Syracuse-born, Nashville-based artist Mick Fury dropped his latest project earlier this summer titled 1981-1996. In a popular music landscape congested with hollow lyrics, cheap sentiments, and reused sounds, the album stands out for its conceptuality and thematic elements. Focused on the trials and tribulations of millennials across the United States, the album touches on topics and ideas usually avoided by mainstream stars.
We’re the most open-minded, hard-working-for-beans, thoughtful generation yet, and we’ve watched the American Dream be snatched away from us like bullies taking a kid’s lunch money
Mick Fury
Takeaways
The album’s Nashville influence is inescapable: from Fury’s country-rock tone, to the up-tempo and twangy guitar patterns, and even to the country references of dirt, whiskey, roads, and rust. Despite 1981-1996’s country leanings, Fury, along with Max McKee (bass, guitar) and Nate Felty (drums, percussion), also incorporates elements of rock, alt-rock, and even post-grunge into the project. While the instrumentation and arrangement on the album is not the centerpiece, the trio do a good job at giving space for Fury’s lyricism to shine.
With ten songs and a 33-minute runtime, 1981-1996 wastes no time getting into the topic of the project. The album opens with a 42-second recording of sensationalized claims about millennials in the style of a cable news broadcast titled “The Perception.” Angry voices yell out phrases like “snowflakes” and argue that “they want to demand respect that they don’t deserve” or that “they have traded achievement for victimhood”. The track helps tune the listener in for what Fury wants to address in the ensuing songs.
Fury begins the music by inspecting his childhood and the innocence of youth with the song “Bright Eyed Dumb Kid.” The tune is reflective in nature and touches on a topic that many listeners can relate to. Its palatable drums and calm country guitar strums make the song an easy listen. Despite the track’s clear focus, its lyrics differ from the harsh and poignant sentiments espoused on “The Perception.”
Highlights
As the album continues, Fury finds his groove with “Can’t Let Go” and “State of the Union.” The former perfectly demonstrates the singer’s smooth and comfortable delivery, helping to lull the listener into a foot-tapping trance. Fury’s lyrics about being lost and stuck without a purpose match perfectly with the songs’ alt-rock rhythm. “State of the Union” on the other hand is a fast paced track filled with attitude and frustration. The song is arguably where Fury is his most critical and thoughtful on the album. The artist highlights many of the flaws in American society with lyrics like, “Go to school for years to get your degree, get out and get a job then hopefully, we’ll get you out of debt and get you out of this town, you’ll be paying that off until you’re in the ground.”
“We go looking for hope, some kind of savior, pills, presidents, conspiracies, creators, trying to find the way through the dark but it keeps getting later”
Mick Fury on “State of the Union”
“Broken Highway” is most likely Fury’s most ambitious song on 1981-1996. The track features a blend of rock, country, psych-rock, and alt-rock to create a sound that channels the atmosphere of early 2000s radio anthems. The song is ripe with layered production and features some of the best instrumentation on the project.
Following up “Broken Highway” is “Burnin’ It Down,” which is a pleasant return to Fury’s country-rock sound. The track showcases the artist’s creativity as Fury plays with the idea of a traditional country song. Positioned as a classic “America-first” hit, the track takes aim at many of the problematic elements associated with the nation. Mick Fury sings, “Everyday there’s another threat, from some enemy I ain’t never met, we got money for missiles and fuck-all for the vets.” The artist goes on to critique the narrow-minded view that many Americans have. He writes “nothing’s wrong and nothing’s right, you ain’t looking past your own life.”
1981-1996 is conceptually profound and highlights the ingenuity and creativity of Mick Fury. While the album doesn’t reinvent the wheel sonically, Fury sounds right at home on just about all the tracks. The singer’s lyricism and writing is ultimately what drives the project. What the album lacks in nuance and specificity, it makes up for in digestibility and familiarity. In all, the album is a breath of fresh air as it looks to address a topic often untouched by others in the same lane.
Bobby Weir & Wolf Bros have recently confirmed that they will be performing select shows in Charlottesville, South Burlington, Columbus, Philadelphia and Baltimore this September. The group, led by Weir alongside Don Was, Jay Lane and Jeff Chimenti, will also be joining Willie Nelson’s Outlaw Music Festival 2023, making stops at venues throughout New York State, including Queens and Saratoga Springs.
The band will once again be joined by The Wolfpack, a string and brass quintet featuring Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling and Sheldon Brown, along with Barry Sless on pedal steel performing the expansive catalogue of Grateful Dead, Bobby’s solo albums and more.
They will be joining Willie Nelson’s Outlaw Music Festival 2023 for seven shows this September, including Forest Hills Stadium in Queens, NY, Saratoga Performing Arts Center in Saratoga Springs and more. They’ll also make their debut performance at the legendary Farm Aid in Noblesville, IN at Ruoff Music Center on September 23.
About Bobby Weir & Wold Bros
Bobby Weir & Wolf Bros have released two notable live albums, Bobby Weir & Wolf Bros: Live in Colorado followed by Bobby Weir & Wolf Bros: Live in Colorado Vol. 2. Both volumes feature songs recorded live at Colorado’s Red Rocks Amphitheatre and Gerald R. Ford Amphitheater in June 2021.
