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HUMAN SEXUAL RESPONSE/

UNNATURAL AXE

House of Blues, Boston, MA

11/3/17

Shows like these put me in a reflective mood (excuse me – maybe a ROMAN mood) wherein bands that I developed a passion for years ago return from past glories and resurrect the dream that does go on forever – both for themselves and for their fans. I am forever grateful for living in Boston and have experienced so many satisfying musical memories since the mid-’60s onwards. As we all know so well, some groups grow, break-up, reform, return – this is the grand arc of a musical heritage.

Tonight we are witnessing history once more as both the Humans and the Axe return to wow die-hard fans and a whole slew of newbies. Opening the evening, Unnatural Axe hit the stage like a thunderbolt, offering such punk classics as “Rock & Roll is Dead,” “No Surfin’ in Dorchester Bay,” “Tonight We Fight,” “3 Chord Rock,” “The Man I Don’t Wanna Be,” “They Saved Hitler’s Brain” and “The Creeper” with urgency and abandon. Tonight, as a special treat, they add two La Peste tunes to their show: “Someone Somewhere” and “Don’t Wanna Die in My Sleep Tonight.” Frank Dehler (bass/vocals) and Jack Clark (drums) are crisp and relentless, firing up Tommy White (lead guitar/ vocals) through their fast-paced set, which leaves Richie Parsons (lead vocals/ guitar) to cast his wicked-intense charm by swilling beer and crushing cans off his head, just like in the old days. Even though the members all have advanced into other projects, when they come together with such pounding songs and a slosh of humor, it is easy to see and hear why they have become favorites on the punk festival scenes here in the USA and in Europe. Reunions like this are magical and the audience is primed to the max.

To remember that the Humans played their original farewell concert at Metro (the former site of H.O.B.) back in 1982, only to return occasionally through the years, is mind-baffling. And here they are one more time, just as precise, fancifully rocking, modernly attuned and snazzily attired…seemingly more popular than in their heyday. Similar to the Axe with a limited discography (only two albums), they are able to imbue their tunes with devotion, personality, and character, allowing each member to shine individually, but totally sensational when the four vocalists align. Larry Bangor, Casey Cameron, Dini Lamot, and Windle Davis had sung together before the four decided to start a rock band, adding three musician/composers, Malcolm Travis (drums), Rich Gilbert (guitar), and Chris Maclachlan (bass). Their many performances notably included cross-dressing, homosexual flirting, fancy dance moves, and more new-wave shenanigans. Though HSR met with limited success commercially, as performance artistes, they are totally unique and their success then and now is truly phenomenal. Their songs have become iconic to our local ears – “(I Want to Be) Jackie Onassis,” “What Does Sex Mean to Me?,” “Land of the Glass Pinecones,” “Andy Fell,” “Anne Frank Story,” “Dick and Jane,” “Pound,” “Unba Unba,” “12345678910” and the lascivious “Butt Fuck” have all attributed to their cult success. Tonight, they play them all, and many more, and the response is rapturous. We are dipped into the memory pool and feel cleansed – a musical orgasm that even Masters and Johnson would have approved of. Unba-unba unbelievable! If they come back in another five years, we’ll be waiting!   (Harry C. Tuniese)

…

MASON DARING & JEANE STAHL/

JULIE DOUGHERTY & WOODY WOODWARD

Me & Thee Coffeehouse, Marblehead, MA

11/10/17

I’ve come to volunteer at Me & Thee Coffeehouse because I have constantly been impressed with the place, the people who run it, and the talent I’ve seen on the stage. Tonight some key regular volunteers aren’t here and I can sense things running a little more roughly than normal. Lights don’t go on when the should, doors don’t open for the those waiting to find their seats, and announcements are made by second stringers (myself included). But that is not going to stop a full house from enjoying themselves.

Julie Dougherty is a household name in the neighboring town of Salem, and the headliners, Mason Daring and Jeanie Stahl, grew up right here in Marblehead. So we have plenty of local fans filling the place on the first freezing night of the season.

Julie, on guitar and vocals, plays with her husband Woody Woodward accompanying her on bass. She starts with “Salvation and Second Chances” showing off her songwriting and pro-quality voice and guitar playing. She tells us that “Heavens Gate” was written about her cat, because it can easily be mistaken for the loss of a loved one – I think James Taylor has something like this about his dog. On “I’m Getting Out” she admits it’s not about her relationship with Woody – she just wrote it. “He’s the One” is a composition describing that guy your mother warned you about… funny, it makes me wonder how much of that guy exists in me. Mid-song Woody’s bass solo draws applause. Then Julie invites her sister, Kathleen, up to help sing a honey-dripped rendition of one of the Beatles biggest early hits – “She Loves You.” In this slowed down version the sweet sister harmonies melt every syllable of the tune. It has to be the best cover I’ve ever heard. Julie and Woody end with the title track of her 2013 release Land of Dreams. The intro always reminds me of an old song by The Animals – but it quickly heads in another direction. Dougherty and Woodward are one of my favorite North Shore acts – and some of the nicest people to hang with.

It’s half time – the coffee flows and sweet baked treats disappear into a lot of happy tummies, readying the audience for the long-time Marblehead folk favorites – Mason Daring and Jeanie Stahl.

Introduced as Passim All-Stars and contributors to both TV and film compositions/performances, the duet goes right into “Sweet Melodies in the Night.” Mason and Jeanie are relaxed as they sit in front of an adoring crowd.  And it’s a familiar audience – Mason jokes that there are only five people in the pews who haven’t been in his living room. The 1941 hit, “Chattanooga Choo Choo,” fills the air with Jeannie swinging it. Why are the melodies and chord structures on older songs so much more interesting than modern compositions? On “Counting the Stars” Mason adds lead guitar bits on an acoustic (other times on a Fender Stratocaster)… he also contributes some heavenly harmonies. These harmonies are so high that I have a hard time figuring out that they are coming out of him. Mason’s “Funny,” a jazzy creation, includes a cool low-end bass solo by Richard Gates, who from my seat is hidden behind Jeanie. Ms. Stahl says the next one is appropriate with the current TV airing of Ken Burns’ “Vietnam” – the song is “Memorial” based on remembering the men and women who fought the war from the 1960s and ’70s. On “I Do For You” Mason slides on over to the piano and shows us that his fingers are multi-talented while Jeanie, in her higher register can take on the tone of Joan Baez. They pick up the pace with “San Antonio Rose” and sing about sailors last at sea in “Mermaid.” Hearts are warmed hearing the double melody of “Marblehead Morning.” Julie Dougherty and Woody Woodward join Mason and Jeanie on stage to sing the beautiful jazzy chorded “The Real Deal” penned by Julie and her niece Kelly Fitzgerald. The two couples continue with Dylan’s “I Shall Be Released” and Guy Van Duzen’s “River.” Mason and Jeanie then finish us off with the absolutely lovely melody of “Nevertheless I’m in Love With You” from 1931. Another great night at Me & Thee.  (T Max)

…

WILLIE LOCO ALEXANDER/

THE NERVOUS EATERS/

EMILY GROGAN BAND/

THE DOGMATICS

Live At The Rat Volume II  Record Release Party

Hotel Commonwealth, Boston, MA

11/ 16/ 17

I can smell the irony in the air while walking through Kenmore Square to where Boston’s own punk den of inequity The Rat once stood. The ritzy decor of The Hotel Commonwealth stands in stark contrast to the dark and dirty glamour of the legendary club. In fact, a beer is now ten dollars and wine is more expensive at fourteen dollars a glass. A sawbuck at The Rat would have been good for a whole night of drinking back in the day. Be that as it may, the schedule for the night begins with a Live At The Rat DVD screening and a silent auction to benefit Right Turn the substance use disorder program headed by Woody Geissman (The Del Fuegos). Then a welcome by Adam Sperling the Hotel Commonwealth’s General Manager and a proclamation from Mayor Marty Walsh’s office naming the twenty four hour period  Rathskellar Day in the city of Boston. John Laurenti (WGBH) does a band introduction and this great night commences. Willie Loco Alexander, The Nervous Eaters, The Emily Grogan Band and The Dogmatics shake the roof during their sets. Willie is wearing a bright red Fats Domino shirt and fronts a three piece band, with Mark Chenevert on sax. They start off with “Life Is The Poem,” from Gloucester born poet Vincent Ferrini’s greatest hits, and Alexander announces tongue- in-cheek that Jimmy Harold wrote it. Then comes a few Boom Boom songs including: “Gourmet Baby,” “Malinda,”  and “At The Rat,” which Willie calls “At The Hop, the national anthem of Kenmore Square.”  When The Eaters do “Loretta” the crowd goes nuts and the dance floor is packed.  Emily Grogan is one of the best female vocalists on the east coast and her band is tight throughout her six song set. Her tune about Rat resident Mr. Butch, “Butch,” is appropriate and memorable. I also dig “Can’t Hurt” and “Weathervane” two killer cuts from her album At Sea. The Dogmatics are the icing on the cake. Check out their set: the group’s contributing cut on the new release, “Saturday Night Again,” “Pussy Whipped,” “Thayer Street,” “Drinking By The Pool,” “Good Looking Girls,” and “Sister Serena.” It’s very cool when they have Richie Parsons (Unnatural Axe) front them and sing lead on “Summertime,” an Axe song,  they originally did for the 2008 Unnatural Axe tribute album Ruling The World From The Back Seat. It’s a fucking trip down memory lane and my head is spinning with a night of classic garage punk music amidst a large crowd of lively local luminaries, many with white hair and many with no hair at all. All of a sudden, a well- dressed twenty something year old walks up to me while I’m smoking my chillum and enjoying the music and smirks “we don’t allow smoking in here,” so I shrugged and pretended to put my pipe away. I could hear the unspoken old man in his eyes as he spoke.  I look around the room and see who’s in the audience mingling and eating  the special James Ryan Hoodoo BBQ hor d’oeuvres on the shiny silver platters. The trays are being held by a posse of very elegantly dressed college-aged attendants wearing very un-Rat like uniforms of white shirts with black ties. Young stud waiters and cute as a button waitresses add to the surrealism present in the room as the older generation dances and the youngsters act as their eager to please servants. How punk is that in 2017? People I still recognize after all these years: Oedipus,  Bradley Jay and David Beeber (WBCN), Steve Morse and Jim Sullivan (Boston Globe), Brett Milano (Boston Herald), Robin Lane and Tim Jackson (The Chartbusters), Heather Rice-Fahey (Lizzie Borden & The Axes), Kelly Knapp (The Bristols), Dave Minehan (The Neighborhoods), Rat bartenders M.J. Costa- Byrnes and George Smart, Mr. Curt and Miss Donna, Linda Viens (Kingdom Of Love), Adam Sherman (The Billy Connors Project). Tim McKenna (Live Nation), Joanie Lindstrom, Scott Baerenwald, Joe Donnelly (The Whitewalls), Johnny Gags (The Well Babies), Johnny Black (Johnny & The Jumper Cables), Jody and Richard Moore (The Jody Moore Band), Hirsh Gardner (New England) brought his hair, Ray Fernandes (The Atlantics), Evan and Linda Shore (Muck & The Mires), Carolyn Stratton, Hope Moon and Cindy Daley (Lovelace). This is a great party and it’s just mythical that forty one years after the original album Live At The Rat was released, Jimmy Harold again defies nature and delivers big time. The only thing missing is the sticky floors that were the Rat’s trademark: and I have to smirk when I think I’m at a Rat party and the men’s room is clean, has an unbroken mirror  and a toilet bowl that actually flushes.   (A.J. Wachtel)

…

JIM TRICK/

ALICE HOWE/

FREEBO  first set (in the round)

Me & Thee Coffeehouse, Marblehead, MA

11/3/17

I’m ready once more to hear some great music at my favorite coffeehouse… Me & Thee. This volunteer-run venue has been offering the public the best live folk music for 47 years. Tonight the pews are mostly filled for a local favorite Jim Trick… with two other performers, Alice Howe and Feebo, on stage the whole night performing in the round. Jim Trick, standing on the right, starts off the night with “I Can Only Dream of You Now” a lamenting tune with the line “I’m getting use to lonely” standing out. Jim is a sensitive spiritual performer with touching songs. He then introduces Alice Howe, center stage, who shares “Homeland Blues” with Freebo backing her up on bass and some vocal harmonies. She a very attractive woman with a beautiful voice and great stage presence. After her song, she introduces Freebo… Bonnie Raitt’s  musical partner/ bass player during her heyday.  Alice mentions, “We all did our hair tonight,” referring mostly to Freebo’s unkept nest. Jim quips in, “I polished my bald spot.” Freebo keeps it fun with, “My Personal GPS” – referencing the growing relationship between driver and the guiding voice. After the first round, it is apparent that we, the audience, are in for a wonderful mix of interesting music professionally performed. Moving on, we find that Alice frequently works with Freebo – he’s even producing her next album – Twilight. And although this night is completely enjoyable and successful, I start feeling something. In a round with three people, they each take their turn softly competing with each other’s performance or songwriting. But something is wrong with this round. Jim Trick performs totally solo most of the time, where every time Alice plays she has Freebo’s bass and/ or background vocals chiming in. Then when Freebo plays, Alice sings harmonies. It starts not feeling like a round at all, but like a duet performing two songs for every one that the solo artist plays. Jim is at a disadvantage the entire night, but never shows any sign of acknowledging it, though I sense he knows the situation is working against him. This evening would have worked nicer if Jim just opened Alice Howe and Freebo (or visa versa). Don’t get me wrong, I loved Alice and Freebo, the night just shouldn’t have been in the round.  (T Max)

…

ARLO GUTHRIE

The Regeneration Tour

The Cabot, Beverly, MA

11/17/17

Arlo brought his whole family to perform two sets tonight at this beautiful old theater: his three daughters, including solo artist Sarah Guthrie, and son Abe, and his five grandchildren; two teenagers and three younger very high- pitched girls all pitching in on vocals with Sarah and Abe also playing acoustic guitars. Arlo sits in a chair next to a row of about five or six guitars and tells stories as he changes guitars and introduces the songs in a very off- hand and casual living room conversational way. Great harmonies and a really cool selection of songs is on the menu tonight. I really dig Pete Seeger’s “Midnight Special,” Guthrie’s  “Motorcycle Song” with his three daughters adding great backing vocal harmonies, Steve Goodman’s “City of New Orleans,” and two Dylan covers “Blowin’ in the Wind,” and “Mr. Tambourine Man.” You haven’t lived until you’ve heard Guthrie cover Dylan. He plays a few of his dad Woody’s song’s including “This Land Is Your Land,” which should be our country’s national anthem. Mid-set Arlo is telling a story to the audience with his family standing next to him onstage and he plays a few choruses of “Alice’s Restaurant” playfully asking his youngest granddaughters if they’ve “ever heard this song before around the house” as the audience laughs. Arlo accompanies himself on electric piano, harmonica, and with a banjo on a few tunes and the family does a great Christmas song that has the lyrics “I don’t want your kisses on Christmas Eve, all I wan’t for Christmas is for you to leave” complete with the three sisters singing nice harmonies together like they’ve been doing their whole lives. Arlo even has the audience doing a sing-a-long after apologizing for being corny in concert. It’s always great spending the holidays with Arlo Guthrie and tonight is no exception. Special thanks to Jeff Freedman god-emperor of Wiz Security for his usual above and beyond hospitality.   (A.J. Wachtel)

…

THE FREESTONES/

MAX CLARK

Cantab (Club Bohemia), Cambridge, MA

11/19/17

Opening act Max Clark (son of Jerry’s Kids/ Unnatural Axe drummer Jack Clark) is a delight with his Dylan-esque angst, using the guitar as a percussive instrument to drive the statement home without a net – or a loud, active band behind him.

