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December 2012
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Thur Nov 1 CATBIRDS CD release
@ Johnny D’s, Somerville MAFri Nov 2 DON WHITE
@ Me & Thee Coffeehouse, Marblehead MASat Nov 3 AIMEE MANN
@ Berklee Performance Center, Boston MASat Nov 3 AMY BLACK BAND
@ Old Sloop Coffeehouse, Rockport MASat Nov 3 ALDO ABREU
@ Longy School’s Auditorium, Boston MASat Nov 3 GOZU Small Stone Records 2012 Boston Showcase
@ Radio, Somerville MASat Nov 3 THE NEIGHBORHOODS
@ Blue Ocean Music Hall, Salisbury MAMon Nov 5 AEROSMITH
@ 1325 Comm. Ave. at 12:00 noon, Allston MAFri Nov 9 MUY CANSADO CD Release
@ the Middle East, Cambridge MAFri Nov 9 LIZ FRAME & THE KICKERS
@ Firehouse, Newburyport MAFri Nov 9 BUFFALO TOM Chris Toppin’s B-Day Bash
@ Midway, Jamaica Plain MASat Nov 10 ULTRASONIC ROCK ORCHESTRA
@ the Regent Theatre, Arlington MASat Nov 9 PERSONAL FINANCE
@ Slainte Wine Bar, Portland MESat Nov 10 JOE YOUNG
@ Brew’d Awakening Coffeehaus, Lowell MASat Nov 10 BRITANNICA
@ Spotlight Tavern, Beverly MASat Nov 10 G. LOVE & SPECIAL SAUCE
@ State Theatre, Portland MESat Nov 10 HUMAN SEXUAL RESPONSE
@ House of Blues, Boston MATues Nov 13 INTERNATIONAL STRING TRIO CD Release
@ Sculler’s Jazz Club, Boston MAWed Nov 14 JULIE DOUGHERTY Hail the Hosts
@ In A Pig’s Eye, Salem MAThur Nov 15 ALASTAIR MOOCK Woody Guthrie tribute
@ Club Passim, Cambridge MAThur Nov 15 ERIN HARPE & THE DELTA SWINGERS
@ Red Rock Bistro, Swampscott MAThur Nov 15 BRIAN CHARLES International Pop Overthrow
@ Precinct, Somerville, MAFri Nov 16 GIRLS GUNS & GLORY
@ Me & Thee Coffeehouse, Marblehead MAFri Nov 16 Fishing the Sky CD Release
@ O’Brien’s Pub, Allston, MASat Nov 17 BIRD MANCINI
@ Cat in the Cradle Coffeehouse, Byfield MASat Nov 17 EDDIE JAPAN CD Release
@ Lizard Lounge, Cambridge MASat Nov 17 BAG O’ NAILS
@ Quan’s, Hanover MASat Nov 17 FOX PASS
@ Rosebud, Somerville MASat Nov 17 LOVEWHIP
@ the Stone Church, Newmarket NHSat Nov 17 MARK ERELLI & JEFFREY FOUCAULT
@ Old Sloop Coffeehouse, Rockport MASun Nov 18 (1-4pm) A Cappella Armageddon
@ the Middle East, Cambridge MAWed Nov 21 (and every Wednesday) FLY AMERO
@ Rhumb Line, Gloucester MAFri Nov 23 FACES IN THE FLOOR
@ the Cantab, Cambridge MAFri Nov 23 NRBQ
@ Blue Ocean Music Hall, Salisbury MAFri Nov 23 THE BANDIT KINGS
@ Dog Bar, Gloucester MASat Nov 24 Dost Hear Now Live
@ Precinct, Somerville MASat Nov 24 THE FOOLS
@ Blue Ocean Music Hall, Salisbury MASat Nov 24 DRAW THE LINE (Aerosmith Tribute)
@ Showcase Live, Foxboro MASun Nov 25 (4:00) PSYCHO
@ the Midway, Jamaica Plain MAThur Nov 29 ANAIS MITCHELL
@ Iron Horse, Northampton, MAThur Nov 29 DINOSAUR JR.
@ State Theatre, Portland MEFri Nov 30 THE BOYLSTON COLLECTIVE
@ the Cantab, Cambridge MASat Nov 31 ANAIS MITCHELL
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TELAMOROlex Music
Straight Shots
12 tracks
“Every normal man,” said H.L. Mencken, “must be tempted, at times, to spit on his hands, hoist the black flag, and begin slitting throats.” Quite so. The opening track, “To the Barricades,” doesn’t have the same anthemic power as, say, Steppenwolf’s “Monster,” though one has to admire the quixotic impulse behind this genuinely frustrated rant. This 2014 collection by Tom Hauck, formerly of The Atlantics and Ball & Pivot, has at least a few smart, conventional rock songs. Here we find a song like “She’s Bad,” which conforms so well to the standard rock template that it approaches the canonical. “Nowhere to Hide” is picture-perfect proto punk rock in the Pebbles/ Nuggets mode. “I Ain’t Superstitious” is full of sneering attitude on top of an angular riff: “I went to the fortune teller/ She said ‘Your future’s all used up.” Even the riff on the ill-advised foray into rap, “We Got What It Takes,” approaches the monumental. (Francis DiMenno)
…NONPAREILS
Album of World’s Champions
11 tracks
These dudes compare themselves to The Replacements and Hüsker Dü in their cheat sheet, which is just fucking crazy. I mean, I’m no Lester Bangs either, fellas, so let’s just pace ourselves a little. This actually has more of a Dinosaur Jr wobble to me, and the rootsy, early ’90s alt-rock bliss they’re reaching for sounds more like pop-punk than anything else. But all that’s fine. Weezer and The Descendants are good too, right? Lotsa hooks popping left and right, especially on “It Doesn’t Matter Anyway,” which is sort of a bummed-out “Buddy Holly” (the Weezer song, not the dude). The real gamer-changer, though, is “High Crimes” a really lovely ’60s pop jangler. It’s real good. It’s not fucking Pleased To Meet Me, but you can see skinny dudes really rocking out to this record. Produced by Marc Valois of The Blinders, currently the third best band in town, so that’s something. He does a good job. Likes doing stereo pans with the guitars. That’s always fun. Would blow your mind if they still made albums in Quadrophonic sound. (Sleazegrinder)
…THE WRONG SHAPES
GirlBoyGirlBoy
Reverse the Phase
10 tracks
The air of Baudelaire’s dark blooms, a heavy lacing of The Jesus And Mary Chain, and shadow of The Velvet Underground. Stir slowly rhythmically, blending well. Pour into a cauldron of avant garde electro. Wait, listen, see what happens. A recipe for shiny, black, candy apples lurks within these songs. Dark, strange, and sweetly alluring.
The Wrong Shapes consist of Bo Barringer on guitar, vocals, and beats, and Rachel Barringer’s vocals and cello. The two are clearly very much in sync with each other. At time the songs have the feel of an intimate bond, a shared secret known only to them.
I like the title track, “Reverse The Phase.” It flows smoothly, and is relaxing and euphoric. Trippy instrumentals enhance the trance effect, and it’s good dance music.“Easily Swayed,” brings Bryan Ferry’s silky style to mind, so Roxy Music fans should enjoy this track. Rachel Barringer’s cello dominates in “A Thousand Orchids,” backed by a riot of sounds which play like electronic fireflies, and chant-like vocals throughout.
The BIG winner for me however, is the much simpler, down to earth,“Alright, Alright.” Wow… I really love this one. This track is cool, a ’60s retro sounding song reminiscent of summer nights made for fun, dancing, and making out, all while beneath the light of the moon. I dare you to refrain from swaying a bit to this one! It’s playful! While the CD is good, I really do wish there had been a lot more songs done in the spirit of this one on it.
This is a fascinating mix of elements and tracks, and the chemistry between Bo and Rachel does create some magical alchemy which is evident in the music. It’s not for everyone by any means, but if you feel like checking out something different, then wait no more. Come get your strange on. You just might like it. (R.J. Ouellette)
…SKUNKY ROOSTER
Buskers’ Blusterade
13 tracks
Skunky Rooster is basically a collaboration between guitarist Scott Rath and drummer Seth Pappas who were originally in the band Zachariah from 1975-1980. These cats were mainly a Cambridge and South Shore gigging group but opened up for a lot of southern rock artists, at The Paradise whenever they came to town. This passionately played project, with clear and strong influences from Tom Petty, Warren Zevon, Rory Gallagher’s slide, and The Kinks, is very tight and their sound is mainly rock with hard rock, alt. country, and blues. It just rocks! Seth has a long history gigging with Barrence Whitfield & The Savages and The James Montgomery Band; Scott is a vet of Ginger Baker’s band when he was out on the Left Coast many moons ago. They are involved with the production on all the cuts and some of the mixing is done by Ducky Carlisle at Ice Station Zebra in Medford so the sound is crystal clear from the first song to the last, and the music jumps out of your speakers like it should. To fill out their rocking ensemble, local legends David Hull (The James Montgomery Band) and Dean Cassell (Johnny A’s Hearts On Fire) play bass and Tom West (Peter Wolf And The Midnight Travelers) on keys successfully join the mix.
I really dig the opener “Cross The Great Divide,” a real radio-friendly Americana tune, with its jangling beat, Hull’s pounding bass, and nice harmonies. “Stand Strong” could be in Tom Petty’s set list and Seth’s great drumming really drives the rhythm section. “Somewhere Between Lost And Found” could be in Warren Zevon’s catalog and has both nice slide and lead guitar playing by Scott. “Gambling On Memories” also has some nice slide work and is one of two tunes where I really like Tom West’s keyboards. It’s an uptempo R&B melody featuring great bar-room piano. West’s organ work on the Bluesier “The Lie” is also noteworthy. My favorite cut is the self-titled “Skunky Rooster” where David Hull puts down tracks playing rhythm guitar—which is the first time in my life I have ever heard him put down his four strings and switch to six. And he’s pretty good. This song is a rollicking bar-room romp showcasing all the top level musicians who play on it. With solid vocals on all the cuts, this band should go on the road and duplicate this recording live and onstage. Great music folks, give it a listen. (A.J. Wachtel)
…PJ ROGUE
Standing in Front of the World
14 tracks
PJ Rogue has an easy-going voice reminiscent of Jimmy Buffett. He likens his love to the struggle of the salmon in the song “Spawning Ground”: “He has spent a life of slumber seldom waking in his dream/ Now he fights with every fiber, tries to make his way upstream.” His humor comes through in the last stanza where he says, “Will I end up in your spawning ground or will I end up on some dinner plate?”
“Dirty Feet” is a rhythmic Caribbean tune that makes you want to get up and wiggle across the dance-floor wearing a grass skirt with a little coconut and tropical fruit drink in your hand. “Don’cha need clean feet for your dreams?” Of course we do. “Keeper of the Flame” continues with the island feeling, only this is a plea for the sake of those who take responsibility. He has passionate-voiced ladies singing back- up. I can see them in my mind with their dance moves in unison, feminine dresses and goddess-like harmonies. Switch on the rotating dance-floor globe for “The Promise,” which is a slow dance number, mmmmm, cheek to cheek, with that saxophone, written like a Platters tune, or that Tommy Edwards tune, “All In The Game,” PJ croons “I’m gonna love you for the rest of my days…” Snuggle, dip, and kiss… ahhh. “Violet Supreme” is a sweet little song rolling along on the back of a harmonica about camping and mixing up the last of the food on hand for a meal.
“The Color Green” is a lament about the ruin of nature. It features a gorgeous violin all through it.
He wrote a sea chantey called “Whales of Stellwagen” that mourns the dropping whale population.
“Fresh Feet” must be the antidote song to “Dirty Feet.” This utterly original and silly tune is my favorite song on the album and is a love song for his cat. “Each and every morning you wake up and yawn and groan/ stumble to your shower where you sing that dreadful song/ I try to cheer you up in my own way/ so I’m crouching by the curtain waiting for my break/ Fresh feet fresh feet, so juicy and so sweet, it’s your feet I like to eat./ You’re my favorite past time/ my special morning treat/ fresh feet fresh feet/ When you sip your coffee, on your foot is where I’ll be/ when your tootsies rub on my belly you can have your way with me.” This song bounces along with a joyous Django Reinhardt/ Stefan Grapelli style kind of tune, with that wonderful violin again played by Matt Leavenworth. “Lady of Marble” is another beautiful tribute to a misunderstood sculptor living in Scotland.
The final song, “Standing in Front of the World,” is a heart on the sleeve song of a love-centered man who has written and performed his music with trepidation. “What is this fear that shakes my bones? Where does it come from? Where does it go?” The song confesses lost dreams, a disappointed uncle, and traumas that haunt our pained bodies. I’m so glad PJ made the effort to write, sing, perform, record and create this album. It takes guts to follow a calling to be an artist, and this song made me cry. The charming and colorful cover art was designed by Connie Barbour—the little designs and messages of gratitude all point to the fact that PJ Rogue is someone who deeply appreciates his family and friends. Every song radiates a warm regard for life. Seems to me PJ should glow in the warmth of his music. I know I do. Seth Connelly is at the helm with masterful production skills, with Eric Kilburn helping to produce this home run. (Kimmy Sophia Brown)
…SETH GLIER
MPress Records
If I Could Change One Thing
12 tracks
I’m too simple to avoid making a joke based on this album’s title, so here goes: If I could change one thing about thing about this recording it’s that I would ditch the often maudlin ballads and let Glier unleash the dance pop idol that is clearly bursting to get out. Upon listening to the more upbeat numbers, I could easily envision hearing Glier on pop radio in between Justin Timberlake and Adam Levine. His warm and expressive tenor certainly is impressive throughout, showcasing the kind of chaste sex appeal that has catapulted many to stardom. But ultimately, too many songs slog along, which makes listening to the full album in one sitting kind of a chore. (Kevin Finn)
…STEVE CARAWAY
Upon This Rock
12 tracks
Steve Caraway is a dynamite pop songwriter. Maybe not on the Sedaka level, but he’d certainly give, say, Rupert Holmes* a run for his money. And like any great pop writer, he slithers in and out of genres like a midnight prowler, a chameleon in an off-the-rack blazer, adept at creating a reasonable facsimile of whatever button you punch on the jukebox. Upon This Rock’s got it all, really: blues, power-pop, country, gospel-lite, even some chunky classic rock. But, I mean, do you want it all? Do you eat spaghetti with pancakes and wash it down with a kale smoothie? No, of course not. You’re not some kind of fucking nut. So I’m not sure this sonic bouillabaisse works as a cohesive unit. Individually, though, “Big Star” (yep, a Chilton homage) is so gorgeously chewy you’ll want to sink your teeth directly into the CD, “Don’t Leave” is a great piano-banging ’80s power-popper, “Justine” is slathered in the same delicious ache that fuels The Smithereens, and “Candy” is the kinda thing Darryl Hall might do if he joined The Archies. All this good stuff is sandwiched in-between pop-country crooners and Hornsby-esque piano ballads so you’ll have to prune diligently for the rocking stuff, but it’s worth the hunt. (Sleazegrinder)
* C’mon man, the Pina Colada song—“Escape”!
…MONUMENT THIEF
Your Castle Comes Down
13 tracks
Jeremy Withers and Bill Paukert have a long history of making music together, but their latest project, Monument Thief, is probably their most direct and forward-thinking act to date. The band’s trademark sound is a fresh blend of pure and uncompromising rock ’n’ roll that borrows eclectically from the vast vernacular of the genre, incorporating elements of punk, hard rock and alternative.
One of the most interesting things about Your Castle Comes Down is that it allows listeners to take a peek into the kaleidoscopic song-writing sensibilities of the band. Tracks such as “Every Time” or “A Scene” are as gritty and punchy as early Nirvana, while songs the likes of “All On Me” or “Endless Debut” showcase the band’s ability to create memorable melodies, unlike artists such as The Cure or R.E.M.
