Category: Rock

  • Five Can’t-Miss Shows in Syracuse In November

    With the holiday season rapidly approaching, many take a moment to reflect and give thanks for their family and friends. Many will also give thanks to the music community that graces their town. Here are five shows you won’t want to miss in Syracuse this November to help ring in the holiday season.

    syracuse city skyline
    Photo by Tony Shi

    November 11: Diva Nova at Maplewood Inn

    A star-studded line up of female Central New York musicians share the stage at the Maplewood Inn on Saturday, November 11.  Headlined by area favorite Jess Novak, the night will include performances by Sheela Tucker, CNY Songbirds, Liz Fiddle, Sydney Irving, Heather Kubacki, Diana Jacobs, Lisa Romano and many more.   See the full line up of musical talent here.

    Tickets start at $23 with music starting at 7pm. 

    November 12:  Deer Tick at Homer Center for the Arts

    Indie-rockers Deer Tick make their much anticipated return to Homer’s Center for the Arts on Sunday, November 12.    Known for their high energy live performances, the folk quartet last played the theater in July 2022.  Currently touring in support of their latest release, Emotional Contracts (2023), the band is sure to mix in many favorites from their extensive catalog.  Abby Hamilton opens the show.

    Doors open at 7pm with music starting at 8pm for this sold out performance.

    November 15:  The Rock Orchestra by Candlelight at the Crouse Hinds Theater

    A unique listening experience will greet concert-goers on Wednesday November 15, as the Rock Orchestra by Candlelight will take stage in Syracuse.  Featuring a 14 piece band of classically trained musicians dressed in skeletal costumes, the musicians will perform an assortment of rock and heavy-metal tracks while lanterns and puppets adorn the stage.  This musical spectacle is surely one you won’t want to miss.

    Doors open at 7pm with music starting at 8pm.  Limited tickets remain available for $88.

    November 22:  All Poets & Heroes at Funk ’n Waffles.

    It’ll be a homecoming celebration Thanksgiving Eve, as Syracuse indie rock favorite All Poets & Heroes return to the stage in Syracuse.  The band relocated to Nashville in early 2023, leading to limited performances in Syracuse. The band, who have drawn sonic comparisons to Radiohead, were winners of the 2023 Syracuse Area Music Award for Best New Single, for their track “Give It To Me Straight”.   Syracuse’s The Dirty Doves Band open the show.

    Doors open at 7pm with music starting at 8pm. Tickets start at $13.

    November 28:  Lawrence at The Westcott Theater

    New York City soul-pop band Lawrence bring their sounds to the Westcott Theater on November 28.  Described as “High-energy, keyboard driven sound, featuring tight, energetic horns, and explosive lead vocals,” the band have been turning heads since a performance on The Late Show with Stephen Colbert in 2022.   Telula opens the performance.

    Doors open at 7pm with music starting at 8pm. Tickets are $30.

  • Razor Braids’ “She” Celebrates Sapphic Love and Spontaneity, Pop-Rock Style

    Brooklyn pop-rock sensation Razor Braids has released their latest single, “She,” a femme-focused, upbeat pop track that captures the excitement and spontaneity of Sapphic love. Accompanied by a carefree music video portraying a lively party scene, Razor Braids invites us into the vibrant world of queer hookup culture.

    “She” isn’t just a song; it’s an anthem for being unapologetically yourself and seizing the opportunity for love. With vocal timbres reminiscent of Carly Rae Jepsen and The Cranberries, “She” offers a fresh take on pop. However, production-wise, the track introduces a rougher edge, echoing the spirit of punk-rock legends such as The Clash and Bikini Kill.

    Razor Braids She

    In discussing the themes of “She,” Razor Braids shared, “Letting yourself be present during moments of change or uncertainty is a common thread across our upcoming releases. ‘She’ is such a fun encapsulation of that theme: embracing the unknown and jumping into something that feels good and joyful, and allowing yourself to accept that joy even when fear is also present in that moment.”

