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LIZ LONGLEY/ JESSE TERRY

Me & Thee Coffeehouse,

Marblehead, MA                        

2/27/15

Quoting from his bio: “At the core of it all, his personality—sunny naivety meets gritty wisdom—is what sets Jesse Terry apart.” That description really nails it right from the beginning of his show when he lightly greets us with “Thanks y’all” then rolls into his believing in the good times, “Let the Blue Skies Go to Your Head”—what’s not in the title is the first word—”Don’t.” He follows it up with “Don’t Let Me Fall For You” from his newest CD, Stay Here With Me. He says the song was written just before he got married, So I guess his wish was not granted. He admits that it is a total honor to be playing me & thee for the first time, then sings his song about being a troubadour, “The Runner.” There is no rest for the runner—Jesse has toured the world. He straps a capo on the neck of his guitar and proceeds to promote (unintentionally) the ‘zine you’re holding in your hand—with his song “Noise.” It’s really about his grandma’s sweet voice—everything else is just noise. He ends his short entertaining set with a tune that recently was played on TV—”Stay With Me”—and it rocks as far as folk songs go.

Sugar Hill recording artist Liz Longley made her name in Boston, graduating Berklee College of Music and taking home top prizes in the BMI John Lennon Songwriting Competition, the International Acoustic Music Awards, and the Chris Austin Songwriting Contest. She’s a very pretty blonde with bright red lipstick—but it’s not all about looks as she cranks a wallop of a voice to decorate a trunkful of songs, mostly about her personal life. She’s wearing black frame eyeglasses tonight because her contacts don’t agree with a stye. I think I prefer her with specs. The performance begins with the upbeat “I’m Alive”— her reaction to breaking up with a long-time boyfriend. She rolls with “Outta My Head” from her brand spankin’ new CD, saying she’d rather have the person she singing about in front of her and not stuck in her head. She’s living in Nashville now and jokingly states that the city closed down when they were hit with a quarter inch of snow. She enjoys relaxing with life and expresses that in “Take Your Time,” backed with some nice fingerpicking on her beautiful Collings sunburst acoustic. She has a high quality soft bottom to her voice and is splendidly melodic on the high end. She tells us she’s influenced by Joni Mitchell and Van Morrison before she lays out a medley of “Moon Dance” and “Summertime” complete with some healthy scatting. She takes a stab at hip hop with the funny “Dough for Dough” about selling Girl Scout cookies. Then she gets soulful on us with a “song sandwich” that wraps Smokey Robinson’s “Who’s Loving You” around her own “You Got That Way.” Jesse Terry gets invited up to play guitar on the encore of the Irish traditional “The Water is Wide,” with the two of them splitting verses. Visiting my home away from home pays off one more time.  (T Max)
…

COZY COVERS                      

(opening for BOOKER T. JONES)

Larcom Theatre, Beverly, MA

2/21/15   

North Shore acoustic duo Cozy Covers plays classic folk/ funk/ soul/ modern R&B and they open up to a full house that is here for the legendary Booker T. Jones from Booker T & the MG’s. I really dig Sarah Seminski’s powerful and passionate vocals and the solid finger-picking and strumming chordal acoustic guitar playing from Eric Reardon – sorta like Janis Joplin doing a minimal acoustic set accompanied by a guitar. Not so long ago, Sarah used to front the full band Big Ol’ Dirty Bucket, and tonight’s music is great. From covering Sam Cooke to Richard Thompson to an occasional original folk tune to a short medley of songs from Abbey Road side two; their set and stage presence is very enjoyable. The surprisingly clear sound system in this great old theater is like the icing on the cake throughout the night. Cosy Covers is a good choice to open for the man who invented Memphis soul, Booker T, who plays a long set of hits and covers including “Green Onions,” “Time Is Tight,” Jimmy Reed’s “Bright Lights Big City,” Stephen Stills’ “Love The One You’re With,” and Prince’s “Purple Rain” – another great night at a great venue.         (A.J. Wachtel)
…

LANEY JONES

(opening for DRIFTWOOD)

@ Me & Thee Coffeehouse,

Marblehead, MA                         

3/6/15

Host Tony Toledo introduces the relatively young Laney Jones as having a voice that combines lemon, molasses, gin, and gun powder… and although that may bring to mind more of a Janis Joplin-type, Laney has plenty of friendly presence and a beautiful voice reminiscent of Maria Muldaur. Matthew Tonner accompanies Laney on acoustic guitar while she’s claws at the banjo and occasionally gives the harmonica a rousing toot. On “Devil Down” the pair bang out the beat—Laney flies off into a banjo solo while hundreds of toes tap.  They brew up some back mountain hillbilly folk and soak it a shot of class.  Laney and Matthew play a tune that they wouldn’t normally, but it was requested before the set—”When You’re Around” shows they are aiming to please. The two finish off with “Rockabye Sea”—elbows fly and everyone’s toes are tappin’ again. The adorable Laney has won the hearts of her audience.

Tonight Laney is opening for an acoustic band that doesn’t call New England its home. They hail from a land where Yankees play ball, so they are definitely not eligible for a review in The Noise, even if they can see Massachusetts from their kitchen window. I can’t tell you that Driftwood has the most amazing arrangements I’ve yet to hear come out of an acoustic band.  Although the four-piece (guitar, banjo, standup bass and violin, along with four vocals) is the acoustic equivalent of the English supergroup Yes, you didn’t hear it from me. Please don’t spread the word that Driftwood delivers an intense form of dynamics executed within each musical adventure, showcasing more precision than a triple-edge razor—and they do it all with (super) natural virtuoso abilities. I won’t add that their instinctive physical movement inspire multiple silhouette designs that bring pleasure to my visual sense. So Driftwood—go back to the land of Woody Allen, Norman Rockwell, Billy Joel, Eugene O’Neill and May West—there ain’t no talent in New York compared to New England.     (T Max—born in Brooklyn)
…

NEGATIVE NIXON/

PAID VACATION

The Spot Underground,

Providence, RI

3/15/15

Little did I expect to be heading to a punk show at venue more well known for servicing the ears of local hippies. Walking into the Spot is like entering that local art store filled with the work of local artists and designs that make your head spin, except there is a bar and two stages. I head to the back area where the entertainment is taking place and notice that this place seem even less likely to hold a show where denim jackets, piercings, tattoos and raw music is meant to be played. 

After what seems like twenty minutes of sound check by Paid Vacation, the lights go down and the band starts off with a roar and doesn’t let up.  These punks from Billerica play a style of rockabilly/ hardcore crossover that gets the five people in the room bobbing their heads in sync, including myself. The first song has me in stitches as it is about the cartoon character Johnny Bravo. The lead singer swings to the beat and sings with a tone that reminds one of an Elvis and Johnny Rotten secret love child. As the music continues, so does the energy which is all one can ask of a punk show. Not to say these guys aren’t great musicians—they are, but live punk music is definitely not about who is the best soloist. The music screams late ’70s punk in the vein of the Sex Pistols and The Misfits, who they cover with grace, but the vocals are straight ’50s. This combo leads to an exciting set filled with energy, fun and plenty of sarcasm. Seems that is the common language of punks—self-depreciating humor with a sarcastic overtone. After their set I head outside and have a chance to chat with the singer and guitarist who turn out to be some of the nicest guys in the world and I wish them the best of luck.

After a beer and a smoke, Negative Nixon is ready to play. Walking to the back almost scared me because it sounds like a horror is happening. To be clear. I mean this as a compliment. As I round the corner and see what is happening on stage it isn’t as shocking. Three burly and bearded men with more tattoos than I thought possible are making such an incredible noise. After hearing this assault on the senses within thirty seconds the song is over and in a flash, five more songs are played. There’s a certain art to the thirty second song, but Negative Nixon makes it fun and intense. From there name to the jokes being told on stage, there is a strong sense of irony that pervades. The band includes one quip about how they haven’t been booed off yet. Clearly, they aren’t going to be. Their energy and stage presence keeps the show interesting. After a while the songs start to blend together into one noisy mess. Maybe that is their intention or because of the tight schedule of the show. Like how many licks it takes to get to the center of a Tootsie Pop, the world may never know. What we do know is that these lumberjacks know how to make a show fun even when it all sounds like noise.  (Connor Prendergast)

…

BIRDSONG AT MORNING

(opening for Cris Williamson)

Me & Thee Coffeehouse,

Marblehead, MA                        

3/13/15

I saw Birdsong At Morning (Alan Williams) once before at last year’s Beatles Benefit. He was the best of the lot, showing great poise and confidence—rolling out a wonderful solo version of “Maybe I’m Amazed.” Tonight the room is full and I am impressed with headliner Cris Williamson’s drawing power—even my neighbor Katie from Gloucester shows up at Me & Thee for this one. Alan Williams is a soloist performing as Birdsongs At Morning. His band with the same name goes as far as to incorporate a string quartet at times. Birdson At Morning has impressive, artistically packaged CDs for sale tonight. Alan starts his show with a tune dedicated to a long-standing romance. Although he has only been married three or four years, he has lived with his wife and musical parter, Darleen Wilson, for 20 years. He strums softly and sings away from the mic, which adds extra natural reverb to the mix. He precisely fingerpicks “Mountain Side” about his grandmother’s secrets and continues with “Softly, Like an Amen,” which totally encompasses the feeling of his entire performance. His wife Darleen has helped his career greatly while working with Patty Larkin, Bill Morrisey, and Katie Curtis to me just a few. He ends his set with the gentle rocker, “Prodigal Soul,” which can be seen and heard on YouTube with the full band. He mentions how much of an honor it is for him to open for Cris Williamson, who was featured in the now out-of-print book titled How to Make and Sell Your Own Records by Dianne Rappaport.

After the break Cris Williamson, the voice a movement that has come to be known as “women’s music,” stands before her large and devoted following. She is a supremely wise, wonderful, and talented woman who knows exactly how to communicate with subtilties that are thoughtful, kind, humorous and generous. Another profoundly joyous night at Me & Thee.       (T Max)

…

We get a lot of calls and emails from bands requesting coverage of their live performances. Please be advised that shows are never assigned for review at The Noise. Writers cover the shows that 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 Greater Boston. If you’re doing something even remotely exceptional, we’ll be the first to tell the world. If you’re horrible, same thing.

Send recordings that you’d like reviewed to The Noise, PO Box 353, Gloucester, MA 01931.

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Parker Wheeler

PARKER WHEELER REALLY BLOWS
by A.J. Wachtel

 Parker Wheeler’s name has long been synonymous on the North Shore with his enduring and continuous Sunday Night Blues Party at The Grog. For decades, people have traveled from all around just to be present at these jams to experience some of the best musicians who have dropped in on this weekend-ending, non-stop party.  Listen to what this local treasure has to harp about…

Noise: You have had your Blues Party every Sunday at The Grog in Newburyport for the past 24 years. Many marriages don’t last that long – why has this long term gig has been so successful?

Parker Wheeler: I conceived a simple plan – use my association with myriad A-list players to build the stage group every week with an original, ephemeral band and use my business acumen to craft a simple business plan that enticed Grog management to give me a chance. The formula continues to be successful, providing The Grog with a profit and the wonderfully loyal audience and myself with great entertainment.

Noise:  How have your audiences changed and stayed the same over the years?

Parker:  The audience formed a core base that has remained loyal over the years, helping me and the players to have a unique comfort on stage; as the music has morphed over the years, it has added to the audience because it is known that every Sunday reflects a singular group that may never form again. Even if the headliner has appeared previously, the supporting players are usually different, providing real appeal that is not found elsewhere.

Noise:  Do you still see any of the same people coming to your shows at The Grog from when you first started your Sunday party?

Parker:  Absolutely, many of them – as I said before, there is a core of about 100 regulars who have earned the name through their amazing loyalty to the Sunday party. Audience members Hilda Lilly and Karen Manzi probably have stories that encompass stuff I never became aware of on stage.

Noise:  Tell me some of the many guest artists you have shared the stage with  at The Grog and elsewhere?

Parker:  Oh man, that is a tall order. So, giving my sincere apologies to anyone who is omitted, going by instrumentation and not in order of preference: There are horn players: Bill Holloman, Jimmy Biggins, Greg Piccolo, Mark Early and Doug Wolverton from Roomful of Blues, as well as the wonderful Henley Douglas Jr., Scotty Shetler, Sax Gordon, Mario Perret, the Aruda brothers, Michael “Tunes” Antunes,  and of course Amadee Castenell; guitar players such as Matt “Guitar” Murphy – who helped The Blues Party make its name, Luther Johnson, Duke Robillard, Murali Coryell, and with love and thanks Fly Amero, Cliff Goodwin, George McCann, Johnny A, Charlie Farren, Ricky “King” Russell, my good friend Chris “Stoval” Brown, Thom Enright – forever missed, Lydia Warren-a young and very bright light; and so many more that there isn’t room in this piece.

  Bass players include: David Hull, Marty Ballou, Lisa Mann (yep, that Lisa Mann!) Wolf Ginandes, Steve Monahan, Kasim Sultan, Eric Udell, and this list could also go on and on.

Keyboard aces have been Al Kooper, Mark Naftalin, beloved Dave Maxwell, the always entertaining Keith Munslow and remarkable Tom West; then there’s Bruce Bears, Chuck Chaplain, John Colby, Larry Luddecke, Mitch Chakkour, Ann Rabson, Cheryl Rene – and the list goes on, but I’ll stop here.

Drummers – well, I have to start with Tom “TH” Hambridge who’s early participation helped craft the A-list level of performances that are now the expectation; Marty Richards – who helped maintain that high bar, K.D. Bell, Floyd Murphy Jr., Steve Bankuti (the other part of “the Steves” with Stevie Monahan) and Mike Levesque, who maintain wonderfully tight rhythm sections, Tom Ardolino, Per Hanson, and I cannot omit Maureen Medeiros an ace percussionist and again, others too numerous to mention.

  Vocalists who have blessed the stage at The Grog include the tremendously entertaining Christine Ohlman, Susan Tedeschi (whom I was lucky to have just prior to her break onto the national stage), John Cafferty – another amazing break for the Blues Party.  Additionally, there is Brad Delp, Tony Lynne Washington, Michelle Wilson, Shirley Lewis – blessed and missed, the Taylor Brothers, Mighty Sam McClain, Kenny Williams.

Finally, harmonica players I’ve been lucky to play with include: James Montgomery, Chris “Stovall” Brown, Annie Raines, the aptly named Professor Harp, Diane Blue, Brian Templeton, Tim Gartland, Cheryl Arena, and Dave Howard also – please understand that most of the players are multi-talented, so guitar players will be doing vocals, playing guitar and blowing harp.  That applies to other players, as well. Venues other than The Grog have found me playing as a member of Swallow, opening for Albert Collins, John Mayall, Earth Wind and Fire, The Beach Boys, Mitch Ryder, Parliament Funkadelic, J Geils, Iggy Pop, and Alice Cooper, to name a few.

Noise: Care to share a quick story or two about a great night or a night that was a very bad night?

Parker: I feel I am the luckiest musician in the world – every week I get to “go on the road” with some of the best musicians in the world without leaving home; every one of those nights is a great night for me. As I noted earlier, maybe Hilda Lilly and Karen Manzi can give you some bad night stories.

Noise: In two sentences, tell me what your history is on the local music scene.

Parker: Warner Brothers “Swallow” early ’70s; regional gigs mid ’70s with Jeanne French; studio work and occasional guest work in the early and mid ’80s; a return to limited club work late ’80s and formed Blues Party in 1990. The Grog invited me to play in December of 1990 and here we are today!

Noise: Do you take your band out to play other gigs or do you only appear at The Grog?

Parker: I create a few private ensembles each year and this year, I am very excited to be putting together an all star review for this year’s Yankee Homecoming Waterfront Concert Series. The show will be on Monday, July 27th at 7:30.

Noise: How does a typical night at The Grog unfold?

Parker: Most nights feature a fresh septet with three of us adding vocals. We do two 90 minute sets, starting the pace with a groove instrumental featuring saxophonist/flutist Amadee Castenell, followed by some harp based danceable blues. Then we “pass the sugar” alternating vocals and grooves. Once every six weeks or so someone will add a 45 (plus or minus) minute set showcasing a new CD or show material.

Noise: Who are your favorite harp players past and present on the local scene and why?

Parker: I got my early chops together with peer James Montgomery starting in late 1970 and we continue a pleasant friendship and working relationship. There’s a harmonica bag full of great men and women players today. Three memorable moments  come to mind because I was in the right place. Tim Gartland has written some beautiful material and is an exquisite player, and he filled the stage with joy last fall. Haverhill’s Peter Chase can stop a room with his gritty style then soothe the tears and hurt with his chromatic.  A few years ago, I stopped by Matt Stubbs’ Holiday Jam in Waltham – a “who’s who” with everybody taking names and kicking ass. Shirley Lewis was on stage and spotted Chris “Stovall” Brown; Chris played a harp solo on “Natural Woman” that was as smooth as silk and jaw dropping in its expression.

Noise: Is your playing influenced mainly by Sonny Boy Williamson II or do you sound like another icon?

Parker: I love Sonny Boy Williamson’s writing and style, but my approach is a blend of Little Walter, Sonny Terry, James Cotton, and Paul Butterfield.

Noise: What’s in the future for Parker Wheeler?

Parker: As noted, in July, The Yankee Homecoming Concert in Newburyport; and of course, we are very excited to ring in our 25th year at The Grog with special shows starting in December and the release, finally, of some recordings. In between those high points, there will be a few ensembles put together, what I like to call “The All Stars,” for private events, and I am always hoping someone will want “the harmonica player” for a gig or two.

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We are so lucky to live in this area and have the exposure to such great music and even greater musicians. These guys have played with everyone from McCartney to Billy Joel to Elvis Costello. They are world-class. And Parker Wheeler brings them under one roof on a weekly basis. The vibe at The Grog on a Sunday night cannot be beat. And that is solely because of Parker Wheeler.

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CD Reviews

ABSINTHE ROSE
Screech Owl Records
The More That We Learn the More We Learn That We’re Wrong
17 tracks

Some bands put so much force and passion into their performances that they transcend the less desirable aspects of the genre they chose to showcase. Case in point: this amalgam of thrash and Americana. Kimbo Rose sings for all the world like a countrified Thalia Zedek and the band is so tuneful and versatile (and odd) that they maybe ought to share a bill with Walter Sickert & His Army of Broken Toys, or possibly even Jack O’Nuts, or Pylon. “Digging Ditches” begins the CD with a bang, and the intensity ebbs and flows throughout, but you seldom get the sense that the proceedings are merely perfunctory. Notable tracks include the frenetic, impressionistic “Stained Glass,” the bluesy, off-kilter “Dotted Line,” and especially the ominously ruff-tuff trashy manifesto, “We’re Better Off.” “I Believe” is a rabblerousing screed taken at inhuman velocity, and then it’s back to Americana with “Poison In”—like “Senses Working Overtime” as stripped down to its essence by those hoodlums in Wire circa “Pink Flag.” “Pile O’ Bones” is full of howling folksy theatricality and thereafter many of the remaining songs are in the same mode—though “Well Well” is worth a smile—it’s just so damned RIGHT—the Wild West corn of the tune, the western movie pastiche of the lyric, and the brevity of the song all combine to make it a well-wrought gem. This is definitely a band to watch, with at least eight great songs—and I’ll bet they’re just getting warmed up.     (Francis DiMenno)

 

MC3 
Lowbudget Records
A Half Bubble Off Plumb 
11 tracks

One general sound of the band’s style is breezy and flowing; but there is a lot more going on throughout A Half Bubble Off Plumb than this simple statement implies. Mr. Curt’s sinister and spooky vocals on the traditional opener “Dear Friends,” is downright creepy, and on the next tune, “Out On The Lam,” he goes from baritone to basso-profundo in a measure and you think: “This audial would really benefit with a corresponding and accompanying visual arts presentation too.” Clara Kebabian’s dark vocals on the Boyce Hart cover of the Monkees’ “I’m Not Your Stepping Stone” stands right up to Mr. Curt’s and her violins add greatly to the complete communication. Marty White and his big bass is a perfect foundation for this release. I really dig the male/female harmonies. “Ni Yi Yi Yi Yi, I’m Not Your Stepping Stone.” Introspective and interesting! At the end of the CD, “Geronimo” and “Peonies” almost sound like b-sides to Pastiche or even Adventure Set’s out put, and when Mr. Curt goes into the psychedelic tape loopiness of “Cloud At Ease” and “Farewell Ride,” the trip really begins. It’s been a while since I listened to new music under the guises of a few tabs of acid, but these final melodies bring it all back to me in a few quick doses. Fasten your seatbelts. This is very creative. Very cool.      (A.J. Wachtel)

 

KIND KING
Royalty
4 tracks

I gotta give it to these guys. They’ve got talent by the boatload—talent which they’re not the least bit afraid to show off on these free-flowing jazz-tinged instrumentals, whether it be with the crisp, methodical drumming, the warm, melodical basslines, the organ, the piano, or of course, the piece de resistance: the dulcet dueling duet between the lead guitars. It’s amazing what just two guys can pull off with enough studio time. The music is in the vein of Explosions in the Sky-style post-rock; a Monet-like approach to music that sound-paints in broad, colorful strokes. In my oh-so-professional opinion, this four-part rock suite is a skillfully impressionistic sonic daydream. In my not-so-professional opinion, however, Royalty smacks of Berklee-kid pretension. I can’t shake the feeling that I’m basically just listening to two guys masturbating with their guitars for 30-plus minutes, which is okay I guess, if you’re into that sort of thing.         (Will Barry)

 

DYNASTY ELECTRIC
Burning
6 tracks

Dynasty Electric is led by Westport, MA, singer Jennifer DeVeau aka Jenny Electrik. Is the world ready for dance music with theremins? I sure hope so. This CD has a very modern feel, ready for the radio, yet somehow it maintains a swagger that newer dance music lacks. Jenny has a well deserved confidence that comes only with greatness, like Nancy Sinatra or Diana Ross. If Devo were the backing band for Kesha or David Bowie produced Pink, it would sound like this. All hail the new dynasty in town!
(Eric Baylies)

 

