Nickopotamus – The Eleven, Albany – April 20th – by Timothy Reidy,
Pulse 10: 2025 Juried Digital Media Student Exhibit Opening Night
Pulse 10
2025 Juried Digital Media Student Exhibit Opening Night, by Joshua Scarselli.
4/24/2025
Hudson Valley Community College
Students from the Digital Media program show off their best work from the year. A reception along with an award ceremony was held on opening night. The various mediums include printed work, hand made pieces, videos, and websites. You can catch the exhibit until 5/3/2025 at the Teaching Gallery located in the Administrative Building at Hudson Valley Community College in Troy, NY.
Anson Funderburgh – May 8th at Hangar On the Hudson [Interview]
Anson Funderburgh – May 8th at Hangar On the Hudson – by Liam Sweeny.
RRX: When I was looking into you, I saw that you mentioned a lot of it’s all about dancing, uh, that you grew up in a family that listen to music and dance. Um, how much is your love of dance influenced like when you go out to play blues?
AF: Well, you know, when I was starting to play in nightclubs, there was a dance called the Push. That existed around the Texas area. It looks a lot like the Shag from the Carolinas. Not sure if you’ve heard of any of those dances. And both of those look a little like swing dancing from the West Coast. It’s a sort of a combination of the jitterbug and the Lindy hop. In the push, the couple dances in the slot and the only person that sort of leaves the slot is the man. And you know, they spin the girls and pull them through their legs and get fancy with it or not, but you know, we played. All the songs for the Push, most of them were like shuffles, like honky tonk and Linda Lou by Ray Sharp and Freddie King; that’s Kansas City. Those kinds of things. Any kind of Jimmy Reed song, if there are about 120 beats a minute. Which is a sort of a perfect shuffle.
RRX: When you see people dancing when you’re playing, I mean, is it something that you’re aware of or is it just something that you know is probably happening but you’re too, you know, you’re too focused on what you’re doing?
AF: Well, no, I mean, I like looking out there and watching people dance. I’ve been seeing it ever since I was 15-16 years old. Like I said, the bands that I’ve played in, you really sort of had to know honky tonk, you had to know the hideaway, you had to know Jimmy Reed songs, you had to know Linda Lou. Because, The Push club, you know, there’s a club called the Push Club; not a nightclub, but a dance club. There’s a dance club where people dance the shag in Fort Worth, they had the Fort Worth Push Club. In Dallas, they had the Dallas Push Club. In Houston, they had the Houston whip. These are all like underground dance organizations. So I played for a lot of that kind of stuff. When I got my first guitar, the people that I bought the guitar from gave me a box of 45s, and they must have been push dancers because, It had honky tonk and it had Freddie King’s Hideaway. It had, it had Albert Collins, Snow Cone part two. I mean, and all those things were Kansas City; bright lights, big city, so these people must have danced.
RRX: People start playing guitar and the playing is the hardest part, but then they get to the point where they’re touring and everything except the playing is the hardest part. Um, how’s the, how’s, how’s been, uh, uh, how is, uh, being on the road for most of your life affected your musical like Zen? I guess that might be the word to put it.
AF: I think it affects everyone. The older you get, the more it affects it. And even when I was leading my own band, it seemed like that. You were the person that was doing the interviews, you were the person booking the band or promoting the band, you were the one getting people from point A to point B. The plan was the fun part and that was the work part is getting from point A to point B. And then there’s all the stuff that’s in between or outside or however you wanna look at it. You know, looking at a blank calendar going, ‘man, I don’t have any work. I need to, I need, and, and you got 4 or 5 guys looking at you going, man, rent’s due and the lights are fixed to go off… it can keep you up a little bit at night sometimes. So jumping in and out of a van, it’s a little bit more of a challenge. I still love it. I love to work, I love to play. If you’re gonna play, you gotta travel. I mean, I don’t know of anything that just kind of has it right. You know, where you’re not travelling.
RRX: You’ve raised money and you’ve otherwise been involved with the heart fund, which, from what I’ve read, uh, it helps people that have been falling on hard times. Um, can you tell us a little bit about that fund and how you came across the organization?