    Regarding their distinctive sound, Razor Braids explained, “We all grew up in different places and with different musical influences. We’ve learned how to embrace and utilize that within our songwriting. We all bring so many different inspirations to the table: country, folk rock, garage, indie rock, and punk. By tapping into the elements of these genres that we each connect with most, we’ve shaped our music. Connection—connecting with each other and with our audience—is an integral part of our live performance.

    “We want everyone to feel like they’re part of something bigger than themselves when they see us live. That really shines through in the music and lyrics and also with how wild and fun we get on stage.”

    Razor Braids

    Razor Braids Fall 2023 US Tour

    10/18 Grand Rapids, MI @ Pyramid Scheme

    10/20 Lincoln, NE @ 1867 Bar

    10/21 Denver, CO @ The Black Buzzard

    11/8 Philadelphia, PA @ Kung Fu Necktie

    11/9 Pittsburgh, PA @ Bottlerocket Social Club

    11/10 Chicago, IL @ SubT Downstairs

    11/11 Toledo, OH @ The Ottawa Tavern

    11/13 Buffalo, NY @ Buffalo Iron Works

    11/14 Medford, MA @ The Rockwell

    11/16 Troy, NY @ No Fun

    11/17 Brooklyn, NY @ Baby’s All Right

  • Tool in Rochester: Sonic Mastery and Visual Spectacle

    In a mind-blowing spectacle that filled the hallowed Blue Cross Arena in Rochester with an eager crowd of 10,400 fans, the mighty progressive rock maestros Tool proved once again that they can pack any venue in the heart of Western New York. Their popularity in this region is nothing short of legendary, with sold-out shows being the norm.

    The Tool faithful are a zealous bunch who ardently believe in the gospel of Maynard James Keenan, Adam Jones, Danny Carey, and Justin Chancellor. They’ll gladly regale you with countless reasons why Tool reigns supreme and why your existence remains incomplete until you’ve bathed in the band’s unparalleled glory. Opening the night was Steel Beans from Everett, WA.

    While Tool devotees can be a tad vexing at times, it’s hard to fault their passion. They speak the truth when they beseech others to witness this sonic juggernaut live in all its grandeur. The band’s musical prowess alone warrants pages upon pages of discussion, but if you’re a neophyte to the world of Tool, or simply curious about the enigmatic quartet, here’s a taste of what transpired at their mesmerizing Monday November 6 performance.

    The atmosphere within the arena was nothing short of transcendental, much like a religious congregation, albeit one with a penchant for intricate time signatures and cryptic lyrics. Despite Tool’s audience not being a sea of saccharine girls in pink dresses and glitter, the sense of unity was palpable. “Lotta dudes here” a friend texted during intermission, and indeed, the crowd comprised primarily of prog-rock Gen Xers, all donning knowing smiles and exchanging high-fives. However, in stark contrast to other male-dominated events, there was a conspicuous absence of lewd remarks or reckless antics. Beer flowed without incident, and by the end of the evening, the floor was mercifully unmarred by spilled brews.

    The absence of cell phones was instrumental in preserving this immersive experience. In a world where every fleeting moment demands digital documentation, Tool remains steadfast in its commitment to a strict no-cell phone policy. After all, who needs grainy concert footage on their phone that will likely languish unwatched in the depths of their gallery? Tool’s discerning guardians diligently enforced the rule, ejecting over three dozen misguided souls during the show. A few lucky souls escaped with warnings after proving their contrition by deleting their videos or images. But for the stubborn second-time offenders, there were no second chances. After the notes of “Invincible” reverberated, Maynard James Keenan, in a rare act of benevolence, granted the audience permission to whip out their phones to capture the ephemeral moment.

    Tool may shun technology like cell phones, but they fully embrace cutting-edge light effects. The band’s unwavering commitment to privacy and mystique extends to the live experience as well; they avoid interviews and public appearances to ensure that all eyes remain on the music. Mark “Junior” Jacobson, Tool’s lighting virtuoso, orchestrates a symphony of lights, lasers, and screen images that synchronize seamlessly with every note change. This visual spectacle draws the audience even deeper into Tool’s sonic realm, amplifying the emotional resonance of the music and its profound messages.

