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Januar 2017

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TOP 10

T MAX (The Noise publisher/ singer-songwriter)

Top 10 New England Live Acts I Loved in 2016

1. Don White – Poignantly funny with the ability to be heart breakingly serious the next moment.  A true master of the stage.

2. Melissa Ferrick – Super energy and intelligence that transfers to every audience member.

3. The Suitcase Junket – Creative musical Jeti who manages multiple tasks and makes it look easy.

4. Bird Mancini – Two wonderfully talented performers that balance each other’s gifts perfectly. Ruby is the star, Billy is the hidden secret.

6. Doug MacDonald Band – Raw unique rock with hit-you-upside-the-head lyrics.

6. Julie Dougherty – Seasoned grace, spot on performance, with a degree in  connecting with an audience.

7. Geoff Bartley – Dylanesque, mastering natural musical execution.

8. Trick Wallace Trio – Easy flowing rock with r&b leanings.

9. Three Day Threshold – Hee haw party makers and great players.

10. Fil Pacino – Master of the soloist’s looped song.

Honorable Mention:

Occidental Gypsy, Martin & Morell, Charlie Farren, Wishbone Zoe, Lisa & Glenn, Connor Garvey, Whose Muddy Shoes

…

FRANCIS DiMENNO (The Noise senior editor)

Top Ten Albums for 2016

1. Duke Levine – The Fade Out

2. The Legendary Rich Gilbert  – Stereo Action Music & Son of Sam

3. The Wood Floors – Feel the Revolution

4. Pete Mongomery – Baby Sunshine

5. Gladiol – This Year’s Storm

6. Biltmore – Revolutions and Romantics

7. The Forz – Running From the Past

8. Davide Greenberger, Keith Spring, & Dinty Child with Keiichi Hashimoto – Take Me Where I Don’t Know Where I Am

9. Future Carnivors – Melt the Sky

10. The Lincoln Tunnel – Today 2.0

…And some EPS

11. Celebrit Handshake – Celebrity Handshake EP

12. Cold Expectations – Supper Prayers

13. Geoff Pango & Mr. Curt – Cap It Off!

14. Rick Berlin w/ the Nickel & Dime Band – Badville

15. Whirlpools – E.P.

16. Matt York – Boston, Texas

17. Alien Drag – Escape from Alpha

18. Governor – The First Three

…

A.J. WACHTEL (ex-Beat/ ex-Phoenix/ ex- Improper Bostonian/ ex-Herald/  ex-Globe/ ex-Bunratty’s)

Top 10 Super Shows I Saw in 2016

(No Specific Order)

* Jon Butcher Axis, Hirsh Gardner, John Fannon & The Eight Tracks at Johnny D’s, Somerville, MA, on 1/22/16

* Heavy Metal Horns 25th Anniversary at Johnny D’s, Somerville, MA, on 2/26/16

* Peter Wolf at Somerville Theatre, Somerville, MA, on 5/12/16

* The Real Kids, Xanna Don’t, The Classic Ruins, The Hopelessly Obscure, Harlequin, Chelsea Clutch & Linda Viens (Chet’s Documentary Benefit) at Once Ballroom, Somerville, MA, on 5/21/16

* D.K’s Full House at Danny Klein’s 70th Birthday Party, Thunder Road Music Club, Somerville, MA – 5/22/16

* The Duke Robillard Band at The Regattabar, Cambridge, MA, on 6/25/16

* The Fools at Blue Ocean Club, Salisbury, MA, on 7/8/16

* The Dogmatics at Frank Rowe’s 60th Birthday at The Midway, Jamaica Plain, MA, on 8/15/16

* John Davidson at The Center for the Arts in Natick, Natick, MA, on 9/9/16

* Elvin Bishop, The Delta Generators at The Cabot Theatre, Beverly, MA, on 9/15/16

Honorable Mention:

* Threadbear Fynn- The Beehive- South End Boston, MA, on 1/31/16; * Tokyo Tramps, Bob Leger, Club Linehan A Go Go, Yucca Flats Bubba Loaf, Miss Intent, Joey Fingers, Climate Change at Geezer’s Annual Rock and Roll BBQ, The Hillbilly Ranch, Stoughton, MA, on 8/6/16; * Miele, Narrow Waves, Elsewhere, The Great Madness, Fire For Cavemen, The Angry Tides. Miele CD Release Party at The Middle East Downstairs, Cambridge, MA, on 8/18/16; * Aisling Peartree & Shalom at The Middle East Upstairs, Cambridge, MA, on 9/3/16; * Bim Skala Bim, Brighton Music Hall, Brighton, MA, on 9/11/16.

…

ERIC BAYLIES  (Minibeast/ Baylies Band)

Top 10 New England Bands

1. Doomsday Student: Doomsday Student is one of the best live bands in the world and put out incredible skronky post-everything albums.

2. 6 Star General: 6 Star General have been one of my favorite bands for about 10 years. The pride of Warren, Rhode Island, they consistently put out fantastic albums almost annually.

3. Lazertuth: the pride of outer space and southesatern Mass. Lazertuth is a modern day Magma.

4. Goon Planet: Providence has produced a lot of great noisy bands over the years, and Goon Planet is the latest in a long line of geniuses.

5. Pyramid: If Blondie or the Pretenders were a little more punk, but kept the great hooks, they would sound like Rhode Island’s Pyramid.

6. Sick Pills: Chris Evil and company have been cranking out punk gems for a long time, but Sick Pills add touches of The Modern Lovers and Cars to the mix.

7. Picniclunch: Picnic Lunch is the new kings of no wave.

8. David Carradine: Providence thrash punks have been destroying stages world wide for over a decade.

9. Ioneye: Newport, Rhode Island’s Ioneye is the solo project of Stephen Lepre, one of the greatest shredding guitar players on the planet.

10. Olneyville Sound System: OSS has been one the pillars of the Providence noise scene for 20 years, but is set apart a little due to the fact that they happen to also write great songs.

…

KATHY SANDS-BOEHMER (booker at me&thee, Marblehead, MA)

Ten Sweetest Musical Moments

In a year in which many of us experienced campaign fatigue from the seemingly non-stop tirades of actual news and fake news, it was imperative to find solace in some way, shape or form.  Focusing on music helped me through the year.

In no particular order, here are some of my musical highlights of 2016.

Since I volunteer at the me&thee coffeehouse, you can bet that I had many magical experiences soaking in the music, the lyrics, the acoustics, the atmosphere and the community who gathers at this remarkable venue to be one with the music and to be with each other.

1. The Suitcase Junket at the me&thee…  It gives me great joy to bring new and exciting artists to our stage.  Matt Lorenz aka The Suitcase Junket is one such artist.  His passion and his energy combined with his unusual one-man-bandish concert presentation was an absolute delight.  Whether he’s playing his beat-up old guitar which had been discarded in someone’s trash or whether he’s playing his drum kit made up of pots and pans and miscellaneous other objects or whether he’s making his other worldly vocalizations, he’s special.  Not be missed.

2. A double bill with Matt Nakoa and Rachael Kilgour at the me&thee.  Loved how much the audience dug these two newbies to our stage.  Good songwriting is good songwriting and these two are impressive! Matt’s extremely talented on both guitar and keyboards and his songs are memorable and mesmerizing.  Rachael’s emotional songs and winning personality grabs the audience by the heartstrings and never let go.

3. Speaking of good songwriting or in this case… let me say great songwriting… Gretchen Peters at the me&thee was a definite highlight of the year. Gretchen totally blew me and the audience away with some of the most extraordinary songs I’ve heard in a long, long time.  Every song was magnificent.  Every note was perfection.  If you ever have a chance to see Gretchen accompanied by her musical partner and husband, Barry Walsh, do yourself a favor and go.

I could go on and on about a variety of other me&thee shows but I thought I’d expand and move on to other musical adventures in 2016.

4. Falcon Ridge Folk Festival in Hillsdale, NY is one of my happy places.  This year I had a work conflict and missed most of the festival but I was able to haul into the festival grounds late on Saturday and see that night’s acts on the main stage and meander from campsite to campsite til the wee hours.  The Big Orange Tarp site never fails to disappoint and I was so happy that I landed there right before I headed off to sleep.  Chelsea Berry was in great form as she sang her song “I Wonder” accompanied by the luscious sounds of backing musicians playing cello, violin, and guitar.

5. A first time visit to the Amourasaurus Festival in Northampton was a highlight of the summer.  This festival is presented by Signature Sounds, a record label with great credentials. It had been quite some time since I had last seen Lake Street Dive and not only did they demonstrate that all the buzz about them was 1000% correct but they have one of the coolest light shows you can ever imagine.

6. Attending the CT Folk Festival auditions for showcase slots at the festival was a fun and educational experience.  I traveled down to New Haven with Jim Trick after he was selected to audition.  Each act had 15 minutes to show their stuff.  I know Jim well and have been working with him for nearly two years so I knew full well that he can capture the hearts and minds of an audience.  He nailed it at this audition and won the slot with ease.  A proud and happy sweet moment.

7. Hayley Reardon at Club Passim in Cambridge.  Hayley is from Marblehead and has played the me&thee many times. Watching her develop her songwriting skills has been incredible. But more than that, Hayley has matured and grown as a performer. She handles herself like a seasoned pro and as a 19-year-old college student, she has no place to go but up.

8. Peter Mulvey at Stubblebine Lutherie in Somerville.  Any performance by Peter Mulvey is exquisite.  Peter’s shows are flawless.  He plays his guitar with such ease and grace.  His songs keep getting better and better.  His personal and gentle rapport with the audience is heartwarming.  There is nothing artificial about this special man who is a gift to all of us who love music.

9. Martyn Joseph at Old Sloop Coffeehouse in Rockport, MA.  Martyn Joseph’s performances are riveting.  He is one of the most inspiring singer-songwriters I’ve ever seen and I’ve seen a lot of them.  This Welch musician sings what he calls “songs of lyrical intelligence.”  He spend a good deal of time per year working on projects that promote positive change for those nations in need around the world..  I was so moved after this concert that I felt like quitting my day job and running off to follow Martyn in order to make a bigger difference in the world.

10. Listening to music blogs has been a great source of education for me recently.  I highly recommend www.sodajerker.com in which two singer-songwriter blokes from Liverpool, Simon Barber and Brian O’Connor discuss and dissect songwriting with musicians of every kind.  If you like to hear back stories about the composition of songs or about the creative process in general, check out this blog!

…

KIER BYRNES (Three Day Threshold)

Top 10 Ways I’ve Failed my Music Career in 2016

10. Did not write any new songs that anyone other than me liked.

9. Still don’t understand the point of twitter.

8. Once again, my band did not win the Rumble.

7. Not enough face time with Jim Zavadoski.

6. Did not die, thus was unable to get a post-mortem resurgence of interest in my music. Similarly, wasn’t able to participate in any major scandals that would attract major media attention.

5. Still have no idea what would be the best medium to release music on.  CDs are good because they can put the music right into their hands, but fewer and fewer people have a CD player now (and CDs costs a lot to make). Downloads cards are likely to get lost or tossed before they even make it to a computer. Seriously, anyone have any good ideas on this?

4. Got Rita confused with Lolita and vice versa.

3. Failed to convince the mainstream pop music market that old, worn out, geezers like myself playing folk music will be the next big thing.

2. Didn’t get to any of those Rock ’N’ Roll Socials hosted at the Model every second Tuesday of the month. I’m fine with the rock ’n’ roll part of these, it’s just being social part which I have difficulty with.

1. Spent too much time searching for hard copies of the latest issues of The Noise.

…

HARRY C. TUNIESE (Catalyst for Creativity)

Top 10 Albums  (* = online only)

1. Bent Knee:  Say So

2. Rabbit Rabbit [Carla Kihlstedt & Matthias Bossi]:  “new music 2015-2016” *

3. Mark Mandeville & Raianne Richards:  Grain by Grain

4. Rick Berlin w/ Nickel & Dime Band:  Badville

5. Amanda Palmer & Jherek Bischoff:  Strung Out in Heaven (a Bowie Tribute) *

6. T Max: Hole in My Shoe

7. Hummingbird Syndicate:  Pop Tricks

8. Erik Lindgren: Bespoke

9. Lucy & the Dreamers:  Lucy & the Dreamers

10. Willie Alexander & the Fishtones:  I’ll Be Goode

Honorable Mention:

Greg Greebway: 20,000 Versions of the Sun

Stellwagen Symphonette [Carla Kihlstedt, Matthias Bossi, Jon Evans]: Embarcadero and Pristine Holiday *

Jim Armenti:  The Poetry of Longing

Ray Mason:  The Shy Requester

The Evenfall Quartet:  The Evenfall Quartet

Brother Sun: Weights & Wings

Ben Levin: Life & Back

Steve Gilligan & Spider Farm:  Dog Patch Garage

Jim Eagan:  Never Too Late

Glenn Jones:  Fleeting

Jeremy Flower [w/ Carla & Matthias]:  The Real Me *

Lowbudget Records Stones Compilation: You Can’t Always Want What You Get

Amanda & Jack Palmer:  You Got Me Singing *

Auva:  Auva

Geoff Pango & Mr. Curt:  Cap It Off!

…

GEORGE DOW (Noise writer/ Co-host at Evolvement Radio)

Top 10 New Albums I Heard in 2016

(no particular order)

Car Seat Headrest – Teens of Denial

Muddy Ruckus – Pretty Bones

Leonard Cohen – You Want It Darker

And So I Watched You From Afar – Heirs

Bon Iver – 22, A Million

Tigerman WOAH! – Tigerman WOAH!

Pixies – Head Carrier

A Tribe Called Quest – We Got It From Here… Thank You 4 Your Support

Sand Reckoner – Haunter

Chris Forsyth – The Rarity of Experience 

…

R.J. OUELLETTE (Noise writer)

Top 10 CDs of 2016

Shall we all breathe a sigh of relief as we welcome 2017? After having endured the figurative ass kicking that 2016 served up so well, we deserve a fresh start! As music lovers, I think that we can all agree that New England has always been a productive and fertile breeding ground for excellent music. In spite of the negatives of this past year, a lot of really great music sprouted up in 2016, producing an impressive crop which yielded a truly superb “audio harvest” to be grateful for. In this respect, it was a great year. Here are my Top 10 picks for CDs. The list is eclectic, but hey, so am I. Not in any particular order:

1. Sand Reckoner: Haunter –  I love the gritty, psychedelic, dark west vibe laid down on this one. A resounding “YES,” to this from me.

2. Delta Generators: Hipshakers and Heartbreakers –  I must really like “grittiness,” because this album is full of that with its hard hitting blues rock.

3. The Suitcase Junket: What I Want Music – Genuinely unique garage rock. Matt Lorenz is a talented and quirky one man band. Great CD!

4. Ruby Rose Fox: Domestic  – Phenomenal talent! blues/pop/R & B  This CD blew me away! That’s a lot of talent in one artist. One of a kind.

5. Tsunami of Sound: Permanent Wave –   Instrumental surfer/psychobilly fusion. Tons of fun! Think Pulp Fiction.

6. Diablogato: Diablogato  – Kicking music! rockabilly/rock. A definite solid within its genre.

7. Audio Jane: A Full Bird’s Wing – Ghosts of Mazzy Star and more, live within this CD’s tracks. I love it!

8. Julie Rhodes: Bound To Meet The Devil –  Amazingly powerful blues/rock. A voice and guitar work that slay it! So good, it is humbling to hear it.

9. Wishbone: Zoe All These Oddities –  alt/experimental,  really trippy and playful fun for open minds. Great stuff on this CD. Track 3,“Idealism” is a gem.

10. Violent Mae: Kid – a 2015 CD found within The Noise’s reviews.  Trippy alt/rock with here and there airs of etherealism. Music you can drift to. Nice!

So, 2016, aside from “good riddance,” what can I say? It’s definitely been a trip and back, but in spite of that, my sincerest thanks for all of the amazing music!  Because really, where would we be without the music?

