WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to an ever-expanding listening audience. NYS Music brings you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Rhoseway – “Prey on The Rest of Us”
Rhoseway is the solo project of Albany-based songwriter Rob Fleming. All writing, arrangements, performances, and production are done by himself in a DIY fashion.
Ethan Crowley – “in my dreams”
Ethan Crowley is a budding new artist from Saratoga Springs. He has an eccentric pop sound with roots in old-school ballads, jazz, and soul. His recent debut album Drowning in a Glass of Water was produced entirely by himself, and his album release show at Caffe Lena had rave reviews.
Gracies Paris – “1 2 & 3”
Gracies Paris is a Troy-based power pop rock band formed in 2007 featuring Carl Ferritto (vocal and guitar), Eric Buechner (drums), and Randy Rose (bass). Something that the band does that makes listeners keep tuning in is by changing their sound after each song. One single may have a similar sound to the other, but no song is quite the same.
The historic Palace Theatre in Albany will host the premiere of an upcoming documentary that chronicles the story of a legendary promoter in the Capitol Region. ‘Grapplin’ Greg: The Story of Greg Bell’ will premiere on the big screen at the Palace Theatre on December 17 at 7:30pm, and will include a live performance from Eastbound Jesus.
The evening will also feature a performance by Eastern New York northern rock group Eastbound Jesus.
Tickets are $22, which includes the documentary screening and Eastbound Jesus performance. VIP tickets are $37 and include a ticket to the documentary screening, the Eastbound Jesus performance, exclusive event memorabilia, a pre-show reception from 6-7pm with complimentary hors d’oeuvres, a cash bar and drink specials.
Tickets are on sale now and can be purchased or at the Palace Theatre Box Office (located at 19 Clinton Ave). Box Office hours are Monday – Friday 12-5pm as well as select days and hours for events and on sales.
After 12 years in the incubator, Bob Dylan’s long-awaited book on songwriting, The Philosophy of Modern Song (Simon & Schuster), has finally landed with a very big splash. This, of course, is as it should be as he is, with little doubt, the most revered songwriter of the latter part of the 20th Century, the first and still only rocker to earn a Pulitzer Prize.
As with everything Dylan, The Philosophy of Modern Song, is not really what you think it will. It is not a literal analysis or anatomical study of these tunes as told by their makers. It is something grander, more ambitious and maybe more revealing about Dylan himself – his life’s experiences, observations and opinions.
The book employs 66 widely varied songs as jumping off points for some dazzlingly impressionistic essays. These are his philosophical jams on the subject matter at the heart of each song – from romantic betrayal/divorce to the faith of the Vegas gambler to career crashes, war, alienation and so much more. It’s a Monet, J.W. Turner or other great Impressionist painters take on a book. It’s super misty and foggy but the soft focus of it may impart greater emotional resonance than something photo realistic. In most cases, these elegant prose forwards are followed by a second essay, one that more literally relates to the songwriters and performers, the historical backdrop for the songs and the like.
Per the promotional press release: “While they are ostensibly about music, these are really meditations and reflections on the human condition… a series of dream-like riffs that resemble an epic poem.” Along the way, readers will get plenty of Dylan’s dry and devastating humor, served up with some oddball trivia about the artists and his beliefs on what makes a song great. Want to know how a single extra syllable can ruin a song or how bluegrass is the father of heavy metal? If so, this is the book for you.
The selections in the book demonstrate Dylan’s reverence for many genres of song. There’s old-timey Americana, classic country and Delta and Chicago blues, the crooners of the Great American songbook, Laurel Canyon rock, Motown and Philly Soul, the R&B and rockabilly influenced rock-n-roll pioneers of ‘50s, some classic rock radio staples and even Top 40 kitsch.
Elvis Costello’s “Pump It Up” is the perfect “boiling point song, the anthem of an alienated hellcat” per Dylan. He calls the artist a fusion of silent screen icon Harold Lloyd and Buddy Holly, two masters of minimalist precision in their work. Likewise, this song is a “streamlined classic,” one better than others by Costello which Dylan sometimes finds “too wordy” and full of “too many thoughts.” Dylan’s views on the blues classics “Key to the Highway” and “Big Boss Man” are testaments to the power of their architects – Little Walter and Jimmy Reid, whom Dylan dubs “the essence of electric simplicity.” On Elvis Presley’s “Money Honey,” Dylan waxes poetic and a little leftist provides on the value of money. It’s all about power, the difference between rich and power and how we are all equal in the end when we shed the bone suit. His riff on Willie Nelson’s “On the Road Again” may serve to explain why he is still on his so-called “Endless Tour.” Willie’s version is an update on Kerouac’s hipster/beatnik classic On the Road, in luxury bus vs. Neil Cassady’s ramshackle ‘49 Hudson . Why the road? Because you will never be bogged down by any of life’s trivial responsibilities like doing the laundry per Dylan. It’s all about to the road that leads to the next performance.