The Freestones are a real find, a sound not often present in the Boston area community that got a good taste of this New Hampshire group’s fun and musical style For those who have heard the amazing recordings of Alan O’Day’s “Easy Evil,” be it by Genya Ravan, Sarah Vaughan, Sylvia, Lulu – this ensemble present that kind of Rusty Kershaw cajun magic (see Rusty’s Domino album release produced by Rob Fraboni) …and in concert, it’s an electric hootenanny – an electric jugband that keeps its rock sensibilities front and center. The vocals of Mackenzie Hamilton are as essential as the guitar, bass and drums, and when she wants to wail, as on “Going Down,” she dominates the proceedings in a very good way. Not Janis Joplin taking over the show, but complementing the boys as they churn out this delightful and somewhat aggressive sound… the slide guitar and rhythm section all in unison and brilliantly powerful. John Webb’s guitar and vocals lead the group in a Jerry Garcia sort of way, not pushy but guiding the elements as they combine to generate a dance groove inside a genre that isn’t recognized as a style that invites dance. That’s because they are as much a rock ’n’ roll group as they are stylists. “I Need Never Get Old” changes the form but stays within a framework, Matt Smith’s bass and Sean Knight’s drums at times a single unit, at others dimensional parts of the whole. Is that “Tumblin’ Dice” by the Rolling Stones? Yes, morphed and melted into the netherworld Jarred Garneau builds. Just lots of fun on a Stones’ classic starting in the Freestone way, a little dash of Linda Ronstadt’s hit version, the Rolling Stones composition coming full circle as the song concludes. The encore was a most respectful, but again transitioned, approach to former Malden, Massachusetts resident Norman Greenbaum’s eternal “Spirit in the Sky.” As with “Tumblin’ Dice” your brain starts in with “is this… could it be?…” and – yes, a reinvention of a perfect song for this creative crew from Rollinsville, New Hampshire. (Joe Viglione)

 

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The most intoxicating track on this compilation is also the simplest: Lydia Thornton’s a cappella rendition of “She Moved Through the Fair” is sung in the highly ornamented Sean-nós style with her wispy vibrato-filled voice. Its bareness and haunting beauty make it a tough act to follow. However, T Max is up to the challenge with a tongue-in-cheek tale of an out-of-control sausage-maker. The catchy sing-a-long chorus and jangling electric guitar interludes are nice, but it’s his gravelly voice and the subtle overdubs that really make this track shine. Patrick Coman & the Lo-Fi Angels continue with a slow sentimental lament, complete with spot-on guy/girl vocal harmonies and sweetly pining fiddle.
I’m not wild about “Danny Boy,” as it’s such a staple of Irish music that it has become painful cliché and this rendition, while ably played, doesn’t do anything innovative enough to change my mind. Same goes for “Whiskey In the Jar” later on. But I really dig the Whiskey Boys’ “Roisin the Beau.” It’s a simply-adorned acoustic track with some wonderful drone-heavy fiddle work. The lead vocals are plain as can be, but tell a great story and tell it well. Part drinking song, part requiem, this song doesn’t get old over it’s epic length. Greg Klyma’s eponymous closer has an Adam Sandler-type feel to it. Funny, but for a closer, it kinda fizzles.          (Will Barry)

 

CARAVAN OF THIEVES
UFO Music
The Fun House 
15 tracks
Talk about a thrill ride…  There are so many things going on with this band, it’s hard to begin.  Caravan of Thieves is part Gypsy, part vaudeville, part bluegrass, and part circus sideshow. I’m sure I’m not the only one who thinks Tim Burton should be calling this band to do his next film with Johnny Depp.  The latest release from Caravan of Thieves offers a buffet of everything a great album should have: clever lyrics, panoramic arrangements, and every conceivable mood and texture you could hope for.  Lovers of literature, eclecticism, melody, wit, and wisdom should have this album in their collection. Unlike a few bands of this genre, Caravan of Thieves seems to accept all types of followers.  Young, old, normal, freak, cynic, and fool have an equal opportunity to be entertained by this multi-faceted group of gifted tunemeisters and sonic storytellers.  It is impossible not to love this.  Wow!          (Joel Simches)

 

DAN CLOUTIER
Blind Willie’s Lighthouse   
13 tracks
It is through fitting homage to one of his greatest influences, 1920s gospel-blues legend, Blind Willie Johnson, that Dan Cloutier’s apparent love of New England is chronicled.  Powerful imagery of oceans and crashing waves combine with heartwarming anecdotes of love and one’s unshakable faith.  Perhaps the most fitting example of this lies in “The Climber,” which references Boston, Maine, and New Hampshire in an effort to further illustrate a determined Cloutier’s quest to make it through the pearly gates of Heaven.  Among the talented group of musicians to accompany Cloutier are Kim Jennings (piano, Wurlitzer, keyboards, lead harmony vocals), Eric Anderson (drums, bass), and Dennis Pearne (bass).  Jennings’ voice is angelic perfection, especially notable within “Trouble in the Promised Land” and “Kinnerett.”  Her piano contribution to “Bangor at 5:00 am” provides the haunting song, set within the Maine coast, with an air of mystery.  One could envision Cloutier crooning these inspiring songs on a beach or perhaps by a blazing campfire.  One thing is for certain: he is a born, gifted storyteller following a path that is most certainly meant for him.         (Julia R. DeStefano)

 

THE CRANKS
Downside Up
9 tracks
Woo-hoo, The Cranks are go! In my short time with the Noise, I’ve become jaded having to review all types of lousy music, that it’s a cause for celebration on those rare occasions when I’m actually impressed! Seriously, I’m having difficulty typing out a review while the CD is playing because this music just won’t sink in the background enough for me to concentrate. Anyway, the Cranks are a gifted trio of high-school, age kids playing spirited college rock (remember when they called it college rock?). Their influences include Kings of Leon (more Youth and Young Manhood-era KofL, not that later “Sex on Fire” pablum), Weezer, and Pixies. In addition, I’m reminded at times of Earwig-era Blake Babies with a twist of Screaming Females. Their youthful enthusiasm is contagious, the lyrics are well-written, and while they can certainly play, they’re not overly flashy and technical—their music’s got heart, and I can do nothing but support that. Best tracks are “Voice Inside,” “Good Guys,” “Here I Go,” and “Seven.” I look forward to how they progress!              (Tony Mellor)

 

THE BIRTHDAY SUICIDE  
Two Others Music
Palm Trees and Dead Leaves
9 tracks
Gregg Padula’s lyrical folk project is not yet all that it can be, but it’s getting there, as it’s an improvement over his uneven debut from a few years back.  His gravelly voice still struggles when pushed, but he’s learned to more effectively milk earnest feelings out of it.  The songwriting, while occasionally displaying too much of a song-to-song sameness, has gotten sharper, most noticeably on the opening title track, a pretty number that reminds me of The Goo Goo Dolls’ acoustic hits, only smarter and not pandering to soccer moms.  Padula would probably prefer to be compared to Dylan, but I swear I mean that as a compliment.  The instrumentation has been fleshed out.  At times, like with the rocking drumbeat in “Last Winter”, it works to great effect, but the guitar pyro of Danny Brady, while technically proficient, sounds out of place.  Padula’s still a work in progress, but it’s worth sticking around to see where he ends up.          (Kevin Finn)

 

ABBIE BARRETT & THE LAST DATE
The Triples: Volume 1
3 tracks
The most diversified artist to come along in a long time, Abbie Barrett may embody elements of Sarah RabDAU and Self-Employed Assassins, the Dresden Dolls, and even Alanis Morissette, but she is, essentially, in a class all her own.  If her debut, Dying Day, was our introduction to her capabilities, The Triples: Volume 1 represents her musical evolution, all while solidifying her place – fitting, as the album’s opening track is appropriately titled “Here to Stay.”  Best described as a track straddling the realms of pop and punk, the adage is clear: one can do anything.  What follows is “On the Range,” a noticeable shift from the opener and through a twangy country feel, it serves as further proof of just what Barrett and the Last Date can cover.  Volume 1 closes with the romantic and soft “Draw Me In,” an exquisite track that showcases the sensuality of her voice.  Refreshingly unpredictable, Barrett remains a bright light among others of her genre, and The Triples: Volume 1is every indication of this.       (Julia R. DeStefano)

 

FUTURE CARNIVORES
Future Carnivores
10 tracks
Listening to this album makes me feel like I’m floating care-free in tranquil amniotic waters. I can’t get enough—from the trance-inducing tribal rhythms to the warm melodic plunkings of the bass to the layers upon layers of textural guitars, tinkling like a porch full of wind-chimes. Then, of course, there’s the zen synth chanting long electronic oms. Now, if all this electro-bliss doesn’t getcha, the guy/girl vocal harmonies sure as hell will. The guy’s vocal style has a palpable Bowie influence from the nasally baritone crooning to the the airy falsetto. It’s just enough to cultivate the soulful art-rock vibes these guys are dishing out without becoming parody. Altogether, this band weaves a complex soundscape that’s uplifting, amorous, and brimming with joie-de-vivre.             (Will Barry)

 

ERIC OTT
Letter Box
8 tracks
Ott’s music manages the difficult task of being both beautiful and a little bit depressing.  While it’s steeped in the acoustic guitar / singer-songwriter realm, Ott’s experience playing in full bands shows, as the music has a much fuller feel than most in this genre.  Ott’s deep, full voice commands attention, recalling James Taylor if James Taylor actually had a pair, and cellist Kristen Miller is a marvel, equally adept at soothing the listeners as she is at sending shivers up their spines.  The songwriting is solid throughout, reaching its highest point with “Coattails,” which comes off as a quieter version of the drug rush in the Velvet Underground’s “Heroin.”  This may be a debut, but it sounds like it came from an established veteran.    (Kevin Finn)

 

LOVE OF LIFE
…And Time Again
12 tracks
The best songs here are very self-assured heavy rock from local scene veteran Scott Gagnon. You feel almost obliged to like these latter-day comeback efforts just for old times’ sake, and, to be sure, a track like “Sleeping Dogs” is little more than an off-kilter bit of simplistic garage rock. However, the opening salvo, “The Controller,” is a classic track in the tradition of Mission of Burma, Uzi, and too many other avant-noise bands to mention, though early Love also comes to mind. Lively, dense, and compelling songs predominate throughout. “Everybody’s Right” is a strenous, brazen, cojoined guitar and bass attack with lively percussion, and although the vocal verges betimes on braying pronunciato, the song itself is too strong to ignore. The closing track, “The Aftermath” is a welcome surprise–oddly reminiscent of the Cowboys International song of the same name.  Though lyrics are rudimentary and direct, the best songs here are quite remarkable.      (Francis DiMenno)

 

STEVE CARAWAY
Indienink
Hurricane Season
13 tracks
Released in 2008, this CD still sounds current. It easily has me singing along. The songwriting is excellent (both musically and lyrically) and the clean production scores the CD high in sell-ability. This is pop rock at it’s best—what you’d expect get if Elvis Costello and Bruce Springsteen joined forces with the remaining members of the Beatles. Steve has the ability to rock out, as on the title track, and then he can pull it back and show a sensitive side with “Something New” and “Keeping Secrets.” “Before You Run Away” leans toward Elvis Costello with a classic intro and nice melody movement into the chorus. “When I Change My Mind” has some surprising, yet natural, chord changes, sparsely used Beatle hand claps, and good 12-string melodies spawned from the early British invasion. “Gone Gone Gone” employs a distinctive Beatle flavor with Ringo’s “Tomorrow Never Knows” drum beat and McCartney’s “Rain” bass hammer-ons. Overall Steve has a knack for throwing good chords and melodies together with easy-to-follow-along lyrics that are sung with masculine fervor and tight harmonies.                          (T Max)

 

VERTICAL TWIN  
75 or Less Records
Geezer Wheelie
6 tracks
I’ve never heard a 75 or Less record that I haven’t found strangely appealing. Fate has dealt me three compact discs from three different bands on this label, including this one, and just like its label brethren, Geezer Wheelie is big dumb party-hard rock with grungy stoner-riffic riffs, juvenile beer-soaked lyrics and bargain-basement Building 19 production—I don’t hate it! The fact is, as I write this, I’ve been painlessly (and soberly!) listening to this Vertical Twin EP on shuffle and on repeat. I’d probably even white-boy dance to this if I wasn’t so busy typing. Just ignore that CD cover.            (Tony Mellor)

 

LEWIS AND GARRELS 
On the Way Home 
12 tracks
I think we can all agree that an album is like a novel, with the guys behind the mics and instruments telling the story. In the case of Lewis and Garrels’ album, On the Way Home, the tales they have to tell will be familiar to fans of the genre, but all are well worth a listen. The folk/rock creations of this duo blend mellow, easy-listening tunes, down-home blues and some classic rock sounds. Andrew Lewis (vocals/guitar) is a presence onstage, and has a deep, commanding voice that fills the room with no effort. Paired with the lighter vocals and exemplary guitar work of Jake Garrels, these two combine countless years of experience to create an assortment of music that never fails to put me at ease. It’s like they’ve already seen the end of the journey, and they’re here to help us find our path and give a little guidance along the way. A particular favorite of mine is “I Remember,”which from my perspective, reflects on past actions, both the big and the small, something we’ve all pondered after a few beers or a lonely night at home. On “Bagful of Blues,” Jake shows his chops as a blues-man, giving us a mournful tune about that certain someone and the heartache that comes with them. The music is simple and straightforward: no overdubbing, no effects, no quirky instrumentation tricks. And really, that’s all we need.     (Max Bowen)

 

BUBBLES IN THE THINK TANK
presents The Petite 7 Inch Record
6 tracks (on vinyl)
“Bubbles…” is a weekly show on WMFO, with hostesses Belinda and January Fairy. The record is purple, plays at 33-1/3 RPM, and comes with a download link that includes extra tracks. 300 were made, more than half are already gone, and I’m not surprised. It’s a microcosm of one big family tree of sorts, connecting all the acts (and many others, as well as fans) with long, deep roots stretching back a good thirty years plus. Most everyone involved knows or has worked with any number of others along a given branch at some point, regardless of home base. Who knew that those proverbial six degrees separated Ray Mason from Birdsongs of the Mesozoic? Or the Spampinato Brothers from singing TV sock puppets? And on it goes. The scenario deserves an extensive article of its own, but if you had to narrow it all down to one commonality in this case, it would be the simple, underlying sweetness here, so warm you can feel it. By not shooting for epic or whimsy, they somehow ended up with epic whimsy. Oh, and every song is about records. And, it rocks. The liner notes guy says it best: “Just listen. You can actually hear the fun that the artists are having.” Well, that’s just for starters.      (Joe Coughlin)

 

LAST BUILDERS OF EMPIRE
Without Remorse 
5 tracks
Between the band’s name, Last Builders of Empire, and the title of their debut, Without Remorse, one would expect unbearably heavy, angsty rock and even perhaps industrial metal.  To this reviewer’s pleasant surprise, Dan Mandino (guitar and synth), Rich Reed (drums, bells, percussion), Pat Horrigan (bass), and Jesse Chamberlain (guitar), have developed an innovative post-rock instrumental sound, even if titles such as “The Withered Are Serene” are more than slightly misleading to listeners.  On the whole, Last Builders of Empire’s compositions are dark, melodic, and haunting, best suited for inclusion in the realm of both television and film.           (Julia R. DeStefano)

 

J T LOCKWOOD
A Chance for Change
9 tracks
This is an interesting CD that mixes acoustic and electric instruments resulting in songs with folk, pop, reggae, and Americana influences; and great vocals and harmonies all over the place.Recorded and mixed in Maine, I like the opening song “The Best of Me” with its pop feel and calypso cadences and it’s more electronic re-mix at the very end. “Run” is an acoustic ballad with a pop feel, and “As I Am” is an acoustic/power pop tune. I like the sequencing of “Away” an Americana/folkie ballad and the next one “I Think”; an electric American/pop ballad too; with good harmonies everywhere. I also dig the uptempo guitar intro in “Down” and just really enjoy the optimism in the delivery and arrangements of the music in the whole package. Worth a lot of listens; you’ll find something else you like each time you play this.       (A.J.Wachtel)

 