HEATHER MALONEY
Signature Sounds Recordings
Heather Maloney
11 tracks

The opening track cops a melody (intentionally or not) from the 13th Floor Elevators, but “Great Imposter” is a strong opening salvo nonetheless. Ms. Maloney displays a casually tossed-off vocal insouciance, which is trickier than it looks—compare and contrast Tracy Chapman’s “Fast Cars,” for instance. “Hey Broken” is a minimalistic chantey—actually, almost a schoolyard chant—and again, her vocals shine. It’s very hard not to like both her and her songs—and likeability counts for a lot. But then she gets a little too cutesy on the show tune-cum-torch song, “Fire For You.” Call me a cynic, but I’ve already hard this shtick on the Mamas and Papas Greatest Hits album, and I didn’t like it too much then, either. Even so, the song is highly appealing, and it seems as though she can’t put a foot wrong, until she does. The introspective “Dirt & Stardust” is kind of a snore, though with a lovely melody all the same. The remainder of this collection is somewhat anodyne, with the exception of the gorgeous folk song, “Turn Youself Around,” and the oddly exotic “Darlene.” Trouble is, a body can only stand but so much pillow-soft and starry-eyed introspection. The first two songs in particular are outstanding, mainly because they seem purposeful, but many of the remaining numbers come across as unfortunately gauzy by comparison. Still, Heather Maloney  is clearly a formidable talent—and certainly a singer/songwriter to watch.     (Francis DiMenno)

 

THE DUKE ROBILLARD BAND  
Stony Plain Records
Independently Blue
12 tracks

There are a lot of things to really like about this CD.  First, you have two great guitarists (Duke Robillard and Monster Mike Welch) with different styles that play and fit so well together. Second, you have a second-to-none band that kicks ass from beginning to end on this very cool new release. Both Duke and Monster Mike compose compelling screamers that are impressively passionate, and even though you can hear jazz in Duke’s Wes Montgomery chords, bar-room blooze and B.B. King are never left far behind. New Orleans is visited in Red Allen’s 1929 jazzy “Patrol Wagon Blues,” but in tunes like Monster Mike’s instrumental “Stapled To The Chicken’s Back,” Duke’s “Strollin’ With Lowell and B.B.,” and the classic opener, “I Wouldn’t-a Done That,” Bruce Bears’ rollicking honky-tonk piano, Brad Hallen’s knockout upright and electric bass, and Mark Texeira’s solid pounding just jump out of the speakers. I really dig Duke’s rocking Chuck Berry-ish “Laurene” about his lovely wife. It’s also a blast listening to Duke and Monster Mike trade off and play tag on each cut. Their styles are their own and you can really tell the difference in tone between Duke’s hollow body and Mike’s Strat—blazing leads, great energy, and they play together so effortlessly. They are a really good band. Go see them live.   (A.J. Wachtel)

 

NATHAN LEIGH
A Life in Transit 
18 tracks

So, I’m a little overwhelmed by the fact that this album has 18 (!!!) tracks. In the age of iTunes and Spotify, I’m not sure I have the musical attention span required to listen to this thing from beginning to end. So, in the interest of time, I will write as I listen. The first track opens promisingly, with a charming banjo intro. So far, so good. I’m pleasantly surprised, for sure—this is a twangy number with female backup vocals that complement Nathan’s voice wonderfully. A quick Google search reveals that this album includes a veritable orchestra of musicians—19 musicians are credited on the album, some of which contributed multiple talents to the effort. The next song is vastly different—sort of like an auto-tuned Vampire Weekend. As I continue listening to this extremely long album, the wide variety continues, but if I had to select an overarching description, it’d be “post-Pavement indie… with twang.” Overall, impressive musicianship and songwriting is exhibited, and I will grudgingly concede that it was worth listening to the entire thing, even if I still think 18 tracks is overkill.    (Emily Diggins)

 

THE WHISKEY BOYS
Block Island
3 tracks

“Rolling Rock Bottle” is some agreeable folksy beatnik style hokum in the vein of Michael Hurley, and “Washington Is Coming” is a readymade dusty antique folk facsimile reminiscent of Fairport Convention and Steeleye Span . It’s the stellar title track that’s impossible to ignore. Okay, so uninformed ’70s jazz haters will sneer that it’s a Stéphane Grappelli knockoff, a folk-jazz fusion that’s the worst of both words. But who cares what those idiots think? Anyway, they’re wrong. If you love both traditional fiddle music and well-wrought jazz, regardless of its provenance, you will find the musicianship here to be well-nigh impeccable, and this instrumental offering—based on one simple but maddeningly catchy riff—to be sublime, as it coruscates into a near-raga in the course of its permutations. “Block Island” is an outstanding and memorable piece of music.      (Francis DiMenno)

 

ANIMALS AND SHAPES
Wish Them Well
7 tracks

Warm vocals, lush and ethereal production, intelligent lyrics… what more could one ask for? To begin with, consistently cohesive arrangements. “Wish Them Well” explodes with the infectious “Bells and Whistles” but jerkily switches gears to an awkwardly groove-laden “Rhombus Cat.” “Ghost in the House” is the next strongest contender, however the dirge-like verses of “Numbers” clash with rich, promising choruses only to be fatally wounded by a strikingly out of place bridge. Clocking in at over six minutes, the solid verses and melodic choruses of “Irukandje Woman” give the listener hope, but a long, self-indulgent bridge and awkward electric guitar accents and solos leaves one feeling unfulfilled. “Wish Them Well” makes one wonder if Animals and Shapes are struggling with an identity crisis, marring a potentially great collection of tunes.    (Marc Friedman)

 

BIRD MANCINI
Second Story Records
Bird Mancini Lounge
12 tracks

This collection certainly lives up to its billing as lounge music, albeit with a Brazilian twist. Think of Bossa Nova, which was briefly a mid-’60s fad, though this samba/jazz fusion had been around in one form or another since at least the early 1950s. The music here is clever and sometimes complex—check out the intricacies of the opening track, “If You Wanna Get to Know Me.” There is much to like on this CD: “The Listener” is a late ’60s style bluesy slow burner akin to Traffic or even Steppenwolf. “Bridge 51” is an introspective minor key pop song with a message. The band tries out some Bossa Nova-tinged funk on “You Don’t Know What I’m Saying.” “Midway Dream Café” is a jazzy number, and “Jet Setting in Morocco” serves up some Bossa Nova make-out tuneage, while  “Patagonia” is a South American folk guitar showcase and “Northridge” is a bluesy torch number with added touches of exotica. “Running to You” sounds a bit like a summit meeting between Vanilla Fudge and Santana, only with some watery guitar sounds to vie with mysterioso organ for our attention—my beef is that the damn thing fades out just when it starts to get interesting. Leaving us wanting more is a good way to go out, I suppose. My only criticism of the project as a whole is that it comes across as somewhat lukewarm—neither one thing or another—nothing that grabs you by the lapels—but then again, it is lounge music, and pretty respectable genre work at that, so I suppose any criticism along those lines is rendered somewhat moot.    (Francis DiMenno)

 

II NUB  
Gradients
15 tracks

I love not knowing what kind of music I’m really gonna dig next.  That’s one of the joys of aging… uh… updating.  How about this, electronic ambient worthy of the Soundscapes Music Choice TV Channel, with baritone guitar twang sprinkled in?  FANTASTIC.  Heartbeat soundtrack, ethereal sonic washes, mindscapes over some weird planet, pick your own NASA-esque image.  I don’t get high anymore (yes, the paranoia) but the fact that a straight mind can like iiNub as much as a baked one says something.  Right? Or something.  The song titles have a science/math based framework, which definitely sends the impression that you’re listening to something important.  The men at work here are Sean Carroll and Luis Fraire, who’ve been making music for over 20 years together.  You can’t fake that kind of chemistry with audio… it just IS, and it’s good, very good.     (Mike Loce)

 

FOUR POINT RESTRAINTS
Mercy
7 tracks

Boston’s Four Point Restraints start Mercy casually, setting the mood of an acoustic performance at a local café in their first song, “What’s Another Year?”—then the bass picks it up. The album generally has a rockabilly feel with a folk twist, though the bagpipes and “hey-ho!” in the sixth track, “Dead Reckoning” sound post-punk with a western undertone. This song gets my feet moving, until it slows down before the third chorus and the sound of weeping pirates add a haunting visual. Mercy includes several catchy songs that showcase two-beat ’40 jazz with a modern feel. Four Point Restraints are pros at mixing jazz and country-blues, as each song begins and ends with completely different sounds. The lyrics are poetically crafted to tell a story in the tracks: “Let the Ship Sink” and “The Flowers of Evil.” “Let the Ship Sink” mocks the cries of a sea captain with a sorry fate. It is borderline hilarious, especially when Evan Gadowski sings: “They’ll laugh and tell stories of gone-by days/ When I’m six feet under rotting away” in such a snarky tone. The last line of the chorus “The Flowers of Evil” tells a somber tale of the disappointments of life, yet the sorrow is masked by the upbeat melody. Mercy is an ambitious EP for this unsigned band that has already set itself apart in the music universe. Their fans will no doubt be cranking the volume to these snappy songs.                    (Ashley Magown)

 

JAY NASH
Letters From The Lost 
9 tracks

Most of this Vermont artist’s music consists of folk/ballads done with Jay’s expressive, strong, and powerful vocals, and nice finger picking. He writes all the songs and in a genre where its hard to stand out, Jay Nash makes it look and sound so easy. I really dig “Twist My Arm,” “Sailor,” and “Blame It All on the Wind,” but all the cuts showcase his great voice and playing. He is the good storytelling balladeer in “The Art Thief,” and comparisons to Lyle Lovett, Bruce Springsteen and Ray LaMontagne are pretty obvious, with his rugged and soulful vocals making his blend of Americana/alternative/folk/rock resonate with all ears. Nash is a true heritage artist; check him out.      (A.J. Wachtel)

 

PHIL YATES & THE AFFILIATES
Oh So Sour
10 tracks

If you’re looking for someone to reinvent the wheel, then Yates is not your fellow.  If you’re looking for someone to build you a sturdy, reliable wheel like the ones that have served you well for years, then he’s your man.  Yates and company deliver a mostly winning blend of rootsy pop that lives comfortably somewhere between the Jayhawks and Gigolo Aunts.  For the most part, they don’t stray from the path; when they do, it’s with mixed results.  The bouncy bass of “Teeth or Pedal” and the soul of “Loaded” work very well, but the fuzz rock of “Honeycomb”?  Not so much.  All in all, listening to this record is a more than pleasant enough way to spend half an hour.                 (Kevin Finn)

 

SUNNY CROWNOVER 
Blue Dutchess/Shining Stone Records
Right Here Right Now         
11 tracks

This music is more Memphis than Chicago and right off you can tell that Sunny is a natural singer, just by the way her voice glides around the songs’ melodies before reaching her desired notes. It’s as much fun listening to her reach the song’s notes as it is enjoyable listening to her emote. The Stax/Volt feel is best felt on the kicking opener, “Oh Yes I Will!” and “Warned,” where I can also hear a bit of Bonnie Raitt. Her strong and passionate vocals are best showcased in “Love Me Right,” by Boston artist Madeleine Hall, the title Americana Blues track, “Right Here Right Now,” Duke Robillard’s “Roll Me, Daddy,” and my favorite, “Cook In Your Kitchen” with Bruce Bear’s incredible honky-tonk piano leading the way. Backed by Duke’s band, with Brad Hallen on bass and Mark Texeira on drums, I really dig the way these incredible musicians tightly provide the instrumentation without taking the focus off of Sunny’s great voice. Sugar Ray Norcia on harp and a horn section consisting of Mike Tucker on tenor, Doug James and Billy Novick on baritone, and Doug Woolverton on trumpet are the aural icing on this cake. On Roomful of Blues vet Al Basile’s cool “I Might Just Change My Mind,” you can imagine this tune being done by a big horn band with Sunny’s vocals bringing it to an even cooler level. Great stuff!   (A.J. Wachtel)

 

TRUFFLE 
Savoy Productions
Out Loud (Live)
13 tracks

An excellent live CD by one of New Hampshire’s greatly original bands.  Trying to describe Truffle is sort of like trying to describe the flavor of vanilla. Not to say the music is vanilla… not even sure if that makes sense to me.  What Truffle IS is a collective of talented musicians, filing themselves under the roots, blues, and groove category but offering so much more.  Truffle’s lineup is Dave Gerard, Ned Chase, David Bailey, and Mike Gendron. This disc is a collection of live performances in 1999; I’d imagine the group has evolved its sound by now, as seems to be the case with a band that means something.  They have a sound that can at times bring me back to the halcyon 1990s, from Hootie to John Popper to swirling acoustic/psychedelic explorations. They’ve toured the states, and the world. By the time you read this, Truffle will have made an appearance at the Granite State Music Festival 2013.   (Mike Loce)

 

BILLY WYLDER 
Sand and Gold
10 tracks

There is a type of song—in the folk-Americana genre in particular—to which I am tempted to assign a label as I groan through it. Call it, for want of a more inventive term, False Monumental. Everything about such a song advertises its own significance, and, as you listen to it, you feel as though you are being virtually forced to regard it as Something Important. Sometimes, the False Monumnetal comes about as a result of misguidedly bloated production, but it can also come about because the artist is full of—well, let’s call it The Divine Afflatus. Some of the biggest names in the biz have profitably exploited this gimmick—let’s se—um, “Piano Man,” or maybe even “Born to Run.” I’d hate to accuse Mr. Wylder of harboring any such tendencies. But based upon the evidence before me, I find it difficult to conclude otherwise. The robust country hokum of “VW27,” for instance, strikes a false note with its Creedence-like populist rhetoric. I’m just not feeling anything genuine here. It sounds to me as complacent as drool-like “On the Road Again” by Willie Nelson. This is not to say that the musicianship here isn’t outstanding—just that the songs don’t happen to move me in they way they are intended. I feel as though I can see the scaffolding behind their architecture. I can almost see the little man with the big head ranting—however laconically—from behind the curtain. This is not to say that I wouldn’t rather hear this kind of okeydoke than endure the bloated and labored later work of, say, Van Morrison. “Vineyard” is, at least, an interesting experiment in vocal and instrumental melodic interplay, and the tune is gorgeous. But again—there’s that nagging problem of the False Monumental. It mars many of the remaining songs as well. “Feathers” is a self-indulgent New Age dirge, the Dylan cover is sluggish, and “Aman Iman” is a ghastly misstep—the intro is dolorous; the song’s message seems overly earnest; the world-music stylings rather suspect. “Waterslide Academy” is not so much a tune as a series of posturings. “Voice in the Lupines” is an almost risible slab of crunchy Americana, which strives far too hard for an unearned aura of Grave Seriousness. Maybe it’s just me, but I’m just not buying whatever it is he’s selling, and I suppose I should leave it at that.   (Francis DiMenno)

 

TRUFFLE   
Savoy Productions
That’s Right
11 tracks

As much as I really enjoyed Truffle’s 1999 live CD, Out Loud, this 2005 offering leaves me tired. I’m glad I listed to their discs in chronological order.  What sounded fresh and exciting in 1999 (and was performed live that way), by 2005 sounded dated.  I’m speaking primarily of the “sounds like Blues Traveler” vibe.  But that’s just me.  I get the feeling the band was running off of a formula and just stayed on it… that seems to be a risk with musical longevity. I’m not faulting the playing, execution, quality, and production.  The sound is just…nothing new.  Since I know they’re a great band, and this was what they sounded like in 2005, it being 2013, I’m sure things have changed.  It’s a hard thing… you play music for the love and satisfaction, not for the market viability or popular taste trend.  That being said, I have nothing but respect for these guys and what they do.                          (Mike Loce)

 

GYRO LULA
Dove Records
Things Money Can’t Buy 
6 tracks

There is a hint of metal. There is a hint of rock ’n’ roll. There is a hint of Americana. Vocalist/ bassist John Cagnina cries a weeper in the opening ballad “Don’t Wanna Be Alone Tonight” but the band gets harder in the title track “Things Money Can’t Buy.”  In “35¢ Magazine” I dig guitarist Johnny Del’s Chuck Berry two string leads. And there’s a hint of surf and Americana in the closer “Cajun Country.” Drummer Peter Goutzos keeps it all together for a cool release from a good, tight band. Check it out.            (A.J.Wachtel

 

BUCKY FEREKE
Happy Enchilada Records
Give Me All My Apostrophes Angels
15 tracks

“Tunes” (I use the word advisedly) such as the tolerable “High Horse” and the truly deranged “Saturn’s Rings” (my favorite) are kind of like Green on Red as heard through a ketamine funnel. At its best, this is the kind of well-meaning okeydokey Americana you wouldn’t mind hearing as it blared from a honkeytonk jukebox, if only to witness the consternation on the faces of the shitkickers as they holler in unison, “Whut the hail IS this shit?” Being something of a troublemaker myself, I can’t help feeling a certain sneaking fondness for this trio of outsider musicians. Trouble is, many of the songs—except for “Wedding Bells” and “Alaska”–are sluggish and lumbering; production values are nil; and the tunes aren’t particularly memorable, or even tuneful. Other than that, though, you still have to admire their guts. They’re expending an awful lot of effort, it seems, in marketing a product—a bunch of unfocused songs–that very few people are likely to find appealing, or even listenable.   A song like “Neighbors” sounds for all the world like an outtake from the Holy Modal Rounders circa “Indian War Whoop”—but even more pointless and deranged. I could see this group someday becoming some sort of huge cult act (an oxymoron), but they would have to write a whole bunch of really sharp and clever songs. Apparently, this hasn’t happened yet. This batch of half-hearted throwaways simply isn’t going to cut it.      (Francis DiMenno)

 

15ER  
75 or Less Records
Out of the Future and Into the Woods
9 tracks

This is exactly what I imagine getting probed by aliens sounds like.    (Kevin Finn)

 

BRIAN DULZANI
If I Don’t Speak a Word…
12 tracks

Listen to the wise words of “Older Now” and you will discover a whole new genre of concept album: Solipsism Rock, in which the writer writes about writing down his writerly feelings—and then he turns around and writes more of the same. I haven’t heard anything this hilariously misguided since the first Leo Sayer album, or maybe the soundtrack to “Welcome to LA.” No—I exaggerate—actually, I’ve heard plenty of examples of this sort of thing, but they were usually either demo cassettes or tunes performed by neophyte singer-songwriters at an open mike I emceed for several long years. This collection is jam-packed with songs, which virtually reek of self-importance. Even a song like “Reasons,” which is supposedly about somebody else, is really about the narrator—as in the musty quip: “Well, that’s enough about me—what do YOU think of me?” Mr. Dulzani’s singing-above his-normal-range on this number evokes the 70s soft-rock combo Bread—only without the rough and ready street cred of that inestimable crew. I will say that I did like the somewhat lovely song “Before Midnight.” But I don’t much care for the rest of it. Falsely portentious tunes  yoked to pretentious lyrics do not equal Art. We are not provided with a lyric sheet, but many of the songs are filled with “I, I, I,” and “me, me, me,” and lyric effusions like: “I’m writing my songs alone after dark.” My advice? Gather up all these copies of your debut and destroy them, Mr. Dulzani. In 2023, your more enlightened future self will thank me. I promise.    (Francis DiMenno)

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THE SHODS
Poorhouse Records
Tippy
15 songs

This CD is perfect for a party, or other sorts of drunken revelry of your choice. As I listen to it, I picture piles of beer-toting buddies singing aloud at the top of their lungs in some bar or living room. This disc’s main strength lies in its large variety of song styles, one or more of which are sure to please everyone at some point or another. Country, psycho-billy, punk, and ska all find their place on this album in a perfectly seamless fashion. The nice thing about this album is that it is just that: an album. No song is unnecessary or superfluous, which is a wonderful thing in this age of 15+ song discs where half could have been left out. Tippy is an album that stands perfectly as a whole. The Shods remind me a bit of The Mighty Mighty Bosstones sans horn section, which is not a bad thing, since it lets them develop a darker, original edge in their sound. My favorite tracks are easily “Bobby’s Birthday Party” and “Go-Go Dancin’,” which on their own could inspire delightful evening festivities. (L’Aretino)

FRANCINE
Q Division
28 Plastic Blue Versions of Endings Without You
13 songs

The Beatles stylishly merged show tunes, blues, folk-based skiffle, C&W;, Motown, and anything else which fell under their eclectic purview into some of the best music of the mid to late ’60s. At about the same time, the Velvet Underground helped weaned rock from its hapless dependence on blues-based forms; still later, Pink Floyd and other psychedelic bands, as well as their short-lived bubblegum successors, used studio effects to mutate those blues-based forms about as far as they could go. Certain new wave bands such as XTC were profoundly influenced by these models. The folks in Francine appear to be well aware of their predecessors and proceed accordingly. Listening to their music is like entering a mirror-world in which familiar conventions are recognizable but inverted and subtly distorted at the same time. These strange, inimitably beautiful songs are unforgettably haunting. All of them are distinct and 12 of the 13 are brilliant. (I don’t much care for “Uninstall”). On the whole, this CD makes me proud to be living in 2K3. (Francis DiMenno)

WALTHAM
Permission to Build
11-song CD

I’ll never forget my introduction to Waltham. It was a few years ago at Skybar, that auspicious lair of untested talent where you never know what you’re gonna get. My reaction-ascending disbelief followed by numb acceptance followed by the realization “Holy hell, I’m actually having a good time”- was clearly replicated all over the room. “Um…Rick Springfield?” stammered one well-known mop-topped scenester into my ear. “They…they’re seducing my inner fourteen-year old girl,” I marveled. This is Boston, home of indie rock, land of garage schlock. Who expects teeny-bopper idols in cut-off T-shirts creating big bass, bigger guitars, enormous melodic hooks, with gargantuan balls to actually get up on stage and play songs we should be hearing on VH1’s Where Are They Now?