    The imagery displayed on the screens is nothing short of mind-bending. Volcanoes spew molten lava before transforming into the all-seeing Eye of Sauron, which seamlessly transitions into new, surreal landscapes. Fractal heads pour forth from other heads, while an eyeball twitches its iris over the captivated audience. Tongues spill forth from gaping mouths in an intoxicating loop, and alien-like forms twist and turn in eerie dance. It’s as though the most spine-tingling horror movie has met the soundtrack of your wildest dreams.

    Crafting a subpar setlist is an impossibility for Tool, given their extensive catalog of exceptional, heavy songs accompanied by ethereal vocals. The journey began with the iconic “Fear Inoculum,” setting the stage for a mesmerizing odyssey. Favorites like “Jambi,” “Stinkfist,” and “The Pot” enraptured the crowd, intermingling with tracks from newer albums, such as “Culling Voices” and “Pneuma.” But the pièce de résistance came early on when Maynard declared that the band would resurrect a long-dormant song. The ensuing performance of “Rosetta Stoned” was a jaw-dropping revelation – a song not performed with live vocals since 2009, and it sent shockwaves through the enraptured crowd.

    In the end, Tool’s concert is more than just a musical performance; it’s a transformative experience. With their strict rules, awe-inspiring visuals, and an undeniably majestic setlist, Tool is not just a band; they’re an otherworldly force of nature that sweeps you into a realm of unparalleled sonic and visual artistry. Tool fans may be a vocal bunch, but when it comes to experiencing their live show, words alone can’t do justice to the transcendental journey they offer.

    Tool – Blue Cross Arena, Rochester, NY – Monday, November 6, 2023

    Setlist: Third Eye Intro, Fear Inoculum, Jambi, The Pot, Rosetta Stoned, Pneuma, Descending, The Grudge, Intermission, Chocolate Chip Trip, Culling Voices, Invincible, (Ions excerpt)
    Encore: Stinkfist

    Upcoming tour dates:

    November 10 – Uncasville, CT – Mohegan Sun Arena
    November 13 – Manchester, NH – SNHU Arena
    November 15 – Boston, MA – TD Garden
    November 16 – Philadelphia, PA – Wells Fargo Center
    November 19 – Montreal, QC – Bell Center
    November 20 – Toronto, ON – Scotiabank Arena
    November 21 – Toronto, ON – Scotiabank Arena

  • The Sharks frontman Mike Kelley to play with The Hammerhead Horns at The Rustic Barn this November

    After a long absence from the front of the stage, Mike Kelley brings a few of his Sharks bandmates together as The Hammerhead Horns, plus friend and pianist Leslie Barkman, for a rare performance at The Rustic Barn in Troy on Friday, November 17.

    Mike Kelley and the Hammerhead Horns
    Mike Kelley and some of this Sharks bandmates

    Mike Kelley started out as a bandleader and songwriter leading The Sharks, a seven-piece combo whose popularity and fan base rivaled those of any Albany band in the 1980s. Kelley has spent the last two and a half decades as a sideman extraordinaire, as a studio keyboardist and on stage with The Lustre Kings, The Tichy Boys, Johnny Rabb, Nite Train, Lost Radio Rounders, Marc Tolstrup & Jill Burnam, The Lazy Suns, Off the Record, The Jagaloons and a reported ‘at least’ 20 other bands.

    Kelley has worked with Rockabilly Hall of Famer Wanda Jackson, Joan Jett and Kenny Laguna, and was chosen to play piano on several of the tracks on Jackson’s 32 album, Encore.

    Deemed one of the nicest guys in the local scene and a hell of a pianist, Mike Kelley continues to play more than 200 shows a year, all without any social media, website or YouTube channel.

    Expect an evening of originals penned by Kelley, Barkman and trumpet player Bob Button, familiar covers and undiscovered gems, and don’t miss this rare show from Mike Kelley and The Hammerhead Horns on Friday, November 17 in Troy at The Rustic Barn.

  • Indie Rock Band Divining Rod release new single “King of The Night”

    Indie country-rocker band Divining Rod released the first single “King of The Night” on Friday, October 20, from their upcoming EP entitled The House Will Always Win, due for release in January 2024.