PROTEAN COLLECTIVE
Exposed
3 tracks
One of the best parts of listening to the progressive hard rock/metal of Protean Collective is that what you get on the CDs and downloads is a mirror image of their live shows. It was true with Once Mechanical and Divided, and remains the same with their newest work, the three-song EP Exposed. I had the chance to listen to the album, and a few hours later, caught their EP release show and honestly couldn’t tell the difference between the live set and the recordings. This EP packs in all the eardrum-busting electricity of the live shows, and gets a ton of mileage out of three tracks. “Quiet in Wartime” is anything but, slamming the senses within the first 30 seconds and never letting up, perfectly encompassing the sound of Protean Collective. The band, comprised of Graham Bacher (lead vocals, guitar), Steph Goyer (guitar, vocals), Dan Ehramjian (bass) and Matt Zappa (drums), maintains their signature style of technical precision and intense, powerful tones that jar bones and brainpans. Bacher’s vocals punch through on each verse, melding and flowing with the music. Zappa’s a master on the drums, firing off the percussionist’s version of a machine gun artillery salvo. Goyer and Erhamjian’s prowess on the guitar and bass, respectively, complete the equation, creating a unique style that is both fast-paced, melodic and best played at the highest volume possible.       (Max Bowen)

 

AMY BLACK
One/Time
12 tracks
This woman is an impressive singer and her voice sounds very authentic in a few different styles; and all present on this CD. Whether communicating folk ballads, like opener “Run Johnny” or “Molly,” or a bluesy song like “One Time,” or  an Americana Loretta Lynn cover “You Ain’t Woman Enough (To Take My Man),” or a C&W weeper “Words Fail You”; Black’s vocals are emotional and very believable on every cut. I think “Stay” and “I Can’t Play This Game” are the most radio-friendly and commercial compositions, but in my opinion I liked most of the tunes on this CD and after my first listen I want to go check her performance out live and onstage. A good collection and solid selection of songs.     (A.J. Wachtel)

 

ASIA MEI    
No Box Music
Introverse  
10 tracks
It’s always a lot of fun to get to review an album like this that defies labels and category. Asia Mei covers a broad range of styles and moods.  Fans of Kate Bush, Muse, Fiona Apple and Regina Spektor will enjoy her sense of melody, introspective lyrics and bombastic sense of style and arrangement. Every song sounds pretty epic and loving performed by some gifted musicians.  The only area that this album falls short is in its attempt to accomplish too much.  There are great melodies, but not enough of them to latch onto.  Mei seems to have a lot to say in some songs and tries to cram a lot of words into each of them, forsaking any kind of recognizable hook, or something that someone could easily sing along with. This seems to be a common problem with singer/songwriters of this ilk. Sometimes less is more. If songwriting can be expressed as some kind of musical journey, it helps to be able to remember the sites along the way.     (Joel Simches)

 

FOOD WILL WIN THE WAR
A False Sense of Warmth
11 tracks
I’m pretty damned decent at judging a CD by its packaging, but this threw me off. It’s a beautiful package—brings to mind those post-rock CDs that labels like Thrill Jockey and Quarterstick/Touch and Go were putting out some years ago. Couple that with the claim that no fewer than twelve people are on this recording, and I was expecting perhaps a Tortoise clone. Not even close. The music is very acoustic guitar-based, unmistakably American(a), festooned with what the liner notes say “violin,” but stylistically sounds more like “fiddle” to me, grounded with a lead voice that at times sounds like Calvin Johnson fronting a jamless early ’90s studio Phish, and all wrapped up in an over-smooth production somewhat reminiscent of R.E.M.’s Reveal. Besides the many vocalists heard, never at any point in this album does it sound like there are more than five people playing at the same time. I could see this band sharing a bill with OldJack, and if a show like that ever happened, I’d make sure I wasn’t in the neighborhood.    (Tony Mellor)

 

WALTER NOONS
Real Records
Hurricane Songs  
10 tracks
This collection assembles a bunch of low-key compositions in a bluesy mode, with an added boogie tune, an uptempo rock number, some 1920s-era hokum, and other Americana. Nothing earth-shaking here. Just anodyne instrumentals and unremarkable deadpan vocals with lyrics about nothing truly notable. “Have Pity on the Poor” is a sub-Dylan “Rainy Day Woman”-style boogie where the joke—if there is one—is supposed to consist of a cleverly sardonic commentary on contemporary affairs, though it falls considerably short of even that modest goal. Flattened, depressing affect simply isn’t doing it for me these days. Sorry.       (Francis DiMenno)

 

THE GREAT WHISKEY REBELLION
On The Whiskey Train
8 tracks
If the Dropkick Murphy’s were really born in Dublin and not Dorchester they would sound like this. Without bagpipes and angry punk vocals this group’s Americana/traditional Irish pub sound is very different and very authentic. Most of the tracks here are instrumental with vocals appearing on a few scattered spots, but the focus is on the great fiddle playing. All of the music is uptempo and dance-able but catering more towards the jig then the break-dance. My favorite cuts are the traditional “Cooley’s Reel” and an original “Mr. Whiskey” because they are very lively and very interesting. I met this Worcester-area band loading out onto Lansdown Street after a gig and they gave me their CD when I introduced myself; you find good music in the most unexpected ways.       (A.J. Wachtel)

 

CRYOSTASIUM II
2 tracks
Track two sounds quite a bit like a querulous oscilloscope stomped down by a monochord drone. Track one is even, er, better.  32 years ago we were treated to “Radio 4,” an odd final track on the Metal Box PiL album. Now we have what very nearly amounts to an LP-length version—industrial fuzz and blurry death metal backed by howling Lucifer and recorded on a Tascam analog 8-track—so nice to know The Evil One hasn’t gone digital just yet—I guess that would mean He is truly Evil. Um, not to be unsupportive, but unless you’re looking for music to climb out of a K-hole by, I’m wondering—what’s the point? I presume the answer is “Because I can!” Solid. Don’t forget to write. (Francis DiMenno)

 

QUETZALCOATLUS
Beats + Noise
14 tracks
This ambient electronica is rife with industrial beats, slithering atonal synth-basslines, with a kaleidoscopic array of instrumental textures and sound effects—including everything from church bells to the screeching of the Green Line train. These pieces often include quirky thought-provoking use of spoken-word sampling. Foreboding at one point, tender the next, this album always keeps you guessing. Just to give you an idea of what’s going on here, one track meshes trip-hop beats with children’s voices singing snippets of “Old McDonald Had a Farm.” Part of me shutters to think what kind of depraved, possibly psychotic individual would create such grotesque collages of sound. Another part of me wants to buy that guy a drink. What does a guy like this drink anyway? Absinthe would be my guess.     (Will Barry)

 

THE FEW 
Headstock
11 tracks
This band works on so many levels.  They have a groove, but they’re not simply a funk band.  They jam out, but they’re not wasted on bad beer and brown acid. They play blues, but more in a classic rock way.  They have a female singer, but they also have a male singer.  They make their own guitars.  In a scene where classic rock is usually about as popular as puppy rape, the Few have managed to put a fresh and funky spin on the tired moniker.  If you like the James Gang, Led Zeppelin, Grand Funk, Peter Green’s Fleetwood Mac, Jefferson Airplane, Government Mule, It’s A Beautiful Day, and Aretha Franklin, you will probably love this band.  If you hate all the music I just mentioned, you’d probably come away from this album wondering how you can still like a band this much. This new album seems to have found not only a balance of all these influences, but also a sound that defines them as their own thing.    (Joel Simches)

 

OTTO KINZEL 
We Are All Doomed: The Zodiac Killer  
11 tracks
Okay, hands up, who’s ever wanted to hear the complete story of the Zodiac Killer set to a blistering metal sound? That many? Good, I’ve found the right crowd. Otto Kinzel’s album is a first for me, and that’s saying something. Each song tackles a different chapter of the Zodiac Killer’s story, from the “Two Dead on Lake Herman Road” to “October 13th” to “I Am NOT Paul Avery.” If you’ve seen any of the movies or are just a fan of the macabre, this one’s going to appeal to you. The music here is a mix, from shredding guitars and growled-out vocals that would leave the throat of a lesser singer bloody and raw, to more melodic instrumentals that give us a break between slayings. Otto’s done his homework in preparation for this album, showing that he’s taking this as a serious project, rather than choosing a dark subject for pure shock value. In “I Want To Report a Murder,” he even includes lines where the killer calls the police to report the murders. Instrumentally, this album’s a good mix, with Otto providing guitar, bass, keyboard and some slick programming work. There’s plenty of guests as well, such as Jeremiah Thomas on the piano for “The Wait,” and Marc Brennan doing drum work on several songs. All in all, this is a very creative product that is more like a novel than a collection of songs. Each one’s a different chapter, and given to us in a different way. Go ahead, give it a read.             (Max Bowen)

 

ANNALISE EMERICK  
Starry-Eyed
7 tracks
It’s a frustrating thing. There are so many nice female voices going around, making records, playing shows, but so few of these voices are used in anything interesting or remotely individualistic—like this CD by Annalise Emerick. There is no question that she has a natural-sounding, unaffected (no melisma or annoying vocal acrobatics), and likable singing voice, but the rest of the music is extremely dull. There are certain voices that can transcend whatever backing (or lack thereof) due to sheer character and lyrical power (think those post-’70s Leonard Cohen albums with the Muzak backing); unfortunately, Annalise doesn’t have either of these qualities. Her voice is nice, but it’s not interesting enough to render the polite folky trappings and under-stimulating lyrics moot. Basically, this CD bores the hell out of me because the music is so cookie-cutter, so dime-a-dozen, that it goes through my noggin like a sieve, leaving no residue behind. Plus, the cover of “Stand By Me” is completely forgettable and pointless, same with the interpolation of “Auld Lang Syne” in track 6.             (Tony Mellor)

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2006 Noise Poll Nominees

2. New Band
Bang Camaro
The Snowleopards
Hallellujah the Hills
Angeline
OK Thursday
Steamy Bohemians
Temper
Mystery Tramps
The Motion Sick
Apple Betty
The Silver Lining
Blanketeer
Christians & Lions
Bleedin Bleedins
Township

3. CD
Neptune – Patterns
Mission of Burma – The Obliterati
Ho-Ag – The Word From Pluto
The Motion Sick – Her Brilliant Fifteen
Corin Ashley – Songs from the Brill Bedroom
Aloud – Leave Your Light On
Campaign For Real-Time – Yes… Imean No
Muck & The Mires – 1-2-3-4
Dresden Dolls – Yes, Virginia
Radio Knives – Cursed
Monique Ortiz – Reclining Female
Temper – Hang by Your Own Tail
Hooray For Earth – Hooray for Earth
Mittens – Fools on a Holiday
Bon Savants – Post-Rock Defends The Nation

4. Song
Fluttr Effect – “Hollywood is Porn”
Campaign for Real-Time – “In Your Dreams”
Muck & the Mires – “You Better Write Your Number Down”
Scamper /Kay Hanley – “Barcelona”
Sidewalk Driver – “Christmas in Fallujah”
Hooray for Earth – “Simple Plan”
Shoot the Moon – “It’s All Good”
Mittens – “The Way We’re Living”
The Daily Pravda – “She’s So Mature”
Mission of Burma – “1001 Pleasant Dreams”
Dresden Dolls – “Backstabber”
Pernice Brothers – “Somerville”
Damone – “Out Here All Night”
Hallelujah the Hills – “Hallelujah the Hills”
Bang Camaro – “Bang Camaro”

5. Vocalist (M)
John Powhida (The Rudds)
Thom Moran (Bon Savants)
Brad Parker (Aberdeen City)
Sammy Miami (Shoot the Moon)
Corin Ashley (Corin Ashley)
Munk ([munk])
Jared Marsh (Taxpayer)
Chris Mascara (Mascara)
Ad Frank (… & the Fast Easy Women)
Eli “Paperboy” Reed
Dave Jackel (The Daily Pravda)
Mark Lind (Ducky Boys)
Chris Pappas (Everyday Visuals)
Jason Dunn (The Luxury)

6. Vocalist (F)
Anna Price (The Silver Lining)
Monique Ortiz (AKACOD)
Jen D’Angora (The Downbeat 5/ Dents)
Emily Grogan (Emily Grogan Band/ Angeline)
Jordan Valentine (Worlds Greatest Sinners)
Andrea Gillis (Andrea Gillis/ The Rudds)
Holly Brewer (Humanwine)
Kara Trott (Fluttr Effect)
Linda Viens (Angeline)
Elena Proakis (Polyethylen)
Jen Johnson (Static of the Gods)
Jen De La Osa (Aloud)
Elli Vee (The Charms)
Leah Callahan (The Glass Set)
Catherine Cavanaugh (Chop Chop)

7. Guitarist
Roger Miller (Mission of Burma)
Tony Savarino (World Greatest Sinners)
Brett Rosenberg (The Rudds)
Sean Connelly (Ad Frank/ Francine)
Henry Beguiristain (Aloud)
Gilliford Gillis (Township)
Matt Rhodes (The Silver Lining)
Sean McCarthy (Helms)
Ernie Kim (Tristan da Cunha)
Alex Necochea (Bang Camaro)
Bryn Bennet (Bang Camaro)
Maclain Diemer (Bang Camaro)

8. Bassist
Monique Ortiz (AKACOD)
Michelle Paulhus (Dents)
Tony Goddess (The Rudds/ Andrea Gillis)
Mike Rivard (Club d’Elf)
Jim Gilbert (The Plain Janes)
Brad Parker (Aberdeen City)
Jimmy Jax (The Snowleopards)
Nick Ward (Ho-Ag)
Dave “Doz” Riley (Bang Camaro)
Clint Conley (Mission of Burma)
Hilary Jones (Sweetthieves)
Nicholas Ward (Ho-Ag)
Farhad Ebrahimi (Night Rally)

9. Drummer
Brian Viglione (Dresden Dolls)
Nick Zampiello (Campaign For Real-Time)
Andy Dole (Bon Savants/ Bang Camaro)
Seth Kasper (Hooray For Earth)
Rob Lynch (Harris)
Tanya Paglia (The Hidden)
Jesse Mayer (Wild Zero)
Steve Budney (Tristan da Cunha)
Mora Precarious (Ketman)
Eric Meyer (Ho-Ag / Hallelujah the Hills)
Luke Kirkland (Night Rally)
Peter Prescott (Mission of Burma)

10. Keyboardist
Sarah Rabdau (Sarah Rabdau)
Roger Miller (Binary System/ Alloy Orchestra)
Johnny Pics (The Chainletter)
Jane Allard (The Motion Sick)
Nicole Boudreau (Baker)
Ashley Moody (The Information)
Falconer & Felix (The Campaign For Real-Time)
Gary Benacquista (Hooray For Earth)
Tyler Derryberry (Ho-Ag/ Longknives)
Amanda Palmer (Dresden Dolls)
Rick Berlin (Rick Berlin)
Elio DeLuca (The Irreverends/ Keys to the Streets of Fear)

11. Other Instrument
Valerie Thompson – cello (Fluttr Effect)
Dana Colley – saxophone (AKACOD/ Twinemen)
Donna Parker – knobs (Donna Parker)
Tyler Derryberry – theremin (Ho-Ag)
Brian Ruttledge – trumpet (Hallelujah the Hills)
Vessela Stoyanova – MIDI marimba (Fluttr Effect)
Paul Ahlstrand – saxophone (various bands)
Chilly Kurtz – mouth harp (Collisions/ Caged Heat)
Chris Barrett – trumpet (Christians & Lions, Logan 5 & the Runners)
Ken Field – sax/flute (Birdsongs of the Mesozoic)
Kris Thompson – theramin (The Lothars)

12. Stage Presence
John Powhida (The Rudds)
Robby Roadsteamer (Robby Roadsteamer)
Jordan Valentine (World’s Greatest Sinners)
Otto Jayayyemmri (Porsches On The Autobahn)
The Choir (Bang Camaro)
Eli “Paperboy” Reed
Ryan Walsh (Hallelujah to the Hills)
Ad Frank (… & the Fast Easy Women)
Gene Dante (Gene Dante & The Future Starlets)
Mach Bell (Mach 5)
Brian Viglione (Dresden Dolls)
Thermos X. Pimpington (Voodoo Screw Machine)
Nick Given (Bang Camaro)

13. Radio Station
WFNX
WMFO
WZBC
WMBR
WBCN
WAAF
WERS

14. Radio DJ
Shred (WBCN)
Carmelita (WAAF)
Dave Duncan (WFNX)
Joanie Lindstrom (WMBR)
Anngelle Wood (WZLX/ WMFO)
Jeff Breeze (WMBR)
Laura Wilson (WMBR)
Tracey Stark (WZBC)
Jon Bernhardt (WMBR)
Mark Hamilton (WBCN)
Tim Kelly (WMBR)

