When The Buffalo News unleashed its list of ‘Bands to Watch’ in 2009, burgeoning Country-rock outfit Ransomville was notably absent from the proceedings. Despite opening for the likes of James Otto, Charlie Daniels and David Allan Coe, this fiery quintet with energy to burn couldn’t fight their way into mainstream consciousness. They had the look, urgency and appetizingly antithetical sound to separate them from the pack but, for some reason, local media didn’t want to bite.
To put it mildly, the idea of their brand being anything but your grandmother’s Country music has positioned them in a realm void of trite classification and old-school sticklers just can’t have that.
About halfway through their set at Club Paradise in Blasdell on Saturday, I experienced what Jules Winnfield of “Pulp Fiction” would refer to as a “moment of clarity.” As someone who has never been particularly fond of Country music in any way, shape or form, I came to the realization that the genre once defined by whiny relationship yarns and small-town axioms doesn’t have to suck. What these guys brought to the table is a reminder that no matter how banal a scene appears to be, all it takes is one ambitious young band to come along and inject the industry with a much-needed sense of direction.
Ransomville consists of lead vocalist Dan McClurg, guitarists Rob Burgio and John Rosini (both formerly of Seven Day Faith), bassist Josh Long and drummer Johnny Misso. I had the opportunity to speak with the guys prior to Saturday’s show and found their humility to be most engaging as they plowed through whatever questions came their way.
Although it was only 12 minutes, I got the sense that if they continue down their current path, they could easily find themselves in the thick of things come late 2010.
Then again, don’t take my word for it. Here’s what they had to say:
Question: How did you guys decide on the name Ransomville?
Burgio: I think it was the phrase “held for ransom” that initially drew our attention and we threw ‘ville’ behind it to make it sound country, because that’s what we are. It has nothing to do with the town of the same name as none of us are from there, so we just thought it sounded Country-rock and stuck with it.
Question: What are some of your major influences?
Rosini: Anything from 80s hair bands and classic rock to my earlier involvement with the pop scene.
McClurg: I grew up with more traditional Country artists like Merle Haggard, Waylon Jennings and Johnny Cash, but I also enjoy modern acts like Kenny Chesney.
Burgio: We’re not trying to do this or that. We’re just trying to write a good song and we have a very Country vocalist so, no matter what we do, it’s going to sound Country.
Question: How do you think being in Western New York has impacted your ability to make it within the Country scene?
Burgio: So far, so good. The good thing is that we’re one of the only original Country bands around that pushes their own music and prints their own records. A lot of bands appear to be focusing on covering Country, which is great, but our aim has always been we’ll do our own music and then add a few covers along the way. We stick to the integrity of what we do and everything else is secondary. Luckily, the response has been unbelievable. Our fan base is growing, the CDs are selling, it’s great. Of all the bands I’ve been in, it’s amazing how rapidly people are attaching themselves and wanting to help us out.
Misso: We have heavy rock fans that are into this band. People from all genres of music are calling us saying ‘I love your stuff and I don’t even like Country.’
Burgio: Yeah, I mean all throughout Wyoming County we’re building a strong following and every show gets busier and busier. Dan’s from there, so they already know him as a vocalist and putting him together with our band has been terrific.
McClurg: From what I’ve seen, people love the screaming guitars and intricate soloing so, if we throw a strong Country lyric on top of that, you can’t beat us.
Question: Where do you get your main inspiration for songwriting?
Burgio: Women. I know it sounds cliché as hell, but it really is that simple.
McClurg: I think one of my goals is to acknowledge the people fighting overseas because, if it weren’t for them, some of us may be drafted out right now.
Burgio: We didn’t finish the CD and say we’re done. We continued to write while the record was being finished and I truly believe our songwriting can come from anything. We’re looking for a label to come in with some money and guidance to bring out the best we have to offer.
Question: Would you say the crowds have been more male or female?
Burgio: It’s a good mix with different age groups as well. I mean, we’ve seen an 80-year-old grandma out there having a good time, so it’s certainly a variety.
Question: Are there any mainstream bands that you look at and say “We’re just as good as they are?” If so, what are they?
