The Disco Biscuits have just released their first full-length studio album in nearly 13 years, Revolution In Motion. The official release party is tonight in the form of a much anticipated sold-out show at New York City’s Webster Hall. The band is scheduled to play the album, their latest rock opera, in its entirety for the first time ever.
With Revolution In Motion now fully available on all streaming platforms, this means the corresponding animated movie that’s been being released in pieces is now complete as well. The fourth and final installment is now in place, completing the story of what the band is dubbing a “space opera.”
Each of the segments, animated by Blunt Action, predominantly features one track from Revolution In Motion which tells a story about wayward aliens who unexpectedly find themselves in our galaxy and then encounter the Disco Biscuits themselves. The first installment features the song “Another Plan Of Attack” and serves as an introduction for the four alien figures, who seem to be loosely based on the band, and shows exactly how they happened upon Earth, Times Square to be exact.
The second piece is centered around the song “Freeze” and sees the aliens literally freezing everyone waiting to get into the show. But with Disco Biscuits, on stage deep underground, remain unfrozen and come to the rescue. With the aliens planning to abduct the frozen humans for study, the Biscuits confront the aliens, saving the day, but in the process find themselves being abducted onto the alien ship.
The third chapter, which came in conjunction with the band’s announcement of this summer’s Biscoland festival in Lafayette, NY, was released two weeks ago. Now the band is aboard the alien spacecraft, which has strong Soul Train vibes, negotiating a way back to Earth so this edition features the song “The Deal.”
Now the complete animated story wraps up with the band, who successfully “merge” electronic DNA with the aliens and spread their music throughout space. This gets the Disco Biscuits their requested trip home and is highlighted by the track “To Be Continued” which may imply that this story isn’t quite over yet.
See the full animated video for Revolution In Motion above and below for audio of the full album. After tonight’s Webster Hall release party, the band trucks up to Western NY and Buffalo for two nights at the Town Ballroom.
NYC-based folk group The Folklorkestra are releasing a new unique and titillating album titled, A Strange Day in June on March 29.
A Strange Day in June is an album that had me intrigued instantly. The sounds that emanate from this album are nothing short of mystical and diverse. Many of the tunes feature much mandolin, woodwind, and acoustic percussion.
The opening track, “The Girl I Never Knew” consists of a kind of eastern melody coupled with a very Mediterranean sound. The usage of mandolin, shakers, accordion, and operatic vocals make for something real captivating.
Each song on the album has a unique sound that almost entrances the listener. The second track, “My Cousin the Spy” has a sort of Latin-folk sound that starts off like ballroom music. It later evolves with its saxophone-heavy progression, with many backing instruments carrying the melody.
John Kruth
The Folkorkestra is led by John Kruth, who has been active in the music industry for decades. He’s worked with countless other notable names like Meat Puppets, Jim Belushi, Steve Buscemi, Allen Ginsberg, Laurie Anderson, and more.
The group draws inspiration from various genres and sounds from around the world including American folk, jazz, chamber music, as well as eastern instruments, and European melodies. The group consists of versatile, multi-instrumentalists, Kathy Halvorson, Premik Tubbs, Kenny Margolis, Ray Peterson, and Rohin Khemani.
The Folklorkestra’s recent album, A Strange Day in June is certainly one to check out. It is complete with unique, diverse, and intriguing sound. Each song has a different feel and tells a different story. Each song combines multiple sounds together and makes it something you’ve never heard before.
The artisanship exhibited throughout the album is something to gaze at. There are miniscule sounds that inhabit every crevice of the songs. The songs are sonic portraits, displaying moving images via the music. There is a lot of character and charm from this album.
To learn more about The Folklorkestra and their upcoming work, click here. Stay up to date on the release of A Strange Day in June, releasing March 29.
Long Island-based singer and producer Rob Eberle has shared a new heart wrenching single, “Half of You,” out now.
Rob Eberle is a young, talented singer-songwriter as well as a producer from Long Island. Rob’s unique ability to use music to express his own and other people’s life experiences is what makes him stand out. He continues to show his creative power behind all of his songs, writing the melodies and lyrics and working with different producers to add special moments to every single one.
The experiences and moments of Eberle’s life, as well as the lives of others around him, are glimpsed through his songs. Eberle has created his own genre-bending niche in the world of darker alternative pop-rock, drawing inspiration from a wide range of artists such as FINNEAS, Elliott Smith, Billie Eilish, Jeremy Zucker, Olivia Rodrigo, and Alexander 23.
Rob’s new single “Half of You” is a moving song that explores the difficulties of a one-sided relationship. Eberle depicts the emotional journey of unrequited love and the toll it takes on the one who longs for reciprocation through eerie melodies and soul-stirring lyrics. The narrator’s emotional conflicts are vividly depicted in the song as he battles with the quiet that results from a lack of compassion for one another.
When describing the song, Rob shared that his single “is perfect for playing during those sunny drives with the windows rolled down, particularly during the bridge section of the song. “Half of You” is also the kind of song you find yourself playing alone in your room at night right after experiencing a devastating breakup, yearning for the person you’ve lost”. The single’s bleak tune and thoughtful words create a dramatic atmosphere that encompasses you in the profound feelings it communicates.