Notably, the second volume received praise from Pitchfork who raved, “he stages some of the most beloved material in the Grateful Dead’s catalog with the passion and reverence of a couple spending their 50th anniversary looking back on their wedding day,” while American Songwriter said, “Weir and the Wolfs manage to stay true to the template while also taking the music beyond any original incarnation by reinventing them in ways that find imagination and intrigue well stirred in a contemporary context.”
Weir also released Ace: 50th Anniversary Deluxe Edition, an album which features one of the band’s most notable performances, a show at Radio City Music Hall in celebration of his debut solo album, Ace. The band played the entire album live and welcomed a number of special guests, including Tyler Childers and Brittney Spencer.
The band debuted orchestral performances alongside the National Symphony Orchestra at the Kennedy Center, as well as three nights with the Atlanta Symphony Orchestra at the Atlanta Symphony Hall. Each night the ensemble performed a completely unique set featuring hits from the expansive Grateful Dead catalogue, Bobby’s solo albums and more. Stanford professor and composer Dr. Giancarlo Aquilanti provided original orchestration.
The Members
Bobby Weir, one of the original members of the iconic Grateful Dead, honored with a GRAMMY Lifetime Achievement Award in 2007, stands out as one of the rock genre’s most exceptional and unique rhythm guitarists. The Grateful Dead is still one of the highest-grossing concert attractions in the U.S. and their final tally of 2,318 total concerts remains a world record.
Weir has been honored with the Americana Music Association’s Lifetime Achievement Award and the Les Paul Spirit Award, as well as a Goodwill Ambassadorship for the United Nations Development Program. His first solo album in more than ten years, Blue Mountain (2016), was critically praised upon release. Weir has been member of Dead & Company since its formation in 2015. Dead & Company has completed 10 tours and has performed to more than 4 million fans across 235 shows since the band’s debut. Weir is also a member of Bobby Weir & Wolf Bros, who were formed in 2018. The band set out performing the expansive catalogue of Grateful Dead, Bobby’s solo albums and more and has toured extensively throughout the U.S.
Don Was is a GRAMMY-winning producer and founder of the ’80s funk-rock band Was (Not Was), known for hits such as “Walk The Dinosaur” and “Spy In The House Of Love.” As an in-demand, highly acclaimed producer, Was has been honored with four GRAMMY Awards for his production work in each of the past three decades, including Best Album honors for work with the Rolling Stones and Bonnie Raitt. Production credits include the Rolling Stones, Willie Nelson, Roy Orbison, Gregg Allman, John Mayer and Neil Young.
Albums produced by Was have achieved dozens of multi-Platinum, Platinum and Gold certifications and have sold more than 90 million copies worldwide. As one of music’s top bass players, Was has collaborated with countless musicians throughout his storied career, spanning a multitude of genres.
Jay Lane is a longtime Weir collaborator and drummer who played with Weir’s RatDog for more than 16 years. He was also one of Primus’ first drummers and has recently performed with Phil Lesh and Friends as well as Dead & Company.
Acclaimed keyboardist Jeff Chimenti has a long history of working with former members of the Grateful Dead having performed with Bob Weir & RatDog, The Dead and Furthur. He has been a member of Dead & Company since the band’s formation in 2015. In 2020, Jeff Chimenti joined the Wolf Bros.
Tour Dates
September 8—Park City Song Summit Festival—Park City, UT September 10—FirstBank Amphitheater—Franklin, TN* September 12—CCNB Amphitheatre at Heritage Park—Simpsonville, SC* September 13—Ting Pavilion—Charlottesville, VA September 15—Saratoga Performing Arts Center—Saratoga Springs, NY* September 16—Xfinity Center—Mansfield, MA* September 17—Forest Hills—Queens, NY* September 19—The Green At Shelburne Museum—South Burlington, VT September 20—Hartford HealthCare Amphitheater—Bridgeport, CT* September 22—Pine Knob Music Theatre—Clarkston, MI* September 23—Farm Aid—Noblesville, IN September 26—Mershon Auditorium—Columbus, OH September 27—The Met Philadelphia—Philadelphia, PA September 28—Pier Six Pavilion—Baltimore, MD
*Willie Nelson’s Outlaw Music Festival 2023
Tickets and More Information
Ticket sales began on July 21, and are currently available for purchase here. VIP packages will be available for the headline dates as well.
On July 21, 2023, NYC by way of Philadelphia artist Micky James released his new EP, Loner of the Year. The album features Micky’s signature sound – a mix of glam and grit, paired with glittery guitars and themes of nostalgia throughout. As indicated by the title, Micky dedicates his five-track EP to the loners.
“I want people to know that it’s important to embrace all of the things that make each and everyone of us unique,” states Micky in a recent interview with PEOPLE. “It can be frightening sometimes to free our most authentic selves, only by carving our own path can we feel truly liberated.”
The album opens with “New York Minute,” an upbeat, nostalgic tune, reminiscent of 2000s pop-rock. The catchy, somewhat gritty melody establishes a summertime feel to the album. The song serves as a celebration of misfits and their individuality, all while reminding listeners that life moves fast, so enjoy the dysfunction that comes with being young.
The album’s title track, “Loner of the Year,” further captures the complicated emotions that come with accepting our authentic selves. Despite the melody’s upbeat feel, the lyrics tell a story of a hopeless sort of loneliness, a narration of difficulties experienced by many. The song’s message, paired with its pop tune, is reminiscent of a coming-of-age movie soundtrack, with an optimistic twist at the end, reminding all of us that life goes on, and such loneliness can pass.
