New York City is famously known as the place where dreams are made. Countless musicians from Jay-Z to Billy Joel have risen from the concrete jungle and in turn paid homage to the city in their respective music. Their songs like “New York State of Mind” and “Empire State of Mind” solidify the iconography, nostalgia and incomparable energy of NYC.
But not all musicians have the same experience. Jim Croce and his song “New York’s Not My Home” is the antithesis of the other New York classics. A soft, folky, acoustic ballad, Croce expresses disillusionment with the famed city and the need to get out.
“New York’s Not My Home” was released in 1972, the third track on Croce’s third studio album You Don’t Mess Around With Jim. This was his first album recorded with ABC Records and featured many of the tunes that skyrocketed him into the public eye, including “Time in a Bottle.”
“You Don’t Mess Around With Jim” album art
Croce grew up in South Philadelphia, Pennsylvania. He spent many of his formative years there, and went on to attend college at Villanova University in 1961. Croce would eventually travel far and wide but he continually was drawn back to the state of Pennsylvania his entire life. As such, he never had much attachment to New York City. In fact, he only lived there for a short period of time, in 1968. Croce moved there with his wife and fellow musician Ingrid Croce, when he was 30-years-old. With a record deal in hand, they hoped the city would lead to their big break. However, after becoming disenchanted with both the city and the music industry, the couple moved to the countryside back in Pennsylvania.
According to Ingrid, the idea for this song came as they were leaving New York and driving to their new home. As the tale goes, the couple spent the night sleeping in their car in a parking lot in New Jersey. The sight of the New York City skyline from where they were parked gave Jim the idea for the song.
In the first verse, Croce paints the scene and begins with the inkling that something here just isn’t working.
Things were spinnin’ ’round me
And all my thoughts were cloudy
And I had begun to doubt all the things that were me
Been in so many places, you know I’ve run so many races
I looked into the empty faces of the people of the night
Somethin’ is just not right
As the lyrics suggest Croce worked many jobs and traveled many places in his lifetime. Croce worked on construction crews and taught guitar at a summer camp. He joined the U.S. Army National Guard for a brief stint. He worked as a teacher at a junior high school and he also did a foreign exchange program in Africa and the Middle East. In most cases, Pennsylvania always pulled Croce back. In this respect, New York was never really his home and never a place he felt deeply connected with.
The chorus repeats Croce’s need to leave New York City and find a new place.
‘Cause I know that I’ve gotta get outta here
I’m so alone
Don’t you know that I gotta get outta here
‘Cause New York’s not my home
The second verse gets much more literal with Croce as he delves into his reasons for wanting to leave New York. While New York is a place where dreams are conventionally made, Croce never experienced commercial success there and instead became fed up with the rat race of the industry. Croce had secured a deal with Capitol Records but the contract heavily favored the record company and there were delays with the recording process. The couple could barely afford to live in NYC as a result, so they headed for the countryside in Pennsylvania, going as far as to sell their guitars before making the move.
Though all the streets are crowded
There’s somethin’ strange about it
I lived there ’bout a year and I never once felt at home
I thought I’d make the big time
I learned a lot of lessons awfully quick
And now I’m tellin’ you that they were not the nice kind
It has been so long since I have felt fine
But even in Pennsylvania, Croce continued to write and it was here that he penned perhaps his most famous tune “Time in a Bottle.” That song, as well as “New York’s Not My Home,” were both featured on You Don’t Mess Around With Jim. The album saw immediate success with a string of hit songs and throughout 1972-1973 Croce furiously toured the country. While commercial success didn’t come in New York, Croce did things his way and it paid off.
Towards the end of “New York’s Not My Home”, Croce fittingly ruminates on New York being someone else’s fantasy. New York may be where some dreams are made, but as Croce proves, it’s certainly not where all of them are.
“The dream’s not mine anyway…So I’m going back to find…Some peace of mind in San Francisco.”
Little Georgie and The Shuffling Hungarians have quite the reputation after winning multiple SAMMY Awards for their exceptional Rock and Soul Orchestra performances. Seeing that the music industry was always evolving, Little Georgie made the decision to invest in “The Womb Room of Hungaria,” a content production studio. Now, he has the freedom to navigate the twists and turns of the music scene with a whole new level of creativity.
George Rossi, also known as “Little Georgie,” saw some major changes brewing in the music scene. As the 17-piece orchestra struggled to survive economic ups and downs, it became clear that the game was changing. The once-thriving market for physical compact discs was gone and live performances were becoming less financially viable. With the music industry constantly changing, Little Georgie had to either adapt or leave.
