Showing posts with label guest writer. Show all posts
Showing posts with label guest writer. Show all posts


Concert Review: Pearl Jam


1996, 2003, 2010, and most recently, 2013 (October 12, to be exact) are the years that Pearl Jam had performed in Buffalo. Of the four shows, last night was the only one to not close with "Yellow Ledbetter." Instead, "Indifference" was the final song of a three song encore, 2 hour and 45 minute performance. It was also the only time they played without an opener (the open time slot may have given the band more room for themselves, but from a concert go-ers standpoint, I would’ve taken a Carrie Brownstein band over extra time in the vendor lines.

Eddie riled up the crowd just a few songs in by using his best SNL introduction voice, “Live from Buffalo, it's Saturday Night”. His wino generosity was on full display as he handed out multiple bottles throughout the evening to celebrate with the audience. The band played nine new songs last night off the anticipated Lightning Bolt, scheduled for release this Tuesday. I for one can’t even think of a time where I saw a band play anywhere close to nine songs off an album prior to its release. It was bold, and during the two slower acoustic songs during the first encore, the audience either lost its energy surge or went idle for a moment to gather enough strength for a strong finish. Eddie after back-to-back, vocally straining songs, "Mind Your Manners" and "Do the Evolution," called an audible, and strayed off the setlist path in order to properly pace himself. Eddie’s vocals sounded astoundingly good towards the first half of the set, perhaps due to this only being the second show of the tour thus far.

The entire gang was there, and with a newly organized energy, often huddling around Matt Cameron who executed his duties to near perfection. This wasn’t the same Matt who raced through set lists in the past: his role has changed and he now seems to be the unnamed captain. Of the six (including Boom), Mike McCready was last night's all-star. He makes old, tired songs sound new with alternate renditions, blazing energy and a way to connect with the audience very few guitarists can match. In the past, McCready came off to some as a guitar prodigy-type show off, but he really seemed to be in the moment, more than any of the others, last night. McCready shared his time before and after the concert with fans, and nearly set his guitar into flames at one point with ferocious speed during "Even Flow," perhaps to challenge all the air guitarists in the audience in an effort to keep up. The band wisely chose to play choices from their earlier releases up until the album Riot Act, which is a reasonably affordable cut off point, most loyal followers would agree. The earlier back catalog songs didn’t necessarily make you feel as if you were reliving the 90’s: and at some points (especially during "Once" and "State of Love and Trust") seemed to, dare to say, be going through the motions.

Eddie no longer climbs ceiling beams nor has the same youthful disdain as he did in his younger days, and everyone can agree that this isn’t to be expected at this point of his career. I do believe however that the sentimental value attached to such powerhouses can be pushed just as well as the hits, which were performed flawlessly and, to what it seemed like, everyone’s satisfaction.

High Points including their performances of "Rats," "Present Tense," and "Elderly Woman," where the band kindly considered the rear audience and played facing them. Low points were the crowd chanting Maple Leaf cheers and U-S-A to rival.

The band is approaching 23 years since the release of their debut album, Ten. It's certainly been nothing short of enthralling to be on such a journey with easily one the most admirable bands today. There is nothing contrived about Pearl Jam, and Eddie has to be the most esteemed front man in rock music history. They don’t need image, attitude, gimmicks or marketing schemes to hold the throne. This is what makes Pearl Jam absolutely pivotal, even today.

Lightning Bolt, lyrically, could be Ed’s career highlight and artistically the most diverse the band has ventured. "Sirens," the album's second single, perfectly captures this. “Oh, it’s a fragile thing, this life we lead, if I think too much, I can’t get over. When by the graces, by which we live our lives with death over our shoulders. Want you to know, that should I go, I always loved you, held you high above too. I studied your face, the fear goes away.” Lifelong fans have went on a ride starting with teenage animosity, to overcoming loss and grief. The fear does go away and collectively Pearl Jam made it easier. This cannot be said about any other group from what could end up being as the last influential period of rock and roll.

Fun Facts:
Eddie shared a story about how the song “I Got Shit” came to be. He and Neil Young were in the studio and Neil mentioned that they had nine songs total for the album Mirror Ball. Neil said to Eddie, "How many do you got?" Eddie responded, “I got shit.” For such a seemingly thrown together song, it certainly came out fantastically well. I personally requested Pearl Jam play that song on the ten club forums, as I’ve heard from other die hards that the band views it from time to time to gather ideas to select from their extensive catalog. Who knows if that had anything to actually do with it, but its not hard to imagine.