…

TERRY BOULDER (Noise writer)

Top 10 Bands Around Boston

1. Craig Wreck – drummer of arab on radar doing the alt country thing, but good, ya know?

2. Baylies Band – psyche noise avant weirdos for over 20 years

3. Elder – metal gods who are more like kids than elderly and stuff

4. Hairspray Queen – grunge is back and Providence has it

5. Beta Motel – the only good dance band

6. Bad Motherfucker – thin lizzy meets the melvins if they all played like rush

7. Dave Public – noise for you

8. Tapestries – rock to the roll

9. Satellites Fall – feel good vibes for the masses

10. Silks –  more alt rock goodness

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William Des Desmond

HE’S THE MAGIC MAN

By Julia R. DeStefano

“I love people. That’s the kind of business I’m in.” ~William “Des” Desmond

Noise: In the beginning, what led you to pursue music? Was there a catalyst because I know you were involved with the Bentmen, and that you play the hammer dulcimer…

Des: Yes, I play the hammer dulcimer and psaltery. They’re basically the great ancestors of the piano and harp. I don’t play them traditionally, but they have a very baroque sound to them. I play them as textural instruments, creating washes of sound. I have my own project, Orphans of the Storm. We have nearly three albums done, but we haven’t had the time to release anything. You can hear probably forty minutes of the music online. It’s really good stuff to catch a buzz to or have a glass of wine with and listen to late at night. It’s music that we’re putting together for film. We have some killer guests on it. In fact, I might even have David Hull play on a song or two once we get him into the studio to hear it. Who’s on it?… Will Ackerman, a very famous guitarist; Gary Lucas, who played with Captain Beefheart; Jon Butcher; my own daughter, Casey Desmond, does vocal textures; Taylor Barefoot, who I co-composed all the songs with. So that’s what I’ve been doing. I decided to do this more ambient music, which is what I started with in the beginning—tape looping, the hammer dulcimer, the psaltery, and the Persian santur—and then I got into the heavier stuff, the Bentmen.

Noise: Tell me about the formation of the Bentmen. Is it something that you are still involved with?

Des: Let me tell you what happened. We played for years, one or two shows a year, and before we knew it, twenty-three years had passed. Shortly after our 23^rd anniversary show in 2006, I had a cerebral aneurism. I had to have the front of my head removed, my skull, so they could get in there and cut it out—full blown brain surgery. When that happened, the recklessness and craziness of running around, wrestling with people—which is part of a Bentmen show—I mean, we did everything from dragging them to the stage, duct-taping the audience to chairs, and shaving heads. It was a very interactive and physical show. Basically, I didn’t need to be banging my head around after having had surgery. I just used it as a catalyst to tell the guys in the band that it was indefinitely on hold. If you want to continue and get another lead singer, go ahead. But nobody wanted to do it without me, so it hasn’t happened. The bottom line is that everybody keeps bugging me to do it and it’s been about three years now. I’m starting to feel better. It isn’t out of the question. It’s an open book still. We’ve had some very famous people in and out of the Bentmen over the years. A lot of people, fantastic local musicians, played in the band. It’s a hard thing not to do because I really enjoyed it. As of right now, we have written a musical play, Ulcer Gulch, and we’ve got people interested in it. We did sort of a cheese-ball version onstage at the Institute of Contemporary Art, but there are forces that are interested and have recently done exploratory things to see the feasibility of making it into a very expensive play. That’s on the table, but I won’t be heading it off. One of the band mates from New York is, and he strongly believes in it. He’s been shopping it to people, big money people. I thought nothing would ever happen, but that might not be the case. The play has already been written and everything, so to say it’s over isn’t really accurate. It’ll be a while before I play out again in the band. Every once in a while, I feel like that guy who’s at a football or hockey game sitting on the sidelines that wants to go back in and play. It’s horrible. Doing a show like a Bentmen show, especially if it goes over well, is an addictive thing because you get up there and let everything hang out. Go for it, the madness of it. It’s an intense show if done right!

Noise: Steven Tyler once said, “Even I wouldn’t want to wear what those f***ers were wearing!” and Warm Vinyl stated: “Every strange, sick, perverted, maniacal thought you have ever had about Bentmen is absolutely true… Bentmen explore the subconsciously evil, mentally ill side of doom rock. What kind of weirdoes are these people?”

Des: We’ve also been called the Blue Man Group on a couple hits of acid. We’ve been playing around as long as them. The Bentmen is floating around and it seems like since we’ve stopped playing, more people are interested. I don’t get that! It’s kind of like how when you’re dead, they like you more!

Noise: Then there’s your involvement with the Magic Room, which has been in operation for two years…

Des: The room used to be a video production space in the Sound Museum, but when the video company broke off and shut down, the space came open. I decided to make a soundstage and huge practice space for people who needed to rehearse special shows, plays, or what have you. The first show to ever happen in the Magic Room was a private showing. Fifty people got to watch B.B. King while he rehearsed to play the Bank of America Pavilion. He came into town to do a big show and he had a pick-up band. We had to listen to the songs two or three times, but the fifty of us got to sit there, hang out with B.B. King, and watch him in action while he taught the musicians some of the songs he was performing. That was a treat to say the least. After that, I figured it would be a really great space for the Sound Museum people to show off their music to corporate for CD listening and CD releases. Live recording is another idea that we have for it, which we’re still working on. I said: “You know what? This would be nice to make into a big living room.” Our capacity is only one hundred people and the stage will hold eight or nine people comfortably. There’s a small lounge out in front in the lobby and a living room to the side of the main living room, so people can sit down and talk. The mission of the Magic Room is to create a listening room, a showcase place. We don’t pretend to be a bar. We get beer and wine licenses per show, if needed. We’re not about the bar thing. We’re about the music. We mix music and art showings. A lot of local artists have come and I’m working on getting international ones in. We have a thirty foot wide, twenty-five foot high screen, and we show independent films at many of the shows. We only do forty shows a year and that’s enough for me, anyway. We’re not pretending to be a club, although we have a huge club sound. We are a listening room for showcasing film and artwork. That’s what we’re about.

Noise: I agree. The club scene, per se, with the bars and alcohol revenue results in the music becoming the backdrop, as opposed to the main focus. It becomes more of a social event than anything else.

Des: Right now, there are clubs opening up and that’s really good because I own a rehearsal facility. So many clubs have closed. The bands were rehearsing with no place to play, so it becomes like… what’s the point? With the new places opening around town, there’s resurgence and I’m hoping that more people open venues so that music can be seen in every different location because there’s a lot of talent in Boston. The purpose of the Magic Room is to keep it small, but not tiny. The other interesting thing is that I bought part of the sound system from the Axis that was on Landsdowne Street. We bought some really nice equipment speakers and repaired everything. Some local guys who work on studio and sound put it together for me—John Overstreet (Middle East Downstairs) and Bob Logan built the sound bafflers. We spent a lot of time working on it. We have one of the best sounding rooms in the city. Everybody’s raving about the sound. Barry Hite is my sound guy and he is one of the best around. We don’t do shows unless we have the best sound people behind the board because we want people to leave saying, “that sounded great!” We have a sound system that you can feel in your chest without it hurting your ears. As this thing started to snowball and it gained more and more interest, my wife, Katherine, jumped in and she’s helping me manage the place. My daughter, Casey, helps too. My son, Bill, and daughter, Mary, also help with the management and in keeping the place clean, doing photography and video shoots, or running the beer, wine, and food snacks—complimentary things that we put out for people. The whole family pitches in and works the place, a family affair. Everyone who’s played there doesn’t just like it, they love it. I’ve been going around—I happen to be a bit of a picker because I love antiques—from New Hampshire, to Maine, Vermont, and Massachusetts, buying old portraits and photographs of families from the late 1800s and early 1900s, plus a few that we found within our own family. There are a hundred of them on the walls, to say the least. The place is decorated with all this weird stuff—weird, old clowns that we got from amusement parks and that we found in people’s collections. We took all the lights and trick lighting from the Bentmen days, which amounts to about $15,000 worth of lighting in a room that holds only one hundred people. It’s like the Fourth of July when it lights up in there! The other thing, too, is that we have two really nice overhead projectors that run our films and also run films onstage, which acts as a lightshow unto itself. We’re noticing that everybody is starting to do that again, not that it’s a new idea, but I think the word is out that it’s a really cool thing. People are starting to do it at other clubs. I’m seeing it everywhere, but not quite the way we do it because when these projectors blast onto the band, it’s like living color. It’s amazing! When you see it, you’re going to go, “wow!” We’ve got more lasers per square inch than the Planetarium and it’s all sound activated, so you just turn it on when the band wants it. Not everyone does, but there are a lot of things to choose from. Bands are just starting to use the space for video shoots. You don’t have to do anything but get up there and let us blast away. The other thing, too, is that there’s a rental price on this. Most of the clubs in town charge, anyway. Some places are $600 for a weekend, up to $2000. For bands, one way or the other, they’re doing a show on a weekend and paying a fortune. We have a very small amount, $350, and they can bring in the bands they want. We include a sound guy in that and sometimes we do benefits as well, which doesn’t cost anything. We put up the money ourselves. Some people just have parties and others show their stuff off. They’ll dictate their own price. It’s not about making a lot of money because we just have this one flat fee and whether it’s this band or that band, I don’t make any more money. At the end of the night, we split it with our sound guy. We just cover our basic operating expenses and that’s it. We don’t take any percentage of the merchandise the bands sell or anything. It all goes straight to them.

Noise: Who has played there?

Des: We’ve had some very famous people. We’ve featured progressive rock bands out of Europe, Greg Hawkes (the Cars), Gary Lucas (guitarist for Captain Beefheart and Jeff Buckley), Agents of Mercy, Karma Mechanic (whose drummer is from Tears for Fears), and the Mothers of Invention. Boston is starting to come back as a music scene. Our other mission is to keep the cost down so people can rent the space. We want it affordable so people can showcase their stuff and bring in corporate people; bring in record label people to see them perform on a stage that’s really nice. It’s more like coming into a house than it is coming in a club. We want to be more underground. The more, the merrier. I’d like to see more of these types of things pop up across the country, and they are. We have two series, the Art/Rock Series—which features progressive rock bands that you don’t normally see and some of the locals that do progressive music—the Singer/Songwriter Series, and the Living Room Series.

Noise: The concept reminds me a little bit of Hi-N-Dry, which recently moved into the Somerville Armory.

 

Des: They might have a similar mission, but when you see the atmosphere of the Magic Room, you’ll think differently. When you walk in, you’re not going to believe it. That’s what people say if you like weird, old antiques and a lightshow that’s just mind blowing. It’s unexpected. People don’t expect to walk into this living room and have the lights turned on, watching a show, and hearing the sound. People just keep complimenting us on it. Over the years, I’ve played in a couple different bands. When owning a rehearsal complex, you hear endless stories of sound guys and door people treating the musicians like shit, like: “Hurry up and get out there! Get your sound done and then get down!” just really treating them like slaves or something. Those bars, clubs, the movie people… nobody can make money without the musicians and yet, the musicians are the ones that get treated like shit! What’s up with that? You can’t have television, movies, opera, symphony, and rock clubs without the musicians! And the musicians are begging to play. They pay to play! From being on both sides of this now, I see that there are expenses to be covered. Otherwise, somebody’s opening a venue and paying for the insurance, heat, and liability just so people can come in and perform there. You have to look at both sides. It’s gotten outrageous. I remember back in the day when we started the Bentmen. Monday and Tuesday were “New Band Nights” where they didn’t expect to get paid, like at the Rathskellar, and before you knew it, it was Monday, Tuesday, Wednesday, and on! Bands are now paying to play in their venues! My sound people and staff, whether they’re volunteering their time or if it’s my family, everybody treats people with respect. There isn’t a sound guy that’s going to snap, ever. I want people to have plenty of time to set up, to get their sound sounding good. I want them to feel comfortable and like they’re cared for. We’re getting a good response and garnering a lot of respect. People really say they enjoy being there. That’s important.

Noise: I gather it is a social event more than anything.

Des: All around Vermont, Maine, and these other places, you will find that people set up stuff in barns, churches, and places of that nature. They have all kinds of diverse music. A lot of times, they just fizzle out because they don’t have the alcohol revenues to keep them going. We need more places for people to play. Owning a rehearsal facility, nobody knows that more than me. If the places to play dry up; then so does my business.

Noise: So, what’s next?

Des: Well, I’m having fun with it. Every band that’s played there has been great. I love to bring in oddball bands that you don’t normally see. To watch them play for you in a living room is a treat. A lot of the Sound Museum musicians are so excited that they can see this right down the hallway from their rooms. We’ve got choral music coming, some gospel, and it’s funny because they’re already sold out! I would like to have more celebrities play, like Joey Molland from Badfinger and Mark Farners from Grand Funk Railroad. I’m also working on getting the rock band, Hawkwind, to come over from England. That’s one of my dreams, psychedelic music because we have all the lamps and stuff in there. It’s perfect for that. Just perfect. I love experimental music. We want to be purveyors of progressive, experimental music, film, and really work up the art stuff. I want more art stuff. My own daughter, Mary, has shown her photography and currently, we have Alvan Long. He does great work and presently has some hanging up in there. We’ll do it as long as people are interested, and then we’ll move onto something else. We want to try to have a little alternative place for people to have a big club sound in a living room.

http://www.magicroomgallery.com

http://www.orphansofthestorm.net

 

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OUR EYES ON YOU Dec 2006

Rita : Do you believe it’s already time again to start picking up thoughtful gifts for everyone you care about? Lolita : I guess it’s time to narrow down that “care about” list. I’ve got it down to two. Rita : Some people love giving presents every year. Lolita :
I’m tired of receiving re-gifted items that were never meant for me.
Maybe it would be a good idea to help people out with what gifts they
should be giving. Rita : We’re in a good position to
help. Quick, get on the street and start asking people what gifts
they’d like. But to make it a little interesting, make them describe
the gift instead of just saying what it is. Lolita : Okay, I’ll ask for a reply to, “Without saying what it is, describe a gift that you’re hoping to get this holiday season.” MIKE PIEHL
(Reverse): The gift I am hoping to get this holiday season is the
opposite of being awake, it’s not at all noisy and it rhymes with
“sheep.” It’s actually spelled exactly like “sheep” but with an “L” in
place of the “H.” Figure this shit out yet? *** MONIQUE ORTIZ
(A.K.A.C.O.D./ Bourbon Princess): I don’t believe in gift giving for
the holiday season. I prefer to cook big dinners for my friends or go
to big dinners with friends. *** MARTY WHITE (Mr.
Curt Ensemble): You know, I’ve been thinking, ever since my trip to
Hawaii in October, it’s been a long time since I’ve had something aged
around 24 years that goes down real nice and easy, feels really warm
and smooth. You know what I’m saying? I know you know what I’m talking
about. And not to change the subject but that was a great choice for
centerfold in November. Rock on—you guys are the balls. *** KAREN DEBIASSE (Girl on Top): T Max and Liz with a bow. *** PETE DEGRAAF (The Black/ Clear the Way/ Lucky Dog Music Hall ): It’s wet, sticky, smells like rock ‘n’ roll, and is at least 80 proof. Lolita : Pete, I had a little too much to drink at that party last week. Those front-bum shots will not be gifts for the holiday. *** ANNA PRICE
(The Silver Lining): What I’d like for Christmas would be a piece of
paper that I and four other people would have to sign that would
guarantee us enough money that we could all quit our day-jobs. Of
course, I already quit my day-job, but this piece of paper would render
that move an intelligent and well thought out one, rather than rash and
slightly retarded. *** ERIC WELSH (Tons Of Chill/
Chill House Studios): A gift does not have to be a physical thing. In
truth, I think that gifts are best presented with emotional attachment.
Our tradition of giving out items and cloth to each other is old news,
yet it is hard to break that tradition since someone buys you “a gift”
and you therefore buy them something in return. It doesn’t make sense
in the big picture of life for me. The gift I would like is not
something one can buy; it’s something that friends and/or family will
give to me that makes my life start kicking serious ass. Lolita : If I catch you kicking anyone’s ass I’m gonna stop giving you steroids. *** EVIL TRAVIS
(The Evil Travis Condensation): A zipper truck. Please someone get me a
zipper truck so I can change the medians around on the southeast
expressway. Sorry, I know I wasn’t supposed to say what it was, but I
really, really want one and how am I supposed to get one without saying
what it is? God bless the spirit of getting! *** MICHAEL EPSTEIN
(The Motion Sick/ Blitzkriegbliss): A light-haired being that agrees to
be in frequent close proximity to me for the remainder of her natural
existence. Lolita : You don’t have to make it so blatant Michael, but you haven’t even asked me on a date yet.