Burgio: You have artists like Jack Ingram, Carrie Underwood, Taylor Swift and Jason Aldean, but not too many bands. That’s what I grew up with, that’s what I live for. I think the industry is screaming for a real band to come out that has personality and can connect itself to the audience.
Rosini: There really aren’t too many bands at the moment. You have Rascal Flatts, but they’re a trio and we’re actually a rock band.
Burgio: There’s no doubt in my mind that we can hang with anybody.
Saturday, April 3, 2010
Megadeth celebrates 20th anniversary of Rust in Peace
Heavy Metal fans are a resilient bunch.
They attend the shows, buy/download the albums and wholeheartedly embrace the preservationist philosophy that makes the genre so alluring. Mainstream society has labeled them barbaric man-children searching for an excuse to be violent, but they have channeled their marginalized status into a rallying cry hell-bent on furthering the “us vs. them” mentality.
They’ve endured deaths, congressional hearings and the arrival of Grunge only to emerge stronger and more aware of just how threatened the public is by an alternative worldview. If Rock and Roll is about sticking it to the “man,” then metal is about sticking it not only to the man, but anyone who has ever told you to keep your mouth shut.
For those of you out there who still look down upon Heavy Metal as nothing more than noxiously feral clamor with little social significance, allow me to present last Saturday’s concert featuring Megadeth, Testament and Exodus as exhibit A for how off-base general perceptions have become. Few bands would’ve been able to keep up with the physically demanding tempo of the evening’s material and the fact that most of the members are closing in on 50 makes it that much easier to applaud. It was a fan’s paradise and the bands rewarded them in every way imaginable.
First up was Exodus and they proceeded to filter out any lingering notions that it was going to be a tranquil event when singer Rob Dukes refused to get started until the pits were open for business. The crowd was up to the challenge, so the set was marked by screeching vocals and a “Gangs of New York”-esque wall of death in which the audience charges into each other hoping to achieve the ultimate metal high.
I’ll admit that I didn’t know too much about Exodus other than they were Metallica guitarist Kirk Hammett’s original group, so the music didn’t quite resonate with me the way I’d hoped. They seemed content to cater to the die-hards while ignoring any potential converts and, if I were to assign an epitaph to this portion of the show, it would read “I survived the circle pit and all I got was this mildly engaging set form Exodus.”
After about 45 minutes of rising energy levels, Testament took the stage to perform their 1987 debut “Legacy” in its entirety and reminded me of why I love this music in the first place.
Vocalist Chuck Billy is such a killer showman that, at times, it felt as if they had three guitar players, because he was using the microphone stand to echo whatever frenetic solo lead guitarist Eric Peterson happened to be busting out at the time. His voice was fresh, controlled and primal to the point that his 2001 cancer scare is but a distant memory as every breath injected just the right amount of passion into each song.
Classics such as “Do or Die,” “Alone in the Dark” and “Apocalyptic City” displayed exemplary execution and, judging from the raucous ovation, still sound as menacing as they did 23 years ago. I was curious about how the absence of virtuoso Alex Skolnick (currently touring with Trans-Siberian Orchestra) would affect the album’s punch, but the rest of the guys compensated nicely and delivered it with the rebellious flair we’ve come to expect.
As for the main attraction, if you consider Metallica to be The Beatles of thrash metal, then Megadeth is undoubtedly The Rolling Stones. They have the speed, intelligence, versatility and all-around adversarial attitude to keep churning out tunes as long as Dave Mustaine’s ego will let them.
From the opening note of “Holy Wars…The Punishment Due,” Dave Mustaine, David Ellefson, Chris Broderick and Shawn Drover exploded onto the Town Ballroom stage determined to silence the naysayers once and for all.
I like to think of Megadeth’s oeuvre as a classically-based hybrid that emphasizes intricate arrangements and staccato notes the same way a symphony from Beethoven or Mozart would which, to me, speaks to how complex their material really is. Watching them tackle songs such as “Take No Prisoners” and “Tornado of Souls” in a live setting is an adrenaline rush unlike any I’ve experienced at a concert and the fluidity with which Mustaine and Broderick tear through the riffs is metal at its finest. Having Ellefson reunite with the band a little over a month ago only added to the excitement, so any fan that missed out on this one should make an attempt to catch them in Toronto on July 29 to see “Rust in Peace” the way it was meant to be. You won’t be disappointed.