Eddie commented on how cool looking the classic Sabres logo is. Undoubtedly this form of flattery still will not provide any positive momentum for this year's season.

Crowd-riding was back in action again at the First Niagara Center. Fans wore shirts ranging from fictitious bands such as Citizen Dick, to Metallica’s Metal up your Ass, to Clutch and the expected array of 90’s “grunge-era” essentials.


~ Post by Michael Katilus


Tonight: The Avett Brothers


Buffalo’s bluegrass fans have been in a tizzy since January, when the Avett Brothers announced they’d be playing at Artpark in May. Tonight, after 5 months of growing anticipation, the band of brothers takes the stage in what promises to be a twangy good time. The Avett Brothers shows have something for everyone; whether you’re an old fan hoping to hear one of their many classics or a new fan looking for an enjoyable introduction to “newgrass”, it’s impossible not to be electrified by their folky musicianship and thought-provoking lyrics.

The band, led by brothers Seth and Scott Avett, has a knack for combining Americana, bluegrass, and rock styles; their ability to modernize it keeps them at the forefront of the growing folk music resurgence. Seeing them outdoors on a hazy summer day is an experience not to be missed. General seating tickets are sold out, but lawn tickets are still available for $38.00. Gates open at 7pm.



~ Sarah Machajewski


Still Digging: My Vinyl Weighs a Ton


(Ed. Note: This entry in our "Still Digging" Record Store Day series was penned by Patrick Simons, Editorial Assistant for Block Club magazine. Photo Credit: P. Simons, with a look at some of the goods discussed below.)

The first record I ever bought was Less Than Jake’s Hello Rockview on 12” picture disc. “Pezcore” and “Losing Streak” were pretty good, and despite being a total ska nut growing up, Less Than Jake never really did it for me. I just bought it because it looked cool.

That was at Sit and Spin Records, the now-defunct punk and hardcore record store that made its home on Transit Road in Depew. My visits there probably began in 2001. Maybe 2000. I used to nag my father to drive me the 15 minutes because I was only 12 or 13 years old.

Until then, I remember having to special order CDs from Media Play because they never had what I wanted. That all changed when I discovered Sit and Spin. Aus-Rotten’s Not One Single Fucking Hit Discography: check. A Taang! Records music video compilation on VHS, complete with Negative FX fight scene: you bet. Reagan Youth, Bright Eyes, Conflict, Waxwing, The Mighty Mighty Bosstones, Saves the Day: they had me covered.


After nearly eight years, a couple bumps in the road forced Sit and Spin to vacate their home in Depew. Shortly before the move, I remember landing myself a decent chunk of someone’s old emo collection. The City of Caterpillar self-titled 12” and their split 7” with Pg. 99; an Orchid/Red Scare split 7”; Yaphet Kotto and Bread and Circuits LPs; Angel Hair’s Pregnant with the Senior Class on CD. A righteous bounty indeed.


I never made it to Sit and Spin’s new location after the store relocated to North Buffalo in 2007. Rest in peace. I did, however, end up moving in to the building next door to Spiral Scratch just a few months before Dave opened it. It should come as no surprise that this new living arrangement would prove to be both a blessing and a curse.

My first real lasting memory at Spiral Scratch came when I decided I needed a copy of Tommy James & the Shondell’s “I’m Alive.” I walked over, slightly optimistic but mostly doubtful, to dig through towers of loose 45s. I told Dave what I’d come for and asked if he knew if there was a copy laying around. My best bet was to search the stacks of wax. You already know your boy jumped like a little girl when I saw that “I’m Alive” was the very top record on the very first pile I looked at. I went upstairs and listened to that track probably 10 times in a row.


I even met Scott Mancuso for the first time at Spiral Scratch on Record Store Day in 2010. I brought him a donut. We’ve been bros ever since.

My last visit to the old Spiral Scratch location is a vivid one, for some reason. Although rather uneventful, it sticks out quite a bit. I stopped by in passing, just to browse. My search ended abruptly, in the “A” section. Adam & the Ants’ Kings of the Wild Frontier was screaming at me.


