MELISSA FERRICK

FINALLY HOME 

AND FEELING HAPPY

by Julia R. DeStefano

“Songs are snapshots of what you’re going through, and mine involve questioning, searching for completion, joy, and truth, and desperation for relief.  I’m satisfied with my progress as a writer and a human being, and I know I’m going to get better at both.  There will be times when I’ll feel like I’m not improving, and I’ll get through that.” ~Melissa Ferrick

Melissa Ferrick is a woman of many facets; an individual who has shared the stage with Bob Dylan, Paul Westerberg, Weezer, Ani DiFranco, and Morrissey, and who plays over 150 shows a year.  A six-time Boston Music Award winner and Gay & Lesbian American Music Awards (GLAMA) winner, Ferrick is renowned for her accessibility and touching honesty, refreshing qualities that put her in the league of alternative rock compatriots Liz Phair, Paula Cole, and even Carina Round.  Over the course of a career spanning twenty years, Ferrick has released an impressive discography and, among other things, penned some of the most “guaranteed-to-make-you-blush” songs in our recent music history, and we continually love her for being that open book—for being unafraid to speak of the things that we cannot quite muster up the courage to say but wish to.  She is, in fact, so approachable that she is undoubtedly the non-judgmental friend you’d love to divulge your innermost thoughts to over a glass of fine wine.

Widely hailed as a “bold new direction,” Ferrick’s highly anticipated upcoming record, The Truth Is, is a testament to her continual evolution as both a human being and an artist.  Although rooted in the enormous amount of pain one experiences after a horrific breakup and the subsequent effort one must make to carry on, its overarching message of hope is powerful and comforting.  The album itself is chronological, was recorded with a live band, and is presented in a cinematic, legato manner.  To quote Ferrick: “That is what the songs wanted from a production standpoint.”

It would be fitting to classify the zealous Ferrick’s lust for life as infectious.  She wears her creative passion unabashedly on her sleeve, a refreshing character attribute that becomes apparent as she fervently speaks of her childhood and adolescent years—essentially, a time when she became aware of her musical prowess through a remarkable catalyst: “I was really young when I first started to talk about music, like four.  Though I don’t remember doing this, I’ve been told by my parents that I went to them and spoke of wanting to play the violin since before I was born.  My dad was a schoolteacher and my mom was working at the mall, so they don’t come from a lot.  There’s not a lot of money; there’s a lot of love.  They found a way to get me a violin for Christmas of 1975 and lessons, and that was the beginning of it. I did 12 years of classical violin training before moving onto trumpet.  At this time, I also began playing bass guitar and taking lessons at Berklee with Rich Appleman, who recently retired as the chair of the department.  I became involved with jazz and studied classical trumpet in the Conservatory for two years as a member of their extension division.”

It is with a sense of nostalgia that Ferrick begins to chronologically discuss her high school years and her vast body of influences: “The songwriting part of it didn’t start to come until I was 16, when I began writing on a guitar that my aunt gave me.  At the time, there was a record that came out by Edie Brickell calledShooting Rubber Bands at the Stars.  It was her first album and, up until that point, I hadn’t ever heard a woman singing about how she felt—a woman making music in my generation, as I was a teenager and she was probably in her twenties. The Eurythmics was also incredibly famous, so I had Annie Lennox and before her, Grace Slick, and the Jefferson Airplane revival.  There was Patti Smith, and though I wasn’t into punk yet, I knew she was powerful.  But it was Edie Brickell who rocked my world because I felt like “Little Miss S” in a mini dress.  That’s who I was, and that was the song that really struck me.  The next year brought Suzanne Vega’s record with “Small Blue Thing” and “Marlene on the Wall.”  Tracy Chapman followed with “Fast Car,” as did Shawn Colvin.  Every year, a new female singer-songwriter emerged, making me believe that there was a space for this and it helped me realize how music, at least I hoped, would finally express itself in a way that felt like it completed me. I later fell back on what my parents had been playing me all along, which was Joan Armatrading, Joni Mitchell, and Rickie Lee Jones, but since that had been their music, I couldn’t attach myself to it.  Finally, I was like: ‘Man, that’s a good album!’ and Zeppelin, realizing that 80 percent of the instruments were acoustic: ‘What a concept!  There’s a freakin’ mandolin on that record!”

Once something is made the main focus, it then has the chance to blossom in a way that it couldn’t fully before.  “You can be good at a lot of things or be great at one,” an invaluable piece of advice that Ferrick was fortunate to receive from Appleman.  For her, it is purely talent, a word that she considers interesting.  “If you’re born with this vessel, how many things do you want to try to carry in it?” a rhetorical question that ends in heartwarming laughter and only serves to make Ferrick more endearing.

For a woman who has been shaped by her vast experiences and profoundly impacted by her influences, one would be correct in imagining that Ferrick’s songwriting process is equally as significant and that it involves an immense amount of diary writing.  “The best songs come really quickly and all at once, and they’re complete gifts.  I am a firm believer that I am the vessel, as it comes out of nowhere, and that it is my job to make it as good as I can make it.  That’s where the work comes in, and being able to be enough outside of myself to know when I’m giving up on a line, not willing to do the work on a bridge, or not paying attention to whether or not my melody is strong enough, and being willing to change it.  This is something that I just started to get better at on Still Right Here.  Up until then, I was a stream-of-conscious writer and would have told you that structure, melody, and rhyme scheme just came naturally.  Now I probably work on the songs for at least six months before I feel like they’re good enough to be recorded.”

There is no doubt in Ferrick’s mind that her songwriting has progressed, stylistically and lyrically, over the course of her career.  Such an evolution is especially evident throughout her upcoming record, The Truth Is, mixed by Grammy Award-winning Trina Shoemaker (Brandi Carlisle, Sheryl Crow) and engineered by Rafi Sofer (James Taylor, Juliana Hatfield).  “I didn’t write from a place of anger, which was really huge for me.  Actually, I didn’t write anything for five months, and I took seven months before coming out of a cocoon of self-care.  The record opens with ‘Wreck Me,’ which is about an affair that I had before this whole thing blew up.  What follows is ‘Everything You Were,’ which is the first song I wrote from this experience and one that is about sadness and letting go.  There is a line in it: ‘I can give you to God, but I’m going to need you to stay out of my way,’ and that is what I was constantly doing for five months.  Another line: ‘…out here walking these streets, practicing forgiving you’ is literally what I was doing in that moment.  Already, the song means something very different to me.  The anger comes in a little bit with ‘Pity Song’ and definitely with ‘Overboard,’ which I wrote third.  Then there was this whole new light, a ‘waking up’ in my life where all of my friends, old and new, started pouring in and brought me lots of joy and love, which was exactly what I needed.  I wrote the remainder of the record around that, and around them, though I didn’t realize I was in the middle of writing an album.  The title track, ‘The Truth Is,’ is about having a particular person, someone who was in my life for years and years, who I was madly in love with but didn’t speak to for three years, come back into my life.  That is unbelievable and such a huge gift.  At the time, it was like: ‘Are you kidding me?  I’m going to get you back?  Get out of here!  There’s no way.  I never thought you’d ever talk to me again.’  Getting a friendship back like that is something that you want to be really careful with because you get the opportunity to do it again, and you have to show up as a person who has learned and not just making the same mistakes over and over.  There has to be forward motion.”

“Even though The Truth Is isn’t even out yet, there are already things that I would change, but I thank God for that because it means I’ll make another record.  I can’t negate the fact that analyzing my own work started when I began teaching and saw how hard my artists work at their craft, and in the curriculum that’s set in place around concepts of songs, songwriting, lyric structure, and rhyme scheme.  When I’m done thinking I can get better, I’m screwed!  Even so, I live a life of believing that I’m exactly where I’m supposed to be.  I’m satisfied with my progress as a writer and a human being, and I know I’m going to get better at both.  There will be times when I’ll feel like I’m not improving, and I’ll get through that.  It’s about the process.”

Ferrick’s record release party for The Truth Is will be held on May 15th at the Sinclair in Cambridge, MA.

www.melissaferrick.com

IT ALL BEGINS WITH A

(An Axeman for the Ages)

by A.J. Wachtel

Johnny A is big league. In a few weeks he will be at the Rock ’n’ Roll Summer Camp playing along with Jeff Beck and Brian Wilson in front of a theatre full of worshippers. Ordinary people like you and me just don’t get to spend our summers quite so elegantly. Check out what other major activities Johnny A is up to…

Noise:  You have a new CD coming out. Tell us about it and what can we expect from your new music?

Johnny A: Okay, where do I start? I wrote 16 songs for this album, put a recording studio in my home. I’ve arranged all of the songs, produced/engineered all of the songs and played all the instruments on all of the songs. So, in a way, this is my first complete solo album. As far as a musical direction, it’s much more groove oriented than the last recordings as well as having very succinct song arrangements, trying even more to capture a melodic style instrumentally that evokes a more vocal quality… as if lyrics are apparent, although absent.

Noise: Your style has been compared to Danny Gatton as well as having some of the aspects of Jeff Beck and Pat Martino. Fact or fiction and what does this mean in plain English?

Johnny A:Well, I’m flattered. Thank you. Although I don’t know how much fact there is in that. However, I am influenced by probably the same cast of characters that the aforementioned were influenced by and have ultimate respect for Jeff Beck, Pat Martino, Danny Gatton, as well as a ton of others. They are all superior players.

Noise: How come there has never been reunion gigs for your late ’70s band the Streets or your ’80s group Hearts on Fire? Are you anti-reunion?

Johnny A:Quite honestly, I’m not very interested in going backwards.

Noise: You walk the fine line between rock, jazz, and the blues. Among musical influences you cite the Beatles, Everly Brothers, Wes Montgomery, Chet Atkins, Jeff Beck, Steve Howe, Hendrix, and Les Paul. Care to clarify?

Johnny A:I have very eclectic, varied tastes. I love melody and I love inspired, passionate players. So, when you look at the Beatles and the Everly Brothers, what fantastic melodies they had. Wes Montgomery, Jeff Beck, Les… all extremely passionate players with a great sense of melody and phrasing as well as incredible chops. I would have to say Jimi Hendrix’s passion was second to none. And I’m not sure if anybody did instrumental music for guitar better than Chet Atkins! If there is someone who has, I haven’t heard him/her!

Noise: You use your guitar’s whammy bar a lot while playing. What does it add to your performance?