This incredible global digital premiere will launch a groundbreaking sound experience that will finish with “The Compendium of Unruly Caterwauling.” It’s more than a sound journey; it’s the kind of ride that keeps you humming long after it ends. A 2024 full of musical magic is coming.
With support from Queen Bee Brand WMG, the comeback is available on Spotify, Amazon, Tidal, YouTube, and iTunes and offers a new take on their well-known sound. With this song, they make a daring comeback to the music industry and further cement their lasting impact. The return of the funk is greater than before.
Fresh off the band’s highest-profile performance to date at the inaugural Dead Ahead festival, the Connecticut-born acoustic three-piece Orebolo settled into the Capitol Theatre in Port Chester for three laid-back nights of loose acoustic jamming on February 8, 9 and 10.
photo by Joe Madonna
If you unwittingly attended an Orebolo show on a whim, learning this was the band’s 17th performance could catch you off guard.
From recent sit-ins from Bob Weir and Sturgill Simpson and a line of eager fans who arrived hours early for a coveted rail spot or to purchase the radiant hand-carved AJ Masthay linocut poster, it wouldn’t be misplaced to assume Orebolo is a nationally touring act in their own right. However, it is impossible not to mention Rick Mitarotonda (vocals, guitar), Peter Anspach (vocals, guitar), and Jeff Arevalo (upright bass, backup vocal) membership in the rising star jam band Goose that has made this success possible.
With hairstyles that could be fresh from an “Almost Famous” casting call, Anspach, Arevalo, and Mitarotonda held audiences captivated across three days with six sets mixed of beloved originals and debuts for the group that was free from repeats across the weekend run.
The trio was unafraid of embracing their loyal flock of fans. During the first set of the run, Anspach called attention to the night’s guest-of-honor in the audience, the newly anointed Goose drummer Cotter Ellis. When Ellis was quickly met with deep-throated chants of “Goooose,” Anspach quickly reassured Ellis with the band’s usual quip that “they’re just saying Goose.”
While the crowd was certainly there as Goose fans, and more than a few behaved as if they were seeing an electric five-piece rock show not an acoustic trio, Orebolo’s performance left everyone present thrilled with six standout sets. From the songs on Thursday evening the unofficial theme for the weekend was clear – these shows would be packed with Goose originals and a number of expertly selected and reimagined covers.
After trading vocals for the opening two songs, the group debuted Bob Dylan’s “Don’t Think Twice, It’s All Right”, which featured a glistening vocal from Mitarotonda followed by an energetic “Turbulence & The Night Rays,” and the debut of two more covers that show the group’s own eclectic musical tastes, Isey Juber’s 2023 “No California” and Chick Corea’s instrumental “Spain”. The second set would see the tempo pick up through a number of Goose originals, as well as a heart-wrenching rendition of Tears for Fears “Mad World” and as a reward for the Capitol Theatre’s usual Deadhead denizens, a rendition of “New Speedway Boogie”.
photo by Scott Harris
With Mitarotonda and Anspach playing seated, Arevalo sipping from a glass of red wine, and the stage artfully set with an array of antique studio lighting, the atmosphere of the three shows evoked the theatrical origins of the intimate 1800-capacity venue that has become so known as a palace of rock and roll. That isn’t to say the audience behaved in such a way, with the band frequently chiding overly talkative attendees over the weekend.
Friday’s show kicked off with a tremendous performance opening with a dual vocal on “Mr. Action”, followed by another nod to the Capitol Theatre’s Grateful Dead adjacent roots with a jangling cover of the band’s version of the traditional “Jack-A-Roe.” After a driving first acoustic performance of Goose’s “Dr. Darkness,” the band turned the folk up further with an uptempo country-hoe-down inspired performance of “Flodown” and a mournful rendition of Dave Van Ronk’s traditional “Hang Me, Oh Hang Me”. The covers kept coming with a debut of Elvis Presley’s “Don’t be Cruel” that put any silver screen rendition of the King’s crooning to shame.
The first set would close with a joyous rendition of “Animal” that ran through intensity levels bringing the crowd from rapt silence to shout-along. The echo from the crowd would continue into second set opening “Hungersite.” The fast tempo version of “Echo of a Rose” would have a red-wine sipping Arevalo hitting a series of bass-notes that reverberated through the theater. A bust-out of Sharon Van Etten’s “Love More” simmered the crowd to their quietest all night, before returning to a rollicking sing-along with the Dead’s “Tennessee Jed.” The set closed with Goose originals “This Old Sea” and fan favorite “Empress Of Organos.” A howling encore of “Silver Rising” brought the crowd to a tumultuous roar, sending attendees home energized for the final night’s show.