“James Brown,” the third track on the album, has an edgy, raw feel, but still brings out the nostalgic sound of 2010s pop-rock. In contrast to “Loner of the Year,” “James Brown” shows an embrace of uniqueness rather than disdain.
Of all the tracks on Loner of the Year, “Girl Talk” best showcases Micky James’ strong vocals. The flirtatious pop anthem compels attention from the listener through a range of James’ well-rounded, broad, captivating vocals. The song’s catchy melody conveys a sense of confidence through lyrics like “keep my name on your lips now honey,” in comparison to the anxiety in “Loner of the Year,” unveiling an emotional journey throughout the album.
“Losing You” concludes the album with an engaging summer breakup anthem, capturing the complicated emotions associated with it. James conveys the struggle between understanding a relationship must come to an end, all while reminiscing on the good times and memories, making it “never a good time to say goodbye.”
The album maintains its nostalgic ambiance and consistently upbeat 2000s/2010s pop-rock vibe from start to finish. Whether seeking a track to unpack intricate emotions, or a catchy melody just for summer ambiance, Loner of the Year offers a brief yet enjoyable musical experience.
About Micky James
Born and raised in the shadows of Philadelphia and NYC, Micky James developed a passion for music and the theatrical at a young age and aspired to become a performer. His music and personal style embody a sound and aesthetic that is nostalgic for a bygone era in rock-n-roll music, all while conveying a contemporary pop ambition.
His vocals are reminiscent of notable voices like David Bowie and Julian Casablancas, referencing the uniquely dark, enigmatic, and romantic attributes associated with those artists. While James’ flamboyant fashions are reminiscent of the glamour and swagger of past rock icons, his work is both equal parts style and substance.
Inspired by the energy of iconic ’60s and ’70s rock bands, he creates a modern, fresh approach to a timeless genre. “I wanted to take pieces of nostalgia and give it a contemporary twist,” he explains, successfully taking his vision and turning it into reality. In July 2020, Micky James released “Kings,” which garnered critical acclaim, with one critic calling it “a defiant uprising of the generationally damned and distinguished, as well as the most authentic rock n roll you’ve heard in years.”
Buffalo artist Stress Dolls released a new single, “Body,” preceding a performance at Funk ‘N Waffles in Syracuse.
Stress Dolls is the moniker of Chelsea O’Donnell, an alt/pop/rock artist from Buffalo. Originally the name of a band, O’Donnell adopted the Stress Dolls title for herself and decided to move to Nashville after the group split up in 2017.
However, chronic health issues led to O’Donnell’s hospitalization less than a year later. After undergoing a feeding tube procedure, O’Donnell moved back to Buffalo, and after a period of recovery, began writing, performing, and recording again. Largely due to the tentative nature of her health, O’Donnell established Stress Dolls as a solo act in order to decrease stress and go at her own pace.
During this time, O’Donnell wrote “Body.” The song is a reflection of O’Donnell’s complicated relationship with her body in the face of ongoing health concerns, including Crohn’s disease and gastroparesis.
“I’m working on not pitting blame, or shame, on my body anymore, and through that practice I’ve realized that, really, the body is amazing.” O’Donnell said. “Mine withstood all of that anger, angst, stress, and physical anguish, and with some help, it found ways to heal. I’m learning to be a friend to my body instead of an opponent, and that’s making all the difference.”
It was a reunion of sorts on Thursday at the Lakeview Amphitheater in Syracuse, as hard rockers Godsmack and Staind joined forces for an impressive twin bill. The pair of Massachusetts-based bands have toured extensively together since 1998.
The tour was designed in part to celebrate the 25th anniversary of Godsmack. The band, who released Lighting Up the Sky (2023) earlier this year, has announced that this will be their last studio release, however, lead singer Sully Erna has gone on record to state the band will continue touring. Boasting an impressive resume of eight studio albums with over twenty million albums sold, the band has maintained the same four members throughout the twenty-five years of existence. Frontman Sully Erna (vocals, guitar, percussion) is joined by Tony Rombola (guitar), Robbie Merrill (bass guitar), and Shannon Larkin (drums).
The evening’s festivities kicked off with a thirty-minute set by Mix Master Mike. Known for his years as the turntablist with the Beastie Boys, Mix Master Mike was able to fill the amphitheater with early energy and excitement, as he played a mixture of Beastie Boys tracks along with other hit tracks primarily from the 1990s.
After a brief set changeover, the back side of the stage was illuminated to show various screens and projection monitors. As Staind took to the stage the screens would display cinematic-style scenes and images tying in to the songs being played. Staind launched into their new single “Lowest In Me” from their forthcoming release Confessions of the Fallen. Aaron Lewis (vocals, guitar) quickly put his signature vocals on display, showcasing one of the more familiar voices in rock music. His bandmates proved to be no slouches either, as Mike Mushok (guitars) jumped, thrashed, and head-banged throughout the set.
The band would perform for 75 minutes with a set that included several hit tracks from the early 2000s, such as “Outside,” “It’s Been Awhile,” “Fade,” and “Epiphany.” As the set neared a close, the amphitheater filled with the familiar bass guitar rumble of the song “Mudshovel,” the band’s breakthrough track in 1999. This brought the crowd to their feet, singing and screaming along with Lewis, as he strutted about the stage.