    Originally, Divining Rod was the solo project of Hawaiian native Miyuki Furtado of the former TooPure recording artists, The Rogers Sisters. The band includes lead Miyuki Furtado, guitarist/vocalist Patrick Harmon, bassist Matt Svigals, and drummer John Malone.

    “King of The Night” combines a vocal performance that’s full of confidence and force with dynamic chords and soulful production to create a blues rock gem. The song explores themes of nightlife and the excitement of hitting the town on the weekend, with the monotony of misbehaving with the same folks, listening to the same tunes and ordering the same rounds of drinks. The song uses prominent and smooth country driven vocals, fused with the rhythm of rock and blues. The backbeat sets the tone and emphasizes the vocal-centric structure to make up the story of two gamblers who are headed for romance and heartbreak.

    The new single will accompany four other songs to be released on their upcoming EP The House Will Always Win due for release in January. The EP was crafted during the same sessions as their previous EP, Santa Monica And Other Golden Classics. Divining Rod headed into the studio after a month-long residency on New York’s famed Circle Line. The House Will Always Win speaks of the affordability and accessibility of the city. Despite being a fun town, Miyuki sees a sense of sadness and desperation in the city

  • Hearing Aide: Shooter Jennings and the Werewolves of Los Angeles Channel Zevon to Perfection

    The music of the late, great Warren Zevon is celebrated on the new live album Shooter Jennings and the Werewolves of Los Angeles Do Zevon, released on Friday, November 3.

    Werewolves of Los Angeles shooter jennings warren zevon

    Recorded at Monterey, CA’s Revels and Renegades Music Festival, Jennings leads the Werewolves of Los Angeles and channels Zevon’s music with precision and enthusiasm behind each song.

    The outlaw country legend, and son of original outlaw Waylon Jennings, Shooter brings together multi-instrumentalist Brian Whelan (Dwight Yoakam, Jim Lauderdale) and his longtime collaborators Jamie Douglass (drums), Ted Russell Kamp (bass) and John Schreffler (guitar) for an ideal mix of Warren Zevon for lifelong fans, casual fans and new fans.

    The band performed earlier this year during GRAMMY week at the Roxy Theatre in West Hollywood, and just this week, on November 1, performed the set to a sold-out Brooklyn Made.

    Featuring popular songs (“Excitable Boy,” “Werewolves of London”), deep cuts (“Mohammad’s Radio,” “Mama Couldn’t be Persuaded”) and final album tracks (The Wind’s “Dirty Life and Times,” “Keep Me in Your Heart”), there is something for everyone in a well laid out flow, capped off with Zevon’s autobiographical “Desperados Under the Eaves.”

    This last year we had a blast doing two separate shows paying tribute to one of my favorite artists of all time, Los Angeles legend Warren Zevon. When Zevon was picked to be potentially inducted into the Rock & Roll Hall of Fame this year we, along with millions of Zevon fans, were hoping that he would finally get his due in the halls of Rock & Roll History.

    Unfortunately, Zevon didn’t make it in this year and won’t be honored tomorrow night in New York City at the Rock & Roll Hall of Fame ceremony. Upon hearing this news, the Werewolves of Los Angeles gathered in our Wolfcave to discuss what we could do about it. We decided that even though Warren wasn’t going into the Hall of Fame, we could take a special trip up to New York City this week and do our own celebration of Warren’s bad-ass music.

    Shooter Jennings

    Shooter – a three-time GRAMMY Award winner, founder of Black Country Rock (a label and multimedia outlet), and host of “Shooter Jennings’ Electric Rodeo” on Sirius XM’s Outlaw Country channel – takes on a rock and roll legend still searching for a heart, and recognition for the indelible influence and mark Zevon left on rock n roll and Los Angeles. That recognition continues on through Shooter Jennings and the Werewolves of Los Angeles Do Zevon.

  • John Mellencamp Confirms Continuation of Acclaimed Tour with “Live and In Person 2024”

    Folk-inflected rock artist John Mellencamp confirms the continuation of his acclaimed tour “Live and In Person 2024”, performing in 27 cities including Schenectady and kicking off in Rochester on March 8, 2024.