Your Castle Comes Down is a classic-sounding yet remarkably diverse album that truly makes for an engaging and intriguing listening experience for fans of alternative music spanning all ages and currents. (Marc Friedman)
…BEN CARR MUSIC PROJECT
Ben Carr Music
Unyielding
11 tracks
In all honesty, I just didn’t “get” this one. While much of it was good and original in a technical aspect, this CD and I quite simply had a personality conflict. The band is eclectic with multi-cultural influences. Any time you hear progressive use of a ukele , that’s a given. That’s a good thing. What is not a good thing is the degree and breadth to which they are influenced. This made the CD feel a bit all over the place, never settling into any particular groove for me to groove to.
I could not connect with this music. It touched my ears, but regrettably, never came close to touching my soul. Track four, “Together,” is a ska/reggae fusion song with a boppy feel and a slight hints of techno, exotic percussion, a really nice saxophone, and piercingly hot guitar work. It has a great dance floor vibe.
Perhaps they’’d benefit by defining themselves more clearly and pulling in the reins on the myriad directions into which they venture. Significantly commit to one or two genres as instead of so many. In terms of connection, I’m left with a “jack of all trades, master of none” feeling.
I wish I had more informative input to share, but having listened, I am left with a large question mark hanging over my head. (R.J. Ouellette)
…THE ALMIGHTY BUCK
So Long
5 tracks
The Almighty Buck plays a brand of mellow, rootsy country-rock in a field of such bands that seems to be getting more crowded by the day. The music is pleasant but unremarkable and melodic without being overly memorable. In short, they come off as Wilco on sedatives, providing a nice background for your Sunday chores. The one thing that stands out on this record is the drumming on “Orbit,” which sounds like someone bashing on a tin can. More of these left field moments would go a long way. (Kevin Finn)
…JARVALAND & THE SHARKBAG
New Amerika
3 tracks
The dizzy brainchild of vocalist/ guitarist Jessica Jarva and everything else-r Travis Long. “New Amerika” is a woozy stumble through a groovy cough syrup weekend, a gloppy first-person narrative about walking around stoned and/ or with a potentially fatal fever. It’s like Jessica’s trying to remember her favorite Bob Dylan songs, but she’s wildly hallucinating the whole time. Or like Nico ditched The Velvets and traded them in for The Flaming Lips back when they were writing songs about Jesus doing dope. This might be the most narcotic record I’ve heard in years. I mean, there’s a good chance you’re gonna end up in rehab if you listen to the whole EP in one sitting. Apparently a whole album is on the way. That’s definitely gonna kill a few people. (Sleazegrinder)
…MERCURY ON MARS
Be the One
4 tracks
With an album cover reminiscent of fuzzy vintage sci-fi and a blend of catchy alternative rock, Boston-based Mercury on Mars sets out to deliver Be the One, a fun EP where their idea of music unfolds over four tracks.
The band’s thick guitar-oriented sonic layers are at the forefront of the picture, as the chunky riffs and flamboyant leads are reminiscent of some of the work of artists such as Dinosaur Jr, Armchair Martian or Archers of Loaf, just to name a few.
Unlike the aforementioned bands, Mercury on Mars does not feel as gloomy and introspective, preferring to drive their melodies in a more uplifting and upbeat direction, unleashing a blend of energy in the vein of popular newcomers such as Cloud Nothings or Wavves. The good balance between melody and aggressiveness is always very spot-on, as the band carefully bounces on and off from raw power to ear-worm triggering hooks that will immediately have you bobbing your head and tapping your feet. (Marc Friedman)
…MARY CROWE
Rebound
12 tracks
When I hear this album, I can’t help thinking of cocktail music, for the songs mostly hearken back to an older style, pre-rock and roll, characteristic of the 1940s. The opening track, “Rebound Blues,” sets the tone for this highly personal collection: quavery, pleasantly theatrical vocals full of character and spunk, backed by impeccable accompaniment. “Late Winter Blues” is a gentle, bluesy melody with a tasteful guitar solo by Mark Michaels, part of The Lincoln Hill Trio, also consisting of Evelyn Harris on piano and J.J. Althouse on bass. The most bravura vocal performance: “Love is a Crazy Thing.” Best of show: “If Hope is Your Religion….” Most affecting (and memorable) song: “Hold On/ Let Go.” (Francis DiMenno)
…JOHN AND RACHEL NICHOLAS
Here You Are
10 tracks
John and Rachel Nicholas, are all about passion. I hear it in the harmony of their voices and in the music and lyrics they write. They lived on Cape Cod for a long time and are now in Camden, Maine. I saw them last summer at the Swans Island Sweet Chariot Festival. I noticed that John was frequently playing guitar for others, as well as singing back up along with Rachel. She has a great stage presence. I loved watching her dance moves, putting her whole lovely self into it.
I get the sense that they see their music as a chance to serve. Their music carries the social conscience and rock ’n’ roll hearts of artists such as Bruce Springsteen and Jackson Brown.
“Here You Are” is a plea to live in the moment: “Here you are, you’re a knock on the door/ Here you are, you’re crossing the floor/ Here you are, you sink in your chair/ Here you are with that far-away stare/ Here you are you’re telling stories/about your long ago once-upon glories/ If you could just see that you’ve come this far/ Oh here you are.”
“America It’s You” is a patriotic love song, recognizing the value and beauty of the United States, historic warts and all: “I’m gazing at your hills and the mountains carved long ago/ At the trail of tears that runs bitter/ And the shadows black as a crow/ It’s quiet out on the prairie/ And the memories shimmer like dew/ Oh America, America, America it’s you.”
“People like Us” is a theme about people who are always pinching pennies, juggling bills, trying to survive—a state of being many of us can relate to.
“Everything I Need” is a song about reaching the maturity of adulthood, embodying gratitude and putting life’s trials in perspective: “I spend my life always wanting for this, waiting for that/ Trying to be everywhere but where I’m at/ Oh, but here’s my resolution, my evolution/Going to see with new eyes that love is the prize/ Gonna stop wasting time now I realize/ I’ve got everything that I want/ This is my highest creed/ I’ve got every single thing that I want/I’ve got everything that I need.”
“Hold On” is the Nicholas’s version of “You’ve Got a Friend” or “Bridge Over Troubled Water”: “I know doubt calls your name when you’re seeing through fear/ I wish strength had a voice that would speak in your ear/ If patience were stars I’d show you the vault of night/ If troubles were stones I’d lift yours with all my might.”
In the liner notes they write: “Some things happen in their own time. Along the way we, like everyone else have felt the unvarnished glory of life – and death. From light to dark, dark to light we make our way. We navigate as best we can.”
Their voices blend beautifully, almost like emerging from the same throat. It must be because they’ve been in love and making music for over thirty years. There is an earnest and idealistic soul in their songs, full of longing, with poetic lines like “When birds fly away they take their songs.”John and Rachel are songbirds, giving of their hearts because they must. (Kimmy Sophia Brown)
…PAUL TAIT
Full 88
10 tracks
Tait’s been at it for decades. Full 88 hits the bins with a far-reaching discography behind it, dozens of releases spanning 30-something years. While I know this to be true, I have not actually heard any of it, so I can only go by what’s on display here. Basically Full 88 sounds like the work of a hetero Jobriath—theatrical and glammy, but with a workmanlike tidiness to it all. It’s driven by piano and feels like something Dennis DeYoung might do if Kilroy never took off and he was resigned to community theater. It’s definitely not my kinda thing, but if you’ve ever attended any production of Jesus Christ Superstar anywhere and actually liked it, you’ll probably dig this. (Sleazegrinder)
…NEW PILOT
The Great American Tooth
16 tracks
The band saves its best of show for the opening salvo, “Loneliest of Ways,” which is a phenomenal slow burner interspersed by wildly evocative fast sections. What remains is also variegated: rock which runs the gamut from 90s grunge (“We’re Gonna Break” to a rousing and excellent reggae-rock hybrid (“Step Into My Fingers”). In spite of the home studio recording, the first few songs are gratifyingly slickly mastered and well-crafted. Many of the remaining songs are forays into more stretched out and idiosyncratic forms which are not always quite so resonant. The raga-like “The News” seems to owe a good deal of its essential feel to Nirvana, as does “1994.” “Battle Cries” is a real mixmaster of a song, replete with distinct sections, including a brief nod to reggae, which is also the default mode of “First of All,” which is fueled by funk bass and fuzztone, courtesy of Matt Soper and Kevin Outland. “World Like a Wheel” is a nifty little anthem with a memorably nagging guitar line. “Tan Mom” is nothing less than a balls-out rock and roll instrumental. The memorable “What We Never Knew” is an anthemic and charming anti-lullaby. “Hey Girl” is a pleasant folk snippet. “Home By Home” is an enigmatic, minimalistic homily: “Your gestures of madness are logically sound.” This is a band which is bursting with energy and enough musical ideas for two albums. I hope they’re around for a long time. Recommended. (Francis DiMenno)
…ASHLEY JORDAN
Nothing in Doubt
12 tracks
First of all, I’m one guy. Pop country is the dominant musical preoccupation for grown-ups in the U.S. these days. 50,000 Jason Aldean fans can’t be wrong, right? But I just don’t get how it’s even considered “country” in any traditional sense. It doesn’t even sound like Glenn Campbell or Kenny Rogers, never mind Johnny Cash or Waylon Jennings. Am I crazy? All this bullshit just sounds like Bon Jovi in cowboy boots. It’s music for people who are gonna die young because Walmart won’t pay for their health insurance. I don’t get it. So anyway, Ashley Jordan. Boston might as well have its own pop-country queen, and she certainly fits the bill. Young, beautiful, with the honeyed voice of an East Coast angel. She’s got a song about the marathon bombing (“New England Tears”) that is either eye-rolling or deeply-moving, depending on your tolerance level for such things, an opening stomper about boozin’ and carousin’ (“Drink Some Whiskey”), and many, many bittersweet love ballads. She’s a solid guitar player and the songs are as good as anything currently playing on The Bull. If you lean towards this kind of music, it’s a winner. If you lean towards Tammy Wynette, hardcore alcoholism, bitter divorce battles or chain-smoking, go back to 1972 where you belong. I’ll meet you there. (Sleazegrinder)
…DOUGLAS DAY
Barefoot to the Sea
13 tracks
On the idyllic cover photo of his album Barefoot to the Sea, athletic and handsome Douglas Day of Camden, Maine, is gripping a guitar in one hand while leaping above ocean waves. My first listen to this CD was on an hour drive to a meeting thinking I was going to hear some folk music. I wasn’t prepared for the first song entitled, “Inauguration Day,” about the poem Maya Angelou read at Bill Clinton’s inauguration twenty some years ago. It starts out with a spirit-filled gospel choir that wells up into a joyous, heart-splitting crescendo: “Evohe, I’m glad she came, to call upon the God of many names.” I started crying. I pushed the repeat button three times and cried all three times. I wondered, what does Evohe mean? Collins Dictionary says it means, “Exclamation” or “Exclamation of Bacchic frenzy.” This is an extraordinary hymn and Doug delivers it with a beautiful, bold male voice that I could listen to all day.
“License to Go Crazy” is about a girl he saw at a contra-dance who wore out seven partners and never stopped dancing. There are also a handful of straight-forward, very nice major-key love songs.
The second exceptional gem is “Just Love,” which is about arriving in Manhattan where he was to live for five years. I love when Doug elevates his volume and vocal register in the second line of the chorus: “And I love, I love, I love, I love/um um um/ Oh yes, I love, I love, I love, I love, I just love.” His heart is full of hope and joy an the feeling is contagious. This one made me cry too.
“My Bleecker Street” is lovely and jazzy, beautifully executed, with help from the excruciatingly talented Suzy Williams.
The other stand-out song is “The Curve Above the Door” written for Gamble Rogers, a friend and mentor who worked with wood, boats, built houses and made music. The opening line talks about the thought that goes into placing a door when building a house, in regard to the elements, space, light, and weather: “And here I build a house to last beyond my lifetime/ and try to tell a story to last a hundred years or more./ I build it in the memory of a man of understanding,/ bear with me if I labor on about the curve above the door.”
“Modern Gypsies in Milan” is an insightful look at children driven to crime all over the world, and the prayer for better times for the children of the future.
The album is expertly assembled and produced with superlative backup singers and musicians. Doug should be proud of this album, it is uplifting and creative. (Kimmy Sophia Brown)
…CAMERON SUTPHIN
Black Cowboy Hat Records
My Guitar and Me
20 tracks
The danger in putting out an album with 20 tracks on it is that it greatly increases the odds of showing your warts. In small doses, you might not notice that, as the title implies, a lot of the songs are about guitars and what Sutphin does with them. You might not notice the distracting high-end sparkle to his guitar. You might not notice how flat and unexpressive his voice is, and you might not notice how dourly self-serious and cliché-ridden a lot of the lyrics are. But alas, you do notice all those things, and you find yourself wishing Sutphin had hired an editor. (Kevin Finn)
…JO HENLEY
Around These Parts
10 tracks
These guys are great. The ease and grace of their playing comes through like a live performance in the spirited little guitar riffs, and the subtle touches of mandolin and banjo. I’m heartened by the love for earth expressed in the song “The Last Monkey Maker”: “We can tar all our hillsides with roads/ Turn our art into binary codes/ You can’t know where you’re going/ If you don’t know what you left behind/ When the last monkey maker leaves town.”
“Deep in the Dirt” is a sad lament about love and loss, with wonderful vocal support by Hayley Sabella. “Under your knees/ As you free your garden of weeds/ The sky shines in my face/ Under your weight/I feel the ache of your hurt/ And I hear your remorse/ Deep in the Dirt.” “Jericho” flies along under a ripping melody supported with mandolin and impassioned vocal. “I want your love/ I need your love.” Those words have been in many songs; I feel them in this one. Fear is a theme that can find solace in a song. “Wait til May” speaks of some sort of tragic event and the way adults cope. “But we’re alright/ We’re okay/ I tell myself/ We’ll find a way/ The sun will burn away the night/ Wait til May with me tonight.” I wonder if it’s about the Boston Marathon bombing. Hayley Sabella sings on this one as well. I feel like I’ve heard “One More Night” before, even though I haven’t. It has that kind of epic rock sound like The Band or Creedence Clearwater Revival. “I’ve got a chip as big as Brooklyn/ On my shoulder/ I don’t want to hear/ There’s more to life than this/ Next week I’ll pick myself up by my bootstraps/ But tonight/ I’m full of vinegar and piss.”
There is a lot of heart in this CD, culminating in “Around These Parts”: “Dear Katie/ I’m settling in/ Winter’s here and I’m probably drinking/ More than one man should when he’s alone/ Come spring I’ll be hard to find/ I’m moving ’cross the Canadian side and I’m never coming home/ Around these parts I call home.” This album moves along with ardent vocals and guitar playing, telling stories of human life. (Kimmy Sophia Brown)
…SUNSHINE RIOT
Black Coffee Sigh
12 tracks
Second album from these local scruffs. I feel like some of the press these guys get confuses the issue. This band does not play Americana, and they sure as fuck don’t sound like Johnny Cash or Gaslight Anthem. Most of the time they sound like a jam band, occasionally like cowpunk, and on “Drunken Love” they sound like The Lemonheads. Even on their grittiest tracks (“Dead Baby Cocaine Blues,” “Road Runner”), they sound more like ’90s alterna-grunge than anything else. If I were writing their press release, I’d say “For fans of The Fluid and maybe Third Eye Blind and some jamband bullshit and maybe The Flesheaters once in a while.” That probably wouldn’t help their cause, but at least it’d be fucking accurate. Not a bad record, but the goofy humor that runs throughout—the closer is called “Gramma Queefed a Football” for chrissakes—is kinda annoying and really, it all just sounds like you turned into a Canadian alt-rock radio station in 1995. Everything sounds sorta familiar, just not as good as you remember. (Sleazegrinder)
…FOLKAPOTMUS
Phatcat Records
Whispered Words
12 tracks
I would be lying if I said that I am a fan of this type of folk music, but Folkapotamus is among some iconic company when speaking of performers within this somber genre. Indeed, the beautiful legend, Joan Baez lives “here.” “Here,” is a place of somber resignation to the entanglement of life’s pain and beauty.
