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The Sacred Cover Tune

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The Sacred Cover Tune

The Sacred Cover Tune – by Penny Piper.

Here’s a little brain science for the band scene: when we hear music—especially a song we love—our brains start recognizing patterns. Even before the big drop or that one part that gives you chills, the brain’s already flooding with dopamine in anticipation. That’s the high. That’s the hook. That’s the magic.

But here’s the catch: if your audience doesn’t know your music yet, their brains aren’t getting that hit. Not yet. They’re not familiar with the patterns—so there’s no anticipation, no payoff. That’s why when bands play only originals to a cold crowd, they sometimes lose the room. Not because the music’s bad, but because the brain hasn’t had a chance to fall in love with it yet.

So here’s the move: blend your original songs with finely curated covers. Not just any covers—ones that connect to your sound and vibe. Think Billy Strings doing “Circles” or any number of deep traditional tunes they cover on a nightly basis. Think Phish playing Talking Heads’ “Cities”  or Talking Heads playing Al Green’s “Take Me To The River” or the Grateful Dead transforming other people’s songs into full-blown spiritual journeys like Buddy Holly’s “Not Fade Away”. And let’s not forget about raw unapologetic fun, as in Fishman belting out “Sexual Healing”, These artists didn’t just throw in covers for fun—they used them to build trust, to stretch ears, and to weave in their originals until fans couldn’t tell the difference. That’s strategy. That’s musicianship.

You don’t need two full sets of original material to put on a powerful, memorable show. You need the right mix—a flow where fans get those dopamine kicks from the covers, and slowly, steadily, they start associating your originals with that same emotional payoff. That’s how your music becomes the thing they show up for.

And let’s set the record straight: a tribute band isn’t the same as a cover band. A tribute is honoring something sacred—often music from artists we’ll never see live again. There’s space for that. It’s valuable. But if you’re out here creating, trying to carve a lane with original work, just know there’s a path that works: play what people love, and help them fall in love with what you’ve made.

It’s not selling out. It’s playing smart—and it might just be the bridge that gets your music the attention it truly deserves.

 

 

More from Penny Piper…

Capital District Cannabis & Wellness “420 Celebration Party”

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Capital District Cannabis & Wellness celebrated 420 one day early with vendors, specials, and an egg hunt.

Photography by Joshua Scarselli.

More from Joshua Scarselli …

 

Legend to Appear at the Cohoes Music Hall on May 11th

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Legend

Grab your friends and head down to the Cohoes Music Hall on Sunday May 11, 2025 @ 7:00 pm because LEGEND is in town! Take a trip back in time for the The Ultimate Journey  Experience by tribute band LEGEND.

If you love Journey then you will love LEGEND playing the greatest rock hits including “Wheel In The Sky”, “Any Way You Want It”, “Don’t Stop Believin'”, “Open Arms” & many more! They deliver an uncompromising energetic show and are a guaranteed crowd pleaser with a dynamic performance. Check out these musically talented artists for a journey back through time…  to the 80’s where all we did was rock.  

Ticket prices: $20 to $49. Tickets are available online at www.thecohoesmusichall.org. For more information, please contact the Cohoes Music Hall Box Office @518-434-0776 or go to www.thecohoesmusichall.org. The Cohoes Music Hall is located at 58 Remsen St., Cohoes, NY 12047.

Brought to you by E1 PRESENTS, Upstate NY #1 Rock promoter. www.e1presents.com.

*There is a bar service at this event.

Caffe Lena – Week at a Glance

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Caffe Lena
Greetings – Every type of art is ignited by the human experience. Folk music, with its union ballads and civil rights anthems, songs of struggle and defiance, is especially called upon to document our unfolding story.  A folksinger needs to comment on what’s happening, but also understands that the audience needs respite from the exhausting news cycle. It’s certainly an interesting time to be a folksinger! On our stage we’ve been hearing songs about honesty and greed, storms and fires, and lost ways of life. We’ve certainly heard a lot about the good that comes from love, compassion and forgiveness. Some of you are craving righteous ballads and anthems of social change. Others looking for a break don’t want to hear Word One about the mess out there. Here’s a playlist of songs that carry a message by current Caffe performers. Some you’ll agree with; some not so much. Write back if there’s a song you’d like to add to this playlist.

