On December 2, 2012, the King of Blues, B.B. King played Westbury Music Fair, which is now know as NYCB Theatre in Westbury, New York. At the time he was 87 years but still enjoyed playing for his adoring fans.
King started his music career in 1949 on Beale Street in Downtown Memphis, Tennessee. He named his first guitar Lucille when he ran into a burning building to save it, and later learned that the fire was caused by two men knocking over a barrel of kerosene while fighting over a girl named Lucille. His guitars were usually black Gibson guitars and in 1980, Gibson introduced a B.B. King custom model.
King recorded some of the greatest rock n’ roll hits of all time like “3 O’Clock Blues,” “You Know I Love You,” “Woke Up This Morning,” “Please Love Me,” “Every Day I Have the Blues,” “You Upset Me Baby” and of course his signature hit single “Lucille,” just to name a few. He also found commercial success through a series of all-star collaborations.
On his 1997 album Deuces Wild, he enlisted artists such as Van Morrison, Bonnie Raitt, Eric Clapton, Joe Cocker, The Rolling Stones and Willie Nelson. In 2000, he collaborated again with Eric Clapton for the Grammy winning album Riding with the King. He has released 43 studio albums and 16 live albums and a number of compilations.
AllMusic recognized B.B as “the single most important electric guitarist of the last half of the 20th century.” He was inducted into the Blues Hall of Fame in 1980 and the Rock and Roll Hall of Fame in 1987. He is one of he most influential blues musicians of all time. He is also ranked at No. 6 in Rolling Stone magazine’s 100 Greatest Guitarists of All Time. Over the course of his 60 year-plus career, he has received 18 Grammy awards, the Presidential Medal of Freedom and the Kennedy Center Honors, among many other awards.
King died in May of 2015 at the age of 89. His body was flown to Memphis and a funeral procession went down Beale Street with thousands of people watching and a brass marching band playing “When the Saints Go Marching In.” His body was then driven down Route 61 to his hometown of Indianola, Mississippi where he was laid to rest.
Just prior to Thanksgiving, the Disco Biscuits wrapped up their final tour of 2024, with shows in Rome and Buffalo. Over the next few weeks, the band enters the studio and have four final shows to close 2024 out.
photo by Pete Mason
Held at the Capitol Theatre in Rome, situated just west of Utica, the venue has been open since 1928, originally part of a chain of movie houses and screening films through 1974. The venue reopened in 1985 as the Capitol Civic Center, when live music and theatrical performances were offered in addition to classic films.
The show in Rome – a first for the band, and at the ‘other’ Capitol Theatre – was a high point from the start, with a 27-minute “Magellan” opening the show. Feeling rarer these days, “Magellan” hit home with the veteran fans in the audience, many of whom made the Upstate trio of shows a weekend adventure.
With the energy shifting out of “Cyclone,” a peak jam of the first set arose in “Times Square,” before passing the torch to “Bombs,” a once-shelved fan favorite that was brought back in May 2021 thanks to a fan request. “Shelby Rose” rounded out the first frame of music, which was full of songs for the older heads in attendance this evening.
Set 2 opened with the slow burn of “Fire Will Exchange,” setting forth a 95-minute torrent of music. This opening 25-minute version was patient as it built and ended up giving way to a full version of “Shem-Rah Boo” that clocked in at over a half-hour, “No Rain” tease and all.
Less than a month old, the Disco Biscuits version of Richard Strauss’ “Also Sprach Zarathrusta” is a hybrid of “Orch Theme” and Phish’s own version, “2001,” but this industrial version of “Also Sprach Zarathrusta” is nothing like what Strauss or your average Phish fan would expect. Darker, heavier and exploring the darkness between ascendent peaks, this “ASZ” in the industrial/classical crossover we didn’t know we needed.
Sandwiched in between “ASZ” were “No Recollection” and “Catalyst,” each keeping the fire burning in the set, and bringing it to an exultant finish. And with under 10 minutes left to wrap the show up, the band opted to stay old school with “Rock Candy” in the encore slot, and the show ended promptly before 11pm.