Not that it means anything, but I overheard some guys on the subway talking about how Megadeth's 90-minute set was beyond what Metallica brought to HSBC Arena back in October 2009.
I'm just saying...
.
They attend the shows, buy/download the albums and wholeheartedly embrace the preservationist philosophy that makes the genre so alluring. Mainstream society has labeled them barbaric man-children searching for an excuse to be violent, but they have channeled their marginalized status into a rallying cry hell-bent on furthering the “us vs. them” mentality.
They’ve endured deaths, congressional hearings and the arrival of Grunge only to emerge stronger and more aware of just how threatened the public is by an alternative worldview. If Rock and Roll is about sticking it to the “man,” then metal is about sticking it not only to the man, but anyone who has ever told you to keep your mouth shut.
For those of you out there who still look down upon Heavy Metal as nothing more than noxiously feral clamor with little social significance, allow me to present last Saturday’s concert featuring Megadeth, Testament and Exodus as exhibit A for how off-base general perceptions have become. Few bands would’ve been able to keep up with the physically demanding tempo of the evening’s material and the fact that most of the members are closing in on 50 makes it that much easier to applaud. It was a fan’s paradise and the bands rewarded them in every way imaginable.
First up was Exodus and they proceeded to filter out any lingering notions that it was going to be a tranquil event when singer Rob Dukes refused to get started until the pits were open for business. The crowd was up to the challenge, so the set was marked by screeching vocals and a “Gangs of New York”-esque wall of death in which the audience charges into each other hoping to achieve the ultimate metal high.
I’ll admit that I didn’t know too much about Exodus other than they were Metallica guitarist Kirk Hammett’s original group, so the music didn’t quite resonate with me the way I’d hoped. They seemed content to cater to the die-hards while ignoring any potential converts and, if I were to assign an epitaph to this portion of the show, it would read “I survived the circle pit and all I got was this mildly engaging set form Exodus.”
After about 45 minutes of rising energy levels, Testament took the stage to perform their 1987 debut “Legacy” in its entirety and reminded me of why I love this music in the first place.
Vocalist Chuck Billy is such a killer showman that, at times, it felt as if they had three guitar players, because he was using the microphone stand to echo whatever frenetic solo lead guitarist Eric Peterson happened to be busting out at the time. His voice was fresh, controlled and primal to the point that his 2001 cancer scare is but a distant memory as every breath injected just the right amount of passion into each song.
Classics such as “Do or Die,” “Alone in the Dark” and “Apocalyptic City” displayed exemplary execution and, judging from the raucous ovation, still sound as menacing as they did 23 years ago. I was curious about how the absence of virtuoso Alex Skolnick (currently touring with Trans-Siberian Orchestra) would affect the album’s punch, but the rest of the guys compensated nicely and delivered it with the rebellious flair we’ve come to expect.
As for the main attraction, if you consider Metallica to be The Beatles of thrash metal, then Megadeth is undoubtedly The Rolling Stones. They have the speed, intelligence, versatility and all-around adversarial attitude to keep churning out tunes as long as Dave Mustaine’s ego will let them.
From the opening note of “Holy Wars…The Punishment Due,” Dave Mustaine, David Ellefson, Chris Broderick and Shawn Drover exploded onto the Town Ballroom stage determined to silence the naysayers once and for all.
I like to think of Megadeth’s oeuvre as a classically-based hybrid that emphasizes intricate arrangements and staccato notes the same way a symphony from Beethoven or Mozart would which, to me, speaks to how complex their material really is. Watching them tackle songs such as “Take No Prisoners” and “Tornado of Souls” in a live setting is an adrenaline rush unlike any I’ve experienced at a concert and the fluidity with which Mustaine and Broderick tear through the riffs is metal at its finest. Having Ellefson reunite with the band a little over a month ago only added to the excitement, so any fan that missed out on this one should make an attempt to catch them in Toronto on July 29 to see “Rust in Peace” the way it was meant to be. You won’t be disappointed.
Not that it means anything, but I overheard some guys on the subway talking about how Megadeth's 90-minute set was beyond what Metallica brought to HSBC Arena back in October 2009.
I'm just saying...
.
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