 

Tammy Long (Killer Abs) Photo: Nicole Tammaro

 

{mospagebreak title=”Rock Notes”}

ROCK NEWS

Rita : Instead of waiting to be asked on a
date—maybe you should look into the Rock ‘n’ Roll Social. It has
nothing to do with dating, but it turned four in November.
Congratulation to those social butterflies, MICHELLE AUERBACH , ANNGELLE WOOD , ANDREA GILLIS , and LEXI KAHN ,
for helping bands to build better networks every second Tuesday of the
month—now at the Model Café (7 Beacon Street, Allston). *** DAVE TREE (Superpower) was the only artist Boston artist in Sunset and St. Marks ,
an art exhibition that showcased artists from New York and LA. The
exhibition showed in Los Angeles at the Standard Hotel in November
2006. *** MUCK & THE MIRES are touring through Spain , France ,
Holland , Germany , Austria , and Switzerland this December. *** JADA
has signed with Universal/ Motown Records. *** Funk-rock foursome S
ucka Brown signed with Roho Records in New York . *** The Music Museum
Of New England is now online at www.mmone.org. *** MEREDITH BYAM MILLER ‘s
vintage, second-hand, and consigned women’s fashion store Poor Little
Rich Girl has moved into a space seven times bigger at 255 Elm Street
in Somerville . *** Though due on 11/12/06, MAE PEARL ALLEN WATTS was in a bit of a rush to get here and was born on 11/4/06. She weighed in at 6 lb. 6 oz. and BRUCE ALLEN (Doom Buggies) is the proud second-time dad. *** MIKE RIVARD
(Club d’Elf) had his ’61 Fender Jazz bass stolen on Thursday, 11/9, at
the Lizard Lounge, but though the magic of this great community Mike’s
bass was returned. Lolita : Read Mike’s words in the Incoming Mail column. It’s the perfect story to get in the right mood for the holiday season.

{mospagebreak title=”Where do you Shop?”}

WHERE DO YOU SHOP ?

Rita : Sometimes Lolita has a hard time getting
into the holiday spirit. Maybe if she visited some good places to shop
it could help her. Lolita : Like I care. But I can
play along—why don’t I just ask everyone, “Where is your favorite place
to shop, and what do you buy there?” JIMMY BIRMINGHAM
(The Real Kids): My fave place to shop would be Newbury Comics. I can
never have enough CDs. It seems every time I see a store wherever I am,
no matter how late, I have to go in just in case I find that rare CD
I’ve been forever looking for… I still don’t know what it is… but I
will find it! *** MERRIE AMSTERBURG (Merrie
Amsterburg): My favorite place to purchase strange and wonderful gift
items is Honeyspot—it’s in Jamaica Plain, on South Street , near the
monument. They also sell local music and work by local artists, so it’s
great that they support the community as well. An excellent place to
get peculiar holiday cards! *** RAY FERNANDEZ (Atlantics/ The Illegals): My favorite place to shop is Jack’s Drum Shop. What do I buy? You’re kidding right? Lolita : Do you know they sell Yamaha Guitars at Jack’s Drum Shop? Do you buy them? Rayboy : No. I buy drum related stuff like sticks, heads, washers, and felts. Basically, stuff that breaks all the time. *** PETE SUTTON (Temper):
My favorite place to shop is Trader Joe’s… not only have they
infinitely expanded the realm of salty snacks and cornered the market
on flash-frozen fish, they sell booze too… oh, and their frozen
dinners section has saved my marriage. *** WILLIE ALEXANDER
(… & the Boom Boom Band): Mystery Train in Gloucester . I don’t buy
anything, I trade in CDs for credit to get new ones and I always leave
with something great from the free bins. It’s the mother of all Mystery
Trains. *** JESSE PERKINS (Lorntell): Discount
Liquors! A huge selection of tasty beverages. I try to pick up
something I’ve never tried before every time I go—which is probably way
too often. *** NICOLE TAMMARO (Nicole Tammaro
Photography): My favorite place to shop is a new store called Horror
Business. It is next door to the Common, across the street from Harpers
Ferry . I love to buy my boots, belts, and all real cool punk clothing
there, plus the owners, Troy and Julie, are coolest couple in Boston .
*** AD FRANK (Fast Easy Women/ Lifestyle): Gumshoe [
40 South Street ] in Jamaica Plain has the best used men’s clothes in
Boston . Uniform in the South End is also great for men’s clothes, when
I can afford it. Lolita : Hey, Gumshoe is the store our buddy Otto runs. Ask him about the early days of the Rat. *** CLAY COUNT VON N. FERNO
(Wild Zero): I go to the Bodega on 6 Clearway Street , Boston , by the
McDonalds and Christian Science Center for all of my soda pop, candy,
and bleach. The soda is to keep me awake, the candy to raise my blood
sugar, and sometimes I use a little bleach on a Q-tip to keep my kicks
looking tight. Seriously, this store rules, beating competitor’s prices
and the management will always surprise you with a smile. I just go
there mostly to hang out. *** JOEY BOY SPALLONE (Red
Invasion): Cafe Quattro on 4 Somerset St. in Beacon Hill . Great pizza,
sandwiches, soups, coffee, and a music playlist that includes The
Ramones, Heartbreakers, Stones, Ronettes, Sinatra, and so much more.
*** MIKE OOR (The SnowLeopards): Mr. Music, Rock
City Guitars, and Cambridge Music. Heidi and I have TOO MANY guitars
and amps! Also, just say no to Banjo Mart! *** VALERIE THOMPSON
(Fluttr Effect): Future Valerie will enjoy shopping at the Bazaar
Bizarre (bazaarbizarre.org) on 12/16 at the Cyclorama! Future Val will
be buying all of her family and friends “More Banjo Less Pants”
T-shirts for Christmas. Nothing spreads holiday cheer like crafty goods
with a punk attitude! Lolita : Looks like the banjo will be a controversial topic for the holidays. *** ERIC WATTS (Kevin
MacDonald Band): I shopped at Amazing [Express] for all my pornographic
needs… until it burned down! The re-grand opening is soon! Lolita :
There’s more than one Amazing Express. I was just in the one at 1258
Boylston Street (opposite the old WBCN location) and I passed one on
Route 1 north on my way back from Norwood too. *** AJDA THE TURKISH QUEEN (Black Fortress of Opium): John Fluevog— 302 Newbury St .). Shoes, baby. *** PETER RINNIG (QRST’s):
I love shopping at Proletariat in Harvard Square in the Garage.
Anything that you need for vintage wear or skateboarding stuff they
have. They also have tons of cool T-shirts with their own original
designs that you can’t get anywhere else. I love their shirts! *** DAVID VIRR (WFNX/
Powderfinger Promotions): Amoeba Music in San Francisco . It’s a great
place to spend an hour or a weekend. Last time I was there I picked up
a bumper sticker for my car that says, “I bought too many records at
Amoeba Music.” Oh yeah, and I also bought too many records. *** SHAUN WOLF WORTIS
(Gato Malo/ Mardi Gras/ Al Janik’s Plastic Cheese Band): Buy art from
local artists (not really a place, per se, more just a good holiday
shopping tip). *** LINDA VIENS (Angeline/ Bang
Chicks): My favorite place to shop is New York City; either the tiny
funky boutiques all throughout the Lower East Side, West Village, etc.
or Canal Street in Chinatown where there is fun, glamorous, rockin’
stuff galore for super cheap: Check out my Gucci sunglasses baby… oh
yeah, five bucks! *** STEVE FOLSOM (JamSpot): Right
now… this month… Decathlon Sports. They are going out of business and
I’m buying things I never knew I needed for sports I’ve never even
tried yet. I bought soccer cleats and ice skates for my kids (and my
neighbors kids) for the next 10 years! Lolita : Thanks for the tip, Steve. Next year’s Noise Board softball will have new bats, balls, and bases.

{mospagebreak title=”Musical Chairs”}

MUSICAL CHAIRS

Rita : Maybe the Noise Board Softball team should look for other teams to play. Lolita : How about Bang Chicks ? Rita : You mean estrogen’s answer to the testosterone-fuel barrage that is BANG CAMARO? Lolita : Yes, I’ll set up the game with spearheaders LIZZIE BORDEN and KELLY DAVIDSON. *** JOHN QUINCY MIRE (previously known as Hugh Beckett ) has joined MUCK & THE MIRES on bass. *** DIRTY TICKET has disbanded—which only means CORIN ASHLEY, DAVE ARRONOFF, ERIC SCHMIDER, and MATT B will have more time for new projects. *** See look—already CORIN ASHLEY is playing with Englishman MARTIN CARR (The Boo Radleys)— AD FRANK is playng with him too. *** Funeral Barkers include PHIL KAPLAN (Men & Volts) and BILLY LOOSIGIAN ( Willie Alexander & the Boom Boom Band ) . *** Drummer ROGER KNIGHT (Runner & the Thermodynamics) is now in a band is called The Novels . *** MELT picked up drummer SCOTT MAHER (Pure Fiction/ The Leon Rich Band). *** VALERIE THOMPSON
(Fluttr Effect) has been moonlighting with Jake Leg Jug Luggers
(rip-snorting raw old-time music) on acoustic cello or what some call
the church bass. *** ADAM BUHLER (x-Splashdown/ Countess) and KEITH SMITH
(x-Colbalt 60) have teamed up to form ANARCHY CLUB. *** TULSA is made
up from members of Carter Tanton , Runner & the Thermodynamics ,
and Appletown Gun Shop . *** MASCARA is looking for a full-time
bassist. Contact Chris at cmascara@mit.edu . *** Bassist JIM FARIS (Chaz & the Motorbikes) is moving to the Washington D.C. area and leaving the Motorbikes bassless. Lolita : He could always consider a long commute for each gig.

{mospagebreak title=”How is Your Commute”}

HOW’S YOUR COMMUTE?

Rita : I wonder what other people’s commutes are like. Lolita : I get it—I’ll ask a new question— “What is your commute to work like?” ERIN HARPE
(Lovewhip): Almost every Thursday, Friday, and Saturday I strap on my
three-inch tall red heels, sunglasses, and anything from hot pants to
an Eskimo outfit, depending on the weather, and drive! The driver’s
seat in the Lovebus is too tall because it came out of another vehicle
(thus the heels). Then I drive anywhere from one to six hours, visiting
all the rest stops in New England and beyond for the umpteenth time.
Weather permitting, and traffic jams notwithstanding, we usually make
it to the gig on time. *** JONATHAN WYNER (M Works Mastering): A highly aerobic dash replete with near death experiences. *** TAD OVERBAUGH (The
Kickbacks): I drive into Boston … and it’s like a stampede of buffalo
all trying to go through a garden hose for 17 miles. *** JON JOHNSON (Lenny & the Piss Poor Boys): I live in Wollaston and work in Kendall Square . The commute is very, very Chinese. *** NICK BLAKEY
(The In Out): When I took the bus to work, my commute was like crawling
through a constipated old woman the wrong way in. Now that I walk to
work, it’s like a very pleasant acid flashback. *** ERIK LINDGREN (Birdsongs
of the Mesozoic/ Arf Arf Records): Ever since I morphed out to the
country and built a recording studio on my land, my commute is now a
mere 25 steps across my driveway. Or 24 if I’m under the influence of
caffeinated tea. *** C. MOON MULLINS (Ultrasonic
Rock Orchestra/ Damned Dirty Ape): Most of my commute is within the
Yavin system. The approach is not easy. I am required to maneuver
straight down this trench and skim the surface to this point. The
target area is only two meters wide. It’s a small thermal exhaust port,
right below the main port. The shaft leads directly to the reactor
system. A precise hit will start a chain reaction which should destroy
the station. *** WATER SICKERT (Walter Sickert &
the Army of Broken Toys): First I find the white rabbit; He usually
frequents Hubba Hubba on Mass. Ave. Once he finds a French tickler to
his liking, I follow him down his rabbit hole (where Manray use to be).
We free fall for about 30 minutes (in this time we discuss current
events and have some tea). When we land, we separate and I head toward
the Cold Wire Forest were I spend my time writing bedtime stories for
wire tooth animals. It’s not a very extraordinary commute but I have
come to love it none the less. *** JOHNNY BARNES
(Johnny Barnes): Most of the year I ride my motorcycle to work. I work
the four to midnight shift as a patrol officer and detective for a
rural southeatern Mass. police department. It’s about 15 miles and its
all through countryside. I used to work in Maine , but down here, there
are more deer. I have to watch out for deer crossing the roads. When I
ride home to my boat at the Fairhaven Shipyard after midnight I
literally have to dodge deer, possums, skunks, and turtles along the
roads of Rochester and Mattapoisett. *** CORIN ASHLEY
(Corin Ashley): My commute is a whimsical whirlpool of fantasy in my
sugar-powered, cloud-busting hovercraft (which masquerades as a Jetta).
It’s me and my boy Harrison, playing a game we call “prisoner transfer”
wherein he squawks and squirms while I strap him down. Then I fire up
the old satellite radio and we laugh as Howard Stern asks strippers
trivia. Harrison likes it when they don’t know who the vice president
is. If H takes a nap on the way to daycare, we stop at Drunkin’ Nonuts,
but if he’s awake we go to Starbucks together. He enjoys a grande chai
soy macchiato, but don’t tell mommy. Lolita : No problem Corin, I’ll call up Darcy and tell her not to read this issue of The Noise .

{mospagebreak title=”Clubcrawl”}

Clubcrawl

Rita : I already tried to reach Darcy, but only got
a message that she’s out drinking in the clubs with Harrison . Maybe
we’ll run into them at one of these shows: AJDA THE TURKISH QUEEN entertains at Zuzu on Sunday, 12/3. *** THE SNOWLEOPARDS play Johnny D’s on Thursday, 12/7. *** MICKEY BLISS celebrates his birthday on Saturday, 12/9, with APPLE BETTY headlining at The Kirkland. *** THE RUDDS lead The Noise holiday party at The Abbey on Saturday, 12/16. *** Aimee Mann ‘s
plays her First Annual Christmas Show at the Berklee Performance Center
on Sunday, 12/17. *** You can dance to THE CHICKEN SLACKS every
Thursday at The Cantab Lounge. *** MUCK & THE MIRES get T.T.’s
hoppin’on Saturday, 12/30. *** BANG CAMARO brings in the new year at
Middle East Downstairs on 12/31. Lolita : We’ll be back in February with the Noise Poll results—you can vote right here on 12/13-12/29. Rita : Have a wonderful holiday season.

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Live March

If you have any interest in writing about the musical acts you see, please contact tmax@thenoise-boston.com. Write LIVE REVIEWS in the subject box and T Max will fill you in on how to help out your favorite acts.

…

Page Contents

MIRANDA RUSSELL/

CHARLEE BIANCHINI

Cabot Theatre, Beverly, MA
2/23/17

When Charlee Bianchini invited me to review this show I didn’t know it was a benefit for the Waring School in Beverly and I didn’t know that Miranda Russell was headlining the show.

Head of Waring Schooll/ alumnus Tim Bakland takes the stage to talk about the school and the supporters of this event, then introduce tonight’s artists. The first act is Waring School alumna Charlee Bianchini (acoustic guitar/lead vocals) with Jack Tomailo (lead guitar), Chris Enright (piano), Mike Miksis (bass) and Benny Benson (drums) backing her. She confidently sings out her promising relationship originals. When she starts Marvin Gaye’s “What’s Going On” John Aruda walks on stage with some sax blowin’. Charlee speaks lovingly of her time at Waring school – it’s where she first really started playing music. She closes her set with two more original heartfelt relationship songs. Keep an eye out for Charlie Bianchini.