    Mellencamp is a member of the Rock and Roll Hall of Fame, a recipient of the John Steinbeck Award, ASCAP Foundation’s Champion Award, The Woody Guthrie Award and Americana Music Association’s Lifetime Achievement Award and more recently, the Founders Award, the top honor assigned by the American Society of Composers, Authors and Publishers and a member of the Songwriters Hall of Fame.

    “Beyond being just a rock star, he’s written songs that moved people, American anthems about teenage romance, about coming of age into adulthood, about families suffering through hard times in a trickle-down economy.” 

    – Pittsburgh Post Gazette

    Last year, he released a deluxe edition reissue of his beloved seminal album, Scarecrow, which features a massive collection of bonus tracks, rarities and more never previously shared before. His critically acclaimed studio LP, Strictly A One-Eyed Jack, was released early last year to praise from The New York Times, NPR Music, Associated Press, The Wall Street Journal, Forbes and more.

    The tour will kickoff in Rochester on March 8th with stops including Newark, Hartford, Schenectady, Washington D.C. and more with tickets going on sale Friday, November 3rd. The new tour dates will celebrate Mellencamp’s most recent album ‘Orpheus Descending’, recorded as his 25th studio album, exploring political and personal themes that compliment his American rocker artistry. He will continue to perform songs from the LP including standout tracks “The Eyes of Portland” and “Hey God” that highlight social issues Mellencamp continues to passionately advocate for.

    JOHN MELLENCAMP LIVE AND IN PERSON 2024 TOUR

    March 8—Rochester, NY—West Herr Auditorium Theatre

    March 10—Newark, NJ—New Jersey Performing Arts Center

    March 11—Worcester, MA—The Hanover Theatre

    March 13—Hartford, CT—The Bushnell Center for the Performing Arts

    March 14—Schenectady, NY—Proctors

    March 16—Erie, PA—Warner Theatre

    March 17—Toledo, OH—Stranahan Theater

    March 19—East Lansing, MI—Wharton Center

    March 20—Richmond, KY—EKU Center for the Arts

    March 22—Muncie, IN—Emens Auditorium

    March 23—Springfield, IL—UIS Performing Arts Center

    March 25—Green Bay, WI—The Weidner

    March 26—Madison, WI—Overture Center for the Arts

    March 27—Rockford, IL—Coronado Performing Arts Center

    April 4—Duluth, MN—DECC Symphony Hall

    April 5—Des Moines, IA—Des Moines Civic Center

    April 7—Omaha, NE—Orpheum Theater

    April 9—Springfield, MO—Juanita K. Hammons Hall for Performing Arts

    April 10—Little Rock, AR—Robinson Center

    April 12—Birmingham, AL—BJCC Concert Hall

    April 14—Greensboro, NC—Steven Tanger Center for the Performing Arts

    April 15—Chattanooga, TN—Soldiers and Sailors Memorial Auditorium

    April 17—Fayetteville, NC—Crown Theatre

    April 18—Washington, D.C.—DAR Constitution Hall

    April 20—Columbia, SC—Township Auditorium

    April 21—Norfolk, VA—Chrysler Hall

    April 23—Savannah, GA—Johnny Mercer Theatre

    For more information please visit here.

  • Taking No Prisoners: Dirty Honey’s “Can’t Find The Breaks”

    Rock and roll band Dirty Honey released their second studio record, Can’t Find The Breaks, on Friday, November 3. The band now features bassist Justin Smolian, guitarist John Notto, drummer Jayden Bean, and Niskayuna, NY native Marc LaBelle on lead vocals. Can’t Find The Breaks features 11 songs and has a total run time of 46 minutes.

    Photo Courtesy: therockpit.net

    Dirty Honey was finally able to release new music for the first time in two years after constantly touring as an opener for bands like Guns N’ Roses or headlining their own shows. Can’t Find The Breaks is a breath of fresh air for a modern band with a classic rock vibe that makes fans reminiscent of the Golden Age of Led Zeppelin, The Black Crowes, and Aerosmith.