Now the ultimate Guilty Pleasure has released their debut CD, Permission to Build, and it’s absolutely, purely, a Waltham record. If they were tempted to do anything risky or edgy (i.e., out of character), they resisted. Permission to Build delivers eleven effervescent, catchy and totally brainless pop/rock nuggets with song titles like “Hook Me Up With Your Friend” and “Don’t Say It’s Too Late.” “I think we should call your daddy up and tell him I’ll be the one,” Frank Pino croons on “Maria Simeone,” one of four songs titled after girls’ names. Cheesy? Oh, yes. Good record? YEAH! Behold, the power of cheese! (Lexi)

KENNE HIGHLAND & HIS VATICAN SEX KITTENS
Stanton Park Records
Be More Flamboyant!
10 songs

For his four-million-and-twelfth release, Kenne does… well, Kenne. As with, say, a Billy Childish record, you can pretty much grab anything Kenne’s put out, regardless of the year or lineup, and expect a few guarantees. In his case, that includes four chords, distortion, songs about girls and music, a fake Southern accent, and a wry dual nod to ’60s garage simplicity and ’70s bloated decadence. I should add that certain live events of his are among the more memorable of my memorable-event-filled life. And for the first nine tunes, this is among the best stuff he’s done, which says lots. Urgent and chunky, with sudden flurries of feedback flyin’ around, and that steadfast guttersnipe whine, what so proudly he hails. The band here brings that subtle-in-spite-of-itself quality that sounds like they’re having a blast, AND they mean it to death. Easy to be hard, as they say. So what the fuck were they thinkin’ with track 10? An 18-minute, one-chord anti-opus with Kenne ramblin’ insider obscurities about nuthin’ much to absolute zero effect, which is WAY too close to having an actual conversation with the guy than anyone should have to endure, trust me. Worth it for the rest, but Note To Kenne: the records are for singin’. You want people to come to the shows, don’tcha? (Joe Coughlin)

LIGHTNING BOLT
Load Records
Wonderful Rainbow
10 songs

Like an aerosol can in a microwave, so starts the opening sounds of “Hello Morning,” the overture to Lightning Bolt’s sonic onslaught. It seems to hang, suspended like a man underwater, holding his breath, looking up at the sun before breaking the surface, the powerhouse “Assassins.” Lightning Bolt is a runaway locomotive of sound, of buildings falling down and screaming and a thousand open wounds, the culmination of generations of music fans repeating the word “heavy” until it has finally lost all meaning, all relevance, so springs up Lightning Bolt to show “heavy” as the meaningless shadow it has become.

And it’s only two guys. And no guitars.

“Two Towers” might be about The Lord Of The Rings, but for me, it is the sound of blood pounding in my ears, waiting for the second plane to smash into the World Trade Center, as I know it will. Lightning Bolt might sound repetitive to some, but it is the suspense that adds dramatic tension and makes the release that much more rewarding. These guys are on to something here, and I entirely recommend this album to all fans of heavy music. Prepare to be destroyed. (Jesse Thomas)

WILLARD GRANT CONSPIRACY
Glitterhouse Regard the End
11 songs

“Truth leads us down strange roads… each one different I suppose” Having followed the arc of Robert Fisher’s career here in Boston (from Laughing Academy, through Violet Crumbles and The Flower Tamers, to Willard Grant Conspiracy), I am deeply moved by this newest offering, which I must declare a masterpiece, although this may seem too grand a word for music so true, intimate, soothing, reflective, gracious, redemptive, solemn, pensive, healing, and proud. “It’s as old as the world… the suffering’s gonna come” Sprung from the great Americana tradition, the band’s folk-noir manner has shaped layer upon layer to anchor the vocal tracks. The guest singers’ pairings with Robert are spot-on perfect (Blake Hazard on “Soft Hand,” Kristin Hersh on “Ghost of the Girl in the Well,” and Jess Klein on “Fare Thee Well,” “The Suffering Song,” and “Harrison Hayes”). The instrumental textures are expressive and sophisticated, with violin & viola, soft trumpet, lush tone pedal guitars, grand piano, field organ, mandolin, and saw… kudos to long-time members Pete Sutton, David Michael Curry, Peter Linnane, Drew O’Doherty, and Dennis Cronin among others. “Faith can heal a lot of wounds… I find a reason to carry on.” This album is rooted in the lessons and confessions of human travelers and the spirituality that guides them. It’s a shame Regard the End is available only as an import (no American label yet!) because this music demands to be part of our heritage! (Mr. Curt)

CLUSTERFUX
Rodent Popsicle Records
Thrash Mongrel
12 songs

Usually, the word “punk” makes its way into damn near every review I write of a Rodent Popsicle release, but let’s face facts here-this is straight-up thrash metal, as in the kind of loud/fast thrash that Anthrax and even Metallica used to serve up, although Clusterfux mercifully steer clear of the wanky guitar solos, most of the time. There’s a female and a male vocalist, which makes for a nice contrast between high pitched screaming and even higher pitched screaming. These fuckers can play, but I don’t know how suited the current musical climate is for what they’re playing. I mean, when was the last time you went out and thought to yourself, “I think I’ll buy a thrash album today”? They do know how to change the pace a bit, but it’s still a joyful pummeling throughout, and will make even the most jaded among you bob your heads up and down happily, provided you are inclined toward such things. Sadly, I fear that there are not enough of you out there. But the passion with which these folks play this stuff gives one the impression that Clusterfux really don’t give a rat’s ass what you think of them. (Tim Emswiler)

THE BENDERS
Pig Pile Records
Mountain Radio
12 songs

In a more open-minded musical climate, The Benders would be the household name they so richly deserve to be. They’re a straight-up bluegrass band with a healthy respect for tradition, but with an equally healthy respect for punk and scummy rock ‘n’ roll. Bow Thayer, Tim Kelly, and Sean Staples approach their respective instruments (banjo, dobro and mandolin) the way Eddie Van Halen approaches guitar playing; they’re all boundary-pushing virtuosos with the good taste and restraint to play for the song instead of merely showcasing their chops. Their heart wrenching songs are exceptionally well written and instantly memorable regardless of one’s stylistic leanings – when a band is this fucking good, those who really love music feel it and understand. The standout on this, their third full-length, is “35 Acres” by one of my all-time favorite songwriters Jabe Beyer, which fuses his love of 16 Horsepower and Island-era Tom Waits with the best elements of the O Brother, Where Art Thou soundtrack. While not as immediately striking as their last release, Mountain Radio is an exceptional album by an exceptionally talented band. (Mike Baldino)

VARIOUS ARTISTS
Modmusic Records
Indie Choice 2002
16 songs

Another fine collection of great tunes here. It’s interesting that bands compete to be on this disc, making it even easier for an A&R; rep to not do his job and actually check out new music, when they can just pick up this. Boston’s contribution to this comp is none other that the sunny pop stylings of Fooled By April. Their track, “Student Movie,” is a sunny send-up to The Byrds, The Beatles, and The Beach Boys, complete with hints of lava lamps, surf boards, and Brady Bunch lunchboxes. Anybody who can still be in a bad mood after listening to this pop ditty is not fit to participate in life or play any reindeer games. Go sit in the corner and don’t come back until you learn to smile… punk! fooledbyapril.com (Joel Simches)

JES PERRY
Esther Records
Clearing My Head
12 songs

Granted, I’m a little afraid of appearing mature, but this is some seriously sweet, adult-contemporary, white-bread lovestruck stuff that works unreasonably well, and not just “for what it is.” One reason is the songwriting, particularly some arresting chord changes, which never sound deliberately thrown in just to be arresting, which very few folks can pull off. Another reason is Perry’s voice. Sometimes you don’t WANT the jagged, been-through-the-wringer thing. Kinda like Lucinda Williams if all she drank was milk, but it’s enough here. Another reason is, yeah, she’s a babe. Before you get offended, remember that it’s always been fine for women to like musicians under such purely selfish pretense. (Hey, the first time I heard Rita Coolidge, I wouldn’t have cared if she looked like Chris Farley. I was there, bay-bay!) Okay, it doesn’t ACTUALLY affect my opinion here, but it sure doesn’t fuckin’ hurt. And I was set to let it go at that, but then something really wrong happened. A stunningly effective voice-and-piano piece surfaced as a hidden track. I’d go so far as to call it career-making. It’s that strong, all by itself, and I heard it by ACCIDENT. Let that be a lesson to anyone who still thinks that kinda shit is cute. (Joe Coughlin)

HIP TANAKA
Local 33 1/3 Label
Splinter
10 songs

Hip Tanaka not only think they’re smarter and far more clever than you, they actually are. Call them college rock for people that actually went to a good college-not their local state institution. They’re part Pixies, Weezer, Pavement and the fucking kitchen sink. I actually wasn’t sure how I felt about these guys on the first listen. On multiple spins, their greatness begins to rear its head. “Robert Duvall (David Duvall)” has a very angular chorus that is permanently affixed to a section of my brain I’d forgotten about. I fear this band is far too intelligent for your average label weasel to understand. The driving full steam ahead track “Dr Highway” transitions almost without fault into the space cadet “Heyday,” proving that The Flaming Lips have nothing on Hip Tanaka. I find it hard to believe this band doesn’t do copious amounts of hallucinogens. I need to start, just so I can listen to this in a state of mind it more rightly deserves. A must-buy if your taste swings even slightly to the more interesting side of the rock pendulum. (Shady)

SUNTAN
Kimchee Records
Send You Home 7 songs

Confession: I haven’t smoked pot in almost ten years. Apology: I’m sorry. Ahem: Nouveau-psychedelia had its moment some 20-odd years ago. But: Let’s not be rigid. Besides: I hate to dump on any Kimchee product, because they are such well-meaning folks. So: songs like “The Next Ones” and “King Felix” are admirable-they’re textured in such a way as to give you a kind of contact buzz-rather like “The Void,” the demo version of “Tomorrow Never Knows,” or Pink Floyd’s “Interstellar Overdrive.” My admittedly subjective opinion: It’s rather difficult to say something new in the medium of psychedelic rock, but with its nearly omnipresent ebb-and-flow dynamic, much of this music seems unusually predictable. The exception that proves the rule: The ambitious, and ultimately majestic three-part suite “Send You Home” Questions: Is the music unforgettably profound? Is it life-altering? Is it pleasurable? And is that adequate? Answers: For the most part, no. No. Yes. Yes, and then some. (Francis DiMenno)

DEAD PEDESTRIANS
Rodent Popsicle
In the Streets
11-song CD

I think I had been reviewing CDs for about six months when I first ran out of new ways to say that a band tramples the line between punk and metal into the dust, and I’m now firmly on the road to self-plagiarism, but fuck all that anyway, because this is the real goods. Dead Pedestrians spew genuine venom and outrage like no one I’ve heard since Hatebreed (who scared the living piss out of me live), and they play like veterans. And only a band that really means it can write a song called “Fuck You” and pull it off. This could be the best thing I’ve ever heard from this label, and RPR have put out some gems of the local heaviness scene. Nice use of time-changes to induce alterations in the rate of headbanging, and tight like they’ve been playing together for a long time, which they couldn’t have been because they’re, like, kids (in comparison, I mean). Production values could have been a damn sight better; these guys should save up all their lunch money and spring for a top-notch studio next time around, and who knows, maybe some bigger labels might start sniffing around. (Tim Emswiler)

WHISTLE JACKET
Rainy Day Sunshine
15 songs

The name of this CD says so much about the retro hip quality of the fifteen songs presented here. This the kind of music that you could make in the living room on a four track on a rainy day with nothing to do but make music to cheer you up. Though sparsely produced, with that sloppy unfinished feel, all the songs kinda remind me of what the Banana Splits would sound like if Beagle, Fleagle, Drooper, and Snork were fronted by Neil Young. If you picture Cinnamon Girl done this way you’ll get the idea. There’s also a lot of Sleater-Kinney, Sloan, and Papas Fritas in evidence here. Rainy Day Sunshine gets more addictive as it unfolds. I look forward to hearing more from this unabashedly cool and trendy group. Whistle Jacket is my new favorite band!
emailmeemail@yahoo.com (Joel Simches)

EAMONN VITT
Self-Starter Foundation
Deserted Music
9 songs

His press bio reads a bit like On the Road, and his adventures could be an advertisement for the vast badlands of the American deserts, cross-country backpacking through Central America, and everywhere in between. Who is this mystery man riding off into the sunset?

Though the premise sounds cliché, Eamonn Vitt’s music is undeniably appealing. Full of a comfort and friendliness that is both beautiful and down-to-earth, Deserted Music proves some insight truly can be gained from love and the road. Who knew?

The lyrics are soulful and clever, some even like navigation (“keep your eyes on the stars/and don’t look down” he advises in “Coasting”), leading to the road of singer/songwriter appreciation. His acoustic arrangements are classic, and harmonies with the female vocals on “Mixed Drinks” and “Followed” sound gorgeous. If his music is any marker, Eamonn Vitt has definitely been around. (Lisa Herforth-Hebbert)

WESTFORD TEEN ARTS COUNCIL
Compilation 2002: Freedom 17 songs

“Out of the mouths of babes.” What continually amazes me is the boundless wealth of knowledge, insight and raw talent that younger people can have when allowed to express their artistic side. This compilation shows the diversity of talent that can happen as a result. Seventeen tracks range in style from pensive folk to alt rock to chamber music to soft ballads to jazz and beyond. This disc is lovingly produced and showcases the raw talents of kids ranging in age from fourteen to twenty-one. Some of my favorites here include both tracks by Audio Camouflage, Violin Trio-Westford Chamber Players’ “Tango,” Professional Radio’s “Mamacita!,” Jacqueline Wells’ pensive “So,” Phoneboy’s brilliant “Driving,” and the ill-fitting “Day 7” by Pierre Has No Friends. Some of the other tracks definitely have that American Idol/ Star Search feel to them, but this is truly an album that has something for everyone. westford.com/teenart (Joel Simches)

THE BRANDS
Nobody’s Favorite Records
Ballads For Stairs and Transparencies
13 songs

The Brands is a musical vehicle for the songwriting stylings of a gentleman by the name of Mark Mandeville. His songs are fresh and tuneful, reveling in the poetic angst of Michael Stipe, while retaining the indie credibility of The Flaming Lips, Nick Drake, Elliot Smith, and Beck. Mandeville performs all the songs largely by himself, occasionally augmented by percussion and bass. The production is open and sparse, and the songs never get boring. Mandeville’s voice is fragile, but intense, pulling emotion out of every melody and into each word. The guest vocalists used on this disc take not only take away from the intimacy that Mandeville is trying to convey, but they’re bloody awful, to boot. Try to listen through them, because otherwise this CD is totally engaging and a worthy addition to anyone’s music collection. the-brands.com (Joel Simches)

ALLERGIC TO WHORES
Rodent Popsicle Records
Life Through Death’s Eyes
9 songs

I really shoulda noticed the label right off. Someone younger might have been more objective (although I think objectivity is way overrated). Anyway, remember that guy “Pushead” who used to write for MaximumRockNRoll? All his reviews were variations of, “A blistering whirlwind of frenetic, fret-shredding explosives atop the primordial earthquake rumble of bass, the storm-trooping death squad of doom-laden drums, and the disgusting, destroyed, corrosive, putrid spleen of the tortured vocals, railing maniacally against the ugliness of life,” or something. Well, what he said. It’s that all-ages VFW hall stuff that has no melodies to speak of, triple-time tempos, the requisite spray-paint-lookin’ band name on the front, the unreadable initials-logo on the back, the faux-metal imagery (wolves, pigs, gasmasks, an upside-down cross), guys with studded guitar straps and those big chains on their wallets, and song titles Black Sabbath would be proud of. I understand this still flies with the kids pretty big these days, and that geezers like me no longer qualify for membership. So, expecting me to dig these guys is like expecting them to dig The Monkees. You could argue that it’s more honorable to leave such records for someone who likes ’em, but did you really expect me to pass on a band name like that? (Joe Coughlin)

BOURBON PRINCESS
Accurate Records
Black Feather Wings
12 songs

The instant I heard this CD (all right, maybe eight seconds into it) I knew I was hearing the singular sound of Dana Colley’s saxophone. As a diehard Morphine lover, this album was nothing short of miraculous, sounding less like Morphine part two and more like Morphine: The Next Generation.

But this album is actually the work of Monique Ortiz, and it’s merely featuring Dana Colley and Jerome Deupree (plus the multifaceted Jim Moran on guitar and a whole lot else), despite how much it sounds like… like that other band I’ve already mentioned three times. I can’t help but expect this CD to be held up against that other band’s historic catalog, and as much of a fan of that other band as I am, I have to say this is an excellent record. Smoky, sultry, smooth and sensual, the music ebbs and flows around Ortiz’s lyrical labyrinth, and any and all fans of Morphine would be doing themselves a disservice if they let this record slip by. (Jesse Thomas)

YOKE SHIRE
Zygo Records
A Seer in the Midst
9 songs

Some of the practices and beliefs of medieval times persist. Knowing the ways in which they haunt us goes a long way towards explaining the popularity of phenomena such as The Lord of the Rings, Jethro Tull, The Medieval Manor, and various “Faires.” Yet, despite the bell-book-and-candle trappings on the CD sleeve, and in spite of the spacy flute and pseudo-archaic ambiance of the instrumentation and laid-back production, much of the music of this Yoke Shire retrospective takes its cues from mid-level jazz fusion. I discern nothing in the way of genuine medieval musical forms, or even of the electrified folk of Pentangle, Steeleye Span, Fairport Convention, Incredible String Band, et alai. A track like “Ghan Buri Ghan” seems closer to prog rock such as Yes or Genesis. “Maiden Voyage” is like fifth-rate Hendrix. In spite of song titles like “The Bell, the Book and The Maiden,” which is a 20-minute, Keith Jarrett-esque, mostly instrumental piece, the medieval stuff is largely just a gimmick. That in itself wouldn’t be so bad, if only the music weren’t so stuffy and drab and underdistinguished. Maybe they should have called this “A Pig in a Poke.” Oh well, back to ye olde drawing board…. (Francis DiMenno)

PAUL J. BOSSE
Angry Rodent Records
Belljar
11 songs

Paul Jon Bosse likes to weld and make his own instruments. These found instruments serve as a backdrop to Bosse’s jazzy groove style of drumming. This 11 song CD was a live radio performance on WMPG in Portland, ME. Given that it is a live performance, it is easy to forgive some technical inconsistencies with both the playing and recording. Still the sounds created by these miscellaneous objects, filtered through effects, looped and expounded upon, set up a percussive landscape that seems to tell a different story and set a different mood from one piece to another. Albums of this nature tend to go out of their way to be as inaccessible as possible. With Bosse, this is not the case. There is something on this recording that even the casual listener may enjoy. I’m glad I own this recording. angryrodent.com (Joel Simches)

THE BLUE BLOODS
I Scream Records
The Blue Bloods
18 songs

Fans of catchy, triple-fast anthemic schlock will find this irresistible. The music gets to you where it counts-in the lizard brain. It makes you want to twitch and gurgle and gyrate, though that could just be the coffee. They’re never boring (or comprehensible); they’re never a major drag (or coherent); their songs never go on too long (and seldom pause for breath, though see stop-and-start dynamics of the cleverly-titled “Burning Bridges Light The Way”). A song like the hell-bent-for-leather “Kowalski” reminds me of the Clash with only one minute and ten seconds to make their point. I’ve heard hundreds of bands who can play this fast, but this is one of the few I would feel obliged to recommend. Maybe because most of their songs are actually distinct and structurally sound and appear to have been crafted with a distinct purpose in mind and even bear trace amounts of melody. Okay, I could do without the pointless see-saw clamor of “Glue,” even though it’s followed in short order by the strangely compelling, though equally pointless see-saw clamor of “Parting Shot.” And that cover photo of Jack, Bobby, and Teddy is gravy. (Francis DiMenno)

LITTLE HORSE
Little Horse Music
The Mission Before Us
14 songs

If you took Ben Folds and had David Byrne produce his album with a Brazilian flair and then got 10cc to reunite and do all the backing vocals, the result would sound exactly like this little disc from Little Horse. The band is fronted by brothers Joachim and Erich Horsley, who both handle piano chores. The lineup is rounded out by drummer Sergio Bellotti and session musicians which have included the likes of Tower of Power. Little Horse’s safe blend of pop harmonies and Latin jazz may do very little in terms of taking any broad risks or making any bold artistic statements, but the songs are irresistibly catchy, well played and deliciously overproduced. This album started out not being my cup of tea, and now continues to grow as a guilty pleasure! littlehorsemusic.com (Joel Simches)

ROCKTOPUS
Something Fierce
13 songs

I don’t know, man-this shit is just too clean for me. Like squeaky clean. Like if your little nephew was having a birthday party, you could hire these guys to be the house band and no kiddies would be warped in any way at all. And the name, folks-too easy a target, but it’s also damned misleading; you don’t expect a band named Rocktopus to sound like XTC on Ecstasy. And you know what? That’s a damn fine thing to sound like, and if my psyche weren’t so far beyond redemption as the result of early exposure to Black Sabbath, I’d eat this up like ice cream. But it would be vanilla ice cream. Which I like, but I like something mixed in there, you know? Like a Motorhead cover or something. A couple of tracks have a little crunch, like “Get Away,” but it’s all played so slickly, with production values to match, that it doesn’t make me want to get another tattoo, which real rock usually does. At their smooth-but-almost-rocky moments, I can almost picture them playing in a bar, but it would probably be a bar with a dress code. (Tim Emswiler)

WILMA
Circling Buzzard Records
Rock the Box
12 songs

I have to say up front that I’ve been feeling particularly grouchy and out-of-sorts lately, and that is no condition to be in when faced with the musical offspring of Joan Jett & the Blackhearts and The B-52’s. But I’ll be damned if that isn’t the best description I can come up with. Singer/bassist Amy Marshall has fine pipes and could probably carry a heavier dose of heaviness from the music-hell, she was named after a stack of amps. But this is some harmless stuff, and I don’t mean that in a particularly nice way. Maybe Wilma could double-bill with Rocktopus. (You DO read every review in each issue, right?) Guitarist John Marshall slings a pretty mean axe, when he gets a mind to, but he could really benefit from a stack of those amps with his name on them, turned way the fuck up. Oh, and the lyrics-never, ever write a song called “50 Years of Rock ‘n’ Roll” with a chorus of “Rock ‘n’ roll, it don’t get old.” Never. Unless you’re Motorhead. Or my dad. Yeah. If my dad did it, it would be cool. (Tim Emswiler)

HIGH SCHOOL MUSTACHE
Hilltop
Things That Were Blue
7 songs

Rarely does the cover evoke what’s going on inside so dramatically. A black & white photo of a dilapidated farmhouse against a cold, starless sky, windows boarded up, surrounded by dead trees. It’s terrifying and heartbreaking at once, like your own saddest memories, or a coyote howling at a blood-orange moon from an icy cliff. One wonders how the light needed to take the picture wasn’t sucked into the same quietly staggering emotional abyss from which the music came. I love this record with every molecule I own, like I love everything I can’t have, every chick who never understood me, every lucky break I lost through my own stupidity, and if I’m pouring my guts out, it’s because these guys are. They’ve got what they’re doing down to sciences yet undiscovered. Break out all your “sparse” and “haunting” adjectives, because you’ll need ’em. Acoustic and slide guitars are almost all that’s required to convey such simple, lonely lyrics as, “I can’t believe / What you’re saying to me / …Sure, I believed you then, but / …I was just a kid / Tryin’ to find my way,” which would of course fail miserably in lesser hands. Amazingly, some of this dates back to 1973, but you’d never know it. Please play out, gentlemen. (Joe Coughlin)