Saturday would have another dual vocal to open with the group debuting the New Orleans standard “Liza Jane” to the crowd’s delight. After a joyous rendition of Goose’s “The Whales” Orebolo took a first attempt at “Atlas Dogs” that lead into a performance of “California Magic” which featured such strong harmonization from Mitarotonda and Anspach you could be forgiven for assuming this was a Crosby, Stills and Nash cover. The band has been enjoying this run of shows, it’s clear from the crowd banter and how intentional the playing is. Mitarotonda couldn’t help himself but to tease the iconic “Secret Agent Man” guitar riff closing “All I Need.”
Anspach would take the lead vocal for “Moonrise” before Mitarotonda tore through “I’m Writing A Novel,” a song that has become a staple of the group since they performed it with the author, Father John Misty, at Radio City Music Hall in 2022. The show would take a somber turn for Tom Waits’ “Christmas Card From A Hooker In Minneapolis” which gave the audience a much-needed tempo shift before bursting into a version of “Rockdale” that brought the whole room to their feet singing along to one of the group’s most well-known tracks.
The weekend’s final set would open with a rhythmic “Thatch” that highlighted how strong the group’s harmonization has gotten with time. For fans who struggle with misheard lyrics during intense Goose jamming, it is worth noting that Orebolo shows provide a much different experience (it is “Milo believe” not “my love for thee” ). The crowd hit pin-drop silence during a deeply emotional debut of Radiohead’s “True Love Waits,” which gave Arevalo a chance to show his versatility on the standup bass and skill with the bow. The band returned to the King and got the crowd dancing with a performance of 1957’s “(Marie’s the Name) His Latest Flame” harkening back to Presley’s rockabilly roots.
To close out the show, in a fitting tribute to the venue, Orebolo bookended their originals with songs from the Grateful Dead. First taking a turn toward syncopated harmonies in “Dripfield,” before performing what a 50-year-Jerry-show-veteran called “one of the best” renditions of “Ship of Fools” they had heard. The set ended with a pounding Madhuvan that was a showcase of the three musicians’ practiced comfort in an acoustic setting. Mitarotonda, Anspach, and Arevalo would return to the stage to express gratitude to fans for supporting the milestone three-night sold-out set of shows and individually thank each member of the Orebolo crew. The encore performance of “U.S. Blues” brought a truly original take to the Grateful Dead tune packed with harmonization that couldn’t hold back a crowd sing-along.
While Orebolo has played fewer than two dozen shows publicly, it is clear that this trio has spent many more hours crafting a sound distinctly their own, no matter the material. Fans flocked to Orebolo shows for an intimate performance from a group of musicians whose star is on the rise, but they came back night after night because of the unique expression from this talented group of musicians. While Goose is taking flight, here’s hoping we will have more opportunities for these intimate acoustic moments.
Orebolo’s next show will be in May at Solshine: A Music & Arts Reverie. Goose will be on tour this summer, and will be performing at Forest Hills Stadium on June 29.
Orebolo Setlists, February 8, 9, 10
Setlists graciously provided by the team at ElGoose.net.
February 8, 2024 Orebolo, The Capitol Theatre, Port Chester, NY, USA
Set 1: Lead the Way, Elizabeth, Don’t Think Twice, It’s Alright[1], Turbulence & The Night Rays, Not Alone[2], No California[3], Spain[4], Dim Lights, So Ready Set 2: Turned Clouds, Arrow[5] > Where Is My Wild Rose[6], Hot Tea, Mad World[7], New Speedway Boogie[8], A Western Sun, Arcadia Encore: Arise Coach’s Notes: [1] Bob Dylan. FTP. [2] FTP as Orebolo. [3] Ilsey Juber. FTP. [4] Chick Corea. FTP as Orebolo. [5] Unfinished. [6] Chris Thompson. FTP. [7] Tears For Fears. [8] Grateful Dead.
February 9, 2024 Orebolo, The Capitol Theatre, Port Chester, NY, USA
Set 1: Mr. Action, Jack-A-Roe[1], Dr. Darkness[2], Flodown, Hang Me, Oh Hang Me[3], Creatures[4], Don’t Be Cruel[5], Louise[6], It Burns Within, Animal Set 2: Hungersite, Red Bird, Seekers On The Ridge Part I > Seekers On The Ridge Part II, Echo of a Rose[7], Love More[8], Tennessee Jed[9], This Old Sea, The Empress Of Organos Encore: Silver Rising Coach’s Notes: [1] Traditional. [2] FTP as Orebolo. [3] Dave Van Ronk. [4] Unfinished. [5] Elvis Presley. FTP as Orebolo. [6] Bonnie Raitt. [7] Fast version. [8] Sharon Van Etten. FTP. [9] Grateful Dead.