15. Writer
Steve Gisselbrecht
Will Spitz
Michael Marotta
Joe Coughlin
Brett Milano
Matt Ashare
Carly Carioli
Luke O’Neil
Lexi Kahn
Slimedog

16. Photographer
Michael Byrne
Kelly Davidson
Nicole Tammaro
Bill T Miller
Mick Murray
Just Bill
Liz Linder
Sheri Haussi
Gail Rush

17. Record Label
Fenway Recordings
Curve of the Earth
Rodent Popsicle
Lunch
Bodies of Water Arts & Crafts
Lemon Merchant
Hi-N-Dry
Mister Records

18. Producer
Hugh Wyman
Tom Polce
Paul Q. Kolderie
Tony Goddess
Dave Minehan
Nick Zampiello
Richard Marr
Darren Burke
Dave Westner
Mark Schliecher
Ethan Deusault

19. Club
the Middle East
the Abbey Lounge
Great Scott
T.T. the Bear’s
Avalon
the Midway
PA’s Lounge
O’Brien’s
Lizard Lounge
the Paradise
Bill’s Bar
the Milkyway
Bullfinch Yacht Club
the Kirkland

20. Personality M
Robby Roadsteamer
Thermos X. Pimpington
The Franx
Joe Coughlin
Marc Schliecher
Alvan Long
Ken Cmar
Shawn Wolf Wortis
Dave Tree
Al Janik
Chandler Travis
Slimedog
Gary “Rotten Drunk” Taylor

21. Personality F
Honah Lee
Lizzie Borden
Lexi Kahn
Andrea Gillis
Carmelita
Anngelle Wood
Linda Viens
Michelle Paulhus
Emily Grogen
Rachael Ieszenberg
Jordan Valentine

22. Noise Centerfold
Nabil & Joseph Sater (issue $267)
Rachael Ieszenberg (issue #266)
Tony Savarino (issue #265)
Monique Ortiz (issue #264)
Jim Healy (issue #263)
Ellie Vee (issue #262)
Nate Rogers (issue #261)
Wendi Faren & Nilo (issue #260)
Jimmy Birmingham (issue #259)
Kara Trott (issue #258)

23. Disappointment
RIP: Barb Kitson
Nemo lacks credibility
Noise Board softball fails to make it to the World Series
RIP: Johnny Pics (The Chainletter)
O’Brien’s closes for renovations
RIP: Alpo (The Real Kids)
Pay-to-play “battle of the bands” hog the clubs
AChick resigns from the Noise Board

24. Highlight
Ho-Ag as Devo
Rock ’n’ Roll Socials move to the Model
Aberdeen City get signed
The Rudds as Hall & Oats
Bang Camaro sells out their first headline show
Richie Hoss’ spring party
Mission of Burma return
The Sheila Divine re-form on New Year’s 2006
Clawjob’s Space Crackers (rock opera)
Ultrasonic Rock Orchestra’s A Night at the Opera

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Live Reviews

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BARRENCE WHITFIELD & THE GRITS AND GROCERIES ORCHESTRA

THE DELTA GENERATORS

The Narrows Center for the Arts, Fall River, MA

2/27/16

It’s a cold February night on the waterfront in Fall River, Massachusetts, and the stony exterior of The Narrows’ Center for the Arts tells nothing of the happenings inside. The place is a true diamond in the rough in terms of local venues for the arts. Nestled in an old, abandoned mill building, inside, it is warm and welcoming – a direct contradiction to its exterior. The place is mellow, warm, and funky, being a fusion of art gallery/ concert venue, and an art shop. A truly unique place which has hosted both internationally iconic and local talent equally. Another perk, is that it is strictly BYOB, and yet somehow, rowdiness is never a problem here. The energy is great. Also, the acoustics are quite simply, awesome.

On this particular night, there is a highly impressive double billing rocking these old mill walls. The featured acts are The Delta Generators and Boston area music legend, Barrence Whitfield, which to my mind, are two of the Boston area’s best acts, and they definitely proceed to affirm my opinion. This night’s performances are nothing short of perfection and I suspect that each band has left indelible marks at The Narrows’ Center, delivering performances that tear up the stage in the best way possible. Simply put, they smoked it!

First up, blues rockers, The Delta Generators, opening with “Hand Me Down Blues.”  Um, hello awesomeness! I count 14 songs on their set list, none of which disappoint. Front man, Craig Rawding, is delivering up soulful vocals, (at times having the feel of some of Eric Burdon’s early stuff), he really feels what he is singing and emotes it with ease. He also works one truly impressive blues harp. Backed by Rick O’Neal, whose finely tuned bass skills lend a deep, driving foundation to their sounds, Jeff Armstrong, a nice, strong, solid drumming presence, and last, but by no means, least, their phenomenally  talented guitar player, Charlie O’Neal. WOW!  Easy to forget that there are only four musicians playing, since their sound is so much fuller and so much bigger. The high points for me, are the powerful sounds of “Way Down,’’ “That Evil,” “Night of the Johnstown Flood,” “Get on the Horse,” Two Headed Snake,’ and their final song, “Shake Your Money Maker.” These guys are definitely all that, and more!

Next up, is the one – the only, Barrence Whitfield, who tonight, is accompanied by The Grits and Groceries Orchestra and their performance is tour de force. They open with “Mad House,” and the audience is immediately tweaked. Barrence’s charisma is both natural and electrifying, and utterly infectious, his presence is strongly animated both as he performs, and in between songs, as he interacts easily with the audience. He knows how to own the stage and this band is rocking it. These guys are TIGHT! The Delta Generators’, Charlie O’Neal is pulling double duty, filling in on guitar, and he plays now, as if everything he did so well in his opening performance, was simply an epic warm up to what he proceeds to do now. Robert Lyons delivers some insanely great tenor sax, whose sound pierces the atmosphere with mind boggling ease. Rare to hear sax of this quality. John Anthony plays one hell of a melodic bass also lending some nice backup vocals. Kemp Dunn on drums, easily equals the flawless talent of the rest of the band.

The Narrows’ is by no means, a dance venue, but tonight – no doubt in anticipation of what’s to come, they have moved seating to accommodate those who can’t help but heed Barrence’s call to “get up and shake your booties!” And dance, they do, myself included.  It’s impossible to resist. I am feeling hard pressed to choose favorites, with a generous set list of 17 incredible songs, several of which have commanded well deserved standing ovations, but every show has its high points, and for me, those would be “Georgia Slide,” the almost trance inducing,“Chillin’,” the smoking hot, “Bloody Mary,” and an awesomely executed cover of Big Mama Thornton’s, “I Smell a Rat.”

What an unforgettable night here, at The Narrows’.  I will definitely recall these performances fondly. Nights such as this one are rare. I do feel sorry for anyone who could not make it to this show, but I feel grateful that I was lucky enough to attend. I will be following tour dates for both bands closely, and I am recommending that others do the same.  (R.J. Ouellette)

…

NICK ZAINO

BANDA DE GOMA

JON WATERMAN

CHARLIE FARREN

KATE EPPERS

PATRICK NELSON

Mashup at Moka, Cafe Moka, Lynn, MA

3/17/16

My first time going to Cafe Moka in Lynn, MA, and as I’m searching for the place on foot a tall gentleman with a grey beard points me the way as if he knows where I’m heading. I look up at the sign and he’s right!  It’s the debut night of Mashup at Moka, a multiple singer/songwriter presentation consisting of  20-minute performances by each artist. There’s a friendly feel in this long L-shaped room with art hanging all along its length. The performance area is set up on the hardwood floor at the bend in the L.  Host and booker of the Mashup, Patrick Nelson, starts the evening off with acoustic guitar and voice pumped through the P.A. system with an ample amount of reverb making the sound feel large and alive. I’ve seen Patrick before and his songs have stuck with me. He’s doubling as chef and perform tonight! “Do Re Mi” has a nice bounce to it and Patrick’s crisp guitar guitar playing gets the night off to a good start.

Up next is Kate Eppers on keys. She donning a green Ireland V-neck jersey reminding me that it’s St. Patty’s Day (I had my blinking plastic shamrock on earlier but misplaced it during the day). Kate tells us she was in Ireland six years ago and has a song inspired by the trip. This tune sounds like it could be part of an opera. She plays another that she says is a “Franken-song” because she pieced it together from music written at two totally different times. She’s a Disney Freak and her final song is a take on Frozen.

The lanky rock star Charlie Farren (Farrenheit) unexpectedly hops up next and boy does he put on a show. He’s a master rock performer and the new material he’s presenting solo tonight is clearly in the classic rock genre. The big reverb really adds to the imagination of a full band blasting out “My True Story,” “Always” (a beautiful ballad), “Don’t Believe Your Eyes” (sounding like “Livin’ on a Prayer”), and “Powers That Be.” Photographer Sheila Roberts Orlando leans over to me and says, “He’s so commanding!” She’s right. He’s always got a big smile for his audience and the percussive picking of his guitar practically takes the place of a drummer.

Jon Waterman can now claim that Charlie Farren opened for him and he won’t be lying!  Jon has been a main stay in North Shore music and his wit and interesting character holds the attention of the Moka fans. He has a wonderful way of breaking into solos on his old acoustic where he slams chords and melody into one. With the kind of material that the Band would like to cover, Jon is comfortable knocking out a kind of American that was popular before the genre’s name existed. He ends with original tribute to Hughie Cannon, the composer of “(Won’t You Come Home) Bill Bailey” that ends with a verse of the popular old (1902) tune.

Pianist/ vocalist Lynn Taylor’s new duo, Banda de Goma, with Jason Novak on harp graces the stage next. It’s kinda bluesy and then it has a beatnik feel – no it’s kinda soulful. It’s all that and more wrapped up into a fun performance. Jason sing/speaks the lyric to “Back on Track” and the audience gets into clapping along. Lynn says she’s played this exact of piano years ago and loves it, then starts a tune from her latest solo CD. They end with Lynn strapping on her bass and the two sing “Lay me down right as rain.”

Nick Zaino presents himself as a classic folk singer/guitarist complete with harmonica hanging round his neck and mini tambourine strapped on his foot. Nick is a writer and he enjoys making words his focus on “I Can Live Through You.” He says he feels like a cowboy wearing an instrument on his foot that clinks like spurs. He’s the first performer of the night to take the reverb off the PA to give his lyric a definition that didn’t exist for some of the performers earlier in the night. In “Bruises” he uses light guitar notes to bring his lyrics of family violence center stage. He ends with “The Good News” a song a lot of people refer to as “the Bastard Song” and everyone tries to sing along.

I stick around more to talk to the host Patrick and I get introduce to the owner, Yakov Tseitlin – yes, he’s the tall man with the beard that knowingly guided me into Cafe Moka. And wouldn’t you know it – I’m in Lynn, MA and the musical mayor of the town walks in… yes Mr. Don White (see my other live review in this issue). I praise him for his recent performance in Marblehead and it brings a big smile to his face. A nice way to end a night.  I leave feeling very fulfilled.  (T Max)

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THE CASCO BAY TUMMLERS

Port City Blue, Portland, ME

3/3/16

The great thing about living in Portland, Maine, is that I can drive away from my house and within 15 minutes I can find myself sitting in a venue listening to live music. The Casco Bay Tummlers, a Klezmer band, are appearing here in Blue on this Thursday night. About a dozen people are here when I show up and I am able to grab a table for myself close to the stage. The band is composed of clarinetist Steve Gruverman, percussionist Eric LaPerna, John Clark on stand-up bass, and visiting violinist, Sarah Mueller. I saw them a long time ago when a few more people were in the band. Tonight’s performance features no vocalist, it is an instrumental show. I’m awash with chills with the first mysterious tune – the klezmer clarinet is like nothing else. The tunes all long for something, the scale is wistful. In my head I see women wearing colorful scarves dancing –  it’s almost like Persian belly dancing music. The musicians are talking about Dixieland klezmer music, Rastafarian klezmer music, any kind of klezmer music. They ask, “What do Rastafarians and Klezmer musicians have in common?” I suggest “Curly hair?” The band laughs. The songs are from the Balkans, from Turkey, from Jews emigrating to America. It’s a timeless kind of blues music, emanating from the enigmatic heart of Eastern Europe. If you’ve never heard it, treat yourself when you have the chance. The ancestors fill the room, invisible though they are.  (Kimmy Sophia Brown)
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6 STAR GENERAL

SICK PILLS

The Parlour, Providence, RI

3/5/16

Winter is winding down but it is still bitter cold as I brave the frozen tundra to ride my sled dogs to Providence to see two great bands for a 75orless records night. Where are all the sunny tundras? The Parlour is a nice place to play a show or see one. I just don’t like the paintings of giant Marshall amps on the rear of the stage. I think it makes the real amps look small and is distracting, it makes it cheesy if you videotape your set or take pictures, but hey, what do I know about sliced bread? 6 Star General have small amps but big sounds. Singer and bassist Mark is ever entertaining as a frontman, with asides, introductions,observations, and conversations between songs. 6 Star General have been winning hearts and minds with their blend of 90’s college rock and punky alternative for over a decade and they have this down to a sweet science. Well placed covers of Daniel Johnston, Grandaddy, and Camper Van Beethoven give  you a glimpse of their influences. The night might have been running late, because their set seemed a bit short to me, but that’s rock and roll sometimes.

After a short break Sick Pills storm the stage, like well mannered Vikings. Singer/ guitar player Chris Evil has been playing around New England in Blood Moons and Chris Evil & the Taints for many a year. This band mixes his punk and garage influences with a bit more straight up rock ’n’ or roll. They do a cool version of “Goodbye Horses” from Silence of the Lambs, but rely mainly on their well crafted catchy punk nuggets. This is their first show in a couple of years with their old drummer, but they sound pretty well rehearsed. These two veteran bands of the Providence punk and whatever scene make the frostbite worthwhile. (Eric Baylies)

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CHANDLER TRAVIS PHILHARMONIC ORCHESTRA

YANI BATTEAU & THE RODEO

Johnny D’s (Closing Weekend), Somerville , MA

3/12/6

For so many many special years, Johnny D’s has been a mecca for disparate entertainment. Easily one of my fave rooms in the Boston area, it has championed national and local acts with a honest and healthy attitude towards its patrons and staff. With seating in close proximity to the stage, we always felt treated to an intimate showcasing of talent. But, this past weekend it all comes to a close after forty years of extended family effort. Another club bites the dust… such a goddamn shame!
Two bands that have dazzled at past shows return to a rousing welcome. First up, the singing banjo-queen Yani Batteau and her group spin out country-folk-bluegrass yarns with low-key humor and tight ensemble playing. Usually a trio, today she is sporting a larger outfit with drums, trombone, and backing singer. Song by song the admiration grows until the floor is filled with barn-dance stompin’. Only an encore will suffice… darn tootin’.
Next, the amazing, thrilling, grinning, crooning, lounge-(or is it bedtime?)-lizard – Mr. Chandler Travis and his Philharmonic Orchestra appear. Opening with “This is Home,” and then an ode to Somerville, he sends the crowd into overdrive. The club is packed wall-to-wall, people are bursting with laughter and love, dancing dervishes devoted to his care-free manner and wonderful pop tunes. No wonder his entertainment factor has been a perfect ten for umpteen years. He brings the owner Carla DeLellis on stage to rousing cheers and presents her with a gift of engraved chopsticks and the sly joker serenades her and the audience in a hyper-climax to this afternoon showcase. Sweet memories are made of this.    (Harry C. Tuniese)
P.S. – I hear that this evening’s surprise entertainment was The J. Geils Band – after the sold-out Rickie Lee Jones show on Tuesday, that’s truly going out in style!

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ALASTAIR MOOCK’S PASTURES OF PLEANTY

Me & Thee Coffeehouse, Marblehead, MA

3/25/15

Kids! There are kids with their kid voices filling up the pews of Me & Thee with a youthful din that can only be made by kids. I’m told that these are third graders from the Glover School in Marblehead and they are part of tonight’s show.