With every note of “half of you,” the song asks listeners to connect with the complex feelings of heartbreak and desire, as well as the unwavering optimism that love will eventually find its way back. The single is a captivating exploration of the common issue of unrequited love thanks to its lyrics and singing.
Fans can stream “Half of You” on all streaming platforms, and to learn more about Rob Eberle fans can visit here.
Brooklyn-based DJ Bad Tuner has shared a new rhythmic single “repeat to fade” ahead of his EP Look At Me But Through Me, set to release on April 5.
With the single release and an EP announcement, Bad Tuner has also shared that he will perform a string of live shows this spring with a live show at the Elsewhere Hall in NYC on April 19. This will be Tuner’s return to the Brooklyn’s Elsewhere rooftop as he sold out the venue in May of last year.
His new single “repeat to fade” is also accompanied with a music video directed by a Baltimore-based cinematographer Patrick Elmore. Tuner’s”repeat to fade” is an anthemic house song, with immense bass and a brutally rhythmic percussion presence that moves in sync with the seductive vocals screamed back by high-pitched harmonies. The house single is a vibrant party song ideal for those who dare to be courageous on the dance floor, with vocals that have an alien air to them, while the percussion acts as an anchor to Earth.
Tuner shows an innate sense of depth and a distinctive style all his own in his new EPLook At Me But Through Me. The six-track EP incorporates unique twists on modern conceptions of UK garage, the sleek and deceptively syncopated productions of the lo-fi house scene, and glitchy hyperpop flourishes. Each of the six tracks embrace entirely eclectic soundscapes, becoming a portal into their individual, wondrous worlds. Look At Me But Through Me EP is set to release on April 5 via Foreign Family Collective / Ninja Tune.
Tuner’s new single “repeat to fade” is available to stream everywhere. Tickets and more information for the live dates and the artist can be found here.
Bad Tuner Live Dates
April 5 – (EP Release Show) @ Listening Room, Chicago, IL
On an otherwise cold and snowy day, things heated up quickly inside the Westcott Theater on Saturday, as blues rock icon Samantha Fish brought her Bulletproof Tour to Syracuse, with JD Simo served up as the opening act this evening.
Fish, 35, has been a major player on the modern blues-rock scene since launching on to the circuit in 2009. The Kansas City native has become a favorite in the Central New York area, headlining several shows in the area over the last fifteen years. Fish most-notably served as direct support for Buddy Guy at the 2023 New York State Blues Festival, which took place in Syracuse last summer. (Get the scoop on the 2024 lineup here!)
The evening started with a set by blues guitarist, JD Simo, who gifted the early arriving crowd to a set that showcased his diverse style. Showcasing himself as more than just dabbling in blues rock, Simo’s 40-minute set also displayed elements of jazz and psychedelic rock, while performing tracks such as “Mortgage My Soul” off of his 2022 release Songs From the House of Grease.
After a brief set change over, Samantha Fish took to the stage. Armed with her signature cigar-box guitar and flanked by her bandmates, Fish launched in to the high energy “Bulletproof”. Fish paced the stage and took turns showcasing her guitar skills for those on each side of the theater. “The jewelry is coming off!” Fish proclaimed early in the set, hinting to the audience there was much more guitar prowess to come this evening.
Fish dazzled the crowd with her diverse musical catalog. Late in the set, Fish donned an acoustic guitar for three songs (two of which featured Fish on stage, solo). Certainly there are instances in the concert world where this would remove the energy from the venue, however this was not the case on this evening. Fish maintained captive hold of the audience all the while.
After a near 90-minute set, Fish and her bandmates would return to the stage with opener JD Simo. “Let’s party for one more song” Fish would announce, before launching in to “Bitch on the Run”. Fish and Simo would trade guitar solos through out the track while the packed theater took their last opportunity to dance about. Soon the show would be over and the packed theater would spill back out in to the cold Syracuse air.
On Sunday, March 24, Fall Out Boy’s “So Much for (2our) Dust” tour stopped at MVP Arena in Albany. The line up consisted of Games We Play, Hot Mulligan, Jimmy Eat World, and Fall Out Boy.
Games We Play kicked off the evening with a high energy performance of “Get a Job.” They played a total of 4 songs during their 30-minute set. Hot Mulligan was up next with their 9-song set which included songs such as “Drink Milk and Run,” “OG Blue Sky” and “Bckyrd.”
Jimmy Eat World promptly took to the stage and amped up the crowd playing their song “A Praise Chorus.” Putting on a fantastic and energetic set, Jimmy Eat World had the crowd engaged. They played many well-known songs such as “Sweetness,” “Bleed American,” “Big Casino,” and “Pain.” They closed out their set with “The Middle” which had everyone singing along.
At 9:10pm, Fall Out Boy took to the stage, starting with song “Love from the Other Side,” transitioning to an incredible performance of “The Phoenix” and, “Sugar, We’re Goin’ Down.” The pyrotechnics and loud booms during their 1st three songs elevated the energy in the arena to a new level. The visual effects and props used throughout the show added to that excitement.