After the set a white sheet would drape over the stage, hiding the set up behind. As it came time for Godsmack to take the stage, Mike Master Mike was projected across the screen. Several arena rock anthem tracks were played to further build excitement. Eventually, the sheet would drop to reveal a black sheet with the familiar Godsmack sun logo. A few seconds later, and with a burst of fireworks, the headliners would take to the stage. Godsmack immediately launched into the high-energy title track of their 2018 release When Legends Rise.
The band would keep the energy going as they moved on to 1000hp, playing in front of a slew of flames and other pyrotechnics. During the band’s hit track “Voodoo” the flames would again make a return, as fireballs would rise from the stage, almost as if they were dancing with the song’s cryptic rift. As the set moved on, Larkin’s drum riser would to the front of the stage, and be joined by a second drum set. Erna would then take a seat behind the kit and the pair would then put on an impressive percussion battle on “Batalla de los Tambores.”
After a brief encore break, Erna would return to the stage and take a seat behind a piano. He talked about the importance of community and discussed the band’s charity, the Scars Foundation, a nonprofit organization designed to provide mental health services to local communities. Erna would then perform the beautiful track “Under Your Scars.” The song not only showcased Erna’s talent as a songwriter but also his diverse musical ability and his strength as a person. His bandmates would then return to the stage for the evening’s final two tracks, “Bulletproof” and “I Stand Alone.”
Life House, the heavily anticipated, long-awaited rock opera by The Who is finally seeing grand-scale release after over 50 years in the making. Tower Records, the legendary music chain that shaped the landscape of the pre-digital music industry, and Rockbox Studios are set to release an edition of the graphic novel signed by Pete Townshend and Roger Daltrey, limited to 1,000 units now available for pre-order. Later this year, standard and deluxe versions of the graphic novel will be available.
Additionally, a Who’s Next/Life House Edition box set from UMe will be released on Sept. 15. Additional information is available here. Featuring 155 tracks, 89 of which are previously unreleased and 57 feature fresh remixes, the Super Deluxe edition of Who’s Next/Life House will contain 10 CDs and a 100-page hardback book and Life House – The Graphic Novel.
Background
Townshend originally conceived “Life House” in 1970, a motion picture rock opera following the success of The Who’s multi-platinum selling album, Tommy. The science fiction narrative centers on a dystopian, totalitarian society where music is prohibited, successfully anticipating phenomena such as climate change, the internet, streaming media, and racial equality.
The Who worked for almost a year developing the album at the Young Vic Theatre in London, but ultimately decided to release elements on their 1971 bestselling album, Who’s Next. In 1999, Townshend released a solo compilation of the project entitles The Lifehouse Chronicles. For decades, Life House has been considered a prized item for fans of The Who, one which will be realized later this year.
’Life House’ has always needed a story that makes sense but without the egos of new creatives who think they can ‘fix’ what was wrong with my first draft. The graphic novel is built around that first draft written prior to recording sessions and workshops at the Young Vic in 1971. A second draft with some good ideas from Roger in 1976 added some cohesion and more exciting collateral which really suits the comic format. I’m delighted with the comic. The art is beautiful and dense, colourful of course and engaging. The artists and their team have made an amazing and hugely collectible piece that adds depth and clarity to an otherwise complex story. ‘Life House’ is reborn. Tower Records was an iconic L.A. vinyl store in the ‘70s. I never failed to visit when touring and it’s possible that around 75% of my remaining collection is from the store. It’s great news to hear Tower is back in black!
Pete Townshend
The graphic novel, a 172-page sprawling sci-fi epic, is presented in an album-sized square format. The Tower Records edition, signed by Pete Townshend and Roger Daltrey is extremely limited and will carry a retail price of $1,000 and is available for pre-order now exclusively on Tower Records’ website. Universal’s Who’s Next/Life House box set will be launching later this year and the book’s release from Image Comics will come on Dec. 6, 2023.
“At Tower Records, our main goal is to help artists tell their stories in music and beyond,” said Danny Zeijdel, President of Tower Records. “’Life House’ embodies this, and we are honored to be a platform for the legendary Pete Townshend, Roger Daltrey, and The Who as they share this exciting project with the world.”
Townshend met Rockbox Studios CEO, Jeff Krelitz, several years ago and discussed the potential for the project. They worked with writer and artist James Harvey to develop the story and look at the world as a future seen from a 1970 point of view. British writer David Hine and Australian artist, Max Prentis, were brought in to complete the project, which was edited by former Bleeding Cool Editor-In-Chief, Hannah Means-Shannon. Additionally, letters were provided by Micah Myers with inks by the Eisner Award-winning artist, Mick Gray.
“’Who’s Next’ has always been one of my favorite albums and the opportunity to help Pete advance his vision for ‘Life House’ with this graphic novel is a dream come true,” said Krelitz. “Having been a part of the team rebuilding Tower Records’ legacy for the last few years, I couldn’t imagine a better home for this exciting epic that music fans have been waiting half a century on.”