To be fair, I commend the guitar and vocals of Penni Hart, as well as Toney Trite’s acoustic and electric bass and vocals. Also, Eric Kilborn contributes some nicely played mandolin, harmonica, and resonator guitar, while Jackie Damsky lends some lilting violin touches.
I adore the magnificent rendition of Guy Clark’s “Magnolia Wind,” more bluegrass to my ears. Between the mandolin, melody, and impeccable harmony, lyrics, I never stood a chance. It stole my heart away and if the only way to have it was to buy the entire CD, I would.
“Still Standing” has some nicely turned, well written lyrics, beautifully orchestrated instrumentals, and is a perfect vehicle for Penni Hart’s voice— a welcome bright note. Justice is well served to Paul Simon’s “April Come She Will.” The music is really good, worthy of a glowing review if you are a fan of this type of music.
My big problem with this kind of music is the black corner into which, so many of these performers paint themselves. I’d be happy to hear their talent move beyond that shadow of melancholia. There is an avid following for this music, and to those fans, I heartily recommend this CD. (R.J. Ouellette)
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T-Max and Co., thanks so much for taking the time to give the new Jo Henley album Around These Parts a listen and including a review in your latest issue! And thank you for your endless support of local music!
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The Noise : Rock Around Boston. – SILVER CIRCLE REVIEWS: November 2008
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WALTER SICKERT & THE ARMY OF BROKEN TOYS
Casualty Menagerie
6-song CD
Having been a fan for many years, I have looked forward to this CD ever since I heard their dark, brooding, eerie debut. Walter and Edries shows are always about demented spectacle, twisted torment, and dark beauty. This CD is a quantum leap from the low-fi, late night bedroom ethic of their previous recordings. This latest release couldnt be a more complete picture of the psychotic torment going on in the mind of Walter Sickert. If their last recording gave you any glimpse of the dark psyche of this band, this new recording will draw you in and keep you there until Stockholm syndrome takes over and you cant bear the thought of leaving ever. The genie is out of the bottle. There is no going back. You must own this record and be part of the demented spectacle. This CD will alter your perception and change your life. I couldnt recommend this more highly. (Joel Simches)AFRO DZ AK
Gnawledge Records
Elevation
12-song CD
Is it possible to be too positive? It might sound crazy, but Afro DZ ak does a fair enough job of raising the question on Elevation. Boasting song titles such as Multidiversity and Brotherly Love, DZ aks message is anything but subtle on Elevation, a disc thats lyrically high on idealism and breezy in its soulful attitude. And while the feel good positivity borders on preachy at times, in a world that seems to be getting more maddeningly apeshit by the day, its not a bad problem to have. But the winning ingredient in this eclectic hip hop stew is the music. DZ ak colorfully loops soulful horns, organs, and other jazzy tidbits over beats that leave even the most discriminating of listeners susceptible to head bobbing. (Ryan Bray)THE VITAL MIGHT
Magma Music
Red Planet
10-song CD
The urge to create a concept album seems to come from one of two impulses: to impress the bejabers out of the hoi polloi, or as a desperation move. Well, color me impressed. The title track, Phantom Spaceman, sets the theme and gives us a taste of that old Genesis/King Crimson progginess, and The Truth is a remarkably catchy and appealing, if somewhat lyrically simplistic followup. But City knocks it out of the park: its lyrically superb and emotionally evincing. The turbulent and reverberant Trouble seems strategically placed to carry the story along, and the melancholy instrumental Chime is deftly positioned to slow it down. Saturday, with its overtones of U2-style grandeur, brings us back to the narrative. The echoic Seasons provides another interlude, and then comes the magnificent slow-to-ecstatic centerpiece 5 OClock. The Metallaesque impetus of Superstitious Wish provides a climax of sorts, and the final track provides a somewhat ambiguous denouement. I do not completely buy into the premise of their high concept rescue the fair maiden from Mobsters on Mars premise, but one doesnt have to. The music carries the theme along far more effectively than the backstory. And each individual song can be appreciated on its own terms and outside of any larger context. Im not sure whether this is a deathless classic, but its well and carefully planned, and I strongly suspect it might well be. Bravo. (Francis DiMenno)EVERYBODY OUT!
Taang!
Everybody Out!
12-song CD
Okay, first of all, its on Taang! Records, and if youve been paying any attention at all, you have at least some of idea of what that meanspunk, a little ska, organic music that sounds like The Sound of Boston, regardless of where Taang!s headquarters may be. Everybody Out! features Rick Barton of the Dropkick Murphys, Sweeney Todd, frontman of Scottish band the Dead Pets, and Billy Close of the Freeze, and that should give you a rock-solid idea of what this is going to sound like. Yup, youll get some mandolin, and some Pogues-y harmonies (without all the booze-soaked vibe)in other words, the Boston-Irish punk thang that has propelled so many bands from level A to level B. Just chill and dont ask too many questions. Let Taang! do what Taang! does, and kick back and enjoy the ride. Bang your head, kick the kegs, smash some glass nothing is out of line here, other than standing in the back of the room with your arms crossed. (Tim Emswiler)BURIED IN LEATHER
We Are Gone
8-song CD
I must say I just plain dig this band. They play no-frills hardcore/ rock, and I suspect theyre a ton o fun to see live. They remind me a lot of Every Time I Die. My favorite song of theirs is No Ninjasits a got a great guitar line. Beautiful Scars is really fun and catchy too. Other than that, the rest of the songs all sound kind of the same, but thats typical in this particular genrethe style just doesnt allow for much variation. Regardless, if you like fast, fun hardcore, rock, or punk, this is definitely a band you should check out. (Emsterly)THE REX COMPLEX
The Rex Complex
6-song CD
This isnt your typical rooty/storyteller record. The Rex Complex is wired and full of angst and energy. Its off-kilter vibe reminds me of Tom Waits, but instead of drunk and ranting about whores and slaughterhouses at 3:00 am after the blood has been swept up from the barroom brawl, the band is heavily caffeinated and eager. This is that band after driving in traffic, full of road rage, having been cut off and flipped off by bike messengers and ignorant Saab drivers on cell phones, and needing to pee really, really badly. This CD rocks and slithers to its own kinetic cacophony with each song a character in a twisted story, punctuated by odd percussion and exotic noises. I cant possibly get enough of this. Please make more until my brain explodes. (Joel Simches)LED TO THE GRAVE
Led to the Grave
10-song CD
Sweet merciful Jesus. Metal isnt dead. Led to the Grave offers up lightning-fast riffs, drums played by a hellish robot, vocals that are vicious without landing in Cookie Monster territory, and dynamics that swing easily from speed-freakish to gloomy in the drop of a heartbeat. Make NO mistakethis is for metalheads only. No hybrid or crossoverthis is straight metal. Yeah, you got your pinch-harmonics; basically you get exactly what you deserve from a band called Led to the Grave. No false advertising. No punches pulled. If the third track, BTK, doesnt convince you, then you are unconvinceable, and should probably stick with the new Keane album. This will make your pets ears bleed, your neighbors call the cops, and your loved ones question your mental wellness. What else can you ask for from quality metal? Look, Ive been listening to this kind of shit for years, and this is among the best of the best. Any metal fan who isnt proud to be from New England needs their ears vacuumed. (Tim Emswiler)LOVERLESS
Nothing Under the Sun
10-song CD
To be honest, this band was not what I expected at all. The album art is white with black textas plain as can be. But the music isnt plain at allsome of the songs border on epic, though they are so different from one another that each song sounds like a completely different band. I like 1942it reminds me of the Beatles at first, and then launches into a Journey-esque guitar solo.
Then theres Out of the Woods, which sounds eerily like the 90s Australian rock band Silverchair. The Crown, on the other hand, is a short but heart-wrenching acoustic ballad, while Down with the Viceroy is decidedly jazz. The variation between the songs is almost overwhelming. Despite this, all the songs are goodso good, in fact, that it leaves me wondering what these guys could accomplish if they stuck to one style and perfected it. (Emsterly)THE WELCH BOYS
I Scream Records
Drinkin Angry
18-song CD
Some interesting tonal and creative desire to become the greatest and most feared group of musicians sleeping alone in the underground fortress made of dirt and steel. All the songs are crafted with skillful arrangement and beautifully laid down harmonic intervals. Each track travels through time eventually causing a tear or two. I am most impressed by the backlashing interceptive lyrics that have you facing up against your own pent up angst. You will eventually become you own worst feared self. You will become dangerous in the eyes of others but you wont be able to understand your own faults. At first you realize its wrong but you get yourself so deep into the act that you become what you have created which is musical but can also be dangerous or delusional. Then you realize that you have to defend yourself against the common enemy be it your friend or your disgruntled neighbor. You find yourself doing the oddest things and getting into all sorts of interesting trouble. Then you can barely walk and want to hide. (Leonid)THE DOOM BUGGIES
Doom Music for Dining
12-song CD
Strangely enough, the first three tracks on this collection of demos, out-takes and unreleased raritiesThink Big, Mystified, and Rocketcould (almost) fit quite snugly on the Vital Mights newly-issued concept album, reviewed elsewhere in this column, even though all three of them were written in 1996. Its not often that this happens. How else to explain it other than to speculate that at their very best, the Doom Buggies create timeless garage punk with themes so classically broad that one can see them sparkling even in a foreign setting. Id like to say that all the songs on here are equally outstanding, but such is not the case. The trick to writing really good garage punk knock-offs is ingenuity, weirdness and brevity.
The desperate noise of Blue Velvet and the rampaging Ledfoot fit the bill; the other tracks are too long, or too murky, or too underdeveloped. But for a retrospective album of obscurities, five out of twelve is just fine. (Francis DiMenno)BILLY SHAKE
Look Away
11-song CD
I dont know if Billy Shake is a person or a band; theres no information whatsoever about instrumentation or production on this CD, apparently a home-reproduced copy. Theres no information on the web, either. Whatever it is, this CD is straight-up, beautifully written, played, and produced rock n roll that despite its 11 songs, clocks in at about 35 minutes. The vocalist has a slight Dave Pirner quality; actually, the whole CD kind of sounds like Soul Asylum developed an 80s British influence. Sort of, but not reallyI know that doesnt really help. Nonetheless, When I was Young does evoke a Brit-poppy sound with a bit of echo. Stay the Night sounds as if Dylan were funky and modern. Bones of Angels is a rollicking rocker. Seven Mile River is a bit bluesy and melancholy. These are great songs; I only wish the mix was just a little edgier and crunchier. (Robin Umbley)ALLEN DEVINE
Devdisc
Poportunity
10-song CD
Straight away I have to call out the obvious. Poportunity? Are you fucking serious? Sorry Allen, but some things cant go unremarked. Fortunately Devines penchant for unforgivable puns is the worst thing about this offering of safe but perfectly catchy pop rock. True to its title, Poportunity offers up 10 songs of sugary pop, complete with tangible nods to all the prerequisites. Its On The Way is perfectly Beatlesque with touches of the Beach Boys, while She Told Me packs a distinct power pop punch in the tradition of Big Star. And for the sake of mixing things up, Devine throws a few curve balls in there (the bluesy My Baby Sezz) for good measure. But in the end its a disc big on hook and melody, which is never a bad thing for any guitar rock fan with a pop fetish. (Ryan Bray)THE ORANGE OCEAN
Orange Ocean Publishing
Caught in the Air
9-song CD
Listening to this gentle pop combo from Worcester puts me in mind of rainbow-scented, sensitive bearded unicorns romping through a land of marshmallow and honey. Okay; who cares, the music is mostly lovely and melodic, and the vocals often sublime. But take it from the Band: They are as sick that surfeit with too much as they that starve with nothing. Anyway, the opening track is a sort of piano-driven pop with jazz-influence move thats much more out of Vince Guaraldi than Dollar Brand. It also seems like just the sort of thing that might have been issued some 30-odd years ago by some tired Warner/Reprise adult-contemporary A&R guy who was sick to death of all that noise and who simply wanted to put out some wax he could actually listen to in his bong-juice-reeking shag-rug-infested den. Lets put it this way: its lounge-y pop music that name-checks Jonathan Richman but seems more like Jules Shear with a Masonic spike scratching away at his cerebral cortex. What I hear on The Love Within is somewhat akin to Elvis Costello in one of his more introspective and cerebral moments, and Wouldnt Take Much is undeniably gorgeous and lush. But the reggaefied Seeing You Differently is pure ick, By the Ocean is a gratuitous Beach Boys homage, Show and Tell is atmospheric 70s-mellow showboating, and the decision to camp it up on When My Heart falls far below the aesthetic blundering of the most ignoble Kinks or even Harpers Bizarre track. (Francis DiMenno)ERIC DALHMAN
Ripped Echo
11-song CD
Heres something you dont find too often: a trumpet player who plays what might best be described as ambient music, or stuff you might hear while on your massage therapists table. Seems counterintuitive, doesnt it? Well, to hear trumpeter Eric Dahlmans compositions, it seems perfectly natural. The brass instrument adds a human element to the ambient-ness, for lack of a better term. Instead of sounding harsh and alarming, the trumpet in this recording is more like a mild but persistent voice. But, as Brian Eno says, ambient music can be actively listened to with attention or as easily ignored, depending on the choice of the listener; if you choose to listen to this, you will hear the CD open with a solo trumpet prelude which segues exquisitely into interwoven sounds emanating from anything from lobster pots, mason jars, lap steel guitars, a sword on an artillery shell, electric guitars, a large clock spring, and accordion. The subtlety is illusory, though, because the compositions become subversively captivating. But if you choose not to listen closely, you may as well go back to the massage table. (Robin Umbley)CHUCK STATON
Senior Discount Music
VBW Attack! The Senior Discount Movie
25-scene DVD
This DVD is all about fun and good punk rock music from Rhode Island with a nutty gang of hangers-on filming all sorts of semi-social activities. Veterans of the New England scene should know such subtlety!
The punk band in question that released this is called Senior Discount; their brand of tagalong fun makers is called the VBW. Chuck Station is the head guy and Johnny Knoxville of the video.
He comes across as a likeable derivative of Kevin Smith, the director of Clerks (you know, Silent Bob?!) and Jean, the guy who fixed my Jeep for a couple years. The antics are in the Jackass tradition. Theres obvious planning involved in the hijinks and capers performed by this troupe, along with that public spontaneity and I dont-givea-shit-who-sees-it attitude. Seeing people beaned by balls intentionally at batting cages is great, I never saw anything better. Mix that with a swift hand for production, drunken revelry clips, and a basic dissatisfaction with the world at large, and the guys provide quality entertainment. Let me tell you about the Enema at Fatima. It deals with VBW, in broad daylight, sticking an enema up Chucks ass in the front yard of the Fatima high school, filling it up with saline, and then him bending over and blowing watery chunks out all over the parking lot. He got arrested for disorderly conduct (dude!). They dont film the real arraignment and trial and decide to stay with the punk band with a mission/wild troupe of crazy activities motif.
There are too many skits/filmed ideas to fully encapsulate in this review, lets just say that this DVD is gold and that the band and those with them have some mighty winds at their sails. (Mike Loce)THE I.Z.A.