Performing new songs from their latest album “So Much (for) Stardust” as well as many hits from earlier albums such as “Uma Thurman,” “Dance, Dance,” “Thnks for Th Mmrs,” and “Centuries.” The crowd was also treated to a piano medley.
This show was nothing short of amazing. Each band delivered high-energy performances, solid vocals, and nonstop action throughout the evening.
Fall Out Boy Setlist: Love from the Other Side, The Phoenix, Sugar, We’re Goin’ Down, Uma Thurman, G.I.N.A.S.F.S, Reinventing the Wheel to Run Myself Over, Grand Theft Autumn/Where is Your Boy, Calm Before the Storm, This Ain’t a Scene, It’s An Arms Race, Disloyal Order of Water Buffaloes, Heaven, Iowa, Bang the Doldrums, Headfirst Slide Into Cooperstown on a Bad Bet, Fake out, The Kintsugi Kid (Ten years)(Partial, Piano Medley), What a Time to be Alive (Partial, Piano Medley), Don’t Stop Me Now (Queen Cover)(Partial, Piano Medley), So Much (for) Stardust, Baby Annihilation ( with “20 Dollar Nose Bleed” spoken word snippet), Song 2 (Blur Cover), Dance, Dance, Hold Me Like a Grudge, I Am My Own Muse (Magic 8-Ball Song, Tour Debut), My Songs Know What You Did in the Dark (Light Em Up), Thnks fr Th Mmrs, Centuries, Saturday.
Fall Out Boy “So Much for (2our) Dust” Tour Dates:
On Friday, March 22, UK-born singer-songwriter Matt Maltese took the stage at Irving Plaza for his sold-out show as part of his “Touring Just to Tour” NY run. The beautiful stage truly set the vibe of the concert—the lights, the vines, the street lamps—they all created a cozy and whimsical experience that complemented Matt’s soft and buttery vocals.
Matt Maltese — Photographed by Sarah Hyun
Matt Maltese got his start with music in Reading, Berkshire, where as a young kid he took a particular interest in songwriting. Drawing inspiration from the blues and jazz genres, Maltese wrote about heartbreak, falling in love, and the world ending—in a way like no other modern artist. His raw, poetic, and deeply heartfelt lyrics revealed his experiences navigating adolescence and adulthood. Maltese is halfway through his American leg of tour, where he has twelve more dates at venues in Massachusetts to California. He previously played at the Governors Ball Music Festival.
Matt Maltese — Photographed by Sarah Hyun
Prior to Matt’s entrance onto the stage, opener The Army, The Navy, put on a beautiful acoustic show for the crowd of twelve hundred. The pre-show playlist included jazzy background music that excited concertgoers swayed back and forth to. Upon Matt’s entrance, the crowd screamed in excitement. One fan yelled, “Matt you’re so British!,” where he responded with, “Yes, I am very British.”
Matt Maltese — Photographed by Sarah Hyun
During his opening song, “You Deserve an Oscar,” Maltese kept impressive eye contact with the audience as he belted sincere lyrics and beautifully played his piano. Halfway through the show, he played a game with the audience where he asked which out of three statements about his bassist, Jamien, was true—1. He fed his friend’s pet koi fish chips and chili oil, causing them to die; 2. He pretended to be a waiter at a random restaurant in order to get a woman’s number; and 3. He was fired from his ice cream job for using a single spoon to try every flavor there. He later revealed that all three were true.
Jamien Randall Pepper (right) and Madden Klass (left) — Photographed by Sarah Hyun
Towards the end of the show, he played his most well-known song, “As the World Caves In,” singing lyrics like “And here is it, our final night alive / And as the earth runs to the ground / Oh girl it’s you that I lie with / As the atom bomb locks in / Yes it’s you I welcome death with.” Anyone who has listened to Matt Maltese would not deny his true talent in crafting lyrics and melodies.
Matt ended the night with an encore, singing “Strange Time” and “Everyone Adores You (At Least I Do).” Although Matt does not have any New York dates left for this tour, he will likely return during his next run.
Matt Maltese – Irving Plaza – March 22, 2024
Setlist: You Deserve an Oscar, Mother, Irony Would Have It, Curl Up and Die, Hello Black Dog, Little Person, Mystery, Madhouse / Jupiter, Krystal, Krakow, Driving Just to Drive, The Earth is a Very Small Dot, Kiss Me (Sixpence None the Richer Cover), Rom-Com Gone Wrong, Nightclub Love, As the World Caves In / Intolewd
Encore: Strange Time, Everyone Adores You (At Least I Do)
Amid a winter storm that ushered in spring, banjo virtuoso and father of modern bluegrass, Tony Trischka, performed to a crowd of brave travelers in The Egg’s Swyer Theater on Saturday, March 23.
Roughly 30 fans braved the elements to see Trischka’s tribute to Earl Scruggs, the legendary three-finger banjoist, titled EarlJam. Featuring Michael Daves (vocals, guitar) Jared Engel (bass) and Brittany Haas (fiddle), the show traced the story of Scruggs from his childhood to his later years.