I hope you find something here–from the playlist or in this week’s wonderful schedule–that puts wind in your sails. We have a new series launching, an extra special Captain Fun Listening Hour, and familiar artists trying new things!

See you at the show,
Sarah

 

Full Blown Chaos / War Nerve / Evil Mind / Hard Up / Noir @ Empire Underground, 4/13/2025

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NYC metalcore act Full Blow Chaos headlined a powerful show at Empire Underground on April 13. Also on the bill were War Nerve, Evil Mind, Hard Up, and Noir.

Photography by Jake Fox.

 

Full Blown Chaos

 

War Nerve

 

Evil Mind

 

Hard Up

 

Noir

 

More from Empire Underground …

 

Creepy Attic Noises – The Weird Side of the Internet

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Creepy Attic Noises
Two man repair old garret at house.

Creepy Attic Noises – The Weird Side of the Internet – by Liam Sweeny.

Houses can be noisy. I learned, upon being a homeowner, that house noises mean something different than they do when you’re not a homeowner. Like when you’re not on the hook for repairs, a scratching could be a ghost. When you have to foot the bills, you realize it’s more likely a field mouse with a taste for electrical insulation. But in either case, house sounds can be pretty ominous.

But in Rock Hill, South Carolina, a woman hears unusual sounds in the attic only to reveal a most unusual source of said sounds.

So she hears scratching and moving sounds, and when her kids come over, they tell her she’s hearing things, crazy as a loon. Now, before the big reveal here, you might ask if they said that because they checked and found nothing. But I can say they didn’t check. Because had they checked, they would have gone up there and smelled the pee and poo in cups, deposited by the woman’s ex, who had moved up there from prison.

In all fairness, she did write him in the clink, but she claimed to have no interest in taking him back, and had no clue that he was there. She also had to conclude that he got up there by breaking in the house, which he likely did repeatedly. And the creepiest thing about it was the fact that he shifted the vents so that he could watch her in her bedroom.

It occurs to me now that any sounds in a person’s attic could be the result of an ex living up there after prison, a person who will store their waste in cups. Man, that is creepy. Give me a destructive mouse any day. And commentary here, but what kind of life can you have if your mailing address is a felony in progress.

 

More from Liam Sweeny…

Todd Nelson – Xperience History

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Todd Nelson

Todd Nelson – Xperience History – by Liam Sweeny.

Originally published in September 2021.

RRX: One of the early bands you were a part of when you first arrived in the Capital Region was called “Noonward Race,” inspired by a song of the same name by  Mahavishnu Orchestra. We were fortunate to have drummer Billy Cobham in a previous issue. What’s so inspiring about that band, in your opinion?

 TN: Wow! You’re really reaching back. Noonward Race was a high school band in the early 70’s. We actually played one of the Mahavishnu Orchestra songs called Dance of Maya from the same album. John McLaughlin was a real inspiration for me at that time, and his band was very exciting in concert. I think the compositions have had the longest lasting effect on me. It was an instrumental band playing what was then called Fusion. My musical partnership, NEQ plays instrumental music, much of which I have written. We’re a hybrid of various rock genres and we’re almost finished with a recording of new songs I’ve written and the three of us have arranged and produced. Kyle Esposito is the bassist and Manuel Quintana is the drummer/engineer.  They are both highly sought after musicians from the Hudson Valley. My personal goal is to bring back the instrumental rock hit…really.

RRX: Still going back, you played with Country Joe Higgins and the Playboys, where your career really started, and from that to Silver Chicken, headed by Jim Fish, both country rock. How did your time in country rock shape the music you’d eventually develop?

TN: I did my very first recording with Joe Higgins at 19. And my first forays into songwriting were with Jim Fish.  Country Rock was basically what’s called Americana today. I try not to get hung up on genre splitting, because I think that’s about marketing music, not the music itself.  But one of the bands I play with now is Marc Delgado’s group. His music could probably be called Americana so my Country and Country Rock experience is right at home. His album is called “Wildwood Road” and has just become available for streaming. He’s one of the best lyricists I’ve ever worked with; right up there with Val Haynes and Steve Cohen of Fear of Strangers. I played guitar on several of the songs.