After a short break Miranda Russell is center stage in a dark floral sleeveless dress that flows with her body rhythms. She has a strong country voice and a gigantic stage presence. An excellent group of musicians is supporting her – David Sparr (keyboards), Justin Piper (guitar),  Dave Landoni (bass), Joe Kessler (fiddle and mandolin), and Leo Ciaramitaro (drums) – but Miranda is the show – a total pro. She has acting skills, natural movement, a beautiful smile, and a whole lot of musical talent and personality that keeps the audience on the edge of their seat. Saying she has a strong country voice is misleading because Miranda sings her way through many genres – how ’bout some jump swing – Miranda slaps it with “Hit That Jive” – she’s helps out two female Waring students on Taylor Swift’s “Safe & Sound” – she crushes Dylan’s “You’re Gonna Make Me Lonesome When You Go” – and does a wonderful “Linda Ronstadt Mashup” that includes “Blue Bayou,” “When Will I Be Loved,” “It’s So Easy to Fall in Love,” and “Love is a Rose.”  I’m blown away by her vocal range and control. She continues to bring up guest students to sing with her and she treats them all like they are stars. They cover George Michaels, Joni Mitchell, Traffic, Paul Simon and Leonard Cohen – stamping Miranda’s big splendid vocals on each as if the song were her own. What a wonderful quality Miranda exudes. She encores with The Eagles “Despardo” leaving the entire audience in love with her. (T Max)

…

BOX OF BIRDS

Toad, Cambridge, MA
1/20/17

Standing on the floor surrounded by a group of onlookers is Box of Birds singer, Steph Durwin in a black, wide brimmed hat. She reminds me in appearance and sound, of Julee Cruise the singer from the otherworldly, roadhouse band in Twin Peaks. She has an innocent, girl next-door quality that’s balanced with a darker, more complex edge. This combination makes for a captivating performance and she does an excellent job holding the crowd’s attention. Her band is great too. I am impressed by the connection the bass and drums share as they rock out on the stage. The guitarist, with his additional support on vocals make this band sound extra tight. After the show I find one of my favorite songs of the night, “Bury My Bones,” which features some nice melodica on their bandcamp page. Great show! (Kier Byrnes)

…

PULITZER PRIZE FIGHTER/
MOKITA/
FLYEATER

O’Brien’s Pub, Allston, MA
2/23/17

Flyeater open the night with a medley of rock songs. The band is quite unique and distinctive with a style to match. Composed of a drummer, two guitarists, and a bassist, Flyeater has a solid, rhythmic sound. The drummer is seen taking off all of his clothes except his boxers as he sits at the drums. In a similar fashion, the bassist wears a sparkly top and purple leggings and the lead singer is wearing a dress. Keep in mind, this is an all-male group but their confidence shines through as they just play their songs without a care in the world.

Inside the quirky venue on a little corner in Allston, Flyeater starts with a heavy song and then follows with a slower, more rhythmic track, in which the vocals and tempo increase as the song progresses.

The crowd is pretty small, but lively and interested in all the bands performing. The lead singer of Flyeater just starts talking to some people in front of him during the middle of their set.

One of their songs, “Whisky Sour,” is more melodic in sound and, as with most of their tracks, has a strong instrumental component with a few short drum and guitar solos. At times, the vocalist nearly screams some of the lyrics, but it does not quite flow with their sound. He is much better at just singing regularly with some emotion in his voice.

The lyrics are honest and open, but at times the instruments drown out the vocals and it is hard to understand the words. Despite this, most of the songs sound very similar, so I do not feel like I am missing out by not understanding the singer.

After a few songs, the next group, Mokita, takes the stage. This rock group is not as creative or stylized as Flyeater, but are more typical of their genre of rock.

Mokita continues the melodic rock sound, but in a more polished way. The band utilizes layered vocals with lots of emphasis on the drums. They have some electric sounds mixed in with the traditional instruments, which adds a nice, modern touch.

Although there is not too much that allows Mokita to stand out, they still put on an enjoyable show. They state that they are releasing an album soon, so I will definitely be on the lookout for that.

The final band, Pulitzer Prize Fighter, plays last. I have listened to them before, but have never seen them live. The group has a funky sound with distinct vocals to compliment. They have a few guitarists which allows for a variety of sounds, as each one seems to play a different tune.

The vocals sound somewhat similar to that of the pop-punk genre at times, with a strained voice that borders on yelling. Even though the sound is difficult to master, it definitely works for this band.

With this sound as their base, the band also has some R&B influences in the style of guitar playing and the layering of some vocals with background singing.

Pulitzer Prize Fighter released an EP at the end of last year, and most of their songs are from this release. The guitars are certainly the most prominent component of the set, but overall the style are quite enjoyable and the group does a great job of providing, and staying with, their distinct sound. (Kathryn Leeber)

…

GREG KLYMA/

RYAN FITZSIMMONS/

DANIELLE MIRAGLIA/

PATRICK COMAN

For the Sake of the Song: A Tribute to Bob Dylan
Me & Thee Coffeehouse, Marblehead, MA
2/24/17

I didn’t think I’d be able to make it to this show, but last minute changes set me free. Tony Toledo gives a big warm welcome to the packed house and the show kicks off with Patrick Coman playing an unlikely Gibson SG while a drum machine sets the groove on “Million Miles.” Patrick knows how to use his tools well – he minimizes the guitar and lets the melody line carry the song. The simplicity of the delivery is what makes his performance powerful. He continuers with “Ballad of a Thin Man, “It Ain’t Me, Babe,” and “Maggie’s Farm” then ends with his own Dylan-influenced protest song – “When the Bill Comes Due” and it is excellent. Patrick is the subtlety.

Danielle Miraglia bounds up to the stage with tunes from Blond on Blond and Blood on the Tracks and says that’s when Dylan was the most Dylan – other people had started copying his strange vocal style so he took it a step further. She plays her own composition “Chronicles” that was inspired form something said in Dylan’s book of the same name. She’s got good physicality bouncing while she plays – her hair dances with her. Greg Klyma and Ryan Fitzsimmons takes turns accompanying her on the Telecaster. She ends cooly with “Subterrainian Homesick Blues.” Danielle is the color.

Ryan Fitzsimmons manhandles “Don’t think Twice.” His energy livens everyone up. He’s got some cool effects seeping out of what looks like a wah pedal but the effect changes from song to song. He hits us with “Masters of War,” “One More Night” (his first favorite Dylan song), and “Lay Lady Lay.” Greg Klyma joins Ryan on his last couple of songs to create a smooth segue into Greg’s set. Ryan is the energy.

Greg does the best job of getting into the Dylan voice and sells it properly.  He also tells the best story of how he admired the introductory chords of a band’s song “$1000 Car.” He repeatedly demonstrated how he loved it when he heard these opening chords (as he’s paling them). Then it dawned on him that they don’t own those chords… so his own song “Sand” just happens to start with those same lovely chords. He switches over to piano for “Make You Feel My Love” and stays there while the rest retake the stage for a full group version of of “Like A Rollin’ Stone” with them each taking the lead on different verses. Greg is the light.

The audience demands one more and the four soloists encore with “I Shall Be Released.” Wonderful show.  (T Max)

…

LOS GOUTOS

Toad, Cambridge, MA
2/3/17

Having no idea who was playing at Toad tonight, it is a pleasurable surprise to walk into Toad and be immediately blown away by a band that I’ve never heard before. Los Goutos is on stage, or should I say more like spilling out into the front half of the room, as there are seven of them playing with guitars, accordions, banjos and noisemakers of all shapes and sizes strewn about. I am not sure exactly what the name of the band means, Goutos apparently means male pigeon in Greek, however their music is upbeat Americana that leaves me with a smile on my face. I love it when fiddler, Jakub Trasak, collaborates with Shamus Feeney on bodhran for a rousing Celtic inspired instrumental. I also really like Eddie “The Rattlesnake” Barrett on percussion and pocket trumpet. What he adds is subtle, but it really makes the music shine. The band seems to be having lots of fun – and that fun translates to the audience. However, having a band full of multi instrumentalists has its up and downs. In one sense, it keeps things sounding fresh, but there are large gaps of dead air when they all start swapping instruments. I talk to a friend at the bar that didn’t seem to enjoy it… he said, “it seemed wanky,” which I gather to mean that he thought it was a little show offy and that didn’t add to the overall show. Oh well, I guess you can’t please everybody.   (Kier Byrnes)

…

DAN GABEL & THE ABLETONES/

DOCKSIDERS

Putney Auditorium, Gloucester High School, Gloucester, MA
2/10/17

I’m off to another gig that includes my favorite trombone player – the world famous Leslie Havens (I kid you not) performing with Dan Gabel & the Abletones.  But first up in this big soft-seated auditorium is Docksiders – Gloucester High’s student big band led by Dan Fleury. I walk in a little late and slide into the first row right side. Vocalist Sadie Cook is being introduces and she delivers a spot on rendition of “The Look of Love,” the Burt Bacharach & Hal David tune made famous by Dusty Springfield in 1967. The stylish Dan Gabel joins the Docksiders for a selection, showing off with his trombone. Then Sadie is back to close the opening set singing “Save the Last Dance For Me” into the old style Shure microphone. The song was made popular by The Drifters in 1960. The Docksiders prove that the future of the big band sound is in good hands.

The stage gets reset for the 18-piece Abletones to blast away with Dan Gabel at the helm. This old styled big band sports five sax players, a pianist, a rhythm guitarist, a bassist, a vocalist, four each trombone and trumpet players, and a drummer. They start with “Song of India” where the featured sax players stand and the trombones point right then left, wahing with their mutes inserted. Dan does a kind of jazz-rap in his invigorated self-penned “Abletones Jive.” The band’s female vocalist, Elise Roth, is decked out in a billowy sleeveless red dress, done up auburn hair, heels, and red lipstick, making her stand out from the dark suited, bright blue vest and tie uniformed band members. She sings “Massachusetts” from their Homesick for New England CD. Then she croons Tommy Dorsey’s 1937 “You’re a Sweetheart.” The next one is by the King of Swing, Benny Goodman – “And the Angel’s Sing” featuring Adam “Hot Lips” Mejaour executing a wild mariachi type trumpet solo. Some of the high schoolers get to sit in with the band and hold their own reading from the charts. Sadie Cook returns stage front and center to sing “L is for the way you look at me” – Nat King Cole’s 1942 hit “L.O.V.E.” Dan tells us about Lake Chaubunagungamaug and manages to easy fit it into song lyrics – and it’s a very catchy tune. They do a popular WWII wedding song, “My Devotion” where Richard Garcia takes the sax solo. Tonight’s luna eclipses inspires “Moon Ray” with a clarinet solo and “I Can’t Get Started” has Mr. “Snow” Fleury in a trumpet spotlight. Sy Oliver gets the trombone solo in a punchy version of “Up the Lazy River,” then whole band gets to sing in what Dan calls the Dan Gabel Glee Club.  They prove that they can take a modern hit and “big band” it with Katie Perry’s “Firework.” Drummer Jim Gancarz gets to take a break from sitting down (Dan sits in on the kit) and becomes the frontman and then returns to his backbeat spot and ends the show with a ripping jungle rhythm drum solo. Dan Gabel & the Abletones are keeping the excitement of a big band show alive. (T Max)

…

COMANCHERO

Toad, Cambridge, MA
2/4/17

Tonight at Toad, Comanchero achieve an amazing accomplishment. It is something I’ve never seen any other band do at Toad. Comanchero actually fit all five of its band members on that tiny stage. All kidding aside, the band is on fire tonight. They are amazing. The combination of funk, soul, Americana, country and good ole rock ’n’ roll has the place sizzling with energy.  The extra room that the band produces by packing themselves onto the stage is used for  dancing and merriment by the audience, who cram themselves in as close to the music as possible at this already intimate show. A highlight for me is the guest singer, Krysten Muldoon, who is called up to sing some Comanchero tunes. Her soulful voice reminds me of a cross between Lucinda Williams and Carly Simon. It’s a fun show and I’m glad I made it out. (Kier Byrnes)

…

CHRIS O’KEEFFE/

CARISSA JOHNSON

The Indo, Beverly, MA
1/18/17

Performing a benefit show for Healing Abuse Working for Change, a domestic violence organization from Salem, many acts are scheduled to perform, but I am only able to stay for these two. The Indo is a quaint pub located in downtown Beverly. The minimal lighting and intimate space make the atmosphere enjoyable, but the “stage” is awkwardly located and difficult to see from where I am seated. After a bit of a late start, Carissa Johnson kicks off the performances. Her music typically falls into the rock genre, as it is fueled by electric guitars and intense drumming. However, for this performance she only uses an acoustic guitar, most likely due to the small space.

Even still, hearing her perform, it is easy to notice the rock elements and power in her voice. She quickly strums the guitar and at times, drums on it. Despite having a softer voice, the way she plays the guitar and the control of her voice display her strengths as a rock performer, as the aesthetic and sound of the genre are still very evident. There are only two speakers and with such a small area, they are not as loud as they could be, making it a bit more difficult to hear her. My view is also blocked for most of her set, but surprisingly these issues do not hinder her performance for me. She effortlessly flows from song to song, giving a little background on each. Despite only having the guitar, the songs are clearly distinctive and each one sounds different than the others. One thing I really do not enjoy is when all of an artist’s songs sound the same, but the way she utilizes the guitar and her vocal abilities allow for a genuine and unique performance.

Next to perform is Chris O’Keeffe. He only plays a few songs, but they are very emotional and strong. He similarly only uses an acoustic guitar, but conversely has more of a singer-songwriter vibe. With Johnson, the rock sound and style were very evident, but O’Keeffe has a calmer and softer energy. He jokes about how his first song was possibly too sad, but I think it is very enjoyable and enticing. His vocals are a little rough at times and not as compelling as they potentially could be, but for only playing a handful of songs, he does quite well. Most of his songs are heartfelt and one stands out to me due to an emotional and melodic bridge that really grabs my attention.

A few more acts play for the remainder of the night, but these two do a great job of kicking off the night. Johnson has a few local shows in the upcoming weeks before heading out on a small, west coast tour. (Kathryn Leeber)

…

PATRICK FITZPATRICK/

JON WATERMAN

Koto, Salem, MA
2/7/17

Koto is a rather large open room that serves delicious Asian cuisine. Salem resident and longtime singer/songwriter Jon Waterman runs an open mic there every Tuesday night at 8:00. The large room can make it feel a little empty when the audience is spread out in all the corners, but Jon is a pro and gets up on the stage, friendly greets all in attendance, and starts the entertainment. He whips out some lively covers on his Gibson acoustic. Jethro Tull’s “Locomotive Breath” and Grateful Dead’s “Truckin” compete for attention with Superbowl highlights on two silent TVs behind the long bar that run the length of the venue. Jon ends his three-song set with “One Way Out” by Sonny Boy Williamson (made popular by the Allman Brothers), adding in a little history about Sonny Boy and ending the song soloing over an ad-libbed diatribe of the “might be your man, I don’t know” situation. The open mic then commences with a mix of folk, electronic, and rock music before the featured artist Patrick Fitzpatrick (yes, it’s his real name) is introduced. Patrick, a conservative-looking dad, sits on a stool and proceeds to deliver some songs that are instant singsongs. Good melodies, good lyrics, sung simply with easy guitar accompaniment. His first, “Devil Made Me Do It,” is so catchy I’m singing along in harmony during the first chorus. He play his “Under My Skin” about annoying people and makes sure we know it’s not the old Frank Sinatra tune. These are easy strum songs that anyone could play. A Russian character named Alex is doing some rather random percussion accompaniment on hi hat, but the songs are solid enough so it’s not distracting. Patrick plays his lullaby, “Out of My Head,” while Alex encourages him to yell at the audience to wake up. Patrick asks for more percussion from the mad Russian on his bad attitude song “Unglued.” At the end of “I Do It All For You” Patrick breaks a pick but he’s prepared with an extra one in his shirt pocket that just happens to have been owned by heavy duty New England rocker Jon Butcher. Maybe Patrick is a big fan? No – he used to work at a dry cleaner in Manchester By the Sea and did Jon’s laundry… he found the pick in Jon’s pants pocket. Patrick is pretty consistent in his good quality song writing as he runs through one with the refrain, “Even though you’re not here right now/ I’ll make you proud.” He goes a little up tempo on “About You” then ends with what I believe to be his first cover of the night – “Don’t Murder Me” inspired by Jon’s earlier Grateful Dead offering. All in all a very good night, only lacking in an interested audience. Hint – go show up for this excellent open mic.  (T Max)

…

JOE PECK

Battle Road Brewing Company, Maynard, MA
2/25/17

Taking the stage inside this brew house, which is located inside the historic Clock Tower Mill in Maynard, Joe Peck puts on a stellar performance with only an acoustic guitar and a looping pedal.

The place is packed, but I find a seat at the bar and have a decent view of the stage. While he is warming up, he shows off his incredible talent, plucking away at the guitar and strumming a few chords.

He starts off by playing his original music, but eventually adds a few covers. Most noticeably, “The Way You Look Tonight” by Frank Sinatra. While that may be a tough song to do justice, Peck does incredibly well.