Two days later, a fire forced Spiral Scratch to close its doors on Delaware. Thanks to a massive outcry of support, Dave was able to reopen only a few months later, in August, 2010. 

Since then, there have been two visits that left a pretty lasting impression. The first came early in 2011 when I received a paycheck from the Buffalo News. It was the first time that I’d been paid to write something. It felt good, and it felt like I needed to treat myself. You know - spend it on something I’d remember. At that point in my life, my compensation could have, at any given time, gone toward any combination of shitty food, 40s and half-eighths, so I had to make that stop at Spiral Scratch count.

As luck would have it, a copy of Jon Spencer Blues Explosion’s Xtra-Acme was stocked earlier that day. So now every time I dig through my crates and I see that Blues Explosion album, I remember how I paid for it: with the first stack the kid made as a writer. That’s forever, man.


The second [impression] came a few months later, on my birthday in the summer of 2011. Took a stroll over to the Bryant Street location from the old Block Club offices on Elmwood, with no agenda in mind. Left shortly after entering with a first pressing of Pedro the Lion’s Winners Never Quit for $25. I’d been browsing eBay at the time, and considered paying nearly $100 for that album. Happy birthday to me.

So, with all this being said, it’s clear that I can rant and ramble. It just so happens that I think I do it best when it involves music. 

This is what I collect. This is what I search for. These items, these albums, these songs - all have a story. I remember when and where I got them, and most of them mean something special. So days like Record Store Day and places like Spiral Scratch: these are important to me.

To quote the old homie, Peanut Butter Wolf: “My vinyl weighs a ton.”

I’m getting there.


Other notable records that strike an in-store chord:

J Dilla’s Donuts on double LP, Raekwon’s “Glaciers of Ice” 12” single and Prince’s Purple Rain for $6 from Book Outlet and More on Main Street near Lafayette. I think it was before the store came under new ownership. I dropped in on a whim and the records were barely organized. I had some time to kill, so I started digging. A couple hours later I came out with those gems. The digging is almost always worth it.

Juelz Santana’s From Me 2 U on double LP from some vendor at the old Super Flea. $0.50 for that beaut.

The Live Adventures of Mike Bloomfield and Al Kooper on double LP from Record Baron on Delaware Avenue in Kenmore. My dad used to play me Mike Bloomfield records all the time when I was growing up. If it wasn’t for my pops, music wouldn’t be the same.


Upcoming Record Store Day anticipations:

I’ve never gone super crazy on Record Store Day in the past, and don’t foresee it happening this year, but these are the releases I’m most excited about this year:

Codeine – What About the Lonely

Hanni El Khatib – Skinny Little Girl / Pay No Mind 7”

GZA – Liquid Swords Vinyl / Chess box set

Pussy Galore – Groovy Hate Fuck

Ty Segall -  Ty Rex 2 7”


~ Patrick Simons


Know Your Opener: Alex Brown Church


Indie-folk artist Alex Brown Church combines eloquent lyrics with a charming array of strings and the steady, slow beats of percussion to create the unique symphonies of Sea Wolf.  His newest album, Old World Romance, is more in line with the gypsy-acoustic sound of Sea Wolf’s first full-length album Leaves in the River than it is with the darker sound of their White Water, White Bloom.  Favorites of mine from Old World Romance include “Whirlpool” and “Priscilla,” both of which exemplify the eclectic, fresh acoustic feel Sea Wolf is known for.  Church opens as a solo acoustic act for Josh Ritter at tonight at Asbury Hall at 8:00 p.m.  Tickets are $32, and are available tonight at the door in addition to tickets.com and Rust Belt Books.



~Katie Marchese


Know Your Opener: Dawes


Although the big news about tonight is that Bob Dylan is playing at UB’s Alumni Arena, his opener is equally exciting, and certainly not one to miss. Dawes, an American rock band straight out of Los Angeles, will take the stage at 7:30 PM and bestow upon all the lucky audience members the modern folk rock for which they’re famous.

Dawes isn’t the kind of opener that gives you an excuse to stand at the bar until the big name act comes on. Dawes is a big name act, having shared the stage with everyone from Mumford and Sons to Levon Helm. Don’t let their resume fool you, though. They’re extremely humble; of being asked to open for Dylan, all lead singer Taylor Goldsmith had to say was, “Thanks.” The band’s modest attitude complements their unpretentious sound, which will only whet the Dylan-hungry crowd’s musical appetite.