7-song CD
Inevitable Zombie Apocalypse
WOW! Could music get any worse? I did not think so until I heard the I.Z.A. Come on! Learn to play before making sort of attempt to record music. Dont give me attitude either. No need to tell me I am gonna hate your music before I listen to it. But of course I did, because it displays no talent whatsoever. Its like they picked up the guitar, played three random chords, and called it a song. Then they spent some cash and recorded the music and then somehow it came into my hands and almost deafened me with its awful tastelessness creativity. I suggest leaving Boston before you ruin the music scene with your apocalyptic taste in music. Take ten years of lessons and maybe you will be able to play good enough to be considered a musician. But of course you will never be able to write a song because you have your head so far up your ass to see any sort of color pattern in music. (Leonid)VARIOUS ARTISTS
Corleone Records
10 Yrs. Everything I Own
Is Broken Or Bent
21-video DVD
I had to throw in my copy of the Muppet Show first season DVD to make myself feel better after seeing this amazing collection of band videos from this label. Without further ado and with much brevity:
1. Work/Death: Sludge mostly played on bowed upright bass through multi-effects like distortion and time delay. Sounds like being underwater next to an oil refinery.
2. Jacob Berendes: Backwards filmage of making a mess on the dinner table with shitty folk singing.
3. Get Killed: Good video of in studio band poses with Sonic Youth style guitar chords and screamo.
4. Mindflayer: Noise duo with a hyper drummer and a guy wailing on a Fatman or some analog synth.
5. Uke of Spaces Corners: One guy shoveling a snow path through the woods while another guy follows with a door. Cultish.
6. Fang Island: The best. Instrumental rock band bashes away in a second grade classroom as a presentation!
7. Frank Difficult: Trippy randomness for behind band play at live shows.
8. Mahi Mahi: Boring synthtronica with bad techno-acid visuals.
9. Colin Langenus: Crazy cartoon distortion of reality.
10. Night Wounds: Sounds like theyre stuck in a loop of heavy drums/guitar punching.
11. Landed: Great overdriven bass/drums/screamer in a basement.
12. Lorna Doom: Two guys trying to be like the Beastie Boys Sabotage video with mellow enhancement.
13. Tiny Hawks: I hate music videos that try to prove something by showing internal organs functioning.
14. Black Pus: Excellent crazy solo drummer with a mic in his facemask screaming while drumming.
15. Fred Thomas: Oregonian acid visionary.
16. Lazy Magnet: Mystical high school style musical film with super animation cuts.
17. Snake Apartment: Cartoons and beard close-ups with slop on them.
18. Bonedust: Witches gathering on stage in evil and purging.
19. The Body: Raucous drums and guitar in a stairway hall.
20. Pines of Rome: Lame studio footage of dork band playing interesting song looking important. (Mike Loce)THE MESMARINES
Crazy Eight Records
The Mesmerines
4-song CD
At long last, a 4-song CD that hasnt been thrown together for the sake of releasing whatever the band could muster up. The Mesmerines, four veterans of the local post-punk scene of the 80s and 90s have united to record an adventurous effort-driven bouillabaisse, simply titled The Mesmerines. In just over fifteen-minutes, these songs galvanize punk, Brit-pop, psychedelic and garage. Raygun kicks it into gear and is reminiscent of the Cars while Aquanetta Jones is a cross between Social Distortion and Iggy Pop. I am the Sunman has a wonderfully crunchy guitar sound with tight drum and bass in tow, as does Beautiful Day with the addition of horns and strings. This CD has my attention and I look forward to their full-length in the future. (Rob Watts)MELT
A Stitch in Time
6-song CD
Melt combines pop sensibilities with the better elements of lighter goth and cool prog bands on their second CD. The collection opens with the Middle Eastern-flavored Through the Doors that riffs along at the beginning and has cool pre-chorus cooing from singer Rachel Drucker. Big hooks and riffs jaunt through Home, a pretty love song perfectly placed in the middle. The vocals on this tune are spot on and the acoustic guitar parts are a nice touch. Drucker is often compared to some of the more powerful female classic rockers but reviewers shouldnt sell her talents short. Comfortable, another lovely little number, shows the bands versatility: great harmonies and a really catchy hook, reminiscent of Every Breath You Take by the Police. On No Fear the band continues to explore some untraditional rhythms with success. Very cool guitar synthesizer parts by Nils Freiberger, great lead and background vocals, and hooky bass parts from Paul Pipitone. (Tony Schinella)LEONARD BROWNS JOYFUL NOISE
Suns of Sons: Live at Bohemian Caverns
5-song CD
Leonard Brown, a music professor at Northeastern University and a virtuoso saxophonist has returned to his roots and put together a delectable set of recordings that will tickle your ears and feed your soul. The CD was recorded live at Washington, D.C.s historic Bohemian Caverns, a legendary jazz club thats been host to jazz greats since 1926. No surprise, the musicianship is all around stellar. Though there are only five songs, the whole album clocks in well over an hour, giving each song plenty of time to showcase the complex melodic lines that delightfully swim, float and bounce over the innovative rhythmic vocabularies put forth by the band: Leonard Brown on both tenor and soprano saxes, Nasar Abadey on drums, Allyn Johnson on keyboards and James King on bass. Overall, the end result is excellence and if you have titles by Coltrane, Davis and Birdman Parker in your record collection already, this may be something you should check out. (Kier Byrnes)BAD LIEUTENANTS
Teenage Heart
Born a Bad Seed
6-song CD
Remember songs about booze, fast cars, fast girls, and getting into trouble with the law? Well apparently Bad Lieutenants couldnt remember, so they wrote an album of rocking punk tunes so they wouldnt forget when they sober up. With each song clocking in at around two minutes, you may find these songs brilliant or forgettable, depending on which jail cell or used Chrysler you happen to be rolling around in at the time. Ive heard better, but Ive heard worse. Perhaps if they sounded British and pissed off . (Joel Simches)NORTHERN PIKE
Speechless
5-song CD
I want to feel something too. I want to feel the weight of a rockin six piece band in my loins. The thin production of this recording makes Northern Pike sound like Soundgarden Lite. The guitars sound huge and Mark Kalivas sounds like a cross between a young Chris Cornell, Paul Rogers, and Doogie Howser. The drums sound tiny and lifeless under the weight of three guitars. This could sound huge in the hands of the right producer, but Northern Pike sounds like a generic bar band that likes Soundgarden. (Joel Simches)LOVERS/DECEIVERS
The Tragic Search for Miss G. Pallor
5-song CD
This is Goth with a capital G and all its obligatory trimmings. Lovers/Deceivers wear their influence firmly on their sleeve, evoking dark, dreamy images with whispery vocals, echoing B/Horror movie samples, droney synths and guitars. This CD takes you back to a time where the Cure, Bauhaus and Jesus and Mary Chain ruled supreme and every skinny, pastey, neurotic misfit wanted to slit their wrists in the bathtub and have their virginal corpse displayed on a bed of rose petals beneath a medieval crucifix. This CD left me cold, wishing for substance. There was no dynamic, or emotion; just the monotone drone of what was, frozen in time beneath a layer of the haze. This left me yearning and empty. Wheres my eyeliner? (Joel Simches)VARIOUS ARTISTS
Allagash Country
Red Sox Tribute Songs
2-song CD
Put me in, coach! This little sampler of generic Red Sox pep rally songs will have you rooting for the Yankees in no time. There are certainly less tasteful ways to pander to baseball fans and make a cheap buck of Sox fans. At least these guys are making crappy music and not selling tacky T-shirts on the corner. I still have to walk by those guys. I can turn this CD off. I just did. Tennis anyone? (Joel Simches) -
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WALTER SICKERT & THE ARMY OF BROKEN TOYS/ THE RATIONALES/
THE FIELD EFFECTS/
RUBY ROSE FOX
Brighton Music Hall,
Allston MA 3/23/13I 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 4/6/13I 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 4/8/13Rock 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 4/10/13This 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 3/24/13The 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 4/13/13The 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.
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The Noise Archives: Live Reviews, Issue #220
THE STUMBLEWEEDS
The Plough & Stars
2/16/02Bostons bluesgrass band—yes yes, that is The Stumbleweeds undeniable title. Like most bands in Beantown they look as genuine as they sound. It helps a bit that they are not just playing the musicthey live it, which is readily apparent right from the opening notes.
The tune “Wasted” comes barreling out and I expect a bar fight by the time its over, the crowd is that volatile. Red Sores licks are infectiousnobody plays steel pedal like himwait who else in town even does play pedal steel? “Pickin n Sinnin,” the title track off their new CD, is as catchy as a brush fire. You unexpectedly find yourself tapping your toes and the side of your beer glass.The up-tempo numbers are unstoppable and unbelievable. Hell, if you only like bluesgrass a little, this band will push you over the edge into adoration. From what I can see there are plenty of people who are into the sounds. The Stumbleweeds are putting out and the Plough is packed, Yeah, its not hard to pack the Plough, but the people just keep coming in. (Bridget Unger)
JOHN POWHIDA, ROB ATTERBURY
Midway Cafe
3/6/02This is a fine way to spend Hump Day without actually humping something. Rob Atterbury, resplendent in black Stetson and tie, croones classic country all by his lonesome (plus an acoustic guitar). Shit-kickin without all the shit, The Rob-Man peels off a good hours worth of well-loved glug-nuggets, sung from deep inside the heart and liver. While goin heavy on the Hank (including the usually-overlooked “Kaw-Liga”), there are also lovin spoonfuls of stuff like Merle Haggards “Mama Tried,” better known as covered by The Grateful Dead. Its also a gas to hear ordinarily female-identified tunes such as “Crazy” and “Stand By Your Man” sung by someone packin a scrotum, proving that the greatest love songs are gender-neutral. And yeah, I know, “Crazy” was written by a guy anyway, thank you. Atterbury has a unique, arresting voice, and plucks crucially tasteful tendrils from his six-pack o strings. He also yodels, and dad-gum means it, Junior! Plenty of cows, but no bull here.
Im not sure if this city deserves John Powhida. The Rudds guiding light has more class, talent and smarts than any given hundred songwriters I can name. Rarely does a solo act satisfy on the level of a full band, but this is one of those times. He can also be a funny bastard, with lots of bawdy in-jokes and self-deprecating zingers. Then, blink, and youre back into some heartbreakin take on something as touching as Eurythmics “I Need You,” as soulful as Hall & Oates “Sara Smile,” or as gorgeous as Michael Jacksons “Ben,” about the filthy fucking rodent. Powhidas voice swoops around to all the right places, while his guitar playing is a marvel of efficiency and understated grace. None of which prepares ya for the Ultimate Coolness of his original songs. A lots been said, and a thousand times as much remains to be. Im just glad Im catchin it early before it gets too big and I get too deaf. (Joe Coughlin)
IRRESPONSIBLES, SPARKOLA
The Paradise (front room)
2/16/02We dont review non-New England bands in The Noise, so Im not allowed to write about the godawful New Jersey caterwauling that opens the night. Except to say that it is during their set that I require alcohol and I pay $9.50 for a shot of Tequila and a bottle of water. $9.50? Fuckin Paradise.
Sparkola makes it all better. This trio is Steve Powers on guitar and vocals, Adam Buhler on bass, and Jason Sekos on drums, and if you expect these Countess/ Splashdown dudes to sound like either of their other/ former bands, youll be disappointed. Think of the aggressive alterna-funk of Gingerbutkis (remember them?) or the rocking ingenuity of Radiohead. Sparkola powers through this, their debut show, with a set of pop/rock songs oozing with fat funky bass and catchy melodies. Standouts are “Marmalade” and “Climbing Out Your Window.” When they finish their set, the small but appreciative crowd calls for an encore, and the band, though they look shocked, delivers. Its good old-fashioned musicianship at its finest, and I cant wait to hear more.
Between sets I sneak through to The Paradise main room and catch a little of The Sheila Divine, whove packed the place to the gills. The SD sound great of course, but I feel like dragging people back through the black curtain to catch The Irresponsibles.
Havent seen the Irros yet? Good lord people, get off the couch and see this band. From the tight-as-hell opening jam (“we dont know what that was,” laughs Peter Montgomery later) to the hilarious “Sausage Party” (an homage to Weezer) these guys positively kick ass. Drummer Dan Rudack (also of Starla Dear) has switched to a full kit instead of his usual pared-down stand-up kit, and it serves the sound well. They rock, theyre funny, and theyre cute. What more can you ask for? (Lexi)
THE TAKERS, MR. AIRPLANE MAN, THE MODIFIERS, TODD GILES
Charlies Kitchen
2/25/01These Monday night shows at the popular burger joint in Harvard Square have been going on for a year, but this was the first Id heard about it. We arrived at 9 pm and it was already crowded. Todd Giles started things off, playing guitar and singing earnestly with his eyes shut, something about “the most deluxe house/with a skylight to look out of/hand towels and soap dispensers” He played some jazz chords mixed in with Bob Pollardisms on a red SG and ended on a soft, unexpected note. Id like to see him with a band, only because Im too impatient for the singer-songwriter sensitivity thing.
The Modifiers, a three piece, were next, playing loose and rootsy melodic punk rock. The first song had me wondering if they were the second coming of the Replacements. A group of fans who knew all the words stood in front, one spiky haired dude showing his dedication to the great god Alcohol with beer bottle caps glued all around his sweat-jacket hood. The guitarist/singer played a Les Paul that cut through the noise every once in a while with a ringing, memorable line, but it didnt happen often enough. I agreed with my friend that they were “louder than they needed to be.” They also lost points for playing a cover of the hideously whiney “International Playboys” by Morrissey, the irony of which was cancelled out by the aural torture but the “mod” kids probably loved it.
Mr. Airplane Man was next, a two-woman séance conjuring up the ghosts of dead blues men from Mississippi. Their years of busking have paid off; theyve achieved the sort of soulful, intuitive nuance players need to make the blues sound fresh and not just the usual bar band rip-off. The duo have some new originals and I was excited to hear them branching out into garage girl territory and even ballads. Their delicate voices and harmony vocals contrasted nicely with Margarets from-the-gut slide guitar and Taras no nonsense drums enhanced by a tambourine cymbal. Howie Ferguson added some nice accents on maracas and tambourine.
The Takers had a tough act to follow but played an amazing, energized set. They started with “Miles Between” (aka “Twin Peaks”), a smoldering punk lament bringing to mind the haunted sound of Nick Cave. Mike Hibargers slow motion, minimally phrased surf guitar lines slithered through the song like a sidewinder. Chris drums show a lot of finesse, he never just bangs it out. Nick Blakeys bass lines carry some of the songs, particularly the second one, an incredible pounder that got a lot of applause; only later did I realize it was a cover of DMZs “Dont Jump Me Mother.” During “Looking Down,” singer Mike Carreiro leapt up on a table and tried to hang off the rafters except there werent any. Instead, a panel of the ceiling fell down around him in a heap, which didnt interrupt the show. There were a couple new songs that sounded promising, an amusing cover of The In Outs “Caravan” with the words changed to “Taliban” and a dead-on Todd Nudelman vocal impersonation by Mike C. In short, they blew the roof off the place. Kenne Highland summed up the experience with a succinct, “Holy Shit!”(Laura Markley)
LIFESTYLE
Curve Film Premiere and Post Screening Party, NYC
2/27/02My friend invites me down to New York for a movie premiere. He doesnt tell me what the movie is, or what even it will be about, just that there will be 100 models from Ford, Click and all the other major agencies and hes getting me on the VIP guestlist. A few years ago, I was in New York, someone smashed a bottle over my head and Ive avoided the place ever since. Anyhow, this seemed like a good enough reason to lift the boycott on the Big Apple. Id climb through hell for a beautiful woman, and for a hundred, well, Id even go to New York.