February 10, 2024 Orebolo, The Capitol Theatre, Port Chester, NY, USA
Set 1: Liza Jane[1], The Whales, Atlas Dogs[2] > California Magic, All I Need[3], Moonrise, I’m Writing A Novel[4], Christmas Card From A Hooker In Minneapolis[5], Rockdale Set 2: Thatch, True Love Waits[6], Man of Constant Sorrow[7], Lead Up, (Marie’s The Name) His Latest Flame[8], Everything Must Go, Dripfield, Ship Of Fools[9], Madhuvan Encore: U.S. Blues Coach’s Notes:
[1] Traditional. FTP as Orebolo. [2] FTP as Orebolo. [3] Slow, melodic version. With Secret Agent Man tease. [4] Father John Misty. [5] Tom Waits. [6] Radiohead. FTP. [7] Dick Burnett. FTP. [8] Elvis Presley. [9] Grateful Dead.
Bassekou Kouyate is a musician from Mali, Africa and a world-renowned ngoni player. The ngoni is an ancient west-African instrument similar to a guitar or lute. Bassekou is widely regarded as a true master of the instrument. Bassekou Kouyate plays in a band named, “Ngoni Ba.”
Bassekou Kouyate and Ngoni Ba will be playing at The Falcon in Marlboro on February 15, and Universal Preservation Hall in Saratoga Springs on February 16.
Musical influences
In 1982/83, Kouyate left his village and went to Bamako where he began playing with Toumani Diabate, a revered Malian kora player. Working with Toumani, he met many fine musicians.
In 1990 he was invited to a large gathering of banjo players in Tennessee. The trip was monumental as it marked not only his first time leaving Mali, but his first time visiting the U.S. The American banjo players wanted to know where the banjo came from. They knew that the ngoni is considered an ancestor of the banjo, which came from Africa, but wanted to meet someone from Africa who played it and could speak to its history.
It was at this gathering that he first met Taj Mahal and Bela Fleck. (seen below with Taj Mahal in New Orleans in 2023). There were more than 800 banjo & ngoni players together at this gathering. Taj sang the blues for him, and Bassekou returned the favor, which proved to be a very powerful experience for Bassekou and had a huge influence on his approach to playing.
Griots
https://www.youtube.com/watch?v=y3yYmFwGDywGriots speak at marriages, baptisms, funerals, referencing the history and deeds of the family in question. They are there to help resolve problems between husband and wife, or neighbors, or friends.
Nick Motto: What does it mean to you to be a griot?
Bassekou: Griots are the guardians of tradition in Bamana society in Mali. I am very proud to carry on that tradition.
Bassekou’s father, grandfather, and back hundreds of years, were all griots, and he knows that history well. In fact, His family was the first to be counsellors to the founding king of the Malian Empire, the famous Sundiata Keita, in the 12th century.
Ngoni Ba: One cannot become a griot, one has to be born into a griot family. The lineages of current griots in Mali can be traced back hundreds of years.
Bassekou: Being a griot is like being a mayor. People come and ask for help, and as a griot it is your duty to help them.
Collaborations
Bassekou loved playing music with his father and grandfather. Their notes were organically in synch with one another.
He also adored playing with Ali Farka Touré, who he says “had a good heart”.
Ali told him, “The black world now knows you are here,” urged him to develop his career and offered to help him find a good producer. He invited Bassekou to play on his Savane album after a mere 10 minutes of rehearsal, telling Bassekou that it was “his turn now”.
Bassekou highly values his collaboration with Béla Fleck who he says “plays fluidly and flawlessly”.
Taj Mahal is like family to Bassekou. And because Taj looks like Sekou Batourou Kouyate – a close relative who was an extraordinary ngoni and kora player – Bassekou sees him as a ‘brother’ from West African ancestry. “It’s as if we had the same mother, same father, …. He’s like a big brother to me and I love to collaborate with him.”
Bassekou Kouyate and his band Ngoni Ba
To find out more information about Bassekou Kouyate, his future shows and musical releases, visit his website here.
To purchase tickets for Bassekou and Ngoni Ba at Universal Preservation Hall in Saratoga Springs, visit here.
In the midst of a massive, 58-date trek across the United States, Go Ahead And Die (GAAD) brought their Unhealthy Mechanisms Tour 2024 to Dingbatz in Clifton, New Jersey this past Friday night. February 9.