AF: It’s part of the BMA Awards, The Blues Music Association. This foundation. It helps if somebody falls on hard times, needs a bill paid, and sick and can’t do it. You know, they’ll pay the bill for you. They were a huge help during COVID for a lot of musicians, myself included. So was the Music Cares from the Grammys association. They might buy a headstone for someone that had passed, they might, you know, pay a hospital bill for someone that was sick, you know, all, both of those foundation: The Heart Fund and Music Cares
RRX: What would you tell a future guitar player, a future musician or a guitar player coming into the world as you see it now compared to the way it’s been for so long, you know.
AF: You know, it’s changed a lot, and things are different. You know, I think that if you really love music and you really want to play music, you need to enjoy it and it has to be something that you have to do and it can’t just be for money. You may make a living, and you might make more money than you’ll never know what to do with. And you may not be able to make a living at all playing it. So it has to be something that’s worth you doing. You almost do it because you got to. I love music and it’s been with me my entire life and I certainly wouldn’t want to ever discourage somebody from playing music. But it’s just not an easy thing to. You’re not gonna hang a guitar on your neck and make millions of dollars. It’s not an easy success story,
One of my favorite recordings that I listen to every time I’m walking around and I wanna feel music is Stevie Ray Vaughan, performing “Texas Flood” Live at the El Macombo. Was he as good as people say, about his character?
Yes, he was, I just said he was a wonderful guy, never met a stranger. He’s one of the kindest, most approachable people that I’ve known. I mean, I knew him back in the 70s and when I lived in Austin and, I don’t know. Yeah, I mean, he just what a sweet man he was.
RRX: You’ve been producing records, which after being on the other end of the booth must be interesting. What was helpful from all your years being on the other side of the booth? What was helpful when you decided to start producing records?
AF: Well, I’m not as nervous when I’m trying to play guitar. I mean, because I’m not playing guitar, and that somebody else’s job. If I’m producing something, even though I do play on some of the things that I produced, I’m not saying that I’ve solely did it, but I mean, I, you know, the, like the Rounder Records, I produced those records, “Change in My Pocket.” Hammond and I produced all those Black Top Records. I mean, we mix it, we record them, add this or repair that.
Anson Funderburgh will be performing at Hangar on the Hudson in Troy on Thursday, May 18th.
Caffe Lena – Week at a Glance
Greetings – Arlo Guthrie once called Caffe Lena “a bridge between the generations.” That’s a great compliment, and certainly something we aspire to. Folk music is tenacious–and fragile. There’s nothing apart from communities like this one to keep the grassroots music tradition going. Bringing children into the fold is a must. On one side of this week’s generational bridge is Folk Club Kids for preschoolers, and a family concert with Dandelion Wine. On the other side is Tannahill Weavers, founded more than 50 years ago, and Joe Louis Walker, whose first album came out nearly 40 years ago. Spanning the space between we find listeners like you, amateur artists taking their turn on the open mic stage, and a hard-working crew of volunteers. It takes all of us to preserve the simple pleasure of songs shared person to person in small rooms like this one. With so much in flux these days, it feels extra good to have this place. Thank you.
See you at the show,
Sarah
Monday
7:00 PM – Open Mic Night
Tuesday
7:00 PM – MICHAEL MILLS MAGIC SHOW SOLD OUT
8:00 PM – “Live From Caffè Lena” on WEXT 97.7 or 106.1 FM
Wednesday
10:30 AM – Folk Club Kids: Stories, Songs & Sing-Alongs (Infants to Pre-K)
7:30 PM – LENA GO ROUND SONGWRITERS SHOWCASE
7:00 PM & 12:00 AM – “Live From Caffè Lena” on Folk Music Notebook
Thursday
1:00 PM – Slow Jam
7:00 PM – TANNAHILL WEAVERS
Friday
8:00 PM – JOE LOUIS WALKER
Saturday
3:00 PM – LITTLE FOLKS SERIES: DEB CAVANAUGH & DANDELION WINE
8:00 PM – KYRAN DANIEL
Sunday
9:00 AM – Dharma Meditation with Pierre Zimmerman
1:30 PM – Playwright’s Jam
7:00 PM – THE RESONANT ROGUES
THE VINYL SOUNDS OF THE RISING SUN: GO DREAM ‘ANDWELLA’ Who is this Dave Lewis guy, anyway?