Tonight's show is sold out to the public, but the first 4,500 UB undergrad students will be admitted for free with a valid student ID. Doors open at 6:30 PM.



~Sarah Machajewski


Concert Review: Hive of Mayhem


HIVE OF MAYHEM.

Sounds pretty intimidating does it not?  So much so that one unnamed writer for this blog was scared to go, despite it being free.  The Hive of Mayhem started in 2004 by former Buffalo resident Nick Baran. Nick is best known as the singer of the former Buffalo hardcore punk band No Time Left and runs the straight edge record label Third X Party.  The concept was pretty simple, have a free show that features a number of Buffalo punk bands that have played few or no shows, so people can check out what they can look forward to. The Hive of Mayhem has been happening about once a year ever since, and this past Saturday was the latest installment.  The location this year was at the Funeral Home, and featured five new bands.  For those unfamiliar with the Funeral Home it is just that, an old Funeral Home. Located in Riverside, it has been hosting underground punk, metal, noise hardcore and the such for over five years now. 

Cross Stitch
-Cross Stitch is an all-lady four piece that played it's second show at the Hive.  In fact, it was also each of the members of the band second show ever, as they are all relatively new to their respective instruments.  While it's clear that they are both individually and collectively working out the kinks of their performance, when it comes together it's pretty special.  Throwing the “riot grrl” label on them, while not entirely inaccurate, seems a bit lazy, so I'm more disposed to compare them to the mid-90s Vancouver band Cub than Bikini Kill.

-Brain Drain is the solo project of Adam McFillin, who also plays bass in the post-hardcore band Dream Journal.  During his short set, Adam utilized a guitar, loop pedals, a small handful of programmed sound effects, and extremely sparse vocals to craft sounds that would have been produced if New Order had given up pop to focus on drone.  Based on this performance, Brain Drain would not be out of place within the burgeoning Buffalo noise scene, nor at future events put on FOUNDRY.

Big Suze
-A three piece that had a heavy and very driving rhythm section, which held the songs together over chaotic and noisy guitar playing. Though there were multiple songs, they followed together seamlessly and ended in an unexpected and pretty awesome rendition of a Creedence song.

Bad People
-This band features Biff from the recently broken up Brown Sugar and Plates, along with Nick Reynolds from Space Wolves, new Buffalo Resident Josh Smith on vocals and a person who I haven’t seen play in a band in a long while Mancandy. This reminds me of some stuff you might hear on those old punk comps entitled Killed by Death. Pretty straight forward fast 80’s hardcore punk with a cool guitar riff thrown in for good measure. The vocals are snotty and pissed off , and you can tell Josh means it from behind the mic.

- Flood Drinker is a new project that has one of the members of the recently broken up Beardage. This is there second show, following up one played a few weeks back at the Jungle Gym. They are a three piece and I felt a heavy influence of Motorhead with early 80’s metal parts thrown in, though from listening to the songs, I would say that they have been written by guys who have listened to a lot of punk in there lifetime. This especially comes through in the vocals.


What I really enjoy about the Hive of Mayhem is that brings a big cross section of punkers from the Buffalo area. This year I saw some folks that have been going to punk shows in the area for 20 years that I haven’t seen in a while, to some younger kids who I have yet to see at shows. On top of that everyone seemed to have a great time and brought a great energy. To top it off I walked out of the door with a stack of fliers for some great upcoming shows, which had a few of these bands on them.  Sometimes the grey of winter gets you bummed out and cynical, then something like this happens and snaps you right out of it.

~Dan Carosa & Curtis A. Guy
Photo by Clint Carr


Tonight: Punch Brothers


Punch Brothers are in town tonight, and that can only mean one thing: concertgoers are about to be blown away, yet again, by the quintets accomplished musicianship. Led by front man Chris Thile, the five-piece bluegrass band has been described as progressive, modern, old-timey, and spontaneous. But, dont take my word for it. Its an experience that must be seen (and heard) to be believed. These dapperly dressed gentlemen are known for their unique spin on both classic bluegrass songs and contemporary music for the modern listeners enjoyment. To really understand Punch Brothers aesthetic is to not understand it at all. Think of a combination of Earl Scruggs and Radiohead, dressed up with classic instrumentation, all performed with jaw-dropping timing, and you have a perfect recipe for a perfect evening with Punch Brothers. They play tonight at Town Ballroom. Doors open at 7 PM.  Tickets are $23.