Formed in Phoenix, Arizona in 2020, GAAD features iconic vocalist and guitarist Max Cavalera (co-founder of Sepultura) and his son, singer/guitarist, Igor Amadeus Cavelara. The thrash metal outfit is rounded out by Johnny Valles (Black Braid, Healing Magic) behind the kit and touring bassist Jackie Cruz, best known for her work with Jade Helm.
Max Cavalera of GAAD | Photo Credit: Michael Dinger
Touring in support of their sophomore album (Unhealthy Mechanisms, Nuclear Blast Records) released in October 2023, GAAD were supported by Bodybox, a slam death metal foursome hailing from Orlando, Florida.
After a brief delay due to a technical difficulty with the sound system, GAAD took the stage at 10:10 pm and got right down to business. A circle mosh pit of already sweaty bodies – a direct result of Bodybox’s preceding performance – quickly re-formed in front of the intimate stage, as less brave souls seeking shelter (present company included!) scurried to the sidelines.
Igor Amadeus Cavalera of GAAD | Photo Credit: Michael Dinger
The 15 song, 70–minute set of punk-like infused energy was highlighted by aggressive lyrics, frenetic guitar riffs, distorted bass lines and smash-mouth drumming from select Unhealthy Mechanisms tracks (ten in total), with five more lifted from their self-titled, debut studio album released in 2021.
Watch GAAD perform their opening two numbers at Dingbatz, “Desert Carnage” and “Split Scalp,” below.
Go Ahead And Die Setlist: Desert Carnage > Split Scalp > Tumors > Truckload Full of Bodies > Toxic Freedom > No Easy Way Out > M.D.A. (Most Dangerous Animal) > Chasm > I.C.E. Cage > Prophet’s Prey > Cyber Slavery > Worth Less Than Piss > Blast Zone > Unhealthy Mechanisms > Drug-O-Cop
UPCOMING GO AHEAD AND DIE TOUR DATES
2/13 – Boston, MA @ Brighton Music Hall 2/14 – Burlington, VT @ Higher Ground 2/15 – Syracuse, NY @ The Song & Dance 2/16 – Buffalo, NY @ Rec Room 2/17 – Mechanicsburg, PA @ Lovedrafts 2/18 – New Kensington, PA @ Preserving Underground 2/20 – Columbus, OH @ Skully’s Music Diner 2/21 – Flint, MI @ Machine Shop 2/22 – Indianapolis, IN @ Black Circle Brewing 2/23 – Chicago, IL @ Reggie’s 2/24 – McHenry, IL @ The Vixen 2/25 – St. Paul, MN @ Turf Club 2/26 – Fargo, ND @ The Aquarium 2/27 – Des Moines, IA @ xBK 2/28 – Kansas City, MO @ Record Bar 2/29 – Omaha, NE @ Wating Room 3/01 – Denver, CO @ HQ 3/02 – Greeley, CO @ Moxi Theater 3/05 – Grand Junction, CO @ Mesa Theater 3/06 – Salt Lake City, UT @ Metro Music Hall 3/07 – Boise, ID @ Neurolux 3/08 – Seattle, WA @ Substation 3/09 – Portland, OR @ Hawthorne Theatre 3/10 – Eugene, OR @ WOW Hall 3/11 – Redding, CA @ The Dip 3/12 – Roseville, CA @ Goldfield Trading Post 3/14 – San Jose, CA @ The Ritz 3/15 – Santa Cruz, CA @ Atrium At The Catalyst 3/16 – Fresno, CA @ Strummer’s 3/18 – Bakersfield, CA @ Temblor Brewing 3/19 – North Hollywood, CA @ Knitting Factory 3/20 – Palmdale, CA @ Transplants Brewing 3/21 – Long Beach, CA @ Alex’s Bar 3/22 – Pomona, CA @ Glass House Concert Hall 3/23 – Yuma, AZ @ Red Moon Ale House 3/24 – Jerome, AZ @ Puscifer The Store
New York City’s Terminal 5 was packed on Friday, February 9 as R&B star Tinashe played to a sold-out crowd. The singer-songwriter’s current tour showcases her sixth studio album, BB/Ang3l, which was released in September, 2023.
Tinashe — Photo by Molly Higgins
The energy in the 3,000-capacity venue was electric as Tinashe’s stylish fans packed in, and the crowd eagerly shouted along with a projected digital countdown in the minutes before she took the stage.