He has great control of his voice, but it’s his guitar playing that is most prominent. As he strums the guitar with his fingers, he also drums on it a little bit, adding some beats to his already-lively songs. The loop pedal allows for a variety of sound making it seem like there is a whole band supporting him.

His style is clearly that of a singer/songwriter with a soft, yet powerful voice that commands the crowd’s attention. Even with so many people eating dinner and not really paying attention, they have no choice but to notice his singing and talents on the guitar.

He also performs a cover of “Valerie” originally by The Zutons. Again, the intricate and complex guitar playing stands out the most to ensure a powerful and excellent performance from Joe Peck. (Kathryn Leeber)

…

If you have any interest in writing about the musical acts you see, please contact tmax@thenoise-boston.com. Write LIVE REVIEWS in the subject box and T Max will fill you in on how to help out your favorite acts.

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SILVER CIRCLES REVIEWS Nov10

Comment on any CD Review in Reader’s Respo™
Make sure you title your comment so we know which review you’re talking about.
You can also discuss local music 24/7 at The Noise Board

Page Contents

Sonic Trout

Chandler Travis Philharmonic Blows!

12-song CD

Zesty! Stunning! Startling!
…these are but words written on the CD package. And I might have gotten
the title of the disc wrong—it could be It’s a Chan’s Chan’s
Chan’s World—or Soul Brother #764—or Is It Yes Or
Is It Both—or maybe it could be Paint That A Mauve Part 1-2.
Whichever one you pick, it fits. Chandler and troupe continue to refuse
to grow up. The only maturity they show is in their songwriting and
musical skills—otherwise these children have as much fun as possible
sounding like they’re lost at the Mardi Gras. They spot Randy Newman,
but they’ve used up their luck, especially at the airport where they
must have gotten distracted by Sesame Street. If they’re growing
old, somebody forgot to tell them. And how did they get Jennifer Kimball
to agree to a duet? Amazing! Sensational! Thrilling!—more words on
the package. Oh, and I did get the title wrong—it’s the Chan Chan
Chan one—no, now I’m not sure. But I don’t mind because I have
my photo of Chandler (suitable for framing—or so the package tells
me)—included with every CD. (T Max)

EDWARD MORNEAU

MMMMusic Records

Jacquerie

13-song CD

Several years ago,
Ed Morneau released his socio-political blockbuster album, Trepanning,
followed last year by Cheap Grace. His primary concerns search
for the betterment of mankind, despite the cruel manipulations and detachment
of corrupt politicians, corrupt military, corrupt media, corrupt religious
zealots—aaah, you know—the usual bullshit. To train his talent to
capture such dismay and turn it into tremendous pop-folk tunes takes
major focus and development. Thus, his lyricism is direct, his finger-style
guitar work is impeccable, and his musical accompaniment is passionate.
Also having worked for years as a high-school teacher, he has sharpened
his ability to shape this cynicism in service to his enlightened vision.
Pass the torch and light the fires that seek so much more.

This disc offers one
great new tune (“Cathedrals of Sticks and Pins”—wah hey to Andy
Partridge!), amidst carefully chosen selections from the previous discs
(especially “Radio Shills,” “Selection,” “Ash Wednesday,”
and “Soul Rendezvous”), to create a more controlled, succinct punch
in the face. Or sometimes, even a gracious and soothing hand (“The
Day the Birds Stopped Singing,” “My Heart Waits for a Cure”).
Mr. Morneau’s discomfort with modern predicaments creates an eloquent
catharsis to clear our souls. Thank you, sir. (Harry
C. Tuniese)

KENNY CHAMBERS

Under the Tracks

15-song CD

Kenny Chambers, formerly
of Moving Targets, has found a way to convey through melodicism the
dynamism that was his former band’s strong suit. Now, you might someday
read elsewhere that this new crop of fifteen songs (out of over 200)
shows Chambers’ “introspective” side. And this is so. Now, usually,
“introspective” means “boring.” Not this time. Even though this
self-produced effort is comparatively low-key, these songs reward multiple
listens in a way that those of flashier yet more superficial pop practitioners
do not. Nearly all of these songs are heartfelt and worthy of close
attention, notably the harder-edged yet uplifting songs like “Matters”
and “The Kill”; the dazed “Anyway,” the anthemic “The Kid”
and the achingly poignant “Natural to Me.” I would also point to
the thoughtful “Opposites,” the poppy “Secret,” and “Love
Is Action”; and, best of all, to the emotionally wrenching compositions
“Waiting For You” and “Medicine.” This is one of the best song
collections I have heard all year. I salute Mr. Chambers on the start
of what I hope will be a revitalized career. (Francis DiMenno)

TONY SAVARINO

Naked Ear Records

Guitaring

11-song CD

Tony Savarino has been
a guitar-slinging gun for hire for so many years in this city, it is
hard to think of a band he hasn’t played in or sat in with.
This solo record is a joyful mélange of diverse styles: blues, jazz,
rockabilly, lounge, country, rock… this is nothing less than a loving
tribute and salute to guitar picking that would make lovers of Chet
Atkins, Steve Howe, Les Paul, Grant Green, and Roy Clark squeal with
glee. It’s rare that a guitar album makes so many stylistic
statements within one album and yet still remains fresh and interesting
to so many sets of ears. Listen for a cameo by Ajda the Turkish Queen
serving up her best Emmylou Harris in a classic Gram Parsons tune, followed
by a secret track that will blow your speakers off the table!
Rock on! (Joel Simches)

TIGER SAW

Burst and Bloom Records

Nightingales

10-song CD

Somewhere in the space
between my headphones forms a warm, rich soundscape. This recording
is well worth a close listen for its lush instrumentation layered with
reverb, tremolo, strings, haunting organs, reversed sounds, and even
a toy piano accenting one track. Emily and Glenn Forsythe share vocals
and harmonize over ten tracks that are solemn and nostalgic. While the
whole record is beautiful and consistent, tracks like “We’ll Always
Have the Night” and “Night, Pt. 2 (Helena’s Song)” stand out
for having a slightly different feel in their treatment. Nightingales
provides the perfect soundtrack for bicycling in moonlight or to accompany
the aches of lost love.
(Heather Kilrow)

TRISTAN DA CUNHA

Irrevolution

8-song CD

I trashed these guys
a few releases ago, and was pleased to see the review on their site.
Seriously. Most bands won’t go there. And I was gonna take the cheap
route and just reprint it here with the disclaimer, “because it’s
the same record,” which I thought for sure it would be. It’s not,
though. What irked me about that other one is done a thousand times
over here, but I gotta admit some newfound perverse respect for ’em.
The intro letter calls them “garage prog” [or] “shitty prog,”
while their site has a blurb citing the Minutemen, mad science, ethics
vs. elixers, accuracy vs. aggression, mutants, bombs, etc., then underneath
that, it just says, “We play arty shit.” Some might say “noise”
or quirky-for-its-own-sake. Ear of the beholder and all that. Silly
lyrics, very little melody, constantly shifting rhythms, but way too
precise to even consider calling it noodling. Nine years along, and
still not settling in. They’re way past going out on limbs and are
just napalming the trees now. Most bands wouldn’t risk alienating
a solid fanbase, but TDC’s willingness to push it only shows more
respect for those fans, not less. (Joe Coughlin)

INGE BERGE

10 True Things &
A Filthy, Dirty Lie

11-song CD

Through a sharp and
biting wake up call, Inge Berge is here to suggest the following: we
have all been thoroughly fooled and not only that, we are puppets on
a string, mere pawns in the game of world domination and that above
all, we are not in control. Producer, singer, guitarist, contrarian,
writer, and self-proclaimed madman, Berge makes one eye-opening statement
after another through the radio-friendly pop song. The disc’s
opener, “Hacksaw,” is positively haunting with its imagery of chains,
ropes, and tethers, along with the throaty repetition of “I’ve got
a hacksaw.” This, along with the accompanying image of Berge
brandishing a shotgun, only serves to emphasize his anarchical and often
fear-provoking approach. “Dance, Monkey, Dance” and “Fix
You Up” are among a series of clever tracks that address the extreme
lengths we go to gain acceptance, along with the evils of conformity:
“What happens to people can get in the blood/ The plasma of memory
is one great flood/ We’ll tweak the wires/ We’ll stem the flow/
We’ll open the door when we say that you can go…/ We’ll invent
you a disorder/ We sell labels for a quarter/ A pill for every boy and
every girl.” With that being said, Berge covers Concrete Blonde’s
“Joey” with its regretful theme of mourning for a relationship gone
wrong: “If it’s love you’re looking for/ Well, I can give
a little more/ And if you’re somewhere out there passed out on the
floor/ oh, Joey, I’m not angry anymore.” The interesting thing about
10 True Things & A Filthy, Dirty Lie is that it can go from
bitter and aggressive one minute to saddening and heartwarming the next.
An emotional roller coaster ride, the album is evidence of Berge’s
versatility as an artist. (Julia R. DeStefano)

ALOUD

Lemon Merchant Records

Exile In The Night

10-song CD

Lovely instrumentation…
alluring and catchy melodies… it’s a recording that belies categorization—and
that’s a very good characteristic in my book. I am enthralled by the
band’s smooth, mellifluous beauty with their occasional doses of quirk.
Perhaps this is why in their bio their music is described as “beautiful
and strange”—but strange doesn’t have to be negative as Aloud
proves. With male and female vocals that either trade off on leading
a tune or splendidly harmonize, Aloud takes uniqueness to a professional
level via their excellent songwriting and arrangements. So I realize
I’m laying a lot of high compliments here but after many, many years
of doing recording reviews, it excites me to hear a band present not
only something that is different and creative but that is subtly and
unpretentiously so, while recorded and produced well. It goes
without saying I dig the entire CD but particularly enjoyed the pop
elements of the bright and happy “Darkest Days,” the ’70s-like
grooves of “Counterfeit Star,” “Exile In The Night,” and “To
Die At Sea,” for the classical/ string/ Beatlesque aspects. (Debbie
Catalano)

THE TELEVANGELIST AND THE ARCHITECT

THE TELEVANGELIST AND THE ARCHITECT

Undetected Plagiarism
Records

Expecting Nothing
Out of Everything

10-song CD

Jerry Chen, the man
behind The Televangelist and the Architect, has come up with another
mostly winning record that helps cement his place as one of the oddest
and most underappreciated songsmiths in town. Each of his records has
had a different feel from the others; this one draws its inspiration
from film, starting with the music itself and working its way down to
every inch of the packaging, which is designed to look like a movie
poster and a screen play. This album features an emphasis on strings
and piano, which gives the music a more grandiose feel than Chen’s
previous work. There are times when it’s a little too over-the-top,
but at its best, the record sounds like something a more fucked-up Bright
Eyes or Cursive would make if they didn’t care at all about attracting
sensitive girls. (Kevin Finn)

THE MOLENES

THE MOLENES

Good Times Comin’

11-song CD

Goddamn, this is some
quality tuneage here! From our fair Granite State, the Molenes are whipping
up a delicious plate of roots-rock (or whatever they call it these days)
that doesn’t fail to move me. Listening to this gets me daydreaming
of hitting the rocky road, casually driving over to some highway
diner and attempting to order a meal as tasty as this music. Don’t
you wish you could eat music sometimes? If that were possible I’d
chow this album down like a chicken leg. Munchy words aside, I’m having
a good time with it. Some of the lyrics seem a little typical of the
genre, but they’re hardly cliché-ridden. The music’s what counts,
anyway. These guys CRACK! And they’re catchy like crack. The pedal-steel
guitar’s got a killer, lonesome sound, eerie and beautiful, while
the other guitar gets behind the wheel and drives the tunes to the store!
(Tony Mellor)

THE FRANKS

7Not Records

The Franks

10-song CD

Here comes my favorite
synonym for hot dogs with modern rock fusing hip hop, funk, and heavy
metal. It’s a bit 311 meets Red Hot Chili Peppers; a bit like Rush
in a sense of the progressive, intricate parts this band plays, a bit
like Sublime with the good old party rock under-theme. The guitar licks
are particularly creative and the bass and drums are as solid as I’ve
ever heard. I’d recommend the Franks to team up with Forgetful Jones;
another local band that has had a lot success with this up beat hard
rock, hip hop, funk formula. Here’s to the Franks! (Kier
Byrnes)

JACKSON WETHERBEE

Flying Carpet Records

Jackson Wetherbee

12-song CD

With a keen ear on
groove, tasteful style and judicious use of instrumentation, Wetherbee
delivers an album full of promise. Ten or fifteen years ago this type
of material would be included in the “Hootie & the Blowfish over
30 program list.” Actually, it still may have that market status.
Not to compare it with Hootie though, this has a better lively feel
and snap to the performance. Wetherbee has a young man’s incentive
to blend romanticism with his musical works, backed by a great cast
of musicians who deliver the vision just right. Hard to describe the
music—kind of a mellow, alternative laid back groove, confident and
relaxed yet insistent when it needs to be, right amount of acoustic
guitar, Hammond organ, and acoustic piano but enough electric to keep
it touching the rock realm. Enough of the run on sentences, this album
shows a songwriter finding his sound, and having found it, presents
a good vibe that exudes professionalism. (Mike Loce)

BRIAN SANCES

BRIAN SANCES

Here Today

14-song CD

This recording evokes
a laid back, beach music vibe: I picture sitting outside on a patio
at a resort listening to Brian perform his easygoing music under a tent
by the ocean. Now I’m not just saying this because he’s from Cape
Cod but it does help this image, with his acoustic-y jazzy pop and reggae-flavored
music. Brian’s debut solo is solo in nearly every way as he wrote,
produced, and played every instrument but drums but it has the feel
of an entire band and would work well stripped down acoustically. There
are a few moments where I felt myself drifting but for the most part
I found Here Today to be a pleasant, enjoyable CD. Best tracks:
“Still In Love” (featuring some lovely guitar work), “Middle of
The Road” (this and a few others have a Paul McCartney vibe to them),
and “Can You See” (nice melody). Nice job for a solo debut.
(Debbie Catalano)

SKÜLL HAMMER

Pay It In Blood

10-song CD

I was skeptical of
Sküll Hammer’s full-length debut, Pay It In Blood. First there’s
the umlaut: hilarious in 1984 but kind of silly in 2010. Then there’s
the cover art: a Dungeons and Dragons-like battle scene: complete with
orcs and goblins, maces and battle axes.

When I finally played
the CD I was pleased to hear an album’s worth of straightforward thrash
metal; tight guitar work, driving drums, and angry vocals. No nuanced
metal à la Metallic. No classical guitar solos. Just straight up, balls
to the wall thrash reminiscent of some of the original crossover bands
like D.R.I. and M.O.D.