Dylan’s offering on Ricky Nelson’s “Poor Little Fool” sets out to secure Nelson his rightful place on the pantheon of early rockers. Per Dylan, Nelson was the person who really brought this new music to a nation through his weekly performances on his family’s hit TV show, “The Adventures of Ozzie & Harriet” in the mid-‘50s . According to Dylan, Nelson was “more than Elvis the ambassador of Rock-n-Roll.” This section also charts the starring role “the fool” has had in many eras and genres of popular music, in hits from Hank Snow, Aretha Franklin, Bobby Bland, The Beatles, The Main Ingredient, Elvis Presley, The Grateful Dead and Anthony Newley. Dylan’s book also riffs on a duo of Little Richard standards, “Tutti Fruitti” and “Long Tall Sally.” The former is really Richard “speaking in tongues” about the undercover gay subculture, while the latter provides the platform for a head scratching fantasy about 12-foot-tall ancient Egyptians!
Dylan on The Who’s “My Generation” is a rumination on the “cockiness of youth” and how each new generation will always somehow take from the one before it … and resent the fact! The Eagles “Witchy Woman” is the runway for a rant on the kinds of women you should avoid, “a hallucinogenic amalgamation of succubus and thaumaturge.” It’s also a deep dive into the life and end of the legendary New Orleans voodoo queen, Marie Laveau. With his study of “Don’t Let Me Be Misunderstood,” Dylan addresses how being misunderstood and getting lost in translation “ruins your enjoyment of life.” There’s cool trivia here about how the label that put out Nina Simone’s classic version, ESP, was first founded to help spread the new universal language, Esperanto, before it became the home to avant-garde jazz greats like Albert Ayler.
In the chapter on “It’s All in the Game,” we learn how a melody created by a man who would become Vice President to Calvin Coolidge made the hit parade. Here, Dylan spouts on the history of American politicians as musicians, referencing Nixon’s piano chops and Bill Clinton’s yakety sax to name a few. This chapters contains what I think are the most unfortunate collection of words in the book, when he calls former Arkansas governor and Fox News staple Mike Huckabee “an accomplished bass player.”
The ‘70s Stax Records classic, “Cheaper to Keep Her” by Johnnie Taylor, is a song reflection what Dylan calls “the school of street wisdom.” Perhaps a reflection of his own experience, Dylan uses it to rail against “the $10 Billion a year divorce industry” and lawyers in “the business of family destruction.” His solution? Embracing polygamy and having only as many children as you can afford! And speaking of questionable occupations, Dylan’s take on Cher’s quasi-novelty hit, “Gypsys, Tramps and Thieves,” concludes with him saying that these are “the three types of people” a person might have the most fun having dinner with.
For me, Dylan’s most eye-opening take came with Hank Williams’ “Your Cheatin’ Heart.” To Dylan, it’s a song of nuance, one that can be viewed from two perspectives. First, and most obvious, is the person who has been cheated on. But for Dylan, maybe the song is really or also about the cheater, the person who is questioning his own compulsion to be unfaithful again and again?
Credit must go to whoever art directed this long-awaited book. The text is complemented with over 150 curated photos which serve to set the time and emotional tone for Dylan’s subjective, profound and sometimes humorous investigations of some our most beloved and underappreciated popular songs.
Saxophonist and vocalist James Casey is set to make his solo recording debut with the release of a special holiday album, A Little Something For Everyone, that is scheduled to be released on December 5 via 12/23 Records.
Pressed on limited edition blue vinyl, the 7” EP offers a heartfelt Christmas collection from Casey that features two holiday staples, one funky original song and a beloved gospel hymn. Created in partnership with Nancy Langhorne Foundation, proceeds will benefit the Colorectal Cancer Alliance and Eastern Virginia Medical School’s HOPES Clinic to help provide free colon cancer screenings for the uninsured.
James Casey was diagnosed with colon cancer in 2021, which made this holiday EP project an extremely personal undertaking.
Although we had a lot of setbacks while recording due to chemotherapy, being able to make a fun, holiday record with my friends to help people get access to screening for something that I am currently battling was a no-brainer. The fact that it’s the first music released under my own name is definitely an added bonus!
~ James Casey
Vinyl production will be limited to 300 copies, with silk screened and numbered album jackets designed by Brooklyn-based artist Nate Cepis. The album will be available for pre-order on November 7 at 1223Records.com, with vinyl shipping in mid-December. The single “Christmafunk” will roll out on streaming services on November 14.
It’s not without calculated risk that Joe Satriani can take his guitar to places that no other guitar has gone to before. That’s what makes his music and his shows so unique and extraordinary. Sunday October 30th 2022, brought Joe Satriani and his band made a stop at Babeville in Buffalo. The venue is an old church turned into a beautiful concert hall.
Babeville
After two years off the road, and two full length albums released (2020’s Shapeshifting and 2022’s The Elephants Of Mars) , it was time for Satriani to return to the stage. For this tour titled “Earth Tour“, he’s put one of his best bands together. It features legendary session drummer Kenny Aronoff, bassist Bryan Beller (from Steve Vai and Dethklok), and keyboardist and guitarist Rai Thistlethwayte.
Joe Satriani
Most performers play all of their hits and little newer material, but Satriani played almost half of his songs from his past two albums. His new music is just as innovative and made for live performance as his more well-known songs. Given the fact that he’s playing only instrumental music, probably makes the blend a little more transparent.
Visually, Satriani and Aronoff, are both bald and brandishing similar wraparound sunglasses, marked an intriguing contrast to longhairs Beller and Thistlethwayte. Together, they mesh like a band should, with the spotlight mainly on Satriani the whole night, both Aronoff and Thistlethwayte had their own featured solo segments.The drum solo kicked off the second set of music. The bassist Beller consistently rattled the walls with his chunky bass lines.