Disco Biscuits – Rome Capitol Theatre – Rome, NY – Friday, November 22, 2024
Soundcheck: The Very Moon -> Sirens Sing
Set 1: Magellan > Cyclone > Times Square > Bombs > Shelby Rose
Set 2: Fire Will Exchange > Shem-Rah Boo1 > Also Sprach Zarathustra > No Recollection> Catalyst > Also Sprach Zarathustra
Encore: Rock Candy 1 with âNo Rainâ (Blind Melon) teases
While NYS Music was not on hand for the Buffalo shows the next two nights, the two shows are each an adventure in their own right. Saturday night’s show features a reworked “Sirens Sing” (formerly, “The Champions”) with an inverted “Munchkin Invasion” in the second set.
Disco Biscuits – The Town Ballroom – Buffalo, NY – Saturday, November 23, 2024
Soundcheck: Little Lai, Rainbow Song, Frog Legs
Set 1: House Dog Party Favor > Grass Is Green 1 > Sirens Sing 2 > Falling 3 > House Dog Party Favor
Set 2: M.E.M.P.H.I.S. 4 > Trap Door 5 > Pimp Blue Rikki > Munchkin Invasion 1 > Floes
Sunday’s show was comprised of songs written by Joey Friedman over the last two years, in honor of his 500th show. The full show gives a faint picture of what to expect from the Biscuits time in the studio this month – get a full breakdown here via Relix.
2024 is nearly in the books and the Disco Biscuits barnburner of a tour is for now, to be continued.
Disco Biscuits – The Town Ballroom – Buffalo, NY – Sunday, November 24, 2024
Soundcheck: Park Ave -> Running, Confrontation
Set 1: To Be Continued > Ring the Doorbell Twice > Country Royale 1 > One Chance To Save The World > Risky Business 1 > Another Plan of Attack 2
Set 2: The Wormhole > Twisted in the Road 3 > Dino Baby > Another Plan of Attack 2 > One Chance To Save The World > Photograph > To Be Continued
Encore: Buy The Time > Ring the Doorbell Twice 1 1st time inverted 2 dyslexic (ending first, then beginning) 3 inverted
Originally profiled in 2018, we take a look at the Syracuse Fight Song “Down the Field,” its origins and place in Syracuse University history.
The month of March signifies the end of winter, and the hope that Spring brings. It reintroduces the world to sunlight after 6 pm, walking around in a single layer of clothing, and the occasional bunny in your backyard. While some people look forward to eating lamb on Easter Sunday or drinking their weight in green beer on St. Patrick’s Day, there is only one thing on the minds of people from Syracuse during the month of March: Basketball.
The 2018 NCAA Tournament is set to begin, and features Syracuse playing Arizona State in a First Four Midwest Region game at 9:10 pm on March 14 in Dayton, Ohio. There you will hear buzzers buzzing, fans cheering, and the infamous Syracuse fight song ‘Down the Field’ played by the Sour Sitrus Society.
Originally written in 1914 by Ralph Murphy (Class of 1916) and composed by Harold Lewis (Class of 1915), Syracuse University’s fight song has stood the test of time.It’s used as a device to pump up the crowd and draw support for the team, and something every Syracuse University student and alumni has etched in their brains for life.
Katie Canete, Drum Major of the Syracuse University Marching Band (SUMB) in 2017, was one of three who conducted/lead the band through every rehearsal and performance. The marching band consists of approximately 200 members, and is one of the oldest collegiate bands in the nation.
“’’Down the Field,’ or better known as Syracuse University’s fight song, is played and sung by the Syracuse University Marching Band at every home football game and Sour Sitrus Society at every home basketball game,” Canete said. “A lot of the fans don’t know all of the words, but the entire crowd always claps along once they hear the tune! It’s infectious!”