As soon as the lights go down the room hushes to a silence and Alastair Moock (guitar/ banjo/ vocals), Eric Royer (banjo/ vocals), Sean Staples (mandolin/ guitar/ vocals), Paul Kochanski (bass/ vocals) and the 10 year-old Fiddlin’ Quinn (fiddle/ vocals) set the stage like it’s their living room for the night. “Hard Travellin’” commences and country bluegrass bounce has those kids in the front row doing a heavy sway right and left. Alastair lets us know that his Pastures of Plenty has been kickin’ its heels for 20 years. The idea of the project is that each member brings in songs from American history and stories are told about each tune. The audience sets the music and a bit of history thrown in. Each member takes the lead vocal on their song and the rest follow along giving it a fresh semi-rehearsed feel. Even Quinn’s dad, Chris Eastburn, swaps places with Alastair to play along with some songs that Quinn sings. His young voice still untouched by puberty cuts through volume of the instruments easily, like on “Rocky Top Tennessee.” That’s followed by Dave Van Ronk’s slippery slidin’ “Baltimore.” One of the funniest songs of the night is “The Bright Side of Me,” a rolling Moock original that is sung from a kid’s perspective about looking on the positive side of their doings. Mr. Moock invites one of the third graders, his daughter Cleo, up to join him on vocals for a couple of tunes from the 2012 Grammy nominated Singing Our Way Through Songs for the World’s Bravest Kids. Cleo is one of these kids who battled through leukemia when she was five years old. They do “When I Get Bald” and “B-R-A-V-E” and the talent is obviously flowing in the Moock family. Sean Staples gets featured with his song “Joy Comes Back” and tells the story of how a video was made by one of those BRAVE kids singing this song. Next Elsa Moock (Cleo’s twin sister) is up leading “This Little Light of Mine.” Then the group of 17 third graders get their spotlight time singing “Grover School Song” and all the parents in the audience are standing with their iPhones recording the momentous occasion. Time for a well-earned coffee and treat break.

Fifteen minutes later the audience thins out with a lot of the parents escorting their star children home for bedtime. But the show is not over yet.  Eric Royer picks an interesting song, “Pegging On,” about how a man who pegged shoes for a living in the mid-1800s was replace by a machine that could do the job faster. Quinn shows off his fiddlin’ skills with the classic “Orange Blossom Special.” And Alastair tells an intriguing story about how the song “Freight Train” was written by the 12-year-old Elizabeth “Libby” Cotten and by a strange set of circumstances, and a 25 year break from playing guitar, ended up performing her classic folk song at the Newport Folk Festival at the age of 80. Paul Kochanski executes the lead vocal on “I Just Destroyed the World” and surprisingly sounds a bit like Johnny Cash. Eric rolls into “Pastures of Plenty,” the groups one-chord theme song penned by Woody Gutherie.  Then Sean claims the next composer must have been showing off with the TWO-CHORD “Take Me back to Tulsa” where Paul takes an extended bass solo. They see us off with “You Are My Sunshine” and “Good Night Irene.” (T Max)

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HEAVY METAL HORNS

25th Anniversary Reunion

Johnny D’s, Somerville, MA

2/26/16

Tonight’s music is being played in front of a packed house and is sorta like Tower of Power meets Chicago, and I can feel the excitement in the air. The original rhythm section has come to the club from all over the place just to be at this gig. Peter Calo (Carly Simon Band) on guitar and vocals is from upper state New York. Drummer Jim Sturdevant journeyed up from PA. Pengbian Sang on bass trekked all the way from the Dominican Republic. With fellow founding member John Mathews singing and on keys joining the incredible horn section of Henley Douglas and John Vanderpool on saxes, John Ferry (Bim Skala Bim) tooting trombone and on vocals and Garrett Savluk on trumpet for a great night of brass and funk. The crowd is going nuts and getting louder and louder as the night proceeds. Check out their set list: Old Heavy Metal Horns tunes “Shake” and “99%” by Calo and “You Make Me Want To Rock” and “The Horns Are In The House” by Berklee legend Thaddeus Hogarth. And they cover “Champagne” by The Del Fuegos, “Hang Up Your Hangups” by Herbie Hancock, “Can’t Find My Way Back Home” by Blind Faith’s Stevie Winwood and Tower of Power’s “You’re Still A Young Man.” Trust me. The roof and walls of the club are shaking! The band says they’re gonna be back for another gig or two real soon and I can’t wait. New music from this legendary old band? Keep your fingers crossed and on the valves. (A.J. Wachtel)

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BEST NOT BROKEN

Blue Ocean Music Hall, Salisbury, MA

3/17/16

The storm-whipped waves pounding against the Blue Ocean Music Hall in Salisbury, Massachusetts, provides the backdrop for Best Not Broken (“BNB”) from Manchester, New Hampshire, as they open the night for the iconic Jefferson Starship.  Eric Jackson (vocals, guitar), Carlo Carluccio (drums), Brian Eyberg  (keyboards), and Mark Oswald (bass) take the stage for this sold-out show not knowing what to expect. The band opens with “Anarchy,” an upbeat melody with the story of a crazy love affair that contains lines like “I’ll forget you’re a psycho crazy bitch.”   They then perform “I Won’t Stop Loving You,” the story of growing old with your only love.  After another slow love song “Breaking My Heart,” the band goes straight into “Listerine,” a simple way to explain the sting of a lost love.  “What The Night Has Left” brings the crowd back from tears and they are moving again.

The Jefferson Starship biased crowd gets into Best Not Broken’s power pop material with bobbing heads, chair dancing, and arm waving that leads to rich applause after every song.  Eric entices the crowd by saying if they go to Facebook and like the band, they will get a free CD at the end of the show.  Immediately cell phones begin lighting up all over the venue indicating that the band will be handing out quite a few CDs.  Continuing with their set, BNB goes into the danceable “Tell Me That You Want Me” that gets a few of the chair dancers up out of their seats.  This song was debuted on the radio by Chris Desimonie on Frank FM 106.3 and featured by Pat Monahan of Train on his Sirius XM show Train Tracks last November.

The band closes their 40-minute set with a cover of “The Letter” by The Box Tops just to show this crowd that BNB can bring the R&B and sound amazing doing it.  Best Not Broken exits the stage to rousing applause and whistles leaving them with no doubt that if they were not the opening band an encore would be in order.

The band meets a long line of new fans to sign CDs before and after Jefferson Starship’s set; a sight you rarely see when you are the support for the night.  It’s a great night for a local band starting to catch the eye and ear of New Englanders by giving fun performances of great songs with sometimes funny and sometimes thoughtful lyrics combined with killer melodies.  (Brick Mason)

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THE GHOSTS OF JOHNSON CITY

Port City Blue, Portland, ME

3/25/16

The last time I saw these guys I said I was going to see them again as soon as possible. So here I am again in Blue with skads of other people – the place is packed. As the “Ghosts” assemble on stage they tell us that tonight all the songs will be original compositions. They begin with “Fare Thee Well,” an acoustic and harmonic minor-key dirge featuring the sociopathic lyrics of a cruel, possibly jealous husband who carries out the demise of his golden haired bride right in front of us. Musically, that is! Next is a song honoring the explosion at the Stag Canyon Mine in New Mexico, the second worst mine disaster in American history taking over 250 souls. Now we hear “Evelyn McHale” about a most beautiful death of Ms. McHale who, in her red dress and pearls, leaped from the Empire State Building and landed on a parked limousine, where she looked like a woman sleeping in folded blankets of metal. A theme somewhere between Edgar Allen Poe and America’s Most Wanted is emerging. More story songs: one about America’s first serial killing family, the Benders; correspondence of heartsick lovers of the Gold Rush; Civil War tragedies; The Sultana Steamboat disaster claiming over 1800 souls; the influenza epidemic of 1918. And more. I find myself getting emotional, realizing that remorse and sorrow linger near the earth, and this band is a mouthpiece for stories that long to be told. I imagine more ghosts lining up behind songwriter Amos Libby, tugging on his sleeve, “Tell my story now, tell mine.” Their mission is profound. They are bringing back a genre from a bygone era that feels prescient and important. Doug Porter, Erik Neilson, Erik Winter, Ian Riley and Amos are supported this evening with help on vocals by Bridget.  (Kimmy Sophia Brown)

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DON WHITE & CHRISTINE LAVIN

Me & Thee Coffeehouse, Marblehead, MA

3/4/16

On a day that commands us to “march forth” (through the snow), Don White celebrates his birthday in front of a crowd of adoring fans. Me & Thee is quickly packed so I squeeze into a tight space in the front pew – I love getting to see the nuances of performers facial expressions. New Yorker Christine Lavin starts with a hilarious opening set and though I could elaborate on every well-chosen comic tale, I have to follow The Noiseformat and move on to our New England-based artist of the night, the afore mentioned musician/ storyteller/ comedian, Don White. For those not in the know, Don is practically the Mayor of Lynn, Massachusetts, by way of his never-ending attention to his local community. His quick wit earns him big laughs, like when he boasts about being married for 38 years, then looks out at the mature audience and adds, “but I can see I’m not gonna win any awards here.” He sings about his relationship with his dog, his kids growing up, and his wife, and every song brings on gut-busting laughs. But what really makes Don the master of his audience is his ability to turn around and hit you with a serious life lesson sewn into a song that practically brings tears to your eyes. He introduces vocalist Christina Thompson and violinist Jackie Damsky to back him up and also lets them take the spotlight for their own song. Don follows that up with about 15 minutes of real life standup comedy. Then Christine Lavin joins him and the laughs keep coming. She also manages to get everyone up shaking and dancing. The surprising highlight of the night is a serious one, when Don delivers the simple yet beautiful title track of his latest CD, More Alive. In it he tugs on our heart strings with advice from of his wild 82-year-old Aunt Betty Mae who lives life like she’s 22. Other great songs at the end of the night include a Don/Christine duet of “I’m Glad S/he Can’t Read My Mind,” a version of “Goodnight Irene” impaled with some creative new verses, and “Sensitive New Age Guys” where a dozen or so male members pile on the stage offering their untrained baritones to the chorus. If you get the chance, buy a ticket to go see Don White in concert, it’s one of the better things in life.  (T Max)

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RICK BERLIN & NICKEL & DIME BAND

WILLIE “LOCO” ALEXANDER & THE FISHEYE BROTHERS

ELIZABETH & BEN ANDERSON

Nickel & Dime CD Release Party

Lizard Lounge, Cambridge, MA

3/12/16

Totally amazing – it’s icon time at this venerable establishment. Celebrating the release of Rick & Nickel’s EP Badville, we are treated to a major showcase from two local legends, still plowing the fields of creativity. Settling in for some prime entertainment, the opening act is the very young brother/sister Ben & Elizabeth Anderson, who offer a set of Irish  jigs, reels, and folderol… mildly interesting.
But then, we quickly step into the realm of the sublime with a short powerful selection from Rick & Co., who introduce some of the new tunes and several classics from Rick’s oeuvre. Tonight they are doing two sets and the band is whip sharp – the audience relishes it. As always, Mr. Berlin is brilliant and the crowd adores him. Obviously, we are being primed for a rare local appearance by Mr. Alexander & The Fisheye Brothers (Jim Doherty: drums and Mark Chenevert: clarinet & saxes).
In a ten-song explosion of energy, we get a concise primer of Willie’s vital spirit and songwriting hijinks. Opening with a twisted reworking of “Great Balls of Fire,” and his two initial classics, “Kerouac” (it was his birthday!) and “Mass. Ave” (Willie says: “just cause it’s right outside”), we get a cross section of his decades-long career. Other stopping points were “Shopping Cart Louie,” “Ogalala,” “Life is the Poem,” and “Dirty Eddie.” Pure rockin’ bliss!
When we return to the Berlin & Dime Band, they are rejuvenated by Loco’s set, and unleash a sampling of their torchin’, tender, terrific tunes from their past few albums. The new EP’s title track, “Badville” is an apt metaphor for this group – honest and true, down-home, catchy, enthusiastic, talented BAD-ASS daddios (Jesse, Mike, Sam, Ricky, Rob, Al, and the exceptional Jane Mangini)! We are totally wiped out and awash in admiration for a tremendous evening. Thank you very much!   (Harry C. Tuniese)

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THE OLIVES

The Foundation Room in The House of Blues, Boston, MA

2/27/16

These guys don’t get out and play as much as they used to because they all have other responsibilities. And that’s a pity because they’re as good as the handful of other Grateful Dead inspired bands in the area like Max Creek, Playin’ Dead, Crazy Fingers and Dead Beat. New Hampshire guitarist Leo Ganley (Lemon Fresh Kids, Weed,Inc.)  on lead vocals and guitar, George Chambers playing lead guitar, Jeff Wyman (The Fiends) on four strings and Norm Fuller (The Cause) pounding play really well together. There is a lot going on onstage between the tight playing and good arrangements. The guitarists sound great and like they’ve shared the spotlight forever and the bass and drums keep it jumping. They remind me a bit of 10,000 Maniacs meets R.E.M. This is a real good party band and the nice harmonies and power pop sound make original songs like “New England Town,” “Eskimo Pie,” “Mary Goes ‘Round,” and “Mother Earth” sound like familiar tunes you’ve heard on the radio before. “Don’t Let Me Down” by The Fab Four, “Big Railroad Blues” and “Don’t Ease Me In” by The Dead are cool coverspeople in the crowd are swaying and singing along with too. A lot of fun. Let’s hope their next gig is sooner than later.   (A.J. Wachtel)

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CD Reviews – June

If you are an artist based in New England and you’d like The Noise to review your latest releases, send a hard copy to T Max/ The Noise, 28 Goodhue St #406, Salem, MA.

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Page Contents

WISHBONE  ZOE

All of These Oddities

11 tracks

Wow… what I have been missing.  Listening to All of These Oddities, Wishbone Zoe felt like an adventure of many colors and moods, with surprises awaiting you, one song after the other. Saera Kochanski has the waifish, pixie – like voice of a playfully fey being in a story book garden, at times light and whimsical, with other times the sounds feeling much like a virtual cabaret one might find “through the looking glass.” Surreal, but not excessively trippy, Saera’s lovely voice keeps the voyage on a very listener friendly keel. On the surface, if this were playing in the background, it could all be taken at face value and sound like a lighthearted summer “girl band” CD, which would be fine in and of itself, but there is so much more art and depth at play to it than that.

This music is decidedly, an experimental, artistic venture, keeping very much with keeping the playing in playing. I love this concept! Every now and then, it’s really good to break away from music that makes you ask, “why so serious?” Sure, Wishbone Zoe does hit upon the serious to a degree. They hit upon a lot of things on this CD. As I have said, Saera Kochanski has a lovely voice and she is unafraid to make lovely noise. Great instrumental talent all over the place here too. Guitar, banjo, harmonica, drums, bass, and I suspect, many unexpected improvisational instruments. (Remember when you were a child, and would find random objects and were able to make musical sounds with just about any of them?) Yes, that is the essence of this music, and how awesome is that? The inner musical child is still very much alive and well and soaring high within these songs, and it feels great to hear and feel that child- spirit running free and making noise, noise, glorious noise!