So I get there and as it turns out the movie is called Curve, its a documentary on the fashion worlds prejudice against larger women, and you guessed it, all the models there are plus-sized models. So Im not only surrounded by beautiful women, Im dwarfed by them as well. Directed and written by Bostonians Constantine and Christina Valhouli, Curve is quite good. The movie is made up of hundreds of clips of both famous and struggling plus-sized models candidly telling the story of the “not as glamorous as youd think” life of a fashion model. The soundtrack is also very glam and features two bands, the Go-Gos and Bostons own Lifestyle (who also happen to be performing at the post screening party).
After the movie wraps up, we split to the party. Lifestyle is already in full effect with lights a flashin and tunes blaring. They sound like theyre straight from the 80s and the ladies are loving it. They have two keyboardists pumping out electronic synth beats and a dude who looks like he should have been in Flock of Seagulls. In this context, its all entertaining, in a Duran Duran sort of way. If you dug Freezepop, youre sure to like this four-piece. I almost expect to hear a Pet Shop Boys song at any second. The party goes on until dawn “Bright Lights Big City” style. I wake up late the next morning with my head hurting so bad I might as well have had a bottle smashed over it. Cheers to the city that never sleeps. (Kier Byrnes)
CANCER CONSPIRACY, DAMN PERSONALS, PIEBALD
South by Southwest Music & Media Conference
Emos Jr., Austin TX
3/13/02SXSW is the music industrys largest and most well-attended yearly shmoozefest, drawing thousands of music writers, record label executives, radio people and pretty much anyone involved with the business of music. So when Big Wheel Recreation arranged a SXSW showcase on its late-winter package tour (Vermonts Cancer Conspiracy, and Bostons Damn Personals and Piebald) everyone involved figured the expense would be justified by the exposure that the bands would receive. It didnt quite work out that way. The showcase wound up on the inside stage of Emosarguably one of Austins coolest clubs, but also one of its very few all-ages venues. So instead of industry poobahs brandishing SXSW badges and waving major label mega-dollars at the bands, the bands wound up playing to an audience that consisted almost entirely of indigenous teens. All three bands also had to struggle through harrowing technical difficulties. Cancer Conspiracy faired all right, although their brand of instrumental prog-rock really doesnt come anywhere close to the typical garage-punk sound of most Big Wheel bands. Ten minutes into their setafter three quick numbers and a blown bass amp that had to be replacedthe band announced it was playing its last song, and then launched into a 30-minute instrumental prog-rock odyssey that my companion sarcastically described as “Tales Of Topographic Puddles.” The Damn Personals seemed flat and uninspired during the first half of their set; in fact, between lackluster playing and technical distractions, it was pretty much a trainwreck. The band pulled itself together for the second half of its set, but they never won over the largely uninvolved crowd. Things went much better for the more punky Piebald; despite a power outage that lasted near 15 minutes, the band had heads bouncing and fists flying into the air from start to finish, with frontman Travis Shettels endearingly nerdish persona clearly capturing the imagination of the mostly adolescent crowd. If you look at Piebalds silly song titles, youd think all the songs would be jokey. But live, they delivered a convincingly chunky brand of emo-pop, somewhere between the geeky sincerity of D.C.s Dismemberment Plan and the power-chord crunch of kiddie-core favorites like Midtown and New Found Glory. (Jim Testa)
REVERSE, THE BEATINGS, HELLO ATTACK!
T.T. The Bears
2/14/02Scenesters from all aspects of the Boston rock scene gather the first Thursday of every month in Central Square to check out the Yoursound.com showcases. Heading up the parade of hipness is the very busy Mike Baldino. Mike helps the club put these bills together in addition to his multi-zine writing workload. As I mingle about the crowd, Im running into a lot of folks whose names I recognize from The Noises web page message board. Its nice to finally be exposed to the identities of some of these online characters and sit down and debate each others favorite bands face to face while running up an ungodly bar tab.
On stage is a completely instrumental act named Hello Attack! (sic). They stop only once to speak into the mic to pitch their band and sell t-shirts then dive right back in to testing the dynamics of their instruments, creating huge peaks and valleys of hysterical and schizophrenic melodies. There are also a lot of unusual tones and noises created by a dazzling array of effects. It reminded me a little of the soundtrack from “Fight Club.” I was blown away.
Afterwards were The Beatings. Its their CD release party and I have heard a lot of hype about these guys so I have high hopes. Unfortunately, all I hear is the same old pop punk thing. Someone next to me was describing them as Blink 183/ Matchbox 21. I had to agree, after hearing something as sonically unique as Hello Attack!, this seemed a bit bland and was a bit of a let down despite the energetic stage performance. Hmmm, maybe Ill have to catch another show later because this time it just didnt register.
Dan Troxell from Yoursound goes running up on stage to raffle off some CDs as Reverse sets up their gear behind him. Its no secret that Reverse is one of my favorite bands in town today. Heavy drum beats and loud guitars calling me to the front of the stage. Tempo changes, grilling riffs and carefully constructed melodies have my boots stompin in no time. Those who were fortunate enough to make it out all the way until last call, got to hear Reverse do an amazing version of “Ridiculous,” well worth the three hours sleep and Friday morning hangover. (Kier Byrnes)
THE HIGH CEILINGS, FLEXIE, THE BRIAN GOTTESMAN BAND
The Middle East
2/21/02Okay, I admit it, the only reason Im here is because the Piebald CD release party going on downstairs with Cracktorch and Kipper Tin was sold out. Grudgingly, I decide to see whats going on upstairs. On stage is a band thats rocking out pretty hard called the Brian Gottesman Band. Theres a keyboard center stage. I assume its Brian Gottesman, who is standing behind them, wailing away, switching back and forth between keys and guitar while crooning into the mic. Its pretty good stuff; interesting songs with clever arrangements and enough hooks to keep my attention focused off the show Im missing downstairs.
The keyboard stays center stage for the next band, Flexie, as well. This time, however, a cute blond hops up behind it. An equally striking female takes her place next to her, stage left. With two babes like that on stage, Flexie have my attention but Im looking around and it seems that the whole place has cleared out. Rarely have I seen the Middle East so empty. The music is ok; indie pop rock thats not really offensive but not really groundbreaking either I suppose. Luckily the set gets over kind of quickly and there is a trickle of people back inside.
Apparently, Flexie is in a rush as well to get it over with because they decide to bolt as The High Ceilings, the next band on the bill play their first song. Isnt it one of those unwritten musician rules that when youre on a bill with multiple acts, you have to stay and help support the other bands? And to load out your gear in front of the stage while the other guys are performing… thats just bad. Maybe they have tickets to the Piebald show downstairs. To be honest, I feel like Im not missing much, The High Ceilings are rocking out in their trademarked heavy metal/ Pink Floyd sound despite recently adding a new bass player to the mix. Their new song, “Mayfly,” is one of my favorite locally made pump up songs. (Kier Byrnes)
MICHAEL LEYDEN, BLUEGRAZER
Kendall Café
2/27/02Wednesday at the Kendall Im thinking who the hell is gonna be here on Wednesday? Well Michael Leyden is. And no matter what night or where he is playing, if you can, go! He has a few people with him but really I cant remember a thing they may have done. Micheals hook is his voice. An unlikely pleasing combination of a young Neil Young and Gordon Gano (The Violent Femmes). I couldnt stop listening. The songs are catchy and poppy. They go bouncing by making you smile while furrowing your brow with thought.
Bluegrazer can give every band in Boston a run for their money, and beat many! Apparently they have been on a bit of a hiatus and its high time they come back! Sounding, undeniably, like Three Day Threshold but a lot less theatrical and a bit more rock n roll than country/ bluegrass. Joe Pleiman, on lead guitar and vocals, John Stump on bass, and Jesse Sexual Spence on drums. Each a strong player, standing out with their individual ability yet blending smoothly into a kick ass band. I think the best thing you can say about a band is that they rock. And I like it! (Bridget Unger)
THE IN OUT
The Upstairs Lounge
2/14/02What better way to snuff out the Hallmark phoniness of Valentines Day than with the uneasy, post-punk garage throb of The In Out. The mood is set by a slow motion disco ball and smoky red bulb. They start off with some uncertainty, but after a pulsating “Camouflage” (with Nudel-code about a “sex garage” and a “sex mirage”) the band kicks it up a notch with a song about “ a blue chip stock/before the bottom fell out” (“this is more like it!” read my notes), a bent guitar note creating anticipation. Now Todds intoning something about a pissing dog while using distortion AND fuzz pedal! “The Turning” has too loud crashing drums, while an unwieldy country version of “X In Its Place” makes a mockery of the slow burning magnum opus Matt Hunter used to sing. But the newish “Trap Body” has a memorable guitar riff and its always a treat hearing the lean years oldies like “Barnyard” and “One In A Thousand Service Industry Job.” (Laura Markley)
MOMENT, JUST FOR TODAY, THE HATE HOLIDAY, THE AMES CURVE
The X-Haus
2/12/02Im in a basement, and I know its a basement because of the hot water heater and the washing machine, which Im sitting on, watching over the shoulder of the drummer as the band pumps the air full of sound, sweat, and dust. Im listening to the band, but watching the kids as they invent dances, brand new dances, each one a little more ridiculous than the last.
Connecticuts Just For Today plays an excellent but sometimes shaky set, with the interlocking guitar arpeggios building an aural mosaic that never wavers. From my vantage point I can see the group dynamics at work, the subtle eye contact and body language of a group perfectly locked into one anothers back pockets, but that doesnt make up for the fact that I cant make out a word the singers moaning about. After they are done playing I talk with them for a bit, and they turn out to be super nice guys; they seem like they were hinting at being out of practice, but their energy is irrepressible, and what the hell its all punk rock funright?
For Moment, I move to the front of the performance area, and before they can even play, people are dancing, undulating really. Weve all become muscle fiber in one giant limb. Moment opens with a brand new, if slightly overlong, instrumental before launching into the hot rock. After the second song the audience starts clapping and continues for a good four minutes, until the band plays on. Hysterical. The connection Moment makes with the crowd is positively for real: the giant limb becomes a multi-limbed monster, flailing about wildly in ecstasy.
My only complaint is that after the show, when I bought my Moment CD, it cost me $10, but maybe thats just because Im unemployed. I just feel, especially for basement shows, that if its $4 to get in, the CD shouldnt be more than $5 or $6. Maybe Im just showing my age. Keep punk rock cheap! (Jesse Thomas)
KATE WIREN
Curious Liquids
2/23/02My third show in three nights, Im starting to go deaf but the promise of being set up with a girl thats “model-hot” enables my friend Kristi to talk me into going out. I look around and the place is packed with women and Im one of the two men in the audience. Does this have anything to do with the place being a dry smoke-free venue or did I just step into the Twilight Zone? If so, instead of that creepy theme song, the soundtrack features girl power acousti-folk in the Merrisa Ferrick and Ani Di Franco vein sung by Kate Wiren. She sings with confidence; like shes drunk more whiskey than Janis Joplin and broken more hearts than Pat Benatar. She continuously chirps in with witty crowd banter, making up song lyrics on the spot and keeping the crowd amused. She even plays a “Birthday Song” she wrote for my friend earlier that day. Impressive.
Unfortunately, despite the performance, my nights going South fast. I wasnt able to meet the hot girl who I came to see and to top it all off, every other girl in the room turns out to be a lesbian. Just my luck. Anyhow, the clock is ticking and Im looking forward to getting me some alcohol in my blood. This was a definitely an interesting stop along the way though. (Kier Byrnes)
Two Reviewers at the Same Show
BRADSHAW, THE GOOD NORTH, THE SILENT GOODBYE
OBriens
2/22/0The Silent Goodbye takes the stage dressed entirely in black; their music is just as dark. At its best, its enchanting catharsis, at its worst, its music to open a vein to. Both excellent guitarists sing separately, emotionally and violently, but rarely melodically. This is what would take them to new heights: imparting a sense of song. They have all the other elements in place, so I suggest singing harmony, as two good singers can make one great one.
The Good North are the most promising band Ive seen in years. The elements are all there; the music is equal parts The Sheila Divine and The Strokes. Theres passion to spare, delay-drenched guitar, and a swaggering singer with pipes. Onstage, everyone is committed to the moment; the music swirls upward in continual crescendo and emotion is everywhere. Whats missing (and it may just be the sound system) is breathing room. Space begets clarity; a moment to rest is a moment to think and connect. What they need is: “Just a little patience… yeah.”
Bradshaw is pure smart-punk-pop entertainment. Tyler sings like Rob Halford, and to paraphrase NWA, “its probably why he kicks so much butt, he kicks ass!” He is one of the best lead singers locally, and who would have thought it when he seemed a gentle foil for Andrew King in The Control Group. Of course, Bradshaw has an entirely different sound and approach; they are more punk buoyancy than epic sincerity. Their guitarist gives off the rock love; people crowd the stage, laughing, giving devil horns, spilling beer. Allston rock city, know your new master: Bradshaw! (Glenwood)
THE SILENT GOODBYE, THE GOOD NORTH
OBriens
2/22/02Theres so much smoke in OBriens I can barely see the back wall. I thought that the band on stage had a smoke machine going but no, its their fan base of crazy nicotine addicts. Theres a crew in front of the stage, cigarettes in hand, nodding their heads in unison to the drumbeat. The Silent Goodbyes shirtless drummer is rocking out, exposing his tatts while the band dishes up some heavy extended jams. This bands pretty young, and you can tell by the amount of energy and excitement they put into their performance. The Strange Goodbyes are kind of like a jam band, in that no real melody stays in your head. Just the groove, which in this case was more like full assault. Think of Tool but without the quirks or catchy hooks.
The Good North has a ton of people there to see them tonight. Decked out in full indy/emo look with the right amount of vintage gear to make them cool in Boston, I feel like I know what Im in for before it even starts. My friend nudges me and slurs that the singer, Luke ONeil, looks a little like Elton John. As I think about that one, The Good North busts into their first tune and it completely catches me off guard. Its not the dime a dozen indy crap thats oh so trendy today, its actually some pretty damn good music. They have a Sheila Divine sort of influence, a balance between soft and quiet, a whisper and a scream, but they also have a High Ceilings misty hard rocking vibe going. Gotta say, Im impressed. (Kier Byrnes)
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The Noise 06/05: CD Reviews
CD Reviews
The Downbeat 5
Photo by Andrea Fishbaum -
Cortney Swain | The Noise
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Cortney Swain
COURTNEY SWAIN: THE BROAD STROKES OF IMAGINATION by Harry C. Tuniese
Songs are strange critters: thoughts with interpretive sounds, all individually contained, promising more than less, in simple bursts of content, known or unknown. By now, having passed through so many genres and styles, when I hear something where all the diverse elements connect, I’m struck with a renewed sense of wonder and awakening. Some artists may take years of struggle to reach their goals, and sometimes, they’re able to hit their visionary bulls-eye early in their career. Let’s meet Courtney Swain, a young, shimmering performer whose second solo album, Monstre, combines a gorgeous blend of overwhelming vocal talent, modern keyboard techniques, and contemporary sophistication. Although I’ve possessed this disc for just a short time, the sheer power of self-determination, vision, and performance that blazes out of every bar of music is so obvious and so courageously implemented that I am in a state of virtual awe at the achievement. She’s also a member of Bent Knee, a fabulous art-rock ensemble that has been roaming our locales for almost six years. As we sat down to discuss her burgeoning career, I can’t help gushing over her ingenuity and convincing qualities. Her new album is already tops on my list of local albums for 2015…
Noise: Tell us a bit about your musical background. What brought you to Boston and how do you feel you fit into our music scene?