Johnny A:I think it adds a texture not unlike a vocalist finishing a note with a nice natural vibrato. From my perspective, It also emotes a certain warmth to the phrasing.

Noise: Gibson Custom Shop designed a Johnny A Signature Edition Guitar per your specifications. What’s different about this axe and why aren’t you just a Les Paul or Strat guy?

Johnny A:Well, I used to play a lot of different types of guitars including a Gibson Les Paul, but I was looking for a certain quality in a guitar, something that combined the qualities that a lot of my guitars possess. I had the opportunity, when Gibson approached me, to design an instrument from the ground up with them, that resulted in a guitar that completely fills all my needs.

Noise: Hearts on Fire lost the 1986 WBCN Rumble to punk band Gang Green in one of the most heated local events of that era. Looking back, can you comment on your group’s loss that year? Did the best band win?

Johnny A: Wow. That was a long time ago! I don’t think the best band won, I think maybe the tightest band on that particular night might have won. I had disbanded Hearts on Fire months before that show and only put the band back together for that performance at the request of WBCN. My heart wasn’t in it and, as a band, we were out of shape.

Noise: What’s your favorite album of all time? What’s your favorite local album of all time?

Johnny A: I don’t really have a favorite album of all time. There are several of them that on any given day, for a variety of reasons, can be my favorite album of all time. Favorite local album? Sometime Tuesday Morning.

Noise: In 1999, you released Sometime Tuesday Morning, and in 2010 One November Night. There seems to be a clear connection here. What’s behind the two titles?

Johnny A: No mystery to the titles. My titles usually come from what’s happening around me at the time. The title song was written sometime early on a Tuesday morning and One November Night was recorded on a night in November at Sculler’s.

Noise: In the early ’90s you got together the local band to support Derek & the Dominos legend Bobby Whitlock. Who was in the band and what do you remember most about playing BW’s great catalog of songs?

Johnny A: As MD (music director) for that band I enlisted a bunch of local guys’ most notably Stu Kimball. The Layla album had such an impact on me when I was growing up. To hear Bobby sing and play those songs live on a Hammond with that raw voice of his was just a thrill!

Noise: You spent seven years playing in bands with Peter Wolf. Care to share a cool story about touring around the world with him?

Johnny A: Ha ha ha, I think I’ll keep those stories to myself!

Noise: Will you finally publicly announce what your last name is? We all know it’s Greek and starts with the letter A? Here’s your chance.

Johnny A: No.

www.johnnya.com

FANTASY TO REALITY

by DJ Mätthew Griffin

Boston singer/songwriter and jet-setting “hyper-mod-pop band” Pills’ member, Corin Ashley, has jumped across the pond to record his second solo album, New Lion Terraces, at the famed Beatles’ Abbey Road Studios. With a circus of the stars line-up performing on the album, Corin breaks the bank to fulfill his 40th birthday fantasy.

Noise: Recall your first musical inspirations as a child.

Corin: I suppose, like a lot of people my age, the first big thing was Kiss. That was my first concert and, obviously, as a seven-year-old I was more interested in the comic book aspect of the band than the music—which I can actually appreciate more now. I was also crazy about the Monkees’ TV show, which was on after-school reruns. And, naturally, the Beatles were just always there. I grew up outside Philadelphia and it was really the heyday of AM radio gold and the radio was always on in my mom’s Opal Kaddett station wagon, so there are so many Philly soul records that are deep in my consciousness.

Noise: Tell me a bit about some of the bands that you were in, earlier in your musical career.

Corin: I grew up playing in cover bands in rural Pennsylvania and there were never any bass players available. Once I picked up the bass and because my best friend was a total prodigy on guitar (future Poison/Mr. Big guitarist Richie Kotzen), we ended up playing with older guys. When I was 16, I was playing in grown-up bars three or four nights a week. We played everything—I couldn’t even begin to list the hundreds of songs we played at one time or another.

Noise: When did you join the Pills?

Corin: The Pills were active from 1995 to 2006, did three albums on a local label, and toured all over creation. I’m really proud of that experience and still close with the guys in the band. The thing that kind of ended the Pills was just that the other main songwriter moved to Seattle with his family. His wife is from that area. I still love those guys, though, and drummer Matty B and Dave Aaronoff played on both of my solo albums. Those guys are like my brothers. Dave is busy with his own band and plays in Muck & the Mires—not to mention the many hours of tantric sex he’s involved in—mostly for charity—he studied that with Sting—but I have a bash with me whenever I can.

Noise: Tell me an exciting tour story.

Corin: An exciting Pills tour story? One time we drove eight hours to sit in some horrible, dank back room waiting to play. Then we jumped around like maniacs for 25 people somewhere in Cleveland, sold 10 T-shirts and some CDs, but didn’t get paid our $50 guarantee. Now, just repeat that in different cities all over the U.S. for 10 years.

Noise: The Pills shared stages with such acts as the B-52’s, the Libertines, Supergrass, and Reverend Horton Heat. Which artist was the most exciting for you?

Corin: I’ve had the pleasure of playing a few shows with Robyn Hitchcock and that’s always been a bit of a treasure to me. Not only is one aware that there’s a master songwriter in the room, but he’s such a kind, generous person who always has a nice word for you. I always feel like I’m entering Robyn’s psychedelic romper room when I see him play. The only tricky bit is that, when opening for him, one must yield to his sartorial magnificence and allow him gig shirt supremacy. There’s no point in competing, he has the very best gig shirts.

Noise: Your second solo CD New Lion Terraces was recorded in London at Abbey Road Studios. Please tell us about the CD and it’s recording?

Corin: This one started off with a 40th birthday fantasy, camp thing of “just imagine if I could record at Abbey Road.” It really seemed so far out of the realm of possibility and it wasn’t easy to put together. It’s a frightfully expensive place and they normally don’t do single-day sessions, it’s all a three-day minimum, which was just too rich for my blood. Through a friend who had worked there, I struck a deal with the studio managers that if any down time popped up around my birthday, they’d give me a call. They called me nine days before my birthday and said there was a day between sessions and would I like it? I just said yes before I could even consider everything I’d have to do to pull it off. I wrote all about it on my website (www.corinashley.com), but it was a mad scramble for sure.

Those sessions came out great—better than I could have ever hoped, really—but it did create a sonic problem for me. I cut three songs there and I definitely heard them as the start of my next album, but being as they were recorded on a two-inch 8-track head-stack on a Studer in the finest studio in the world with the same mics used on Beatles records, it wouldn’t really cut it to record the rest of it on my laptop in my bedroom. They still haven’t come up with a plug-in for “awesome,” I’m afraid.  I ended up buying an old one-inch 8-track reel-to-reel that used to be at WGBH and assembling a team of audio sherpas to restore it. We moved it into the B room at Q Division and brave Jon Lupfer wrestled with it to record the rest of the album. I mixed it—actually, I didn’t mix it at all—I let Ducky Carlisle do what he’s awesome at doing.

Noise: You had some cool collaborators on this album, how did that come about?

Corin: Mostly very naturally. For the Abbey Road sessions, I had some fabulous people who volunteered—a couple of Liverpudlians so I could even have the correct accents around me for my Beatles fantasy! In fact, there seem to be quite a few British people on my album—even an Australian.

It is my instinct, that when someone interests me musically, I just want to get in the sandbox and play a little bit. I guess it can come off a little name-droppy, but  I am blessed to know some really talented people. One of the big things for me was meeting Dave Mattacks. That’s someone whose drumming I have loved on records by XTC, Nick Drake, Fairport Convention, Paul McCartney, Richard Thompson, and loads of others. We met at a Neil Finn show at the Somerville Theatre and he turned out to be a supremely lovely person. Having him on drums with the old 8-track cranking and some nice old ribbon mics getting it all down, I kind of thought “we’re making some classy music today, I think.”

The other big thing was having my friend Kay Hanley there to help my really nail the vocals. I’ve always been pretty pleased with the sound of my voice, but a little shy about really, really singing. You know, I’ve just always been “three takes, we’ll comp it, good enough,” but Kay contributed so much to me getting the most out of my voice on this album. And she’s someone who I just adore in every way—especially as a singer—so, if she’d hit the talkback and say “one more, you’re almost there,” it wasn’t a drag. I was definitely trying hard to please her with the vocals. If you get a thumbs up through the glass from Kay, you know you’ve actually done something.

Also, I really enjoyed having Paul Ahstrand work on the string and horn arrangements. He did such a fabulous job creating the perfect Van Dyke Parks/ early Nilsson sound I was going for. Even the artwork—Liz Linder did the photos on a lunch date in Brookline with me one day, it wasn’t even planned—and Aaron Belyea who I used to play music with, came up with this fantastic artwork. If you need an album cover, call my boy Aaron at Alphabet Arm.

Noise: Where is you music available? You did a crowd sourcing program with this, right?

Corin: You can just get it on iTunes or Amazon or for free on Spotify (I don’t mind, have a listen). You know, everything went so well on this album that my last little dream was to do a small vinyl run. I paid for all the recording and mastering and all that, but I was just tapped out as far as pressing vinyl. You don’t even want to know how much I spent making this album, and neither does my wife. I worked with Jayce at Pledge Music—a great local company—to channel the CD and download orders into funding for the vinyl, and with a percentage going to Boston Children’s Hospital. It met the fundraising goal, so I just got the vinyl test pressings

Noise: What are your plans for the future?

Corin: I don’t mind doing solo acoustic shows, but I’ve got a really cool band together with Davina Yanetty and Fran Betlyon singing, Chris Gorham from MARS on guitar and either Matt B or Josh Pickering (Pods, Varsity Drag) on drums—you always have to keep a spare drummer. They always go squirrelly on you. Also, we are doing a  really cool video shoot at Redtar Union in Cambridge on May 9 with Parks- open to the public like a club show, but with a  video aspect—filiming and multitrack recording.

www.corinashley.com

Click on the image for the full photo, and print out your own color Big Shot!
This month: Lisa Haley

PRELUDE

Lolita: Rita, do you really have to stand right in front of me when I have a perfect view of my boyfriend’s butt… I mean band? Rita: Sorry, I wasn’t aware I was doing that. Lolita: And you’d probably say the same thing if I ask you to stop kissing my boyfriend goodnight.  Rita: What? Lolita: And don’t think I don’t see the way you let him touch you. Rita: Now wait a second. Your stupid boyfriend is the one with the problem. He’s like an octopus. Lolita: Don’t you accuse Johnny of being that way—you’re the one who keeps thrusting your breasts at his hands. Rita: I do not! Lolita: Sure, and I bet you were the one who punctured his tire, so he’d have a good excuse for getting home three hours late. Rita: Huh? Lolita: And why did he have to wash his shirt as soon as he got in? Don’t think I didn’t see that lipstick on his collar? Rita: But I don’t wear… Lolita: And that lemon perfume!  I can’t get it out of my nose!! Rita: I don’t wear per… Lolita: Just stay away from him!! Rita: Hey, Lolita—isn’t that your Johnny in the office bathroom making a lot of noise? Sounds like he’s not alone in there. Yes, look… that’s him coming out now. And what?! Look who’s coming out behind him! You have a bigger problem than you think. Lolita: Where? Who is it?