Tinashe emerged on top of a towering platform washed in blue light to sing her first song, “Treason.” She disappeared momentarily before reappearing at center stage, flanked by a group of athletic backup dancers, and transitioning into her upbeat track “X.”
The choreography for Tinashe’s BB/Ang3l tour is sharp and energetic, and looked truly effortless on the artist, who has been training in dance since the age of four. The crowd went wild with nearly every move Tinashe hit, and she worked the stage with a cool, laser-sharp focus.
The BB/Ang3l tour will continue through mid April, culminating in Tinashe’s set at the Coachella Valley Music and Arts Festival.
Tinashe Terminal 5 Setlist: Treason, X, None of My Business, Talk to Me Nice, Life’s Too Short, Throw a Fit, HMU For a Good Time, Die a Little Bit, Stormy Weather, Bouncin, Link Up, Cash Race, Sunburn, Cold Sweat, The Worst in Me, Unconditional, Story of Us, 2 On, Rascal (Superstar), Gold Teeth, Uh Huh, Ghetto Boy, SHY GUY, Tightrope, Gravity/Superlove, Needs/All Hands on Deck
It was a headbangers ball on Saturday, Feb. 10, as Disturbed brought their Take Back Your Life Tour to the sold-out Mohegan Sun Arena in support of their new record, Divisive which was released last year. Disturbed’s tour was announced back in October of 2023 and featured 23 cities, with this show in Uncasville, Connecticut, being the halfway marker.
Disturbed, out of Chicago, Illinois, features Dan Donegan on guitar, Mike Wengren on the drums, with David Draiman on lead vocals and John Moyer on bass. This lineup has been together since 2004 after Moyer replaced Steve “Fuzz” Kmak.
As fans took a pause from their slot machines and rolling dice and filled into the arena, which sits at the heart of the casino, fans were greeted with the first of three bands of the night. The first group was the all-female band Plush. As the female foursome plugged in their guitars, they created a wall of sound behind the beautiful vocals of lead singer, Moriah Formica.
Despite the band only having a short seven-song setlist, they left their impact on the crowd. Fans who weren’t familiar with them were won over after hearing the group’s rendition of “Barracuda” by Heart which originally appeared on the band’s 1977 record, Little Queen. By the end of the set, fans headbanging and raising their fists in the air. It would be a surprise to no one if in a few years from now, Plush worked their way up the band bill to becoming the middle act and graduating to larger venues.
Rounding out Plush with Formica is Bella Perron on lead guitar, Ashley Suppa on bass guitar, and Faith Powell on the drums.
Following Plush’s set was the 2008 band Falling in Reverse. While the band is slightly different from the metal genre of Disturbed, Falling in Reverse brought hard rock and catchy choruses to the crowd and played their part well as the middle act. While lead singer Ronnie Radke is the only original member left, his energy alone was awe-inspiring.
Radke took fans down memory lane citing that the band used to play at the legendary Toad’s Place in New Haven, Connecticut, before upgrading to the Mohegan Sun Arena. Throughout the hour-long set, some mega fans in the general admission pit were screaming along to every song until the band took their final bow of the night.
Joining Radke in Falling in Reverse is Max Georgiev and Christian Thompson on guitars, with Tyler Burgess on bass and touring drummer Luke Holland.
As the clock struck 9 p.m. and the house lights dimmed to show a blank curtain with the shadows of the band, the thunderous roar from the crowd surged from the back and upper rafters to the front of the stage as the spotlights shot on. The curtain dropped and the metal masters of Disturbed greeted the Uncasville audience.
The band kicked off their pre-Super Bowl party with “Hey You,” off of the aforementioned Divisive. The band played 17 songs with at least one song off every album of theirs being played, making sure to accommodate every fan of every era of the band. In KISS-like fashion, a spectacular light show was rigged behind them with pyrotechnics and fire beaming out throughout the night.
As the band plunged further into their set, Donegan sat down at a piano with the top on fire and was accompanied by two string orchestra players. The band then began to play their famous cover of Simon & Garfunkel’s “Sound of Silence,” which can be heard on Disturbed’s 2015 album, Immortalized. The bone-chilling cover of this classic song also featured Wengren on giant symphony drums as the crowd once again screamed and cheered for a song they know extremely well.
As the band played on into the night they came to song number 15 in their set which was “Don’t Tell Me.” The studio version of their new album features Ann Wilson of Heart but this time, Moriah Formica of Plush made her triumphant return to the stage for her curtain call duet with Draiman. Throughout the night, Draiman would preach to the fans about fighting addiction and illness and claiming fans are “not alone” in the fight against mental illness which provided a sense of comradery and togetherness amongst the sold-out crowd.