Courtney: I was born and raised in Japan and moved to Boston in 2008 to attend Berklee College of Music. Before that, I was a classical pianist for a long time, though I never really wanted to be one, but it’s where I got my background. In high school, I sang in rock bands and found that to be refreshing to show my emotions along with the piano playing. I applied to Berklee after their deadline, but they contacted me and offered me an audition, so that’s how I ended up here. I find the scene to be diverse, but filled with cliques and niches that somehow don’t work together, but the deeper you dig you find more interests. I feel a lot of people bloom a project here and then tend to gravitate to other places like New York or LA. My band, Bent Knee, was formed in 2008 – we’re still here and that’s good so far.
Noise: What did you expect to get from Berklee?
Courtney: I expected to learn how to make a living with music. I can do the music fine, but it showed me the fast track to doing a lot of things, like earning money, networking, and other aspects of the business. But best of all, it introduced me to the people I’m playing with now. Also, as a solo artist, I’m now part of a new collective, Secret Dog Brigade Records, which is seeking to change the paradigm of the scene towards a more nurturing & community based effort, less cut-throat or using tired old values. We’re trying to connect with other outfits using the internet and other social media, like the Record Company in Dorchester, to offer both veterans and newcomers a less expensive way to make music. That seems like a worthwhile venture to me!
Noise: How do you compose? Where does your creativity spring from?
Courtney: Well, each of my solo albums I did in one month. During the year, I write down little scraps of ideas, mostly lyrical – some musical, and then when the time comes, I coalesce them and see what I’ve got. I usually have half the album done from the work I’ve compiled and then I force myself to pull the rest out of nowhere. I’m most proud of the diversity in Monstre – all the sounds are different in the song flow and I’m adamant to innovate in the form and harmonic structure. A lot of my creativity springs from frustration in the conflict of who I am and who I want to be. Having grown up in Japan, everything is different culturally, and as I gained new friends and acquaintances here I noticed different frames of reference that led me to question my values. I’ve had to change habits to cope and wanting to be a full-time musician allows me to observe these differences, without having to put on a “work face” as many people do. Really, I’m just a work-in-progress.
Noise: What do you call your type of music? Singer-songwriter? Electronica? Quirky avant-garde?
Courtney: That’s funny – I never ever think of that as a whole – it’s just dreamy songs!
Noise: Now that teaching is a vocation, how do you introduce music to your students? Do you first show the mechanics and then encourage them towards originality?
Courtney: It always depends on the student. Some kids are there because their parents make them and some special ones really take to it to heart. I encourage them to find their personal potential to unlock different parts of their lives, in their feelings and communication with others. Especially with my vocal students, the only thing holding them back is themselves. Singing is a very vulnerable and personal activity, so the connection between that and speech is an emotional one. People forget that and clam up. With my keyboard students, the mechanics are an essential tool. Not everyone is going to be a musician, so I know it’s important to learn fingerings and be able to read. The basic thing is to play music as a valuable part of one’s life.
Noise: Your cutting edge tunes stretch into an avant-garde direction with emotional depth, stylistic resonance, and lyrical imagery. It all feels so fresh and natural, yet well thought out – care to comment. What are you aiming for in your songwriting?
Courtney: A lot of my music just pops into my head – it just happens! I’m always looking to create something both familiar and fresh. I hear something and I immediately want to translate it to the keyboard to help fully realize the song. “Dreams” – from my first album – came to me on a bike ride past B.U., while “Grow Up!” – from the new album – was based on a keyboard riff and chord changes, with their time duration varying between the verses, which also acted as the metaphor for the song’s context.
Noise: Your vocals and their arrangements are amazing. Did you study or are you just gifted?
Courtney: Vocals just happen! Though my lyrics go through editing, I very rarely do that with my vocals. When I was growing up, my dad listened a lot to The Beatles, Creedence Clearwater, Led Zeppelin, etc. and I naturally gravitated towards harmony lines. Though I have perfect pitch, I did study @ Berklee as a voice major and I had to start from scratch. Despite my piano ability, I did loose the joy of singing for a while because I was so focused on the mechanics – learning how to sing higher, sing louder, etc. It was very frustrating. My vocal development has been closely knit to my personal growth. I’m very proud that the vocals on Monstre are much more assured and controlled.
Noise: Both your solo albums were created for the RPM Challenge. Please explain that situation.
Courtney: I was introduced to that through the band Jaggery. It’s a call to musicians to create a certain amount of stuff based on quantity, not necessarily quality – 10 songs or 35 minutes of music – recorded within a month’s framework (usually February). It’s great when you start out with the first four or five tunes, but then you really have to change up your format or songwriting habits. It’s important to get it out and not labor too much over the process. It’s a great creative artistic enterprise. [For more info, check the website www.rpmchallenge.com.]
Noise: Claws of the Beast Inside [2013] is a good introduction to your artistic values and Monstre [2105] nails it! Discuss your production techniques & ability in creating those albums.
Courtney: I used a software program called Reason. It’s modeled after rack synthesizers so it’s a lot more visual with knobs that you tweak and turn. It’s just my keyboard, microphone, and my computer. I used other instruments like violin, melodica, or a toy piano to enhance the textures. At Berklee, I studied composition and production as well as voice and keyboard, so that’s where my interests are truly directed.
Noise: When I was introduced just a few months ago to your tracks on the Secret Dog Brigade sampler, I was immediately floored and bought your albums from your website. Then I had to see you perform, but was surprised to hear only one tune from the newest album. How do you plan incorporating the new material into your solo show?
Courtney: I need to come up with a better looping situation, though I’m a bit hesitant to jump into full-on looping. So much of Monstre relies on textures that I need to set up a better triggering system. It’s something I’m looking forward to developing. When I get back from this tour with Bent Knee at the end of the summer, I can spend much more time on creating that fuller sound.
Noise: Tell me about Bent Knee, a most robust, dramatic, epic outfit – it’s been your main focus for years and you’re about to set out on a lengthy national tour. (Finished by the time this interview is published. – ed.)
Courtney: Bent Knee is an art-rock sextet. I hope that doesn’t sound too pretentious – we’re not like a Rush. To me, it’s just progressive rock: forward thinking rock music with diverse influences. We try to be dramatic and dynamic. A lot of the earlier material was co-written with guitarist Ben Levin, but recently the group has become much more collaborative and exciting.
Noise: How will you handle these concurrent careers?
Courtney: Currently, Bent Knee is our bread winning band – with so much time and energy invested in making it work successfully. Right now it’s very tough to balance because I am the front person, as well as booker and organizing administrator, so there’s an endless workload to be tackled. But, since all of the members have their individual projects, we can foresee a time when the band becomes a seasonal effort. My solo act has become a refuge – it allows me to discover who I am in a fresh light. Though I’ve been playing for years, when I did my first solo show last year, I clammed up. Right there, that’s a new sensation.
Noise: Lastly, I cherish seeing new young talent obsessed with artistry in their efforts. I want to meet and listen to performers who pass this progressive torch. Both you and your band have created your own unique haunting style, obviously vowing never to repeat yourself. What are your future plans? Do you have a manager or agent or are you following your instincts?
Courtney: Well, I’m doing everything by myself for my own enjoyment for both situations, not trying to take over the world. My approach has been to love every aspect of the business and learn from each endeavor. So far it’s been working really well and I’m really quite proud.
Noise I hope Monstre wins you a bevy of fans and helps shape the arc of your career.
Courtney: Thanks very much. Everything I do for my solo act makes me feel good about myself.
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The Noise: Rock Around Boston
2006 Noise Poll Nominees
2. New Band
Bang Camaro
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OK Thursday
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Temper
Mystery Tramps
The Motion Sick
Apple Betty
The Silver Lining
Blanketeer
Christians & Lions
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Township3. CD
Neptune – Patterns
Mission of Burma – The Obliterati
Ho-Ag – The Word From Pluto
The Motion Sick – Her Brilliant Fifteen
Corin Ashley – Songs from the Brill Bedroom
Aloud – Leave Your Light On
Campaign For Real-Time – Yes… Imean No
Muck & The Mires – 1-2-3-4
Dresden Dolls – Yes, Virginia
Radio Knives – Cursed
Monique Ortiz – Reclining Female
Temper – Hang by Your Own Tail
Hooray For Earth – Hooray for Earth
Mittens – Fools on a Holiday
Bon Savants – Post-Rock Defends The Nation4. Song
Fluttr Effect – “Hollywood is Porn”
Campaign for Real-Time – “In Your Dreams”
Muck & the Mires – “You Better Write Your Number Down”
Scamper /Kay Hanley – “Barcelona”
Sidewalk Driver – “Christmas in Fallujah”
Hooray for Earth – “Simple Plan”
Shoot the Moon – “It’s All Good”
Mittens – “The Way We’re Living”
The Daily Pravda – “She’s So Mature”
Mission of Burma – “1001 Pleasant Dreams”
Dresden Dolls – “Backstabber”
Pernice Brothers – “Somerville”
Damone – “Out Here All Night”
Hallelujah the Hills – “Hallelujah the Hills”
Bang Camaro – “Bang Camaro”5. Vocalist (M)
John Powhida (The Rudds)
Thom Moran (Bon Savants)
Brad Parker (Aberdeen City)
Sammy Miami (Shoot the Moon)
Corin Ashley (Corin Ashley)
Munk ([munk])
Jared Marsh (Taxpayer)
Chris Mascara (Mascara)
Ad Frank (… & the Fast Easy Women)
Eli “Paperboy” Reed
Dave Jackel (The Daily Pravda)
Mark Lind (Ducky Boys)
Chris Pappas (Everyday Visuals)
Jason Dunn (The Luxury)6. Vocalist (F)
Anna Price (The Silver Lining)
Monique Ortiz (AKACOD)
Jen D’Angora (The Downbeat 5/ Dents)
Emily Grogan (Emily Grogan Band/ Angeline)
Jordan Valentine (Worlds Greatest Sinners)
Andrea Gillis (Andrea Gillis/ The Rudds)
Holly Brewer (Humanwine)
Kara Trott (Fluttr Effect)
Linda Viens (Angeline)
Elena Proakis (Polyethylen)
Jen Johnson (Static of the Gods)
Jen De La Osa (Aloud)
Elli Vee (The Charms)
Leah Callahan (The Glass Set)
Catherine Cavanaugh (Chop Chop)7. Guitarist
Roger Miller (Mission of Burma)
Tony Savarino (World Greatest Sinners)
Brett Rosenberg (The Rudds)
Sean Connelly (Ad Frank/ Francine)
Henry Beguiristain (Aloud)
Gilliford Gillis (Township)
Matt Rhodes (The Silver Lining)
Sean McCarthy (Helms)
Ernie Kim (Tristan da Cunha)
Alex Necochea (Bang Camaro)
Bryn Bennet (Bang Camaro)
Maclain Diemer (Bang Camaro)8. Bassist
Monique Ortiz (AKACOD)
Michelle Paulhus (Dents)
Tony Goddess (The Rudds/ Andrea Gillis)
Mike Rivard (Club d’Elf)
Jim Gilbert (The Plain Janes)
Brad Parker (Aberdeen City)
Jimmy Jax (The Snowleopards)
Nick Ward (Ho-Ag)
Dave “Doz” Riley (Bang Camaro)
Clint Conley (Mission of Burma)
Hilary Jones (Sweetthieves)
Nicholas Ward (Ho-Ag)
Farhad Ebrahimi (Night Rally)9. Drummer
Brian Viglione (Dresden Dolls)
Nick Zampiello (Campaign For Real-Time)
Andy Dole (Bon Savants/ Bang Camaro)
Seth Kasper (Hooray For Earth)
Rob Lynch (Harris)
Tanya Paglia (The Hidden)
Jesse Mayer (Wild Zero)
Steve Budney (Tristan da Cunha)
Mora Precarious (Ketman)
Eric Meyer (Ho-Ag / Hallelujah the Hills)
Luke Kirkland (Night Rally)
Peter Prescott (Mission of Burma)10. Keyboardist
Sarah Rabdau (Sarah Rabdau)
Roger Miller (Binary System/ Alloy Orchestra)
Johnny Pics (The Chainletter)
Jane Allard (The Motion Sick)
Nicole Boudreau (Baker)
Ashley Moody (The Information)
Falconer & Felix (The Campaign For Real-Time)
Gary Benacquista (Hooray For Earth)
Tyler Derryberry (Ho-Ag/ Longknives)
Amanda Palmer (Dresden Dolls)
Rick Berlin (Rick Berlin)
Elio DeLuca (The Irreverends/ Keys to the Streets of Fear)11. Other Instrument
Valerie Thompson – cello (Fluttr Effect)
Dana Colley – saxophone (AKACOD/ Twinemen)
Donna Parker – knobs (Donna Parker)
Tyler Derryberry – theremin (Ho-Ag)
Brian Ruttledge – trumpet (Hallelujah the Hills)
Vessela Stoyanova – MIDI marimba (Fluttr Effect)
Paul Ahlstrand – saxophone (various bands)
Chilly Kurtz – mouth harp (Collisions/ Caged Heat)
Chris Barrett – trumpet (Christians & Lions, Logan 5 & the Runners)
Ken Field – sax/flute (Birdsongs of the Mesozoic)
Kris Thompson – theramin (The Lothars)12. Stage Presence
John Powhida (The Rudds)
Robby Roadsteamer (Robby Roadsteamer)
Jordan Valentine (World’s Greatest Sinners)
Otto Jayayyemmri (Porsches On The Autobahn)
The Choir (Bang Camaro)
Eli “Paperboy” Reed
Ryan Walsh (Hallelujah to the Hills)
Ad Frank (… & the Fast Easy Women)
Gene Dante (Gene Dante & The Future Starlets)
Mach Bell (Mach 5)
Brian Viglione (Dresden Dolls)
Thermos X. Pimpington (Voodoo Screw Machine)
Nick Given (Bang Camaro)13. Radio Station
WFNX
WMFO
WZBC
WMBR
WBCN
WAAF
WERS14. Radio DJ
Shred (WBCN)
Carmelita (WAAF)
Dave Duncan (WFNX)
Joanie Lindstrom (WMBR)
Anngelle Wood (WZLX/ WMFO)
Jeff Breeze (WMBR)
Laura Wilson (WMBR)
Tracey Stark (WZBC)
Jon Bernhardt (WMBR)
Mark Hamilton (WBCN)
Tim Kelly (WMBR)15. Writer
Steve Gisselbrecht
Will Spitz
Michael Marotta
Joe Coughlin
Brett Milano
Matt Ashare
Carly Carioli
Luke O’Neil
Lexi Kahn
Slimedog16. Photographer
Michael Byrne
Kelly Davidson
Nicole Tammaro
Bill T Miller
Mick Murray
Just Bill
Liz Linder
Sheri Haussi
Gail Rush17. Record Label
Fenway Recordings
Curve of the Earth
Rodent Popsicle
Lunch
Bodies of Water Arts & Crafts
Lemon Merchant
Hi-N-Dry
Mister Records18. Producer
Hugh Wyman
Tom Polce
Paul Q. Kolderie
Tony Goddess
Dave Minehan
Nick Zampiello
Richard Marr
Darren Burke
Dave Westner
Mark Schliecher
Ethan Deusault19. Club
the Middle East
the Abbey Lounge
Great Scott
T.T. the Bear’s
Avalon
the Midway
PA’s Lounge
O’Brien’s
Lizard Lounge
the Paradise
Bill’s Bar
the Milkyway
Bullfinch Yacht Club
the Kirkland20. Personality M
Robby Roadsteamer
Thermos X. Pimpington
The Franx
Joe Coughlin
Marc Schliecher
Alvan Long
Ken Cmar
Shawn Wolf Wortis
Dave Tree
Al Janik
Chandler Travis
Slimedog
Gary “Rotten Drunk” Taylor21. Personality F
Honah Lee
Lizzie Borden
Lexi Kahn
Andrea Gillis
Carmelita
Anngelle Wood
Linda Viens
Michelle Paulhus
Emily Grogen
Rachael Ieszenberg
Jordan Valentine22. Noise Centerfold
Nabil & Joseph Sater (issue $267)
Rachael Ieszenberg (issue #266)
Tony Savarino (issue #265)
Monique Ortiz (issue #264)
Jim Healy (issue #263)
Ellie Vee (issue #262)
Nate Rogers (issue #261)
Wendi Faren & Nilo (issue #260)
Jimmy Birmingham (issue #259)
Kara Trott (issue #258)23. Disappointment
RIP: Barb Kitson
Nemo lacks credibility
Noise Board softball fails to make it to the World Series
RIP: Johnny Pics (The Chainletter)
O’Brien’s closes for renovations
RIP: Alpo (The Real Kids)
Pay-to-play “battle of the bands” hog the clubs
AChick resigns from the Noise Board24. Highlight
Ho-Ag as Devo
Rock ’n’ Roll Socials move to the Model
Aberdeen City get signed
The Rudds as Hall & Oats
Bang Camaro sells out their first headline show
Richie Hoss’ spring party
Mission of Burma return
The Sheila Divine re-form on New Year’s 2006
Clawjob’s Space Crackers (rock opera)
Ultrasonic Rock Orchestra’s A Night at the Opera -
LIVE REVIEWS Feb 2007 | The Noise
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LIVE REVIEWS Feb 2007
COUNT ZERO, VAGIANT
Abbey Lounge, Somerville, MA 1/12/07
I may be late for That Handsome Devil but the band’s lovely Ms. Plaural is right upfront for the opening of Vagiant. I wasn’t sure what to expect from these buxom females. Two longhaired voluptuous gals are on guitars—the blond (Hellion) jubilant lead singer plays an old vintage crap guitar, the brunette (Elena) bangs a heavy metal axe. Then you’ve got the stylish flop-topped Cleopatra-like (Leeanne) on bass and the spike-haired and tats rockabilly drummer (LoWreck). They’ve perfected a sloppy punk/pop style and engage the audience constantly. Their fans are a big part of the show. Elena executes an exceptionally lifeless solo and the audience responds wildly with exaggerated screams and applauds. Hellion is a great storyteller between the band’s mix of covers (“Angel of the Morning,” AC/DC’s “T.N.T”) and interesting originals (“FTK” sounds like “Fuck the Kow”—but it’s “Fuck the Kells”). This band is as funny as they are fun.