IN THIS ISSUE

Lolita: First let me say… if there’s a gentlemen out there who’d like a sweet blond, girlfriend, I’m available. You can find me on PerfectMatch.con. Continuing our look at the most popular artists in New England, in this issue we have MELISSA FERRICK, JOHNNY A, CORIN ASHLEY, and LYLE BREWER. Rita: Each one of these artists have worked hard to achieve their success in the music business. Read their stories and improve your NEMIQ.

MOTHER MAY I?

Lolita: There you go again with that NEMIQ? I can’t even pronounce it. But I’m going to move on to the first QotM (Question of the Month). Since it’s May, I wanted to ask, what’s the most important thing you ever asked someone to do for you?Rita: You know, that makes no sense at all. Lolita: Well, either does your NEMIQ!… Oh, hi Chuck! Did you hear that I was available? Oh wait, wrong question. What’s the most important thing you ever asked someone to do for you?  CHUCK U. ROSINA (WMBR/ WMFO): Oh, that’s easy. I asked Diane to be my wife, and she said yes! *** LINDA VIENS (Kingdom of Love): The most important thing I have ever asked someone is asking my ex-husband Wayne Viens to embark upon fertility treatments when we were unable to conceive a child. His dedication, loyalty, support, and fortitude made having our Ruby possible and I will forever be grateful beyond words. *** DOUG MacDONALD (Doug MacDonald Band): When I asked the bartender at T.T. the Bears if I could get my bands drink tickets the night before the show. It worked. Lolita: I hope you got drink tickets on the night of the show from a different bartender. Doug: Ha ha ha! No, but I had a major hangover!

MAYFLOWER

Rita: That had to be one of the worst Questions of the Month ever. Lolita: Oh really? Well, to show you, I’ll make another one that’s even better. A.J., is that Lemon Pledge you’re wearing? It smells so manly. Did you know I just broke up with Johnny? Oh wait. I have to be more professional than that. Please answer this question and I’ll print your answer in the May issue of the Noise. The question: Make up a story about a musician who came over on the Mayflower. Rita: That’s not even a question—but go ahead A.J.—answer the silly thing. A.J. WACHTEL (Blind Lemon Pledge/ the Noise): Until recently, it was always a “given historical fact” that the crews on the Nina, Pinta, and Santa Maria brought venereal disease to the New World in 1492. Now it is medically agreed that a member of the Mayflower’s crew, known as the Count of Gono, gave the big G, gonorrhea, to many of the deckhands; who in turn infected much of the newly discovered continent. *** MACH BELL (Bag O’ Nails): My grandfather (x13 generations) Peregrine White boarded the Mayflower with his German-made bass guitar in hand. “No gigs for original-music in Europe” he fumed.  White’s ship fought against heavy seas for 10 months until he and his bass were finally tossed upon the shore of America. Peregrine was rescued on the beach by natives who desperately needed a bassman to complete their Bach tribute band. Rita: I don’t know which is worse—the questions or the answers? Lolita: Well, I for one, know that both of those answers are factual. Rita: That’s part of the problem. You only got two guys to answer your question—and I can see that you got their attention because you’re wearing that low-cut excuse for a blouse. Look, why don’t you serve the readers the music news and I’ll come back with a lot of answers to a question that musicians will want to answer.

THE NEWS OF 

NEW ENGLAND MUSIC

Lolita: Picky picky picky. And my spaghetti-strap T-shirt isn’t too low- cut. Parts of me may fall out the side, but I’m not showing as much skin as some people would like. See?—look at this first piece of news…  BRIAN YOUNG of WMFO’s Crash Course for Ravers (Saturday’s 1-4pm) is threatening to send in a photo of him wearing only a fig leaf. This is what people in the music business will do to become the Noise Big Shot!  We’re waiting, Brian. *** At Northeastern University we saw AC FOX perform. Okay, we may have wondered about a guy who dresses up as a white fox with ears that wiggled on their own and a big fluffy white tail with a black tip. But when he started rapping in Chinese (no, he’s not Chinese) it was a creative jolt—but he ended his show with an epic theatrical number, “On Par,” that kept us guessing what the hell was going on. He’d fit well on a bill with ROB POTYLO—he might even make Rob appear a little normal… nahhh. *** Recently, lead Weisstronaut guitarist PETE WEISS broke a finger while stacking wood.  While most of us would find this to be something that sucked unarguably, Pete managed to find a splinter of positivity in the situation: the return of Pete Weiss, lead singer. *** Cape Ann Community Cinema (21 Main Street, Gloucester, MA) continues it’s Thursday night series of music-related films through May, culminating in Willie (Alexander)’s Birthday Bash on May 23 at 7:30. *** MERLE ALLIN is celebrating the 20th anniversary of the death of his brother, GG ALLIN. Merle has a new CD on the way. *** The Green River Festival in Greenfield, MA is planned for July 20 and 21. We know that HEATHER MALONEY will be there—so it has to be a great festival. *** The finalists in the 2013 MAMM SLAM, Maine’s high school Rock Off are Mark It Zero, Stolen Mural, Rupture the Fish, Beware the Pedestrians, Simple Burden, and Zenith. The preliminary battles took place at the Big Easy with the finals at Asylum in Portland, Maine. *** Want to meet the publisher of the Noise? He, T MAX, is hosting Giuseppe’s Shuffle every Thursday night in May—(2 Main St., Gloucester). Come on up, introduce yourself, and show him how to do the Giuseppe Shuffle. *** MARK CUTTLER is in the middle of a 10-week campaign to raise money for the Leukemia and Lymphoma Society of Rhode Island. He was nominated Man of the Year. *** THE BIG LONESOME toured through New England in April, raising money for their next release. *** THE GOBSHITES are releasing a limited-edition EP of songs that RICHIE RAMONE recorded at the Doghouse Studio in San Diego. The EP is a bonus to anyone who pre-orders their upcoming CD The Whistle Before the Snap. *** MARINA EVANS is bi-continental—while touring and recording in Italy she has gathered up musicians and a producer for her first full-length release. Yet, she lives on Cape Ann and writes her songs there. *** THE COWSILLS (and eight other acts) were inducted into the Rhode Island Music Hall of Fame on April 28, 2013. *** Winners of their preliminary nights in this year’s Rock ’n’ Roll Rumble were Eddie Japan, Camden, New Highway Hymnal, Lifestyle, White Dynomite, and the Daily Pravada. *** JOE KOWALSKI (… Music Lessons/ Brown Boot) and LEXI KAHN (ex-Noise editor/ a.k.a. Michelle DiPoala) tied the knot in Las Vegas on April 15. Joe and Lexi met during production of T MAX’s amazing Project Eno in 2002. They will continue to celebrate their Eno-versary in July along with their new anniversary date. *** LOOKIE LOOKIE plays Latin boogaloo and includes Chris McLaughlin (Human Sexual Response/ Zulus), Russ Gershon (Either Orchestra/ Agachico), Ken Field (Revolutionary Snake Ensemble/ Birdsongs of the Mesozoic), Scott Getchell (Bad Art Ensemble/ Lars Vegas), Rick Barry (Bim Skala Bim/ Bam Bam) and Ken Winokur (Alloy Orchestra/ Concussion Ensemble). *** Hobo Cafe in Salsbury Beach has closed permanently. *** NICK CONSONE is hosting an open mic at Vic’s Boathouse in Salem every Thursday night. *** DONNI DARKO (Tall) has joined LUCRETIA’S DAGGERS on bass. *** TONY JONES & THE CRETIN 3 won the WXIN (Rhode Island College) Rock-hunt. *** Congratulations to ANGIE MILLER from Beverly, MA, on American Idol. *** ROOTS OF CREATION won best band in New Hampshire at the New England Music Awards. Lots of other winners, but they were the only ones quick enough to get us the info in time for this issue. Lolita: Quick enough? Sounds like my old boyfriend. And where’s Rita? I bet she didn’t get as many musicians to answer her question, what ever it is.