ALABAMA FRANK & THE HOT COTTAGE BAND
Black Rose
Euphoric Recall
19 songs

Veteran guitarist “Alabama” Frank O’Brien has played over the last thirty years with the likes of Otis Rush, Buddy Miles, Luther “Guitar Jr.” Johnson and many more blues and R&B; notables. Sadly Alabama Frank died suddenly while this album was being finished. Contained here is some heartfelt, old school R&B;, Memphis blues and timeless proto-surf instrumentals of classics written by the likes of Peter Green, Kim Fowley, Booker T. Jones, Ray Charles and many others. This album covers many moods, many styles and many genres, but the constant is O’Brien’s solid, heartfelt guitar playing and the timeless production quality of this disc. Listening to Euphoric Recall makes me wish I’d known more about this guitar legend. Perhaps this album will not only serve as a fitting tribute to this man’s passion for the guitar, but also serve as the young person’s guide to Alabama Frank. Enjoy. alabamafrank.com (Joel Simches)

MOONSHOT
Sugartone Records
This Won’t Last
7 songs

It’s tempting to make jokes about the album title, but the fact is, this will last. Upbeat, jangly-type, pseudo-sensitive indie slush has been hangin’ around since “Radio Free Europe” first gargled its way onto the airwaves, so there’s no reason to think it’s going away. This is so crowd-pleasingly by-numbers, I suspect they ran the tunes through that “hit-making” software I heard about that comes back with all these demographic-type results designed to help you whittle your stuff down to satisfy the largest possible niche market. (And if that’s an just an urban legend, someone’ll design it soon enough). Half of me really wants to get behind ’em, because I know how much fun it can be to PLAY, even if you’re just jamming on Yo La Tengo covers. And sure, there’s energy here, and lots of effort behind the writing, playing, arrangements, and production, but it just seems geared to the every-kid in the baseball cap with the Bud Light who’ll pretty much nod along to anything that doesn’t make him look like a fag to his friends. There ain’t a goddamn thing wrong with this record, and that’s what’s wrong with it. Common denominators don’t get much lower. Five bucks says they win the Rumble next year. (Joe Coughlin)

KRUSHR
Bubbachoke Records
Krushr
7 songs

Krushr sure know how to rock. They hail from Allston Rock City and play Providence and New York. Their music alternates between Social Distortion and Paul Westerberg in terms of pop sensibility, but the vocals are mighty shaky. With some of the more rocking numbers, this is actually an asset, because vocalist Gary Rand can really belt it out. When he tries to be more melodically adventurous, he sounds like Ray Davies with a head cold. Krushr has a tough time deciding whether to play fast or slow. Songs like “Anything” and “Pullin’ All My Strings” have such a great grind to them the more uptempo songs like “Bad Advice” and “Swan” sound forced and uncomfortable. Despite the fact that these guys have been around since 1999 (albeit under the moniker Buzzbomb), it seems that Krushr are still finding their feet. krushr.com (Joel Simches)

FORCEFIELD
Load Records
Roggaboggas
17 “songs”

“Load” records, indeed. This is some haw-haw collective of performance-art types, wearing throw rugs and mop-wigs on the cover, playing oscillators, loops and video game sound effects, and it sucks harder than a two-dollar crack whore. The first “number” is a one-note synth fart, held for a solid minute. And it’s the best thing on here. There are long stretches that sound like leaky faucets, tests of the Emergency Broadcast System, and elderly people coughing up hairballs. Six tracks and twenty minutes in, you finally hear a beat, not that a beat could redeem this catastrophe. Almost looks like they’re selling it as a sci-fi concept album, but there are no vocals or liner notes, and even the press sheet is one big, pointless Fuck-You to the general public. They list fake names (smart move), and thank a buncha people with fake names too. These guys should learn that the bigger the in-joke, the less funny it is. To think that they actually sat around attaching song titles to this puddle of misery is mind-blowing. Someone sank big money into the thing, but there’s no way that even the band members listen to it. Helen Keller could make a better record in her sleep, and she’s dead. Honestly, these people should be ashamed. (Joe Coughlin)

LINCOLN CONSPIRACY
Details Are Everything
12 songs

This just ain’t my lucky month for getting decent CDs to review, as I’m stuck with back-to-back cheesy college rock bands, this time in the Ben Folds Five-meets-Semisonic vein. Piano driven and with a penchant for Wings-style embellishments and Steely Dan grooves, Lincoln Conspiracy are another band that isn’t bad but is far from good, which makes my job as a reviewer a nightmare. This music is just so nothing-no heart, soul, balls or bloodlust. They sound like they’re shooting for a smooth ’70s AM gold sound not unlike early Chicago ballads and like they’re sincere and have good intentions, but the vibe is antiseptic, lacking in solid hooks, and gives the impression that they sacrificed passion for an academic stab at song craft. To be fair, they’re talented musicians, the production is really good, the songs are all very listenable and flow together well as a cohesive album, but Details Are Everything sounds like the kind of album a decent wedding band would make if they decided to write original tunes. They sound so bent on pleasing everybody that they ultimately please nobody, which in my book qualifies Lincoln Conspiracy as an utter waste of time. (Mike Baldino)

THE TIE REDS

Holy Crap!
It’s The Tie Reds
13 songs

I couldn’t help but be attracted to the aesthetic qualities of this band’s album. With a quirky title and the scrappiness of their insert (complete with jean-clad crotch-shots of the members) I was already in love.

The Tie Reds make for some perfect pogo partying. Their music could be summed up as two-minute wonders with cute “ooh ahh!” and “go baby go “‘ back-ups behind lazy power chords and simplistic beats, a-la The Ramones. But besides the energy and earnestness of members “Hoops,” TeriLea, Alessandra, and Nate Red, there is nothing special.

“Drive Me Crazy” has the simplicity of a great old-fashioned surf song, and there’s something endearing in how they eagerly invite you to “put up your fists” during “Put Up Your Gloves.” Yet if we’d only been invited to participate in these festivities once or twice, I might not be so anxious to smash their adorable little faces (err, crotches?) in.

By song eight or nine, it’s impossible to distinguish one track from another. The album feels too junior-high-school-dance. You know- the less than hip DJ commanding you to “shake, clap, and jump around” to tunes like “Electric Slide.” And hearing them use the same damn keyboard progression over and over and over and….oh, sorry, was that getting repetitious? It’s bands such as this that sadden our current “garage rock revival.” If rock was truly this dead when we started, I wish we’d left it in the grave. (Lisa Herforth-Hebbert)

ORBITING RILEY
Trampled In Grace
10 songs

There is a great reason why I stopped listening to WAAF and WBCN several years ago: Creed. Here’s another one: Nickelback. And one for good measure: Staind. It’s bad enough these candy-ass, pseudo-heavy metal bands became famous, what’s worse is that they’ve reproduced! Maybe Orbiting Riley hate Creed as much as I do, and are operating under the illusion that they are blazing their own path in rock music. Or maybe they are well aware of how potentially commercial this malarkey is and just did a very good job of calculating their overall schmaltz effect for maximum depressed-overly-emotional-teenager-appeal. Either way Trampled In Grace is one boring and unappealing record. Orbiting Riley sing emotional, heartfelt, nauseating songs, many of which (too many) are slow to boot. Usually, soporific pap such as this would put me right to sleep, but the singing and the laughable attempts at poetic lyrics are so amazingly irritating that I can’t even relax. Trampled In Grace is an ideal torture device, it may replace the more common beatings used by dictatorships around the world. I don’t think I’ve been so riled up and angered by an album as limp and flaccid as this one in a long time. (L’Aretino)

SEAN SPADA
Sinks and Sparks
11 songs

Some people make art that doesn’t call attention to itself. This CD screams “Okay I’m being an artist now… look at me! NOW!” There are times when this CD is brilliant. Sean Spada is a truly gifted pianist and singer, but these songs meander aimlessly and indulge themselves to the point of utter frivolity. The varied stream-of-thought sections in the music are well written, but there is little to connect one idea to the next. The whole starts to sound like a student recital: eager to please with loads of technique and style, but little substance or emotion. There is no journey of discovery being taken within these songs, just a lot of scales and vocal acrobatics. Such a shame. seanspada.com (Joel Simches)

SOULFÈGE ASAFO
Productions
The Black Rose Project
15 songs

This starts with a clearly excited Soul Sistah running down the benefits of the record you’re playing, over some reasonably saucy funk, including all the styles you’re about to hear, the names and hometowns of the musicians (with shout-outs from the guys themselves), and a shitload of reasons why you’ll helplessly shake dat booty any second now. God forbid you should decide for yourself. I’m seriously put off, but the music’s okay, so I cut ’em the slack for having some ego about it. But what happens next is 90% tender love ballads like you hear on the all-night college radio black shows. (The reggae-tinged number is NOT reggae, no matter what they say in the intro.) Granted, it’s all flawless, with horns and choirs and big-assed arrangements, and there are some truly classy, candle-lit Motown moments. But it just ain’t the orgy of ass they’re saying it is. I had to wonder why they sent it to a mainly white crap-rock mag in the first place. (Despite all your claims of “diversity,” I know that very few of you REALLY like Public Enemy, or would be caught dead supporting these guys.) The funk only returns on the tacky outro, with Sistah explaining that the record’s over now. I’ll give ’em the same advice I’d give anyone: Do what you do, and shut the fuck up. (Joe Coughlin)

THE MODELES
The Modeles
9 songs

The Modeles sound like one of those cheesy Sublime-inspired post-grunge ripoff bands that play to the bartender on weeknights at The Skybar. Judging by the bassist’s overuse of auto-wah/ envelope filter effects, I’m guessing he plays a 5-string slung somewhere around his nipples. The band is catchy enough in that innocuous college jam band way and is not without musical talent (particularly the drummer), but choruses like “You’re my girl/ You make me twirl/ You’re my whore/ You’ll give me more/ You’re my bitch/ That I’ll never switch” won’t endear them to anyone with a modicum of taste. “Dear Dog” not only reaches bold new heights of lyrical craptitude, but also raises disturbing questions about the singer’s personal life: “Dear dog, you kiss so well you make my girlfriend mad… I’d like to have you over for some tea and biscuits of the Milk Bone variety… I wish that you could talk so when we walk you could teach me how to be more like you… Dear dog, you kiss so good I think my girlfriend understood and she left me to be with you, but that’s okay ’cause you’re a better kisser anyway.” The back cover art shows the band walking a lonely highway towards routes 30 and 2A; I’m not sure what it is that folks do for kicks in that neck of the woods, but if “Dear Dog” is any indication, I don’t really want to know. (Mike Baldino)

THE FIZZ
Ruby Records
Fink
16 songs

This record is about as generic as they come. Laced throughout with sophomoric bits of ska surrounded by loads of stale bubble gum, this purulent wad is difficult to chew, and impossible (if not deadly) swallow. It is the kind of oft-chewed bubble gum that invariably ends up hardening on the underside of a public bench amongst the vagrant snot and mysterious DNA. Bazooka Joe aside, the production is crisp and polished. The unexpected inclusion of Madonna’s “Material Girl” has my eyebrow raised, although I am strangely aroused in a guilty sort of way. I am briefly excited that I have found my newest drink coaster, but I decide that men singing Madonna might warrant an extra listen or two in the distant future. I am sure there are a few toothless teenyboppers that may enjoy this release, but alas, like the forgotten Diet Coke on my desk, The Fizz is quite gone. What’s the old jingle? “Plop, plop, Fizz, fizz?” And as this CD closes…”Oh what a relief it is…” (Fuzzy Shackles)

PLASTIC BIRD
Cedeno Records
Swim
10 songs

This release by the former Atlanta Georgians is heavily front-loaded-the classic case of a disc starting out firing on all cylinders and gradually losing steam. The first few songs have hooks and interesting guitar and drum parts all over the place. “My Favorite Song” has a wacky arpeggio guitar thing happening and Cobain inspired vocals. Oddly enough, Rob Roemer changes into Matthew Sweet halfway through, especially on “Big Grand Prize.” I really loved the beginning of “Sick.” It begins with an interesting guitar part and then wrecks my day by transitioning into the same chug-chug guitar style as a number of the other songs. As the end approaches, this collection of ten songs begins to take on a sameness. By the final chords I’m ready to throw it out the window. It’s a shame because I think these guys are really onto something. I’d give them another release to hone what they’re doing, and by that point they should be a force of nature. Until then, I’ll listen to half of it and treat Swim as a really good EP. plasticbird.com (Shady)

THE MERCY BEAT
Shine
17 songs

First of all, I’m not sure if it’s just my CD player, but this album has this annoying high end digital swishing noise that plays over every song on this disc. While this may color my reaction to these songs, it doesn’t change the fact that this CD is a pointlessly bland recording by people who listen to a lot of classic rock and mainstream eighties alternative. The members of the Mercy Beat tout such influences as diverse as Nick Cave, Bill Lazwell, Miles Davis, Ozzy, Iggy Pop, Steve Miller, Alice Cooper, and Perry Farrel, just to name a few. Unfortunately the result of this mishmash of styles is mindnumbingly dull. The songs drift by riddled with lyrical clichés and uninspired retreads of everything that was ever hip before, filtered through the soul of a middle-aged Holiday Inn wedding band. I should know I’ve been there and done that… years ago. themercybeat.net (Joel Simches)

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Rick Berlin

RICK BERLIN with THE NICKEL & DIME BAND

by A.J. Wachtel

On the huge stage of talented New England artists Rick stands out. In the large universe of local stars Berlin is one of the brightest. Four decades into his career, Rick Berlin still tantalizes audiences with his creativity and artistry, and to this day his music is as trend setting and trend breaking as ever.

Noise: You’re a Yale graduate. Does this carry the same weight in the entertainment world as it does in the academic one?

Rick Berlin: Doubtful. Though I believe They Might Be Giants and Arcade Fire are Yale grads, as were Charles Ives and Cole Porter. As was Billy Conway, the drummer for Morphine, I was a drunken Whiffenproof as a senior, and was in the glee club and choir for one year. I ‘taught’ myself to improvise on a piano in a Yale tower tripping on acid hallucinating my tits off. Far as any help with my career goes… nil.

Noise: You have long been characterized as performing art rock or a theatrical form of rock ’n’ roll. What does this mean in plain English?

Rick: Dates back to Orchestra Luna. Because the girls in the first version were new to performing, I thought I would be helpful to have some of our stuff choreographed. My friend, Barry Keating, who worked with Jim Steinman (Meatloaf) when they were at Amhearst, and who was part of my wild unfinished film trip to Granada, West Indies, I figured he’d be perfect. The look of the band proceeded from there. We were not super pros, more innocent than that. We would make up an idea and ask ourselves why not? Babes in the wood. Total improvisational. Joi de Vivre. Later on we brought that back with Rick Berlin–The Movie and Carter Timmins choreographed. We were certainly not alone in this. Though at CBGB we kinda stood out. Prime example:  https://vimeo.com/139125497.

Noise: Major label Epic records released your Orchestra Luna debut in 1974. It captured many of the dramatic eccentricities that made the band’s renowned live act. What were some of these dramatic eccentricities and what was special about your live act?

Rick: First off, the girls. My sister Lisa and my friend Liz Gallagher. We built the band that way. The three of us learned about 20 songs, just us working the vocals. Then we added Scott Chambers (bass). He sang and learned the tunes. Then Randy Roos. His band was playing up the street from us at Zircon. Lisa was a waitress there. We auditioned a ton of drummers until we found Don Mulvaney (who recently died-tragic circumstances). Lastly, it was Peter Barrett my friend and poet from New Haven. He moved up to Boston. His spoken word material, his fierce on- stage character and ideas took the whole thing over the top. But it was the cumulative effect that seemed to hit the heart of our audiences. We were truly loved. Not in some hipster sense. But because we were so innocent. Not overly polished. Lastly, I’d say the music ran the gamut from jazz to classical (Beethoven’s 7th Symphony) to country to weird rock and solo story (gay) piano songs. We were an odd hybrid without a clue (in a good way).

Noise: Orchestra Luna covered “You Gotta Have Heart” from the play Damn Yankees. Is this the strangest cover you’ve ever done?

Rick: That was my sister Lisa’s idea. Peter’s rap made it a rare bird cover. I believe ‘BCN played it on opening day for ten years straight. It was a peculiar choice but for losers everywhere, it hit home.

Noise: Orchestra Luna opened for Roxy Music. Care to share a cool story about that band and the gig?

Rick: Brian Eno did the sound and played a translucent electric violin from the house board. We were lucky to get that gig.  Later on, one of my bands covered “Love Is The Drug.” We met none of them, however.

Noise: Epic dropped the band after low record sales but the promotional tour made money right?

Rick: We never toured and didn’t make a dime.

Noise: What was the real reason you parted ways?

Rick: The guy who signed us was fired from Epic as the record came out. His replacement didn’t get it. Strangely, later on, that same guy Steve Popovitch (Meatloaf again) tried to sign Luna but we’d stupidly signed our recording rights over to this snake here in town. And that asshole wanted an impossible amount of cash from Cleveland International to release us. Popovitch, as expected, declined.

Noise: And now that major label support isn’t crucial for a band’s success would this have played out differently today?

Rick: Who knows? Far as those bygone years go, ours is an ever-repeated cliche fucked-by-the business story.

Noise: What are your observations on this change of power from the label to the artist and how does this fact impact you and other artists today?

Rick: Plus side: with less cash and more ownership of their art, musicians can record as they wish, build as they can, take no absurd oversight from a label exec. On the negative, being on a supportive label back then got your music heard on a freer commercial format (ie. ‘BCN). They owned you. Took a higher percentage, but if you were lucky, got your stuff out there. To some extent, many bands who DIY their music today had early label support prior, had a built-in following to follow them as they took over the driver’s seat. A major leg up.

Noise: In Orchestra Luna you were known as Rick Kinscherf. Why the change and how did you decide on Berlin?

Rick: No one could spell, pronounce or remember Kinscherf. Plus I had the exact same name as my dad and grandfather. Enough already. I was reading Christopher Isherwood’s Berlin Stories (completely sober) and I swear the word Berlin telescoped in front of my eyes like a 3D CGI moment. That was it. I went to ‘BCN (back then in the Pru Tower). Oedipus was interviewing Bob Geldof. I asked Oedi what he thought? He was down. Got his imprimatur. Friends started calling my mom Mrs. Berlin. Irving Berlin was fake as well.

Noise:  Orchestra Luna was part of the CBGB scene and you played there with Talking Heads and The Ramones. Care to share cool stories about both of the groups?

Rick: We were somewhat closer to the Heads. They turned us on to their lawyer when we were there. Went to the same parties. In Orchestra Luna 2, Steven and I stayed with Danny Fields who was managing The Ramones. We were in his apartment during that historic Manhattan black out.  I was friends with Lance Loud who’s band The Mumps was playing at CBGB when Patti Smith sat back in the dark to watch them. That’s when she stole (all is fair in love and war and rock ‘n’ roll) drummer J.D. Doherty. Lou Reed gave me a big hug backstage after I sang this super gay solo song ‘Blue Truck’. He told me he wished he had my guts. Other way round of course.

Noise: What was the difference between the NYC and Boston scenes back then and how are these scenes different today?

Rick: Brother/sister clubs. The Rat/CBGB. Bands would stay in our place here when they played The Rat. Vice Versa. Of course being the big city when ya played CBGB you got noticed.  Written up. Signed. Here it was more back yard. I also think some of the CBGB bands were more pop (Blondie, Heads) than many of the more punk bands playing here.

Noise: In 1976 Sire Records offered you a deal that you turned down and never found a better offer. Why did you turn this down and have you ever had any regrets?

Rick: The deal was for $100,000. No tour support. The guy Seymour Stein wanted to produce us. The guy who’d done “Starry Starry Night” for Don McLean seemed like the wrong choice. We were approached by Warner Brothers who paid for a demo but passed. But yeah, wish we’d taken the bait. Seymour was a visionary. We might have had a shot. I might have had an opportunity to build on that relationship. We would at least have a record of the tunes we were playing then with Karla DeVito (Meatloaf), Steven Paul Perry, Chet Cahill, Liz Gallagher, et al.  Such were the breaks.

Noise: In 1982 you were in Berlin Airlift and opened for The J. Geils Band. They had also taken another unsigned act Jon Butcher Axis out on the road with them. Do you think The J. Geils Band should be in the Rock ’n’ Roll Hall of Fame?

Rick: OF COURSE!

Noise: Could a huge national act help a smaller local band in the same way today?

Rick: Totally. It’s tough to take an unknown band on a full tour when for less trouble and less money you can have a band local to the town the big guys are playing hop on as an opener.

Noise: From 1985-89 your band was Rick Berlin–The Movie and in 1987 you won Songwriter of the Year from the Boston Music Award for your song “Rock and Roll Romance.” Did winning a BMA have any effect on your career?

Rick: Not really. But it was awesome to win. Still love that song.

Noise: In 1999, you were in The Shelley Winters Project and in 2003 the band opened for The B-52’s. Care to share another story?

Rick: It’s rare to hang with the band you open for unless it’s a long term tour thing. I wore exposed/fake tits and embarrassed my nephew Sammy (who was about 10 at the time and is now Nickel & Dime’s trombone player).

Noise: What did Shelley Winters think of your band’s name?

Rick: Shelley actually called me at Doyles. Picked up in the kitchen. Her voice was shaky. She’d had a stroke and she was yelling at someone in the background to fix her CD player so she could hear our songs. Then she said, “Hello, this is Shelley Winters. I was wondering why you named your theater group after me?” So I answered, “Well Shelley, we aren’t really a theater group – we’re a band. Since so many of our songs are about women and people who’ve been done wrong and so many of the roles you’ve played onscreen are about women who’ve been done wrong it made sense to us. And of course, we love you. She said, “That’s the nicest thing I’ve heard in years.”

Noise: Your Me & Van Gogh album was released in 2006 followed by Paper Airplane in 2010. What is the difference between playing in a band or performing as a solo artist in your music?

Rick: I write differently for solo, more personal. More weird-o I guess overall. I have whichever band I’m playing with in my head when I write. All my shit demos  are up on Bandcamp. Some have wound up in bands, others not. Some never ever played out. I like the simplicity of solo as the song has to really either live or die on it’s merits. I love the full-assed sound of a large charging band with a fierce rhythm section. More than anything, I love how different musicians take my songs to unexpected places. Free range. Lately, our guy Rob Manochio doing up his versions of my demos and they sound awesome. https://rickberlin.bandcamp.com/album/rob-manochio-alchemizes-berlin-songs.