Celebrating this tour, Trischka said, “Earl is my North Star, a lifetime pathway. And I’m not alone. Through his music, this shy kid from Flint Hill, North Carolina went on to enrich countless thousands of lives. At the age of 13, when I first heard 16 notes of Scruggs style banjo playing, I put down my folk guitar and mercilessly pestered my parents to buy me a banjo. Once in my hands, that 5-string became my obsession and has been for close to 60 years.”
“The depth of his genius becomes ever more apparent when I transcribe his solos, which I’ve been doing my entire musical life and with renewed vigor. Discovering new twists and turns in his playing is pure joy and in fact the inspiration for this tribute show.”
Tony Trischka on Earl Scruggs
The show was full of Scruggs songs, including popular fare “Salty Dog,” “Foggy Mountain Breakdown,” and the seminal TV show theme, “The Ballad of Jed Clampett,” as well as covers mixed in, ranging from Bob Dylan to Grateful Dead and The Band.
Trischka, a Syracuse native, is a not only a banjo innovator, but he is also an educator, influencing everyone from Béla Fleck to Steve Martin.
A treat for fans of new era bluegrass enjoyed “Brown’s Ferry Blues,” the first track off Trischka’s upcoming album, recently recorded with Billy Strings.
While it was a cold, miserable night of weather outside, Trischka and the music of Earl Scruggs kept it memorable inside for the small crowd of dedicated fans, paying them a nod during “Mama Don’t ‘Low” by changing the lyrics to “Mama don’t ‘low no snow driving ’round here.”
Tony Trischka’s EarlJam – The Egg, Swyer Theater – Saturday, March 23, 2024
Setlist: Kentucky Bullfight, Reuben, Heavy Traffic Ahead, Salty Dog, Foggy Mountain Breakdown, Six White Horses, Earl’s Breakdown, Martha White Theme, Fiddle and Banjo, Ballad of Jed Clampett, Can’t Stop me from Dreaming, Mama Don’t ‘Low, Rainy Day Women #12 and 35, Brown’s Ferry Blues, Liza Jane, Casey Jones, Chinese Breakdown, Here Comes the Bride, Gentle on My Mind, You’ve Got to Die, Farewell Blues, Fox Chase
On March 23, 2024, the Long Island Music and Entertainment Hall of Fame welcomed one of its own, the illustrious composer and lyricist Stephen Schwartz, with an induction ceremony that will be remembered for years to come.
Held at the LIMEHOF in Stony Brook, this evening was a testament to Schwartz’s immense contributions to the world of music and theater, as well as his profound influence on countless artists.
Stephen Schwartz
Hosted by the legendary Paul Shaffer and directed by Paul Kreppel, the event was a star-studded affair, filled with heartfelt tributes, captivating performances, and a palpable sense of admiration for the honoree. From the opening remarks to the final curtain call, the evening was a fitting tribute to a man whose talent knows no bounds.
Before the ceremony began, Paul Shaffer, in a conversation with the press, eloquently expressed his admiration for Stephen Schwartz. Reflecting on their collaboration over the years, Shaffer praised Schwartz’s ability to immerse himself in characters when composing music, citing his magical touch and profound impact on Shaffer’s career. He emphasized Schwartz’s willingness to share his knowledge and mentorship, underscoring the importance of talent and dedication in the industry.
Paul Shaffer
As the show commenced, Shaffer took the stage to introduce the house band and Hall of Fame director Ernie Canadea. The atmosphere was electric as the audience prepared for an unforgettable evening. Performances of iconic songs from Schwartz’s repertoire, including “Prepare Ye!” from Godspell and “Magic To Do” from Pippin, showcased the timeless appeal of his music and the versatility of his compositions.
The house band, comprised of seasoned musicians, added a layer of magic to the performances. Doug Quinn, known for his work with the Quinn Brothers, graced the stage on guitar, alongside Steve Mayness on bass and Rick Shutter on drums. Their impeccable musicianship complemented the vocal performances, creating an unforgettable musical experience.
One of the evening’s highlights came when Stephen Reinhardt took the stage to share his personal story of how Schwartz changed the trajectory of his life. With heartfelt gratitude, Reinhardt recounted how Schwartz’s mentorship and belief in his talent opened doors and paved the way for his success in the industry. His heartfelt words resonated with everyone in attendance, underscoring the profound impact Schwartz has had on countless lives.
Teal Wicks
As the night progressed, the stage was graced by an array of talented performers, each paying homage to Schwartz with their stirring renditions of his most beloved songs. DeMarius R. Copes mesmerized the audience with his rendition of “Magic To Do” from Pippin, while Teal Wicks captivated hearts with her performance of “Wizard and I” from Wicked. Carrie St. Louis and Max Grossman delivered a show-stopping rendition of “Popular” from Wicked, showcasing their vocal prowess and stage presence.
Finally, the moment everyone had been waiting for arrived as Paul Shaffer had the honor of inducting Stephen Schwartz into the Long Island Music and Entertainment Hall of Fame (LIMEHOF). With heartfelt words, Shaffer presented Schwartz with the prestigious award, symbolizing the culmination of a lifetime of achievements.
Paul Shaffer
In his acceptance speech, Schwartz expressed his gratitude for the honor, acknowledging the significance of being recognized by his hometown. He thanked his friends and collaborators for their unwavering support and paid tribute to the performers who had brought his music to life throughout the evening.