TALK ABOUT SONGS 

Rita: Over here, Lolita. I’m up here on top of the viewer’s deck at the airport. As the musicians head out on tour, I’ve been asking them this question. Describe one of your best songs. If you don’t write songs, it can be one of your favorite local songs. Here’s the owner of the airport… JOHN POWHIDA (John Powhida International Airport): One of my best songs is called “Iman Global Chic” and it will be on the upcoming JPX full-length Destination: Sake Bomb. The song imagines a day around the house at David Bowie and Iman’s place and she is pretty mad at him. I tried to contact Amanda Palmer about covering it but didn’t try too hard. *** MARK KAYE (Hear Now Live): “Serenade” by Biscuits & Gravy—it’s a very well-written song and easy to hum a long to.  Everyone I have played this for has loved it, especially my son, who knows all the lyrics by heart. *** SCOTT MATALON (Matalon): I love the title tune, “The Last Argument of Kings,” off our new album because it’s fun to listen to and really fun to play.  It’s also politically/culturally current, which is a little different for us; I love the lyrics and the guitar riffs and it doesn’t even really have a true chorus, plus the solo section is epic as hell with a half-time bass solo into a guitar solo that brings us back to one of our most wailing third verses ever before it rocks its way out.  It’s politically-motivated, it’s “hooky” and it totally rocks so hard it still makes me wanna sing along while banging my head! *** ANDY MILK (The Vital Might): “Measure” is our best song.  It’s the first song we played together when we started eight years ago.  We’ve played it as our last song 99.99 percent of the several hundred shows we’ve played.  It progresses from a mid-tempo story of rebirth to a double-kick-laden instrumental ending, which typically prompts us to hop all over the stage like maniacs. *** MACH BELL (Bag O’ Nails): “Paisley Hangman” has gotta be one of the coolest I ever wrote. We played it when my band the Mechanical Onions (inspired by the Electric Prunes) won the ’67 Holliston Jr. high school Battle of the Bands. Hangman was deep, apocalyptic, and angsty, but with a stompin’ surf beat. Lolita: In ’67? I wasn’t born yet? Are you sure you’re not talking about your grandfather, Peregrine White? *** RICK BERLIN (… & the Nickel & Dime Band): I guess it’s the one’s that seem the least thought out. The one’s that emerge as if though the self. For me, it could be “A Letter” (on Me & Van Gogh) as it is based on a letter I got from a kid in jail whose thoughts about his life while incarcerated, were more intimately communicated than had been possible on the street. *** SARAH BLACKER (Sarah Blacker): One of my favorite songs that I’ve written to date is called, “Pluggin Away.” It’s on my forthcoming album, Precious Little Things. It’s about the daily grind of being a touring musician which sometimes means that you find yourself on stage when you’re feeling as low as it gets, or running on empty. Life happens and the show must go on! However, it also describes that no matter what happens, you get up there, and “like a steam train driver,” or a “hybrid engine,” keep the engine moving forward at full speed (or as close as you can get). I think it’s a song that many artists can relate to, and has a very rock ’n’ roll feel so that audience members kind of get going when they hear it. Lolita: Yeah—I’ve always got the guys requesting more “Plugging Away.” *** PREACHER JACK (Preacher Jack): One of my best songs (truth be told, I only wrote a handful in my “career”) is my ode to life, “Celebration of the Spirit.” I wrote it in the early ’80s as a tribute to my sobriety and as a reaffirmation of my love affair with Jesus Christ. I had been sober for only a short while at the time but felt grateful that I had survived those many nights when I wasn’t seeing life so clearly. As I’ve said many times I gave up the King of Beers for the King of Kings and I thank the Lord I did! *** DAVE TREE (Tree/ DrugWar/ SuperPower):  “Question Abuse” was a song I wrote the words to on a table top in the atrium of the School of the Museum of Fine Arts, I was raging against that TV showCops, and how it conditioned and brainwashed the public into accepting police brutality.  The lyrics flowed freely from my marker to the table top, that very night at band practice. Ooze E One came up with the riff, I matched up the lyric, and we wrote the whole song in an hour. I think it’s one of the best songs I’ve been a part of. *** MR. CURT (MC4):  Most songwriters always have a few songs that resonate, but never get around to recording or releasing. This was one of final songs written for The EXI’s, almost 20 years ago (whoa!). It’s called “The Art of Compromise” and deals with that mantra on different levels—personal relationships, work ethics, and social consciousness. Many people need to achieve that zen to avoid bumps or road rage in this fast lane of Life. Fave lines:  “If we lose our morals we fall through the cracks/ To this desperate place and we may never get back/ There’s so much caring all true souls deserve/ We’d make fools of ourselves if the angels need work.” Perhaps, I’ll get to it for my next album. *** MARINA EVANS (singer/songwriter): One of my favorite original songs is “One of Two,” mostly because of its inspiration: you know how those big piles of snow in parking lots start to melt in the spring, and all the sad little objects that got trapped inside over the winter start to appear? Well one day I was watching this happen and noticed a lonely little mitten (just one), all alone on the sidewalk. I wrote “One of Two” for that little mitten—I hope it found its mate! Lolita: Hey—I’m looking for a mate too! *** LARRY BANGOR (Human Sexual Response/ The Zulus):  “Back to Sleep” grew out of a nightmare I had of lying in bed while two friends had awkward sex in the bed next to mine.  One of them, impatient with her partner’s clumsy maneuvers, produced a gigantic machete and beheaded the poor guy.  His head landed on my bed, and I woke up.  When I got around to working out the song with the rest of the Zulus the gory scenario somehow evolved into an uplifting song about moving beyond disillusionment to find hope in the future—or maybe, moving beyond reality to find hope in dreams. *** TIM MUNGENAST (Timworld/ Tim Mungenast & His Preexisting Conditions): One of my best songs is “Tales of Hoffman,” recounting the story of Dr. Albert Hoffman riding his bicycle home from work after accidentally dosing himself with this experimental drug he was working on… later known as LSD. We’ve played this one several times in concert and it is going to be included on our long-delayed album Goat of Many Colors. It’s a corker, if I say so myself. Lolita: Corker? Yeah, I also get that one. ***  DJ MÄTTHEW GRIFFIN (DJ Mätthew Griffin)/ the Noise): My favorite local song “In Your Dreams” was written and performed by Cathy “Cah” Lillyman in Free Radicals and Musclecah. The song was written to be about “people who think they are so great, you can’t resist them.” Allegorically, I find the song is open to free interpretation and association and can be applied to: a psychotic ex-girlfriend or boyfriend; someone who is cruising for sex; a band member with really poor and unprofessional communicational skills; or shady nightclub employees, who conduct business in a Machiavellian manner. *** FRANK STROM (the Noise): Picking just one song is impossible and not mentioning Evan (Muck & Mires) Shore, who writes the best ones, is pretty darn ridiculous. But just for kicks, I’m gonna go with an oldie—”That’s Why Girls Cry” by the Brood. I love any of those songs where Chris Horne is crying 96 tears ’cause some jackoff has done her wrong… which was something like 95 percent of the entire Brood catalogue! I think that one was on the Vendetta album. Check it out. *** JOEY AMMO (x-Spot Mary): One of my favorite songs is called “Afraid.” I wrote it back in the mid-’90s, during my Birdbrain years with TVT, but they never used it. It’s about the domestic abuse of women in homes across America, and the extremely dangerous escalation of those conditions. I come from this type of family background and always felt it was important to have a voice in this matter. Misogyny should no longer be tolerated in our society. *** JAY ALLEN (…& the Archcriminals): My favorite lyric from a song called “I Met Her at the Track.” “Just as far as lovers go/ I’m hardly a race track Romeo/ But a lucky shot from Cupid’s dart/ There goes swifty with my heart.” Lolita: Jay, that is so sweet. Is that about when you saw ME at the track?  *** KIER BYRNES (Three Day Threshold): One of the songs that we like to play is our tune called “My Favorite Titty Bar.” It’s upbeat and fun and for some odd reason, the ladies seem to love it. Lolita: Yeah Kier—I remember when you took me to one of those places. I didn’t like it much at first, but that changed quickly when all those guys started shoving dollar bills at me.

Rita: Well, we tricked you into reading our whole column once again. Notice how many musicians answered my question? Lolita: Maybe they did—but look who’s got all the dollar bills! See you in June with a sexy tune! Rita: And remember—keep working on your NEMIQ—there will be a test!

Anyone who hasn’t followed Hilken Mancini’s post-Fuzzy work has made a grave mistake.  This second record from Shepherdess finds Mancini on top of her game, leading the band through a set of songs that are in debt as much to riot grrl punk as they are to the power pop that she is known for.  The music has a ferocity to it, but never at the expense of a good hook, and while Mancini lets her guitar hero side show, the songs never meander aimlessly.  The other band members, Emily Arkin (baritone guitar and violin) and Allison Murray (drums) excel as well, proving nimble enough to turn on a dime while also focused enough to keep the proceedings grounded.  The production is excellent throughout, fully capturing the spirit of their live shows, except for the actual live track that closes the album, which sounds dull and far away.   (Kevin Finn)

JAMES MONTGOMERY BAND
Open E Entertainment
From Detroit… to the Delta 
12 tracks

James swears that “Detroit blues is greasier than Chicago blues” and his latest project is a testament to this fact. First, with an all-star cast of musicians; every song is a gem in its own right. The group consists of  James on superb Sonny Boy Williamson I-inspired harp and very solid vocals. David Hull, the bassist and backing vocalist, also very ably produces this product. Guitarist extraordinaire George McCann on sizzling six-string and Seth Pappas on driving drums are razor-sharp on every cut. When the group suddenly stops in an arrangement, the momentum stalls and it’s the perfect music foil to transfer the listener’s focus back on to front man James alone. This allows him to always have control of the song, it works well, and it’s a great foundation for a great cd. I really dig “Intoxicated” with it’s hook, and Willie Dixon’s Delta inspired “Same Thing.” “Little Johnny” is a great tune with Johnny Winter on Firebird Slide guitar and Aerosmith’s Joey Kramer on drums. Listen at the end of the song when Aerosmith’s guitarist Brad Whitford joins in. Just killer. Joey also pounds on the John Lee Hooker classic “Motor City Is Burning,” for real Detroit bluze. “I Don’t Want To Have a Heart,” co-written with local vet Bruce Marshall, is another good song. I really like “Delta Storm,” with the Uptown Horns. Their presence always takes the sound to a better level. Ask The Stones. Another standout is Bo Diddley’s “Who Do You Love?” sung by rapper DMC. His delivery and just his appearance is way cool and it’s done “Detroit” all the way. “Put Your Money Where Your Mouth Is” another “Delta inspired” blues tune, is tightly and powerfully done, showcasing the band’s many talents. The jazzy/soulful version of Ray Charles’ “Hit the Road Jack” is very interesting and Montgomery’s opening harp and vocals are really cool. “River’s Edge,” written by McCann and “Changing of the Guard” composed by Hull, are both enjoyable blues/rock that again allow the stars to strut their stuff. Finally, Cotton comes and shows everyone his own interpretation of Sonny Boy’s style with the Lightning Hopkins classic “Black Cadillac.” This is not just another harp CD.  Great music. Great performances. Great guest-stars. Play this CD loud.         (A.J. Wachtel)

THE WEISSTRONAUTS
Sool Recordings
Control Is in Your Command:
The Best of the Weisstronauts 1999-2012
27 tracks

There are twelve songs actually, on the vinyl release—plus a mind-roasting 15 bonus tracks on the CD release. Y’know, judging from the first track, “Get It Together,” this band might strike the uninitiated as purveyors of the type of allegedly “hip” music” listened to the squares in the film version of The Graduate. But these instrumentals actually span the 14-year run of this collective of musicians gathered together to pay homage to exhausted styles past—from heavy duty funk (“Fibonacci”) to bubblegum pop (“Fruity”) to seedy pop psychedelia (the previously unreleased “Handball”). The aptly named “Psychedelic Whiplash” affectionately sends up both Blue Cheer and crazed 1960s LA radio DJ raps (e.g., “The Diamond Mine”). Make no mistake:  this best-of collection is nothing if not eclectic. We also get a Byrdsy-Liverpudlian amalgam of folk-blues-pop (“Hoopin’”) side by side with  twangy Johnny Cash style country (“Hot Dog City”). The sparkling and aptly named “Perky” appears here in a brighter 2011 remix. As for the CD bonus tracks, the standouts include “Tommy the Smelter” and its interpolated “Gimme Shelter” riff; the spectacularly jaunty “Last Train to Shartlesville”; the sheer verve of the previously unreleased cover of “Hot Smoke and Sassafras,” and the glad-making “Thrifty 2,” sounding like a picture perfect portrait of 1966, alongside of the cover of “Pleasant Valley Sunday,” with its nitrous oxide punch at the finale. All in all, it has been a fun ride, kids. Let’s keep up the good work.         (Francis DiMenno)