    The band is leading the charge in the resurrection of rock and roll music. Outside of The Struts and Mammoth WVH, there hasn’t been a new band for the younger generation of rock fans to feast on. Dirty Honey is carrying the metaphoric rock and roll flag as the band continues to get bigger and bigger.

    Can’t Find the Brakes, to me, is pretty descriptive of what our life is right now. We are just on this out-of-control rock n roll train that is off the tracks and we don’t know where it’s going, but we’re down for the ride.

    Marc LaBelle

    The second track of the record, “Won’t Take Me Alive,” was one of the first singles off of the record. It’s easy to see why the band chose to release this song as the first single. Bean keeps the beat of the track moving forward while Notto provides the catchy riffs that keep fans air guitaring from start to finish.

    On “Get A Little High,” LaBelle is able to show off his impressive vocal range. LaBelle has always had the vocal range of an Axl Rose mixed in with Chris Robinson and the wonderful chorus behind him adds to the total wall of sound from the rest of the band. Notto provides one of his most melodic solos to date showing that he has learned a thing or two from touring the world with guitar gods like Pete Townshend of The Who and Slash.

    The final track that stands out the most on Dirty Honey’s sophomore record is “Coming Home (Ballad of the Shire).” The beautiful acoustic song sends shivers down listeners’ spines and gives them goosebumps as the band sings in perfect harmony on the chorus of this record. This peaceful ballad is a complete 180 from the in-your-face rock and roll that they’re used to, yet it fits the band perfectly.

    In support of their brand new record, Dirty Honey is trekking across the United States with special guest Austin Meade. 

    Listen to Can’t Find The Breaks here.

  • Rhino Records Co-Founder Harold Bronson Packs Four Decades of Adventures into New Memoir

    Harold Bronson is a true rock-n-roll Zelig. He’s an everywhere man who began his career as a teenage rock journalist before rising to become co-founder of Rhino Records, the revered label that has put decades of often overlooked and unappreciated music back into circulation to the delight of both lifelong fans and new generations of music lovers.

    rhino records

    Bronson’s latest production is another intriguing one. It’s a memoir called Time Has Come Today: Rock and Roll Diaries 1967 – 2007 (Trouser Press Books). This 440-page opus written in diary form is the third book in Bronson’s ambitious autobiography project.

    Before he co-founded America’s leading re-issue label, Bronson was just another Southern California kid who was mad about music.  He channeled his passion and discerning ear into writing about music, first for the UCLA Daily Bruin then with Rolling Stone, Hit Parader, Melody Maker and many other magazines.  After interviewing many of the greats, he helped co-found, with Richard Foos, Rhino Records from the back of Foos’ record store.  The label was created to release novelty records like those of Dr. Demento and Wild Man Fischer.  But, most importantly, it would go on to re-issue classic sounds and many unheard gems from the catalogs of artists who were critically undervalued at the time like Arthur Lee & Love and The Monkees.

    Bronson’s book is very much a diary, one rendered with day-by-day entries. It begins in the Summer of Love with him journalizing his critical take on, and the price paid for, albums like Procol Harum’s Shine on Brightly and The Beatles’ White Album. There’s also his mini-reviews of the many concerts he attended by artists like Jimi Hendrix, Soft Machine and The Vanilla Fudge.  Soon, Bronson is getting his first paid work –  an interview for Entertainment World with the Bee Gees’ Maurice Gibb.  Bronson hauls his massive reel-to-reel tape recorder to the interview, one where Gibb delights in telling him a stream of lies such as that he played and sang on The Beatles’ Abbey Road.  In short order, Bronson is publishing features with artist like Cat Stevens (he looks like a “gypsy carnival worker”), Van Dyke Parks (who shows him “the future” from his office at Warner Brothers – the first fiber optic cable) and famed British session pianist Nicky Hopkins (who mistakes Jeff Beck for Mick Jagger at his first Rolling Stones’ meeting and who badmouths The Kinks for never paying him for his session work with them).  There are also notables like comedian George Carlin and The Doors’ manager Danny Sugerman who he will interview repeatedly and forge lifelong friendships with. 