About Tower Records
Founded in 1960 by Russ Solomon, Tower Records developed from a business he founded as a teenager to resell 78 rpm jukebox records in his father’s Sacramento drug store, into a record retail behemoth that operated dozens of stores across the United States. Tower Records defined the retail music business in the pre-digital era and at its peak had nearly 200 stores across 15 countries, and more than $1 billion in annual sales.
Known for its enormous volume and its audiophile behind-the-counter staff, Tower Records became the mecca for in-store performances and recording artist events, placing it at No. 1 among U.S. music merchants. Today, Tower Records is transcending its historic past by creating online experiences and exciting partnerships with artists, labels, and brands for all music fans to “Know Music, Know Life.”
Since the relaunch of Tower Records in 2020, the iconic music brand has been offering music and art fans exclusive merchandise drops including limited edition vinyl releases and branded products. Tower Records quickly rose to be a top online retailer for physical music in North America and the brand recently launched an additional online store in Europe. For news and to sign up for upcoming events and vinyl drops at Tower Labs visit here.
Known for his work as lead vocalist for the alternative rock band the Gin Blossoms and guest lead singer for The Smithereens, Robin Wilson will now be an inductee into the Long Island Music Hall of Fame on Aug. 25. As a part of LIMEHOF’s August-September induction schedule, Wilson joins the Fat Boys as the newest members of the prestigious organization.
Gin Blossoms at the Huntington Beach Food Art & Music Festival 2014
Wilson has had a lengthy career in the music industry, first joining the Gin Blossoms in 1988 as a guitarist, eventually changing places with Jesse Venezuela, the original vocalist at the time. Releasing two major label albums with the band, New Miserable Experience and Congratulations, I’m Sorry, the success flooded in with RIAA Platinum certifications, sold-out tours, and overall support for Wilson and the rest of the group.
In 1997, the Gin Blossoms would break up until 2002, but his career in between stayed moving, becoming the lead singer and songwriter for Gas Giants during the time away.
Currently residing in Long Island, Robin’s induction ceremony into the LIMEHOF begins Friday, August 25th at 7 pm and will include a performance with special guests on the Exhibit Hall stage.
Tickets can be found online at www.limusichalloffame.org, by calling 631-689-5888, or take a visit to the Hall of Fame. Prices are $40 for the general public and $35 for LIMEHOF members.
LIMEHOF’s full August and September schedule, including the Fat Boys induction information, is complete and can be found below.
August-September LIMEHOF Schedule
8/6 1-2 pm Induction: The Fat Boys
8/6 3-4 pm – HooDoo Loungers
8/13 3-4 pm – Who Are Those Guys
8/20 2-3 pm – Pamela Betti Band
8/25 7-10 pm Induction Ceremony: Robin Wilson (from Gin Blossoms and Smithereens)
It was the best of times. The early 1990s was a great time to come of age. The Reagan era creaked to an un-auspicious end with the Iran Contra scandal leaving a permanent tinge of scandal to the end of the 1980s. Reagan’s Treasury Department left a gigantic economic mess for George H. Bush due to his de-regulation of the Savings and Loan Institutions which caused major speculation by these S&L which eventually led to numerous banks failing due to bad and often corrupt investments. This S&L scandal was a major contributor to the recession of 1990 that Bush Sr. had fall right into his lap. His “READ MY LIPS” speech and then his subsequent tax hike doomed him politically and would eventually devastate his chances at a second term. Lollapalooza
Lollapalooza 1992 ticket stub
Flash to the summer of 1992, the election of Bill Clinton as the 42nd President of the United States was still not a foregone conclusion. Generation X was mad as hell and motivated to make changes in the political and social landscape of the country that had been repressive for the previous decade. The old guard needed to be retired and exchanged for something new and exciting and generation X was ready for it.
Luckily for all of us we had Perry Farrell to be the ringmaster of that circus. After his first successful run at bringing the Lollapalooza music festival to the country the previous year, the Jane’s Addiction front man doubled down and created what would wind up being a lineup for the ages for the second tour in 1992. I was a 24-year old college graduate that was working two jobs as a waiter in order to make ends meet at that time. My friends and I had enough scratch to afford cheap lawn seat for the fifth stop of the Lollapalooza festival that was hosted at the Saratoga Performance Arts Center on August 4th 1992. It would be an experience that would impact my life forever.
Lollapalooza 1992 program
The festival included the main stage for the big headliners and a side stage dubbed “Stage 2000” which home to the now famous Jim Rose sideshow circus. The Alt carnival extravaganza featured artists like The Amazing Mr. Lifto, whose claim to fame was lifting 2 big clothes irons from his penis and another performer named Enigma whose carnival act included eating live worms and maggots. Some things in life folks you can never un-see.
Jim Rose Circus at Lollapalooza 1992
The second stage also hosted Perry Farrell’s post Jane’s Addiction breakup band Porno for Pyros during the festival’s tour. This was a genius move on Farrell’s part because it enticed so Jane’s Addiction fans away from the thrall of the main stage and gave a chance for them to experience some of the lesser known artists on the second stage. Porno featured also many of the Jim Rose Carnival Crew during their performance which was perfect visually for the music that the band was providing. Stage 2000 also featured numerous up and coming bands like Shark Bait and Sweaty Nipples which have faded into obscurity over time and others like Cypress Hill, and House of Pain that would go on to have very long and successful musical careers.