ORB MELLON
Reltone
Love & Violence
10 tracks

Former Dirt Merchants founder Mike Malone emerges with his latest release under the moniker Orb Mellon.  This collection of tunes features solo home project recordings from two different periods of time and digs deep into the whiskey drenched delta blues/juke joint wave. The varying qualities of these recordings make this album sound instantly and simultaneously like a recently unearthed blues fossil and a modern edgy classic. Love & Violence has a healthy blend of soulful, intimate, fragile, and bombastic, as good albums should, without trying to sound all “faddy,” as if vintage were something you could simply buy at Guitar Center with a discount coupon.  All the songs on this sound honest and from the heart, with the charm coming from differing degrees of sonic fidelity. Sometimes the only way to achieve that is with a home recording. This is a record worth having in the collection.          (Joel Simches)

AMERICAN THREAD
Killing Days 
11 tracks

Recorded at Proofbox Studios with multi-instrumentalist/producer Steve Mayone, the lads from American Thread have got a great, well-rounded sound. Like a cross between the Pogues, Billy Bragg and Steve Earle, they waste no time to blast out some high octane Americana infused with healthy portions of country blues and barroom rock. Guitarist/singer Brendan Ahern and drummer Geoff Downing pair nicely, and fill out their sound with Michael Taggert on lead guitar and Gary Taggart on bass. American Thread is the kind of band I can easily picture playing at Bull McCabes or Toad, strumming their working class anthems over acoustic guitars and tall glasses of Irish whiskey. Like the best folk songs, each tune tells a story. “Fisherman’s Lullaby” is one of my favorites, depicting the tough times of today’s fisherman.  “Parade” is another fun folk song; it has a ring of Bruce Springsteen doing a Bob Dylan cover.  The organ on “Lost and Found” is a nice touch and allows that song to stand out a bit more instrumentally. “39 Days” somehow reminds me of an acoustic Bob Mould tune.  If this is the kind of stuff you dig, check out American Thread.      (Kier Byrnes)

BIRD MANCINI
Second Story Records
Bird Mancini Lounge  
12 tracks

This music is a mix of the usual eclectic roots rock sound of Bird Mancini and the Bossa Nova. Both Ruby and Billy Carl sing great.  Ruby wrote the opening, “If You Wanna Get To Know Me,” and Billy wrote all the rest.  Their Bossa Nova songs that could have been covered by Brasil 66 or Astrud Gilberto include: “You Don’t Know What I’m Saying,” the instrumental “What Gets Me This Way,” with the great groove, “Midway Green Café,” “Jet Setting In Morocco,” “Patagonia,” and the closing cut, “Running To You (Coda).” Less danceable but just as lounge-ish are “The Listener,” “Somedays,” and “Pond Life,” a song co-written by Mr. Curt  that could be on an Adventure Set set list. Instruments included on this CD that I am unfamiliar with their specific sounds are: axatse, china cymbal, and a rain stick. This is rock solid, enjoyable, and certainly not just elevator music. Pour yourself a martini and listen.                 (A.J. Wachtel)

GROOVE LOUNGE 
TVP Records
Volume 1  
14 tracks

I love the modern electro-soul sound.  There are many categories for this type of funky jazzy hip hoppy compilation, but “electro-soul” really resonates for me.  It sounds 21st century, looking at it from the 22nd century.  The artists in question on this hipolific mix are really at the mercy of New Hampshire Seacoast producer Scott “Sir Buck” Ruffner—and are performing as THE sound of TVP Records.  Hailing from the (and inhaling the) Portsmouth vibe and sea air, Sir Buck and his compassionate cohorts have welded together a nasty and smooth mix of flash and brash, spunk and funk, mix, licks, and some chicks.  Before I venture further into questionable beat poetry rhyme schemes, let me say that this CD is a great party soundtrack to keep rolling… though I haven’t been to a great party in many moons.  Tasty bits of guitar work, positive-energy lyrics and seamless integration in the many artists’ sounds in the tracks lead my ear to a pleasing sense of completion and flow throughout the work.      (Mike Loce)

MOE POPE & RAINS
Let the Right Ones In
19 tracks

When they reminisce about good Hip Hop this album will be amongst the ranks.

Out of the gate there is a sense of euphoric nostalgic transcendence.  As soon as the beats drop, it is apparent that this LP blends many different types of styles and influences from rock, ADM, and ’90s trip hop.

Moe and his cast of characters are droppin’ more knowledge than glitter on the Bean with very conscious and reflective lyrics.  His mixed cast include several Boston musical luminaries such as Dua Boakye from BAD Rabbits, Reks, and Julia Easterlin.   The first track, “Gothham feat. Easterlin,” is beautious out the gate. “Annie Mulz” is a super sonic gritty party anthem. Track 10, “Pressure,” is grimy and raw.  Just about every joint on this album seduces you on the low like a not so silent assassin with all its heavenly and heavy beats. This album truly has mass appeal, which I feel will be appreciated by hip hop heads.      (Lara Jardullo)

JIMMY RYAN
Ruido Guide Records
Readville 
8 tracks

The mandolin pickin’ is good—nothing truly virtuosic—the songs are okay—nothing top out of sight brilliant—the singing is of variable quality—some of the melodies are sprightly—notably “Gone Yer Gone,” the Dylanesque “Rocket to the Soul,” and, notably, “Just Like You,” where Mr. Ryan’s voice is heard to best effect. I love anthemic mountain music—from Bill Monroe to the Anglin Brothers to Jim Eanes. I love it with a passion bordering on the fanatic. These songs don’t move me in any of the same ways. At best, they only tickle my fancy and whet my appetite for some of the real thing, which, in and of itself, is no mean feat.     (Francis DiMenno)

HOWLING BOIL
Maiden America
11 tracks

This is an outstanding album from an outstanding band. It’s all the more impressive that this is their debut release and not the work of a band 10 years in and five albums deep. Stylistically, they are as ambiguous as they are adventurous, touching on country, blues, and prog-influenced groove-heavy jams, with the occasional dash of avant-garde jazz licks and metal riffing. Broadly defined, I’d call ‘em art-rock. Their upbeat and whimsical style with its chunky fuzzed-out guitar leads, bouncing basslines, and lighthearted organ/synth is really compelling. They’re like Blur, without the British accents. They’ve got a knack for writing catchy tunes full of quirky modulations, sudden style shifts, and outstanding musicianship—especially with the layers of interwoven lead guitar lines and the dense harmonies of the backing vocals, yet, their unorthodox approach and technical badassery are never overpowering enough to alienate even the most casual of listeners.       (Will Barry)

Z*L  
Midriff Records
Z*L
10 tracks

The self-titled opening salvo from Z*L is a musical flavor I don’t taste too often, a blend of surf/psych rock tinged with some heavy reverb and a few cool effects. We’re definitely off to a good start, and I get the feeling that this trio has a lot more in store. Mournful ballads like “Mermaid Knife” contrast sharply with the fuzzy, shred-filled “Steev Millar,” and “A Town Called Romeo” gives the full-frontal assault to the ears that you hear more than once in this album, and the intensity makes me wonder what a live show with Z*L is like.

The vocals of Isabel Reilly (bass) and Ian Adams (guitar) are mournful and heavy, but it’s the kind of darkness that just wants to impart a story, rather than drag the listener down into a depression they never wanted. Ian’s a familiar face as a solo artist, and has transitioned to this band seamlessly. The bass and guitar steal the show,with shredding solos that flood the air. The drum work of Jack “Knife” Guilderson is effective and on point, and maintains a strong presence with his bandmates. All in all, an impressive debut for a band that’s worth keeping your eyes on.                             (Max Bowen)

T MAX 
Dove Records
Thinkin’ Up a Dream 
8 tracks

Re: Opening number “Clickity Clack.” Whew. Who knew the world was at long last ready for a Mungo Jerry revival? Though, actually, it sounds more like “Mirror of Love” by the Kinks, croaked in a dyspeptic Bob Dylan caw, or maybe a slowed down trippy version of the Wilson/McGuinness collaboration “Ding Dang.” Next, we get more of the swoony guitar mode—in fact the treated guitar sound on this recording is the unique selling proposition—on “Fade Away, Fading In.” We then get a slab of Jonathan Richman style eerie-but-touching goofiness on “My Friends’ Pets.” And “Thinkin’ Up a Dream” is hokum jazz revival ala “That Cat is High” and such. “(Let’s Go Down to) Dogtown” recalls the novelty stylings of a certain unnamed local Irish-heritage rock band, and the chantey “Dundabeck” continues in a similar vein (though, for the record, the rogue sausage-maker’s name was actually Donderbeck.) “Train Sleep” is twangy skiffle hokum, a mildly amusing novelty number. The most compelling song here is the shortest: “Fading In”: a dazed and fitting coda to the proceedings. This release is shot full of songs in a genre—call it groovy Americana—which was and is a rich vein tapped by the Holy Modal Rounders, Dylan, Phil Ochs, Dave van Ronk, Beefheart, et al., long before its putative revival in the 1990s. I long ago predicted the whole Americana craze—a hillbilly aesthetic which was the inevitable counter-response to the black-leather-jacket garage hoodlum. But we forget that at one time the hobo was also at the cutting edge of hipsterdom. Even Richard M. Nixon referenced the far-away lonesome train whistle in the night during his maudlin acceptance speech to the 1968 Republican National Convention. So now I’m going on record to predict a movement called the Hobo Revival. Will this be the opening salvo? Only time will tell.      (Francis DiMenno)