The SUMB’s home turf is the Carrier Dome, a domed sports stadium located on Syracuse University’s campus in the University Hill neighborhood. It holds nearly 50,000 people for football games, 35,446 for basketball games, and 56,250 for concerts. Additionally, the SUMB can be see playing local parades and other assorted performances throughout the year. As March Madness begins, you can be sure to hear the Rah! Rah! Rah’s of ‘Down the Field’ when Syracuse scores some big points.
‘Down the Field’ Lyrics
Down, down the field goes old Syracuse, Just see those backs hit the line and go thro’. Down, down the field they go marching, Fighting for the Orange staunch and true.
Rah! Rah! Rah!
Vict’ry’s in sight for old Syracuse, Each loyal son knows she ne’er more will lose, For we’ll fight, yes, we’ll fight, and with all our might For the glory of Syracuse.
Phish and the City of Albany have always had a cozy relationship. Going to back to 1989 and their first gig at Pauly’s Hotel, Phish has played a total of 17 shows in Albany during the course of their career. Shows in the early 90’s at the Palace Theatre helped establish their Upstate New York following. So it would come as no surprise when their 2003 20th Anniversary Tour rolled around that Albany would be one of the stops. This would only be a short, four-show trek around the Northeast, culminating in the “anniversary” of their first ever show on December 2.
The first two shows of the tour did not disappoint at all. Special guests like the Dude of Life popped out for the encore in Long Island on November 28, and Tom Marshall joined in on a classic version of “Buffalo Bill” the night before in Philadelphia. Now it was Albany’s turn and the band went even further back in their history for tonight’s guest selection.
Picking up on the palpable December pre-show energy, the show begins with a “Chalkdust Torture” that ramps it up even more. The entire Pepsi Arena crowd seems to join in on the “Can’t I live while I’m young” line. A blistering guitar solo from Trey Anastasio highlights this one before all is said and done. The “Stash” that comes next allows for plenty more audience participation. It eventually develops into a dark, yet fairly uneventful jam. A standard run-through of “Guyute” then follows, with the Albany crowd audibly loving every minute of this first set Phish staple.
An interesting little juxtaposition of both styles and song histories then proceeds this. The delicately mellow “Thunderhead,” from 2002’s Round Room release, makes a rare appearance. It’s only the sixth live performance ever of this song. And, to date, it has yet to be played a seventh time. After a tidy little jam that gradually picks up in intensity, “Sparkle” emerges. The high pace, first set romper dates all the way back to 1991 and has been played hundreds of times.
“Wolfman’s Brother” finally gives the band a chance to stretch things out a little again. Aside from “Stash,” this is really the only other true “jam” of the first set. Mike Gordon’s aggressive bass play provides the fuel for this one and dominates throughout. Gradually, the rest of the band seems to catch up in this “Wolfman’s” that easily glides past the 15-minute mark after an exuberant finish. “Good Times Bad Times” then puts a cap on a rockin’ but relatively quick first set. Perhaps this was done to allow some additional set break practice time with the still-TBA special guest.
Before said guest would be revealed, there was still some business to tend to first. Phish would grace the Albany crowd with three classic songs sure to make any show memorable. “Tweezer” promptly begins the second set. It sees more inspired guitar play from Anastasio atop the funky rhythms generated by Gordon and drummer Jon Fishman. The jam continues to ascend accordingly until about the ten-minute mark, when it takes an ambient hard left turn. The music continues to devolve and get spacey for another few minutes before Fishman slyly increases the tempo and the band is off and running with the instrumental “Also Sprach Zarathustra” aka the theme to Stanley Kubrick’s 2001: A Space Odyssey. Keyboardist Page McConnell takes control early on with his standard electric keyboard fills complementing Anastasio’s iconic guitar riffs.
Before the last remnant of “2001” even finish echoing, Phish launches into “You Enjoy Myself,” further delighting the Albany faithful with an epic start to the second set. There’s no issues with this version at all as the band rips through the composed sections with ease. Then another cohesive, psychedelic jam emerges with McConnell continuing to dazzle on piano.