The performance offered a full overview of Joe Satriani, where he’s been, where he’s at now, and where’s he going next. All of the musicians were at the top of their game and the crowd gave standing ovations many times during the show.
Set 1: Nineteen Eighty, Sahara, The Elephants of Mars, Ice 9, Thunder High on the Mountain, One Big Rush, Blue Foot Groovy, Flying in a Blue Dream, Spirits, Ghosts and Outlaws, Faceless, Crystal Planet, Summer Song
Set 2: Drum Solo, E 104th St NYC 1973, Keyboard Solo, Cool#9, Ali Farka, Dick Dale an Alien and Me, Shapeshifting, Teardrops, Luminous Flesh Giants, If I Could Fly, Always With Me, Always With You, Satch Boogie
In September and October 1980, the Grateful Dead did a brief concert tour of shows with three sets each, one acoustic set followed by two electric sets. The acoustic sets were the first ones the band had performed since the early ’70s aside from a few rare one-offs. The final shows of this legendary Dead tour, which yielded both an audio and video release, took place at New York City’s Radio Music Hall with the last one taking place on none other than Halloween. NYS Music, along with a strong lending hand from YouTube, now presents a look back at this holiday gig at one of America’s premier musical venues.
Bob Weir greets a raucous Radio City Music Hall to start things off and also says hello to all the “folks who are filtering in to the various theaters around the country.” This show was both simulcasted across the country, apparently, and released to the public the following year on video as Dead Ahead. Things get off to a rocky start with Phil Lesh’s amp producing some decidedly spooky feedback. So he is whisked away and the rest of the band opens with a bass-less instrumental in “Heaven Help The Fool.”
With Phil and his bass still on the sidelines, Jerry Garcia leads the ensemble through another rare instrumental. This time it’s “Sage and Spirit,” a song that appears on 1975’s Blues For Allah and was only ever played live twice, with this being the last one.
The Dead keep the rare acoustic hits coming at Radio City with the cover of “Little Sadie” that appears next, with Jerry Garcia on lead vocals. It’s a song that hadn’t appeared live since a show at San Francisco’s Family Dog in 1970 – a dark tale of murder befit for a Halloween show.
Weir then shifts the theme from “tragedy” to “tragedy narrowly averted” with “Monkey and the Engineer,” which finally sees Phil Lesh and his bass return to the fold.
“Boy we’re really having fun now,” notes Weir afterwards. Up next, the Dead grace Radio City with “It Must Have Been The Roses.” A staple of Jerry Garcia solo shows in the ’70s, it would go on to be played for the rest of the Dead’s touring career. Garcia seems to visibly enjoy this one coming to life in the Dead setting.
Up next are two Grateful Dead live staples, starting with a percussion-heavy and crisp “Cassidy.” WIth one small drum kit, Mickey Hart moves over to the congas, after previously utilizing the maracas on “Roses.” This “Cassidy,” which even elicits a bit of a jam, serves as an MTV’s Unplugged-type version of a Dead classic well before the program ever existed.
This is followed up by “Bird Song,” by far the longest and most experimental of all the first set songs. Garcia leads the way once more with a blistering guitar run and the rest of the band now firing on all cylinders.
A very enjoyable opening acoustic set of Grateful Dead music then comes to a close with “Ripple,” much to the delight of the Radio City crowd, with special attention paid to the “let there be songs to fill the air” lyric.
With the acoustic setup gone and the traditional dual drum kits returned, the Dead then go on to play another two sets of electric music at Radio City Music Hall in their typical concert format. The second begins with a vibrant “Jack Straw” that sees Bob Weir bouncing up and down in earnest at one point.
This is followed by a fairly standard run through of “Cold Rain and Snow” that gets a very warm reception from the New York city crowd at first.
Bob Weir then takes lead once more and navigates the band through “Me And My Uncle.” With the drum beat never fully stopping, the Dead then slide seamlessly right into “Mexicali Blues,” completing a popular pairing of songs.
The “first set” vibe of this second set carries right along with “Ramble On Rose.” As expected, Radio City greets the “Just like New York City” line with a massive roar of approval. Garcia graces this version with a pedal steel-esque guitar solo that’s rife with emotion.
As is their custom, Bob Weir on slide guitar then tags in for lead on the next song, a cover of the blues song “Little Red Rooster.” Garcia is playing slide as well and drops another notable solo and Brent Mydland even gets into the action a little as well with some standout organ play.
Afterwards, the Dead rip through a pristine take of “Brown Eyed Women,” with Garcia back on lead vocals and Weir and Mydland ably tending to the harmonies.
From “Women” the music then shifts almost immediately into the ever poignant “Looks Like Rain.”
The Dead then close out the second set of Halloween at Radio City with a rousing “Deal” that’s carried by the strength of two more powerful Garcia guitar solos.
To start the third and final set at Radio City, the Dead kick things off with a short but sweet “Don’t Ease Me In.”
Next, it’s time for another signature pairing of songs, with the Bob Weir-helmed “Lost Sailor” that flows seamlessly right into “Saint Of Circumstance.”
With the third set energy peaking, Garcia initiates the familiar opening chords of “Franklin’s Tower” and the band is off and running once more. Playing his legendary “Tiger” guitar, Garcia obliterates another run up and down its fret board, spearheading a brief jam that reaches a quick peak before mellowing out and devolving into the “Drums” only portion of the evening.