THE DRUNK NUNS
The Winchester LP
12 tracks

These songs are mostly fast screamers with attitude, sorta like Slayer meets the Butthole Surfers meets the Ramones. Industrial rock, punk and metal are the main influences here and songs like “What Now,” “Reckless,” “The Boys,” my favorite “Tell Me,” “Juvenile,” and “We Don’t Know” assault your eardrums from start to finish. All the songs are written by growling vocalist Joe Barron and guitarist Andrew Dedousis, who sets his amp at vol. 11 from beginning to end. Drummer Andy Mac and bassist Frank Ashe ably keep all the mayhem together and even a slower, quieter stomp like “Winchester” is just as menacing. This is manic music sure to help make you hard of hearing. Fast and furious and not for the fainthearted, I like it like this.  (A.J. Wachtel)

MAX GARCIA CONOVER
Clip Records
Burrow
11 tracks

Max Garcia Conover’s first full-length album is aptly named. One song in, and I want to disconnect the phone and let the music be the only thing on my mind. His fingerpick style is quick, sure, and delivers a great folk sound that sucks the stress out of your soul and replaces it with a relaxed tranquility. The album opens with “Teem,” a chill instrumental piece that showcases Conover’s skill with the strings, and damn does he have skills. Whether a slow strum or a fast, surgical tone, he’s on point each time. His vocals are light, but no less effective in connecting with the audience, like a casual conversation that lasts for hours. Based out of Maine and recognized as Best New Act by the Portland Music Awards last year, Conover shows us that the title wasn’t won for nothing. His music takes you into the forests and fields of his home state, or to a quiet café for an acoustic show. Either way, where this music goes, you want to follow.      (Max Bowen)

JULIET & THE LONESOME ROMEOS
No Regrets
10 tracks

Americana music that gets foot-tappin’ at times, Juliet is raunchy in “Narcissus,” my favorite song, and wails a weeper in the ballad “Song For You.” She goes Nashville in the country/ soul “Learn to Love Again” and the country pop/ rock “Last Kiss.” I love “Unkindest Cut,” sorta like Pure Prairie League meets Lucinda Williams. I can also hear the Neil Young influence in “Wishing Well” and Emmylou Harris in “Failed Highway.” Produced by Ducky Carlisle and Michael Dinallo, I would imagine they perform on this project also. Most of the songs are written or co-written by Juliet and the music jumps out of the speakers. For both your dancing and listening pleasure check out the jangling guitars and versatile vocals the next chance you get.    (A.J. Wachtel)

THE SKELETON BEATS
Shake Your Bones
10 tracks

The Skeleton Beats prove that you don’t have to be very original to be a good band as long as you possess a true rock and roll spirit as well as a keen knowledge of where your strengths lie.  The band plays the kind of music that used to find a home at the Abbey.   The songs are fast, loud, and in debt to the holy trinity of punk, garage and rockabilly.  Most importantly, these guys and gal bring the fun, an element that seems all too lacking from a lot of the music that lands in my inbox these days.   Being able to write ear candy like “Bad for You” doesn’t hurt either.   That number hasn’t left my brain for days, and I’m clearly a better person for it. Thanks, Skeleton Beats!     (Kevin Finn)

I AM NEXT
Cemento Records
How to Tell the Phonies From the Phakes
10 tracks

This is a pretty slick piece of power pop. While the songs are bright and zippy with some brilliant harmonies, their sound harkens back to ’70s and ’80s proto-indie-pop bands like the the Raspberries, the Buzzcocks, and the Knack, with bits of Peter Case and Marshall Crenshaw, and the attitude of the Smithereens, and the Replacements, except without all the cheesy gated reverb on the drums.  The production is tight and punchy, but the songs initially are kind of hit and miss.  The first four songs are desperately in search of good hook to tie together all the little bits.  Perry Leenhout’ s voice, while really good, seems to lack the swagger that some of these songs need and there isn’t much emotional dynamic, until the album hits its stride with “Hallucination Mania” and “Radio Wave Goodbye.” The broader psychedelic approach to those tracks seems to suit his laid-back melodic tones. While there are so many great ideas, they tend to outstay their welcome, often within the same song. I am sure this band kicks it pretty well live. I would like to see that.                      (Joel Simches)

BEES DELUXE
Livevil 
8 tracks

This is powerful old-school guitar driven music with heavy Hendrix/ Clapton/ B.B. influences. It is nothing new but always enjoyable and rocking. This “limited edition collection of unauthorized live recordings” is just the music you’d expect from a transplanted Brit who landed in Boston. A mix of originals and covers, Conrad Warre admirably wields his axe while Brad Smith on keys and Patrick Sanders on drums accompany him through cool tunes like “Look-Ka Py Py,” “Ain’t Nobody’s Business,””Funky Miracle,” and “Watermelon Man.” Solid vocals surrounded by a tight band, and check out the tones he gets out of his guitar; this cat can play.     (A.J. Wachtel)

CAIXA
Caixa
10 tracks

Right off the bat, Caixa’s sound collages conjure something Kubrick might have used in 2001: A Space Odyssey with their eerie, drone-heavy tone. The music is chock-full of amorphous textures, electronic outer-spaciness, and lush cymbal splashing that slow-simmer to a seething boil with track 4, “P.I.G.,” a bawdy funk piece tinged with acid-jazz and thick with gritty guitar and keyboard-mashing cluster-chords. It is definitely a stand-out tune. The album overall has a touch of the Far East with its trance-inducing beats, psyched-out effects-drenched guitar lines, long synthesizer oms, and gamelan-like vibraphone pitter-patter. Ominous and hypnotic, Caixa’s drone-heavy sonic explorations bring me to a goddamn theta state. Nirvana, here I come.                  (Will Barry)

CRYOSTASIUM & THOR MAILLET
Twinnings
8 tracks

The first track on this album is entitled “The Fun Is Done,” which, in case the sound of babies screaming wasn’t enough, pretty much lets you know what you’re in for. These tracks aren’t really songs as much as they are soundscapes that would fit in well in a horror movie or a dark video game like BioShock. In fact, I found myself wondering what the intended purpose of this music was. It’s intelligently put together and effectively spooky, but it doesn’t seem like something you would just sit down and listen to on its own. It also, I learned, isn’t something you want to listen to right before you go to bed, as you will most likely have very creepy dreams about being murdered on the beach at night.  (Kevin Finn)

CHOOSE TO FIND
Auxetic Records
Songs Without Words  
10 tracks

I would say that this is music for big venues.  Theaters.  Arenas.  Concert halls with reverb.  The idea of a group with this sound playing at a small dive is just an ass-chapper.

This is instrumental rock music.  Grand.  Big. Lush at times.  Anthemic.  Thematic.  Wide.

The “introduction and farewell” is quite a piece of music… a romp in seven from the Yanni trick book to a phase-in of Alan Parsons Project with Vince Guaraldi bashing on piano.  The primary songwriter is piano man Todd Marston, who no doubt has had a fun time honing his crew. I hope it’s lucrative.  I still hear that old Frank Zappa quote about the futility of performing instrumental music, and the importance of having a voice plopped onto it.  Here, the music IS the voice.  Rock on guys.  Hope to see and hear you live some day, and in a bigger arena than a small dive.    (Mike Loce)

HAYLEY JANE & THE PRIMATES 
Color Me
7 tracks

On their first proper EP, Color Me, Hayley Jane & the Primates concoct a crazy mix of gothic Americana, folk, jazz, and rock. It’s incredibly difficult to put a finger on how to categorize the results. I suppose the key is that the mix is freaking fantastic.

From the dark, murder-ballad stomp of “Saving Kind,” to the playful swing of “Worrisome Thing,” and on through the near-country twang of “Everybody Runs,” there’s never a moment that Hayley and her band don’t bounce from one genre to another.

The Primates are adept at keeping up with the characters that Hayley embodies at each turn. One moment they could be playing in a dusty saloon, the next in a college-town bar. All the while, Hayley moves her vocals deftly from Erin McKeown to Kim Deal to Ani DiFranco.   (George Dow)

PETER BALDRACHI 
Prodigal Son Records
Tomorrow Never Knows  
11 tracks

Fluty-voiced pop with a new-wave edge; some groovy fun for fans of Benny Mardones, perhaps; all well and good. The songs are tuneful and catchy pop trifles and the lyrics are, unfortunately, the usual lightweight clichés. It would have been a delightful companion-piece to the likes of the Outlets back in 1985; nowadays it comes across as a head-scratching anachronism, and, ultimately, in its utter lack of originality, I’m sorry to say, this collection verges upon the profoundly annoying—like being slapped repeatedly in the face by a washrag soaked in warm milk.   (Francis DiMenno)

GRACIE CURRAN & THE HIGH FALUTIN’ BAND  
Proof of Love
9 tracks

Gracie is one of the best blues divas on the local scene today and this CD allows her to strut her stuff behind her fine band. The result, mixed and mastered by blues harp legend Rosy Rosenblatt (D.K.’s Full House) is a great example of why our local blues scene is one of the best around. Listen to: “Can’t Getta,” “Take You With Me,” “Even With The Rain,” and “Been All Over” (with Rosy’s great harp) to hear her country-blues sound at it’s best. The sweet and sad twang of “Take You With Me” should be heard on country radio stations everywhere. It’s always cool when blues royalty makes a cameo. Keyboardist extraordinaire Bruce Bears, from Duke Robillard’s band,  joins in here too. I also really like when the horns are employed in her music; their brassy additions always are short and sweet and greatly add to the total package. Whether torching an Americana ballad or pouring her heart out in a romp, the nice guitar work of Tom Carroll, the good bass of Geoff Murfitt, and solid pounding of Derek Bergman on drums mix well with Gracie’s great vocals for a real treat. Check it out.   (A.J. Wachtel)

LIOTTA ST. JOHN
Driving Records Music Group
Good Day For A Beggar
10 tracks

Good God, this is painful.  Is it so much to ask to tune one’s guitar before recording something people are going to actually hear? Obviously this guy has a great, soulful voice and the potential to record something that could move mountains and make angels weep, but there is a profound difference between DIY and just bad quality decisions.  I get it.  It sounds like the band wants to “capture the moment” and what happens happens—warts and all, but ignoring this fairly simple courtesy of being in tune and putting a little thought in making your album that you work hard to write and record look and sound like something that people other than your immediate friends and family would want to listen to and spend money seeing live, just seems disrespectful to any potential new listener.  It is truly brilliant stuff otherwise.    (Joel Simches)

T. JOHN CADRIN
Nothing Is Hidden
5 tracks

Nothing Is Hidden, a quirky indie-pop romp with elements of Big Star, Jellyfish, and Boston’s Bleu, features changing time signatures and musical twists à la Be-Bop Deluxe and They Might Be Giants. Verses, choruses, and bridges not only sound like they were plucked from different songs, but from different musical genres.