Clearly, I am smitten with Wishbone Zoe and this CD. Both are big winners for me, and the best of the best tracks for me, are “Idealism,” “Windy City,” “Hazel and Wine,” “Sacrificial Lamb,” and the beautiful, “Lullaby for Olga.”  This music leaves a smile on my face, and a sigh within my heart. Many of us face the fact that our inner child has, within the world of adult realities, forgotten how to really come out and play. Wishbone Zoe is not afraid to connect with that aspect – fearlessly, beautifully, coloring outside the lines, and for me, therein lies the charm of their music. I feel happy to have crossed paths with All of These Oddities and will be listening for what Wishbone Zoe does next. (R.J. Ouellette)

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KARLO TAKKI

Takkimedia

Bad Behavior 

15 tracks

Takki’s prison diary songs (for so we are told in the accompanying booklet) are revelatory in their variegation. “Truelove (Revisited)” is like a melding of shimmery Beatles-influenced guitar with ominous post-punk march rhythms. Takki’s vocalizations are within the spectrum of stylists such as Morrissey, et al. This particular song is a cut above most simply because over its basic incantatory chorus he positions a variety of sonic effects, which include keyboards and taxicab mike vocals. Other highlights include “Summertime in Prison,” which reminds me of a smacked-out Sly Stone on his last-gasp albums There’s a Riot Going On and Fresh. “Maximum Security” is an elliptical psyche-pop number which could have been written and recorded in 1966; the progressive ascending major and minor piano chords are hypnotic in their incantatory clarity. “My 500th Day” is another upbeat Beatlesque romp, replete with shiny Harrisonesque guitars and punk rock keyboard stylings vaguely reminiscent of The Stranglers. “Foot That Walketh” is a stark and lovely jazz-inflected piano piece. “Kiss the Pain” is a somewhat severe, yet gently surging incantatory number with a lightly swirling piano break and a doomy, tolling coda. “Day of the Dead” is a lively, bouncing rocker reminiscent of ’80s-era pop purveyors such as Yo La Tengo or Green on Red. The introspective opener to “When Pigs Fly” quickly evolves into a grandiose bit of acid-funk noodling worthy of early Funkadelic. “Etude 43C (Snow Falling on Razor Wire)” is a new-agey piano composition with a gentle rippling effect in its inexorable rises and falls. On his best songs, Takki has skillfully juxtaposed dark lyrical content with contrasting lighter musical motifs. There’s no denying he is a skillful and sometimes daring composer, and, as a result, Bad Behavior is a genuine work of art. (Francis DiMenno)

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MOOSE & THE MUDBUGS

SIAMESE TRIPLETS

Unbelievacable! Records

Live at The Knights of Pythias

18 tracks

Both bands have the same members but they play different styles of music.This special night was planned to celebrate vocalist/ kazoo/ harmonica/ assorted percussionist Moose Savage’s fiftieth birthday party in this unique venue; located on the North Shore, in Lynn. The Mudbugs play garage punk, sorta like The Dogmatics meet Lyres, and The Triplets are more gloomy and stark; with psychedelia mixed in. In both bands Moose Savage is a beast. The guests on some of the eighteen Mudbugs songs include Willie Loco Alexander, who plays organ on “20 Ashford” and uses a tambourine and sings back-up on the stellar cover of Van Morrison’s “Gloria.” Ken Field from Birdsongs of the Mesozoic and The Revolutionary Snake Ensemble blows sax on “Festival Time” and Erik Lindgren from Arf! Arf! Records and Birdsongs adds his keyboard talent to “20 Ashford” too. The other members of both bands are Ken Kaiser on guitar and vocals, Carl Square on bass and vocals and drummer extraordinaire Paul Dionne. Moose wrote most of the music and I love the intros to many of the songs. Savage is a funny, funny man. Having the same people play in two bands is light-hearted in itself to start off with. This humor also transposes to his lyrics. For instance, in “Talk” he smirks “I talk with my mouth. It’s part of my head.” Now that’s funny. I really dig the cover of “I Am The Walrus” done punk among the fifteen Triplets tunes captured live. Listen to Moose ably reach those high “ahs” which isn’t an easy feat in any octave. Other cool things to listen for: the neat kazoo opening on “Festival,” the hot harp on “Land Full of People” and “Yellow Lines.” And the stark gloomy psychedelic feel of “Greenery,” and “Combat.” Great turn of the century punk with some nice twists. Check it out!   (A.J. Wachtel)

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THE SUITCASE JUNKET

Making What I Want Music

Dying Star

7 tracks

This CD is one of those surprises, of the good variety, with which you happily and unexpectedly collide now and then in life. The Suitcase Junket is a one man band, said one man, being Matt Lorenz, who sings, plays guitar, violins, sax, drums, and as far as I can tell, all else that you hear on this CD (with the exclusion of his dog, “Scribner,” who makes her musical debut here.) His various influences definitely show themselves at times, but more as very sheer tints as opposed to any solid shades coloring his style. He is an remarkable talent and makes whatever he is playing, uniquely his own. There is a quirkiness to his sound which appeals to me immensely, but this quirkiness coexists nicely with an easy, appealing, earthiness.

There are undeniable elements of garage rock in the bare bones essence of this music, Lorenz’s guitar having a rough and tough, blurry, gritty rattle at times, which thumbs its nose at any high airs of studio induced veneers. His voice is weathered and worn in all the best ways, inducing a really nice easiness to his songs. I was quite taken with this CD, which left me with the unmistakable glow that one feels after having had the pleasure of a fulfilling, happy listening experience.

I really did enjoy every track on this CD, but would have to call, “Dying Star,” “On Our Own,” and “Never Leave, Let Me Be,” my favorites. It was a genuine pleasure to give this a listen. Great talent. Plain? Yes, but in spite of that, it defies the word, “simple.” The word, “unique,” definitely comes to mind. I love this man’s music and I highly recommend checking out Dying Star. Outstanding!  (R.J. Ouellette)

…

BENT KNEE

Cuneiform Records

Say So

10 tracks

Rich with lyricism and mystery, Say So is Bent Knee at their best, affirming them as one of Boston’s most audacious and imaginative musical collectives of this or any other era. Any singer would be hard-pressed to match the lyrical & commanding touch with which Courtney Swain’s clarion voice and adroit keyboard wizardry leads a handful of these compelling tracks with a uniqueness that is sophisticated and fascinating. The group’s bassist/vocalist Jessica Kion and drummer Gavin Wallace-Ainsworth push the limits on what is expected of a rhythm section. The colorful texturists, Chris Baum on violin and Ben Levin on guitar weave sinewy, sumptuous lines in and around the tunes, looping and layering with artful abandon. Their onstage sound mixer/ producer Vince Welch stands quietly in the background with a hovering eye, shaping and guiding their sound with his MIDI controller like an indispensable Brian Eno.

The past eight years have seen the band create a distinctive and original repertoire of inventive and exciting original music, which has finally reached fruition. I am stunned by their oddity, twisted familiarity, sincerity, and unbridled uniqueness. It is musical art on the edge, tethered sufficiently to be accepted by all adventurous fans of progressive categories – a recording with production that doesn’t sit back but leans forward in exacting scrutiny and urges the listener to pay attention. It is music that is challenging, approachable, enjoyable and always intriguing, which lets the music sweep the listener away emotionally. Each track is a gem. Easily, at this early date, my candidate for album of the year – phenomenal!  (Harry C. Tuniese)

…

KEVIN WALL

Chapter2

10 tracks

This is a songwriters’ album. No fancy production typically used to distract you from weak songwriting. Here the “song” rules. Track one “Power of Love” would make John Lennon smirk in appreciation of Kevin’s worldly reflected sentiment…“When the power of love overcomes our love of the power… the world will know peace.” Nothing is forced – the song’s peaceful groove gently finds its way into my memory cells. “Barrel of a Gun” is the heaviest of the subjects tackled here with the confessions of a criminal. But if not taken literally, it may just be about what people go through with the pains of life. A synthesizer wash opens “Graduation Day.” Lyrically it’s full of fatherly advice  gently handed down to help create a wonderful life. This song must have been a graduation present. Pretty cool way for a dad to share his experience in a creative beautiful way. It really says something about the man behind the song. Kevin Wall is thoughtful and wears a peaceful helping attitude. With a piano backing, “One True Friend” shows heartfelt appreciation of friendship. Simple and solid. “Raw Emotion” is addressed to a lost friend who taught the singer how to be a man. Sounds like a thank you to a father, older brother, or best male friend. “Things That I Could Tell You” rocks while dad simply shares his experiences to help the next generation not fall into the same mistakes in growing up. “A Hold on You” is more advice given (to a daughter?) – full of care and respect with simple guitar, piano, bass and drums accompaniment. Double electric guitar leads in “Fell From the Sky” follow a serious awakening of how things can just come to you by surprise. “Graduation Day v.2” is another similar take to track three on what appears to be the key song on Chapter2. The disc closes with “Capturing the Sparks,” a final reminder of how important it is to be aware of love that ignites the sparks of life. Overall Chapter2 creates a mesmerizing effect with a kind of serious masculine serenity. Recommended – especially for parents of teenagers, and the teenagers themselves.  (T Max)

…

ABBIE BARRETT & THE LAST DATE 

Beige Bomber Records

The Triples

9 tracks

I’m glad this 2014 entry finally made it into our in-box. It is an entertaining and interesting ride right from the get-go. The opening track, “Here to Stay,” is a punkish new-wavy number which I suspect is the ace up their sleeve. It comes across like some dream mix of The Runaways and the Go Gos, but it’s also some lively and crisp rock ’n’ roll. I love the percolating rhythm and the brazen guitar, and Barrett’s vocals are velvety and evocative. “Perfect Math” is a dreamy, ambient instrumental with choppy vocals which sporadically turns into a vocal declamatory. This reminds me strangely of an experimental take on early girl-group pop mixed with art rock, e.g. “Sally Go Round the Roses.” “Soldier” continues the experimentation with heavily processed vocals over a swoony instrumental which explodes into an inexorable percussive beat overlaid by vocals both angelic and anguished, and a trippy guitar break. The excellent “Lake House Moon” bursts into a mind-manifesting refrain with a tunefulness which is hypnotic and irresistible, as well as beautifully executed. “Kingdoms and Castles” is a more whimsical piece which gently ripples like waves in a tidal pool, with fanciful vocals and instrumentals. “Dreams We Bleed” is another nearly hallucinogenic composition with languorous instrumentals overlaid by stately, highly melodic vocals. Overall, The Triples is an idiosyncratic and innovative collection; fans of groups like The Raincoats and Throwing Muses would find a great deal to like in these melodically intriguing songs. (Francis DiMenno)

…

JAMES MONTGOMERY

Live at The Larcom – Thursday, May 21, 2015                                  

9 tracks

This release is a red hot recording of a great artist on fire. Nine live cuts of funky Detroit blues done by New England’s legendary James Montgomery to benefit Veteran’s causes throughout the area. From the opening original “Good Question” (Grace Kelly/George McCann/James Montgomery) to the closing cover  “C’est La Vie,” a Chuck Berry B-side that Montgomery changes from a guitar song to a harp driven rocker, this band keeps the momentum of the set rising; and you can hear the passion in the playing  and you can feel the excitement in the air. Three of the nine cuts are over eleven minutes long too !!! MC’d by WUMB’s “Spinning the Blues” Saturday night show d.j. Holly Harris the packed house in the audience, including Sen. Scott Brown (retired U.S.Army Colonel) who joins the group onstage with his guitar, is so loud and boisterous the people sound like they are really having a blast. And check out his band: David Hull (Joe Perry Project, Aerosmith, Farrenheit) on four strings and vocals, Cliff Goodwin (Christine Ohlman & Rebel Montez) on six, Jeff Thompson pounding and Andrew Clark on tenor sax and John McGovern blowing trumpet. A powerful performance. These experienced cats know exactly what works and  specifically where they are taking you for sure.  I really dig in the middle of a song how James will bring the band to a stop and then re-start them a measure or two later and continue the melody for greater impact. And it works well. “Good Time Charlie,” Al Green’s “Sweet 16,” Willie Dixon’s “Same Thing,” Sonny Boy Williamson’s “Help Me,” Bo Diddley’s “Who Do You Love?” and James and David’s “Intoxicated,” get the fire started and by the time they do the ’60s pop gem “Land of a 1000 Dances,” the crowd is screaming along with every word and having a terrific time. This is a monster party album with hot music from a cool band and it is a perfect example of what experiencing their live show is like. What you hear is what you get. Live at The Larcom – Thursday, May 21, 2015  is the best live CD of the year. (A.J. Wachtel)

…

SLIPPERY DIXON

Live At Dollhouse

6 tracks

Slippery Dixon are a new band from Amherst w Jeff Gallagher of Alto Jeffro ,Jonathan Hanson of Be The Seen, and Shane Bruno of Wandering Oak. This short collection of twisted pop gems is an outstanding introduction to the latest western Mass.noise super group. There are traces of Jonathan Richman, Picniclunch, Jandek, and the Velvet Underground, but the sound they create is their own kind of awesome. Slippery Dixon, it’s worth the trip. (Eric Baylies)

…

LISA MANNING

Lisa’s Songs for Kids

13 tracks

Lisa Manning has to be one of the most eccentric performers on Massachusetts’ North Shore. She plays her guitar in a classical finger-picking style and has a unique approach to her child-like vocal melodies that come from another century. On Lisa’s Songs for Kids she gives some sound advice, starting with the much needed “What If I Had Something That Really Made Me Happy.” It’s about the joys of finding something simple to make you happy instead of being focused on the next popular expensive toy. “Summer Rain” pleads with a boring day to go away. “If You Tell Me a Riddle” is a fun little song about connecting sounds to complete words.  A short ditty based around a tongue twister is “Twiddle Dee.” “Sky” seems to be about someone named Sheila who is entering the world. “I Am Here” is for kids to follow instructions of moving their body around – creating a fun little dance. Sparkling, falling snowflakes are observed in “Snow Dance” with an abrupt ending – maybe representing the splat of a snowflake on the ground. “Ten Marbles” is a bit confusing – I think it’s a bunch of arithmetic problems based on different colored marbles. I believe I failed the test.  Out in the barn there’s a party with lots of animals dancing in “The Waddle.”  “Noisy Lisa” has our songstress bothering a lot of folks by clumping around until she gets alone and realizes she can be quiet.

Focusing on the feet of many different kinds of people leads to “I Like Rhythm.” By the last verse of “Seven Guests” you figure out that Lisa is singing about the days of the week. Lisa’s Songs for Kids wraps up with “A Strange, Strange Place” – a quiz of a song, giving you clues to different countries of the world. It turns into a song about loving the differences between all races. A nice way to end an album specifically made for kids.  (T Max)

…

JIMMY BEZ BAND

Lies of A Sinner

5 tracks

Jimmy Bez is a teenager who can really play the guitar. Originally in 21st Century Fugitives he formed his current band in 2015 and this trio can really rock. The formula for these four originals and a blistering cover of Freddie King’s “Have You Ever Loved A Women,” is the same on all the cuts. A lot of impressive notes played with an ominous, squeaky clean intensity that will make your ears bleed. The title and opening track “Lies Of A Sinner” is the hit. Starting out with an impressive guitar run and sung with a youthful, good voice, this song is real radio-friendly and could be a hit. Backed by a solid rhythm section of Johnny Bass on bass of course, and Josh Hunt pounding, “I Don’t Belong,” “Don’t Let Me Die,” and “Keep Me Back” are sometimes hard rocking, frequently funky with a hint of the blues, but always powerful, interesting  and screaming. Produced and engineered by Doug Batchelder at The Den Studios in North Reading, all the tunes on Lies of A Sinner sound great and jump out of the speakers when played. Jimmy Bez has been compared to a young Bonamassa with Eric Clapton and Mike Bloomfield mixed in and you’ll get no disagreement from me. (A.J. Wachtel)

…

WALTER NOONS

Real Records

A Murmuration of Starlings

8 tracks

Mr. Noons has an eccentric, somewhat creaky voice reminiscent of Harry Chapin, with a similar heartfelt feel and preference for autobiographical subject matter. His admirers will find much to like in this latest collection. The excellent, lengthy opening track “My Souvenirs” is a self-excoriating recitative with a balmy, soothing melodic like on keyboard and a contrastingly halting, almost childlike guitar accompaniment. The eerie “Madame Blue” sounds like a cross between famously ominous James Bond theme music, a bongo-happy beatnik romp, and a garage punk manifesto. “It’s Part of Your Own Desire” is a cascading garage punk number with nasty circular riffing and dazzling guitar runs–the vocals, however, seem a bit sluggishly monotone; otherwise, this might have been a modern-day classic. “You Saved My Heart” is a folksy Hibernian sing-song replete with harmonica and mandolin. “Most of All” is another soothing autobiographical story-song with twee harmonica and ethereal organ accompaniment. “In a Little While (I’ll Be There Beside You)” is a bass and keyboard-driven bit of exotica accompanied by bongo. “When the Spirit Moves You” has something of a Spanish feel, and Noons gives forth with what sounds vaguely like an Elvis impression, followed up by a clangorous quasi-surf music guitar instrumental. “The Heartbeat of Love” has a sitar-like accompaniment and a quasi-mystical lyric message. I’m of two minds about A Murmuration of Starlings; it is often musically engaging, but Noons comes across in his singing as more of a bardic stylist, when what is perhaps called for is a more accomplished vocalist. (Francis DiMenno)

…

VIOLENT MAE

Kid

11 tracks

Roxbury, Connecticut’s Violent Mae is a duo consisting of vocalist/ guitar player Becky Kessler and multi instrumentalist Floyd Kellog. This album hits on all cylinders. The songwriting, production, and playing are exactly what they need to be. Clean vocals with dirty guitar remind me of Garbage, Florence & The Machine, Radiohead, and Boston’s own late, great, Opium Den. Violent Mae are trippy enough to play a psyche fest, but poppy enough to be the last good band in the world with a hit single. They seem to play Boston a bit, so I initially thought they were from Roxbury, Mass. Wherever you can find them, please enjoy a night with the Roxbury (band). (Eric Baylies)

…

GREG ADAMS

All or Nothing 

5 tracks

Formerly of New York, recently of Boston, and now residing in Nashville, the sounds of singer-songwriter Greg Adams’ debut EP are as varied as his recent addresses. The opening track, “Pony Up,” has a strong country sound to it, while “Before You Leave,” leans toward a folk style. Greg’s still in the early years of his career, so perhaps this an experiment of sorts to find a style that he connects with.