As the final notes of “Day By Day” from Godspell filled the air, there was a sense of collective joy and appreciation for the man whose music had touched the hearts of millions. The induction of Stephen Schwartz into the Long Island Music and Entertainment Hall of Fame was not just a celebration of one man’s talent but a testament to the power of music to inspire, uplift, and unite us all.
Musical Numbers: Prepare Ye! (Godspell) performed by Paul Shaffer, Rick Shutter, Steve Manes and Doug Quinn, Magic To Do (Pippin) performed by DeMarius R. Copes, Corner Of The Sky (Pippin) performed by Sam Simahk, Bless The Lord (Godspell) performed by Alysia Velez, West End Avenue (The Magic Show) performed by Dale Soules, All Good Gifts (Godspell) performed by Demarius R. Copes, Colors of the Wind (Pocahontas) performed by Alysia Velez, Kevin Newton, and Peter DelGrosso, Wizard and I (Wicked) performed by Teal Wicks and Max Grossman, Popular (Wicked) performed by Carrie St. Louis and Max Grossman, For Good (Wicked) Performed by Carrie St. Louis, Teal Wicks and Max Grossman.
It’s approaching ten years since NYC Irish rock mainstay Black 47 took their final bow at the now-dark BB King’s Blues Club in November 2014, and what an indelible performance that became. For long-time bassist Joe Burcaw, who earned the nickname “Bearclaw,” life in the time since Black 47 has been a rewarding and fruitful respite from life on the road, going from a touring musician to maintaining has passion for music as a small business owner in Connecticut. Then came 2020 when the pandemic changed the world as we know it especially in discourse of social and political issues and garnered explosions in divisiveness.
But for Burcaw this sparked and inspired the need to speak out through his creative outlet as not only a way to release steam but to also invoke thought. This grew into a new studio project, recently releasing a new EP titled Four On The Floor. It is first-class in its talent, production, and writing, and features a distinctive rock and roll voice. Burcaw took a deep dive into the project with NYS Music, along with his music school Bearclaw’s Academy of Music and of course, some reflections on Black 47.
Joe Burcaw with Black 47, 2014
Steve Malinski: Can you tell us how things came to be with Four on the Floor?
Joe Burcaw: The bass player for Living Colour lives up the street from me and I connected with him back in 2017 and took some lessons. I was at a point with my playing where it was it was a bit stagnant and I needed some inspiration. So, Doug’s an incredible inspiration and from Living Colour, one of my favorite bands. So I reached out to his wife actually, who manages him to look into doing some lessons and that led to us working together. He was familiar with Black 47 and he had asked me one session if I would be interested in doing some writing. He produces and writes and I said I would be honored. So we were writing a couple of tunes and were at the point where we need it and felt like it was all instrumental music, very dance oriented, very Euro sounding, with the emphasis on the bass guitars. But we felt like we needed a voice to mix things up a little bit. And he suggested, why don’t I call Corey? I’m thinking to myself in the back of my head, yeah, sure love the world with Corey Glover. So he called Corey, and Corey was totally into it. He came up for a couple sessions and he and I just hit it off. Just had a really nice rapport. And I had said to him at one point and I asked him if he’d be interested in maybe separately doing some songwriting together and he said I would love to. We kept in contact and then came the lockdown. So he and I were always in contact with each other.
Then with the pandemic happening in March of 2020, here we are, everybody’s at home idle, not sure what to do with themselves or their lives, wondering what’s happening with this… this disease. So I thought to myself, first off, I couldn’t get over the amount of discord and the amount of pain that people were going through. And then, you know, I read the New York Times and it made me aware of how there was an uptick in the amount of domestic abuse happening with a lot of women and children who were stuck in situations where they just could not get out and were stuck with their abusive partner. And also with the George Floyd Marches – with him, you know, being killed, the injustices, and the Black Lives Matters uprising. Just like everything was coming to a head and I just felt, I felt the need to call my musician friends and do something about this and get this off my chest – and our chest – and write. So I called up Corey and the mutual friend of ours, Jamie McDonald, and the three of us would have sessions every week bouncing ideas off of each other, lyrical ideas. It was mostly lyrical ideas and just subject matter that we could talk about and put into the lyrics of the songs. And we did that for about two year and a half, two years, and then, you know, it kind of evolved into into this EP. We weren’t sure what we were going to do with it, and then it just kind of evolved naturally into the EP. So that’s a roundabout description of how we got together.
SM: So it kind of started as a way for you guys just to kind of have this release of all the all the stress from basically the world and the pandemic and then it’s like, hey, we got something going, let’s put it on record.
JB: Yeah, that’s basically what happened. And having Corey be so open minded and into the idea of writing with us and recording with us was, to me, it was an honor. I mean, he’s my favorite by far, my favorite vocalist ever. I think he’s very underrated as a vocalist and feel like he needs way more of a spotlight than he gets. He’s a very humble human being and one of those guys where you sit in the room with him and there’s just this ease. He’s just a real gem to be around and I consider him a friend now. So it for me it’s been mind-blowing to be able to call him a friend and a working peer.