Fantastic production showcases strong, at times Jeff Buckley-esque vocals, evocative and intelligent lyrics, haunting harmonies, and almost subliminal incidental keys, guitars, and  percussion.  Nothing Is Hidden is an example of no-holds lyrical and instrumental barred risk-taking.   (Marc Friedman)

THE BRIDGEBUILDERS
Love In Vain
3 tracks

Released late last summer, the Bridgebuilders offer this snippet of their world.  They are a band determined to shake up what people think about conceptually when hearing the tag “singer/songwriter” bandied about like an hooker at a crack party, or something. Sure there are good, solid songs, but they are arranged and performed with instruments and sensibilities of indie bands who aren’t afraid of making folk a lot less pretty and tidy around the edges.  While there is acoustic guitar and jazzy-groove drums, there is also distortion, tape echo, ripping solo sections, and string/fiddle arrangements with a nasty disposition.  In fact, the contrast between smooth and prickly could not be starker and that is the band’s biggest musical strength. It is nice and somewhat rare to hear “folk” music played with such genuine ferocity. It’s good to know people like that are out there!                      (Joel Simches)

MEI OHARA
Antimatter EP
6 tracks

Ohara’s driving industrial beats with their booming low-end and the darkly prismatic array of synth sounds make for an eerie dystopian backdrop that is both chilling and seductive. Her high-soaring silvery soprano, though, is what carries the tunes, cutting through the densely-packed steam-powered productions with its cathedral-sized echo, haunting vibrato, and sky-high range. The cherry on top of this EP, however, is the high-pitched wail of her violin that’s so wet with psychedelic effects, it must be tripping hard on brown acid. She may be classically trained, but her space-age fiddle warbling is so far from classical it’s not even in the same galaxy, let alone ballpark. More Hendrix than Haydn. Man, I could listen to this for hours. Probably will, too.       (Will Barry)

PETTY MORALS
The Cotton Candy Demo
3 tracks

Given my love of Tijuana Sweetheart and Cult 45, I had pretty high hopes for Petty Morals, but unlike a good chunk of life, The Cotton Candy Demo is anything but full of disappointments.  Poppier than either of the previously mentioned bands, Petty Morals wants to send you to the dance floor, but they do it with the punk edge of Le Tigre and Spinnerette.  Taiphoon’s voice provides just the right mix of honey, soul and danger; LoWreck’s drums make things swing, and the guitar and synth of Chrissy V and Naz T Naz make things bounce.  All three songs are solid, but the closing “Radio Action” is the standout, sounding like a dangerous version of the Go-Go’s.  Hopefully, there’s a full-length in the near future.               (Kevin Finn)

JERRY VELONA 
Karunabird Records
Dream Girl 
5 tracks

Both takes of the title track, the second with vocals, are swoony and delirious smooth jazz, appealing if you’re an aficionado; tolerable even if you’re not. The New Orleans-styled “Wishful Intuition” (both takes, large and small band) is less successful, though the small band version is more intimate. The cover of “If You Stub Your Toe on the Moon” is pleasant enough—it’s a catchy song—but seems more a low-key exercise in nostalgia than a dynamic interpretation.      (Francis DiMenno)

MARS
Red Planet Records
Everything You Want and Need     
6 tracks

Mars sounds like what would happen if a group of your dad’s suburbanite businessmen friends collectively had a midlife crisis and decided to try to revisit the rock ’n’ roll past of their youth.  Nowhere is this more apparent than on “Mrs. Stinson,” which has the band coming across as a neutered New York Dolls and on “Looking for You” with lines about youth that come off sounding quite silly. These guys do at least have some chops, and when they find their sweet spot in the mellower numbers, you find yourself wishing they went in that direction more often, as they do seem to have the rare ability to distinguish being tasteful from being boring.            (Kevin Finn)

RACHEL TAYLOR
Heartbreak Is For Everyone 
4 tracks

This CD produced by Peter Hayes from the group Black Rebel Motorcycle Club really showcases Rachel’s beautiful and passionate vocals. The title and opening cut is a nice Americana ballad that gets a bit funky. “Satisfy” is a country-flavored pop/rock tune and “Broken” is softer and slower, and brings iconic singers like Patsy Cline and Loretta Lynn to mind. I really dig her sultry, haunting sound and her soaring melodies. Just great. A bit of alt folk/ ’50s country & western, and unplugged pop, the ending cut, “You Might Be Surprised,” is killer. Rachel, Peter, and band mates Jesse and Dan Russell really shine on this and make me want to hear more music from this talented artist. Acoustic and very well done.                           (A.J. Wachtel)

THE RADICALS  
Suburban Daydream
6 tracks

If you took Operation Ivy and stripped out the ska you would still be left with one mighty fine puck rock band. Proof of this fact can be found in the Radicals.

Their third release, Suburban Daydream, rolls through all of the touchstone effects canonized some 25 years ago on Operation Ivy’s debut, Hectic EP. Sloppy, back-and-forth dual vocals—check! Blue collar gang-choruses—check! Popping bass noodling—check! Quick-paced punk with a hardcore edge—check!

Some might worry that with so many similarities the results would be a derivative rehash of punk’s glory days. If three twenty-something blokes from north of Boston can so perfectly meld all that made late-’80s So-Cal punk so vital, I say bring it on!        (George Dow)

TONY JONES & THE CRETIN 3
Midnight Mass 
5 tracks

The first (and title) track is your standard hillbilly-schlock-metalcore ala the Cramps and, as such, is not half bad. “Christine” is reminiscent of “Bodies” by the Sex Pistols; “Cindy Was a Terrorist” evokes the Pistols and the Ramones; only the crazed and utterly original “Bobby’s Shed” displays an incoherently creepy grandeur.       (Francis DiMenno)

WALTER SICKERT & THE ARMY OF BROKEN TOYS/ THE RATIONALES/
THE FIELD EFFECTS/
RUBY ROSE FOX
Brighton Music Hall,
Allston MA   3/23/13

I arrive at Brighton Music Hall before any bands have started playing and I’m impressed at how many people are already here this early in the evening. There’s a burlesque act onstage, to which I’m only half paying attention as I seek out familiar faces in the sizable crowd. Ruby Rose Fox starts their set and plays a few old-timey lounge-pop songs that sound great, but they lose me when they downshift to a slower tempo mid-set.

Ruby Rose Fox finishes with little fanfare, making way for more burlesque, and then the Field Effect. Tonight you can’t hear any vocals if you’re standing to the side of the stage, so I’m forced to move to the rear of the crowd, but a few songs later I’m swooning with music-love. Take the chorus of “Dancing with Earthquakes,” a song about a girlfriend moving to California: “I set my clocks back to feel closer to you.” COME ON! My heart! The deal is sealed with a cover of the Weakerthans’ “Aside.” Yup, new favorite Boston band right here, and I’m now officially stoked to see them at the Rumble in a couple weeks. Someone near me gripes that the band overstayed its welcome by three songs, but I think this set was the night’s standout.

The show is sold out by this point, and BMH is packed. The Rationales play next, and something has clicked for these guys since I saw them about a year ago. They’ve always been good, but they sound especially great tonight. Everyone around me seems totally entranced by the music—this is not the half-paying-attention-while-texting kind of crowd. At the risk of sounding like a nerd, I feel reminded that this is what it’s all about—why I wile away my weekends by getting tinnitus at dimly-lit rock clubs whilst my peers are downtown drinking Bud Lights from  aluminum bottles and getting hit on by dudes in flat brim hats. This is good rock ’n’ roll. This is Boston.

After a David Bowie/ Labyrinth burlesque performance, which includes a shower of blood spewed from a headless baby doll, Walter Sickert and his multitude of band members arrive onstage. Tonight’s occasion is the release of their crowdfunded record “Soft Time Traveler,” and the ardor of those benefactors is present here tonight. This being my first Walter Sickert experience, I’m not sure what to expect, though the burlesque and general vibe of the evening certainly conditioned me to be less overwhelmed than I might have been (earlier, I overheard a woman exclaim, “Honey, a woman just asked me to lace up her corset in the bathroom—aren’t you jealous?”). Sickert, sporting a massive crown of feathers and steampunk goggles, is joined by a trippy Victorian carnival of a band, which includes a human marionette who jerks and sways creepily throughout the entire set; a young child dressed as a jester holding a xylophone for its vehement player; someone wearing a horse mask and period clothing; an upright bassist, an accordionist, and a ukulele-ist; and of course, a swirl of burlesque dancers. A guy near me remarks that they’d be a great band without the spectacle—I do agree that the theatrics are distracting, as the music by itself is transcendent, alluring, and kaleidoscopic. The finale, fittingly, is a cover of “Paint It Black,” which is executed raucously but proficiently amidst the distraction of boobs flying everywhere and the unrestrained enthusiasm of the crowd.         (Emily Diggins)

HENRI SMITH/
CHARLES NEVILLE
Larcom Theatre,
Beverly MA   4/6/13

I find myself in another beautiful old theatre, built in 1912, waiting for the postponed Mardi Gras show to begin. I count about 480 seats but confirm that it’s a 550-seater including the big horseshoe-shaped balcony. Le Grand David (the famous Beverly magician) welcomes us to the theatre and introduce producer Peter Van Ness who prepares us for the celebration of authentic New Orleans jumbalaya musico.