Unfortunately, there doesn’t seem to be video of the “Drums” > “Space” sequence for this evening, but emerging from the psychedelic mist are the opening notes to “Fire On The Mountain.” While not necessarily jammed out, it’s a clean and pure take of a Dead classic, with Phil Lesh coming in loud and clear now, his bass issues a thing of the past.
The band takes a nice, relaxed approach to the introduction of the “Not Fade Away” that follows. The Grateful Dead deliver their own bluesy take of this Buddy Holly cover, with Radio City singing along in earnest.
Instead of keeping up the pace and stretching it out, however, the tempo slows to a crawl. This sets the stage for Garcia to take lead once more for “Stella Blue” and to unleash one last gorgeous guitar solo.
As the last notes of “Stella” drop, the Dead immediately steer back into the show’s closing sequence with a blistering cover of “Goin’ Down The Road Feeling Bad.”
Instead of ending the set right then and there, the Dead throw in one last cover for the Radio City faithful. This time it’s The Young Rascals’ “Good Lovin’,” sung by a spirited Bob Weir in the only way he knows how. He even throws in some Pigpen-esque vocal riffing at the end for good measure as the crowd eats every bit of it up.
Weir then wishes both the audience at Radio City and everyone else around the country “good night” and the Grateful Dead encore with “Uncle John’s Band,” closing out quite a memorable three-set show in the heart of the city.
View this and more Grateful Dead shows from across the years in New York State with our interactive map below
Grateful Dead – Radio City Music Hall – New York, NY 10/31/80
Set 1: Heaven Help The Fool, Sage And Spirit, Little Sadie, Monkey And The Engineer, It Must Have Been The Roses, Cassidy, Bird Song > Ripple
Set 2: Jack Straw , Cold Rain And Snow, Me And My Uncle > Mexicali Blues, Ramble On Rose > Little Red Rooster, Brown Eyed Women > Looks Like Rain > Deal
Set 3: Don’t Ease Me In > Lost Sailor > Saint Of Circumstance > Franklin’s Tower > Drums > Space > Fire On The Mountain > Not Fade Away > Stella Blue > Goin’ Down The Road Feeling Bad > Good Lovin’
Produced by Brandon “Brick” Lohr and Jason “J” Hubert, the inaugural Ramble Festival held at Camp Ramblewood in Darlington, MD from October 7-9, transpired smoothly, as fans enjoyed nearly perfect fall weather near the Susquehanna, mere miles from Pennsylvania. Camp Ramblewood has held other music events, but Ramble Fest hosted a wide variety of bluegrass, brass, indie rock, blues, country, Americana and folk music from Maryland, Virginia, North Carolina, Massachusetts, Indiana, Colorado, California, and many other states, with fans traveling from all over the US and internationally to enjoy fun in the sun with cool nights & campfire jams.
Headlined by Leftover Salmon, Keller Williams, and The Traveling McCoury’s, along with many local and national bands, Ramble Festival had numerous activities, a busking competition, kids’ shows and play areas, yoga, charity auctions & raffles, live art painters, an on-site art gallery, and numerous clothing, food & art vendors. Art Director Lindsay Jamison and her staff of volunteers spent weeks getting the site and the art gallery in the Beer Hall ready for the event. Street Team lead Will Gibbons also ran the instrument raffle, where two fans won a guitar and banjo signed by the headliners, with proceeds donated to Backline and Rage Against Addiction.
Camping was superb. Ramblewood has 200 pristine acres on a rolling hillside, with a lake, fire pits, large cabins, and wide fields, with ample trees & grassy shade. Food & drink vending was plentiful, including local microbrews, and food trucks with typical festival fare such as pizza & burritos, as well as veggie and farm-to-table options. There was onsite parking for the thousand or so attendees (though the lot nearly filled up during the peak on Saturday night). There were a few RV spots (no power & water hook-ups), as well as car camping, but the best camping was near the stages.
Fri. Oct. 7: Abby Bryant & The Echoes, Caleb Stine Band, Kendall Street Company, Rufus Roundtree & Da B’More Brass Factory, Arkansauce, Bella’s Bartok, Big Something, Keller Williams Grateful Grass feat. The Hillbenders, Kendall Street Company & Dirty Grass Players – late-night in the barn.
Friday started off smooth and sunny, with Rufus Roundtreee and his band leading a second line march from the campsites down the hill, where Abby Bryant & The Echoes kicked off the weekend on the Main Stage. Abby is a vocalist & guitarist from Charlotte (since relocated to Asheville), who performed a mix of soul & Americana, with great instrumental work by her band & cohort in songwriting, guitarist Bailey Faulkner.
A quick jaunt up the hill and past the food trucks brought us to the Beer Hall, an indoor stage with standing room for a thousand. Caleb Stine & Band treated us to cool country with a tinge of bluegrass. Kendall Street Company from Charlottesville next played on the Main Stage, with thoughtful and often funny lyrics, great harmonies, and energetic, punk stylings, deft guitarwork, sax, and engaging vocals by lead singer Louis Smith.
Back at the Beer Hall, Rufus Roundtree, who is from Parliament Funkadelic, led his band Da B’More Brass Factory on vocals & trombone, with fiery NOLA-style, Go-go tinged funk, supported by trumpet, sax, tuba, guitar & drums. Arkansauce next tore up the Main Stage with speedy banjo riffing by Adam Collins, Ethan Bush on mando, Zac Archuleta on guitar, and Tom Andersen on upright bass.