Vocally, Greg has a strong presence. Rather than sounding like an experienced bard that has “been there done that,” he gives the impression of a storyteller eager to begin his journey and see what this world has to offer. Much of his songs have to do with relationships, but they touch on some new tales, such as meeting the right person when you least expect it, or finding that old flame still wants a connection after you called it quits. All or Nothing is a strong introduction, and speaks to the potential of what’s to come. (Max Bowen)

…

RYAN CARRAHER

Vocturnal

8 tracks

The title, Vocturnal, is an apt one for Ryan Carraher’s debut album. It’s smooth, slick, ambient jazz. The type of chill out music one might find soothing to kick back to at the end of a hectic day while surrendering to the evening. Nothing abrasive or harsh here. It’s all about the soft and polished sound of a good, relaxing mind massage. The songs flow nicely into a solid stream of laid back music, only occasionally breaking the that relaxing tempo here and there.

Mr. Carraher plays a really nice, sharp, improvisational guitar, and is clearly at ease and within his element. Unobtrusively, he keeps with flow of the music and the ease of the sounds being laid down along with fellow musicians, Steve Wilkinson on drums,  Evan Waaramaa on keyboard,  Brandon Wilkins on alto sax, and Greg Toro on bass. They all blend perfectly together to create something that I can only call “silky” music.

Hard to believe that this is a debut album, as his skills do convey those of a well seasoned professional with a good sense of balance and composition and the CD sounds very well produced indeed. So, my take on Vocturnal, is that as noted, it is likely best saved for unwinding at night, shoes off, feet up, your drink of choice in hand, and your mind ready to turn off and tune in to some serious chilling. “Silky” chilling. This music was made for that. (R.J. Ouellette)

…

ILANA KATZ KATZ

Regina Royale Records

Movin’ On

13 tracks

Ilana plays blues and roots fiddle sorta like Appalachian music with a twist of Chicago in it. This follow up to her 2014 debut “I’ve Got Something To Tell You” is great listening on a few different levels for me. First, this woman is a good musician and can really play. And on all the cuts you either hear her and guitarist extraordinaire Barry Levenson (once in Canned Heat) playing together or off each other, or her and fiddler Cedric Watson playing hide and seek with each other. Check out “Tanya” and “You Crush My Soul” to hear what I mean. And it really works well. Second, hearing the different perspective coming from her very nice female renditions  of classics like “Baby Please Don’t Go,” Big Bill Broonzy’s “Sweet To Mama,” and “Kansas City, ” that were originally sung by men, is always captivating. I really dig Katz’ own  “Reuben’s Train,” “Blues For Bobby Radcliff,” and “Demon Blues” to hear the artists play together and “Forevermore” and “Cruel Willie Blues #2” to hear Ilana scat a bit. As you can see, there are a lot of things I like about this release including the final cut, the traditional “Jack of Diamonds,” which is solo Ilana on voice and fiddle. Interesting fact: Ilana, Diane Blues and Toni Lynn Washington are the only artists recording on Regina Royale Records. Impressive line up huh? Great stuff – check out Movin’ On. (A.J. Wachtel)

…

BLACK KENNEDYS

Marcus’s Mixtape

11 tracks

 The Black Kennedys are a very young band from New Bedford. This Whaling City quartet is a punk rock band with some surprising twists and turns. The song “The Other Side Of Town” has  a sludge guitar that would make the Melvins proud. With lyrics like “put my hoodie down, because my skin is brown, my hands up, don’t shoot please, I can’t breathe” the Black Kennedys go way beyond most bands their age. Imagine Gil Scott Heron fronting Faith No More to get an idea where these guys are coming from. They are not just raging against the machine, so to speak, their is real melody on this album, too. Just fast forward to the song “Look Away” and be the first on your block to request it on the radio. I have a feeling you will be hearing that song on the radio for years to come. So many bands like Helmet and Parliament, how come no one can blend them together? All your prayers have been answered, the Black Kennedys’Marcus’s Mixtape is here. (Eric Baylies)

…

DON WHITE

Lumperboy Music

More Alive

9 tracks

One’s enjoyment of this hour-long collection of live tracks and spoken-word pieces, mostly original, will depend, I suspect, upon one’s liking for Don White himself, and for his musical stylings which run the gamut from barrelhouse blues, Country-rock of the caliber of Dan Hicks & His Hot Licks, and myriad and sundry other genre conventions, including The Sensitive Acoustic Ballad (“More Alive”), The Sassy Acoustic Duet (“Good Thing She Can’t Read My Mind”), The Stately Piano Ballad (“Last Dance”), The Socially Significant Talking Blues (“Union Song”) and The Doleful Lament (“Away From the Sun”). These are mixed together with practiced, anodyne Cosby-esque slice-of-life stand up routines: “How to Get Your Kids to Move Out,” “Junior High School,” and “Crying Woman’s Channel.” This is undeniably some good, wholesome middlebrow entertainment, but More Alive leaves me feeling somewhat less than totally impressed. (Francis DiMenno)

…

S.S. CRETINS

Bigger Than Jesus

5 tracks

S.S. Cretins are from Portland, Maine. I stumbled across this CD and hurt my little foot. I don’t know anything about the band except that they put out this terrific album. The song “Freakout” reminds me a little of “Drug Farm” by Monster Magnet, but it is its own little animal. S.S. Cretins have garage like moments like Lyres or The Count Five, and other times go into more psychedelic territory like Iron Butterfly, all great stuff to be compared to. Put some mushrooms on your linguica pizza, put out the lights, and put S.S. Cretins’ Bigger Than Jesus on your turntable. (Eric Baylies)

…

VARIOUS ARTISTS

Obscure Me Records

Calligrams

8 tracks

This Connecticut bands compilation has four different groups doing two cuts apiece. The music runs the gamut from surf inspired power pop to metal to shoe-gazing noise rock and all with a punk attitude. Dr. Martino is a high-energy garage rock trio with Amy Shaw, Simone Puleo and drummer Mike Kaminsky, and they are influenced by ’60s pop and surf and metal. Their cuts “Clean Plate Club” and “Anna Mae” are loud and a bit menacing. I like Amy’s vocals with an attitude and I dig Simone’s growling guitars. Good rock and roll. Spectral Fangs is a three piece power pop band with dreamy drifts, reverb and screaming guitars. I hear ’60s soul, ’70s punk and ’90s indie pop. Sorta like Dinosaur Jr, meets The db’s meets The Soft Boys meets Metallica. Their songs “Stoned And Atoned” and “Catnip” are both great arena rockers. They are powerful and sound like anthems most headbangers would really groove to. Ghost of Chance (without an A) are a noise rock band out of New Haven. Catchy pop hooks with psychedelic guitars, subtle time changes  and sonic experimentation make these cats different and unique. Their sound is influenced by John Cale and 13th Floor Elevators and their music is the brainchild of vocalist Jayson Munro and guitarist George Moore. David Corsak on bass and Mark Niciu join the fold and complete the line-up. Their tunes “Can Opener” and “It’s A Drain” are sorta like pop rock ballads done real well with a punk feel. I really dig Jayson’s passionate vocals and the harmonies on the second song.  Terrible Roars, led by multi-instrumentalist Ross Page, is low-fi sorta like Emo from the ’90s. “Calling Out” and “June Gloom” are both very interesting melodies and remind me of indy pop; sorta ominous without the loud guitars. “June Gloom” starts with a real cool drum beat and just builds up steam as it continues. Good song. Great music from Connecticut. Not a bad song on Calligrams.    (A.J. Wachtel)

…

If you are an artist based in New England and you’d like The Noise to review your latest releases, send a hard copy to T Max/ The Noise, 28 Goodhue St #406, Salem, MA.

 

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Emily Grogan
Photo by Jenny Nourse

I’m A Screaming Eagle
A conversation with Iron Lung
by Sleazegrinder

What do you do about all that energy you expend after a show?

“I puke.”

Scissorfight aren’t so much a rock band as they are a strange and powerful force of nature, like ball lightening or a rain of frogs. Every time they grace a stage, and Iron Lung , the heavy metal Castro, greets the crowd with a thoughtful expletive (“Fuck me? Fuck you!” is a favorite), the room explodes in a burst of violent energy, like somebody just popped the lid off of all holy Hell itself. There’s half a million rock bands in this country, but virtually none of them can rile the troops with such swaggering vigor as Scissorfight can. Their genre bending, heavy-ass rock ’n’ roll isn’t so much heard as it is felt in the guts and groins of any rocker in earshot. Their primal urges are fed with mammoth volume, redneck powerchords, and the bellowing thunder and evil charisma of the Lung.

When faced with the daunting task of getting to the brass tacks and dark heart of the Scissorfight experience, I made sure to kiss the wife good-bye before I left, figuring that Iron Lung might kill me, or at least smack my head into a dumpster and send me to the hospital. It’s no secret that he hates interviews, hates punk ass writers asking him dopey questions about the fucking monkey song over and over. “It gets a tad redundant” he told me, with a noticeable trigger finger twitch. But I got the street cred, baby, and such are the perils of sleazy rock journalism anyway, so we met up one Sunday afternoon in front of garage rock wonderland Lilli’s. Iron Lung didn’t kill me. He was surprised that I even thought that he would . Although he’s certainly got fire in his eyes, up close you find out that Iron Lung doesn’t really have retractable claws or blood in his teeth. He’s actually a thoughtful, well educated cat who just happens to be widely considered rock ’n’ roll’s Beserker King. That doesn’t make him any less dangerous, though. Just look at what’s left of the dance floor after a particularly rowdy Scissorfight gig. If Iron Lung had chosen politics over rock as his primary preoccupation, there’d be blood, gunshots, and fire in the streets. Just be happy all he’s asking you to do is rock the fuck out.

This is the Anvil…

I start out by asking Iron lung why he thinks the kids go so fucking crazy whenever Scissorfight play. “It’s just big ol’ rock ’n’ roll. That’ll do it,” he says simply. “It provides them with a good way to release a lot of pent up energy. It’s very cathartic.” Of course, the gut punching bruise- rock sound they’ve created has something to do with it. Every Scissorfight song sounds combat ready, like this is the music you’ll hear blasting out of tinny transistors in the body part-strewn trenches of our next Vietnam. It’s rock ’n’ roll with the pin pulled. “We just forged the sound from all the stuff we grew up with—Mountain, AC/DC, Lynrd Skynyrd, Black Flag, Fear, the Circle Jerks.” I tell him I think it’s remarkable that this potent musical stew came out of such an unlikely place. I mean, Scissorfight really are from New Hampshire, right? Iron Lung laughs. “Sure, man. Everybody’s from somewhere, right?” At this point, The ’Fight’s myriad members are flung all over the region, and you can even find a couple of them drinking in Rock City right now. Don’t question the Lung too much about where he’s been sleeping, though. “Let’s just say it’s not around here,” he tells me. I ask him to tell me a little bit about Scissorfight’s screaming birth five years ago. Did the sky crack open that night? Did the mothers of young men weep in fear? “Those guys were looking for a singer,” he says. “A mutual friend introduced us. I thought I was going in for an audition, but those guys just said ‘Fuck it, you’re doing it.’ That’s sort of always been our way of doing things, you know, just go for it.” Scissorfight is Iron Lung’s first band, so I asked him what he was doing right before he signed up for the wage of mayhem. “Nothing good,” he laughs. “Not that I’m up to anything good now, either.” The truth is that Iron Lung’s well known, thanks to a recent inexplicable MTV spot, as a rock ’n’roll fisherman during the day. “MTV’s such an evil corporate entity,” he says when I mention it, “but it’s all about what you do with it. I mean, they approached us about it, so it’s no skin off of our back.” Still, I tell him, it’s pretty wild that kids all over America were suddenly hipped to Scissorfight, if only briefly. “That’s probably the best thing that’s ever happened to the youth of America,” he laughs. “The downfall, the decline of civilization is on the rise.” The best part of the clip was seeing Iron Lung tooling around on the fishing boat. I ask him how the fisherman lifestyle and the rock lifestyle converge. “They’re very much the same,” he says. “Same attitude towards life—‘have a good time.’ It’s a good living, just different hours.” That attitude has defined Scissorfight’s career. “We’ve always done exactly what we wanted to, and gradually, more and more people have gotten into it as we go along.” That’s an understatement. The Scissorfight faithful are breeding like blast-proof cockroaches, so much so that the band has to come up with alternate band names when they play smaller clubs, just so the fans won’t overrun the joint. “Yeah, that pisses off the club owners sometimes,” he says, “but we like playing smaller shows. It’s more intimate, and we always have fun. Big shows are cool too, though. We did the Hemp-fest on Boston Common last fall, and that was cool. We’re going to do that again this year.” Before the Fest, Scissorfight will be spreading their evil net even wider, as they take on our more civilized brethren across the Atlantic. In August, the band releases the UK- only album American Cloven Hoof Blues. Soon after, they’ll be invading the British Isles in person, primed to lay down a good Yankee cocking. The pasty monarchists won’t know what hit them. “Again, we don’t go looking for anything. They sought us out. The guy from Eccentric Man liked our stuff, and wanted to put something out, so we recorded this record.” I asked him how he thought the Brits would handle Scissorfight. “Who cares? We’re going anyway,” he says, characteristically. Stateside fans will have to wait until October, when the next magnum opus, a tribute to gonzo survivalist Ragnar Redbeard entitled “Man Trapping For Sport and Profit” hits the streets. I ask him about some of the new songs that will eventually end up on the album, like the ferocious rocker, “Acid For Blood.” “That’s about self-medication,” he says cryptically. When I ask him to elaborate, he says, “It’s the history of rock ’n’ roll.” Of course it is. How about “The Most Dangerous Animal is Me”? Is that auto-biographical? “No,” he laughs, “it’s just a funny idea.” After mulling it over for a second, he inexplicably adds, “The woods, the wilderness. It’s sort of an interesting place.”

…And This is the Hammer.

Iron Lung’s responses to my questions begin to alternate between vague and surreal. He obviously leaves the perils of rock ’n’ roll decadence for the leather pants crowd, and the shameless self-promotion for lesser men. Direct answers either land in a monotone thud or dissolve into sloganeering. “Go cave, full throttle,” he’ll say flatly while being distracted by traffic. It doesn’t seem like he’s being evasive so much as it seems that he’s already five minutes ahead of me, waiting for me to catch up. I decide to take a different tact, dropping the mock formality of the ‘rock interview,’ instead going for the meat of the man. There’s a lot of meat going on in the Scissorfight camp anyway. Just look at the steaming pile of it on the cover of their Guaranteed Kill album. I ask him if he’s done a lot of hunting. “I’ve never been hunting in my life,” he says. “It’s a fascinating subculture…” he stops for a second to gather his thoughts on the subject. ” Well, not fascinating. It’s a bizarre thing to do, I think. It’s just really not my thing.” I’m actually surprised that a man who has elaborated so many times on the thrill of the hunt in song has never done it himself. ‘So, Iron Lung has never killed anything?’ I ask. “Well…” He pauses. Cars go by, as do long seconds. “No,” he says finally, and emphatically. It’s an honest answer, but more than that, it’s a myth breaker, the bursting of a black balloon. Personally, I would’ve answered with something like, “Sure, I’ve killed billions in my mind, hundreds on paper, and a dozen or so on interstate 95 over the years,” but Iron Lung is operating with a whole different agenda. It’s suddenly obvious to me that the aura of fear, respect, and intimidation that surrounds him has been wholly created by the rock fans, big dreamers like myself who want their rock stars to have steel knuckles, black hearts, and Lungs of Iron. But that’s just not his problem. He’s just a rock ’n’ roll singer that likes cool books, hiking in the woods, and occasionally kick starting an apocalypse on stage. Ultimately, Iron Lung the Killing Machine is merely a cypher, a gateway to catharsis. Iron Lung the man is fully aware of that. “Rock’s like the last expressive outlet. It’s like you’re supposed to have it together all the time, society has all these rules that you have to abide by, but with your art, none of those rules apply. It’s the one place when you can do whatever the fuck you want. It’s a good release. How that gets interpreted by other people really has nothing to do with me, though. That’s really all about them.”