The album devolves
into silliness exactly halfway through with “Nuclear Holocaust.”
A sing-song chorus of “It’s… a… nu-cle-ar hol-o-caust”
and lyrics like, “Gather your weapons, gather your supplies, become
a wasteland warrior, or meet your demise.” Fortunately patience paid
off and I was quickly on to the second half of the album, which continues
the extreme riffs and crushing blows that endeared me to the first half. (George Dow)

THE DAVID WAX MUSEUM

Carpenter Bird

12-song CD

They tour as a four-piece,
but including guest spots, this bugger has acoustic guitar, mandolin,
dobro, fiddle, pump organ, banjo, vocals, woodwinds, horns, and something
called a jarana jarocha. I still learn stuff occasionally. You won’t
learn anything huge from this record, but that’s fine, and not the
idea anyway. Someone once said, “There’s good genre stuff, and bad
genre stuff,” and this is…not bad. It ain’t your average folk
thing, since it’s fairly informed by the main guy’s time spent in
Mexico. So while some of it has (among other things) an actual mariachi
tinge, it’s not that mindlessly happy stuff you hear blarin’ outta
the low-riders with the fuzzy dice, by a longshot. (Conversely, I’m
not sure a quote such as, “The David Wax Museum has been causing a
ruckus in living rooms and backyards throughout the country” is something
you wanna crow in your press sheet.) Not my thing, but they possess
that rare no-bullshit quality where you just know you’re not being
hustled. The more naked the sound, the harder it is to fake it. If you
like the kinda instrumental lineup noted above, doing subdued, non-precious
boondocky stuff, you’re good. (Joe Coughlin)

LUX

LUX

The Left One Alone

11-song CD

I’m going to start
this off by saying I’m probably not the most qualified person in the
world to review a jazz record, but there were two things about Lux that
immediately jumped out at me in a good way. One, the band has the same
name as one of my men’s league hockey teams. Therefore, I feel we
are already kindred spirits. Two, the music reminds me of the intro
sequence on The Cosby Show. At first, this simply led to me picturing
Cliff Huxtable doing his little head fake dance moves, but then I found
myself doing the same as I sashayed across the living room, through
the dining room and then on to my kitchen where I was quite disappointed
to discover that I didn’t have any Jell-O Pudding Pops in the freezer.
(Kevin Finn)

THE BROTHER KITE

Clairecords

Isolation

12-song CD

This CD is very moody,
shifting through extreme feelings. It groups the songs into small
stories that deal with loss, love, and isolation. Patrick Boutwell’s
vocals tug at every nerve; he sounds as if every isolated incident in
these songs he has lived through personally. It is amazing how
upbeat the rhythms can be, but the vocals remain somber, distant, with
a very airy effect on them. “The Sea is Changing” is a pretty
fast paced song about how life is always changing, and we should learn
from it, because we can’t change it. “Not Good Enough” is
a beautiful song; it starts very simple but builds into a very large
epic sounding production, complete with multiple vocals, background
singers that sound like angels, a simple repetitive but catchy guitar
rift and thunderous drums. This CD has so many layers that it’s
easy to get lost in it. I’ve listened to this several times
over the last few days, and it has definitely grown on me. It’s
very much like old Radiohead—not always approachable, and not all
will appreciate it, but those who do will probably relate with the feelings
of finding solace within the Isolation. (Melvin O)

THE HONORS

THE HONORS

Wolf Den Media

XOXO

8-song CD

Although the artwork
is pretty neat and the overall production is very good, the first listen
of XOXO didn’t leave much of an impression. However,
this is not an old A&R guy looking for the next big thing and discarding
the disc into a big pile of throw aways after a quick listen. This is
about a band like most new bands in this new world looking for an audience
for their music, so I went back for another spin. This time around,
the snazzy production by Sevan Minassian recorded in the cozy New Alliance
Recording studio sounded even better. There are even some pretty good
songs in the mix. It’s kind of like smashing Interpol and the
Smiths together but a little bit happier. Perhaps that might be
a slight reach, but it’s close enough. Lead Singer Brandon Heisler
and company are off to a pretty good start with this eight song debut.
In fact the record gets better as it goes along and by the end it’s
almost a rock record, but for the most part it’s closer to indie pop.
The fun really starts on the third track, “Call Me From California,”
which is appropriately titled since it has a surf feel to it.
The next song “Driven By Strangers,” is also really impressive.
The Honors are one of those bands that could make an impact if they
work on it and more importantly stick with it, keep writing, and play
a lot. (Steev Riccardo)

SUGAR MAMA

SUGAR MAMA

Sugar Mama

8-song CD

So I brought this huge
bag back from Olive Garden and Seymour, my lovely cat, loves to play
in bags and I was swinging him back and forth, back and forth in it
and he was so dizzy when I let him out that he almost fell into his
food dish!

Oh, sorry, let me prevent
myself— I am Mrs. Slimedog, top (reception) reviewer of the Noise,
the most knowledgeable music writer and one spicy, hot tamale on the
dance floor. You don’t need any chips with my salsa, daddy-o, Yow!

So these Sugar Mamas
play funk and reggae, funk being invented by Michael Bolton, I believe,
and reggae by pot smokers in Jamaica Plain. Slimedog says these mamas
are very good musicians and play a slick version of these styles in
a prog rock manner that seems too routine for him. Me, I like it as
I dressed Seymour in his matador costume and we danced along the kitchen
floor to this a lot. Please, everybody dance, clap your hands, clap
your hands! (Mrs. Slimedog)

TWO VIEW REVIEW

MATT BUNSEN &
THE BURNERS

Greatest Hits

10-song CD

The musicianship here
is immaculate, particularly on the country-rock numbers: “Don’t
Ask Why” is redolent of Sweethearts-era Byrds; “Jessie” is a soulful,
hook-laden anthem; “Hey Dia” is a sweet-natured roots-rocker ala
early Yo La Tengo. But the bulk of the songs are amusingly good-natured
but low-key genre parodies, and the rather broad attempts at humor mostly
fall flat. Track one sounds like a poor man’s John Cale (replace “beer”
with “fear” and you’ll see what I mean). Lyrically, the humorous
numbers simply don’t get much better from there. Outright travesties
such as “Life on the Road 2.0,” “The Trouble With Love,” and
“Drugs Make Me Happy” are, at best, negligibly enjoyable. And the
deliberately execrable cover of “Sing” by the Carpenters (with an
interpolated through-line from “And Your Bird Can Sing”) is not
bravely transgressive, but simply ham-handed. (Francis DiMenno)

Greatest Hits

10-song CD

Recorded on both coasts
and featuring lots of well-known locals, they say here that they’re
difficult to pigeonhole. Not at all. By their own admission, it’s
largely a novelty record and, despite their claim to be “genre-hopping,”
mostly use country rock as a springboard. They tag one (“Drugs Make
Me Happy”) as a swing tune, and say that it made it to the finals
of the International Songwriting Competition. (The mind reels at the
thought of what kind of ungodly entries didn’t make the cut.) There’s
an honest-to-God Carpenters cover here which manages to make me long
for the original, and they throw the guitar lick from the Beatles’
“And Your Bird Can Sing” into it, which I could only take as a personal
insult. The music is appropriately slick, but the lyrics are often shamefully
junior high. I’m all for bands having their fun, but I’ll never
understand why those who can play at these accomplished levels would
squander the time and resources to pinch off D-grade Al Yankovic knockoffs
when they could do something truly lasting. (Joe Coughlin)

POWERHOUSE

POWERHOUSE

In The Meantime

12- song CD

I think I will never hear a CD as lovely
as a beer. This band is not the one, to make me feel a bit less glum,
at the task of describing dull pop rock songs that leave me bored and
feeling numb. “Aimee Mann backing Tom Petty’s Heartbreakers” it
claims to be; lesser imitators would describe their sound more succinctly.
The sound is shiny bright and everything is played quite right but the
guitar leads sounding like Neil Young fuzzed out, is the only part of
these tunes I can truly tout. Also, a certain sameness to the songs
makes this CD seem rather long. Alas, I must return to my endless quest,
for a cd that I can claim to be the best. But for now I turn a disappointed
ear away from this music I can no longer bear. (Slimedog)

MARTHA’S VINYARD
FERRIES

Sick Room Records

In the Pond

4-song CD

This band started out
as a joke name Bob Weston (Shellac/ Volcano Suns/ Mission of Burma)
came up with as a springboard to play some shows with Elisha Weisner
(Kahoots). Once they enlisted the help of Chris Brokaw (Come/
Codeine), they recorded some music and released a post-punk rock EP
under this moniker. Lovers of MOB, Volcano Suns, and Kahoots,
will gravitate to the low-key vocal and the angular, intellectual grind
of this mini musical masterpiece! This is 10 minutes of fun you cannot
do without. Available as a download or a limited edition 12”
with a special etching by artist Rosemary Hoeft on the other side. Nice!
(Joel Simches)

THE LIGHTS OUT

Rock Pony

4-song CD

Anodyne rockers that
are almost offensively predestrian. Hook-laden MOR that seems strangely
enervated. These songs might have seemed like hot stuff back in the
heyday of Benny Mardones and Rodney Bingenheimer, but I am looking for
something a bit more revolutionary than yet another rehash of full-bore
genre cliches, no matter how cleverly manipulated and meticulously presented.
“Make Me” is the most original and innovative performance, yet at
the same time seems to be the least fully realized composition on this
sampler. (Francis DiMenno)

ELSEWHERE

Miss Cashew Records

1981

6-song CD

A band set on world
domination, Elsewhere has crafted an EP of ear-pleasing originals in
the tradition of power pop. As is stated within their one-sheet,
the band is a “product of a rare musical mutation that combines the
energy and raw angst of punk with the ambition and creativity of progressive
rock.” Introspective lyrics and catchiness make the disc an
overall pleasure to listen to, with each of the tracks having the potential
to be radio hits. Although not particularly groundbreaking, the
band has put forth an honest and entertaining effort. There is
a lot to like here. (Julia R. DeStefano)

TOTEM

37’ Productions

Totem

5-song CD

Digging the Totem vibe
here. Time shifting alterna-acoustic song structuring with harmonized
vocals. Kinda moody, AM-radio processing on the vocals which for some
reason remind me of a lighter Roger Waters-type storytelling penchant.
Not in the timbre, but the insistence. Or maybe Alan Parsons
Project vocals. It’s possible that the guys in this band never heard
of either of those, so I’ll stop my comparisons and just say that
this is an enjoyable listen. Also, there’s one surprise heavy metal
track that throws you for a loop, rocking! (Mike Loce)

SERPENT SPEAK

SERPENT SPEAK

Exhibit 966…Declassified

5-song CD

This EP sounds like
it would work nicely as the soundtrack to one of those video games in
which you have to shoot aliens by the shipload or perhaps a horror movie
that takes place completely in the dark. It definitely should be the
soundtrack to something as its industrial blend of distorted and whispered
vocals, synths and clanging metal objects certainly inspires feelings
of dread and discomfort, but doesn’t possess enough real songwriting
craftsmanship to work on its own. While that lack of true songs will
keep me from going back to this record very often, Serpent Speak’s
creepiness did leave me a little unsettled, which I’m guessing is
probably the point.
(Kevin Finn)

TOMN

TOMN

Tomn

6-song CD

Tomn fuses together
a dreamy concoction of music that blends his Brazilian music influence
with modern pop and adult alternative. I hate using typical music biz
genre terms but I want to get across how the sound is both exotic and
radio-friendly. So there you go. The first track should really set the
tone, but Tomn’s collection is a bit of pleasant surprise. The opener
is the gorgeous and enchanting tune, “Primeiro Encanto”… but later
in track five, we hear the catchy modern rock song “Off the Map.”
Well, as far as I’m concerned Tomn can go as far off the map he wants
because from beginning to end he (and all his talented guest musicians)
truly delivers a stellar piece of musical art with this EP. (Debbie
Catalano)

ERICA ETHER

Breathe In the Ether

4-song CD

These four tracks remind
me of early ’90s dance music. The songs are up tempo with preset synth
sounds with phase shifting washes. Some of the beats are busy. The production
sounds like it was home-recorded on a laptop and is most noticeable
in the vocals. My main problem with these tracks is the vocals. The
songs seem over-sung and Erica’s delivery has a karaoke champ feel
to it. Harmonizing the vocals on “Sex on Heels” tightens things
up a bit but when singing the hook on “Memory” she is trying too
hard to belt it diva style and quickly sounds out of key. With a little
EQ work, a better mic, and more variety in vocal delivery Erica could
have a cool Deee-Lite vibe. (Heather Kilrow)

If you’re sending a CD in to
the Noise make sure to use our new address.
And everyone else should
update our contact info too. Thanks.

T Max/ the Noise
24 Beverly Drive
Georgetown, MA 01833
978-352-8656
tmaxnoise@aol.com

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THE LENNY SOLOMON BAND
Not Life Threatening Music
Maybe Today
14-song CD
The Lenny Solomon Band plays a modern variation of good ole Creedence, with a dash of Petty, and a splash of Wilco. They have just enough country twang and lite-rockin’ folksy blues to grab your attention. I like this a lot, especially the easy effortless way Lenny sings with a wizened adult outlook on life and its complexities. He had some radio success with “Let’s Go to Mars,” protesting the current war, and his observations of some modern dilemmas like Katrina (“The Flood”) and personal misplaced values (“The Great Judgment”), places his sensitivity and caring center stage. There are a few novelty tunes also (“It’s Snowin’” or “Rockabilly Kid”) which balance his viewpoints. The sound of the band is a major factor, especially the mercurial guitar pickings of Bill Gibbs, who works wonders with his Telecaster and assorted acoustics. Every line is concise and wonderfully constructed, just like you’d expect from any “Nashville Star.” The rhythm section of Dennis Gurgul and Don Barry keep it succinct and snappy. This was a really enjoyable album and here’s hopin’ he doesn’t have to go to Jupiter (where governments are stupider) before another fine disc comes out. (Harry C. Tuniese)

BIG DIPPER
Merge Records
Supercluster
3-CD set
Indie rock is something of a soured term nowadays, representing a fad far removed from the earnest, unassuming music that originally spawned the title. But long before the days of the Arcade Fire, there was a time when bands could claim to be indie without smirking or rolling their eyes.
Enter Big Dipper, a band that over 20 years ago tackled the now-familiar formula of distorted guitars and knee jerk arrangements before there was even such a thing as “indie.” The band came and went rather quietly during the ’80s, but thanks to the good people at Merge Records we have Supercluster, a career-spanning discography covering the seminal band over three CDs. Spanning 50 tracks, the set includes their first recording Boo-Boo, the landmark Heavens EP, 1988’s Craps and numerous B-sides. Noticeably absent is Dipper’s Epic debut Slam, but the set still stands as a fitting tribute to a band that in retrospect beat many a jangly, alternative pop band to the punch, even some within their respective era. (Ryan Bray)

VARIOUS ARTISTS
Kennebunkport: Songs of Peace
17-song CD
Mostly recorded live at a peace rally in Maine last year, this collection of anti-war and politically charged folk/bluegrass songs would seem like a throwback to a long forgotten era of hippies and Vietnam and would be a nostalgic, happy time for most of us if it weren’t for the fact that this is all happening in the here and now. Songs like “Blue State Liberal” pretty much sum up the political sentiments of just about everyone I know and respect, reflecting the current state of affairs, not just about war, but race, hunger, gay marriage, the environment. Even with veterans invited onstage to give support, nothing hits home until you hear 10-year old Keenan Beaudette’s plea for an end to the war with “Does it Bother You.” You have to be dead inside not to have some part of this CD make you think about how much things need to change for America, for the sake of democracy and the free expression of thought, and how far this country has fallen. Listening to this live concert will embolden all hopes for change and put you right in Bush’s backyard with a fist in the air. Proceeds from the CD will support Veterans For Peace and many other peace groups throughout the country. Support a means to an end. (Joel Simches)

BLACK FORTRESS OF OPIUM
10-song CD
Imagine you’re hiking through some castle or fort in an exotic country like, well, Turkey. The sun goes down. You enter an opulent Byzantine-style room. In the twilight you hear instruments and arrangements that sound vaguely Middle Eastern, but a woman’s plaintive but clear voice, in English, floats in, echoing off the stone walls. Then you hear other instruments—electric guitar, sitar, melodica, keyboards, organ, theremin. The music is simultaneously exotic and familiar yet it transports me to an older world. The MySpace page of this four-piece (Ajda the Turkish Queen, Tony Savarino, Joe Turner, and Joel Simches—who’s on the CD but no longer in the band) labels them as “goth/psychedelic” but I think Black Fortress of Opium goes beyond both. Although this exquisitely produced CD is made up of 10 separate songs, I can’t pick one that stands out because this disc must be listened to in its entirety. (Robin Umbley)

ROBBY ROADSTEAMER
Yellow Trout Records
The Most Pretentious Album
Since Axl’s!
17-song CD
To prove how pretentious The Most Pretentious Album Since Axl’s! really is, Robby Roadsteamer turned “Wicked Dude” into the first five tracks of the record. In what sounds like Robby’s one-take album, the songs sound like something a kid would improvise at a party. Casey Desmond makes an appearance on “Legend of Zelda” which is another song quickly thrown together to continue the 8-bit video game theme of the last few albums. LRP’s strongpoint was it had the hits. You could almost consider it a “best of” album. The only re-recorded song on this record is “When You Fall” which lacks the original version’s melancholy sweetness. While this album is playful, it doesn’t sound like much time was spent writing the songs. Even the highlights of the album, “Someone Put a Condom on My Dreams,” “Pussy Whipped,” and “You Got Idea[r]s!” need more to really be standout tracks. While Roadsteamer admirers will enjoy his usual antics, this album just feels like filler until his next album comes out in June to complete his Star Wars trilogy. (Brett McCabe)