The wildness of Bella’s Bartok engaged our feet as we returned to the Beer Hall, with fast, energetic fiendish horns, driven by lead singer Asher Putnam, with Alex Kogut on accordion, synth, and keyboards, Riley Goodemote on trombone, and Julia playing feisty washboard. Mixing sonic styles of Googol Bordello with punk, folk, and klezmer music, an amalgam of genres and theatrical sensibilities. They were a new discovery to me, and fan favorites by the end of their set.
Big Something, a hip hop pop rock fusion jam band from Burlington, NC, heated up the Main Stage at sunset, with Casey Cranford’s signature EWI and sax work driving the melodies along with dueling guitar monstrosities Jesse Hensley and Nick MacDaniels, with Josh Kagel on keys and trumpet, Doug Marshall on bass and Ben Vinograd on drums holding it down. Stylistically chameleons, they drift from tight riffs to expansive jams, sometimes evoking Lettuce, other times Lotus, and at times channeling Umphrey’s McGee, basically all over the place, with aplomb.
The incredible sound and lights apparently challenged the main stage power generator, which failed shortly thereafter, and was not resurrected until the next day. This only major glitch of the weekend was trouble, but thankfully, the production team planned generous stage switchover times, so crews had time to migrate Keller Williams over to the Beer Hall. Stage Manager George Barrick reactivated that stage, which had prepared to close for the night.
Keller and The Hillbenders treated us to his widely-popular Grateful Grass set. The Beer Hall was a bit crowded, so staff asked fans to help move tables and chairs out of the way, which quickly added enough space to get everyone inside – just in time, since the only few raindrops of the weekend fell outside and chilled the night air as temperatures fell into the low 40s. Keller & friends treated us to a fun-filled set of Dead classics, including a killer Scarlet > Stranger, and a trippy They Love Each Other back and forth into and out of Cumberland Blues, followed by a lovely Bird Song > Cassidy [24-bit SBD/Stage Matrix recording by George Barrick].
No proper first day would be complete without a late night set, held in the Ramble Stage, aka “The Barn” (a nice, cozy place to warm up as temps dropped further at night). Kendall Street Company joined The Dirty Grass Players, which was the most musicians jammed onto that tiny stage. The Barn was well-appointed, with brass chandeliers, hanging flower arrangements and festive lighting. There were two late-night picking circles, one at the Hill Camp w/ Bella’s Bartok, and another down at the Lake Camp, with Deer Creek Sharpshooters & Fishing for Hippies to end the night.
Sat. Oct. 8 – Dogs in a Pile, Arkansauce, Armchair Boogie, Dirty Grass Players, Toothless (kids set), Rev. Peyton’s Big Damn Band, Underground Springhouse, AJ Lee & Blue Summit, Kyle Hollingsworth Band, Leftover Salmon, Neighbor.
After much-needed rest, I arose Saturday morning to the distant sounds of another second line by Naptown Brass Band from Annapolis, MD. I ran up the hill to meet them as they marched down into the main field and kicked off the day for Charm City Junction, towing along recently-rousted dancing campers, led by the Vibe Tribe‘s Holly Reasner.
Arkansauce fired up the Beer Hall next. Saturday Bands played with some overlap, as there were 17 or more performance on Saturday. Dogs in a Pile was another great band that all my friends recommended. They had a great turnout, especially since they started around 1pm, and many campers partied quite late the night before.
Baltimore’s finest, the Dirty Grass Players kicked it up in the Beer Hall, with some overlap with Armchair Boogie on the main stage, another new band I really enjoyed. Toothless played a kids’ set on the small barn stage. Underground Springhouse continued in the Beer Hall, while Caleb Stine returned in the barn.
We kicked our socks off to Reverend Peyton’s Big Damn Band (a funny name, because it’s only 3 people). Hailing from Indiana, the “Big” is for Jayme Peyton, who is a ginormous human as well as guitarist. They’re a wild country blues band, with heavy guitar shredding and “reckless” washboard by Breezy Peyton. Breezy actually lit her washboard on fire in the middle of a song!!! The band and audience had a good laugh; neither eyebrows nor hair were burnt in the process.
AJ Lee & Blue Summit, a bluegrass/Americana band from Northern California, continued at the Beer Hall, playing towards dinnertime. Heading back to the Main Stage, I wolfed down some tasty mac & cheese from Cosmic Charlie’s Grateful Grill, one of my favorite food trucks conveniently located between the two biggest stages.
Maryland native Kyle Hollingsworth (from String Cheese Incident) and his Band lit up the main stage, with a mix of organ and keyboard-infused jammy rock, tight & funky drums, bass & guitar. They played a variety of originals and classics, rearranged with speed & intensity, sprinkled with riffs & quotes from various well-known songs. Kyle is a killer clavinet and synth player, playing with percussive rhythm, electric piano and effects, his talented band adding fuel to his fire.
Ramble’s resident emcee, Libby Eddy (plays fiddle in The Jakobs Ferry Stragglers), got up to announce Leftover Salmon dressed as a giant avocado. She wrote page-long summaries of each band. As she rattled off superlatives, Vince Herman (in a blue unicorn costume) laughed and told the audience, “first time our band has ever been introduced by an avocado“! Ramble Festival founders Brick and J dressed as a tiger and bumblebee, to fit the costume theme, “furry creatures”.