THE VINYL SOUNDS OF THE RISING SUN: GO DREAM ‘ANDWELLA’ Who is this Dave Lewis guy, anyway? – by Tony Mastrianni.
ANDWELLA: Go Dream (NUMERO GROUP RECORDS) may be the most underrated psychedelic rock LP boxed set to be issued in the US and abroad during past year or so. Fronted by Belfast-born precocious phenom David Lewis, ANDWELLA (formerly ANDWELLAS DREAM) having released three LP’s circa 1968-1970 for London’s Reflection label – all contained within this is majestically sonic set. Blending stunningly well-crafted original songs influenced assumedly by the likes of Cream and superb sound, perhaps evoking Traffic, along with exploratory soaring psych-rock experimentation. Their songs are sonically subtle and often well-balanced rockers and dream-scape ballads. Barely heard back then, they now conjure a popular Traffic- inspired influence leading to wonderous magic and glory to challenge the most expertly composed and orchestrated songs of this era The deluxe boxed set includes meticulous reproductions of the band’s discography, plus an ephemera-laced booklet detailing David Lewis short lived moment as an inspirational song writing/performer/arranger at the pinnacle of his powers. He can make riffs with the best of them, and a splendid keyboardist to boot. Dunhill Records in the US released the debut ANDWELLA WORLD’S END LP in 1970 (which is superior than most rock bands you can name from that generation). This was soon after issued as a follow-up. Dunhill in the states (similarly like (UK’s Reflection label) spent very little money and effort to promote these stellar albums (included in this boxed set, along with the precursor, 1968’s ANDWELLAS DREAM (no apostrophe) LOVE AND POETRY (never issued in the US). Though the music is spectacular, it was critically acclaimed by esoteric British magazines like ‘Melody Maker’ and ‘New Musical Express.’ They only hit American soils once for a brief tour with little if any public relations or record label support. The third album contained in this set is PEOPLE’S PEOPLE, also issued on Dunhill in the US. Lewis scaled back and laced in some new traditional elements, having eased his psychedelic prowess and inserted some more standard yet mesmerizing tracks –presumably influenced by the great American band, THE BAND. The album contains ballads and lovely arrangements—all cleverly penned by Lewis. It even showcases flirtation with THE BEATLES Sgt Peppers studio magic.
Oddly, to this day, David (“Dave”—as he is now known as) Lewis is revered by passionate aficionados in Japan and several geographical pockets of Europe. Shortly after the Andwella demise, he did a rare solo album DAVE LEWIS SONGS OF DAVID LEWIS on the Japanese label, VINYL JAPAN. This was issued on vinyl in 1970, and later re-issued on CD in 2003. The CD contains a booklet with lyric booklet in English and Japanese). The album is delicately woven bunch of clever love songs and ear candy that features a collection of original compositions filed with revery and passion. It was basically a continuation of ANDWELLA with Lewis on guitar, piano, some bass and vocals supported by the same former ANDWELLA band mates Gordon Barton(bass) and Nigel Smith (drums).
NOTES: The TO DREAM version of the World’s End album does not have the lyrics-bearing gate-fold sleeve of the original LP, nor does it include include a repro of the poster coming with the UK pressing first pressings: surprising corner cutting as this is a high-end package). All the while, there was line-up churn and, with the addition of former One In A Million/Five Day Week Straw People/Andromeda member Jack McCulloch, third album PEOPLE’S PEOPLE was made. By this time David Lewis was the only original member in Andwella – the band name had become a moniker for his songs. Reflecting that, the sessions for WORLD’S END also generated 11 additional tracks which became the promotional-only Songs of David Lewis album, a pressing intended to attract interest in – and recordings of – his songs. Oddly, to this day, David (“Dave”—as he is now known as) Lewis is revered by his many aficionados in of all places, Japan! Shortly after the Andwella demise, did a rare solo album DAVE LEWIS Songs of David Lewis on the Japanese label, VINYL JAPAN, This was issued on vinyl in 1970, and later re-issued on CD in 2003 ASKCD 141. The CD contains a booklet with lyric booklet in English and Japanese). The album is delicately woven bunch of clever love songs and ear candy that features a collection of original compositions that are filed with revery and passion. It was basically a continuation of ANDWELLA with Lewis on guitar, piano, some bass and vocals supported by former ANDWELLA band mates Gordon Barton (bass) and Nigel Smith (drums)”
Stylistically, their WORLD’S END and the more stripped-down, soul-edged PEOPLE’S PEOPLE exist in the shadow of The Band while also, still, evoking Traffic. Both albums are testaments that stand the test of time, exuding the sense that the end of the Sixties was accompanied by a grey-dawn comedown. Notwithstanding US and continental European editions of each album as well as a May 1970 session for BBC Radio’s ‘Sound Of The Seventies’ show, Andwella were soon over with. Their production company Reflection was in financial trouble, and the band called it a day by the end of 1970.