Finally, it was time to reveal tonight’s special guest. It would be none other than Jeff Holdsworth, one of the original members and co-guitarists of Phish from its inception in 1983. Jeff would eventually leave the band before they gained much notoriety. Tonight marked the first time he played with Phish since a gig on May 17, 1986 at Goddard College in Plainfield, VT. As befitting for an anniversary run, they would play a few of the songs he wrote that are still regular fixtures at Phish shows to this day.
The first of these was “Camel Walk.” Holdsworth seems to have a little issue with the lyrics early on, but manages to keep it together for this longtime favorite. Trey then gives him proper thanks for writing that song as well as the next one, “Possum.” Despite some feedback issues, they manage to maneuver through this Phish classic as well, with Anastasio doing a lot of the heavy lifting.
Jeff stays on stage and even takes lead vocals on the first song Phish ever played as a band, a cover of The Hollies’ “Long Cool Woman In A Black Dress.” Understandably, he seems to be a little more comfortable singing on this one than the Phish songs he hadn’t played in more than 17 years.
“Run Like An Antelope” would then go on to close the second set. While Holdsworth would remain on stage to play guitar, he must have been turned down fairly low in the mix. This also gave Phish one last chance to surprise the Albany crowd. Longtime lyricist and friend of the band Tom Marshall emerged to deliver the song-ending vocals. One last cover, Jimi Hendrix’s “Fire,” would complete one of the more interesting and memorable Phish show in Albany’s rich history.
Check out the full audio below, or go here for track-by-track selections.
Phish – December 1, 2003 – Pepsi Arena – Albany, NY
Set 1: Chalkdust Torture, Stash, Guyute, Thunderhead -> Sparkle, Wolfman’s Brother -> Good Times Bad Times
Set 2: Tweezer -> Also Sprach Zarathustra > You Enjoy Myself, Camel Walk, Possum, Long Cool Woman in a Black Dress > Run Like an Antelope
Encore: Fire
Note – Camel Walk through Fire with Jeff Holdsworth on guitar
In the most recent episode of Troy Story: A Podcast for the Collar City, Times Union Sports Columnist and writer Joyce Bassett revisits her first Bruce Springsteen show. The journalist revisits their experience at the RPI Houston Field House on November 12, 1978, when Bruce Springsteen and the E Street Band performed for lucky Trojans and Engineers.
The concert was part of the band’s Darkness on the Edge of Town tour which crisscrossed the United States and Canada between May 1978 and January 1979. In the audience that night was 16-year-old Joyce Bassett—now an award-winning sports columnist and writer with the Times Union—who saw Bruce in concert for the very first time at the RPI Field House in Troy, just a mile away from her house in the city’s Frear Park neighborhood.
The show started with seats in the back rows but by the night’s end, Joyce was on her friend Patty’s shoulders in front of the stage, reaching out to The Boss.
During the episode, Joyce reflects on her memories of the Troy show and setlist, her first date with now-husband Mike seeing Springsteen in Buffalo in 1980, meeting Bruce in 2016, her favorite Springsteen show of the 40 she’s attended during the last 46 years, and how the RPI concert sparked a lifelong love of Springsteen.
The episode also features audio from the Troy concert, available via a bootleg recording called “Prove It All Night: Bruce Springsteen Live in Troy,” courtesy of JEMS—a tapers collective that began in the early 1970s responsible for this and countless other bootleg recordings of shows that have circulated by traders and later via the internet.
Troy Story: A Podcast for the Collar City, is a monthly oral history podcast produced and hosted by John Salka, who has served as Communications Director for the city of Troy and advisor for two mayors. Salka brings a firsthand perspective to the recent history of Troy amid developing strong relationships with community leaders, business owners, and residents.
The next multi-episode chapter looks back at Metallica’s first and only show in the Collar City when the band’s Damaged Justice tour took over the RPI Houston Field House on March 15, 1989. Episodes will feature world renowned drummer and Capital Region resident Jason Bittner (Shadows Fall, Category 7), former RPI student and concert security staff Eric Haskins, and then-high school student and Metallica fan Kevin O’Connell. All three attended the show that night in 1989 and share their recollections of the gig.