ROY DAVIS & THE DREGS
Dead Weigh
12-song CD
I’m very impressed with this album; there’s not a bad song here. The band calls itself country, but I’d consider it to be more along the lines of “twangy rock.” Either way, this is windows-down, wind-in-your-hair, feel-good summer music. With this type of music, there’s a fine line between being contrived and being genuine, but Roy Davis strikes a balance that makes for a great batch of songs that are positive without being cheesy. If you haven’t heard this band, I definitely recommend checking them out, because judging by this album, they have the capability to go far. (Emsterly)

THE ATLANTICS
Big City Rock (remaster)
10-song CD
Well, this is certainly interesting: a record that comes with a disclaimer questioning its own legality. An accompanying note cites ABC records as the label, Universal/ MCA as copyright holders (hence no mention above, as it is unsanctioned), that an “anonymous benefactor” sprang for all this, and that it’s not even for sale (promo only. Shit, should I even submit this? Hey, someone sent it in). All that said, it’s fucking wonderful. One of my all-time fave LPs, from 1979, by an all-time fave live act, but which suffered from weak production, now beefed up nicely with a thicker bottom end which the original sorely lacked. These are some of the greatest power-pop tracks ever committed to tape, from here or anywhere. There’s one cover (Martha & the Vandellas’ “Nowhere To Run,” which they handle just finely). Only “Modern Times Girl” doesn’t quite work, with its slower tempos, which just wasn’t their thing. Kinda always struck me as Huey Lewis trying to do the Beatles’ “I Want You (She’s So Heavy).” Fans/ archivists should note that there’s also a recent release of their “lost”/ unreleased/ whatever second LP which never came out, and is equally astounding (and sonically more masterful). If you like this kinda stuff, you’d be a serious dick not to seek it out. (Joe Coughlin)

ERIN AND NEIL HARPE
Juicy Juju Records
Delta Blues Duets
10-song CD
This father-daughter duet valiantly attempts a recreation of old time delta blues, and if they fall short, it is less on account of Erin Harpe’s vocals, which at least hint at the wild strangeness of the originals, and more to do with the impossibility of measuring up to the originals. The steel guitar that resonates on their version of “Kokomo Blues” perhaps comes closest to recreating both the letter and spirit of their model. (Francis DiMenno)

GRANDEVOLUTION
All We Have Is Now
14-song CD
I had no idea these guys ’n’ gal had been around so long. 250 shows in five years ain’t too shabby, really. And with the first few tracks, I was truly struck by the whole light/ heavy balance thing they seem to be going for. Tough, tight and crunchy underneath, kinda luminous and feathery on top (Sarah Kollett’s vocals). A few numbers veer strictly toward the lighter side, but are still played with authority. And I thought, “Dang, this could BE somethin’!” Then, some annoying things happened. One, I tried to read the lyrics. It’s that deal where they’re all smooshed together with no space between words in a microscopic typeface. Why even bother? (What few I finally deciphered were all introspective fluff anyway.) About halfway in, I realized this is actually one of the least-nuanced records I’ve ever heard. Almost everything’s sung at the same volume, dead-on-the-meter, no actual swing or elbowroom anywhere. Too bad, ’cause there ARE melodies and arrangements here, but there’s a monochromatic airtightness to it that ultimately flattens the material into something far more calculated than they may have intended. By the end, I felt literally suffocated by the sameness. I bet if they just loosened up a little, they could take this somewhere special. (Joe Coughlin)

HARA KIRI
Hara Kiri
8-song CD
One of the difficult things about writing reviews is when you are given two similar acts at once. Inevitably, one ends up suffering in comparison to the other. So, sorry Hara Kiri if this means I’m not giving you a completely fair shake. Or maybe blame Destruct-A-Thon for kicking my ass with a sound that is much less dated and has a more scathing message and sharper songwriting. Basically, Hara Kiri sounds like a big monster, running around making a lot of noise, but not frightening anyone. I will say that the musicianship is mostly impressive, particularly the phenomenally impressive drumming on “Meltdown,” one of the disc’s few standout tracks. But if the songs aren’t there, then who really cares how well you can play? (Kevin Finn)

THE BILTMORES
Never Go Home
12-song CD
Don’t let the low budget packaging fool you. The Biltmores are a polished indie pop band with all the trimmings and they are eager to please. Layers of guitars combine effortlessly with strategically placed percussion and radio samples over a solid backdrop of bass and drums. The vocals slither and whisper into your subconscious mind like a piper at the gates of dawn tasting metallic clouds on a freefall from Souvlaki Space Station (please put your hands together for the ultra clever Pink Floyd/ Flaming Lips/ Chapterhouse/ Slowdive literary reference). I can’t stop listening to this CD and if you caught my ultraclever reference to which I (parenthetically) alluded, you most certainly will. (Joel Simches)

THE DESTRIES
We Love You Baby
14-song CD
I love this band! Their songs are all fun, upbeat indie pop gems. Fuzzy guitars, cute lyrics, and catchy choruses constitute the 14 tracks on this debut album. They sound like a mix of Bishop Allen and The Promise Ring, with some Teenage Fanclub thrown in for good measure, but they still hold down their own (somewhat) unique sound at the same time. I love the song “She’s the One”—it’s catchy, and the mini-guitar solo towards the end is a nice touch. While I don’t think The Destries are doing anything novel with their music, they are doing a great job capitalizing on a tried-and-true style. (Emsterly)

ANCIENT PISTOL
Bear Hill Phenomenon: An Atom Age Soundscape
12-song CD
Michael Feeney is the mastermind behind these entirely instrumental self-designated soundscapes, which in their tonalities bring to mind such examples as very early Gang of Four, PiL, and Wire. But the musique concrete which results, though texturally intriguing to a diehard avant-guardian, ultimately seems more an application of mathematical formulae than a living, breathing entity; I get the distinct impression that this is what two jumbo jet computers might have to say to each other as they traverse the boundless ionosphere. (Francis DiMenno)

BURY YOUR DEAD
Victory Records
03.18.08
11-song CD
Ah, yes, Mrs. Slimedog, voted number one record reviewer this year. Oh, no, not in the Noise, silly, but in my native Guatemala. Yo soy la major! Bury Your Dead is another one of those growly, icky metal bands with those scary guitars and thunderous drum beats. The only reason I can think of why I was assigned this is that I’m a big Andrea Bocelli fan. I read in the liner notes that they played the second stage at Ozzfest and I don’t see this band having anything remotely in common with Judy Garland or the Wizard of Oz. This continuous onslaught of oppressive music and horrific vocals I can only compare to something as distasteful as giving an enema to Slimedog. Something I wouldn’t wish on my best enemy! Obviously, this bands attempt to win under the middle aged, Guatemalan Andre Bocelli fans has failed disastrously. (Mrs. Slimedog)

VARIOUS ARTISTS
Low Budget
A Chosen Phew
11-song CD
This is yet another brilliant compilation from the usual suspects over at Low Budget Records. For this go-round, the Roslindale musical hipsters have gone new age with a collection of sonic landscapes sure to make Eno grow a new head of hair. Highlights include the opening track by Bill Mason (from Bird Mancini), a solo ukulele piece by Glenn Williams, a surf track by Andy Hollinger, and a series of collaborations with the mighty Doctor X, Tim Casey. Mr. Curt closes this collection with the pensive, yet groovy “Munificence” and his protégé Clara Kebabian contributes the haunting “Clarafication.” As with most releases from the Low Budget roster, these folks sound like they have way too much time on their hands. Fortunately that is a very good thing. (Joel Simches)

VARY LUMAR
Waiting Room
12-song CD
This album sounds like anything else I could hear on the radio, but despite the band’s mainstream sound, they’re pretty good. Some of their slower tracks, like “Cosmopolitan,” seem kind of boring, but even the slightly boring songs are better than those of a lot of the other bands I’ve had the misfortune of reviewing. And on the other hand, their song “Terminal” is one of the better songs I’ve heard lately. This band reminds me a lot of Coldplay—not my style, but everyone else seems to love it. So if you like radio alt-rock, I suspect you’ll like this band, because in spite of their slightly clichéd style, their songs showcase a decent amount of talent. (Emsterly)

MUY CANSADO
Stars and Guitars
12-song CD
If Muy Cansado had stopped after track three, then I would have been raving about this disc. The jangly guitars and the interplay between the male lead vocals and the female back up ones remind me of a less crazed Pixies. The occasional singing in Spanish does nothing to diminish this comparison either. Not surprisingly, though, the further I get into the disc, the more I find myself longing for the real thing. Paying homage is one thing, but being derivative is another. By the time the mellower numbers hit about halfway through the album, I’m outright bored. Why do bands always seem to put the mellower numbers at that spot? It usually serves to do nothing but kill momentum. (Kevin Finn)

ANDY & ME
One Mile Challenge
7-song CD
Oy vey, do these guys love themselves. Big spiels on the intricacies of the recordings, why it’s a “split EP” just because it was made in two different places (songs actually numbered 1-4, then 1-3), and which awesome dude did which boffo thing on which bitchin’ track. If I’m to trust the material I was sent, some actual song titles are, “Little Calloway Once Said ‘With Friends Like You Who Needs Friends!?’,” “My Nose Hurts Because Last Night Some 14 Year Old Kid Hit Me In The Face With His Straight-Edge Karate Spinning Fists Of Death!,” “I Totally Owe Nate $1000 Because Of You!,” “Hush Puppy Whiskey-Doodle,” and a drawing of one dinosaur shooting another, who appears to be eating garbage or laundry. The songs are largely identical except for a stab at alt-country, and another which starts as a stab at alt-country, then reverts back to their other thing, which is not unlike a faster, sloppier, far less engaging take on two-hit wonders Lit, with a lotta musical “instant cred” clichés and over-emoting about nothing at all (trust me, there isn’t a single line even banal enough to quote as example, and Lord knows I tried to find one). All of which means that many of today’s youth will adore it, further proof of what deep trouble we’re really in. (Joe Coughlin)

STACY BUGG
Defined
8-song CD
I guess I was assigned this record because I’m a big fan of Andrea Bocelli and I believe the most entertaining part of this package was the promo notes. The eight songs here, “Range from pop/funk to funk rock with hints of gospel, hip hop, blues and soul throughout,” To me it sounds like Michael MacDonald with occasional metal guitar. If that sounds good to you, you may like it but for me it makes me want to set my hair on fire and run screaming down the street, “I am Michael MacDonald’s uterus!” But then, that’s just me. More from the notes, “While there are no extremely vulgar or shocking foul words, I do swear a couple of times. Besides that it’s clean sailing.” Well, I’m glad we got that fucking straight because some of the asshole Noise writers don’t give a shit about this bullshit. I, being a born again Christian proctologist appreciate the concern; the CD I don’t. (Slimedog)

500 PLASTIC DRAGONS
7-song CD
Most of you schlubs demand descriptions of music. Let’s see if these random lyrics (verbatim from insert) begin to convey anything for ya:
“Mother fucker I went with the beat on a sandwich meat but I’m from Mexico”
“I didn’t know her but she knew me from the stains on my armpit.”
“My dead friends were there the Cosby kids were there we smoked lots of weed with them This is a true story about something that never happened I was a republican”
“Fully hollow, listening to confusion is sex Pick up the guitar when I’m totally wrecked”
“Who will love you when you’re 73 When it’s dirty minds and busted spines An asshole with a shovel Throwing you Away”
“(I’m too drunk to be stupid) Throw myself in the garbage (your too stupid)”
If you think that’s crazy, you should see who they list as influences. I’ll give ’em Daniel Johnston, but only for the obvious amounts of medication going on here, which these guys sing about a lot. As well as about arguments, getting dumped, stalking, and getting revenge when they couldn’t change someone. And okay, while the music is tuneless, grooveless, monotone, acoustic-based, and unlistenable (which should make it totally benign), this one of the most disturbing things I’ve heard in ages.
Fellas, there’s a reason she left, okay? (Joe Coughlin)

GLADIOLA
There is No Road
10-song CD
This collection seems more like an aural sketchbook than a collection of completed songs. The instrumental passages are well produced and at times evoke such ’80s avatars as Birdsongs of the Mesozoic, but the vocals are curiously lackluster and the songs seem unfocussed and tentative. This seems to my admittedly jaded sensibilities to be an only modestly ambitious batch of songs that yields only an occasional small-scale triumph, like the appealing “Gone for Good.” (Francis DiMenno)

RED THEORY
9-song CD
So let’s see, their logo has a not-so-vaguely Church of Satan-esque font. Some song titles are “Faceless,” “Cancer Nation,” and “Dementia.” Vocals usually arrive with a prolonged shriek and some kinda exhortation of “Do it!” or “Go!” or unintelligible expletive. Their MySpace has an animation of someone getting his or her lips sewn shut, plus a photomontage of two heels-and-stockings-clad kinder-whores cavorting in some abandoned place strewn with graffiti, including (yup) “666.” Stuttering, Slayer-like riffs abound, in case you hadn’t guessed already. And that’s all fine and well. They’re as good at what they do as anyone. Where they lose me is in the bio (typos verbatim):
“While continuing to evolve with enthusiasm and a relentless energy, as does the fan base, the name Red Theory is growing stronger and broader with every show leaving a remarkable impact with each and every listener. While averaging six shows per month, self promoting and seeking sponsorship the band continues to pursue the hopes of becoming not only valued artists to the music industry, but also striving to achieve a long term successful status within the realms of song writing; all while destined to be a part of the ongoing influences within the worlds of rock ’n’ roll.”
Huh? All I’m saying is, if it’s truly groundbreaking or evolution you’re looking for, this is hardly the place. (Joe Coughlin)

CHAINSAWS & CHEERLEADERS
Feeding Tube Records
Zebu!
17-song CD
Greetings, Zortar here, space alien from another galaxy, inhabiting Slimedog’s worthless, flea-ridden, enema-ravaged body. I believe I was assigned this because I am a big fan of Andrea Bocelli’s. I also like Stevie Wonder and Ray Charles but fail to see how these three are related. They do say, though, beauty is in the eye of the beholder on your planet. Chainsaws & Cheerleaders, which go together smoothly, like cookies and cream, or chaplains and choirboys, perform music that is difficult to compute. Grungy guitar but with song structures that veer toward progressive rock or experimental at times. Throwaway vocals but who am I to metaphorically whack their weenies with a ruler? There are lots of songs here but most succeed. They make me think of the Minutemen, and if that’s a good reference, as it should, you should give these earthlings a listen. (Slimedog)

JEREMY LYONS & THE DELTABILLY BOYS
Eighths Music
Death of a Street Singer
14-song CD
Gotta confess, this was the dreariest-lookin’ thing I got all month, and thought it’d be a sure-fire Slam (admittedly not helped by the intro letter which presumptuously begins with, “Dear Music Lover…”). Between the packaging, the instrumentation (harmonica, banjo, upright bass, fiddle, etc.), the titles and the first listen, I decided better to wait. And glad I did. Just the opposite of so many records where it sounds great at first, and then I realize it actually blows. I like this kinda hungover-Sunday-morning stuff, but so much of it out there is awful. And while this is by no means a masterpiece, and there are some clunkers (“Jackson Sq. Massacree” [sic] is a too-long “Hot Rod Lincoln” sorta thing about a pot bust), what’s important is that these guys are obviously communicating with each other. It took a few listens to appreciate the degree to which they do, but it’s pretty hefty. Lyons has relocated from New Orleans to Cambridge and plays with new friends now, but looks like this was essentially his original band, who were bopping around up here and managed to knock this out. Hardly for everyone, and all the better for it, it’s the warmest, most authentic thing I got for this whole issue besides the Atlantics, and that was a reissue from 1979, so there ya go. (Joe Coughlin)

DESTRUCT-A-THON
Thrashachusetts Records
Aloha Jihad
5-song CD
This one is definitely not for the meek, as it is one intense effort, both musically, with the band’s bruising metal, and lyrically, with the title track, a simmering attack on George Bush’s war. While that track and “Consume With Incisor” are nothing short of ferocious, the poppy shout along chorus of “Heart Attack” serves as a welcome reprieve from all the angst. This peppy number would be perfect if anyone ever gave heavy metal aerobics a shot. The only misstep is a (mock?) threatening voice mail from Sam Black Church’s Jet that fails to add anything to the mix. (Kevin Finn)