Count Zero has been a favorite of mine even before the charismatic Izzy Maxwell took over the complicated melodic bass lines. Joel Simches is the latest addition to the band on keys and backing vocals. He’s a jack-of-all-musical-trades and a master-of-all. Come to think of it, the band is full of masters. Bandleader Peter Moore has more musical imagination than your average Mozart—but Peter doodles with writing hip breathing rhythmic grooves that can get a room shaking—as I bare witness in “Shake.” Spastic guitarist Will Ragano is always ready to pull a solo out of the stratosphere to electrify a groove. Drummer Eric Paull is fluent, technical, and can rock the crap out of his drums—check out “Go Go Go” or “Good News” on count-zero.com. While there, listen to some song clips (try “Indulgences” from Robots Anonymous). They’ve got cool remixes, too—“Sail Your Ship By.” All these songs rock tonight with electric energy.
Regrets to Garvy J, who start their cool sounding set as I have to take off. (T Max)FACES ON FILM, TINY WHALES, THOSE WHO WAIT
The Middle East Upstairs, Cambridge, MA 1/11/07
A diverse crowd of onlookers gather for tonight’s upstairs show at the Middle East, where openers Those Who Wait kick things off in a blaze of indie/ prog rock glory. No bullshit, these guys are one of Boston’s best-kept secrets. Ripe with pulsating drum work, an ear for guitar-driven melody, and a taste for things outside the norm, the band keeps the crowd buzzing with one foot in the post-punk door and another stepping out into more adventurous territory. While the band’s sonic experimentation between songs at times turns tedious, it’s not enough to override the music, which in an age where mainstream America seems hell-bent on reducing emo to little more than ridiculous cliché makes fans remember what many first came to love about the genre so many years ago. The band’s quick set (five songs) draws largely from the trio’s seven-song EP, but the band closes with a cut from their soon-to-be released full length debut, leaving many in attendance ready for more.
Portsmouth, New Hampshire’s Tiny Whales step to the stage with a short set (a theme of the night) of keyboard driven indie rock that calls to mind the Get Up Kids with a harder, more distorted edge. The set itself is a mixed bag. The band moves casually from slower, synth-tinged indie pop to disco breakbeats without any real transition, which, combined with mangled, indiscernible lyrics leaves listeners with little recourse than to scratch their heads. Not all that bad, but still a little too jumbled and messy for this reviewer’s blood.
Alas, Faces on Film round out the festivities to much anticipation from the indie-rock faithful in attendance. Much has been made about the Faces in recent months. Some have tagged them with the ever so popular “next big thing” label, while others such as The Dressden Dolls’ Amanda Palmer have openly suggested the band has the potential to break ahead of their Boston contemporaries into larger arenas. And with almost complete disregard of all the hype plopped squarely on their shoulders, the band takes the stage tonight without so much as a word and gets right down to it. The Faces’ music, which treads even terrain between indie rock’s outside-the box mentality and the more stripped down, folksy approach of many a singer/ songwriter, is as exciting as it is often times somber and bittersweet. Guitarist Mike Fiore is a captivating presence, an old-soul of a frontman whose voice carries like a young Bob Dylan, while the rest of the band carries their lazy, folk-tinted indie sound into cool, almost hypnotic arenas, providing for the perfect nightcap to a great night of music. (Ryan Bray)OVERCAST
Worcester Palladium, Worcester, MA 12/27/06
A couple of days after Christmas, Overcast (Central Mass. devilcore legends) storm the main stage at the Worcester Palladium and provide the direct support to Bane on their 10th anniversary show. Without a barrier in front of the stage, the feral crowd claws, kicks, and stomps to one of the bands that wrote the book on bridging the gap between hardcore punk and metal. From one classic tune to the next, the five-piece slays with piercing riffs and terror filled screams. Lead singer Brian Fair (Shadows Fall, Transient) throws his four-foot long dreadlocks around like tree branches in a hurricane while guitarist Pete Cortese (Seemless) elbows him out of the way to dig into the solo on “Bleed Into One.” Like victims drowning in the great Atlantic, the audience holds their breath and swings each and every limb for cathartic safety. This is all. We take it all. (Duncan Wilder Johnson)CAMPAIGN FOR REAL TIME
Great Scott, Allston, MA 12/31/06
It’s New Year’s Eve and I’m descending into the rowdy crowd at Great Scott with my cohorts in tow to join The Campaign For Real-Time. The countdown begins and crescendos while I’m squeezing my way through the mass of revelers across slippery floors in precarious heels to the stage. The C4RT crew has attached their own catwalk allowing them to reach out and touch someone as they charge out huge amounts of energy. The audience is dancing in an altered state throughout the entire set. The ladies are all a flutter and making eyes at the stylish Dr. Hemnesphere (bass) in his sleek burnt-orange corduroy suit. I’m pleased to hear my personal favorite, “Song for New Amsterdam,” among the arsenal of originals. During a well-deserved encore, C4RT turns out a fantastic cover of “The Weight” by The Band. It’s a good move, ringing in a new year with professional time travelers. (Kitty Speedway)MUCK & THE MIRES, RED INVASION, THE KILLER ABS
T.T. The Bear’s, Cambridge MA 12/30/06
This is something like the third time I’ve seen Killer Abs, and I realize how easy it would be to dismiss them as a minor amusement—a ladies-only punk rock cover band. But here’s the thing: they perform with more genuine soul and love for the art style than many bands playing originals. They deserve some sort of spiritual credit for their good work. They deserve some sort of credit for their version of “Love Love Love” which is surely a thing of beauty. It would be aesthetic heaven to see Killer Abs playing a hotel bar, Holiday Inn, or bowling alley! Please, Lord—let me experience that one before I die!
I’ve heard much ballyhoo about Red Invasion, so I’m happy to finally see them for myself. Funny thing is, I’m repeatedly distracted during their set. Funnier still, each and every time I wander off, their playing draws me right back stageside. Red Invasion is a young bunch of kids mixing parts of Alice Cooper, New York Dolls, Iggy, and Dead Boys (amongst others). A product of their older brothers’ record collections? The last time I heard young pups playing with this sort of contagious energy was The Lombardies, who were deserving of great love and devotion. I can easily say the same thing of Red Invasion.
Triumphantly returning from another Euro-swing, Muck & The Mires sound especially sharp tonight. Must confess that I miss bassist Frankie Mire, but that’s absolutely no comment on new guy John Quincy Mire. Sporting new stage duds/uniforms, it makes me wonder when Evan will finally break down and spring for those matching gray suits? Usually a Muck set seems to fly by in seconds, but tonight we’re treated to a slightly longer version, capped off with a convincing cover of The Ramones’ “Commando.” They jump from an early Beatles sound to an early Ramones sound as natural as can be. It’s amazing. The myth and majesty that is Muck & The Mires! (Frank Strom)THE BRETT ROSENBERG PROBLEM, THE IN OUT, MY OWN WORST ENEMY
Abbey Lounge, Somerville, MA 1/11/07
It’s Thursday night and I’m having my socks rocked off at the Abbey. I’ve never been here before, actually, and, while there is a crowd of frat boys hanging out in the corner and making me very nervous, there is also a solid Jack and Coke in my hand making me very, very happy. Enter My Own Worst Enemy, comprised of Sue, Steve and A.J.—yeah, that’s right, just three. Sue sports a Courtney Love-style semiformal dress and enormous black boots, and she splits the vocals and guitar with Steve, whose fashionably floppy hair makes me want to hug him immediately. A.J. on the drums breaks out some admirable vocals on a Guided By Voices cover—he also gets a thumbs up for excellent use of the cowbell. The songwriting is strong and earnest, the sound is remarkably full for a band without a bass player, and, overall, they make me want to dance.
Next up is The In Out, and I don’t know what to say about them. I’m confused. Is this the ’80s? Is David Byrne in the room? There’s this really detached, corporate rock thing going on here. I can’t say I don’t like it—I can only say I’m not sure I’m cool enough to really get it. Todd Nudelman on vocals and guitar reminds me vaguely of Johnny Cash, which is throwing me for a loop. Nick Blakey’s bass is simultaneously percussive and unobtrusive. Most notable is Tim Morse on the drums—he might be insane, but he’s an impressively original drummer. How he is coming up with this noise is beyond me, but the set ends with an intense sequence at the end of which he throws his sticks and storms off stage. It makes me uncomfortable, but I’m intrigued.
The headliner this evening is The Brett Rosenberg Problem and I’ve spent a good portion of the night trying to pick Brett Rosenberg himself out in the crowd. My money has been on an adorable, baby-faced boy with an impressive mop of curly hair. To my delight, this denim-clad teen dream takes the stage and proceeds to rip the place apart with some no-nonsense shredding. He has this sort of Yardbirds-esque arrogance that makes me really want to believe him. Thankfully, he also has the skills to back it up. I’m put in mind of a New England version of Ryan Adams, which makes the whiskey I’m drinking seem even more appropriate. I like it, in spite of the aforementioned frat crowd that seems to be part of the package. I’d go see The Brett Rosenberg Problem again, but maybe next time I’ll wear my varsity jacket. (Danielle Cotter)THE SPACESHOTS, SENOR HAPPY, STATES AND CAPITOLS
Abbey Lounge, Somerville, MA 1/4/07
States and Capitols is about halfway through its set when I arrive, which clearly proves to be my loss. They have a countryish/ Americana thing going, but aren’t afraid to crank it up and rock out a bit, either. The harmonies are tight; the bass lines are buoyant and the lead guitarist’s warm tone is simply phenomenal. Once again, the sound in the Abbey is stellar. I’ll have to make sure I catch an entire set from this band really soon.
Fresh from signing to CBS records, Señor Happy apparently decides it might be worthwhile to actually play a show. There’s trouble at first, as some technical glitches with Derek’s guitar get things off to a bit of a rocky start, but with that behind them, the set takes off. For the most part, the music is high-octane hook-laden power pop, but my favorite song of the night is the more laid-back “Love if You’re Real,” a song with a gorgeous melody and shifting dynamics that come across much stronger live than on record. Tom on drums and Joe on bass (who actually uses the entire instrument) are one of the better rhythm sections in town, and the entire band has locked in much more than you would expect from a group that plays so infrequently. The crowd eats up every minute of it, and I know I’m not the only one who would like to see them play a lot more often.
The Spaceshots are up next, and the idea of the ‘shots and Señor Happy, two bands that have played infrequently, if at all, the last couple years has me checking my butt to see if monkeys are flying out of it. Fortunately, they are not. It becomes clear pretty quickly that this isn’t your father’s Spaceshots. Frontman Patrick and drummer Ben (whose name should come up in any discussion of best local drummers) are the only holdovers, and the noisy chaotic power pop has been replaced with much mellower fare. But it’s still pretty darn good. Patrick’s songwriting is so strong and so distinctive that he could probably write a polka tune and I’d be into it. The set is a mix of new stuff and reworks of older tunes like “The Oldest Excuse,” which is winningly recast with a country twang. Although I wish at times they would crank it up a bit more, it’s just nice to have them back. (Kevin Finn)SAM REID & THE RIOT ACT
Atwood’s Tavern, Cambridge, MA 1/3/07
If you‘re anything like me, each time you see Duke Levine, Boston’s long-time guitar ace, your jaw drops. While, Sam Reid will modestly insist he’s no Duke Levine, I still had to pick my jaw off the ground more than a few times watching Sam buzz around the fret board. Sam’s band is sharp, too, held in place by left-handed bassist and vocalist, “Riot Act” Johnny Ransom, and secured even more so by mandolinist Aaron Goff and drummer JC Campbell. I could go on and on about how unbelievable a group of musicians this is—nailing songs in the bluegrass, country blues, and funk genres but honestly that would take more space than I’m allowed. What I will say is that if you haven’t been to Atwood’s yet, you should really check it out. They have really stepped it up a notch in supporting local music plus they have tied it in with a bunch of cool events, like pub trivia, which is going on earlier tonight, and every Wednesday night. The menu is pretty good too if you are looking for some late night grub. Overall, a cool show and a great place to hang out. (Kier Byrnes)THE LIGHTS OUT
Skybar, Somerville, MA 1/4/07
Though an overbooking snafu put The Lights Out on stage early tonight, the room is cheerily full and there’s a palpable festive energy. When this trio starts their set, all I know of this band is what I’ve heard on myspace and the fact that the members were formerly involved with such crowd-pleasers as Ms. Pigeon, The Halogens, Moki, and Sparkola. By the end, I also know that this supergroup hammers out unapologetic, big happy rock, and if tonight’s Skybar crowd is any indication, the people are digging The Lights Out big time. Mining the same brash, dynamic hard pop gold as That Petrol Emotion or 20/20 (or, am I allowed to go all the way back to L.A. Guns for reference?) these guys play fleshed-out rock with spiraling, repeating melody lines, big drums and soaring guitar lines. Add intense vocals from frontman Rish Green (tonight wearing a non-ironic Dio T-shirt) and overall good looks, and the appeal factor of The Lights Out is a given. Can’t wait to hear more. (Lexi Kahn)SEEMLESS, THE PEET GOLAN DISASTER
The Middle East Upstairs, Cambridge, MA 1/16/07
The Peet Golan Disaster isn’t here tonight to prove they rehearsed their vocals seven days a week, or that they are some creepy sounding indie undiscovered super-talent. They have come to rock! The three guitar wall sized crunch coming off the stage is mind numbing. Everyone is out tonight and Peet Golan brings the big rock vibe. Every song they play has a hook and every story they tell makes sense. The song “Agro Mutant Monkey” sends me to the bar for another. Hey, is that Dave Pino running lights? Throughout the set the only part of singer/ bassist Peet Golan I can see is the tip of his sweaty nose peeking through his mop of hair and his janitor-like ball of keys hanging off his jeans. The band plays on with their heavy three guitar driven power rock and closes with a Kiss cover. The room is rocking! The Peet Golan Disaster has done its job!