SM: So awesome. And yeah, the the first track “Zig Zag” caught my attention with like the really strong bass funk groove. And then Corey’s voice comes in and I’m just like, holy smokes, this is awesome, his voice was so distinctive.
JB: It’s undeniable that when you hear that voice and you know who it is, that’s for darn sure. And with Corey, he doesn’t have that ostentatious way about him, he’s not trying to show off. He is one of those people that has an incredible register. He never goes out of pitch, which is, for me, incredible to watch and he has so much power. I feel like his voice has gotten stronger now than it was back when Vivid came out or Time’s Up or Stain which were popular back 30 plus years ago.
So, getting back on “Zig Zag,” that song talks about having a conversation and avoiding having the conversation. And what I mean by that is that folks in this country need to really step up and be aware that racism is a is a is a problem. Still, it’s been a problem for hundreds of years.
And we’re creating a platform for people to come and talk about this and see about being able to resolve the issues and problems that the black community has been suffering and going through for all these years. Musically, I had written the music for that about a year prior to showing it to the guys. The impetus of the song really came from The Pretenders, who I’m a fan of. I was listening to…what was the song…, “My City Is Gone,” and heard a really great bass line played by Tony Butler from the band Big Country. He did session work on the Learning to Crawl album and just always that bass line just kind of stuck in my head. So I kind of (no pun intended) based the song kind of around that line; the groove is very similar to that Pretenders song and I showed it to the guys and they were really into it.. So that’s the lead single. It’s the song that we just really feel encapsulates what we’re trying to do with this project. It’s a project of community service and trying to get back to the community through our music and for inviting people to listen to it and join us on the ride.
SM: Getting further into the songs, “Mighty Real” – the thing that stuck out to me is the intro, layering all the the voices with dance type feel and then it jumps from a minor key to the major key where you get to the that classic disco feel. What can you say about that song?
JB: Corey and I are big fans of Sylvester, and that’s a remake. Sylvester had a disco tune that came out in maybe ‘79 in the “disco sucks” era, unfortunately. But Sylvester was a drag performer. He was part of a troupe called The Cockettes. They’re based out of San Francisco and they would travel from coast to coast to New York and San Francisco and other areas around the country. And that was his biggest hit. It was such a great dance track and I just remember when I was a kid hearing it, just loving it, because of the bass and the drums, the interplay between the rhythm section… it just really it really floored me as a kid. When I learned that Corey was into it as well we just discussed, why don’t we do a more modern version of the song and kind of make it our own? And add a guitar solo because on the original track there’s some rhythm guitar but there’s no solo whatsoever on that. I envisioned having this really big thought-out masterpiece outro solo. I had Vernon Reed and Missus Smith in mind. I reached out to Missus Smith first and she was totally into the idea of it.
I love, the idea of having this dance form, dance floor feel and then having this rippin’ guitar solo that lasts for 60+seconds. Just bombastic shredding. I think it really it makes the listeners kind of tilt their head going whoa, wasn’t expecting this! because it starts out really dancey and then it as it continues to the bridge section it gets harder and harder with the guitars being more upfront in the mix. We did that intentionally to have a build-up crescendo towards the end. So that song is the second single.
“Ode to Ustad”: Ustad Sultan Khan was a classical Indian musician and I first got turned on to him through Warren Cuccurullo who’s the guitar player used to play with Frank Zappa, Missing Persons, and Duran Duran. I’m a big fan of his playing and he put a record out with this gentleman, titled The Master. And it was all Indian-fused music with a lot of drones and a lot of chanting in it and just I’ve always loved the music and it just really struck a chord with me and was one of those instances where I was thinking to myself, wow, I know this guy really has influenced me and I haven’t really paid homage to that and I wanted to do so. So that’s why II titled it “Ode to Ustad.” And I wanted to have the music be more focused on Indian ragas and Indian drones and it’s all me playing it on the bass. I played six string synth bass and four string bass on that particular track.
There’s also an ongoing theme of all four songs on the EP. The reason it’s called Four on the Floor is because all the songs are 110 beats per minute or higher. So it’s kind of got that dance, you know, four on the floor kind of kind of feel.
SM: Lastly, “House Arrest” seems to link directly to the pandemic times. What kind of message are you getting to in this song?
JB: Well, it’s strictly about domestic abuse. It’s coming down on, as I said at the top of the conversation, coming down on people who are abusive to their partners and their children and also shedding light that there is hope. And there if somebody needs to get out of a situation you do it. And I know that’s easier said than done. But I’m hoping that people can listen to the track and get some inspiration and maybe make a choice that they weren’t thinking about making before listening to it, to get out of a situation that’s tumultuous, dangerous, something that that could harm the person or their family. I specifically got that idea from a New York Times article that I read. It was probably May of 2020 about when the uptick in abuse since COVID happened and people were blocking down together. That was a reaction to that. I had the first stanza down and then I showed it to the guys and we collaborated on finishing the rest of the lyrics. So, a lot of lyrics on that.
It’s a lengthy one but we just felt like we needed to have all of those words in there to get the point across. We’re happy with the way that came out, that the song has a (as far as the bass line is concerned) more of a chic-meets-Duran Duran kind of feel to it. I wrote it specifically for Corey’s voice, for a lot of the inflections that he adds to music and wanted to not get in the way of the vocal line and create a lot of space for it, especially during the verse sections where he could ad-lib a little more and not have me get in the way of the music.