~Post and Photo Sarah Machajewski


Exile on Mohawk Street


Hi folks. My name is Erik. Most of you probably know me as Spicoli. Unfortunately, that isn't my real name. My parents didn't name me after a character from Fast Times, as awesome as that probably would have been. For the last eight years I've been serving you PBR's, kicking you out for stage diving, and most likely bitching if you didn't show up for load-in, among other things. So here we are. The Mohawk is closing. Locking the doors. Serving its last PBR. Having its last band play the stage.  

Fourteen years ago, 19 year old me took a job at Media Play working in the music dept. I started that day thinking I "knew" about music. I mean hell, I owned Pearl Jam records and liked The Get UKids. I was cutting edge. I met a person there, now a great friend, that would change the way my life played out forever -- my buddy Brad. The Sollyman, if you are in the know, is this crazy-hyper dude who reads from the Bible of Brian Wilson. He talked of the real "boss," taught me that yeah, there really was a band called ThBand.  That "The 'Mats" doesn't mean place mats, and that the only band that matters is The Clash. One random night, I couldn't recall to you the actual time of year (that stuff all blends in after decades of booze and loud tunes), he took me to Mohawk. I was nineteen, and at that time it was 21 plus. I figured for sure I wasn't getting in. If you saw me when I was nineteen, you probably wouldn't let me on the Viper. But there was, wedged between Brad and a future band mate of mine, Sean. I walked up, no ID in hand. Just my crappy semi-beard (which is still shitty) and a hope. I think it was one of those Girlpope/Bobo shows that are stuff of legend round these parts, but I cant be sure. I was greeted at the door by this grey haired, mustached gentleman. I don't need to say his name. You know who he is, and he carries a presence around that place that can still be felt today. I got in. Come to find out it's not that legendary to get in that young, and I did. Game over. From the pool table in the backto the smoky haze, to the cool as fuck bartendersthe place was instantly legendary.

I can't recall the bands that night. I remember a few beers, a few smokes, and that is basically it. It was enough though, to keep coming and coming back. Slowly but surely I gained the balls to order a beer. Then to sit at the corner in hopes I could butt-in to some conversation I had no business being in. Eventually Brad started a band, Semi-tough, named after the movie. I came to meet Donny (now owner of the Town Ballroom and an all-around good dude) through that band. It's a tad hazy, but I'm pretty sure I met him for the first time during a Left of the Dial DJ night. He will probably say I'm wrong, but at this point, who cares. On one of those fateful nights my life was changed forever. Another lifelong friendship was beginning, and a band that means more to me than the world was playing -- Grand Champeen. You probably don't know them, and that's fine. Not many in the end do, but that's the beauty of Mohawk. Having some random band from Austin, TX tell me to break my records and quit is still one of the best life lessons I've ever had.

Years started to go by. Many great shows seen, many great friends made. Hell, even Jimmer.  Beers were drank and then "Hey Spicoliwanna bartend?" happened.  I didn't know shit about bar tending. Most of who I work with now call me the worst bartender in Buffalo. I took it of course, cause who is that fucking stupid It's Mohawk.  It's bartending.  It's free shows. Even better, it's free booze. So here I am, years later (eight to be exact, and 14 if you count the years I've been "hanging" there), and now I have to say goodbye. So thank you, all of you. From my door guy/right hand man Nick O'Brien, who really likes GBV (fucker needs more tunes on his iPod), to Renee, the longest reigning sound tech this club has had. TNeal who made that room sound as world class as a place with dicks drawn everywhere could soundto you. Yes, you. When the doors close and the lights burn out, it was you that made that place special. It's always been more than a building; the people are the ones who supplied the memories. So in the end, when it's all gone, that's what we have, memories from people that are now OUR best friends and music from OUR favorite bands. So to the 19 year old me out there, I wish you the same 14 years I had: filled with best friends, legendary shows, new favorite bands, and rough mornings. You deserve it, and hopefully you'll find it.

Thanks.

P.S. I probably always thought your band sucked.