The full episode covering Bruce Springsteen’s performance at RPI in Troy is available on Apple Podcasts, Spotify, YouTube, and all major podcast platforms.
Bruce Springsteen and the E Street Band – RPI, Houston Field House, Troy – Sunday, November 12, 1978
Setlist: High School Confidential, Badlands, Streets Of Fire, Spirit In The Night, Darkness On The Edge Of Town, Independence Day, The Promised Land, Prove It All Night, Racing In The Street, Thunder Road, Jungleland, Rave On, Fire, Candy’s Room, Because The Night, Point Blank, Mona > She’s The One, Backstreets, Rosalita (Come Out Tonight), 4th Of July, Asbury Park (Sandy), Born To Run, Detroit Medley, Quarter To Three
On Monday, November 18, the New York City Council passed a resolution designating every November 30 as “Shirley Chisholm Day,” honoring the longtime Bedford-Stuyvesant resident, political pioneer, as well as the first Black woman elected to Congress and first woman to run for President.
Chisholm speaking at the 1972 Decmocratic National Convention – photo via Library of Congress
The honor arrives a week that would have ended with Chisholm’s 100th birthday, on Saturday, November 30.
“This legislation is … an affirmation of the contribution of Shirley Anita Chisholm, who unlocked and opened doors for generations of political leaders who were excluded simply for being Black.”
Brooklyn Councilmember Farah Louis – regarding “Shirley Chisholm Day”
Earlier this year, breakout vocalist Samara Joy released an original single, “Why I’m Here,” a song so triumphant it was chosen for the Netflix film Shirley, starring Oscar winner Regina King as the title character.
Co-written with GRAMMY winner PJ Morton, “Why I’m Here” captures the inspiring drive of Chisholm. with Joy noting, “For me, this song was a representation of how Shirley Chisholm’s commitment to pursuing her purpose has affected us all, whether we realize it or not.”
The song further establishes Samara Joy as a voice to be reckoned with, both in the world of jazz and beyond. Likewise, Chisholm was a force to be reckoned with, and a passionate leader for decades.
Born in 1924 in Brooklyn as Shirley Anita St. Hill, Chisholm noted in her 1970 memoir “Unbought and Unbossed” that she was taken to Barbados at an early age to live with her grandmother, later returning to Brooklyn when she was 10. There, she lived with her parents and siblings in an “unheated, four-room, cold-water railroad flat” in Brownsville, a mostly-Jewish neighborhood at the time.
Chisholm graduated from Brooklyn College and in 1951 received a master’s degree in early childhood education from Columbia University before eventually joining the League of Women Voters and the NAACP. In 1964, she became the second African American in the New York State Legislature and in 1968 she won a seat in Congress, advocating for early childhood education, among other causes.
Chisholm represented Brooklyn’s 12th Congressional District, which covered much of Bed-Stuy, for seven terms from 1969 to 1983. In recent years her legacy has been celebrated with various honors, including a posthumous Presidential Medal of Freedom in 2015 and a statue in Prospect Park approved by city officials.
In the lead up to her run for the Democratic nomination for president in 1970, Chisholm argued, “Our representative democracy is not working, because the Congress that is supposed to represent the voters does not respond to their needs. I believe the chief reason for this is that it is ruled by a small group of old men.” Chisholm’s words from more than a half-century ago echo loudly today in the wake of the most recent presidential election.
The lyrics to “Why I’m Here” follow the course of Chisholm’s trailblazing career, with the chorus, “An easy road was never promised, and so much has been from taken from us, but I won’t stop no matter how much I have to go through, I won’t shed one tear, I know why I’m here,” solidifying the icon’s tenacity in the face of oppression, racism and sexism.
Photo by Ambe J. Williams
In February 2024 at the 66th GRAMMY Awards, Samara Joy added to her accolades by taking home Best Jazz Performance for her single “Tight.” Self-produced, the winner features Joy with her working band – pianist Luther Allison, bassist Mikey Migliore and drummer Evan Sherman – recorded at the legendary Electric Lady Studios in NYC.