Together, they forge the iron.

In the end, I find Iron Lung to be a lesson in duality, good and evil forged into one burly, bearded, rock warrior, equally adept at creation and destruction. The evil Iron Lung simply does not fuck around when it comes to rock ’n’roll. When I ask him if he’s ever had a broken heart, he decisively tells me “No.” I guess there won’t be any Scissorfight ballads, then. “People don’t want to hear about that shit,” he says. “People want to hear about motorcycles and ass.” The good side of Iron Lung, so to speak, is working on his master’s thesis, a heady, ahem, piece of work involving LSD’s effect on American culture and politics. He also has a love for the outdoors that borders on the feral. “I can survive in the woods for a long time,” he says. “Sometimes I think it would be cool to just stay out there.” That image, of the great and terrible Scissorfight soldiers superimposed over a mighty mountain range remains one of rock’s great ironies. For all their tales of rugged outdoorsmen, most of the people that buy and listen to their records have never even been out of the city. I mention this to Iron Lung, expecting some kind of explanation. He just stares at me, waiting for me to answer my own question. The words of another great cultural renegade spring to mind, the late and much lamented junkie prophet and beat poet William Burroughs. “Read your own palm,” he once said. “Tell your own Goddamn fortune.” As I say my good byes to Iron Lung and company, I realize that if there’s any message to Scissorfight’s music, that’s it. Be your own supervillian, and be loud about it. Meanwhile, Iron Lung will go back to fishing and rocking, same as it ever was. I still wouldn’t take the fucking guy on in a bar brawl, though.

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Mr. Max’s Message 12/10

MR. MAX’S MESSAGE
– December 2010

BENEFIT FOR THE HOMELESS – FUTURE
On Wednesday, December 15th, at Johnny D’s, Chandler Travis will gather a bunch of crazy musicians to raise money for the Somerville Homeless Coalition with his Boston Christmas Cavalcade. (Note: if you’re on the Cape, Chandler does a Cape Christmas Cavalcade on Decemver 12 at the Jailhouse Tavern.) Look at the line up he’s already assembled by the time I had to write this message—the Chandler Philharmonic & Trombone Shout Band, Zoe Lewis, Alastair Moock, the Ticks, the Downbeat 5, Merrie Amsterberg, 4 Piece Suit, Sarah Swain, Shaun Wortis, the Catbirds, Mike Gent, the Darlings, Boston Tyewriter Orchestra, Sal Baglio, Miriam, Amy Fairchild, T Max (yes, that’s me), the Revolutionary Snake Ensemble, Kevin Connolly, and the Athol Thingerth. I’m sure this will be a wonderful show and a great way for you to do something good for people who are less fortunate than you.

If you need to contact me, email is the best way… try
tmax(at)thenoise-boston(dot)com
You can hear a sample of my music at…
http://www.myspace.com/dreamerswanted

T Max/the Noise
PO Box 155
Georgetown, MA 01833

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WILLIE ALEXANDER’S PERSISTENCE OF MEMORY ORCHESTRA (first set)

Music on the Green

Gloucester Meeting House, Gloucester, MA

7/28/17

Sitting behind a tall yellow church. It’s the oldest (1806) surviving meeting house in Gloucester. The others have all burned down. Hopefully Willie Alexander’s performance tonight will not get too hot. His piano sits on the stage displaying stickers that have been picked up from all over the world. Charles Nazarian jokingly introduces the band as the Persistence of Life Orchestra as it was misprinted in the local paper. Joining Willie are Jim Doherty on drums, Mark Chenervert on tenor sax and clarinet, and Ken Field on alto sax and flute. Willie bangs and tickles the keys while spirits fly out his mouth. It’s Vincent Ferrini’s “The Blessedness” and the bands unique beebob jazz takes over. Picture Jerry Lee Lewis on piano backed by the sax action of John Coltrane and Charlie Parker, with Max Roach on the kit. Okay, maybe I’m going overboard but I’m in the same harbor. Willie introduces “Kerouac” as one half of the 1975 double-A sided single that made him famous. Willie wears his heroes on his sleeve – Jack Kerouac and Vincent Ferrini continually pop up in his music. When Willie points to the sky it signals the other musicians that it’s time to bring another tune to a close. He drags out “Zombie Strut” from Tap Dancing on My Piano as if we should all be familiar with it, saying “I’m sure you all got that one at home.” Ken walks around like a zombie when the song ends. “Who Killed Deanna” (aka “Som-som-Somerville”) is for Deanna Crimin, a victim in the city just north of Cambridge. And if we want to head back into Boston it’s time to hop on “Mass Ave” – the other side of that single that brought Willie fame. His right hand tickles the keys while the left pounds some resemblance of a boogie woogie bass. They slow it down as the sound gets misty. Willie sings “I walk up Portagee Hill” from “Our Lady” with a waterfall of descending chords before the saxes take us for a ride with the greasy pole champ. Willie says the next one, “Baga Bega,”was written by Mikel Laboa and Mark Chenervert starts snake charming with his clarinet. Willie rhythmically utters syllables from low to high… it makes me laugh. “Laga booga steega and keek keeka keeka keek…” It’s beebop skat. From across the bridge – 88 ears old – Willie’s favorite composer – New Orleans — they call me “The Fat Man.” We chant “Bass Rocks” – this is the fish, not the bottom end, and one of my favorite areas of Gloucester. Then it’s another lovely ballad… by the Boom Boom Band “Lookin’ Like A Bimbo.” We all know the reptitive line of “Life is a Poem” as Vincent Ferrini inspires Willie with funky rhythms that build up and break down. Any entertainer can learn something from watching Willie, he didn’t get the nickname the Godfather of Punk for nothin’… though his new crown reads the WAAA! of Beebop Jazz.  (T Max)

…

T-BIRD MANCINI/

BIRD MANCINI/

T MAX

St. Susanna’s Parish, Dedham, MA

7/15/17

It now seems like forever since The Beatles launched the British Invasion almost 55 years ago and they’ve never gone out of fashion as each succeeding generation arrives at their genius. Two of our area’s most fervent fans are T Max and Bird Mancini, who have hooked up several times to showcase that great songbook.

Tonight we’re in a lovely packed hall in Dedham to share our appreciation of Beatles’ yeah-yeah-yeah. Each act presents their own short opening set before collectively turning “fab & gear.” T Max gets right to the heart of the matter with a personal fave, “Be Kind,” with its Morphine-esque groove 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!”)  Combining more originals – “Chop Chop Chop” (a cooking ditty) and “Bless You” (a gruff comedic sermon) – with some well-chosen covers (”All Along the Watchtower,” “Spooky,” and “Smile”), he conveys his usual charm and instrumental forte, especially with a bevy of pedals that lathers his voice and guitar into an accompanying ensemble (gotta love that technology!).

Next up are Ruby Bird and Billy Carl Mancini, who announce their appreciation for Beatles compositions that have inspired their own tunes. Their voices intertwine and contrast beautifully in “Congratulations” (written with their friend, Sal Baglio from The Stompers) and continue in “The Other Side” and “Green Walls.” For me, it’s easy to hear the subtle nuances and relative connection to the Fab Four in their harmonies and musical structure. This is primo-pop, folks! Following with “Didn’t Last Long,” “One Mistake” (brand new!), and “Through Your Eyes,” they have admirably set us up for the main event.

Did I already mention The Beatles were a genius band? The 12-song set tonight illustrates their eclectic nature and has the audience joining in numerous times. Here’s what T Max & Bird Mancini offer so spectacularly: HOLD ME TIGHT – NOWHERE MAN – PLEASE PLEASE ME – I’M ONLY SLEEPING – FOOL ON THE HILL – STRAWBERRY FIELDS FOREVER (T Max solo) – HURDY GURDY MAN (T Max solo – a strange choice, though he explains that George Harrison wrote the final verse uncredited) – WE CAN WORK IT OUT (Bird Mancini solo) – I’VE GOT A FEELING (Bird Mancini solo) – I WANT TO TELL YOU – HELP – MONEY – LET IT BE – WITH A LITTLE HELP FROM MY FRIENDS (a rousing closer featuring Ruby’s soaring voice that has everyone singing and swaying). To echo John Lennon’s famous parting words: everyone passed the audition. A thrilling tremendous evening of music!  (Harry C. Tuniese)

…

QUINTESSENTIAL BRASS (first set)

Patton Park, Hamilton, MA

7/2/17

I’ve been to this park named after a famous WWII general before… Chelsea Berry was singing the National Anthem (with a fly over) at the onset of an equestrian show. I never realized how much detail was put into syncing up the singer and the pilots. But today is another beautiful day at Patton Park and the gazebo is occupied by five horn players collectively know as the Quintessential Brass. They will be performing Patriotic and American songbook tunes. About 200 people are camped out in the shade with the chairs they’ve brought, ready to be entertained. The five-piece brass band starts with a fan fair of the Ben Hur theme. The group includes Adam Mejaour (trumpet), Mike Piepman (trumpet/ piccolo trumpet), Robin Milinazzo (French horn), David Lindsey (trombone) and their leader Leslie Havens (bass trombone/ tuba). Next they’re belting out “Spinning Wheel,” the 1968 hit by the brass-heavy Blood Sweat & Tears. The sound of patriotism spills out of John Phillip Souza’s “Manhattan Beach March,” but I guess all marches kind of sound patriotic. This one was composed imagining a walk on the beach with the sound of a band playing in the distance. The next selection, “Hail, Columbia,” is used as the ceremonial entrance for the Vice-President of the United States. That one rolls into “Lili Bell Quickstep” which is accented by speedy melodies from the piccolo trumpet. Before the quick step is done a train passes by the park, adding its own sound dimension to the song. Then it’s time for some Civil War-era tunes – “Dixie,” (we think of Dixie as a reference to the South but when the song was written it was really about Ohio – what’s round on the end, high in the middle?) “The Battle Hymn of the Republic” and “Glory Glory Hallelujah” starting with a muted French horn. Our third president Thomas Jefferson pushed forth the Louisiana Purchase opening the floodgates to the new American cowboys. Rutted by the tuba, “Cowboy Rhapsody” gets the herds a movin’. It includes the folk song we all know – “Home, Home on the Range.” My favorite selection of the days washes variations of “America the Beautiful” in Charles Ives’ way – letting different keys cross paths, creating playful polytonal interludes  – always fun to hear – even when it sounds dark at times. Quintessential Brass cover that modern hit “God Bless the USA,” use a typewriter and alarm clock for effect in a Leroy Anderson medley, and finish us off with the penultimate patriotic George M. Cohan medley that includes “Give My Regards to Broadway, “Daisey” and “Yankee Doodle Dandy.” A cool hot patriotic day in the park. (T Max)

…

RICK BERLIN w/ NICKEL & DIME BAND

The Midway, Jamaica Plain, MA

7/25/17

If we local fans can sit back and reflect on the myriad clubs that we have attended to get our supply of our city’s finest talents, then, for me, The Midway would have to be a Top Ten selection. Never flashy, never indulgent, never condescending – always gritty and welcoming – the real deal. The Midway is very clearly the last really great, classic room in the Boston area, not just a splendid palace of big dreams that just doesn’t happen to strike everyone on earth as being as blinding, shining, abundantly soul enriching as say, for instance, Shangri-la or the Taj Mahal, but hey, what do they know – the Midway is community cool. Jay, Smiley, Dave, Robert, Nick, Lenny – all good-natured gents, thanks always!

Tonight I’m sitting here during their two-week 30th Anniversary marathon awaiting the evening’s headliner, The Nickel & Dime Band w/ Rick Berlin – a major mainstay in the J.P./ Boston community who has entertained local patrons for many many many years in his various musical congregations. The fact that Rick has worked next door at Doyle’s for almost as long brings forth his wry stage comment that applies to both institutions: “You still here???” My answer is: YES! – as long as you remain so prolific and talented, no sweat!

In contrast to the group’s usual driving vim and vigor, everyone is in low-key mode for this special performance featuring a bevy of new tunes from their upcoming album, The Courage of the Lonely. Acoustic guitar/piano (Ricky), djembe (Chris), trombone (Sam) add gentility to the lead guitar (Rob) and bass (Dave) that ably support the charm and chutzpah of their pianist/lead vocalist (Mr. Berlin). Some of the newer tunes should be instant classics, fully enhancing the poignancy and primal thrust of his music: “I Think I…,” “My Fictional Friend from Norway,” “How Can I Let You Go?,” “The Boys at the Bar” – all leave me in quiet awe. In honor of the club’s celebration, Rick assumes a Patti Smith-as-poet pose and recites a tribute to The Midway while the band crawls through a hippie-esque blues jam – very funny! Several songs from past albums are also included – the sensitive “I Love My Street” and “I’m Jes Sayin,” the rowdy “Slut,” and the honorable “Nickel & Dime Song,” sung by Sam. A wonderful and embraceable show – though I’m really not jes sayin’ – here’s to thirty more! (Harry C. Tuniese)

…

NORTH SHORE CONCERT BAND

Salem Willows, Salem, MA 7/25/17

The summer is a great time to get out into the open air and experience live music outdoors. I personally love going to the Salem Willows for the free band concerts each year. Bill Flygare narrates the show in a family-friendly way that gives us information about each selection the 25-piece North Shore Concert Band performs. I arrive late and miss a few songs. The first one that catches my ear is “Bugler’s Holiday” with Bill Love on trumpet soloing – it has a wonderful crescendo of an ending. Next song is one I perform myself, the 1938 classic from the Wizard of Oz – “Over the Rainbow.” Joe Sokol ably handles the clarinet solo. There a pre-teen kid dressed in orange who is making the most of this open air production by standing on the right side of the stage, dancing, and acting as if he is part of the production. He jumps at the offer to lead the Mickey Mouse March, where all the kids in the audience roam around the audience playing percussion while the band brings back memories of an old TV favorite – The Mickey Mouse Club. “Hey there/ Hi there/ Ho there/ You’re as welcome as can be” – everyone sings along.

Before the intermission a couple of raffle winners are announced – tickets to Cinema Salem and gift certificates to Brothers Restaurant are given away.  I run over to Ghandi’s for a famous Chop Suey Sandwich ($1.85). It may be July 25, but you wouldn’t know it by the weather. It’s a chilly evening and the hot sandwich feels and tastes good. In fact, the odd temperature definitely effects the number of people usually crowding this event.

Conductor David Benjamin taps the podium and the second set starts with Stephen Bulla’s “Saxophobia.” Despite the piece’s title, the sax section doesn’t do anything to scare anyone away. Mike Cameron seems to be playing a small tuba (a euponium?) on T.H. Rollison’s “Rocked in the Cradle of the Deep.” The North Shore Concert band plays an especially nice arrangement of Gershwin’s “Embraceable You” with Rich DeFreitas on tenor sax supplying the audible hug. Norm Dobson plays an unexpected harmonica solo on Richard Hayman’s “Ruby.”  For Hogie Carmichael’s “Star Dust,” Jerry Barrett steps up for a trumpet solo. As the sky turns an amazing airbrushed red to blue, a perfect crescent moon steals the show. The whole brass section steps up on “Brass Brilliante,” then another Gershwin tune, “Someone to Watch Over Me,” from the movie of the same name, features Art Bakopoulos on alto sax. Narrator Bill Flygare announces the final selection of the evening and everyone sits up straight for “Stars & Stripes Forever” before they pack it up to stroll back over the hill through the weeping willows to re-enter their normal lives. A most enjoyable evening of music. (T Max)

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