~Erik Roesser


Exile on Mohawk Street: From the Best Seat in the House


Putting thoughts to paper about my memories of Mohawk Place and how much it meant to me came kind of easy…

The old Mohawk stage was a home away from home for a lot of us degenerates that thought being in a band would be cool and fun. What I didn't know at the time was that I would eventually make lifelong friends with others who felt the same way I did. In the process of those lifelong friendship, bands were formed, disbanded, and then new bands were made. But the constant was that we always wanted to play at Mohawk because the bar treated the local bands very, very kindly.

I started playing in bands and going to Mohawk around 1995 / 1996 – I don't specifically re-call the actual time frame, but I do know that I was in my early to mid 20's. My friends and I started booking shows on the small stage around 1999/2000 – bringing in bands that packed the small stage and bar area in like a can of sardines. I have one memory of standing on the bar to watch Ranier Maria on an extremely hot night and it happened to be a overly packed show. I remember having a smile on my face, beer in hand, and the best view of the stage.

One of the shows that I booked happened to be on the day after 9/11 happened. The Dismemberment Plan were scheduled to play Mohawk on 9/12. I was on the phone with them on the morning of 9/12 telling them I understood if they thought coming up to Buffalo would be a bad idea. In the end, they agreed to make the trek up from D.C. for the show that night. We weren't sure what kind of turnout we would have, but all of us involved were determined to put on a show that would take our minds off of what was happening all around us. I think we succeeded as the bar was filled, and the Dismemberment Plan were cramped on that small stage and played one of the best shows that I have ever seen. I think everyone in attendance would agree, that they needed something to take their mind off of the previous day, and for a few hours that night, that was accomplished.

Then there was the inception of the backroom and the big stage and my comment to Pete, that if he needed anyone to help with sound, that I would be willing to lend a hand. As I typed that, I realize it has been 10 interesting years of the big stage shows. A lot of them were very memorable shows, some of those shows even changed my musical taste around a bit, and a few of those shows, were very cringe worthy. Chalk it up to occupational hazard.

With that arrival of the big clean up and addition of the back stage, this meant there was a possibility that the local bands had a chance to open up for some of our favorite national acts coming through that were on the verge of breaking out to bigger venues. We could say that “we opened up for so and so” before they started playing to thousands of people. Some of us even made very good friends with these bands. I can honestly say that I had the privilege to share a stage with the likes of Rainer Maria, Ted Leo, The Jealous Sound, Sin Ropas, The Dismemberment Plan, and Mike Watt amongst others. I could also add that it was an honor to share the Mohawk stage(s) with some pretty awesome local bands as well – The Exit Strategy, Roger Bryan and the Orphans, Blue Bullet Skater, The Dollar Canon, Maceo Ruez, The Rabies, The Failures Union, Dai Atlas, The Old Sweethearts, Johnny Nobody, etc... you get the point - that list is very long.

I really wished I kept a journal of sorts – so I could look back on it and remember more of the shows and stories from the last 15 plus years – but this will have to do:

Some of my favorite shows to witness:  

Rob Dickinson of Catherine Wheel, Elvis Perkins, The Faint, Reigning
Sound, Broken Social Scene, Metric, David Bazan /Pedro the Lion, Sam Roberts, Beauty Pill, Damien Jurado / Rosie Thomas, Knife in the Water, Bison B.C., 764- Hero, 50 foot Wave, Freakwater, Longwave, The Saints, Steve Wynn, Rainer Maria, Murphy's Law, Her Space Holiday, Anders Parker, Electric Eel Shock, Victory at Sea, Hank III, Grand Champeen, Mates of Sates, and so on…

Some favorite moments:  

*The first ever show on the backstage - Eyes Adrift (which featured members of Nirvana, Sublime and the Meat Puppets) – and saying out loud “holy shit you are tall” as Krist Novoselic walked by me for sound check – not my finest moment, but he is very tall.

*Running sound for Beauty Pill – upon hearing that the last time they played Buffalo was a nightmare and that the venue they played at was just a horrible experience, we made it a point to make sure they would leave Buffalo with a new found appreciation for the city and a love for Mohawk. We succeeded. And it goes down in my book as one of my favorite shows that I have done sound for.