RRX: Many people that have been in the area for a while might know you as the guitar player for The Units, with drummer Al Kash, singer Val Haynes, and bassist Steve Cohen. The band started with covers, but had a transition from covers to originals that involved the band Little Feat. Can you explain?

TN: Little Feat was doing an in store appearance at Just-A-Song, the record store. Lowell George wasn’t there but we talked with the other guys quite a bit. I remember Paul Barrere told us if we wanted to get anywhere, original songs were essential. So we started writing songs; together at first and then separately. We just dove into it. This was around ’78 or ’79. And then the 80’s music scene exploded with all kinds of new bands. There was an anything goes kind of vibe happening in songwriting at that time that made it less intimidating to write and play your own material.

RRX: The Units opened up for a lot of great bands in the early eighties, like The Police, B-52s, and REM, and more that space wouldn’t allow. What was going on in the live music scene back then? How would you compare, and maybe contrast it to now?

TN: I don’t want to seem like someone who says the old days were so much better. There are some good venues open now, and people still want to support live music. But it did seem more focused then. You booked a gig, put up some posters and word of mouth took care of bringing people to the show. Now it’s a more diffuse dynamic with social media. These changes have affected much more than the local music scene as I’m sure you are aware.

RRX: The Units was eventually renamed Fear of Strangers, and you put out an album, Faulty Products. Now, I’m assuming at that time, you had a lot of fans that really knew you for the covers you did, and experienced The Units/Fear of Strangers as a way to let loose on a weekend; were these people receptive to the album and the original stuff?

TN: The album was released long after we had started playing original music for our local audience. So by that time they had heard most or all of the songs, because that was how we developed them. Not in the studio, because it was too expensive then. So whatever adjustment there was had already taken place. The reception to the album regionally was overwhelming. When we ventured out of the Capital District it was much harder to attract an audience, except at CBGB in NYC where we had a following. Faulty Products, the record company, didn’t invest much in promotion. We were on our own.

RRX: You’ve really been over the map, musically-speaking. We see country, rock, and maybe beyond that, and there’s a Celtic stop-off that sees you playing guitar and mandolin with Donnybrook Fair and doing solo work for band members. Doing all this kind of music, is it hard to master one or the other, or is it sort of “one love?”

TN: The latter. It can be hard to become proficient in a style, but as a guitar player I’ve really played just about everything at one time or another. I don’t actually try to “master” a style, just incorporate it into my playing. I honestly do not care about being “pure” stylistically. In fact I don’t believe in it. What people in retrospect view as a pure example of blues, country or any genre is only a snapshot of something that is continually evolving. I don’t see the benefit of placing those guardrails on myself.  For example, NEQ has a quasi-Latin Rock song on our new recording called “Block Party”.

After struggling with the solo for a while, I finally played one using my Fender

Telecaster, the least likely guitar. Kyle Esposito, the bassist called its sound, “fat twang”. These are the kinds of permutations that make me want to write and play music. You mention Donnybrook Fair. At the time I had very little awareness of Celtic music. I did listen for a time to Steeleye Span and Fairport Convention, but these were English folk rock bands, not Irish. It was an opportunity for me to join a working band when I really needed it. What often happens when I start playing unfamiliar music is I grow to appreciate it much more from being on the inside, and it gets incorporated without me thinking too much about it.

RRX: I thought it was interesting, as an end-cap here, that you did some originals with NRBQ producing, and with Dan McCarroll, now president of Warner Bros Records on drums. What is the story there? Was Dan McCarroll on his way to working in Warner Bros.? And how did you connect with NRBQ?

TN: I recorded three original songs with Terry Adams of NRBQ producing. I was introduced by Dan McCarroll who was friendly with him but I don’t remember how.  I owe Dan one for that. Dan’s gregarious nature has served him well. Last I heard he had left Warner Bros and is the head of Amazon Music. But that could be old info. The music was eventually released on cassette by the band, Tornado Bait.