***The following is reprinted from ‘Periodical Numerical’ THE REFLECTION ISSUE 3 book published by Numero Records further provides what happened after the band flew the white flag , though hardly a band any longer, ANDWELLA provided: “…more of a framing device for Lewis’s songs. That Lewis was songwriter to take note of was confirmed in 1971 when “Mississippi Water,” from People’s People, was recorded by US country rocker Larry McNeely. A version of the same Andwella album’s title track was released in France in 1972 by April & Ian Douglas. That year too, PEOPLE’S PEOPLE “Four Days in September” was recorded by Italy’s Ornella Vanoni. After the dissolution of Andwella, the band had an afterlife through David Lewis’s songs: and not songs from the Songs of David Lewis album, but from PEOPLE’S PEOPLE. Then, in 1973, Demis Roussos recorded Lewis’s “Happy to be on an Island in the Sun.” It could not have happened without what had happened since 1969, and without that earlier chance encounter with Rocky Shahan. On the face of it, the road between cult psychedelic band Andwella Dream and a monster international Demis Roussos hit ought to be unreachably enormous…”
Look for more coverage coming from this most impressive Chicago-based company label. Last Heard from, Dave Lewis (the legendary top-tier (Dave –as he goes by now) songwriter, singer, and guitarist/keyboard player of ANDWELLA was the Musical House Entertainer for London’s prized exquisite hotel, THE SAVOY. FIVE STARS ***** t555m@aol.com
Man Must Explore – Erie and the Snorts – Empire Underground
Man Must Explore came back to the Albany area to play a benefit show with Erie and the snorts at Empire Underground on April 19th. Photography by Timothy Reidy.
Bitchin’ Betty – DJ 2ND CH!LD / DJ P!nk P!xl / DJ Byrdie at No Fun
Bitchin’ Betty / DJ 2ND CH!LD / DJ P!nk P!xl / DJ Byrdie performed at No Fun on Friday, April 18th. Photography by Timothy Reidy.
Dog Poo and Unanswered Questions – The Weird Side of the Internet
Dog Poo and Unanswered Questions – The Weird Side of the Internet – by Liam Sweeny.
There are a few things someone on the verge of the big 5-0 think about. How am I going to retire? When is every little health thing going to hit me? Am I going to be a good grandparent (or if you’re already a grandparent, where do I find ribbon candy them nasty hard candies wrapped up like strawberries?) ?
But I think we, meaning people on or about that age, we all know the big question, that question, the hidden knowledge that has eluded us for decades:
Why isn’t white dog poo a thing anymore?
White dog poo was a thing in the 80s and 90s, maybe even older than that. You could tread very much grass off the curb, or in a park, of on the outfield of a sandlot without seeing a flash of white with flies buzzing around it.
Yes, the white poo. It existed, it was a thing, and then it stopped. And no one questioned that, almost as if the point at which it disappeared was the bifurcation of two divergent universes, the Mandela effect unexplored, just simply lost to the advancements of a dark poo future.
Australia veterinarian and TV star Dr. Katrina Warren has answered this core question. In a TikTok video, she explained, “Dog poo goes white when dogs eat a diet that’s high in calcium… Back in those days, dogs were eating a lot more bones, they were getting more table scraps and the commercial pet foods had a lot of bone meal in them. So that was why we were seeing more white dog poop.”
She also said that us being more likely to pick up dog poo means it’s not sitting out in the sun as much, which can also turn it white. And while it’s rare, it still happens.
So that’s it. Calcium and more civic pride. And I guess the question is, do we want to resurrect white dog poop? You decide.