*Being a part of sold out shows like Drive by Truckers, The Hold Steady and holding my breath that the power amps that we had back then would hold up in the 90+ temps in the room those nights. It was no fun having to maneuver through 200 plus people to get to that back room where the amps were located only to realize that the fans that were blowing on them weren't doing a damn thing.  No fun at all. In the end, it turned out fine and the shows were legendary.

*My good friend Bill Nehill getting Ted Leo (and the audience) to sing 'Happy Birthday' to me on my 30th birthday. Not a fan of surprises, but both Ted and Bill played this surprise off well. After getting the band set onstage, I headed through the packed audience backed to the soundboard. The moment I reach the board, Ted says into the mic that there is a problem onstage. Understand that it took a minute or so, to get through the audience, so when he stated that, I cringed. I am sure I gave a look of 'are you fucking kidding me?', and all I remember is heading back to the stage, saying “sorry, excuse me” over and over....

Once I got on the stage, Ted looked at me and just smiled. At that point, I knew something was up. Next thing I know, Bill is coming out of the side door with his thumb in a cake and everyone singing happy birthday to me. I can say the start of my 30's was pretty nice indeed.

*I'll miss running sound for bands like Sharon Jones and the Dap-Kings - just before they started playing to bigger venues. My favorite memory of that show was when she told me, "Honey, I'm going to be all diva like on the microphone, don't take it personally". She didn't complain once during that show. I was kind of bummed

*The one show that I tell people that completely blew me away was Rosie Thomas. I was lucky to have run sound that night and I truly will never forget that show. During some moments of her set, I had tears in my eyes. It was that moving. It was that amazing. Still am blown away just thinking about it. She is such a great songwriter and storyteller with an angelic voice.


And with that, I am going to end on this note:

It is very hard thinking about all the great times and stories that were created at Mohawk and knowing that memories like those will never happen again. I thank Mohawk Place for giving me some of the greatest friends a girl could ask for. For letting me experience some legendary shows and then some. For keeping me out until the early hours of the morning when I should have been sleeping. And lastly, I thank Mohawk for being the place where I learned that Jameson is a way better whiskey that Crown will ever be.

Shots up. Cheers old friend.


~Renee Roberts
Photo by Eric  Jensen






buffaBLOG's Best of 2012: Guest Picks - Patrick Simons


Editor's note: For our best of 2012 coverage, we decided to reach out to some friends of the blog to get an idea of what made the year in music so great for them.  For our final installment in the guest series, Patrick Simons, Community Manager of Block Club, submitted his best of list. 

When I was first asked to scribble something for buffaBLOG’s year in review, I told Mac that from what my memory provided me, I didn’t really spend much of 2012 listening to music that came out in 2012. My year consisted mostly of Someone Still Loves You Boris Yeltsin albums and old Gucci Mane mixtapes, but after digging in the crates, I did find some time in the last 12 months to spin a few new releases. 


So, with that being said, behold, my loosely curated notes about some of the 
music I listened to and some of the music I saw in 2012.


Favorite Releases

Diving right in, The Idler Wheel... was, by leaps and bounds, my favorite album of 2012. Fiona Apple was hard in the paint with this one. Straight fire from start to finish. If you missed it, or wrote it off, or whatever, don't be dumb anymore.  Go listen to it.



I was sort of bummed about Young Jeezy's TM103 release. I've never really bit into any of Jeezy's studio releases, but for some reason, I was really expecting a masterpiece with this one.  Woe is me, though.  His new It's the World mixtape has been decent in it's first, and probably second last listen, but I want more of the old Snowman. Can't a guy just get another good Trap or Die mixtape?  Sheesh.



Favorite musician/band of 2012 goes to Chromatics.  Johnny Jewel was on one for 12 months straight.  He's showing no signs of slowing down either, which is wonderful news

That Symmetry mix - watch out man.  And Kill for Love. Whoa. The Let's Kiss/Sunday Morning mix. The Running from the Sun album of unreleased Kill for Love session material. That Black and White autumn mix.  Roughly four albums worth of new material and a couple tight mixes made me a happy camper in 2012.



A Karen Dalton recording from inside her Summerville, CO. cabin from 1966 was released in February. A rehearsal with her then-husband for an upcoming show was captured by one of their friends, and eventually released nearly 50 years later. Dalton only released two albums in her lifetime, as she was known to have hated time in the studio. So this collection of home recordings is a blessing. Both lulling and haunting, 1966 got a lot of rotations this year.