Charles Neville gets introduced and he strolls out leading a mixed bag of nine musicians. Some are old established players with impressive background and some are young, graduates of the New England Conservatory. The thin female Asian violinist, Orie Furuta, visually stands out.  When sweet sounds aren’t emanating from Charles’s tenor sax, he stands in blissful heaven; his pearly whites fill the room with a wonderful vibe. The nonet swings to a New Orleans romp exchanging solos as if they’re in the mists of a poker game, all individually showing their hands. When Henri Smith takes his place on the stage, it’s clear we have a Jagger/Richards relationship with the two smiling devils strutting their stuff both physically and musically. “That’s When I Know It’s Mardi Gras” gets the audience in the Southern mood. Then Henri states, “We love to develop choirs,” and leads the audience in a Fats Domino singalong with “Ain’t That A Shame” and “”Blueberry Hill.” They dabble in some jump blues that was made popular in the 1940s and it suits the band as well.  The group includes two tenor saxes, a trumpet, a clarinet, a violin, a piano, a standup bass, a pair of congas, and a small drum kit. Henri, handkerchief in hand, slows it down with my favorite of the night, “Saint James Infirmary.” “Johannesburg” gets funky and “Jambalaya (On the Bayou)” stirs up the authentic musical aromas of New Orleans. Son of gun, we’re having fun, on the bayou.     (T Max)

ROCK SHOP #25:
PRESSING THE PRESS
HILARY HUGHES, LUKE O’NEIL,
MICHAEL MAROTTA, BRAD SEARLES 
The Middle East Downstairs, Cambridge MA  4/8/13

Rock Shop is a monthly event for the Boston music community founded by Kevin Hoskins (Middle East booking agent) and Steve Theo (Pirate! Promotion & Management) to give back to the local music community by helping local musicians develop their careers.  Each month, a panel of music industry experts hosts a seminar focusing on a particular aspect of the business. The event is free and open to the public and usually draws a sizable crowd of rock ’n’ roll enthusiasts. A couple of my band-mates and I head on over as tonight’s topic of discussion examines the role of the press supporting local music in Boston. As a struggling musician myself, I am always looking to learn more about the industry. Set up in the back corner of the Middle East Downstairs mezzanine, Kevin, and Steve and a small group of writers are soon berated by a slew of questions from the large semicircle of curious rock ’n’ rollers who are given explanations as to why their CDs haven’t been reviewed. I can’t help to wonder where the Noise’s representative on the panel, as the Noise is Boston’s longest running music magazine; however the group assembled; Luke O’Neill, Hilary Hughes, and Michael Marrotta as well as blogger Brad Searles are amongst the tops in the city.  These writers shed a lot of light on the inner workings of the press industry (or what’s left of it) and offer some pointers about how bands can better manage their public relations. The event is pretty helpful in that I get a bunch of useful pointers to promote my band. Thank you Middle East for hosting this!  (Kier Byrnes)

JAMES MONTGOMERY BAND
CD Release Party
Sculler’s Jazz Club,
Boston MA   4/10/13

This is the real deal. Blues harp icon James Montgomery is having a party—and just listen to his band! Guitarist George McCann’s playing is incredible. Bassist David Hull (the Joe Perry Project and Aerosmith) is pushing his four strings to the highest levels of lowness, and longtime Barrence Whitfield and John Lincoln Wright drummer Seth Pappas powerfully drives the tight tension and is making the walls of this cool club shake. Add Uptown Horns’ Crispin Cioe and Larry Etkin, and 20-year old ex-Brookline/Berklee sax phenom Grace Kelly and you have all the ingredients of a perfect night on the Boston club circuit. First, the packed house gets treated to chestnut “Good Time Charlie” with Grace wailing along with James and the gang. Then ex-Boston guitarist Barry Goudreau jumps onstage and screams though their version of “Sweet 16,” from James’ last CD. Montgomery tells the crowd: “It’s our version of the Junior Wells version of Al Green’s version of Chuck Berry”..Now the group only selects songs from their new release for the remainder of this electrifying two hour set. “Delta Storm,” then “Same Thing,” a Muddy Waters slow blues that they turn into a Z.Z.Top tidal wave midway through. Just great. Then “Little Johnny,” a song he wrote about his old band mate Johnny Winter. George’s slide guitar is tremendous and I shout, “I will tell Johnny you do it justice!” to his wide onstage smile. James steps off and Hull leads the band in a splendid song from his own recent release “Pay Some Attention” and then James returns for blistering versions of “Intoxicated,” “Put Your Money Where Your Mouth Is,” a McCann original, then “the first dance song I ever wrote”: “I Don’t Want to have a Heart” and then a high energy double dose starting with a jazzy Ray Charles “Hit The Road Jack.” It’s impressive listening to an old song done in a brand new way. Hearing Grace solo while The Uptown Horns play their incredibly solid and creative arrangements reading off charts on stands in front of them is one highlight of a night with no bad moments whatsoever. And then Bo Diddley’s “Who Do You Love” with dancing blondes in front of the stage ends the night. Detroit Blues on the banks of the Charles. I love it.   (A.J. Wachtel)

TEN FOOT POLECATS
Record Release Party for Undertow
The Wonder Bar,
Allston MA   3/24/13

The place is filling up as I enter, and I can see bartender Ariel Bjorkman dancing behind the bar as she serves the drinks. She’s not dancing alone. As Jay Scheffler (vocals/harp), Jim Chilson (guitar), and Chad Rousseau (drums) play, there’s movement everywhere. People are dancing in front of the stage to killer new songs “Do That Thing,” “Moonshine and Mud,” “Worried Sick,” and the title track, “Undertow.” Couples are moving to the rhythms made by guest artists Helen Beaumont (Worcester’s the Farmer’s Union Players) singing “Tears On My Windshield” from the Polecats’ first CD, Gracie Curren (the High Falutin’ Band) singing “BrokenHearted Blues,” Erin Harpe and Rosy Rosenblatt (the Delta Swingers) on vocals and harp for “Big Road,” saxman Marty Phillips, vocalist Eric Savoie (the Throwdown Band), and harpist Satch Romano (the Houserockers) killing “Smokestack Lightening,” guitarist Satoru Nakagawa (the Tokyo Tramps) up for “Chickenhead Man,” guitarist Peter Parcak plays “Thought I Heard” and “Goin’ Crazy” from their first CD, Sonny Jim (Coyote Kolb) plays harp on “Nobody But You”), and Mark Milloff (the Cannibal Ramblers) up for “Boogie Chillin’ .” Tonight the local blues community is getting together to celebrate a new release from one of their own. Do you think this stuff happens in Duluth?   (A.J. Wachtel)

ADAM EZRA GROUP/
SARAH BLACKER & THE ALTERNATE ROUTES/
AIR TRAFFIC CONTROLLER/
HOT DAY AT THE ZOO/
JESSICA PROUTY BAND/
CHARLIE FARREN/
VEYEAO TWINS/
EFFECT/
THE LUXURY
New England Music Awards,
Lowell Memorial Auditorium,
Lowell MA  4/13/13

The Luxury gets the show rolling with an amazing synth-infused pop-rock set. Between the bass and guitar riffs that fill every corner of the venue and the intense lighting and smoke effects, the set has an arena rock feel to it, and it’s one I can easily see the Luxury succeeding at. The keyboard adds a melodic element to this great four-piece rock band, and the band debuts a brand new song, “This House,” which builds to a powerful crescendo blending with the vocal skills of Brandon Erdos and Daanen Krouth.

Hip-hop artist Effect-—one of the nominees for best of his genre—only has one song, but he makes the most of it. This guy has a great stage presence, the kind of confidence that’s hard to come by when you’re alone before the crowd. He’s got precise vocal control, and a fast, surgical lyrical style that’s hard to come by.

Katherine and Kristen Veayo are the youngest of the evening’s performers, but what they may lack in experience, they make up for with a great stage presence, vocals that are hard to -ignore and an obvious love for the stage. “Screaming at the Walls” looks at the effect that bullying can have as you get older—and that’s a place that too many of us have been. Clearly, this duo is hoping to bring some important issues to light.

Charlie Farren, best known for work in the bands the Joe Perry Project and Farrenheit, is a presence on the stage, even as a soloist. He’s got a commanding voice with an impressive rock flair, and plays a casual, folk/rock set that puts the crowd at ease.

The Jessica Prouty Band won a battle of the bands to be here, and they show us just how they did it—with face-smashing rock and power-packed vocal styles. Cam Pelkey on drums pounds out the intense heartbeat of the one song the band plays, reinforced by Andy Covino (keyboard) Jessica (lead vocals/bass), Aaron Shuman (guitar/backup vocals) and Cody Nilsen, (guitar/backup vocals).

Hot Day at the Zoo brings a heavy dose of American roots to the evening with some heavy twang-laced rock to keep those feet tapping. The five-member band shares vocal duties and brings an array of instrumentation to the set, such as the ukulele, upright bass, mandolin and lap steel, blending the diverse sounds into a set ranging from more mellow tunes to songs that damn near break the speed of sound.   (Max Bowen)

You can read more live reviews on www.thenoise-boston.com.

We get a lot of calls and emails from bands requesting coverage of their live shows. Please be advised that shows are never assigned for review. Noise writers cover what they choose to attend. It’s logistically impossible for us to honor or acknowledge these requests. The Noise has always had its ears close to the ground in New England. If you’re doing something even remotely exceptional, we’ll be the first to tell the world. If you’re horrible, same thing. If you’re based in New England, send CDs to the Noise, PO Box 353, Gloucester MA 01930, and digital releases to tmax@thenoise-boston.com.

A LITTLE THANKS

Hey there T Max,

I just wanted to give you a shout and thank you very, very much for the kind write up in the April edition of the Noise. This is my first ink, brother! I nearly fainted when I heard I was mentioned in the Noise. Never knew a young little whipper-snapper from the North Shore could actually make some impact somewhere! Haha!

But, again, thank you so very much. This has really meant a lot to me. I appreciate all you do for the Cape Ann, and everyone else’s heart you touch. Thank you.

Michael Thomas Doyle (Chelsea Berry Band)

LITTLE MO’ THANKS

tmaxnosie@aol.com,

Just a big thank you for that wonderful review in the Noise!!  So gracious of you… LOVE it!!

MaryBeth Maes

AND MO’ THANKS

T,

Thanks so much for the sweet review of my new album. It pleases me hugely that you like it so much.

Corin Ashley

OKAY, THIS IS ALL THE

THANKS WE CAN TAKE!

Hey, T…

I’m sorry I haven’t written; between shows, history homework, and my piano class, I’ve been neglecting my email and haven’t made a point to sit down and write to you.

The live review you did of my show was so beautiful, complimentary, and wonderful. I had my web designer put a link to it in my site–

I just want you to know how much your support and coverage in the Noise has meant to me. You have opened doors, introduced me to new fans, and provided a legitimate and rockin’ platform for me to get out there to the world. I am forever grateful for all you do for me and this awesome music community.

I love you!

Chelsea Berry

T Max responds…

These kind of “thank yous” go a long way in my book. I’m sure you’ll be hearing more about these performers in future issues of the Noise. In fact it’s possible that we may just start dealing exclusively with those musicians who know how to say thank you.  Seems like a lot of musicians can write a good tune or master their instrument, but what may give them the edge in the business is what happens offstage.  Self-awareness and awareness of those who help you could be the key to you getting that always-needed break.