EKRANOPLAN
Soundtracks
4-song CD
Ten years after the breakup of one of Boston’s highly influential and certainly most underrated Boston bands, Green Magnet School, founding member Chris Pearson is back with a bold new project. Utilizing a space-aged blend of guitars, programming, samples, found noises, keyboards and vocoder, Pearson takes his post punk noise rock into the upper reaches of the stratosphere with a collection of instrumental soundscapes. Fans of Spaceman 3, Rhys Chatham, Can, and Wire will instantly be drawn into these dripping (yet rocking) sonic landscapes. Guest appearances include Six Finger Satellite’s James Apt, Nisi Period’s Dave Yanolis, Come’s Arthur Johnson and GMS alum Steve Rzucidio. This debut is a must have. (Joel Simches)

CORTEZ
Buzzville Records
Thunder in a Forgotten Town
6-song CD
From the folks who brought you bands like Fast Actin’ Fuses and Sin City Chainsaw, produced by the man who brought you Coke Dealer and Quintaine Americana, and recorded at the studio that brought you Roadsaw and Cracktorch, comes a band that takes heavy sludge stoner metal to the next level of thunder. If you like your rock Black and Sabbathy, if you liked the Melvins before grunge, and if you loved Soundgarden before they recorded “Black Hole Sun,” then this new release will make your balls drop to an all time low. Ever notice that spilled bong water smells exactly like week old McDonald’s French fries? (Joel Simches)

EYE WITNESS
Eye Witness
5-song CD
With their opening fist pumping salvo “United We Stand,” this three piece from Worcester’s anthemic message echoes the sentiments of Bob Geldof, the Clash, Billy Bragg, and the Alarm for change and unity for a better tomorrow. Though the sound of the band suffers a bit from lack of production values, the raw DIY approach only underscores the politically charged message of the band, who coyly describe themselves as “occasionally color coordinated.” However their outfits match onstage, their music will make you rock out and even make you think. (Joel Simches)

ESTHEMA
Apart from the Rest
6-song CD
This recording is nothing less than a true celebration of a number of different styles of world beat, jazz, rock, ethnic European and Middle Eastern traditional music. The passion for the music cannot be understated, nor can the sense that these styles can breathe anew in this collection of songs. Though the five musicians themselves hail from different parts of the earth, the global chemistry between them is obvious, like five minds MIDI-linked without latency issues. It is refreshing to hear schooled musicians playing together and not simply showing off their chops. Though there are several opportunities for each individual to shine within the framework of these six pieces, this album is a true collaboration of musical sensibilities. This CD will be in my player for some time to come. (Joel Simches)

LOAM
Keel Records
Grief is Dead
6-song CD
Some people can go into a studio or into their bedroom and spend hours playing all the instruments and come away with something completely brilliant. Other guys flail away at trying to be brilliant, but could benefit greatly from someone else to bounce ideas off of, sifting through the crap and finding some genuine, good moments. This CD is a clear demonstration of the latter. Chris Rousseau is certainly adept at playing keyboards, guitar, drum machine and using a pitch corrector on his voice, but this CD is six parts of the same song: the same idea reintroduced and tossed off as six different songs. Sometimes there is something to be said for working with other people. Loam could certainly benefit from some fresh ideas and outside influence. This album doesn’t shine as brightly as the previous two releases. It sounds phoned in. (Joel Simches)

THE FEW
Morning Static
5-song CD
While the instrumental blend is interesting, The Few try to bring the funk with just guitar, keyboard and drums. The jams feel a little empty and hollow without the low rumble of a bass player holding it down and grooving with the drummer. Though the keyboard player is certainly doing a great job with the left hand, being panned opposite the guitar throughout this disc only makes that hole in the middle even bigger. The dual female/male lead vocal is like having vanilla and chocolate soft serve in the same funky cone. The funk sounds a little contrived, but the other light jazzy styles represented here do hint at the coolness they’re trying to achieve. (Joel Simches)

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BOY WITH THE AMPLIFIER HEAD (Sal Baglio and friends)

9 Wallis, Beverly, MA

10/21/17

A trek up to the North Shore at a new club showcasing ole friends. For 40 years, as leader of The Stompers, Sal Baglio has delighted local audiences with his majestic rockin’ tunes, spunk, and passion. Over recent years, he has also demonstrated another side to his prodigious energy – creating a sweep of low-key, pop-savant meditations about family, heritage, and other memorable characters. Brutally beautiful and sadly hilarious. He has labeled his new ensemble The Boy With the Amplifier Head, which features “the greatest living Englishman” Dave Mattacks (drums/ piano), Jeff Keithline (bass/ vocals), Todd Brunel (bass clarinet/ saxes), and Robert Rivera (cello).  All good – nah, make that GREAT! – and real real real. Live music created with acknowledged tradition and talent, serving us a big dollop of integrity!  Now that’s personal transcendence!

Sal opens solo with “Happiness is a Warm Gun” (one of John Lennon’s masterpieces) and a slow evocative version of The Stompers’ hit “American Fun”… “Well it’s so hard when you’re restless/ You live your life out on the run/ But all we really want is some American fun” that took my breath away.  He slowly brings out the group individually until they coalesce to perform an elegiac “A Whiter Shade of Pale.” The audience now truly gets the gist of the evening – a challenging acoustic delicacy with bursts of electric delight. During the next 90 minutes, he doles out some incredible songs – “Watercolors,” “Hobo Song,” “The Boy with the Amplifier Head,” “The Train to Liverpool” are stellar – often tossing in quotes of tunes by his pop heroes. Sir Sal, you are a songwriter, singer, and performer for the ages. A wonderful night for you, the band, and an inquisitive pop-starved audience. Bring it all back home!   (Harry C. Tuniese)

…

POSITIVE NEGATIVE MAN/

FOUR POINT RESTRAINTS

The Carousel, Salisbury Beach, MA

10/14/17

Salisbury Beach is one of my favorite places on the entire planet, and how could it not be?  In 1973 I watched the Sidewinders (purportedly WITH Billy Squier) open for Aerosmith at the wonderful Frolics Ballroom, which is now so much sand “under the boardwalk,” the brand new boardwalk along the beach 44 years later in 2017.  Salisbury has traded in the amusement park for nightclubbing, and that’s a good thing, though Uncle Eddie’s and Carousel could fall victim to the condo-mania happening at beachfronts, and – sadly – sooner than later.    But thanks to my Facebook LIVE in 2017 this writer got to catch another two acts on tape forty-four years after witnessing the Sidewinders – featuring vocalist Andy Paley, and Aerosmith… the band which… if Steve Tyler married Joe Perry he would be Steve Perry and we would be talking about Journey.

Positive Negative Man bounced back from their uneven show in Central Square at Club Bohemia August 31 with a terrific set on the large stage that crackled with energy, great lighting and solid sound.  It’s a wonderful atmosphere, pool tables in the back of the room, the ocean outside, and plenty of room for the audience.    PNM played selections from their college radio friendly Broken CD as well as newer material, the guitar interplay between Eric Gibbs and vocalist/guitarist Mike Feeney magical at some points, especially with the swirling lights that made the beach club feel more like the Fillmore East.  Drummer Dave Church has grown his hair a la Don Brewer in the early days of Grand Funk Railroad and it is a sight as the band chugs along back and forth between songs from bassist Peter Tomilloso and Feeney, both co-vocalists of the group.    The sound takes grunge up a notch with swirling science-fiction guitar lines from Mike Feeney – after all his guitar teacher was Roger Miller of Mission of Burma, and the sonic assault is to M.O.B. what many groups in the 70s were on that compilation Sons of the Dolls (as in New York Dolls.)   “Newport Beach” – the most recent CD Baby download single, was a departure with Church playing bongo or conga drums and the band mellowing it out for a few minutes, before blasting the audience back into oblivion.    Very excellent to see a band rebound so dramatically.

Four Point Restraints competed on the same energy level, despite the stark differences with the band genres, the bands were most compatible.  With their newest seven song release, Vicious Circle, the Restraints kept to their core mission – and maybe it was the fact that they followed a group into the blitzkrieg approach – PNM – that they upped their game from a previous show that I was able to take in about a year ago.  Vocalist Evan Gadowski controlled the large stage with Meagan Day’s bass, Mike Cashin’s drums and lead guitarist Will Barry providing the additional drive.  Again the club’s superb lighting system played into the atmospheric conditions, Gadowski’s harmonica going nicely along with the pink/red vibrations and Barry’s guitar scraping/rumblings straight into some country rock.   As stated, they followed a grunge/hard rock onslaught so their Flying Burrito Brothers approach needed the extra energy to keep the night’s theme going, but the ears did get somewhat of a break.   Meagan and Cashman generate a bottom as if John Entwistle and Charlie Watts decided to have a side band.  Very nice as guitarist Barry goes back to his intro musings along with Gadowski’s harmonica reprise. The audience liked it and the Facebook live, now up on Youtube, proves this writer’s memory intact on the event.

Gadowski’s songs have all sorts of intrigue so keeping an ear on the lyrics is mandatory.  Though the new album delves into the darkness, the live set has all sorts of nuances that entertain and shifts moods intelligently.  Ed Battles was the soundman and helps coordinate the shows. This was a good one.  (Joe Viglione)

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David Minehan

DAVID MINEHAN
PUNK NEVER GETS OLD
by AJ Wachtel

Having survived the punk revolution of the late ’70s and early ’80s, I can attest to the magic that surrounded the era. Seeing the Hoods at Cantone’s, the Rat and Chet’s Last Call gives me the credibility to pronounce this trio as one of the most influential audible architects of their time as well. Who amongst us doesn’t have a great memory involving this band? A generation later, Minehan reminds us all about the timelessness of attitude, creativity, and talent. His recollections are fascinating and just as important and captivating today.

Noise: The current lineup of the Neighborhoods is you on guitar and vocals, Lee Harrington on bass and vocals, and John Lynch on drums. Former members include Mike Quaglia, John Hartcorn, Carl Coletti, Tim Green, Dan Batal, and Jim Bowman. How has the dynamic of the band changed with the lineup changes.

David: First off there is the original line-up that is sacred DNA—Jimmy B, Careful Mike, and I had all the spirit, hunger and “habits” to make it up as we went along, and those will always be the best times as far as reckless rock ’n’ roll lust and blood-sport goes. After that it’s all about the changes in the music and people who seem to be crazy enough to enter the dragon that is the Neighborhoods. I’ve been spoiled by those killers who’ve shared all those tours, stages, vans, hotels, radio shows, TV shows, in stores, flights, fights, cities, states, countries, and subsequent gravy-trains of perks. I love them all and am indebted to their incredible dedication and talents. We always played for keeps at every show.

Noise: The Hoods won the WBCN Rumble 34 years ago, in 1978. Is there really a Rumble Winner’s Curse?

David: 34 years ago? No farqing way! That was 33 years ago, there’s a big difference. We won the year before WBCN started sponsoring the event. No big payday like the years following. Cursed? Not this guy. That was just the beginning of 15 years of living the dream of a working musician, singer, songwriter, performer. If anyone told me when I was 13 practicing guitar in my basement that I’d be traveling with Bowie, Aerosmith, Cheap Trick someday, I’d piss myself. Met and played with so many of my heroes I can die very happy. Of course there are nightmares along the way but any band is quite capable of cursing themselves regardless of their lottery ticket chances of really making it.

Noise: Is “Prettiest Girl” still the local single with the greatest sales?

David: I can’t believe it could still be after all this time. I have no idea who could verify this, but in that era it was huge. It also shows you what local commercial radio could do when they had their own freedom and power to throw some local music on the playlists. Never mind that today DJ’s don’t even get to choose what music to play. Deep respect for the legendary Carmelita and Angelle’s local shows. Thank Satan for WMBR, WERS, WZBC, WFNX et al! Corporate syndicated radio and music don’t mix—don’t get me going! I don’t know what’s worse, the top 40 hyped Hip Hop Fop or the remnants of Rock Radio Alternative Commercial Radio. Do we really need to keep hearing the Foo Fighters, Pearl Jam, Stone Temple Pilots trinity of “rock” as the default setting ad nauseum? I guess radio is obsolete now, YouTube and Pandora is the new radio! All said, we still have the best radio and clubs in such a small concentration of our fair city.

Noise: You’ve been the ears at Woolly Mammoth Studios for a long time. What are some of the successes you’ve experienced and some of the failures where you didn’t achieve what you were trying to get? How about a wild story about a situation that occurred there?

David: Yup, I opened Woolly Mammoth Sound in January 1998, and it’s been a fantastic success for me and our clients. A couple of credos in the Woolly Mammoth Manifesto would be something along the lines of having such great rooms and gear that nothing “technical” should get in the way of a band setting up and killing it. Another big one is to take the collective experience of mine in the trenches all those years and help bands and songwriters not shoot themselves in the foot making a great record. There are so many snakes in the grass building a band and writing songs that many bands’ and songwriters’ vision can fall woefully short if not skillfully (diplomatically) attended to. So that’s where my producer’s hat comes on, and we get into the nitty gritty of the process. Usually a band is a much better “band” after working through a project at Woolly Mammoth. I’d also like to stress that unlike a lot of producers out there who seem to produce records in their “whatever it takes” mode of over-production and dishonest machinations, I really try to keep a reality check on what may be perceived as a band or songwriter’s human capabilities bringing it live to a show. Of course I’ll offer extra melodic ideas, especially counter melodies, but when I hear recordings that sound more like a producer than a band, I’m not as intrigued and the mystique is ruined. Other than that there is the usual insanity which tends to keeps us all amused. If I do see a troubling situation emerging in our sonic utopia I usually head it off at the pass. The “tell all” Woolly Mammoth exposé may come out in some blog sort of way someday, sort of like Mixerman, but without the mean-spiritedness because there are many many madcap capers to recount for sure! And when the time is right I will name names—ha!

Noise: What’s the story on Paul Westerberg and you playing the Monkees’ “Daydream Believer”? Why did you choose that song over, say, “Stepping Stone” or “Pleasant Valley Sunday”?

David: Suffice to say it was Paul’s tour and I was happy to play anything he wanted to play. Of course his taste in music is all-encompassing as well as impeccable. We are the same age anyway, and I probably bought that Monkees album the same week he did back in the day. The Hoods used to cover “She” back in the day as well. Godspeed Davy J.

Noise: Any regrets you have during your career?

David: Of course there will be the perfect 20/20 hindsight and woulda, coulda, shoulda’s to consider but it’s a waste of time to replay that stuff. If anything, I can almost entertain myself with some of my more glorious career implosions in full view of the industry. If I didn’t have teenage daughters who might read about such tawdry transgressions then maybe I’d divulge the dirt. Hmmm, maybe not…

Noise: What do you think your legacy on the local music scene is, and is it different from what you would like it to be?

David: I’d be an idiot to answer that… except to say that there are still great bands out there every week in clubland.

Noise: Could you write “Arrogance,” “Salt,” or “King of Rats” today?

David: Lee wrote the tough-love bare-knuckles Cad Rock epic “King of Rats,” but regarding the other tunes mentioned would be a yes, I could write them again as they are about real people who gave me such inspiration to do so.

Noise: How has the local music scene changed over the years?

David: It’s got to change or else—drag city. This is a good thing. The trouble today seems everyone goes to their particular musical church denominations and houses of worship that not much cross-pollination of bands and fans in clubs is happening. I also think we are due for another big shake-up. I’ve been lucky to see a few in the last three decades and that energy released in such explosions is very exciting. Sorry, steam punk doesn’t count and DJ’s will never be rock stars in my book. Gotta play, sing, write, and perform banging noises made from human hands. Otherwise it’s a headphone or disco trip. Not saying I don’t like some of the heavys out there, but there is a big difference. Live music rules. There’s more sex in it.

Noise: What is the greatest difficulty a band has today trying to get their music heard?

David: The sheer tsunami of mediocrity is like cholesterol choking the blood vessels of music right now. There are a lot of Garage Band hobbyists out there with slick websites, Facebook friends, and Twitter self-hype, but no real-world chops or stage experience. It’s a lot harder to comb through the chaff and find the real deals. Ironically these same tools can help bands with the right stuff get out into the world so much easier than 20 years ago. And yet it’s the same old song and dance after all this time in terms of money buying press, playlists, and prestige. Everyone seems to have to pay to play. From the Big Takeover to Rolling Stone—the quid pro quo money game is ON! But hey, you don’t start a band to make it in the first place, right?

www.myspace.com/neighborhoods

http://woollymammothsound.net

 

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Best website for The HOODS is – http://www.hoodsnoise.com

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