Noise: After releasing ‘Paper Airplane’ you teamed up with the already existing eight-piece Nickel & Dime Band. How did this happen and what is similar and compatible between your music and theirs?

Rick: I was playing solo. Not a lot. I met Ricky McLean at the Brendan Behan. Found out he was in the Nickel & Dime live karaoke band. They knew 300 songs. All genres. I figured with that extensive a vocabulary my stuff would be tit to learn. We tried one. Then another. And ultimately they stopped doing the karaoke thing and here we are. Jane Mangini has been on most of my full band albums starting with Berlin Airlift. I suck on piano. Horrible rhythm. Jane has a way of taking my piano parts, making them her own, and taking them, with perfect musical taste, into the best place. When she’s not playing with The Transiberian Orchestra or making her own records, she’s with us. I love her as a person, an artist and as my long, long time friend.

Noise: You are involved in the Jamaica Plain Music Fest. Tell us about this concert and what are the best and worst things about organizing an event like this in Massachusetts?

Rick: Simply put, it’s a corner store mom and pop specifically local to JP festival of 20 plus bands. All of whom have at least one member who lives/works here in the hood. Well over 100 bands apply each year. We work on the thing for nine months raising money. Most of it goes to a high-end production (sound and stage). It costs about 35 G’s to put on. We have tremendous support/sponsorship from local businesses. It’s now in it’s 6th year. One beautiful heartfelt happy day of music. None of us get paid. It’s truly a labor of love that all of us on the committee make happen. We, for the most part, made it up as we went along. There’s a 15 step write up on how to put on a music festival you can check out right here.  http://www.jpmusicfestival.com/15-steps.php.

Noise: You’ve worked at Doyle’s in J.P. forever.

Rick: 30 years.

Noise: Who is the most famous person who has ever recognized you there?

Rick: Peter Wolf.

Noise: What is the strangest encounter you’ve ever experienced there in all these years?

Rick: My first night there ever I carried a full tray of Guinness tripped and dumped the whole thing on a lesbian softball player. She was super nice about it. I haven’t used a tray since.

Noise: What’s the craziest thing that’s ever happened to you in the Boston music scene?

Rick: Watching guys shoot rats from Jim Harold’s office on the top floor (The Rat).

Noise: What is the first band you ever saw perform in Boston?

Rick: The Modern Lovers at The Orson Wells.

Noise: Are there any local artists you think should have made it big but didn’t? And why?

Rick: Too many to recall. Sand Machine. Jeff Chasse. The Real Kids. Army of Toys. Babaloo. What TIme Is It, Mr. Fox? Some lesser known than others. Why? Who knows? Lack of time and money and support. Meanwhile they continue. Some/all of them, to do great work.

Noise: Are you a punk or a new wave artist and what do you see as the difference in the two genres in 1978 and again today?

Rick: Guess I’m neither. Though I love and respect the DIY punk ethic and especially fine lyrics. New Wave to me is just another moment on the pop landscape. The Cars being my favorite example. As far as today is concerned for me it’s an amalgam of influences. Punk is still punk but can edge towards pop. New Wave not so much around as far as my ears go.

Noise: How has your vision of life and music changed since the ’70s and why?

Rick: Not to sweat the biz or the scene. I’ve essentially been unsuccessful in terms of making money as an artist. I love what I do. I love my band. I love writing, rehearsing, performing and recording. It is, more than anything else, who I am. Being older, I think, means you give less of a shit what anyone thinks of who you are and what you do. Freedom there. And possibly a more efficient approach to writing.

Noise: You’ve played with two great guitarists Randy Roos in Orchestra Luna and Steven Paul Perry in your later bands. What did each of these guitarists bring to your music and how were they different as artists and guitarists? What was the best thing about each of their playing that you loved?

Rick: Randy’s roots were in jazz. In Orchestra Luna, Zappa jazz. Frank actually rushed the stage when we played at his 10th anniversary. Picked Randy up and hugged him. Steven was all melodic rock solos and great rhythm parts besides having that classic rock voice. Both gave immeasurably to my music as have all the guitar guys I’ve worked with since.

Noise: What achievements in your career are the most important to you and how do you want people to see and think of you today?

Rick: That I’m still at it. That my songs still matter to people. That my art-for-the-day (as Patti Smith puts it) is what keeps me feeling alive. That I now have a good sense on how to make music videos http://berlinrick.com/videos. That the JP Music Festival is surging. Far as how I want people to think of me? Who the fuck knows? No control over that one.

Noise: What are you up to right now?

Rick: Go to The Lizard Lounge release for our new EP Badville on Saturday, March 12th with Willie Loco Alexander and his trio The Fisheye Brothers. Elizabeth and Ben Anderson are opening. Ten bucks. http://www.berlinrick.com/badville/.

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Johnny A

IT ALL BEGINS WITH A

(An Axeman for the Ages)

by A.J. Wachtel

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Johnny A: No.

www.johnnya.com

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March 2017

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CDs – Feb

Page Contents

BUTTERSCOTT

Buttersville Records

The Somewhat Disappointing Contractually Obligated Followup™

30 tracks

Instead of talking about this latest offering from the inimitable trio comprising the 21st century Butterscott, why don’t I instead inform you that the tradition of humor, at least in early rock, is strong. From the Lieber and Stoller songs written for the Coasters to “Chantilly Lace” and “Stranded in the Jungle”… No, wait. Maybe I had better talk about the record in depth, something which is sure to suck all the fun out of it. Warning: Spoilers ahead! OK. So. This latest offering begins with a cover of “Little Bit O’ Soul,” but the band calls it “My Favorite Friend” and it has a Bay City Rollers-style chant. “Female Trouble” is an amazingly twisted foray into rap, and station identification jingles. “Frumpi Grumpi” sees the trio concocting yet another 60’s dance craze. “Do the Nothing” is a sardonic descent into early 80’s synth rock and trance music. “Glorioski” is a debased doo-wop song, replete with authentic strings. “Not a Bad Idea” is a ’20s-era hokum spectacular, crammed with hilarious jokes. (Why they repeat the song later on is a mystery for the ages. Maybe they lost track or something.) “Kangaroovy” is a prime example of bubblegum psychedelia. “Undercover Jesus” is actually a profound statement disguised as a blasphemous Philadelphia Soul pastiche.  “All My Fault” is an astute impersonation of an angry punk rocker. “The Technological Love Song” uses click tracks and vocorder to completely take the piss out of–well, techno(logy). “Sage Advice From the Islands” takes the lessons of “Get An Ugly Girl To Marry You” to a predictably risible extreme. “Star wars for X-MeSS” tears apart the franchise for good and all – because somebody had to do it. “The Dynamite Eating Goat” made me laugh out loud, but that’s just the kind of guy I am. This is followed by a cover of “Diamond Girl,” only they call it “Choc Van Shake.” “When the Dustbunnies Blew Away” is a song which the Peanut Butter Conspiracy should have covered. Just sayin’. “Dime a Dozen Daddy” skewers the ominous pretentions of goth – or is it spaghetti western soundtracks?  You decide! “Showtune” does a great deal to wash away the sour taste of the, duh, show tune genre out of one’s mouth. But it’s not as catchy as “In the Good Old Summertime” as sung by the Jurgis Rudkis Choir. (“There seems to be something hypnotic about this, with its endlessly recurring dominant. It has put a stupor upon every one who hears it, as well as upon the men who are playing it. No one can get away from it, or even think of getting away from it; it is three o’clock in the morning, and they have danced out all their joy, and danced out all their strength, and all the strength that unlimited drink can lend them – and still there is no one among them who has the power to think of stopping.”) (Note: According to Kenneth Anger, “Rosebud” was actually Marion Davies’ clitoris, which is the real reason why William Randolph Hearst was so miffed at Orson Welles.) The band then covers “Woman From Tokyo,” only they call it “New Song.” And they use it to explain “the purpose of new songs in rock ’n’ roll shows.” What a cynical bunch! There’s also a cover of “For No One” with vocals by my good friend Walter Sickert. No French horn, though – bummer. This is funnier than Beach Boys Party and Jan & Dean meet Batman, and almost on a par with The Who Sell Out and The Turtles Present the Battle of the Bands. Like most good satire, it informs the future about the inane preoccupations of the past and present. I’ve spent worse hours. Well done, my good and faithful servants! (Francis DiMenno)

…

…

T MAX

Dove Records

Hole in My Shoe 

13 tracks

If music is medicine for the soul, then here is another superb effort from a man who has espoused this philosophy for his entire career. As editor/publisher of this long esteemed fanzine called The Noise, he has championed the glory and values of the local Boston music scene for almost 35 years. (Where would I/ we be without this venerable effort!)
As a sideline to this endeavor, Mr. Max would occasionally contribute with a musical project. Past groups like The Machines, TCD, Art Yard, The Borg, Max, Urban Caravan, and his work with Boston Rock Opera helped establish his talents for conceptual compositions. When he formed Dreamers Wanted in 2007, he hit a high note with his anthem “End War Now” that brought together dozens of local celebs to denounce war in all forms. This morphed into Sgt. Maxwell’s Peace Chorus, which toured for a couple of years, fitting in comfortably at benefits, marches, rallies, and anti-war gatherings. The past several years has seen him become a roving minstrel working local coffeehouses and regional farmer’s markets, turning his charm on the vendors, shoppers, passer-bys, and little children milling around.
This latest album mixes a few tunes from earlier projects (“Sometimes Smart Phone,” “Turn to a Song,” “I’m a Loser”) with his current burgeoning songbook. The aura of inventive production makes me giddy, with small joyous pop nuances creeping through every song. Kudos to his co-producer, Greg Dann, for contributing a plethora of instrumental and recording embellishments. They make a great team (sorta like Bowie & Visconti).
The intro tune, “Hole in My Shoe,” is portrayed as a scratchy ole record, sorta like a devil-may-care hike through Mayberry, replete with trombone and strings. “Be Kind” is a personal fave – with its Morphine-esque bongo-jazz groove, evolving coloration (very cool Jimmy Smith-esque organ solo), and humane theme (“You don’t need to be right/ Choose to be kind… it works every time/ You don’t need to be rich to be wealthy/ You don’t need to be sick to be unhealthy!”)  Back to back, “Fly” and “Danny Boy” glisten with the processed vocals of the spacious Max-choir. There are also a few humorous tracks: “Bless You” – with his gruff sermon voice and gospel “soul-misters” cooing in the background; “I Bark” – featuring horny dogs, of course; “Trip Around the Sun” – a quick rocket-blast of birthday wishes; and “Life is Cheap”,  which exhorts the positive spin of living-within-your means.] And then, there is the masterpiece, “Giles Corey” – a complex, Salem farmer’s tale of murder, retribution, accusations, witchcraft, pain and deliverance. (“More weight – more weight/ Press me down!”). An intricate, long-winding story worthy of Bob Dylan or Richard Thompson or Procol Harum, it’s length is majestic and moving. Absolutely riveting!
I have always appreciated T’s music and the way he ch-ch-changes and re-makes/re-models a crafty combo of Anglo-pop and alternative-Americana. He’s a fascinating “mensch” with music that’s thoughtful and inventive. He’s everything that’s right about being a performer – varied, accommodating, friendly, inclusive, and totally in the moment. All the songs are delivered with a high level of focus, craft, talent, and heart-on-sleeve, which just completes his overall compassion. T Max knows who he is and I’m grateful… just say yes – ride the dove!  (Harry C. Tuniese)

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JAMES KEYES

To the Earth (Volume II, Hibernal)

4 tracks

Earth to Tom Waits fans: the illustrious James Keyes is back and darker than ever. This release marks Mr. Keyes’s halfway point as he records songs influenced by the four seasons. His plan is to release an EP on the solstices and equinoxes over the course of the year. James fronts what sounds to be a full band with standard rock ’n’ roll instrumentation: drums, and bass and guitar.  The music is Americana with an edge, that keeps your toe tapping and your ear tuned in to take in the next note.  Mr. Keyes’s voice is gruff but melodic, like a cross between Scott Weiland and Tom Waits. After hearing this, one could make a solid argument that he’s got one of the best voices in the local music scene. Thematically, the poetry in the lyrics create a dreamlike feeling of earthiness and warmth, like settling in by the fire after a celebration for the last harvest of the season, aware of the cold and difficult times that may lie ahead.  Game of Thrones fans out there, don’t listen to the Starks, listen to James Keyes. Winter is coming. (Kier Byrnes)

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ROLAND PEARSALL

Sell Your Soul

11 tracks

It is always impressive when a person creates an entire album playing all the instruments and performing all the singing parts by themselves. I think the first time I heard someone do that was when the newly married Paul McCartney came out with McCartney during the breakup of The Beatles. Doing an album alone is a brave thing to do because it exposes the strengths and weaknesses of the musician. Paul snagged a number one hit with “Maybe I’m Amazed” but the critics went after him for creating an album with what amounted to an abundance of unfinished ideas. Roland has a lot of strengths. His music bespeaks influences from the ’60s that range from the Dave Clark Five and early Beatles, to The Moody Blues, The Zombies, Three Dog Night and Jim Morrison. He also has a flair for writing lyrics. The title song, “Sell Your Soul” has a lot of energy and he has a good voice. The song is an insightful critique about life with our young hero trying to figure out a career and outmaneuver the sharks. “You Won’t Be Seen” has a catchy tune, some interesting harpsichord work and complex background vocals. “Riding On” has a kind of call and response style of singing, scorched throughout with a frenetic electric lead guitar. “In the Night” has a melodramatic intro, with an eerie Halloween feel and a spooky organ. “The pernicious acts of the murderers/ Have caused affliction and despair/ Innumerable amounts of suffering/ It is all too much to bear.” It would be a great background song for a grisly scene from Twin Peaks or some other crime drama. Toward the end his voice surges into what sounds like he’s channeling Jim Morrison of The Doors. “Fog Country” opening bars reminds me of the Three Dog Night song “Mama Told Me Not to Come,” and then it goes ominous and foreboding. “Radiant Vessel” has a catchy chorus. “Next to You” features a driving electric guitar. “Aerosol Can” is one of the best songs of the collection. It is clever and kooky, with imaginative lyrics. It reminds me of the B52’s “Rock Lobster.” This album feels like it’s the first stage of a rocket that blasted off but it needs a bit more rocket fuel, as if it reached its burn out velocity prematurely. I would like to see a little more fuel, maybe the input of another creative mind that could help with the melodies. Roland has a lot of good ideas regarding production, lyrics and musicianship. I would like to see Roland team with a Lennon to bolster his McCartney.  (Kimmy Sophia Brown)

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THRONE OF SATURN

Throne of Saturn

4 tracks

Throne of Saturn is a Providence based hard rock and psyche metal band. They recall such classic stoner bands as Trouble, Candlemass, and Pentagram, with a little Venom thrown in for good measure. With songs like “Sludge Lord” and “Cemetery of Spent Hours,” you know you are not getting the latest pop hits, but that’s okay with me. This a flawless EP, now it’s time to make a perfect full album. No pressure! (Eric Baylies)

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AFTER THE BLACKOUT

After the Blackout

5 tracks

Sometimes I get a CD that I simply don’t need to listen to all the way through. From the opening note I know exactly what I’m going to get for the rest of the record. After the Blackout’s new, self-titled album falls squarely into this category.

Don’t worry. In this case it’s a compliment.

Consider when you drop a new AC/DC or Weezer album onto your player. Or, more directly related to After the Blackout’s style, think Blink-182. You’re sure as hell going to listen to the entire record over and over again (like I have). But… if you set aside the joy of listening to fantastic music from a band you love, you may be able to admit to yourself that you already know exactly what’s coming next. That’s one of the things that’s so endearing about bands like this. You know that you can count on them to deliver exactly what you want over and over again; all while staying within a fairly well-defined lane.

After the Blackout (ATB) drive in the pop-punk lane—and they do it really really well. They use the mold cast by Blink-182 and SUM-41 while leaving out the humor and fart jokes that can at times make their forefathers’ music intolerable. ATB remain pretty serious-minded as they deliver a “snotty-vocal-ed” rumination on love, loss, and life’s never-ending stream of little injustices. Along the way, they honor the memory of early and mid-eighties metal with lots of nods to the guitar shredding of the likes of Judas Priest and Iron Maiden.

Here’s to the benefits of sameness!  (George Dow)

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TWO VIEW REVIEW

HUMMINGBIRD SYNDICATE

Actuality Records

Pop Tracks

12 tracks

There’s a couple of things to really like on this enjoyable easy listening release. The pop/ rock music is mostly influenced by folk and country; the jingly jangle guitars come from The Byrds and the delivery and messages strongly suggest Dylan. The lovely lush four part harmonies everywhere hint at Americana. The stellar and diverse members include Jon Macey (Fox Pass, Macey’s Parade), the man who wrote all the music, on lead vocals and guitars, Lynn Shipley on lead vocals, Chris Maclachlan (Human Sexual Response) electric and upright bass, Lenny Shea (The Stompers) pounding, Dan Coughlin (Children Of Paradise) on guitar and auto harp, Tom Hostage (Macy’s Parade) playing guitar, Steve Gilligan (The Stompers) on mandolin and mandola, Marnie Hall on electric violin, Marc Sussman on piano with Jennifer Lewis Bennett and Mary Jaye Simms on backing vocals. And I really dig how the lead vocals are shared between Jon and Lynn. This changes the whole message and performance and balance of the band; and makes their whole vintage power pop persona both more interesting and with a softer side. Their cool hum- along with songs sung by Lynn are: “Romance,” “(You Don’t Know) Much About Me,  and “Time For The Show,” Jon takes the lead on “After Stephen Foster,” “Sometimes It Just Gets This Way,” “Another Wait And See Night,” “Haley,” “Aeroplane Baby,” the glam “Guitar Star,” and the closer “Clever And Astute.” This CD won’t leave my player for a while. I like this music a lot!    (A.J.Wachtel)

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HUMMINGBIRD SYNDICATE

Actuality Records

Pop Tricks

12 tracks

This is an amazingly slick collection of radio-friendly pop. I didn’t know that Jon Macey had this kind of unmitigated sweetness in him. Part of this surprising turn of events may be due to the collaborative influence of his songwriting partner Lynn Shipley. Melodicism, finely honed orchestration, and stellar arrangements all abound, particularly on the first three tracks. True to the title, there is an undoubted pop vibe which is expressed through various influences; i.e., the traditional sad ballad (“Vista”); gentle ’70s-era singer-songwriter compositions (“Another Wait and See Night”); bright California jangle pop (“Time For the Show”); elegiac Eagles-style soft rock (“Aeroplane Baby”), and even rollicking rockabilly-inflected new-wave (“Guitar Star”). For the most part, these are not songs which make you stand up and wave your arms around. They are more like – I hesitate to use the term “aural wallpaper” – so instead, let’s call these efforts decidedly mellow sitting-and-listening music. (Francis DiMenno)

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THE GREY CURTAIN 

Shadow of a Man

10 tracks

The Grey Curtain is an unusual band, falling mostly into the rock/rock opera genre. It’s not every day that one hears rock opera, or for that matter, a band possessing the fortitude and flair for the dramatic that is essential to performing one successfully. Hailing from Worcester, MA, The Grey Curtain is fronted by Dennis Leighton on lead vocals. His voice is deep, dark, emotive, and resonates powerfully with emotional intensity. All of which is necessary to the genre in which he performs.

Jim Miller provides backing vocals which meld perfectly with Dennis’s voice and he delivers deftly played sounds on the keyboard, which also provide a perfect fit for the atmospheric realm of this CD – intense, with an implied sense of urgency and resounding feeling. Dan Whiteknact’s impressive electric and acoustic guitar work delivers piercingly sharp raw rock where appropriate along with alternately lilting and weeping tears made of metal strings, all with precision timing, knowing when each is called for, and where. Musical savoir faire, if you will.

But wait, there’s more. There is Robert Miller laying down a dense, vibratory bass, which lends a formidable foundation and presence that solidifies the depth upon which this music is built. In addition to his excellent bass playing skills, he too, lends some backup vocals to the mix, making the sound that much more full bodied. Last, but by no means, least, is Sean Daudelin on drums. Again, the thing here, is that along with the skills that are up to the considerable task at hand, there is, as with the other members of this band, this remarkable measure of great timing and impeccable synchronicity at work. Their influences can be heard throughout. Shadows of Type O Negative being prominent, as well as hints of Pearl Jam.

These musicians work so well together that it’s difficult to believe that this is their debut album, as their talents seem to mesh together so effortlessly and so well. I must say that for me, a rock opera, or any operatic endeavor in which a story is being told, is always a heavy undertaking and this one is no exception in that respect. One of epic proportions. “Shadow of a Man” is a dark tale, telling the story of “Nathan Noth,” a world weary and cynical alcoholic, and the events leading up to the last days of his life. It’s a bleak story, which echoes the darker days of Pink Floyd’s musical stories. Nathan has clearly looked unflinchingly, into the abyss and it has definitely in turn, looked as deeply into him. His soul permanently seared by its gaze.

I am one for whom stories told through music, work best when seen performed on stage. Any time that I have attended musicals of any type, and then listen to the music at home, it never seems to translate quite the same as the live show experience. Since I have not attended a performance by The Grey Curtain’s Shadow of a Man, I can only guess that the same would remain true. It could only be even more powerful. I’m not going to lie, something this epically heavy is not something that I am going to be reaching for often, given the very nature of the story it conveys. I am not one who typically gravitates toward rock opera, but all of the tracks are amazing, and for what it is, it is flawless.   (R.J.  Ouellette)

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JAMES DISCOVERS

Numbers 

4 tracks

The musical entity called James Discovers is guitarist, vocalist, drummer, songwriter Mario Epstein along with bassist Andy Huges and from the ascending lines of the seven minute twenty-five second “Born Desire” you get a glimpse of The Twilinng meets the Mothers of Invention that makes up the fabric of this song.  “Flew into Boston/ held my breath with Krazy Glue” while guitars from another dimension blare over the perpetuating strum. It appears to be insanity derived from lost love, a wish to be “born again to be with you,” frosted with semi-controlled madness, truly freeform and lots of fun. Recorded at New Alliance by Jonathan Taft and mastered at New Alliance East by Nick Zampiello, they must have had lots of fun trying to figure out the mood of the mania they helped put to media.  The 4:29 of “Theme” could be the signature tune of the James Discovers artistry, searching, uncovering, seeking, finding… all part of “discovery,” get it?  The sounds bounce against the wall with a lovely guitar strum engaging the listener as the music goes from guitar strumming to sonic assault. “I discovered why numbers exist” incorporates the album title and the group name. Quantifying the madness we call it.  “Adderall” is almost five minutes (4:53) of Captain Beefheart playing Lou Reed playing Red Krayloa at the wrong speed.  The singer asks you to get stoned with him.  ON “Adderall?”  A description from Drug.com noting:” Adderall (amphetamine and dextroamphetamine) is used to treat narcolepsy and ADHD. Includes side effects, interactions and indications.”   So that’s where they come up with these riffs – in the middle of the night.  The guitars go in circular motion as this descends into a love song for the sleep medication.  On a very good EP with many exciting moments, the closer is my fave, “The Boats” with the artist “Living in a plastic bubble”  This one’s at 7:24, one second shy of the opening track, and shades of The Doors Weird Scenes Inside the Goldmine double LP “best of the underground songs by Jim and the boys” which featured song lengths of 11: 35 (“The End”), 11:00 (“When The Music’s Over,” 7:49 (“L.A. Woman”) and 7:14 (“Riders on the Storm,” 36:49 plus an additional 49 seconds for four tunes, James Discover’s EP clocks in at about 21:20… with their own Abbey Road (the album) styled mesmerizing guitar riff on “The Boats,” which take the psychedelia right to the end.  Really beautiful… holding out and extending into empty space.    Find it on Bandcamp or pick up a hard copy at their gigs. Worth supporting. (Joe Viglione)

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JON McAULIFFE

Old School Moderne

14-tracks

Jon McAuliffe has been around the block a time or two and you don’t need to read his bio to know it. Though if you do you’ll learn that he has been banging out music since 1964 and has worked with the like of Joni Mitchell and Emmylou Harris. Instead, you will hear the age and miles in the music Jon plays.