 

 

More from Liam Sweeny…

Paprika / Sunbloc / Cheap Heat / Violent Streets @ the El Dorado, 4/8/2025

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OLYMPUS DIGITAL CAMERA

New Orleans’ Paprika was the seasoning of the day on April 8 at the El Dorado. But it was also the 7″ release party for Cheap Heat, and the first gig for Violent Streets. Local favorites Sunbloc were also on the bill.

Photography by Timothy Reidy.

More from the El Dorado …

Troy Savings Bank Music Hall Celebrates 150 Years

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Troy Savings Bank Music Hall

TROY, NEW YORK:     The Troy Savings Bank Music Hall is proud to announce its 150th Anniversary, marking a century and a half of unforgettable performances, cultural significance, and community engagement. Built in 1875, the Troy Savings Bank Music Hall stands as one of the world’s most acoustically brilliant concert venues and a treasured historic landmark in the Capital Region.

150th Anniversary Spring Gala – May 1, 2025

150th Anniversary Spring Gala, to be held on Thursday, May 1 at Franklin Plaza. The evening is dedicated to honoring those who have shaped and supported the Music Hall’s legacy. Honorees include:

  • Assembly Member John T. McDonald III – Community Investment Award
  • Sophia Subbayya Vastek and Sam Torres – Community Artist Award

This sold-out event will raise critical funds to help continue the legacy for the next 150 years!  A wait list is available at https://www.troymusichall.org/events/2929/spring-gala-2025/

Renaissance 150: A Vision for the Future

In honor of the milestone, the Music Hall has launched Renaissance 150, an expansion and restoration project. Highlights include:

  • Capital Region Music Hub – transforming the historic bank lobby into a dynamic performance and community space
  • HVAC upgrades – enabling year-round programming with improved comfort and air quality

This project underscores the commitment to cultural accessibility and long-term sustainability. Find out more here: https://www.troymusichall.org/visit/renaissance-150/

The Troy Savings Bank Music Hall, a National Historic Landmark, has been in use since opening in 1875. World renowned for its incredible acoustics, it has hosted performances by legions of world-renowned artists, from legends like Dizzy Gillespie, Ella Fitzgerald, Isaac Stern, Yo-Yo Ma, and Vladimir Horowitz, to the best on today’s music scene, including Boz Scaggs, India Arie, Lake Street Dive, Trey Anastasio, and many more.  For more information about Music at Noon or the Troy Savings Bank Music Hall’s upcoming programs visit our website at www.troymusichall.org.

Nymbis – An Xperience Interview

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Interview by Sketchy Hubris

 

“And the band played on as the helicopters whirred.

Drunk on the lawn in a nuclear dawn, my senses finally blurred.”

—  Moxy Fruvous

 

Nymbis is a Capital Region band with Chuck Valentine on vocals and lead guitar, Brandon Waylett on drums, Austin Nicholsen on bass, Frankie McKinney on vocals and percussion, and Liz Conant on keyboards.

RRX: So, where does the name Nymbis come from? I know it’s a nocturnal moth, but what is your connection?

CV: So it took us a while to find a name … you want to get a name where you can get a website and social media, so you’ve got to pick a name that another band has not already used yet, you know? A lot of back and forth, a lot of like, “OK, we’ll do it, this will be the name,” and then you Google it and there’s already another band with that. We were looking at Nimbus, like a nimbus cloud; we’re thinking that’s cool. And of course, there are already several bands with that name; like heavy metal bands and stuff. So we explored spelling options. Nymbis is also a genus of moth, and it tied in – we’d already recorded most of the “Moon Moth” album. The song “Moon Moth” was already written. I already had inspiration from a moth: a moth had landed on my face, a big green one. We were at a party in Schodack, and I walk into this porch and this thing landed on my face. Everybody’s running around. I don’t move or do anything; this is a big Luna moth. And it stayed on the side of my face for, like, half an hour. And I was like trying to be very still and stuff, so that did kind of inspire the “Moon Moth” song and the name.