As the band was transitioning into the second to last song of the set, Draiman hopped off stage to approach a young fan along the barricade in the front who, for the entire night, was holding a photo of a boy. The girl, who went by the name of Kailey, announced to the crowd that the boy’s name was Mark Rivers and he “lost his battle with addiction.”
While the two were interacting, what once was a loud arena filled with the sounds of heavy metal became as quiet as a church, you could hear the breath of fans around you. Before the band played “The Light,” Draiman brought Kailey on stage and dedicated the song to Rivers. Around the arena, you could see people shedding tears and embracing their loved ones beside them as they witnessed the heartfelt moment between the band and a fan in front of them.
As the band played their final notes, a moment of realization clicked in. Music is a force that joins people together. Music and concerts, in general, are an event and spectacle that bring out their emotions as a force that can heal fans no matter what they’re going through. The moment that a person’s favorite band is on stage, the music has the utmost power to heal and guide fans out of the darkest holes they might be in.
Disturbed was no different, through the headbanging and mosh pits of the GA section, to the harmony brought on by the band and one girl’s unifying story. Fans of all bands and all music, whether it was their first or ninth time seeing Disturbed, left Mohegan Sun Arena with hope and love in their hearts as Disturbed not only brought metal to Connecticut but a lasting impression that there is still good left in the world.
Plush Setlist: Athena, Champion, Run, Barracuda (Heart cover), Hate, Hope It Hurts, Left Behind
Falling in Reverse Setlist: Zombified, I’m Not a Vampire, Losing My Mind, Fuck You and All Your Friends, The Drug in Me Is You, Just Like You, Popular Monster, Voices in My Head, Watch the World Burn
Disturbed Setlist: Hey You, Stupify, Ten Thousand Fists, Prayer, The Vengeful One, Bad Man, A Reason to Fight, Land of Confusion (Genisis cover), The Game, The Sound of Silence, Indestructible, Don’t Tell Me, The Light, Stricken, Unstoppable, Down With the Sickness, Inside the Fire
New York City based musician Jed Luckless recently released his brand new album, Multiply on December 29, 2023.
Photo Courtesy of Jed Luckless
This marks Jed’s third solo record; his first solo studio release in over 8 years. His most recent, Roll Over debuted in the fall of 2015. Multiply features 9 songs all written and performed by Luckless. A musical savant, Luckless can be heard on lead vocals, background vocals, guitar, bass, keyboards and drums.
Photo Courtesy of jedluckless.com
Multiply blends familiar elements of folk and rock with traditional country and blues to create a fresh new sound. Luckless’s classical guitar style introduction on “Luna”, or his country blues playing on “Ungratefully Dead”are just two examples of the sonic exploration that is Multiply; seamlesslyweaving through different styles, moods and time signatures.
Luckless is a very descriptive songwriter and lyricist, thoughtfully painting the scenes and emotions his songs portray like an empty canvas. This, paired with his lighthearted, playful-like story telling approach, provides him the foundation to tackle some heavy thematic concepts. Themes of the inevitability of time, inward self reflection and the overcoming of personal obstacles just begin to scratch the surface. “Live for today” is the message repeated by Luckless at the end of “Own”, a beautifully crafted ballad given an additional layer of depth and flavor by Jed’s percussion work.
Luckless joins artists like Prince and Paul McCartney, who are known for recording all the tracks on some of their past records. From the harmonized vocals on “Time & Tide”, to the distorted guitar solos on “Latest Craze” and the title track “Multiply”, to the featured organ on “Latest Craze”, Luckless’s multi-instrumental talent and musical expertise is on full display throughout.
Jed’s live band, The Jed Luckless Band (JBL), perform his original work, including his latest release, Multiply. Jed can also be seen performing live with acts Clueless Wallob and Star ‘69, a Phish and Grateful Dead tribute respectively. You can catch Jed Luckless live at Odeen’s at Spins in Carmel, NY on Wednesday, February 28th starting at 7:00pm.
You can also directly support Jed at his website where Multiply is available now for just $10! Every order includes the following: Jed Luckless Multiply CD (signed by Jed Luckless), signed guitar pick, bonus CD or Download Sticker (while supplies last) and other Surprise Mystery Items (like posters, cards, shirts, etc!)
Multiply is currently available on all streaming services [here].
In 1971, harpist/pianist Alice Coltrane performed at Carnegie Hall for a special gala benefiting the Integral Yoga Institute. Backed by an all-star group of musicians, Coltrane delivered a captivating set which will now be available in its entirety for the very first time.