Another favorite band, Neighbor (founded by Pink Talking Fish’s keyboardist Richard James), capped off Saturday night in the barn, followed by late-night campfire jams by Fishing for Hippies, Caleb Stine, Annie Sellick, and Pat Bergeson.
Sun. Oct. 9 – Travers Brothership, Country Current, AJ Lee & Blue Summit, Woody! kids set, Neighbor, Bella’s Bartok, Busking Competition, Empire Strikes Brass, Armchair Boogie, Pink Talking Fish, The Travelin’ McCourys, AJ Lee & Blue Summit, Arkansauce, & Armchair Boogie – late-night in barn.
Travers Brothership, based near Asheville, started the last day off with searing blues guitar intensity by frontman Kyle Travers, who formed the band with his twin brother and drummer, Eric. They’ve played all over the US & Europe, and are widely praised. Their new album is slated to be released next year, so they played a song or two off their new album.
The bluegrass band, Country Current, is the US Navy’s official band, formed in 1973. They’ve played for Presidents Bush, Clinton, Obama, and have toured nationally as well as overseas. They are all Musician Petty Officers, wearing their uniforms proudly on stage in the Beer Hall, playing guitar, banjo, bass, drums, fiddle, mando, and pedal steel guitar.
AJ Lee and Blue Summit returned to play the main stage, followed by Muskrat Flats in the beer hall, and another special kids’ set by Woody!, who is Jon Wood of Dancing Bears, ELM, Psycho Killers, and other Baltimore-based bands. His 7-yr-old daughter Ella helped her dad set up his mic and danced with her friends and other kids in the barn.
Neighbor treated us again to another tasty set on the main stage in the mid afternoon, followed by another wild dance party by Bella’s Bartok in the Beer Hall. The horn-heavy Empire Strikes Brass hit the main stage in the afternoon, and Armchair Boogie returned to the Beer Hall to close out the afternoon.
Pink Talking Fish brought resounding thunder and intermingling of songs by Pink Floyd, Talking Heads, and Phish to the main stage, as a massive flurry of bubbles filled the air and caught the brilliant light trackers scanning over the field, filling it with geometric patterns and a spectrum of color.
Emcee Libby Eddy introduced The Traveling McCourys as “the best band on the planet!!!” – the final headliner set of the weekend. This long, wonderful weekend of music ended with a joint collaboration between AJ Lee & Blue Summit, Arkansauce, and Armchair Boogie, packed into the barn with as many fans as could still stand or dance, with a couple more campfire jams that lasted until 3 or 4 am.
Few festivals are successful upon inception, but through great planning, Ramble Festival attracted over a thousand people to its first annual event. They sold a hundred tickets at the “steepest discount” to fans on site.
“It takes a village”. I met dozens of staff, volunteers, artists, campers, production crew from Harford Sound, lighting engineers, photographers & videographers, vendors, artists, medical personnel (Bear Care), and vendors. There were zero injuries or problems, nobody got stuck in the mud, the weather was absolutely perfect, and the camping is the best of any music event I’ve attended. Everyone was friendly, helpful, fun, and smiling all weekend.
Brick and J are music lovers first and foremost. They hired a skilled team, adept at multiple roles. They asked their friend Phil Chorney (Charm City Bluegrass) to recruit a wide cast of musicians from all over. Skilled directors & coordinators were carefully chosen for Volunteers, Artists, Hospitality (Sandee Taylor), Marketing (Kelsey Riegger) and Media Coordination (Zach Ubaldini), as well as staff photographers Chris Gamber among many other pros.
Some of these bands I’d heard about, and saw them for the first time at Ramble Festival, a sentiment shared by many fans. I’ve seen all the headliners multiple times, which got me interested when J told me about Ramble at B Chord. I did some research on only a few of the bands I hadn’t seen, which left the rest as pleasant surprises.
Ramble Festival was quite smooth, even though it’s only in its first year. Everyone felt like family, with an atmosphere reminiscent of Catskill Chill, Bear Creek, and High Sierra Music Festival. Brick, J, Phil, and their wonderful cast & crew deserve accolades for making Ramble the best music and art experience of the year.
The Rock n Roll/Doo Wop Spectacular, featuring four great acts – Trish Anderson, The Duprees, The DooWop Project and Chubby Checker – will perform at Proctors Theatre in Schenectady on Saturday, November 19.
Headlining the show is the legendary, ageless Chubby Checker. Chubby looks like he is fifty and sings and dances like he’s 50 too. In 1959, “The Class” was his first hit record. “The Twist” was originally a “B” side, but Chubby tirelessly promoted it on tv, in interviews and in performances. By the summer of 1960, “The Twist” became a #1 hit, introducing the concept of couples “dancing apart to the beat” and leading to a revolution in dancing with one dance craze leading to another (the Jerk, the Hully Gully, the Boogaloo, etc.), and Chubby was at the forefront with “The Fly,” “The Pony” and “The Hucklebuck.”
In 1962, “Pony Time” was a #1 hit that was on the charts for 16 weeks, and Chubby starred in two movies: “Don’t Knock the Twist” and “Twist Around the Clock.” For the first time in record history, “The Twist” re-entered the charts and, by January of 1962, it was #1 again on the Billboard charts. Chubby Checker merchandise was everywhere: t-shirts, shoes, ties, dolls, even chewing gum! More huge hits followed: “The Fly,” “Let’s Twist Again,” “The Limbo Rock, “ and he won the Grammy for Best Rock Performance. He was the only act to have 5 albums in the top 12 at the same time. In 1964, Chubby married Catharina Lodders, Miss World of 1962.