Average year for Gucci Main releases.  Nothing stellar, but I liked most of Trap Back.



Raekwon dropped a few tracks in the last month or so in preparation for Los Jewelry mixtape that is being released in early 2013. Shallah is sounding as slick as ever. The freestyle he did over Notorious BIG's "Who Shot Ya?" is unreal. "Concord jet to the Congos."   




Other favorite releases from 2012 include:

  • The Body’s reissue of their 2004 S/T debut album. Shout out to Satan.

  • TNGHT – Lunice and Hudson Mohawke’s S/T beat project was wild.

  • I’ve got the reissue of D’Angelo’s 2000 sophomore album, Voodoo being delivered any day now. Excited about that classic.

  • Frank Ocean’s Channel Orange

  • Usher’s Diplo-produced “Climax” single.

Honorable mentions:

  • How to Dress Well - Total Loss

  • Ty Segall and White Fence - Hair

  • Killer Mike - R.A.P. Music

  • Thee Oh Sees - Putrifiers II

  • Beach House - Bloom

Live Shows



I was fortunate enough to see a fair amount of live shows this year. My first quarter concert attendance was rather lacking, but I think I’ve done my best to compile what was important. 




Favorites: 



The Impossibles – The Mohawk, Austin, TX

I up and flew to Texas to see my favorite band of all time play a reunion concert in June. The Impossibles played back-to-back dates nearly 10 years to the day after their final show on June 2, 2002. I missed them when they came through Buffalo with Grade and The Movielife in 1999, so I’d been waiting 13 years to see these guys.



From what I can piece together, The Impossibles pretty much got me in to music. I remember the first time my cousin Frank played them for me, we were in my bedroom at my parents’ house on Christmas. Those ska chords got me. If you still fuck with ska music, I probably got love for you.



Anyway, words can’t really describe my experience at this show, so it’s not really worth explaining. And unless you know who The Impossibles are, it wouldn’t matter if I did. Very broadly, the show brought me to tears on more than one occasion. Best concert of my life, by a long shot. 



GZA & Killer Mike – Town Ballroom

If you were at the show, you probably caught me front row, rapping Liquid Swords in entirety, on multiple occasions, into GZA’s microphone as he held it out for me.



The next day, Killer Mike happened to be stuck in Buffalo, so I invited him to my house for dinner via Twitter. Black bean and sweet potato burgers and a fall salad. He graciously declined as he got a hotel outside of the city, but insisted I reach out the next time he’s in Buffalo.



Fiona Apple – Kleinhan’s

Man, this poor girl looked like a dishrag when she first came out. Strung out on something. Her voice was all there though. Once she got some blood flowing and her face got some color, she really let it rip. The highlight for me was “I Know.”



Every Time I Die – Mohawk Place

You might have caught me nearly teary-eyed at this show too. The closing of Mohawk Place has got me shook, but these guys made it seem all right for at least a couple hours. The last time I saw ETID was at their Christmas show at a bowling alley in North Tonawanda a few years back. I forgot what I’ve been missing.


These guys are serious showmen. Andy Williams in the pit playing some sludge metal riffs. Keith Buckley laying upside down over a 10-foot-tall speaker, barfing lyrics. Jordan Buckley crowd surfing with his guitar in one hand. Merry Christmas.


Thee Oh Sees & Ty Segal – Town Ballroom

Punk as fuck.

Honorable Mention:
- Wu-Tang Clan – Town Ballroom
- The Mighty Mighty Bosstones – Thursday at the Harbor
- Sleigh Bells – Town Ballroom
- AraabMuzik – Soundlab
- Dr. Ooo – DBGB
- Raekwon – Noir
- Curren$y – Town Ballroom
- Cursive & Cymbals Eat Guitars – Mohawk Place


So while I know I missed some good stuff in 2012, it turns out I did catch some really solid tunes this year. 2013 seems to be shaping up as well. 

New Juelz Santana mixtape drops the second week of January. Hoping D’Angelo’s follow up to Voodoo drops this year. There’ve been talks of a new Wu-Tang Clan album. Video recordings from The Impossibles reunion shows are to be released. Looking forward to new Pusha T tracks, the new Devendra Banhart album, and hopefully more music from Wise Blood. 

Happy new year y’all. Go check some of this stuff out.

Mad love.


~Patrick Simons