On March 22, Alice Coltrane – The Carnegie Hall Concert (Impulse!), will finally bring the complete document of Coltrane’s Carnegie Hall performance to fans worldwide.
Held four years after John Coltrane’s untimely passing and recorded by Impulse!, this deeply spiritual performance marked Alice’s first as a leader at Carnegie Hall. The concert arrived at a pivotal moment in both Coltrane’s musical career and her spiritual journey. She had just released her fourth solo album, the universally acclaimed Journey in Satchidananda, and had deepened her spiritual quest over a five-week trip to India. Her band that night added two members from her teacher/guru Satchidananda’s circle — Kumar Kramer and Tulsi Reynolds, playing harmonium and tamboura, respectively. They provided a distinctly Eastern flavor to a large jazz ensemble largely comprised of collaborators with her late great husband, sax giant John Coltrane. The group included legendary saxophonists Pharoah Sanders and Archie Shepp, bassists Jimmy Garrison and Cecil McBee and drummers Ed Blackwell and Clifford Jarvis.
Coltrane’s set began with two transcendental tunes from the recently-released Journey in Satchidananda, the title track and “Shiva-Loka.”
The live version of the title tune is the perfect scene setter. It begins with a hypnotic riff by the bass duo of Garrison and McBee, followed by celestial waves of harmonic washes from Coltrane’s harp. Sanders follows with a wonderful flute solo, with hummed and vocalized harmony, before Shepp brings it home with a bluesy, chromatic excursion on his piercing soprano sax. “Shiva-Loka” is another one chord modal romp which gets deeper with each passing minute.. It is underpinned by a repetitive riff which seems a tribute/lift to/from John Coltrane’s “Equinox.” Alice’s harp casts a heavenly backdrop for a skronking sax solo by Sanders and then a thunderous drum duet.
The remaining two tracks, “Africa” and “Leo,” are covers of latter-day classics by her husband John. For these long journeys, Alice is at the piano providing chordal colors and the occasional solos. “Africa” stretches out to 27+ minutes, with another explosive drum duet, bass solos and plenty of frenzied soloing by Sanders and Shepp in the Trane tradition– a sound that closely captures what John and his crew were conjuring on latter-day recordings like “Live in Japan.”
This year Impulse! and Verve Label Group have partnered with The John & Alice Coltrane Home to launch the “Year of Alice,” a year-long celebration of Alice Coltrane’s profound work. At the center of the celebration are Coltrane’s groundbreaking recordings for Impulse!, and the label will be working in tandem with The John & Alice Coltrane Home for varied activations throughout the year. To kick off the year-long celebration, there will be special night of performers and speakers that include Ravi Coltrane, Michelle Coltrane, Brandee Younger and more at the legendary Birdland on February 22.
Bluegrass Hip-Hop group Gangstagrass has released a music video for their latest single, “The Only Way Is Through.” The release of the new video featuring musical icon Jerry Douglas, as well as their recently dropped single is propelling the group forward and further narrowing the gap between bluegrass and hip-hop.
The composition showcases the meshing of expert banjo artistry, dynamic production, and the unique facets of Gangstagrass music. The vocals are whisked through an inspiring chorus, complete with the Lowdown Brass Band on horns.
Gangstagrass was birthed as a studio experiment in 2006 by Brooklyn-based producer Rench. The combination of country/bluegrass vocals, guitar, and hip-hop beats allowed for Gangstagrass to evolve. The group grew into a vibrant and improvisational band, forging unity and creative diversity from the most unexpected of origins.
The group harmonizes an array of talents from Rench, R-SON the Voice of Reason (MC), and Dolio the Sleuth (MC, Vocals), in addition to featuring Dan “Danjo” Whitener (Banjo, Vocals), and B.E. Farrow (Fiddle, Vocals), among other brilliant instrumentalists.
Gangstagrass has culminated various sounds from across the country. The ensemble has skillfully blended the traditional sounds of fiddles and banjos with contemporary hip-hop beats. This unseen blend and innovation have propelled the band to worldwide success.
The music video for the recently released single, “The Only Way Out Is Through” shows the members of the group performing the song whilst facing the camera. Throughout the video, random objects like silly string, paper balls, cardboard, foodstuffs, etc. are being hurled at each person in the spotlight.
The music video is meant to be humorous, wacky, and borderline absurd. The directors of the video, Tough Dumplin and MZ.ICAR did an excellent job at conveying the groups fun spirit and goofy nature, while also showcasing the grand musicianship with the single played throughout.
To learn more about the group Gangstagrass, visit their website here.