RRX: So, Brendan – or Brandon – (I always have this problem with some names), you and Chuck met in college at Fredonia?

BW: With an A, Brandon. Yeah, and you were already living off campus. I was a freshman, and my roommate was from Bethlehem. He hooked me up with Austin and Chuck, and they had jams in their basement at 66 Cleveland in Fredonia. We all had bands going in college, but we weren’t in each other’s. I did my thing and moved back to Albany in 2003. Around 2014 or something like that, I went down to McGeary’s to see Chuck in the Lucky Valentines. I think that year I played a Saint Patrick’s Day thing with you.

RRX: Now, I want to find out how the other people in the band came to be in the current iteration.

AN: I had just moved back to town, and Kevin Carol (the original Nymbis bassist) had to take time away from the project to spend time with his loving family. Chuck and I first started playing together and learning our instruments 30 years ago while in high school.

LC: I heard Chuck on a gig. I had been searching for a musical family for the last 10 years. I remember leaving the place going, “God, I got to find that guitar, who was he?” But I knew the bass player, so I got in touch with Kevin and he’s like, “Oh cool.” Then he told me the name of the band, and then I listened on Spotify and was like,  I actually really like this band.

RRX: How long ago was that?

LC: My first gig was in September 2024, so I still feel kind of new. It’s something that I think is important for building chemistry – getting to know people to be able to commit to something like this every week is hard to find. Also, you don’t find a sense of humor present in most, there’s a great sense of humor in this.

RRX: Frankie, you joined before Liz.

FK: Yes, I met Chuck at Quarters in Saratoga. I decided I wanted to get myself out there in the music world, so I did a couple of a capella songs at the open mic, and then Chuck came up to me after and said that they used to have a female singer in their band, so these are a couple of songs that they did, and he’s like “Will you learn them maybe next time? We can do them at the open mic together.” So I learned them to the best of my ability, and then basically from there kind of kept doing shows, like doing the open mics with them … I did one show with them at Quarters and then last summer … I started playing out with them actually and … joined the band basically.

RRX: So, Frankie and Liz are not on any of the first two albums. Is there something coming?

CV: Yeah, we’re working on the third album; been in the works for a little while. “66 Cleveland” may be the title of that one, so keep your eye out.

RRX: OK, so I have to do a joke here. I write under the name Sketchy Hubris; it’s my fictitious band I primarily play saxophone in. So the joke is in everything I’ve done since I started doing these musician profiles. Have you ever heard of the band Otobo, and what do you think of them?

CV: I thought I’ve seen them on Instagram. My official reaction <laugh> highly offensive.

RRX: Well, check them out sometime <laugh>. So, I usually ask weird questions to end it, but I wanted to know: do you have something that you wanted to be asked?

BW: I assume you’re going to ask our influences because that seems to be what some would ask?

RRX: Let’s put that one aside and let me know what each of you has been listening to of late.

BW: One thing that I come back to a lot is Percy Hill … they’re out of the University of New Hampshire in the late ’90s.

CV: Oh, an album I keep coming back to. Well, I’ve got a large collection I’m filling in from tapes to vinyl. So, a recent one I just got was Europe’s “The Final Countdown.” Yes, it’s ridiculous. I’ll go with that … it was the first tape I bought as a kid, and now I own the record, and I still know every song from having it when I was 10. Very cheesy rock. I love it. I do.

LC: Well, I have one, but it’s not that old. Young Gun Silver Fox is a duo; they’re from the UK and sort of got this combination of Steely Dan/Hall and Oates feel.

FM: I’m learning a lot of covers, so I bounce from album to album. I really like the band The Big Takeover and their album called “Spilling Water.” I saw them at Putnam Place last year. It’s a group I’ve been wanting to catch again; they’re a kind of reggae band based out of the Hudson Valley. They’re newer, so I really enjoy them.

AN: All kinds of music from all over the world. There is so much music in the world, and we’ll never hear it all. I really enjoy listening to music I’ve never heard before.

Nymbis plays Ophelia’s on May 2 in Albany and will also be playing at Belmont on Broadway in Saratoga on June 4.