Samara Joy is currently on tour, with a few upcoming New york performances, before heading to Europe to start 2025.
December 13 – United Palace, New York, NY
Decemeber 16 – Hart Theatre at The Egg, Albany, NY
December 17 – “A Joyful Holiday” Feat. The McLendon Family – UB Center for the Arts – Mainstage Theatre, Buffalo, NY
Shirleycan be seen on Netflix, starring Regina King as Chisholm and directed by Oscar winner John Ridley (“12 Years a Slave,” “Jimi: All Is By My Side”). Shirley follows Chisholm’s 1972 presidential campaign and the impact she left on modern culture.
Samara Joy “Why I’m Here” Lyrics Fight! Fight! Bending but never broken Knocked down but I keep going I’ve decided to stand my ground I will not be moved And I have no fear I know why I’m here
An easy road was never promised And so much has been taken from us But I won’t stop no matter how much I have to go through I won’t shed one tear I know why I’m here
The future is in our hands Now’s the time to stand Together we’ll pave the way Those who walk by faith With their heads held high Have the power to change the world
Bending but I can’t be broken I’ve been knocked down But I choose to keep going I’ve decided to stand my ground I will not be moved And I have no fear So don’t you shed one tear Cause I know why I’m here
Albany-based analog funk band Oobleck has been in Capital Region faces with their funk for 16 years and they don’t plan to quit anytime soon.
Oobleck, founded in 2008, is an original, analog funk band out of the Capital Region. Known regionally for inciting dance parties wherever they land, they boast a big, in your face sound inspired by New Orleans street music. It’s a melee of horns, super heavy drums and bass and your favorite type of chunky guitar riffing that leaves your bum shaking and your face grinning.
Bass driven. Horn laden. Layered textures and dark melodies. Funk to fuel your soul. The band is made up of five members – Sam Parker on guitar, Kevin Van Genechten on drums, Scott Vorwald on tenor sax, Audrey Van Genechten on trumpet, and Josh Radigan on bass. The band meshes effortlessly to create sound that is found nowhere else in the Capital Region.
Oobleck has four albums to date – Tell Your Mom I Said Hi (2012), Rise & Shine (2013), Don’t Mistake the Barn for the Basement (2015) and their most recent Down the Rabbit Hole which released January of this year. Down the Rabbit Hole contains 11 jaw-dropping tracks that are guaranteed to immerse the listener in something fun.
The band just finished recording a new single “Purse Candy” and are hoping to release in January, with an accompanying video filmed during the recording session that is also slated to release shortly. For the LaMP show at Lark Hall, the band worked with Frankie Cavone of Mirth Films and just released a multi-cam video of the full set which can be seen below.
On November 8, the band supported LaMP on their tour stop through Albany at Lark Hall. The band has only one upcoming show left in 2024.
At 8:00pm on December 6 at UNIHOG in Hoosick Falls, Oobleck hits the stage with rock & soul group Tops of Trees. Together, these two musically powerful groups create explosively funky grooves that’ll have you moving well into the night.
Oobleck has shows in 2025 with the Sugar Hold scheduled for January 10 at Ophelia’s in Albany to kick the New Year off with a dose of super funk. Oobleck plans to be back at The Eleven (Lark Hall’s downstairs bar) in Albany in early April, and at Single Cut Brewery in Clifton Park in the spring as well. The group is working on getting back to Vermont and potentially hitting up Ithaca for the first time later this spring.
For more information on Oobleck’s upcoming shows and to hear some of their tunes, click here.
With Phil Lentz Presents… Vol. II, New York City-based jazz composer and pianist Phil Lentz returns with his signature sound, crafting a genre-blending album with new emotional heights and technical finesse.
Building on the warm reception of his 2022 debut, Lentz delivers a fresh, diverse, and uplifting listening experience that feels both timeless and unmistakably current.