The Lollapalooza Festival was also revolutionary at the time because it featured something unique, the Concourse of Curious Oddities that was comprised of lots of crafts for sale, artist installations, exotic multicultural food stalls, and lastly the Cyberbar that would let patrons experience the benefits of an Oxygen bar which most of us at the time never heard of or even knew existed. These were things I had never seen before at any show I had ever attended up to that point.
Lollapalooza 1992 signage
Lollapalooza was innovative as a music festival because it provided space for over a dozen political action booths that featured non-profit causes like PETA, Green Peace, ACLU, Rock the Vote, Handgun Control Inc., and the Women’s Voter’s League just to name a few. This was a big departure from the norm of any other music festival and was a master stroke of genius by organizer Perry Farrell. It was truly an ingenious way to activate members of Generation X. It effectively exposed concert goers who were mostly comprised of teens and 20 somethings to a variety of political causes that they would have never otherwise been exposed to, effectively making it cool to be an activist which at the time was desperately needed. Farrell also helped a lot of young folks get registered to vote just prior to a very important Presidential election that would go on to shape the remaining years of the decade and usher in the dawn of 21st century.
The heavy music action of course took place on the Main Stage, with English band Lush starting off the festival at 2:00PM. We were all getting ready for the big names on the bill that were slated to perform later on that night. My friends and I were at the point in the day where we were getting into the right “head space” for the festivities. Multitudes of concert goers milled about the grounds locating friends and joyfully explored the trappings that the carnival that had come to Saratoga had to offer.
Of course right at the point when it was time to start getting comfortable on the lawn to take the show in, the sky opened with rain, just like it always seems to in Upstate NY when there is a great show. By the time Lush finished their set and Pearl Jam came on SPAC’s main stage, the amphitheater’s lawn had been converted into a mud pit complete with crazy mud people that would, ironically for me, foreshadow my experience years later at the Woodstock 1994 festival in Saugerties NY.
The mud at Lollapalooza 1992 at SPAC
These maniacal misanthropes went sliding headfirst down the hill of the lawn crashing into whoever was not paying attention or just too fucked up to care. When Eddie Vedder and the rest of the band came on and they commenced belting out a blistering rendition of “Once” that was a deep cut off of their first album Ten it seemed like the 25,000 plus festival attendees went into a full on frenzy. Without a moment’s notice the crowd on the lawn made a mad rush through the rope barrier that separated them from the stage like a wave of humanity driving towards the stage. The muddy mosh pit that had developed on the lawn grew massively and those poor souls uninitiated to the art started fleeing from the flailing arms and body parts that were spastically thrown about. It was truly a sight I will truly never forget. At that moment and at that place there were no rules, no barriers that we could not push through. We reveled in the freedom and the audacity that the music we all loved brought us to in that time and place.
The rain had finally quit and Pearl Jam went on to finish an epic set of eight songs, leaving the crowd ready for a time out. By that time I too was ready for a break and milled about the festival grabbing some much needed food and alcohol before my next must-see band, Chris Cornell and Soundgarden, was to go on stage. I don’t really recall, but I may have checked out the last couple of tunes that Jesus and Mary Chain played, but to be honest after the energy that Pearl Jam threw to the crowd, I was unimpressed with the performance that they were giving.
Eddie Vedder at Lollapalooza 1992
It was then time for one of the bands that started the Seattle scene in 1990s Soundgarden. Of course those of us in the know at the time were secretly hoping that Eddie Vedder and the boys from Pearl Jam were going to join Chris Cornell on stage during their set. We were hoping that they would bust out a number off of the Temple of the Dog album that Cornell and PJ collaborated on. That effort was put together in order to commemorate the loss of good friend and former band mate Andrew Wood who was the lead singer of Seattle’s famed Mother Love Bone. Alas it was not meant to be, but Chris and the band put on a powerhouse of a set that night with renditions of classics like‘”Jesus Christ Pose,” “Outshined“, and“Rusty Cage.” Soundgarden even slipped in a kick ass rendition of “Cop Killer,” a controversial hit made infamous by previous Lollapalooza alum rapper turned Body Count’s hard-core front man Ice-T.
Soundgarden, backstage at Lollapalooza 1992
I took another stroll around the grounds, I was out of beer at that point and made it back to the lawn for Ministry’s set. I was sort of familiar with the band as they were gaining a lot of popularity at the time and their track “The Missing” was frequently played at QE2, the only punk club in Albany which I regularly hung out at on Friday nights. The Industrial mayhem that Ministry provided whipped up the crowd and the SPAC seats were being unceremoniously ripped loose and thrown about the front of the stage. It was getting real at that point and my concern for those up front started to outweigh what was going on the stage. The mayhem was like nothing I had ever experienced at any show, with the possible exception of the Faith No More concert I attended the year before at the now defunct Saratoga Winners. That one was truly beyond nuts!
By the time the Red Hot Chili Peppers took the stage, things at the festival had calmed down drastically. There was still plenty of crowd surfing and stage diving. The Pit was still very active, but the sense of unhinged craziness seemed to have really subsided and I was able to relax again. I believe the energy that was expended for Ministry’s performance as well as the other previous acts seemed to level out the crowd. RHCP took the stage and delivered a more tempered set with hard driving numbers like “Give it Away” and “Suck My Kiss” that transitioned into to more restrained songs like “Under the Bridge” and “Breaking the Girl.” RHCP bassist Flea was of course on stage in his “Whitey Tighties” for most of the set, beating on his bass like the beautiful maniac that he is. Front man Anthony Kiedis consistently connected with the crowd and performed the best set I ever saw the band crank out to this very date. Lots of energy and funkiness were provided that night with one of my RHCP all time favorites included their cover of Stevie Wonder’s classic “Higher Ground.”