SM: So who how did the virtual/remote production process go given all the moving parts?
JB: What happened was, as far as the tracking I have a DAW set up at home, I have Logic [production software] and then Corey had Garage Band And our mutual friend Jamie has Pro Tools. So, we were sending files and I was just recording my bass at home and sending it over. Jamie was doing a lot of tweaks. He’s really good with engineering. Then I had another person come in and do some mixing as well to help out with that. And then as far as you know, then I sent it to Disk Makers for mastering, had that mastered and then here we are. So yeah, everything was done on our own.
It was a real DIY instance since we weren’t able to go into the traditional studio to record and track. It was… it was different. I mean it proved to me that it’s possible to make a decent sounding record from home. Would I do it again? I don’t know. I like the idea of getting into a room and bashing out parts with other musicians there to kind of vibe off of each other. So that’s kind of more my preference as opposed to virtually recording.
SM: Yeah, I suppose it’s different if you’re just recording a backing track that somebody else wrote for you but when you’re putting your heart and soul into it, definitely the whole face to face thing is priceless.
JB: It is, yeah. We’re human beings and that’s how you work off each other. You feel what’s coming from the other human, whether that’s good or bad. With us it was great. So, I would love for us to get into the studio and do some more. There’s talk of us doing some more. I think going forward we’d like to make more in the way of singles as opposed to a full length album or EP. It’s just easier by doing it that way. We got lucky just because of lockdown that everybody was around that we were able to do that [full EP]. But now that things have opened up a bit more, I don’t know, Corey’s out on the road a bunch with Living Colour right now.
They’re playing with Extreme and had a success with that. So he’s not home much, but I did talk to him right before he left for his tour and we’re going to get back together once he gets home and work on some more ideas.
SM: I was going to ask if you guys were going to get together again and record, but do you think you might also schedules a line up to maybe do a short live show somewhere.
JB: Yeah, we’re we’re in talk talks of doing that right now [later in 2024]*. I own the music school [Bearclaw’s Academy of Music] and we’re looking to do a fundraiser for kids who can’t afford instruments or lessons, and we want to raise some money for kids that are under-privileged and not able to do so. So it would be maybe a half hour set if if that. It’s not going to be a real long thing because you know again it’s going to be during the afternoon, it’s not going to be at night. But yeah, we’re talking about that if Corey will be around.
So I think we’ll be able to do that with this project. It’s not a touring entity. It’s a studio project built around community service and giving back and writing about topical situations that not everybody talks about, ones that sometimes get thrown under the rug, like with the racism, with gay rights, with immigration oppression, domestic violence. So the idea of doing what I did with Black 47, hitting the road consistently… I just don’t think that would be feasible at this point. But one-offs, definitely. We’ll definitely do one-offs here and there.
SM: So to shift gears a little bit, how are things with your music school? You’ve been running the school for 8 or 9 years now?
JB: Yeah, yeah, it’ll be 8 years. Oh, it’s great. I love it. I really enjoy being able to be a small business owner and to teach and to kind of run the show on my own. I mean, it’s a lot of arduous work. I’m a one-man operation so I have to do everything as far as coordinating all the scheduling of my teachers and financial things as far as taking care of payroll and all that. So it’s a lot on top of teaching since I have a lot of a lot of students that I teach bass guitar and ukulele too. It’s very satisfying. I love that I can wake up and know that I don’t have to go into a nine-to-five because I’ve done that in the past and this way don’t have to listen to anybody barking orders at me. My wife is a small business owner too, she’s a music therapist so she’s taught me a lot as far as just how to run a business properly and has given me a lot of advice and assistance with that end of things.
So it’s going great. But again, it was difficult during the COVID days of 2020 and even for the last two, two and a half years it’s been kind of a rebuilding because back then virtually everybody, I mean the world, shut down and thank goodness for virtual teaching and for virtual lessons. I was able to continue doing that and it kept my business afloat while we were not able to get into the building. I look forward to branching out and to expanding and to get back to where we were right before COVID, we were doing really well with a lot of lot of students coming in. Now we’re about 75% and we’re picking up. But again, you have to keep in consideration so many people lost their jobs, so many people moved out of the area. You know, there’s so many circumstances and variables that that affect people not coming back.
SM: Yeah, different folks re-prioritizing things…
Larry Kirwan (center) sharing a song with friend Mary Courtney (left) and bandmate Joe “Bearclaw” Burcaw (right)
JB: Yeah it’s true. I’ve been really, really happy with that. It’s my new life. You know, I had an old life as a touring musician with Black 47, and now I’m small business owner. Like what? Really. I mean, I do still perform. I have a Jimi Hendrix tribute band that I play in with some buddies of mine from Boston and we play out every once in a while with that, which is nice. So it keeps me in the game a little bit as far as live performance is concerned because I really don’t get to play live that much. I have a three-year old as well, so I’m a relatively newer dad.
SM: Oh, Congrats!
JB: Thank you. Thank you. Yeah. So got a lot on my plate, that’s for sure.