    Bronson’s life kicks into high gear in 1974, when he takes a job managing the Rhino Records store in L.A.  Soon, Bronson and Foos will launch their label with novelty records by artists like Wild Man Fischer (the certifiably insane street singer discovered by Frank Zappa), The Temple City Kazoo Orchestra (with whom he makes appearances on national TV shows) and a reissue of tracks by comedian Alan Sherman of Hello Mudda, Hello Fadda fame.  But Bronson and Rhino’s true worth would come with their lovingly crafted re-issues like the 1995 box set, Love Story (1966 – 1972). Bronson would have a long history with Arthur Lee, the band’s mercurial leader, a man he calls “an arrogant Muhammad Ali.”

    https://youtu.be/ML1OS_1zuHY?si=ZJSH-4a4HB2Mjyya

    Bronson’s book is chockful of humorous meetings with the likes of Iggy Pop (who asks for money to get wine and 10 aspirin at tackle a hangover), ELO’s Jeff Lynne (who confesses he can only write melodies between 10 am and noon) and Howard Kaylan (who recalls snorting coke off Abe Lincoln’s desk during a visit to the Nixon White House with his band, The Turtles).  Also revealed is how Richard Delvy, a former surf musician/music entrepreneur, won the rights to “Wipeout” in a poker game.

    Rhino Records would get much bigger until Bronson left the company in October 2001.  Before that, there would be many acquisitions and partnerships that would find Bronson in the midst of many bigger things, such as bringing The Monkees TV show to a new generation via MTV and ultimately managing their careers, going into business with one his idols, Frank Zappa, on the Beat the Boots project and more.  There’s even a cameo by the odious MAGA architect, Steve Bannon, during his days as a venture capitalist.

    Credit should go to longtime music journalist Ira Robbins who is the driving force behind Trouser Press Books, the publisher of this and other fine releases reviewed here at NYSMusic.  If you like Bronson’s LA-centric rock time trip, be sure to check out another Trouser Press book, Rock’s In My Head.  This is the memoir of Art Fein chronicling his six decades in the California music scene, drawn from over 10,000 page of diaries he kept.  For 20 years, he was the host of Art Fein’s Poker Party, a decidedly offbeat, ultra-low budget public affairs spectacular where the cream of music – from Phil Spector and Tom Waits to Joe Strummer and the Stray Cats – let down their guard over sometimes friendly, sometimes fierce games of cards.

  • Hearing Aide: Timothy Alice & The Dead Star Band ‘Used Cars’

    Buffalo-based rock group Timothy Alice & The Dead Star Band released their sophomore record, Used Cars, on November 3. The 8-track album is a follow up to their 2019 debut release, Spacestation AM500.

    Used Cars by Timothy Alice & The Dead Star Band

    Timothy Alice & The Dead Star Band formed in 2018 in Buffalo, with a collaboration of longtime friends. The band consists of Timothy Patrick Henderson, Matt DiStasio (drums), and Bub Crumlish on bass.

    The first track on Used Cars, a title track, is a strong start to the record. With resonant guitars, crooning vocals, and a tempo that urges the listener to sway back and forth, “Used Cars” is a easy yet captivating first track on the group’s sophomore album

    Timothy Alice & The Dead Star Band

    The fifth track on the record, “North of the Border,” stands out energetically against the rest of the record. This song picks up the pace significantly, and shapes a tangible story throughout the track. The only drawback is the shorter run time of only 2:18, as it is certainly a notable favorite on the album.

    “Winning Number,” the sixth track on Used Cars, slows back down just slightly, but not to any disadvantage. “Winning Number” evokes more personality from the vocal intonations, with Henderson’s speak-singing throughout the verses. The track has a captivating outro sequence of guitars and other indecipherable instruments, reminiscent of U2’s “Bad.”

    Used Cars is the sophomore album from Timothy Alice & The Dead Star Band, available on all streaming platforms on November 3. Timothy Alice & The Dead Star Band is Timothy Patrick Henderson, Matt DiStasio, and Bub Crumlish.