A short listen to Jon’s voice exposes his grizzled throat which fairly drips with years of dusty, smoky barrooms. Those strained and weary vocals are one of his most endearing qualities. It’s the voice of a man committed to croaking out tunes until he can no more.

On the musical side, Jon cranks out 14 tracks on this album. They run the gamut from acoustic blues, to folk and on to barroom ballardy. His best moments are the bluesiest ones—when he twists and slides the guitar notes like an old master. Less successful are the piano and keyboard ballads which are well-written enough but delivered in an uninspired and fairly generic manner.   (George Dow)

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FACADE

I Was Awake

11 tracks

Intense without being an assault on the ears, the second release from rock five-piece I Was Awake keeps the pulse pounding with beautifully arranged rock sounds. This is a polished, tight, and incredibly professional album, with amazing vocals and instrumentation. Drums, bass, and guitar flow together, managing to shred and sound smooth at the same time. Chris Harvey’s vocals are a wonder to hear, rising above the music without overwhelming it, riding along and within the music.

I’ve had the chance to see this band live more than once, and the stage show vs. the studio album sound just the same. This isn’t a case of a band sounding one way after hours of producing and another live: I Was Awake brings the same intensity, shredding precision, slamming drum sounds, and amazing vocals to both. If you pick up this album, you’re getting a solid taste of what their live shows sound like.

It’s not an exaggeration to say that this music really moves me. I listen to “Killers, Thieves, Deceivers,” and I get so pumped and ready to face the day, slamming the steering wheel while I’m on the road to work. I find myself headbanging along with songs like “The Messenger,” tensing for the chorus and unleashing when it hits. It’s the kind of album that you can run through again and again, and many more times! (Max Bowen)

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TED SOLOVICOS

Mixed Emotions of the 21st Century

19 tracks

Back in the 1980sTed Solovicos rocked out in the band Smuggler. Jump forward to the new millennium and the artist formerly known as Grateful Ted performed in a duo called Britannica, nailing down British rock, the Moody Blues being a favorite, among many others.   Which brings us to this disc overflowing with original compositions – resplendent in a cover that looks like artist Hieronymus Bosch streamlining Sgt. Pepper’s Lonely Heart’s Club Band succinct pop tunes “No Tomorrows” and “Together” – with its naughty backing vocals lifted from John Lennon’s “Girl,” harken back to the days of Denny Laine’s Moody Blues, the U.K. Kaleidoscope with Eddy Pumer (not to be confused with the American Kaleidoscope) and so many more.  “Sorrow” is not the famous David Bowie cover of Rick Derringer’s The McCoys’ 45, it’s subdued anger at the world condition, the war in Iraq/ Afghanistan and other atrocities.  Solovicos packs the compact disc with a plethora of ideas ranging from happiness to tragedy, an introspective diary of his own personal experiences along with perspectives on the present past and future.  “Love Dreams,” track seven, follows in the vein of the exquisite “No Tomorrows” and “Together,” light pop songs which show this artist at his best.  “I Got My Mind On You” adds some Spanish influence, the theme of love and fun going back – stylistically – to The Tokens/ Jay & the Americans.   “Why” combines the heavy keyboards with Ted’s authoritative acoustic guitar and intriguing vocal work.    Nineteen songs released at one time with so much music in the jungle of the wild frontier of the internet is obviously a musical statement  that takes more than one sitting to absorb.  21st Century (with its three bonus tracks from the 20th Century, additional material a hallmark of Solovicos’ releases) is a diary put to tape – “Give Me Another Night” with its exploding electric guitars indicative of each element that comprises this collection of thoughts that are most personal.  Mastered by Butterscott bassist and former Smuggler pal Joel Simches, it is well-crafted stuff from a veteran of the New England music scene.  A cover of The Kinks “20th Century Man” would have been the frosting on the cake… maybe for the next disc.  (Joe Viglione)

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JOE BLACK

Blackenstein

9 tracks

Screaming guitars. Driving drums. Powerful vocals. What’s not to like on this powerful new metal release? Nasty, growling licks are the foundation on these ballads and heavy rockers like “Give Me Your Love,” Black Oak Arkansas’ “Uncle Elijah,” “Over You,” “Shake A Leg” and the title instrumental track and last cut “Blackenstein.” The ballads “I Care About You,” with Charlie Farren singing lead and Cindy Daley on background vocals, “Monster”and the opener “Love Lives On Forever” are sharp and blistering as well. There are a lot of pieces to this puzzle: Joe Black (bass, backing vocals), David Pontbriand (drums, keys), Ken Kalayjian (mandolin), Jeff Baker (lead vocals), Johnny Press (Velocity), Jody Frawley, and Aart Knyff on guitars, and.Simon Adamsson (drums). Joe gives all three guitar players on the record space to shine with just him and Simon doing a quick piece in between each part instrumentally in the songs a la Steve Vai. On the tracks, part one is Johnny, part two is Jodee and part three is Aart except for the growling “Shake A Leg” where Frawley plays all the strings. This is very cool. And that’s Tim Bradshaw from the John Mayer/ David Grey bands on all the keyboards. Oh man, my ears are bleeding. And I mean this in a good way. Crank it up!   (A.J. Wachtel)

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BOURGEOIS

Valued Customer

4 tracks

Boston’s Bourgeois are a rock ’n’ roll minimalist  trio. Their Bandcamp site describes them as somber, yet sanguine. I would say that is a pretty apt description. They are a lo fi powerhouse somewhat akin to the more experimental Beck albums or Ween. The song “Candy Cigarettes” sort of takes the feel of Motley Crues “Shout at the Devil” and turns it into a Velvet Underground song. This is an eclectic young band that is really on to something, and I hope they continue for a long time to come. This is a great band and if they cleaned up their recordings a little bit they could make a ton of money, but, ya know, who wants money? (Eric Baylies)

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MATT EVERETT

75 or Less Records

White Sugar

8 tracks

Matt Everett is a Rhode Island artist, who performs vocals, guitar, synth, strings, and more on these eight tracks. He is accompanied by Stu Powers, on drums and Greg Motta, covering drums and percussion. This is essentially pop music with elements of modern disco. But, can you dance to it? It may very well inspire you to dance to it, but to my ears, these tracks play more like pleasant background music. That’s just the vibe that I get from it. The music feels as if it is striving at times, to reach something akin to the slick, smooth style which Davie Bowie performed so strikingly well when he was in dance music mode, most notably so, on track 7, “The Greatest Thing.” I loved it when David Bowie did it, but if I am right about what I am hearing and those are the heights that Matt Everett is aspiring to reach, then by comparison, this music has a long way to go. Is it bad music? Not at all. Is it DANCE music? I’m not feeling that. As I’ve said, this would work best for me as background music played while chilling in the comfort of your living room, or while cruising in your car.

Track 5, “Cheap Plastic Shovel,” seemed interestingly out of place amidst the rest of these tracks, and I mean this in the best possible way. There are some heartfelt, genuinely moving lyrics in this song. It had a story to tell. One that I wanted to hear. I would have liked to hear more like this one. Out of all eight tracks, this one really caught my attention, making me stop and listen and really hear. Track 6, “Quickening,” rated as a winner for me as well. It’s smooth, quality music, easy on the ears, it falls nicely into its own sort of groove, a pinch of trance, a dash of ambient sound, and there you have it. So, my take on White Sugar? I wasn’t blown away by it, but all in all,  pretty sweet. Check it out.  (R.J. Ouellette)

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HAIRSPRAY QUEEN

Cassette

5 tracks

Hairspray Queen is a young band out of Providence. This was recorded at Converse Tracks in Boston and sounds super tight and super duper pro. Yeah, but how about the songs, you ask? I’m glad you asked. They pummel your ears at a million miles an hour without losing a sense of melody behind the distortion. They sound like a cleaned up Melvins or darker and heavier than the more well known grunge gulag gangs from 25 years ago. I’ve seen a lot of newer bands jump on this bandwagon and try to ride the coat tails of long gone ghosts. Hairspray Queen ride the bandwagon off a cliff, set the coat tails on fire, and bring the ghosts back to life so that they may snuff them out again. This is a great album that makes a statement, and that statement is “fuck you!” (Eric Baylies)

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URANIUM DAUGHTERS

Oz

4 tracks

The bands I love most to review are those that inspire me to rediscover bands that I already love. Uranium Daughters drips with comparisons to bands that I love, both new and old.

The four-song Oz starts with jangly guitars that will remind you of some of The Byrds classics or, of more recent vintage, anything by Quilt. The garage-rocky Light Beams features a riff that sounds straight out of The Hives’ Hate to Say I Told You So. The garage rock expands to include light punk a la The Go-Gos and the Bangles, Before the four-song set finishes you will also hear snatches of Tennessee’s Those Darlins.

It’s bands like Uranium Daughters that always catch my ear. I don’t want to hear bands that sound like copycat reboots of other bands I like but I always want to hear a band that takes the best of their influences and mashes them into something completely new.

This EP will keep you entertained for weeks to come.   (George Dow)

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ILENE SPRINGER

Got to Be Brave  

14 tracks

You have to admire a singer-songwriter whose offerings are put forth with so much passion and conviction. “Invisible” is a lovely confessional song with excellent keyboards by Chris Gallivan. The inspirational title track has a hearteningly authentic Americana feel with excellent mandolin picking by Mike Delaney and swoony pedal steel by producer Joe Clapp. “Girl With the Wild Hair” is a flat out rocker and a certified crowd-pleaser. “Spectrum of Colors” is another heartfelt Americana piece with stellar violin by Jackie Damsky. Show-stopper “Fragile As I Am” is a lovely hymn with religious overtones and excellent backing vocals by John Schumacher. Overall, this is obviously a highly personal album which is a decided cut above the usual chanteuse-fronted project.  (Francis DiMenno)

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ROPE TRICK

Red Tapes

3 tracks

Rope Trick is a duo from Providence with a drummer and a singing guitarist. There are only three songs on this release but it is close to a half hour long. These are not songs so much as they are epic journeys to the center of the mind. If Jandek fronted Cream but kind of forgot where he was it might sound something like this. This album is all you ever wanted, and more. (Eric Baylies)

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LISA MANNING

My Heart’s Melody

17 tracks

These are spare art songs tinged with melancholy and regret. Some of them appear to be accompanied by (what I guess to be) a Chinese harmonica; a most novel instrument. “The Poet” displays Manning’s quavery voice and delicate guitar stylings. The title track is another soulful and evincing number, while “Nothing But Tears” has a decided Flamenco feel, and “All That We Own” is profound in its simplicity.  Unfortunately, there is such a phenomenon as Too Much of a Good Thing. Ultimately, Ms. Manning’s work doesn’t strike me as forceful enough; I find it too often to be pretentious and self-indulgent, though people more familiar with the tradition she performs in might violently disagree, and declare that all her music is utterly sublime.  (Francis DiMenno)

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THE WINTER PROJECT

The Winter Project

5 tracks

When four guys come together and record what might be a one-off EP over the course of two days, no one could blame you for not having high expectations for the results. Well, I’m pleased to be the one to tell you that that The Winter Project beats those expectations by miles and then some.

They deliver five tracks of classic Boston indie rock. Think early Buffalo Tom (back when they knew how to rock). Think of some of the Heretix’s heavier tracks. Mix in some of the later Taang Records roster (after the label started stepping outside its punk and hardcore beginnings).

Man, this EP is exactly what Boston rock should sound like.   (George Dow)

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BLUE MANIC

V 32

5 tracks

Blue Manic dive right into the four minute and 48 second riveting blues/rocker, “Stoned,” to open up the 5 song EP V-32.  Guitars sparkling, resplendent in raw energy – a harder edge on the recording than a couple of performances that this writer experienced. The band appears more earthy from the stage, and though “Stoned” might appear edgier on disc, it doesn’t mean that these guys don’t crank it up onstage.

The intro goes 51 seconds before the story unfolds with rhythm guitarist Max Grebe taking on the lead vocal chores and explaining it in no uncertain terms, Blue Manic exploring a variety of avenues as Corey Downs pounds away on the drums, aided and abetted by the bass of one Jared Greiff.   Mike Tate and Grebe are responsible for the dual guitar blasts with a toughness that is well balanced.  At the 3:25 mark “Stoned” becomes an almost different tune, guitars screaming in a frenzy as the group jams for 1:23 bringing this unique composition to its conclusion.  Impressive, and hard hitting it is followed by the sweet guitars in “You Got It Made,”  Downs’ drumming providing a good undertone to the other instruments.   “Too Late” is manic – perhaps an anthem emulating the group’s moniker.  “Porcupine” could be Black Sabbath gone alternative.  This ensemble reshapes alternative music into a blues/ rock blend of swirling emotional sounds. And “Black Dress” puts an exclamation point on that.  They may have Smashing Pumpkins attitude but it merges into what Cream, The Rolling Stones and Aerosmith took from their mentors, combining the formula to bring it into the new century.  Not to be confused with guitarist George Conduris’ band Apollo Blue, though a pairing of these two blue bands would be a good thing as they play with the same vigor and intensity. (Joe Viglione)

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Pingback: The Noise reviews Matt Everett’s ‘White Sugar’ | 75ORLESS RECORDS

Just wanted to say thanks for reviewing the After The Blackout disc!

thanks for the review, joe!

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Music New England

December 2016

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T Max Music

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CD Reviews

If you are an artists based in New England and would like your recordings reviews, send hard copies to T Max/ The Noise, 28 Goodhue St. #406, Salem, MA.

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Page Contents

DOUG MACDONALD BAND

Lighting Head

9 tracks

Like a rata-tat-tat machine gun, “Atomic Phunk” blasts out of the speakers as Patty Short’s extended drum roll meets Doug MacDonald’s Gretsch staccato low end notes. Doug (in character) belts out crazy man vocals listing everything wrong with his life, ending with, “They say I’m paranoid, I say they’re just after me.” The tone drastically switches to “Please show me the way and I’ll follow you down” – the music, like the message is effectively schizophrenic in design.

Part of “Drawbridge Troll” comically paints a picture of the Doug MacDonald Band – “A meteor came down, blew up the van, the singer is dead. We’re a two-piece band.” Then it’s Dougie spouting out humorous commentary and complaints one after the other. And it rocks.

“Downtown Crossing” is at least partly about the killing of someone in a subway station and the people who close their eyes and ears to what is going on around them. The catchy sing-along chorus is full of “la la la’s” where I visualize someone holding their ears and singing to avoid hearing reality.

A brutal rumble (as in old time fight) is remembered in “Jason’s Record Store” and every time Doug passes this place the scary memories of fighting and police return.

“Silent Alert” is kind of melodramatic, like an old song from the ’50 where the singer stops singing and talks to us. Kett Lee’s cello and big kettle drums add a new texture to the disc. Patty Short plays some piano and there are gals sing ooos at the end – I love the feeling of it. The song plays out like a production of a little musical.

“Shark Attack” sounds like a comic book version of Jaws. I laugh when I hear “You’re like Dracula with flippers and fins.” The song abruptly changes tempo, Asa Brebner glides into a guitar solo, Doug invites the gals in for a swim… then screams. Doug fits in a “Go Asa” to embroider the guest guitarist name permanently into the song.

“Open Window” drives with Patty’s beat but it’s a sad message of a couple splitting up. The chorus has a beautiful ring to it – extending to an even more beautiful ending. A nice way to close the disc.

I gotta say Doug MacDonald is an artist that deserves your attention. I know his band and Lightning Head has mine.  (T Max)

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NEON ALLEY

Neon Alley

8 tracks

This central Massachusetts three-piece guitar-driven power trio plays blues based hard rock and this great debut album showcases their preaching vocals, growling guitars, throbbing bass and pounding drums format. Sorta like T. Rex meets Metallica. The English band’s chugga chugga rock ’n’ roll beat with the heavy metal band’s loudness and presence. Guitarist/ vocalist/ songwriter Dave Vaccaro, Mike McDonald playing bass and singing and drummer Scott Marion are hard driving artists. “That’s How It Is,” “All I Want,” “Let Your Love Come Down,” “Piece of the Pie,” and ” ‘Til I’m Done” are all arena rockers. Even the acoustic ballad “I Only Want to Be With You” requires ear plugs and may cause bleeding. I really dig the Elvis cover of “Jail House Rock” which sounds like Anthrax backing the Tupelo tornado. Play this CD loud.  (A.J. Wachtel)

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TELAMOR

Olex Music

Good Bad Love

10 tracks

Tom Hauck is the man behind Telamor’s alt rock drive. His mission is to bridge the gap between the classic rock of yesterday and the producer-driven pop rock of today. Classic rock dominates that connecting bridge. The basic sound of Talamor is a throwback to The Who and The Rolling Stones early days. Telamor’s original stamp is Tom’s distinguished vocals. “My Baby,” the opening track, demonstrates my last two observations perfectly.  Late-’60 and ’70s rock is a pleasant home for Tom’s compositions. And for those who don’t know, Tom has been in some pretty successful Boston bands in the ’70 and ’80s – The Atlantics and Ball & Pivot. Now he records at Bang A Song in Gloucester, MA. Tom basically plays and sings everything with the exception of studio owner, Tony Goddess, adding a trippin’ guitar on Cortney Barrett’s “Nobody Really Cares if You Don’t Go to the Party” – with the perfect refrain, “I wanna go out but I wanna stay home.” The only other fingerprints on this CD are that of co-producer Warren Babson programs the drum and plays bass on “You Still Stand” where Tom plays piano.

The title track “Good Bad Love” has a Stone’s feel to it and is lyrically summed up in the line “My head tells me to stop/ my heart tells me to go.” We’ve all been there in the mixed up world of love.

“Nothing But Hope” is a plea for a try at love with a cool guitar solo and rounds of “nothing” at the end.

“That Ain’t For Me” is a break up song with one party not happy with the way the other is treating them.

“Hey Mr. White” reminds us that things will always change. But one things for certain – Tom Hauck will continue to rock as long as he is willing and able. Pick up Good Bad Love and remember what it is to rock.  (T Max)

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THE LEGENDARY RICH GILBERT

Holy Wreckords

Son of S.A.M.

12 tracks

This is a pleasant followup to the prolific Mr. Gilbert’s previous collection of one-man guitar and percussion instrumentals, Stereo Action Music. Some of the pieces here are showcases for guitar extravaganzas, notably “Invitation to Die,” with its palpable air of excitement, and, also notably, the guitar-keening and clangorous “Shut the Box.” Other compositions are more cinematic in nature, like OMD strained through Sergio Leone with superadded steel guitars.These instrumentals evoke epic journeys across wide-open spaces; for instance, the opening track “101 Strings,” and, also notably, the deterministic twang and clangor underscored by muffled percussion of “Say Hello to Wolfgang.” Still other compositions are almost purely ambient, like the sedate “Weltanshauung”; the moody “Lost But Never Found”; and the lulling, pacific melodicism of “The Balcony People.” And then there are the songs in which percussive and other effects dominate: for instance, the discombobulating “Check Yourself”, with its insistent and nagging leitmotifs; also, the winning and lovely “Wyoming and Nairobi,” with its straggly keyboards, insistent drone, and keening harmonica, all of which resolve into a blast of powerful discordant guitar and some gorgeous pedal steel. “Drop Out” is a genuinely disorienting piece, with its mindful guitar scrawl and funereal organ underpinning. The snippet “Indian Groovebox” is both ambiant and exotic, with its leitmotif of sampled ethereal voices played on keyboard. The sedate closing track, “April Fool Day” is kind of like a joke on all of us: its easygoing pedal steel ambiance is evocative of a CSN&Y outing such as “Teach Your Children.” You keep expecting it to resolve into something else, only it doesn’t. Surprise! This collection proves (as if we need any proof) that Rich Gilbert is not only a great guitar player, but also a pretty ingenious composer as well. (Francis DiMenno)

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STEVE GILLIGAN & SPIDER FARM

Dog Patch Garage

12 tracks

About 13 years ago Willie “Loco” Alexander, contemporary of Steve Gilligan and friends, released the excellent Dog Bar Yacht Club.  A baker’s dozen spins of the earth around the sun and Gilligan’s Spider Farm – a veritable super group of people on the folk scene – issues this 12-song disc.   With a nod to Loco’s hero Kerouac Spider Farm open Dog Patch Garage with a terrific pop tune, “The Sun Belongs to Anyone” which flows with the best elements of Americana wrapped up in hit record dressing.  It’s simply superb and deserves a huge audience.   “She Was My Girl” clocks in at 4:15 and could be Rock E. Rollins, the alter ego of Gilligan’s bandmate from the Stompers, Sal Baglio.   “Roline” and “Halfway to Wichita” are short bursts at 3:12 and 3:13 respectively, and what exudes from the stylistically different pair is the fun that this ensemble puts into the playing. Drummer Lenny Shea (percussion, glockenspiel and vocals) and Dave Friedman (piano and organ) – both Stompers themselves – join Kenny Selcer – a local legend who didn’t need to perform with presidential candidate Jill Stein to be famous, though he did when they were in a duo Somebody’s Sister.  Bird Mancini’s Billy Carl Mancini along with fiddle player Jackie Damsky and guitarist John Gibson add to the thick sound.   It’s one thing to perform on bills with the bands your friends are in, another to blend all these veteran musical talents into one CD that has so much to offer from so many different styles.   “I Wanna Know” has bending guitars borrowing from The Ventures, but adding that sound to a different dimension The Ventures dare not go, specifically Beau Brummels and Searchers territory.  “Dead End Angel” could be The Everly Brothers joining George Harrison’s Bangla Desh multitude, and perhaps that’s the key to the charm at play here. Harrison brought together divergent talents from Dylan to Badfinger to Phil Spector and it worked in a new and refreshing way.  Steve Gilligan & Spider Farm, comprised of so many masters that have emerged from our under-appreciated music scene have crafted a stunningly beautiful set of essays that enlighten and entertain.  Then they turn on a dime with “Would You Kiss Me Now,” stripped down pop where the embellishments pop up at opportune times.  Things turn around again with “The Other Side of the Rain,” great music but as jarring as Santana’s 1999 Supernatural disc which had a wide scope that, somehow, people were able to adjust to.  How did Clive Davis get fired for being too old when he put out the biggest record in the world is just one aspect of the music industry that keeps things… interesting.   “The Great Beyond” asks the eternal, perpetual questions and “Heaven Allows” states the obvious at five minutes and 19 seconds… with delicious harmonica.  “A Little Lovin’ Tonight” at 4:19 bridges the gap with songs that go from three minutes and under to Richard Harris Top 40 territory. “Rain Don’t Fall” concludes this excellent set with sounds of the old west, as recaptured by Peter Calo on his Cowboy Song disc, but with the added twist of religious overtones and neo-gospel.   (Joe Viglione)

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MARIANNE TOILET & THE RUNS

Eargasms For Your Genitals

6 tracks
Yes, your read correctly, today I’ll be reviewing MARIANNE TOILET & THE RUNS’ new album, Eargasms For Your Genitals. Where do I even begin? If you like gross-out punk that sounds like G.G. Allin playing rock-a-billly, then this record is going to be right in your wheelhouse. Otherwise, oh boy, you are in for a ride.