Chubby continues to push musical boundaries while performing all over the world. In 1988, “Yo Twist,” performed with the Fat Boys, was a #14 hit and in 2007 “Knock Down the Wall” went to #1 on the Billboard Dance charts, introducing Chubby Checker to a new generation of fans. Chubby looks and sounds young and continues to display his historic dance moves. You’ll see why Chubby Checker was recently voted “Casino Performer of the Year” and why “The Twist” was the most frequently played song on the radio in the history of rock music.
Co-headlining the show is The Doo Wop Project. The Doo Wop Project consists of five Broadway stars from smash hit shows like JERSEY BOYS and MOTOWN: THE MUSICAL. This supergroup of Broadway stars transforms hits from the classic and modern American pop songbook into unforgettable renditions of your favorite songs. The Doo Wop Project traces the evolution of the classic American Doo Wop sound with five guys singing tight street-corner harmonies (including songs by The Crests, The Belmonts, the Flamingos and more). This musical journey includes the hit-sounds of Motown (including The Temptations and Smokey Robinson) and of classic East-Coast Pop royalty like Frankie Valli and the Four Seasons and Dion. Finally, we will experience “DooWopified” versions of hit songs by more recent stars such as Michael Jackson, Jason Mraz, Garth Brooks, Maroon 5 and more. Audiences will be moved to reminisce, and newer generations will marvel at classic golden Doo Wop sounds… as well as versions of more recent hit songs.
Additionally, WMHT (PBS) will televise THE DOO WOP PROJECT’s brand new tv concert-special in June, giving the capital district audience an exclusive first look. Like their live show, this concert special gives a taste of the unparalleled authenticity of sound and vocal excellence in the group’s recreations of some of the greatest American hits in Pop and Rock history.
Fantastic audience favorite, The Duprees, will also grace the Proctors stage.The Duprees are known worldwide for their romantic interpretations of some of the most beautiful love songs ever written. They possess a smooth yet powerful vocal quality and heavenly harmonies, evidenced in the huge hit “You Belong to Me.” Other hits include: “My Own True Love,”“Gone with the Wind,” “Why Don’t You Believe Me,” “Have you Heard” and “Theme from Exodus.” Although their romantic harmonies are second to none, The Duprees also present a dynamic stage show that will bring the house down.
Opening the show is long-time regional fav Trish Anderson, singing female hits of the era. In her fifth decade of performing, Trish is most widely recognized as the lead singer of the Bluz House Rockers (26th year with them). Trish was inducted into the New York State Blues Hall of Fame and has shared the stage in concert with Herman’s Hermits starring Peter Noone, Pat Benatar, Joan Jett, Eddie Money, Marshall Tucker, and Little Feat, A singer-songwriter, her “Three Dollar Bill’ went to #2 on the pop 100 charts in Denmark. She and her band also perform every January on the Delbert McClinton Sandy Beaches cruise into the Caribbean. Her friend Trez Gregory, who backed up Brooks and Dunn in concert for 7 years, will travel from Ohio to back up Trish at Proctors.
Tickets are on sale now at Proctors Box Office, by phone at (518) 346-6204 and on line at proctors.org.
Bands largely based in Chautauqua and Erie County show up on a bi-weekly basis to take the stage at the Main Street Studios venue in Fredonia. Initially making cassettes for local bands, Foxhead Record Company rented out the building.
Foxhead record company logo
Follow the closure of the North Pole Strip Club (NPSC) house venue on Main Street, Felix Kellogg, Jake King and Liam Powers, the founders of the Foxhead label, talked with the owner of the space about their idea of launching DIY-shows. “Since we got to Fredonia, there was always live music going on”, explained King, “and it was always upperclassmen running it”.
(Credit: foxheadrecordco Instagram)
He pointed out there being a need for people to organize shows and Liam Powers also added in a prior lack of places for shows to happen, following the the North Pole Strip Club closing. The recognition of a need for performance outlets in town led to the transition of the company from focusing on making cassettes for bands to extending their business, bringing live concerts at one of the most popular venues in Fredonia.
Listen to Jake, Liam and Felix discuss more about the formation of their record company, the Fredonia music scene, and more in an exclusive interview below.
Interview with founders of Foxhead Record Company:
https://youtu.be/EG0mNXaG9Hw
A Fredonia-based artist, under the moniker Soup Kale and lead singer of the alternative band Karrot Kake, who performed at Main Street Studios on Saturday, 10/15, commented on the shift in the Fredonia music scene. In an interview below, he described a lot of jam bands being active in the area, along with reggae sounds being notable several years ago, before pop-punk more recently turned into the predominant element integrated in the scene.
Interview with Karrot Kake band musician Soup Kale:
https://youtu.be/t0kZki2MBDI
Interview with musician Soup Kale of Karrot Kake band
SAINT BLIND, real name Aaron, is another artist part of the line-up who performed at Main Street on the night of 10/15. He described working with many people involved in the Fredonia music scene, having joined multiple bands, including one with Jake King of Foxhead when he was in his teenage years, as well as composing a group known as the Blind Orchestra. The alternative/indie rock and synth-pop artist details more of his musical involvement and both upcoming and released works of his in an interview below.