SM: So do you work with both kids and adults?
JB: We do. I mean primarily kids, but we do have some older adults that are more retired age come in for lessons. I mean we’re “everybody’s welcomed with open arms” but we just find that most it’s mostly kids that do come in for the for the lessons. I do have a couple of students that I teach virtually as well that are overseas that are adults Amsterdam, UK and it’s great. I love being able to do that. It’s so convenient that you can walk down into your studio in your house, get hard wired in, get on Wi-Fi, and boom. You know, it’s fantastic to be able to communicate with somebody that’s thousands of miles away on the other side of the planet.
SM: I’ve had experience taking some group drumming lessons with a teacher in Scotland, so it’s like 5:00 PM there and we’re just having our coffee over here while we’re all in different locations. Definitely it works, but not preferred, I’ll say that.
JB: Yeah, I have to say with at least for me with bass guitar and teaching guitar it’s fine. I can understand for some instruments like drums it might be a little difficult. I mean you can do it. Obviously piano is a little more difficult because of the hand situation where you have to get the camera where it’s looking down on the kids’ hands to see if their positioning is correct and also being able to look at the person and being able to dictate what you want them to do. So it is hard with the with the piano, but I found I’ve had no problem. The only problem I ran into is there’s a bit of latency, so using a metronome is a little dicey. So, I wouldn’t recommend that until we get more software that’s more reliable. But aside from that, I love it. I really enjoy doing that.
Thomas Hamlin, Joe Burcaw, Geoffrey Blythe, Fred Parcells, and Joseph Mulvanerty (l-r) of Black 47, Peekskill September 2014
SM: Before we wrap up… Black 47, obviously that’s been a big part of your life. I see the six albums hanging up there on your wall.
JB: Yes, there they are.
SM: So you recorded six with them?
JB: I did. I did 3 studio and then one of them is the DVD Live at Connolly’s and then the other two are compilation records. So there were three I recorded on – Iraq, Bankers and Gangsters, and Last Call, as far as the studio albums are concerned.
SM: Yikes, it’s been 9, going on 10 years this coming November since Black 47 wrapped up. Having this much time since then, what does the experience feel like now versus, say, like the day after that last show at BB King’s in NYC?
JB: I don’t even feel like it was the same person. I don’t even know who that guy was. My, life has changed so drastically since that last night at BB King’s, just, you know, I got divorced. I got remarried. I had a kid. Both my parents passed away and I opened up my own business. You know, within 10 years all of this stuff happened. So it was very surreal to say the say the least. But I wasn’t despondent, you know, there wasn’t any type of despondency.. But it was a lot, you know, it’s a lot to take in. I mean first off, when you’re in a band and play with the band for just under a decade, these guys were my family. That’s the thing with Black 47 people need to understand as well, is that these guys took me under their wing, accepted me. I was never… I mean the joke was I was always the new guy, Bearclaw, the new guy. But I was never treated that way. And I always felt like I was there from day one, even though I was too young to be a part of the band. Back then, you know, when they started out, I was still a teenager. So that wouldn’t have worked out. But every night that I got on stage with those guys… I never took it for granted. I would look around at these five musicians and just thank, thank whoever the source for putting me there with them because I love the band. I was a fan before I got to play with them. Well, I first got turned on to them on 120 Minutes on MTV and saw them do “40 Shades of Blue” as one of the lead tracks that they were pushing on top of “Funky Ceili.” And I just thought to myself, wow, this is very interesting having the uilleann pipes mixed in with the Irish theme on top of having the sophistication of songwriting like Bruce Springsteen mixed in with The Clash. So then I got to see him at TT the Bears Place in Cambridge, MA when I was up in college in Rhode Island. I was just floored. My jaw hit the hit the ground just in awe at the musicianship and just the power that they exuded. That really struck me, the power of that band. And then almost 10 years later, I’m pinching myself. I’m standing on stage with him.
SM: And that was just a lucky chance, too, right? I recall you mentioned last time we spoke that it was an ambiguous newspaper ad?
JB: Advert, yeah. And at that point I was in New York City, just banging the pavement, playing with everybody and answering all these different various adverts. And there happened to be “one touring band looking for a bass player ASAP. Please submit.” So I sent my EPK and didn’t hear from them until, I don’t know. Hammy [drummer] called me a week later, using a pseudonym. He didn’t even lead on to who he was until a couple phone calls later and he got a good feel for me. And then yeah, he invited me. He just asked if I was playing out. I happened to be playing out with a band on a particular weekend that he was available and he came down to the show. I didn’t think he showed up because he didn’t introduce himself.
So I finished performing with this band and nobody was there. But I come to find out that there was a torrential downpour during this gig and he got soaked and wanted to go home before the end. But he did get to see me and was really impressed and asked me to come down for an audition. And yeah, he left me a voicemail and asked if I’d be interested in coming down. And yeah, the rest is history. So awesome. They put me on retainer for about a month after my audition then for 8 to 10 shows to see how it goes. And then after New Year’s, I think going into 2006, they asked me to become a full, full time member. The rest is history.
*Editors’ note: the potential date of the fundraiser event changed since the time of the interview from spring 2024 to fall 2024.
