nothing short of promising.
This summer, founding Grateful Dead member Phil Lesh will make his return to Bethel Woods Center for the Arts. And he’s bringing a few friends along with him. Phil Lesh & The Midnight Ramble Band will play one night on Saturday, August 20. It is slated to be part of the venue’s “Woodstock Anniversary Celebration” which will commemorate the 53rd anniversary of the iconic music and arts festival.
In addition to performing with the Dead at Woodstock, Lesh also made an appearance here in July of 2006. The second set included a sit-in from Phish guitarist Trey Anastasio on songs that were performed at the original festival in 1969 like “Dark Star,” St. Stephen,” and “Turn On Your Love Light.”
Lesh’s last appearance at Bethel Woods came in 2019 at Mountain Jam. Phil and Friends trotted out a cover of The Band’s “Chest Fever,” played the first ever “Midnight Highway” and closed out their set with an “Uncle John’s Band.”
This year’s band is dubbed The Midnight Ramble Band, in a nod to Levon Helm’s nearby legendary barn and its late night concerts, and will feature Amy Helm, Jim Wider, Brian Mitchell, Adam Minkoff, Steven Bernstein, Larry Campbell, Teresa Williams, Connor Kennedy, Shawn Pelton, Tony Leone, Erik Lawerence, Jay Collins and, of course, Grahame Lesh.
Tickets go on sale tomorrow at 10 am through Ticketmaster.