Interview with musical artist SAINT BLIND:
https://youtu.be/RBNFz06i5TI
Interview with artist SAINT BLIND
Make sure to follow Foxhead on Instagram at @foxheadrecordco for updates on when shows are happening at Main Street Studios and original cassette releases. Also, follow Karrot Kake on Instagram @karrotkakemusic and on Spotify @Karrot Kake, and Kaleh @soupkale, as well as SAINT BLIND @saint_blind on Instagram to keep up with the latest news on their musical releases and performances.
The Eaves Band, based in Buffalo, is comprised of Adam Clukey, Chris Couche, and Maurice Halliday. They’ve been friends since childhood and reconnected after a couple of years after, following going to different colleges, according to Couche.
The Eaves Band (Credit: Brett Pallachino Photography)
In late 2018, The Eaves debut record Learning to Live in the Dark was produced by GRAMMY Award-winner, Ted Hunt, whose worked with other bands including The Gaslight Anthem, Lucero, and Dropkick Murphys. Fast forward to 2022, their upcoming album Lately, I Don’t Have a God…and Other Obvious Epiphanies was recorded in collaboration with artist Jay Zubricky and features a production from bassist and vocalist of the Goo Goo Dolls, Robby Takac.
Cover Art for ‘Lately I Don’t Have A God…And Other Obvious Epiphanies’
“‘It’ll Be Okay’ was the last song we wrote for the record”, the band’s Chris Couche said. He explained that the track “is meant to be earnest, reassuring catharsis – direct, unashamed, and unadulterated.” The new video for the track is available for streaming on New Noise and DSPs.
Read more of NYS Music’s interview with The Eaves’ Chris Couche.
Heather Occhino: What made you guys decide to form a band?
Chris Couche: The three of us (Mo, Adam, and I) grew up together. We all had similar musical interests and played in bands together. We sort of went our separate ways during college and reconnected a couple years after. We caught up quick and realized that our shared music taste had evolved similarly, so we decided to start writing together and see if anything came of it.
HO: Are there any artists or bands who inspired you to pursue a career in music?
CC: We’re inspired by a ton of artists, but honestly, the first band that ever inspired to me to pick up a guitar and write was Blink-182. I was 11 or 12. I could barely play (still can’t), but the true power of blink is their accessibility and lack of pretense. As a 12 year old, those three power chords were ACCESSIBLE. They were the way in.
It would take a little longer, but the real revelation I needed to push me over the edge was seeing Bruce Springsteen live for the first time. Totally changed everything for me. My entire perception of music and what it could do was instantly upended. It was a surreal and borderline religious experience on a personal level. I know lately even Bruce himself has been trying to dismantle his mythic stature a little bit, or at least trying to temper unrealistic expectations and create some separation between persona and actual, fallible human being. The persona may be fictitious, but the euphoric result of that group sharing their talent and passion with a crowd of equally passionate participants is very, very real. It was after seeing Bruce that I realized I needed to make music a priority in my life.
HO: After reading an article on your music that was released by Earshot Media on Mad Mimi, I saw that your debut single, “It’ll Be Okay” is part of your upcoming album, Lately, I Don’t Have a God… and Other Obvious Epiphanies. What makes this track stand out from the other songs part of the debut album, despite it being the last song?
CC: “It’ll Be Okay” may be the only truly reassuring song we have. It only talks about the sun exploding ONCE. But really, we were at a point where it was kind of bothering me that even when I would try to write lyrics that were reassuring or positive, I would almost inevitably gravitate toward negative feelings, mostly because I’ve found it’s difficult to write something reassuring that feels like it has any genuine sentiment behind it. That likely says more about me than it does anything else, and uncoincidentally, is sort of thematic through-line that most of the album wrestles with. But “It’ll Be Okay” is our earnest attempt at surrendering to sincerity and opening up to catharsis. Sometimes cheesy is cool, clichés are cliché for a reason, and it’s okay to feel good.
From an instrumental perspective, Kyle Resnick lent his celestial horns for the chorus, which are maybe the most identifiable trait of the song overall, and really set the track aside sonically from some of the other songs on the record. We’re all big fans of The National, so working with Kyle was a surreal experience. He’s also the nicest, most down to earth person you’ll meet, and of course generous with his talent. If I was that good at something, you’d need a draw bridge to get to me.
HO: The recording and production of the album was assisted by established people in the music industry, like Robby Takac of the Goo Goo Dolls and Kyle Resnick, who worked with the band, The National, and also featured on Taylor Swift’s album Folklore. Are you planning on working with these people again for future debut projects?
CC: If they’ll have us after reading this! We’re very fortunate and grateful to have had the opportunity to work with all the people who helped make this record. Jay Zubricky mixed and engineered the album at GCR Audio and helped introduce us to Robby Takac. Having grown up in Buffalo, getting a chance to work with Robby was a pinch me moment. The project started in 2019 with Robby and a couple songs and ended with an album in 2022, with Jay there every step of the way (with the pandemic, logistics prevented us from working with Robby on more of the record). Finally, I have to mention Stu McKillop who mastered the record at Rain City Mastering. He really flipped the switch and brought the creature to life.
HO: I also saw that you guys have shared the stage with other rock bands, such as The Joy Formidable and The Lawrence Arms. Would you be able to share when your group is planning on performing next with other musicians?