Featuring standout tracks like “Play Your Melody,” “I Remember the Early Days,” and “Bebopping Along,” the album weaves jazz, pop, folk, and classical influences into a seamless tapestry, making it an instant favorite for music lovers of all backgrounds. The album’s lush arrangements blend alto saxophones, violins, and rich vocal textures, creating a soundscape that invites listeners to lose themselves in a melodic journey filled with nostalgia, joy, and introspection.
“This time, I wanted to step beyond the boundaries of traditional jazz,” Lentz shares. “Drawing in elements of folk and classical felt natural, adding layers of texture and depth to the compositions. Each track aims to capture those fleeting moments of peace and joy we all seek.”
Phil Lentz Presents… Vol. II is brought to life by a talented ensemble, including Dennis Harte on guitar, Wolfgang Lugomarsini on bass, Dave Young on drums, and features the soulful sounds of Red Heller and Richard Philbin on alto sax, with Bob Cohen’s violin adding a dynamic flair. Produced by Dennis Harte, recorded at Studio Mozart in New Jersey, and expertly mastered by Tom Hutten at Bionic Mastering, the album offers a finely crafted and resonant listening experience.
Released on November 22 on CD and across all major digital platforms, Vol. II is more than just a follow-up, but rather a testament to Phil Lentz’s artistic growth and his boundless vision for contemporary jazz.
On a fateful Thanksgiving Day in 1965 in a Norman Rockwell town in Massachusetts, events began to unfold which would alter the life course of Arlo Guthrie in unexpected ways. He documented his story in a finger-picked folk song with the well-known chorus, “You can get anything you want at Alice’s Restaurant.”
What starts as a kind-hearted gesture to take out the garbage for friends Alice and Ray on Thanksgiving turns into a humorous romp through legal and bureaucratic systems, with a punchline about being deemed ineligible for the Vietnam War draft. Lasting in excess of 18 minutes, “Alice’s Restaurant Massacree” filled up an entire side of Guthrie’s first album. He never expected it to gain any airplay. However, in the politically-charged climate of late 60’s and early 70’s, the song became an anthem for war draftees and protesters.
The 1969 film Alice’s Restaurant features some of the people who were involved in the events, including a cameo by Alice Brock, who is immortalized in the song’s title. Radio stations began to play the song every year on Thanksgiving, a tradition that continues half a century later.
Today, Guthrie operates the Guthrie Center, which promotes cultural and spiritual experiences. The Institute is located at the church featured in the iconic song, and remains a pilgrimage destination for fans around the world.
Syracuse-based multi-instrumentalist and singer-songwriter Jess Novak has announced her newest release WOMAN, slated for December.
With a sharp electric fiddle, impactful vocals, and an enrapturing sound, Jess Novak is a musical force to be reckoned with. Having performed on stages from California to the likes of New York City’s own The Cutting Room in solo, duo, or band formation, Novak has played over 150 shows each year and has an impressive count of twelve original album releases under her belt- and a published book to boot.
In addition to her own musical endeavors, Novak is the founder and presenter of the F.I.R.E. Festival, an acronym for females inspire, rock, empower. Hosted for the first time in 2022, the annual F.I.R.E. festival continues to highlight and empower female artists, musicians, and business owners across the industry.
Returning for her 13th release since debuting as an artist in 2013, Jess has announced the WOMAN EP slated for release this December. A call to action for women as well as a celebration of those who take a stand in the face of seemingly daunting odds, WOMAN will feature two original songs in addition to a surprise cover of a Taylor Swift track.
Made in partnership with the producer and engineer behind her last EP Sonrise, Justin Spaulding, WOMAN is a promising fan to the already burning flame that is female empowerment.
“I felt like I needed to capture the spirit of the [F.I.R.E. Festival] in a song, specifically combining the words ‘fire’ and ‘woman.’ I did in this song, but didn’t expect the timing to be so meaningful. I want to give faith and inspiration to women who are standing up for themselves and others all the time.”
– Jess Novak
Jess Novak has also teased a music video publication coinciding with the release of WOMAN. While no further information is available on this exciting development, you can keep up to date on all of the latest updates on WOMAN and beyond on Jess’ official website here.