The record opens with “…In the Beginning,” an intro track which frankly serves no more purpose than to delay getting to the real opening track, “Fifi.” For those not in the know (I fall into that category – I had to look it up) apparently a fifi is a homemade vagina favored by inmates in need of sexual stimulation that doesn’t involve the ass of another inmate. I guess this is a subject that was begging to be committed to song.

From here it only gets better.

The inexplicably named “Frat Boy” is a tale, told in the first person, of a guy who prefers sex with transvestites because he always know when he’s made them cum. The narrator takes great pains to explain that his preference for girls with dicks does not mean that he is gay. Wow! This is deeply intellectual stuff. I feel like I’ve been thrown headlong into an abnormal psychology class.

After the utter stomach-turning, gross-out topics of the first two proper songs, “Gentleman & Scholar” feels almost like primetime comedy. It’s a he said/ she said ballad in which the male protagonist wants to curl up and cuddle with his love while she expresses her frustration that he won’t bend her over and fuck her like a whore.

Oh but wait, we’re not done yet. We still have two more hits to go before we’re finished with this one.

“Lawnmowing” tells the tale of a guy who lost his penis in a lawn mowing accident and his desperate desire to give his girlfriend sexual pleasure.

Then, just when I thought it couldn’t get any more ridiculous… enter “The Blumpy.” A rambling exposition on a fat chick that has way more sex than her skinny, good-looking female counterparts. Now that’s not the ridiculous part. That’s just par for the course with this record. What is unimaginable is that the song ends with a rambling yet detailed breakdown in which The Blumpy, in a clown voice, gives Jesus a blowjob. The song fades to black with a no-nonsense rendition of the traditional hymn, “I’ll Fly Away.”

All I can say is that as I finish typing this review, I plan to go directly to the shower and wash the filth from my body.   (George Dow)

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FUTURE CARNIVORES

Boy Girl Boy Girl Records

Melt the Sky

9 tracks

The opening and title track is low-key trance music of a sort, very underplayed and almost minimalistic until we reach the ecstatic middle eight, in which the instrumentals mass to form a near-coda and an efflorescing climax. The pick hit, “Science Fiction, Baby” is post-punk in its vocal imperatives, and intrinsically appealing, ala Pylon; the song then evolves into a rousing, even stirring coda. “Soft Amber Glows” offers up some more of that swoony, persnickety guitar with a thousand-mile feel, with some smartly applied percussive touches throughout and a killer hook in the crypto-chorus. “She Goes On Existing” is a more experimental and somewhat alienating composition: a spooky recitative backed by ice-cold guitar, rather like Wire on “154,” but with a great deal of guitar panache. “Sensible Milestones” is another post-punk recitative, squarely in the post-punk camp ala OMD’s “Dazzle Ships,” with a sluggish feel to the vocals which is belied by the urgent circular guitar and the heavy mechanical effects. It’s a brave experiment if a little off-putting in a deliberately ominous way. “This Is No Time For That” is a musique concrete snippet which evokes the  unsettling feel of a droning air raid siren with mechanistic percussive effects. “Cinnamon Afternoon” is an oddly variegated bit of pop whimsy with an epic, far distant feel and ecstatic choruses and keening guitar refrains all leading to an urgently thudding coda. “A-Frames and Desert Lounges” is a strangely attenuated, nearly pop number slowed down and then stretched out in some sections, and with an urgently forced pace in others. Something of a tour de force for all that, particularly in the rackety coda. The remarkable “Silent Assassins”  starts out bright and sprightly but is anchored by Bo Barringer’s best David Bowie-as-lounge-lizard vocal stylings. Pepe Anzalone’s drumming is crisp, Reuben Bettsak’s clarion guitar is highly appealing, and Steve “Swade” Wade’s bass provides a steady underpinning. This is an album riddled with brilliant songs and moments within those songs; highly recommended. (Francis DiMenno)

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STEVE GREELEY

Love Town

15 tracks

The biggest thing I can say about Steve Greeley is where the hell has he been? This man is a profound talent –  a classic 20th century popular songwriter. As I listen to this collection I am confident that his songwriting ability rivals the crème de la crème of modern pop musicians such as Billy Joel, The Doobie Brothers, Burt Bacharach, Jackson Browne, Carole King and many others who dominated the hit parade. Steve has the instincts – he knows how to write a melody and a hook, and he has a beautiful tenor voice that more than delivers. Some of this album, which he described as the collected love experiences of people from a fictitious town, reminds me of the dramatic tunes of ’80s groups like Journey, or the mid-career Beatles. Some of these could have been written for Broadway shows, or for part of the repertoire of standard song stylists. “Close My Spirit Down” is a hymn-like song with an honest and innocent sadness that makes me think of Tom Wait’s song, “I Hope that I Don’t Fall in Love With You.” “Don’t Know How I Let The Money Slip Through My Hands” is a bluesy girl done me wrong song. It reminds me of a hit from the Brill Building. A line up of curvaceous dancing backup singers would go well in a live performance. “No Matter What You Say” makes me think of Ray Charles. You could pare it down to just piano, or make a big fat production with horns and more of those curvy singing ladies. Yeow. “Stone Solid ” – This is a primo example of Steve’s hit writing ability – a catchy melody with a hook. The lyrics are simple love song lyrics with a fun melody: “Walking into the party/ I saw her all alone/ Just one look was all it took/ had to call her on the phone/ But what would I say?/ What would she do?” This is the type of song that ruled the ’60s. “Gotta Know Why” – Steve calls to mind Peter Cetera in his vocal delivery, and Michael McDonald in style. “Four Letter Girl” I love this gritty little song, full of double entendres about a man-eater type woman. It has an early Van Morrison “Gloria” feel. And what is really cool is Steve wrote it with his son Sam. “Jealousy” – is an exceptional song that could be in a Broadway show –  a great mouthpiece for a villain: “Iago lives right here in my head/Whispering words I wish he never said.” It has a Burt Bacharach/ Henry Mancini feel. I can imagine Tom Jones singing this wearing tight pants. And Steve, you sound really hot too! That’s some great vocal range. “Out of Time” – I love this. It has the gut-ripping quality of Bonnie Raitt’s song “I Can’t Make You Love Me”: “Bad news has a way of coming sudden/ Don’t it seem like you’ve been shot between the eyes?” The haunting trumpet nails the hollow, gutted feeling.

“In My Memory ” What can I say? This is a real, first-class love song. No cynicism, totally open and innocent. It spans the generations. If everyone experienced love like this, we’d be living on a different planet. Utterly, heartbreaking and gorgeous. Steve, how did you come up with this? I couldn’t get through it without crying.

Steve plays shows from time to time in the Boston area solo, or with his band, Big Red Sun. If you have the chance to hear him live consider yourself fortunate.   (Kimmy Sophia Brown)

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COLD EXPECTATIONS

Cold Expectations Music

Supper Prayers  

6 tracks

“Greensong” is a fairly basic hook-laden composition by scene veteran Steve Prygoda. It has a vaguely Byrdsy feel, which seems to promise a collection full of folk-rock-country stylings. Indeed, “Waterin’ Down the Whiskey (With Our Tears)” is a fairly letter-perfect twangy country confection right out of Buck Owens or some such. “Lately I’ve Been Wearin’ My Heart On My Sleeve” is a more rockabilly-inflected number ala “Hot Rod Lincoln” but sung with a rousing brio, augmented by the stellar drumming of Mike Demers, the perfect backing vocals of Kevin Mahoney, and some truly snazzy guitar work, also by Mahoney. “There Goes the Sun” has a melancholy, elegiac feel which reminds me of Green On Red and other similar roots-revival bands, with, again, a Byrdsy feel to the guitar, as well as some sweet backing vocals by Joellen Saunders Yannis. “Takin’ Off Your Makeup” is a truly sad song, performed at an almost dirge-like pace, but not without a certain depressive appeal. Finally, “Plain to See” is another elegiac country-folk song with a shuffling beat and some wholesomely twangy guitar. (Francis DiMenno)

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GRAVEL

I Never Asked

6 tracks

Gravel is a punk rock steamroller of a band from Salem. They recall the glory days of the Germs or L7.  Lead singer Victoria sings with a righteous indignation that will be a perfect fit for these upcoming troubling times. Perhaps only punk rock can save us from the dark days that are surely ahead, and I think that Gravel will be right up front lifting our spirits, not so much in a political protest kind of way but because Gravel will sort of be the zeitgeist expressing the sentiment indirectly with powerful rock ’n’ roll to lift your spirits. Rock has been dying a slow death and Gravel is here to resurrect rock ’n’ roll from the malaise. All hail Gravel! (Eric Baylies)

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EZEKIEL’S WHEELS KLEZMER BAND

Turning Point

9 tracks

To a lot of listeners Klezmer music is similar to classical and this ensemble’s second full length album proves this true. Their sound has the familiarity of chamber music and the energy and force of dance band music; and the passion and creativity behind the notes and arrangements make this all- instrumental release unique and very good. Ezekiel’s Wheels are internationally known and members Abigale Reisman and Jonathan Cannon on violins, Kirsten Lamb on upright bass, Nat Seelan on clarinet and Pete Fanelli blowing the trombone play locked in to each other every measure, every song. Check out “Doina For Duke,” “Fiddler’s Sirba,” and “Nat’s Nign” to hear their collective virtuosity. I really like how the songs change tempo and direction mid- song; starting off like an Irish jig or even snake charming music and then morphing into jazz with an improv feel to finish the melody. Listen to “Johannes Khosifl,” “Barry’s Bulgar,” “Traveler’s Terkisher,” and “Arthur and The KCB” to hear their variety and cleverness. The closing tune “Dobranotsh” is strictly chamber music. The zeal and quirkiness on this release keep the ear interested. Cool stuff. Check it out. (A.J. Wachtel)

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JOHN LARSON & THE SILVER FIELDS

Shiny Fly Productions

The Lost Refrain

13 tracks

The opening song from this Providence-based group, “Glassful of Sand,” has an epic melancholic feel which the superadded strings help to facilitate. “Sinking In” is more sprightly and upbeat, and “Lydia” brings some more upbeatness replete with a hooky chorus and a melancholy undertow. The harmony vocals evoke The Hollies and the song reminds me of The Outlets, albeit with tangled guitar work very much in an early ’70s vein. “I’m Not Spartacus” is a more laconic, folksy number which, with its laid-back melodicism, brings to mind exemplars such as The Band or Van Morrison or maybe even Eric Clapton in one of his more mellow incarnations. “River in a Raindrop” evokes the country-lite stylings of Linda Ronstadt or Emmylou Harris. The swirling melodic textures of “Urban Symphony” belie the vocals, in which Mr. Larson seemingly channels his inner Bob Dylan. You could see this one garnering radio play in some more perfect universe. “Noah Sent Down a Dove” sounds a bit Springsteeny, ala “Adam Raised a Cain,” but with thudding percussion and more tangled guitar work. “South of the Stars,” which ends on an abrupt note, is a swoony confection imbued with pedal steel melancholy and so laid-back it almost hurts. The exultant “Dexter and Broad” reminds me very much of the lively early Elvis Costello, with sharp lyrics and user-friendly keyboards by Peter Linnane. This is another radio-ready piece. The soothing “Split the Difference” starts out like, of all things, Bread, then rises up to the minor grandeur of existential poppiness. “Happy Landings” is an oddball paean to Evel Knievel, but you can overlook that as you revel in the aching vocals and compelling melodicism. The iconography of the packaging suggests rootsy Americana, and that isn’t far from what we get. Few of the songs outwear their welcome, and none of them are a major drag. (Francis DiMenno)

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GRIST

Ep

3 tracks

Northampton’s Grist is a three-piece rock band that mine musical territory of the past 30 years to create a new kind of musical gold. They are simultaneously a throwback and modern sounding. Grist have catchy but odd songs that recall A Certain Ratio, Robert Hazard, Crispy Ambulance, and Classix Neveaux, or if you are from New Bedford, The Gluons. They have the hooks that kill in a Killing Joke kind of way, too. Less is more on this fantastic but brief excursion into musical bliss. (Eric Baylies)

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THE JAMES MONTGOMERY BLUES BAND

Cleopatra Blues Records

Tribute to the Paul Butterfield Blues Band

10 tracks

Everyone has seen James Montgomery in person at least once in their lives and while listening to this great new release you can easily picture and feel the excitement of his incredible live show.  Onstage James is always in total control. His poise, his persona, his timing, his wit and wisdom are all part of his huge appeal. The seven covers and three originals on this CD are all captured sorta live but recorded and mastered in the studio. And with no loss of power. Backing James and his screaming blues harp are George McCann on lead, rhythm and slide guitar, David Hull on bass and Jeff Thompson on drums. George and David each wrote and sing lead vocals on their own composed contributions too. Grace Kelly plays sax and the legendary Uptown Horns with Montgomery’s childhood friend Crispin Cioe on sax, Larry Etkin on trumpet, Arno Hecht on sax and Bob Funk on trombone also add their powerful chops to the final mix. Cameos by Butterfield Band keyboardist Mark Naftalin and Connecticut guitar ace and Johnny Winter Band veteran Paul Nelson, and Jimmy Vivino from the Conan O’Brien TV show band bring the virtuosity level up another notch. There is a BIG sound to this album and  Nelson’s stellar album production at Chop Shop Studios in Stanford, CT, is the icing on the cake. For best enjoyment, turn the volume up to ten… or eleven if you can. Listen to the band pay tribute to Butterfield on songs “One More Heartache,” “Born In Chicago,” “Blues With A Feeling,” “Shake Your Money Maker,” and “Mystery Train” where James adds his own personal touch and mentions known Massachusetts locations while he sings. The original tunes “Young Woman’s Love,” written and sung by McCann, “One Plus One,” written and sung by Hull and the instrumental “Good Question,” written by James, George and Grace Kelly are all powerhouse songs with killer performances. Montgomery’s patented jump blues doesn’t get any better than this. Onstage or on this recording, James is a showman and whether you see him live or just listen to this new music you will fall under his spell. Great stuff. Check it out.  (A.J. Wachtel)

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MILL POND FALLS

Mill Pond Falls EP

4 tracks

Mill Pond Falls’ self-titled EP gives a clinic on American rock music. There are heavy doses of Tom Petty’s classic rock song-craft and Black Crowes’ southern rock soul. Couple that with a smattering of jagged Neil Young-ish guitar solos and a Cracker-esque indie rock edge and the result is a near-perfect amalgam of everything that is satisfying about American rock in the 21st Century.

For vocal reference points think Dave Lowery from Cracker mixed with that guy from Train (but in a good way). The rest of the band is tight – laying down a solid foundation for the tracks to build off.   (George Dow)

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KRISTIN HERSH

BMG Music and Omnibus Press

Wyatt at the Coyote Palace

24 tracks and Book

This majestic collection strikes me much less as an assemblage of half-completed songs and much more like a privileged look into a gifted artist’s sketchbook. Past examples might include Bob Dylan’s Basement Tapes; Syd Barrett’s solo albums; Patti Smith’s Radio Ethiopia; 69 Love Songs by The Magnetic Fields, and XTC’s demo albums Homespun and Homegrown. These are all instances of artists honing their craft and quite possibly not worrying too much about what kind of an impression they are making. The book which accompanies the two CD-set is full of impressionistic vignettes; many of them anecdotes which fall short of being full-blown stories. These vignettes seem to provide a kind of running commentary on the frequently elliptic song lyrics which accompany them. Many of the songs on Wyatt at the Coyote Palace are anchored by a strummed acoustic guitar underscored by quirky melodies and arrangements. The opening track, “Bright” begins as though a door into the unknown has gradually creaked open and is luring you into a troubling world of unresolved and unsolvable ambiguities. Spacy sound effects lure you further into the sounds of cascading guitar strumming and Hersh’s fragile, almost broken voice. The overall effect is both disorienting and transcendent – and then the song, like a dream, abruptly ends. “Bubble Net” evokes a murky, underwater-sounding eldritch feel which evolves into a kind of magisterial march. Many of the remaining songs are divided into  three types. The first category consists of pretty, if seemingly fragile melodies, such as “In Stitches,” the eerie and translucent “Hemingway’s Tell”; the manic-depressive “Wonderland”; the lovely but ominous “Day 3”; the subtly urgent “American Copper”; the pretty but scarifying undertow of “August”; the laconic “Cooties”; the beautifully, beatifically melodic “Christmas Underground” and the elegiac “Shaky Blue Can.” The second category of songs might be deemed Art songs, with halting and often abrupt pacing: for example, “Secret Codes”; the broken and stammering guitar of “Detox”; the stuttering impetus of the wrenching “Two Birds”; the masterful, brilliantly poppy ba-ba-bas of “Guadalupe,” with its liquescent guitar and ominous and almost hypnotic and frightening bass undertow; the alternately juddering and calm “Some Dumb Runaway”; the strangely placid and moody “From the Plane”; and the wrenching pomp of “Between Piety and Desire.” The third, and often most powerful category of songs consist of nearly nightmarish soundscapes with intense vocals, which include the following: “Green Screen”; the sad and classically tinged “Diving”; the tumultuous and insistent “Sun Blown”; the brightly melodic but taut and eerie “Elysian Fields”; the alternatingly calm and intense “Soma Gone Slapstick”; and, for the grand climax, the impossibly beautiful and utterly otherworldly “Shotgun,” a brilliant tour de force in an idiosyncratic and highly personal album which is full of them. (Francis DiMenno)

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CUSHING

Curse of Cushing

6 tracks

Cushing is a heavy experimental post punk trio from Portland, ME. Some of the songs move slow but steady and heavy as hell. They have a less metal Helmet sound that would fit in nicely with Jesus Lizard and the whole Chicago noise rock panic of 1992. The singer can sing more than most of those growlers, and the music can be very pleasant like Hum before exploding out of the speakers with a deafening howl. I was lucky enough to see these guys live and they are just as great as their studio work. Last week I had never heard of Cushing and this week they are my favorite band. This album is like a maze with twists and turns and winding paths and when you reach the end you will be emotionally exhausted but dying to start all over. (Eric Baylies)

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ALIEN DRAG

Oddio Sound

Escape From Alpha

7 tracks

First of all: PLAY LOUD. Second of all, don’t listen to this collection expecting something either completely serious and conventional or something reputably avant-garde and somewhat boring. This is a curious mix of punk rock conventions yoked to bizarre, Queen-like grandiosity, as on the opening snippet “Dependable.” We return to slightly more familiar territory with the buzzing, synth-slathered opening bars of “Mistake,” which segue neatly into prog-style pomp backed by yobbo-style vocals and furiously churning percussion, all topped by tottering guitars. “Song Embryo” continues the trend with an angular guitar line and shouted vocals with a spooky, ominous refrain. “Scrumble 47” is an anthem of sorts, appealingly goofy and replete with an ooh-la-la chorus. “Did It Again” is a simplistic j’accuse which carries an interesting guitar-bass one-two punch. “God Damn” is like a slowed-down Sex Pistols number as channeled through Steppenwolf. “Uh Huh” has an urgent keening guitar line surrounded by super-heavy riffing replete with nightmarish shouting and ending in turbulent confusion. A goofy, romping rampage, mostly. (Francis DiMenno)

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INTERSTELLAR OVERDOSE

Psychiatric Sounds

6 tracks

Interstellar Overdose are from the Worcester area. In the studio it is a one man band, but I don’t know what the live lineup is. Interstellar Overdose is heavily influenced by the psychedelic sounds of Pink Floyd and perhaps even Syd Barret’s acid casualty biography. This collection is mostly two guitar tracks at once with some extra sounds, but no drums or vocals. I’m looking forward to finding out more about this wonderful project, full of mystery and fury. The songs go by in a glacial yet mesmerizing pace, taking you to perhaps a better place than the world we inhabit. (Eric Baylies)

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VARIOUS ARTISTS

Feels Like Going Home – The Songs of Charlie Rich

13 tracks

This Americana compilation album is the brainchild of local performer Mike Dinallo and sports four tracks by local artists and the rest are by national stars. Juliet Simmons Dinallo does a cover of a cover with “Whirlwind.” Rich didn’t write this tune. It was on the b- side of his 1958 debut “Who Will The Next Fool Be?” Her great voice and her nice harmonies are the foundations behind a song with a rockabilly edge and are right on the money. Having her own female perspective projected on a song originally sung by a man also adds to the appeal.  “Midnight Blues” is done by Anita Suhanin (Groovasaurus) in a slinky, sultry bossa nova manner. Mood with twang. I love it. Anita’s song  is more cabaret whereas Juliet’s tune is more hoe- down. “Don’t Put No Headstones On My Grave” is done by Martha’s Vineyard legend Johnny Hoy and his stellar blues harp. Rich wrote this tune made famous by Jerry Lee Lewis and Hoy adds his own sense of Chicago blues with swing, New Orleans funk and rockabilly. Just vocals, harp and a piano. Hoy slows the melody down and turns it into a blues screamer. Kevin Connolly (The Great Divide) adds his tender and weary vocals to “Feel Like Going Home” which is the only song covered from Charlie Rich’s final period in his career. This cover is the most similar to the original via the vocal passion delivered in the separate versions. A very introspective performance by Connolly.The album’s band is sharp as a tack and includes Mike Dinallo on guitars, Tim Carroll and  Preston Rumbaugh also on guitars, Jim Gambino (The Drive) on keys, project producer Ducky Carlisle on organ, Grammy award winner Tom T.H. Hambridge pounding and Amber Casares and Jeremy Berlin on vocals and keys. Charlie Rich and his music is a bit dated but these covers capture the authenticity of the era and if you are a fan you will love this compilation CD. Cool country blues with a uniquely interesting  edge.  (A.J. Wachtel)

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LISA & GLENN

Demo 2016

4 tracks

This is Lisa Haley and Glenn French – two talented performers that I keep running into on the North Shore. After seeing them by chance three times in one week I asked if they’ve been recording the songs I’d become accustom to hearing. Lisa reached in her bag and handed me this 4-song demo.  It starts off with their take on a classic by The Everly Brothers – “Bye Bye Love” – they replace the swing quality of the original with more of a folk feel. The harmonies are spot on, the sound of the guitar, uke, and vocals are pure – no fancy production tricks. The vocals harmonies are true to the original with the exception of a jump up on the line, “Bye bye sweet caress.” It’s all easy going with a natural feel. Nice.