The whole band at the end of the show donned these crazy hard hats that had fire coming out of the top of them while performing the Jimi Hendrix classic “Crosstown Traffic” which was the final number for the festival.
Ahead of us Gen Xers was a brand-new decade and the last one before the illustrious end of the 20th century. The future was thrusted upon us. Although we as generation were less filled with naïve idealism that our baby boomer parents had, we were a hopeful lot. Yes we were cynical to a fault and ready to call bullshit to anything or anyone that got in our way, but we still wanted what every generation us wanted, a part of the American dream we just weren’t certain what that was. One thing was for certain, we weren’t going to get fooled again by anyone. We were finally on top and were steering the ship and man we were ready to celebrate.
On the 33rd anniversary of this legendary musical moment in upstate NY, things are tougher than we Gen Xers ever expected them to be back at that time. Current challenges such as the COVID Pandemic, Climate Change, Political Unrest, and even the Internet have been inflicted on all of us.
That day back in 1992 in Saratoga there were over 40 arrests made at the show. Property damage was done. The passive rope line at SPAC that separated, what we perceived as, the haves and the have nots was changed to a permanent fence line not so easily disregarded by an energized crowd. SPAC has, since that fateful day in August 4th 1992, permanently banned the Lollapalooza festival from ever gracing their stage again. Here is what the Albany Times Union had to say looking back at the festival.
“SPAC legend and lore through the years:
One of the worst juxtapositions between consecutive-night crowds at the Saratoga Performing Arts Center came in 1992, when the Lollalapooza tour, headlined by Pearl Jam and the Red Hot Chili Peppers, performed a 10-hour show on a Tuesday before a horde of at least 25,000, followed the next night by a crowd 90 percent smaller for the Philadelphia Orchestra. Although comparatively few in number, some fans of the Philadelphians were still displaced, because Lollapalooza’s hordes had broken more than 70 seats inside the amphitheater. According to a Times Union account from the show, “Teenagers and young adults ran into the amphitheater by the hundreds, overwhelming the security staff, snapping ropes and pulling up the posts holding the ropes.” Authorities reported more than 40 arrests, and the tour was not welcome at SPAC the following summer; it stopped at the then-Saratoga Raceway in 1993.”
The memories of that day though, albeit a little foggier than they once were, but are still mostly intact. The sense of freedom of that day. Being able on that day to embrace music, art, and get a healthy dose of political activism as a group will never truly be lost on any of us that were lucky enough to be witness to it. It was most definitely not one I wanted to miss and I am so glad I didn’t.
Check out below we have some social media posts of other gen xers who shared some of their remembrances of Lollapalooza Festival 1992 at SPAC :
Kimberly:“My husband was one of the people who stormed down to the front. But then he started pulling people up out of the crowd and “saving” them from being swallowed up by the crowd or trampled. I stayed in the back 1/3 of the amphitheater. Too scary for a short person up front.”
Tim:“Random memory: waiting in line for food and the Enigma from Jim Rose walked up to my buddy, who got through the line ahead of me and was already eating a falafel pita, and he asked if it was any good. “Dude, you were just on stage eating live worms and maggots and you’re asking if THIS is any good?” “Well, you gotta watch what you eat!””
Peter:“I was there. Right before I went into the Navy. It was fucking awesome.”
Michael: “We had snuck inside using somebody else’s amphitheater tickets…. about 10 min before the gates fell! It was packed and totally insane! Top 5 show all- time easily.”
Peter: “All I know is I ate a 10 strip and woke up (after what seemed like 4 years) with cornrows. That’s a show.”
Roger:“We brought a football. We were throwing it around to people in the crowd who made eye contact with us. It ended up on stage and Ice Cube was holding it up during his set. Then he tossed it back out. Never did get that ball back.”
Toby:“I worked that concert it was a shit show cleaning up after it.The place was destroyed”
Bobby: “I thought I was going to be crushed to death during the Ministry set. Still woulda been worth it.”
Peter:“I dodged a few broken chairs during Ministry’s set.”
Michael: “I was there. Helping with Rock The Vote. It was a huge mess!”
Joseph:“I had lawn seats…. but, a group of us decided to make a break for it early. We ran across the tops of the seats till we reached the mosh pit in front. Fantastic concert. I still have my unworn t-shirt.”
Timothy: “Chris Cornell dove from the stage and landed on me and my friend Scott. I literally had a mouthful of his hair.”
Sarah:“I remember this event, too. My friend and I had seats in the Pit, and I nearly was killed when the crowd stormed the amphitheater. Gratefully, my friend was a lot bigger and taller than me and was able to lift me off the floor when I got knocked down. Saved my life. . .”
Evelyn :‘I got a Pit seat, 2nd row! BUT on the day there was so much chaos I never made it anywhere near that or even inside until RHCP. Incredible rain! Incredible mud!Good acid didn’t hurt.”