The road weary madmen of Seemless come out swinging. The mix could be a bit brighter but singer/ frontman Jesse Leach makes up for it. Jesse, with his thick, Grizzly Adams-like beard, croons and screams—keeping all in attendance pleased. Drummer Derek Kerswill, also heavily bearded (did I miss something?), puts it down with earthshaking vengeance. Unfortunately, guitarist Pete Cortese is having a tough night. His guitar goes down (off) for way too long. Finally, Seemless fires back up and continues with a shortened set. They tear into “Lay Your Burden Down” and make us all forget the mishap. Their lack of frustration and ability to recover is impressive. After blowing the roof off with their biggest song, Seemless gets the hook from the house sound engineer. Jesse politely agrees without a fuss and bids us all goodbye. (Lance Woodward)RONAN QUINN
Tir Na Nog, Somerville, MA 12/14/06
The Nog is one of Boston’s rarest jewels. You can walk in off the street, any night of the week, and consistently catch a great roots band for free. Tonight is no exception as Ronan Quinn takes the stage. A rugged man blessed with the Irish blood, Ronan has a voice that others would kill for. He has a wide vocal range; at times it’s so smooth it could melt butter, other times it’s so tough and strong it’s as though he could drive iron spikes into concrete with a mere bellow. The music varies in influences—from funk, blues, and reggae to, of course, traditional Irish. Tonight Matt Glover is accompanying Ronan on mandolin. Matt’s a fantastic mandolin player with skills that rival Jimmy Ryan or Sean Staples but with his own distinct style. The rest of the band is just as solid and chops away, keeping pace with Ronan. In particular, drummer Neal Cadogan plays with the heart of a lion, crushing the skins, pounding out beats and good vibes—all while providing a solid back bone to the unit. Rumor has it that the Nog, at least in this location, is closing soon; I’m glad I caught one more show at this legendary neighborhood music venue. (Kier Byrnes)THE TULLAMORES
The Kirkland, Somerville, MA 1/14/07
This is an afternoon pre-Pats playoff game show. My experience with The Tullamores up to this point had been listening to an MP3 of “Twang ’em High,” a lovable instrumental spaghetti western that struck my inner cowboy. I hop on Lizzie and gallop on over to a saloon that was once called Studleys. Aficionados of classic electric guitar sounds are in attendance—all waiting to be special guests for the day. The bandleader, Dewey Tullamore (a.k.a. Drew Townson) is proud of his Texas roots and shows them off within the band’s first rockin’ set—the highlight being a character-filled version of Hank Williams’ “She Walks the Night.” These guys sound best when they let their geetars do the talking—and frequently doubled up on solos. The second set is the material that Drew, err, Dewey, brought up from the south 20 years ago. He introduces each special guest (Brad Page, Pete Sutton, Jim Pelrine) by also acquainting us with the make and model of the guitar they play. Highlights include Jim Pelrine’s killer solo in Little Feat’s “Ball & Chain,” a nice version of Dick Dale’s “Miserlou,” and yes, my cowboy favorite, The Tullamores’ own, “Twang ’em High.” The Pats later pull out a 24-21 win over the Chargers. (T Max)THE McGRUNKS, THE SPOILERS, ZIPPO RAID, OVER THE EDGE
Bulfinch Yacht Club, Boston MA 12/13/06
Greetings, Zortar here. Recently, I went to my first music exhibition and my experience I wish to relate. It takes place in a large room with neon-lighted fixtures on the walls advertising fermented yeast beverages. These seem very effective as people are consuming as many of these as possible. The provider of these beverages has a hard time keeping pace with the orders. I’m greatly disheartened to see that milk-derived substances are not available.
It is Kevo, bass utilizer of The Spoilers tenth anniversary of his 21st birthday, the age legally required to purchase such beverages. In honor of this, they provide pieces of cake shaped in the size of Kevo’s penis for people to consume. They are quite large, in fact. I don’t know the significance of this, but I believe it is religious, being it near to Christmas, as such.
Next, the bands do what is called a sound check. I believe this is to make sure that the music would be too loud for human endurance. I am right in my assumption as people immediately started plugging their ears with tubes of foam once the music starts. The first band is Over The Edge, who play energetic, aggressive, punk while people consume their penises and yeast. They bring joy to my audio sensors with great songs that sound like they could have sprung from 1977.
Next band is Zippo Raid, whose songs like, “Show Us Your Tits,” “Greg is Still a Pussy,” “Drink Fight and Fuck,” I take as metaphors for man’s alienation with modern society. There is spraying of fermented yeast from the mouths of the musicians, as they stand atop platforms, onto the crowd and the fans follow in fashion. A member of the McGrunks, dressed in black wig, bandanna and eyeliner, gets up to sing “Kids of America” with the band and rip his T-shirt and throw it to the crowd. The band does a song with them, chanting for four Jägermeisters which the yeast dispenser is quick to bring. What a wonderful idea for a song, I think. The drum utilizer, who later recites a touching, poignant poem about vaginas, is unable to grasp the Jägermeister glass while playing, so the helpful singer tosses it into his mouth and it drips down his chin onto his shirt. During the last song, a rap tune, ladies are invited onstage, and a young lady is spanked by the bass utilizer.
The Spoilers follow with more fermented yeast spraying, more loud punk and is considered by Slimedog to be one of Boston’s best bands. These bands seem to take fun more seriously than music. The McDrunks, I mean, the McGrunks are up last. Another fine sounding punk band with a little Irish influence tossed in. But I have to leave and catch the moving transportation vehicles. Right before I go, the singer of Zippo Raid asks if I’m going to review the musical exhibition. I reply in the affirmative. “Make sure you tell them we’re assholes, say we’re assholes.” And since he is such a nice guy, I feel compelled to do so.
So off into the night with two female acquaintances who discuss male reproductive organs and sing songs about monkey poop along the way, tonight I believe I witnessed a typical human music exhibition. I pray this review makes more sense to you than me. I imagine it will. (Slimedog)LADY KENSINGTON & THE BEATLORDS, THE CRYBABIES, THE COME AROUNDS
Kirkland Café, Somerville, MA 1/13/07
We get started tonight with The Come Arounds—they’re new to me, but having a full CD for sale suggests they’ve been around for at least awhile. Decked out in classic striped rugby shirts, they’ve got me flashing on 1970s episodes of Zoom! That’s it for insight on my part, unfortunately, other than to say they’re playing a pleasant sort of pop-rock without any big obvious influences. Good deal for them (admirably non-derivative), but a bad deal for me (can’t come up with anything to write).
It’s with great regret that I learn tonight’s Crybabies set is their second-to-last before calling it quits. When I first saw/heard them two years ago, they struck me as the real deal: traditional R&B informed rock ’n’ roll with even the occasional hint of country. Tonight, they sound remarkably tight, which results in guilt (for those us who didn’t pursue them enough) and dancers (including one Chris Horne doing the Swim and the Batusi in the corner!). The Crybabies’ rendition of “Knock On My Door” is one of the finest investments of two and a half minutes of your life as you’re gonna find. One last chance: their final show is at the Skybar on February 10.
I cannot write with even remote objectivity about the artistic endeavors of Chris Horne—to me, she’s a New England rock icon whom I’ve loved for the better part of twenty years. Her former act, The Brood, was my singular favorite ’80s/’90s band, and her current Beatlords vehicle is much in the same vein, playing letter perfect ’60s era garage rock. Sadly, she’s toned down the overblown melodrama that was the Brood’s forte, but it’s still of that “96 Tears” variety. I don’t wanna say that it’s a religious experience, but…well…Chris Horne tearing through Buddy Holly’s “I’m Gonna Love You Too” IS a religious experience! Oddly, a good portion of the crowd has cleared out after the Crybabies—they must have missed the fact that the Beatlords are whooping it up in high fashion. Buncha dopes. These guys don’t venture out of Maine often, so why not take advantage? (Frank Strom)KALVIN KOOLIDGE, SHAYS’ REBELLION
The Paradise Lounge, Brighton, MA 12/7/06
This is the first time I’ve seen Kalvin Koolidge since they’ve came back from their European tour. It’s amazing what 18 shows in 16 days does to a band. They look a million times more comfortable on stage, not to mention they sound a lot tighter. The songs are energetic, kind as if Green Day jammed with The Who, or Bon Jovi fronted Kiss. The crowd is bobbing along agreeably, even when lead singer Tom Jewett goes into his semi-psychotic rants between songs. Unaffected, bassist Jon Clancy and drummer Kevin McDevitt just smile on, nailing one song after another.
Shays’ Rebellion is another of my favorite up-and-coming bands. Treading in the footsteps of Sublime and The Clash, Shays’ Rebellion mixes punk rock and reggae and takes it to a new level, developing a refreshing new sound. The crowd is stirred up from the get-go and the drunken buzz in the air is only heightened by the good times the band is having on the stage. Bassist Chris Field looks and sounds like a young Sting and temporarily steals the spotlight from Josh Mallon and Brad Kent with a Police cover. It’s getting late and Shays’ does a few more tunes, and progressively wows the crowd song after song. Here’s to another good night and a great show. (Kier Byrnes)THE ANTISOCIALITES
T.T. the Bear’s, Cambridge, MA 1/3/07
This Antisocialites, I quickly come to realize, are about as awkward a band as I’ve seen in a long time. The combination of the guitarist’s fez, the singer’s micro-miniskirt and the bassist practically falling out of her dress makes me think the band is trying a wee bit too hard to make an impression. A cynic might suggest that it’s a ploy to take the attention away from the music—a subpar power pop concoction that, while by no means offensively bad, fails to justify its existence in a world where I can just listen to a Fuzzy record and hear this kind of thing actually done well. The biggest problems are with singer Acadia whose thin voice is, as Randy Jackson would say, a bit pitchy, and drummer Randy, whose playing lacks any subtlety whatsoever. Their version of “Hanging on the Telephone” only serves to make me want to go home and throw on some Blondie. (Kevin Finn)IVORY & VOODOOSOL
The Center for the Arts in Natick, Natick, MA 1/13/07
We walk into a room full of middle-agers, small children, awkward teens, and occasional 20-somethings. Strange. Seems to me like a bad sign. Hors d’oeuvres float around and little social circles mingle quietly—until the lights dim, and a bassist walks onstage and begins playing, not concerned with the unfocused crowd around him. Then, the drummer… then, the guitarist… then the keyboardist. And the pseudo-jazz continues, uninterestingly pleasant, until Ivory saunters onstage. The crowd falls silent, and this powerful man takes the mike, screams and sings in an absolutely perfect, flawless voice. The entire crowd, ages 2-55, dances wildly on the concrete floor; we are all completely and totally taken with rock-jazz, jazz-blues, rock-blues, anything and everything. Ivory & Voodoosol work like an incredibly soulful well-oiled machine. For the encore, Ivory reappears in a tuxedo and sunglasses—dressed to the nines as Ray Charles. He leads the entire crowd in a rowdy call-and-response and then guides a gigantic conga line around the room until every person in the building is on the tiny rickety stage, jumping and clapping. A perfect show with a slow start and a bad first impression just proves to me that appearances can be incredibly deceiving; this crowd can party, and this band can play. Man, can they play. (Elise Largesse)THE CHARMS, MUCK & THE MIRES, RED INVASION, KILLER ABS
T.T.The Bear‘s, Cambridge, MA 12/30/06
Celebrating the new year a day early seems appropriate with a lineup like this. Killer Abs bring together The Go-Gos and The Ramones and kick it off with an ancient classic, “Calfornia Sun.” There are lots of female voices on top of a very boomy mix. Lead vocalist Tammy Long can stand to eat the mic to help us hear her over the rest of the gals. Their set is light fun—they throw one cover of The Neighborhoods out to people who don’t get what they deserve (in the good way), but what’s with changing the lyric of “Jet Boy Jet Girl” to he gives me “hell” instead of “head”? Do they really need to be that PC in a club setting?
Red Invasion punks up the energy a few notches. Five skinny boys extending the life of The Ramones and New York Dolls (without the feminine overtones), they flaunt their attitude and punk visuals. Lead singer Joey Boy regurgitates wretched vocals and manic energy to match the image of his tight black pants, studded belt, red sleeveless top, and a punk hairdo that flops in his eyes. The rest of the band contributes to the punk fashion and attitude. The guitars may go out of tune but the show doesn’t slow down to fix such a trivial matter. These guys are out to entertain.
Muck & the Mires return from a successful European tour and instead of being tighter than usual (wait a second—they couldn’t be any tighter than they’ve been in the past) they develop more of a ruckusy feel. “With A Little Twist” kicks out of the starting gate showing all in attendance that Muck & The Mires are defined by that ’60s British pop R&B sound. They extend the pause at the end of the “Caught In A Lie” intro, and hold the entire audience in silent hostage. They add more to the untruth theme with The Knickabockers “Lies.” They dedicate “I Never Got Over You” to Killer Abs. And ’50s pop legend Leslie Gore has the song “Leslie” sent out to her. With the refrain “Girl I’m missing you,” I make a note to google her to make sure she is still alive. Lead guitarist Brian Mire’s sings a couple of leads—and these songs stand out tonight—mostly because his mic sounds better. I hate knockin’ on soundmen, but the sound tonight is less than it should be.
The Charms know how to put on a rock show. Flamboyant frontwoman Ellie Vee is one of Boston’s best exports. She’s in a red leather jacket, a feather boa, and white bellbottoms that have big stars running up the side of her legs. The band has pumped the show up since I last saw them. Ethan Jon Kreitzer, their latest keyboard player, adds to the show with his rough handling of his vintage Compact organ, tilting it back and forth as if it’s his dance partner. The band lives by the lyric of “Action” from their Pussycat release of 2005—“I want it, I need it, I gotta have the action action.” Luckily people all over the country have been seeing this band a lot—The Charms’ extended touring will hopefully build a nation fan base that they deserve. (T Max)COUNT ZERO, VAGIANT
Abbey Lounge, Somerville, MA 1/12/07
After yet another round of the idiocy and aggravation that is parking in Somerville, I finally arrive at the Abbey a few songs into Vagiant’s set. The first thing I notice is that the place is PACKED. Those who can’t fit into the main room are trying to peer around to the stage from the bar area and Helen is singing at them with a huge grin on her face. Vagiant finishes the song while the crowd is still yelling lays into “Fuck the Kells,” which just might be the best song of 2006. During “TNT,” the audience does its duty by yelling the chorus as loudly as possible, and LoWreck puts some extra muscle into her drumming. A few songs later, the set ends despite demands from the back of the room for one more. I’m hoping the next band keeps the club’s energy level up this high.
Nope! Burned again. Count Zero is kind of interesting but that’s about it. A girl in front of me looks around, says, “I’m confused” to no one in particular, and wanders over to the bar. The band has some cool beats and the keyboard player with the crazy hair puts some nice sax-like bits into a few songs, but nothing’s really moving me. I can tell that some people are specifically there to see them, but not a whole lot. Many who were crammed in to watch Vagiant are at the bar or outside for a smoke by now and it’s only the third song, but others are giving the guys a shot and even bouncing around a bit. Count Zero knows what they’re doing; the playing is tight and the music’s pretty detailed. The problem here is that these two bands should never have gone on back-to-back. (Seth Cohen)Related
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