Song number two “No Mystery to Me” sounds like a ditty of a tune from the ’40s with its bouncy melody, multitude of chords that move in an melodic fashion and charming innocent “in love” lyrics. I’m a sucker for these kinds of songs that were written by people who have a distinct understanding of interesting chord progressions (George & Ira Gershwin/ Cole Porter). I searched the Internet trying to find out who originally did this song until I learned that Glenn French wrote it. He says it’s his from 2005 – Lisa says he wrote it in 1938. It’s quite a wonderful song.

“Ship to Wreck” (by Florence & the Machine) has the most rock feel of the four songs – maybe something that could have landed on a Carly Simon record. It’s driven by piano and Lisa’s vocals. It’s impressive but doesn’t hold the charm of the other songs here, almost sounding like it was meant for another duo.

“Wishes” (a Glenn French original – penned when he had a fever) is sweet with intricate folk guitar work and close two part harmony. Glenn is great at supporting Lisa vocal melody with a less than simple harmony line. I can almost hear a string arrangement for this one, but like the other songs it’s kept pure and simply beautiful.

Lots of good choices were made to put this demo together. I’m sure there will be more future gems from these two… and hopeful more will sound like they were written in a different era.  (T Max)

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HARU BANGS

Mix Tape #2

15 tracks

Haru Bangs are two drummer and guitar player-singer group from Portland, ME. I think the two drummer line up is new and this just released album features a duo, but it has no information on it, including but not limited to why this is a mixtape of one band. Is this a best of? I don’t know. This is a pretty great recording that is all over the place, from Ministry style pounding to punky yet arty feel of Magazine, Butthole Surfers, the Stooges, or Fugazi. There’s something in the water in Portland lately, and it’s not water! There are some great bands coming out of the frozen tundra up northville. I know very little about Haru Bangs, but I know that they are incredible! (Eric Baylies)

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PENN JOHNSON

Experiencing Turbulence

12 tracks

Penn Johnson is from Marion, MA, and this music was recorded at Kidney Stone Studios in Woburn, MA. He is a story teller by nature and a folk singer by trade and his persona is equally at home at a campfire or a coffeehouse. His soulful storytelling really comes across in his own songs “Not Here To Argue,” “What They Preach,” “Down This Well,” and the ballads “Set Free,” “Earth Continues To Turn,” “Another Year,” and “When Things Get Green.”  “Wild, Silly and Free” is real radio friendly and his voice is so caring. He speaks from experience and his teaching tone is compassionate and direct. I hear Dylan and Tom Waits in his music but without the triple meaning phrases and with a much better voice than either of them. He strums well and he finger picks fine but the lyrics and the message are always the focus. A bit of spoken word with gruff vocals, catchy hooks and acoustic guitar. This cat is the real deal.   (A.J. Wachtel)

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THE PREFAB MASSIAHS

Keep Your Stupid Dreams Alive

8 tracks

“Ssydarthurr” kicks things off on Keep Your Stupid Dreams Alive like Syd Barrett performing a concert on some asteroid.  With elements of early Brit Rock, taking the Who’s “Boris the Spider” to a realm where The U.K. Kaleidoscope totally owned, you know you’re in for a ride right from the start. “Weirdo’s Everywhere” is a jangle jangle pop sensation with an incessant chant/march of “hey hey hey hey” and a psychedelic video that Twiggy should embrace to relive her glory days.

While Willie Loco was “in with the outs,” Prefab Messiahs are part of the in-crowd, thank you Dobie Gray, driving along with sixties magic straight from the Nuggets collection.  “God Bless the Prefab Messiahs/so help us all” they shamelessly, and lovingly, sing for themselves…and for you.  “Orange Room” is drenched in authenticity and the magic we expect from disciples of the Strawberry Alarm Clock, Chocolate Watch Band and Electric Prunes.  The garage rock of “College Radio” would be perfect on a bill with Richie Parson’s “Mixtape” – the clanging guitars a dream for those of us who love to indulge in this time period.  “Booshwa Sally” will “buy you bracelets that will…” engage you in her “perceived materialistic values or conventional attitudes.”  You see, she’s bourgeois.  “Bobb’s Psychedelic Car” states the obvious while the title track takes you into “Telstar” territory only with words and a catchy vocal chorus.  “Prefab Flashing” is an excellent psychotic ending to one highly entertaining disc which concludes by going back to the future.  (Joe Viglione)

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TOKYO TRAMPS

“Flowing Water”/ “Jeffrey Jive”

2 tracks

This is essentially a two-track teaser for Tokyo Tramps upcoming CD If I Die Tomorrow.  “Flowing Water” gets rolling with a bouncy rhythm that can strangely connect Talking Heads and Jimi Hendrix. The lyrics sound like something David Byrne would have come up with and a few of the guitar parts and drum fills come right out of the Hendrix handbook.

“Jeffrey Jive” is annoyingly catchy when Satoru Nakagawa sings the title and Yukiko Fujii responds “who dat, who dat?” It’s great for splitting their live audience into two and each taking one of the parts. Again Hendrix comes into the picture when measures pouring from Satoru’s guitar resemble “All Along the Watch Tower.” It’s local rock at its finest produced by Peter Parcek and Duck Carlisle.  Watch for the release of If I Die Tomorrow.   (T Max)

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SPEEDFOSSIL

Expensive Hobby

“Land of the Blind” b/w “L.O.L.”

2 tracks

The two-track teaser single from Speedfossil’s forthcoming LP, Your So Next, should provide some good insight into what to expect from the full-length. What you get here two quick bursts of indie rock that pay homage to the late-’80s/early-’90s Boston music scene.

“Land of the Blind” is a straight-ahead rock track; complete with nasally vocals and jangly guitars.  “L.O.L.,” the stand-out track, shares much in common with with the classic Del Fuegos sound; nailing that special balance of indie-rock edge and southern-rock drawl.  (George Dow)

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FEBRUARY

Stains of a Sunflower

8 tracks

The purple setting with bare trees is a classy cover photo for Stains of a Sunflower’s February cd, and interesting as the name of the group is not on the spine, the front cover or the CD.  In fact, it’s hidden on the right hand bottom corner of the black back cover, making for a kinda sorta Andy Warhold Velvet Underground White Light/ White Heat, tilt it under the fluorescent to see kind of approach. The vocals of the group’s chanteuse, Natalie Renée,are embellished with the electronic guitar of Alex Michael Jones on opener “California Sky” as  the two play off of each other in interesting ways,   The music is velvet smooth over the 5:57 – almost six minutes – in what is one of eight titles that are more like excursions than songs. The band is simply amazing as they stretch out with Renee painting over Shade Tramp’s steady and sometimes exotic drumming.  It’s not easy to get a handle on what they are exactly doing as the songs get dismantled and reassembled throughout the performances.

At 3:06 “Spells” is the shortest tune, the vocalist singing while offering short bursts as Jones’ guitar follows her lead. Dan Soghomonian’s bass keeps pace with them as “Spells” segues in to “September” (not the Earth, Wind and Fire classic, nothing like it!) Five of the eight are one word titles, think Talking Heads 1979 epic Fear of Music with seven of the eleven going the same route.  The jam on “September” is eloquent and captivating, contrasted with the folk/acoustic of title track “February” which follows with its gut-wrenching set of questions and mental self-discussion.

Live the quartet recreates this embracing set of sounds, “Pretend” again taking a different turn, as if Nico reprised her days with the Velvet Underground on their quiet third masterpiece.   Kaleb Jacks’ clear and precise production/engineering is reminiscent of the late Wayne Wadham who built Berklee’s original studios (and produced Full Circle for Columbia records, along with other major artists. Check out that disc for a comparison,) and complements the band nicely as Natalie’s pathos switch to a John Lennon-styled primal scream.   “I Love,” “Dreaming of You” and “Tree Song” are further adventures, the acoustic in “I Love” essential to shift the sounds a bit, “Dreaming of You” slipping in like a sixties classic with “Tree Song” ending like a jazzy Abbey Road conclusion, two of my favorite tracks on this excellent disc coming at the end. The chorus behind Renee is as compelling as it is eloquent.  Not your typical Boston area sound, and nicely put together all the way around. (Joe Viglione)

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GOVERNOR

Morelikesabbathsongs

The First Three

3 tracks

“Snake That Eats Itself” and “Headphones” are the tuneful numbers, while “Nickel Chaser” is something else altogether – a pulsing, droning dirge replete with electronic effects and ominous affect, which blossoms into a grandiose series of vocal climaxes and ends in an armageddon of scrawl. By contrast, the first tune is a sorrowful lament that wouldn’t sound out of place on a Nirvana album, and the second number is a swirly confection with lively vocals, colorful guitar, and a mind-manifesting middle eight. But it’s the third song that truly sticks. (Francis DiMenno)

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PALE HANDS

Graphism

8 tracks

Jen Johnson’s lovely voice surrounded by dreamy synths and samples provided by husband Mike Latulippe are what Graphism is all about. With the recent addition of guitarist/ songwriter Nick Murphy their second album is spiritually akin to The Cocteau Twins and Chvrch with a bit of Wilco mixed in. Songs like the opener “Dress Casual,” the moody “Lower Than Low,” the poppy “Seaside Cure,” the pure electronic tunes  “Windows” and “Hetch Hetchy” and the dirge “Reformation” showcase their post pop mixed with an ’80s dance vibe. Nice vocals, dreamy electronic samples and interesting arrangements make their latest music very interesting and very good. I like it. (A.J. Wachtel)

…

COMANCHERO

Thrown

10 tracks

For lovers of early-’70s, light jam-rock, Comanchero will be a gift from heaven.

Across Thrown’s first four tracks; “Have You Seen Her,” “Citgo,” “Ghost Creator,” and “The Sniper,” you get a little bit of banjo, a stomping backbeat, soulful female backing vocals, tasteful organ, and Carlos Santana-esque guitar solos.

How can you go wrong? Truth is, you can’t. It’s a damn-near perfect cross-section of adult contemporary and soft classic rock.

The second half of the record settles into a smooth light-rock pocket until “Sitting on Top of the World” mixes the formula up a little with its Cars-like synth line. Comanchero close strong with the fiddle-heavy “Watching Rome Burn,” a jam-ready ditty that would fit nicely in the Dave Matthews Band songbook.   (George Dow)

…

INSTANT SHAWARMA

Just Add Water

5 tracks

“Waves” opens up this intriguing five song E.P. from Cambridge-based foursome Instant Shawarma and it is superb, one of my favorite songs to come out of the local scene in a long time. Ethereal guitar from Andy Constantine envelopes Pat O’Donnell’s voice as the band crafts something as mesmerizing and inspiring as Peter Green/ Fleetwood Mac’s 1970’s epic “Albatross.”   Keyboards drift in while drummer Josh Ziemann and bassist Matt Montrose provide the lilting undercurrent.  Just marvelous and as attention-getting as “I’m Your Captain” was to the third Grand Funk Railroad album.  These titles, like fellow Boston area group Stains of a Sunflower, are not your three minute concise pop tunes. Waves is the second shortest at 5:51 while “Lizard Coffee” oozes in at 4:49, the shortest track on the disc, and one of the group’s more popular in concert.  Picture the original Doors jamming with the original Savoy Brown – slinky guitar riffs from O’Donnel and Constantine that Creedence Clearwater would have had a blast with extending a composition onstage. The Deep Purple-styled Jon Lord organ is a surprise and adds depth to the production.

“Coming Up Roses” veers harder into blues, O’Donnell’s gravel voice in command as the chorus hits hard after the opening lyric’s essay.  Instant Shawarma would be perfect on a bill with Blue Manic and the on-hiatus Apollo Blue, both ensembles covering a similar territory, though where George Conduris of Apollo Blue dips into the Hendrix/ Clapton bag, and Mike Tate of Blue Manic rocks even harder, Instant Shawarma have their cosmic / esoteric guitar lines that tends to make it more psychedelic blues. The five minute and forty-two second “French Conniption” a case in point.  It’s that unique style behind the songs that add intrigue. And as with Stains of a Sunflower, the closer here is epic too with “The Fold” having a dangling guitar to open (as well as end) the festivities. The interplay is wonderful three minutes in and builds to a nice climax with in-the-groove intensity that’s hard to describe.

These guys have come up with a great little recording, but it seems that they don’t want to be famous. None of their names appear in the package that’s got beautiful artistry on the wrap-around cover thanks to Nate Haduch.  The inside photo of the group against a graffiti wall is charming but… again, their names are missing in action.   (Joe Viglione)

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SEND IN YOUR CDs

If you are an artists based in New England and would like your recordings reviews, send hard copies to T Max/ The Noise, 28 Goodhue St. #406, Salem, MA.

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TOM HAUCK, AUTHOR

by Robin Umbley

Tom
Hauck, former guitarist for the Atlantics and the ’80s pop-synth band
Ball & Pivot, is looking rather professorial in his jeans, white
linen shirt, and tan corduroy blazer. His thick, dark brown wavy hair
barely has a hint of gray. It’s a look that seems apropos for his
profession these days. Although he now has an MBA degree, he describes
himself as simply a writer. Not only does he do freelance work for various
organizations and is the editor of Renaissance magazine, he has written a novel called Pistonhead.
Not unexpectedly, the book is based on his experiences in a local rock
’n’ roll band that never quite made it to the top.

Going
from writing rock ’n’ roll songs to writing a novel hasn’t been
the big step that it appears to be. For Tom, it seems like a natural
progression. He explains, “I’m a writer; it’s what I do. I wanted
to say something intelligent to people that was worthwhile that had
to do with my experience—both in the music industry AND as a factory
worker on an assembly line. There’s tension between those things and
there’s a story there.”

The
story centers around Charlie Sinclair, a guitarist in a moderately popular
local band, also named Pistonhead, who still must make a living at his
day job on a software production line. Tom elaborates that Pistonhead
offers a different perspective than other rock ’n’ roll books such
as memoirs and bios: “There have been quite a few rock ’n’ roll
memoirs by successful musicians over the years, and they tend to be
all the same, you know: musician works hard, becomes famous, deals with
drug addiction, his wife leaves him, he arrives at a certain point of
awareness and says, ‘Oh look! I survived! Here I am!’ There are
very few books or movies or works that focus on the lives of musicians
who are struggling, who haven’t gotten there yet… and from my experience
in the music scene, there are thousands of them… thousands of us!
We’re pretty good; we put CDs out, we play clubs and colleges… and
we haven’t quite gotten there yet. We’re not riding around in limousines…
we’re not even at Spinal Tap level yet. So this is Charlie’s story
and Charlie kind of has a rough two weeks and it’s about how he changes
over the course of those two weeks.”

He
adds, “One of my goals was to create a character to give voice to
those guys—and women—who just slog away in bands or in any creative
process, and have day jobs and drag their sorry asses out of bed at
seven o’clock in the morning and go off to work.”

Tom
felt the novel form was the best way to write about his experiences,
because, as he says, if he wrote his own memoir, “No one would buy
it because no one wants to read a memoir about someone who hasn’t
made it.” As he puts it, his own life doesn’t have any sensational
“media value.”

Instead
of signing with a traditional publisher, Tom Hauck chose to self-publish
this book through Booklocker.com. For one, he says that the novel doesn’t
fit an established genre in the publishing world and traditional publishers
generally don’t put out books without a defined demographic. But Tom
sees a similarity between selling a record independently and selling
a book. He compares the potential to market his own books to how “Lonelyhearts,”
the Atlantics’ local hit and arguably their biggest song, became successful:
“After we left MCA records, we went back to the studio to record a
single with two sides, “Can’t Wait Forever,” and “Lonelyhearts.”
Our manager at the time said “Lonelyhearts” would never sell. ‘It’s
too aggressive, it’s too punk, they’re [radio stations] never going
to play it’… We left our manager, and sold the single out the back
of the car.”

Likewise,
you’re probably not going to see Pistonhead at your local bookstore anytime soon. Instead,
it is
available for sale on Amazon.com. Tom admits that the Internet is “a
huge marketplace and like going into iTunes, there’s a lot of good
stuff, and it’s all there [presumably meaning not so good stuff] and
hopefully the cream rises.”

Much
like that of a short story writer, Tom Hauck’s writing style is concise
and pithy. Pistonhead checks in at a fast-paced 174 pages. “I
try not to bore people,” he explains. “As a reader, I’m very easily
bored… It could be my ‘training’ as a pop music songwriter where
you have three minutes and you’re on your own. If you don’t hook
the listener in the first ten seconds, you’re done.”

Nonetheless,
writing a relatively short book is more difficult than writing a long
one. The editing process is tedious. Tom says, “I went over this book
probably 50 times. I kept cutting stuff. I cut a lot out. It’s hard.
It’s very, very hard. That’s why it takes time. You should NEVER
write something and put it out right away. Put it away, come back to
it six months later, look at it again, and if you do that, you’ll
be amazed at how awful it is! Time is your friend.”

Admittedly
very busy, Tom Hauck is constantly writing and has plans to write a
series of intelligence/spy type novels. He says that in the first book,
the protagonist battles a group like Blackwater, “one that has a legitimate
side but underneath there is a vicious, corrupt evil empire and they’re
American-based.” Another book in the works deals with the hypocrisy
of a truly evil evangelical preacher. On the music front, Tom no longer
plays guitar publicly, but seeing the success of synth-heavy bands like
the Killers, he was inspired to create a MySpace page for Ball &
Pivot. “We’ll see what happens,” he says. 

SPLENDORS AND
MISERIES OF A PERFORMER

Review of Pistonhead
by Thomas A. Hauck
(Paper; BookLocker.com,
Inc.; 2009; 174pp.)
Review by Francis DiMenno

In
a straightforward chronicle that reads more like an ingeniously compressed
memoir than like a work of fiction, Thomas Hauck, formerly of the Atlantics
and Ball & Pivot, sets out to describe an event-laden week in the
life of a rock musician who is almost, but not quite, a star.

The
novel’s greatest strength is to be found in its descrip-tion of the
protagonist’s character and how he responds to his milieu. Hauck shrewdly
chooses to open the novel with a telling scene in which his everyman
rock star, Charlie Sinclair, is faced with every musician’s worst
nightmare: It’s show time, and the band’s chronically fucked-up
dust-head vocalist is nowhere to be found. Meanwhile, the mobbed-up
club owner is off fuming and raging in the wings.

Many
people who have lived the life of a struggling entertainer will readily
identify with Hauck’s precisely delineated descriptions of the various
hazards and pitfalls in the world of low-level show biz that stand as
obstacles to success. The dead end jobs. The disastrous gigs in front
of downright hostile arena audiences. The unsympathetic family members.
The resentful, pushy mooks from the old neighborhood. The grasping girlfriends.
The venal groupies and junk-peddlers and promoters and, worst of all,
the fucked-up band-mates. Those who are new to the racket and have not
yet encountered these life-lessons could with profit study this book
as a worst-case scenario. And those who are unlikely to endure this
path but who are curious about what a person has to do to make it in
this perilous world will find many of their questions answered.

Hauck’s
aims are modest. This is a short book. It is not particularly complex
in its plotting. And, from a literary standpoint, the tale of The Boy
Who Sets Out to Make Good But Who Eventually Realizes That Perhaps There
Are Better Things Than Stardom is a rather hoary one. But the novel
has the one great thing that separates good narrative fiction from an
indifferent phone-it-in: it is meticulously, convincingly, and evincingly
detailed. Superfluous passages are few.

Occasionally
the descriptions of the hapless handicapped souls with whom Charlie
Sinclair works at his dreary, temporary, assembly-line day-job seem
a bit too calculated to tug at our lapels and keen for our sympathy.
But the workplace characters, and their dialogues, are nonetheless memorable.
Another disconnect I noticed was that although the novel is ostensibly
set in the 1990s, one is left with the slightly unsettling feeling that
much of it has been transposed from the early ’80s and merely spruced
up with some contemporary references (e.g., cell phones; The Simpsons).
Another thing that troubles me is that, although the book is written
in the third person, there seems to be little, if any distance between
the implied narrator and the protagonist. The book could just as easily
have been written in the first person.

These
reservations aside, I have seldom encountered a more interesting account
of the life of a working musician. Furthermore, there are few, if any
novels I have read which manage to render with such painstaking detail
and accuracy the sensations of performing, both on stage and off.

As
a novel, Pistonhead is an odd duck. It’s not a strictly literary
work (but who would want that, anyway?). It’s not an exploitative
genre exercise (which would be of no lasting, or of barely even more
than ephemeral, value). Rather, it’s cross between a journalistic
expose of Entertainment Babylon and a quasi-documentary account of a
rock ’n’ roll musician—one with a great many very thinly disguised
music business and local color flourishes. I read it in one sitting.
It was that kind of book.

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