The Catamount Resort Summer Series is wrapping up a jam-packed season of programming with three shows in August. Taking place over multiple weeks, the series started back on July 7 and will run until August 18. Each concert takes place on Friday from 4:30pm to 8:00pm at Catamount Mountain Resort in Hillsdale.
Boasting a lineup of local and regional bands, the Catamount Resort Summer Series looks to bring quality music to the beautiful Taconic Mountains. Past performers from this year include Sister Funk, Hedtrip, and Eric Harpe and the Delta Swingers.
Along with music, the series will also have a variety of tasty food and drink options. Organizers encourage guests to bring their own lawn chair however there are picnic tables available at the venue. Multiple of the resort’s outdoors activities will also operate with extended hours during the series, including a Zip Tour, Aerial Adventure Park, and Scenic Chairlift Rides.
The Catamount Resort Summer Series is free and open to the public. Here for more details and information about the event.
August Schedule
Aug. 4- The Silver Chain Band
Based out of Albany, The Silver Chain Band has performed across the country. From playing gigs at local New York hotspots to rocking venues down in Memphis, the group delivers impassioned performances wherever they are. Silver Chain builds on a solid foundation of Blues Folk, with elements of electric blues, and a sprinkle of rock. Their music is influenced by ZZ Top, Sonny Boy Williamson, JR Wells, Paul Butterfield, Stevie Ray Vaughan, Freddy King, Albert King, and Bill Perry, just to name a few.
Aug. 11- Victrola
Led by vocalist Victoria Palagy, Victrola is known for their creative covers of pop, rock, and blues tracks. Victoria is joined onstage with Ray Palagy, Patti Richardson, John Keane and Leo Brennan Jr.
Aug. 18- The Saints
The Saints are an experienced band that has been together for 25 years. The group loves to get the crowd moving with feel-good dance music. Perfect for the summer months, enjoy the Saints as they close out The Catamount Resort Summer Series.
On a warm Tuesday, August 1st evening, the Outerharbor in Buffalo, became the epicenter of a breathtaking display of rock mastery as Alter Bridge, Sevendust, and Mammoth WVH kicked off their highly anticipated Pawns and Kings tour. With an intimate atmosphere and a diverse set of hits and new songs, this show proved to be a memorable and personal experience for every rock enthusiast in attendance.
Mammoth WVH, the brainchild of the multi-talented Wolfgang Van Halen (Son of Eddie Van Halen), stormed the stage first, proving that talent indeed runs in the family. Despite being relatively new to the music scene, Mammoth WVH delivered a blistering performance that left a lasting impact. The crowd sang along to the infectious hooks of hits like “Mr. Ed,” “You’re to Blame,” and “Don’t Back Down.” Wolfgang’s mastery of the guitar was awe-inspiring, and his powerful vocals resonated throughout the venue.
But it was when Mammoth WVH performed “Distance,” a poignant tribute to his late father, that the atmosphere became particularly emotional. The song’s heartfelt lyrics, combined with Wolfgang’s raw emotion, struck a chord with the audience, leaving many in tears.
Sevendust took the stage next, despite being a four-piece due to guitarist John Connolly’s unfortunate illness. This setback didn’t diminish the band’s energy, as they burst onto the stage with an electrifying presence. Lajon, Sevendust’s iconic lead singer, won the hearts of the audience with his endearing interaction with the crowd. When a cheeky fan yelled, “Go Bills,” Lajon, a staunch Kansas City Chiefs supporter, playfully replied, which was met with good-natured boos before they all united in headbanging and cheers as the band started playing.
Morgan Rose
Sevendust’s setlist was a well-balanced mix of classic hits and new songs from their latest album. The crowd erupted when they played their hits, “Face to Face,” “Denial,” and “Thank You.” The new tracks also received an enthusiastic response, showcasing Sevendust’s ability to maintain their signature sound while continuing to evolve as artists.
Finally, the moment the crowd had been eagerly waiting for arrived as Alter Bridge took center stage. As always, their musicianship and tight-knit chemistry were evident from the first note. Frontman Myles Kennedy’s soulful voice soared, captivating everyone in the venue. Alter Bridge’s setlist was a perfect blend of their most beloved hits, including “Silver Tongue,” “Come to Life,” and the anthemic “Rise Today.” Each song brought a surge of energy, with the audience singing and headbanging along in unison.
What truly made this concert special was the connection between the bands and their fans. The intimate setting of the Outerharbor allowed for a more personal experience, fostering a sense of camaraderie between the artists and their audience. The bands interacted with the crowd, creating an atmosphere of genuine appreciation and love for the music.
The Pawns and Kings tour’s opening night in Buffalo was an unforgettable evening of powerful performances, unforgettable moments, and a celebration of rock music’s enduring spirit. Sevendust, despite the setback, showed resilience and enthusiasm. Mammoth WVH demonstrated immense promise and talent, and Alter Bridge once again proved why they are revered as one of rock’s finest acts.
As the night drew to a close, it was evident that this tour would leave a lasting impression on fans and musicians alike. The Pawns and Kings tour is a testament to the timeless allure of rock music, and with this spectacular start, it is sure to captivate audiences across the nation. If this performance was any indication, the journey is set to be a magnificent one, and those who are fortunate enough to attend will undoubtedly be in for an unforgettable experience.
