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I suppose like many people I beat myself up a bit when those things happen but not for long. Grateful people are rarely unhappy. In the end my work is about cultivating gratitude, killing my entitlement and getting out of the way so that the songs get to do their thing. Seeing Barrence Whitfield onstage is like watching fireworks explode. Maybe a little less colorful and visual but certainly with equal levels of voltage, passion and energy.
His electric high-wattage performances have excited audiences all over the world. While he was on tour I caught up with him at his hotel room in Wexford, Pennsylvania, just north of Pittsburg. Barrence is fierce. Barrence is brutal. Barrence is a savage. You began singing in a gospel choir. What part of that experience do you still use today when you sing? Barrence : Probably shouting. There was NO screaming in church.
Ever play places crazier than a zoo since then? And what was your band like then? Barrence : We got the gig by winning a high school battle of the bands — the winner got to play with Johnny Winter. I was just a baby in the bathwater back then. Crazy gig?
It was a notch above Animal House. All football players stripping on stage. And we had the three owners of the record label, Rounder Records, who were signing us there. They were jumping off the stage and ripping clothes, with beer up to your ankles — just wild. Noise : You originally sang and played drums in rock and funk bands. What specifically made you give up drumming to focus on your singing? Is there anything in your vocals that you can trace back to being a percussionist?
Barrence : I stopped drumming because singing is what I really wanted to do. I was in the learning stage for playing drums. I never got good enough to play out really. So I focused on my vocals. I do some crazy things with my vocals now — throat singing like some Arab artists do. With my range I can go high and low, and rhythmically, I love to mimic some percussive instruments.
While at the record store, your singing was heard by Peter Greenberg of Lyres. Have you ever crossed paths with him in person? Barrence : He died a long time ago. Is it more stressful and difficult to live up to this robust renown every gig? Barrence : Well, you know, we do the best we can. We just go out and lay it across the table.
Barrence : No. Like I said, we go out with great confidence. Barrence : Today? Good question. The only one I can think of is Charles Bradley. K to tour. Barrence : U. If you are the real thing they will always be your fans and they will always go out to see you. Barrence : Peter Greenberg on guitar.
Phil Lenker on bass. Tom Quartulli plays sax and Andy Jody is on drums. The ultimate, ultimate unit. Are you more popular there than here? If so, why? The U. More people come out to see us over there. They love the music. They love what we do. Did you and Tina ever have a soul screaming contest and did you beat her by much? Barrence : [laughs] No, I never met her. But all the other headliners I became friends with. Is it any more special to be recognized at home by your peers than it is somewhere else?
For all the work you do and all the places you play. Nobody that comes to mind. Where does your love of country music come from? Barrence : Just the love of listening to it and from being turned on to songs by friends of mine. I learned a lot of stuff from Tom Russell. Those two records are going to be re-released this year too.
Noise : You combined soul, jump blues and rockabilly when you worked with an eight-piece N. Is the common denominator in you singing all these different genres really just your passionate performance, or do you approach different styles in different ways? Barrence : I do approach them in different ways but, you know, I just go out there and sing.
Noise : You contributed to the film score of Honeydrippers in Be specific! Barrence : John Sayles, the director, wrote that song but I sang it. How many people were tuned into you that night? Do people ever recognize you on the street in England? You must have a unique craving or ambition that you can bestow upon us.
I almost got into Kansas City directed by Robert Altman. I had to do the audition in Chicago and there was too much going on for me to go there and try out. At least they inquired. Fifty Thanksgivings have gone by since he feasted in Great Barrington and got arrested for littering in Stockbridge. Her voice is so melodic and passionate another chord would just get in the way.
There are also a male and a female onstage interpreting the lyrics in sign language. I enjoy watching their faces while their hands move quickly, communicating the words to the hearing impaired who are in attendance. When a song is about pain, love, hate, enjoyment, or suffering, they dramatically change their facial expressions to better convey and match the feeling.
When it ends, Arlo walks onstage smiling and waving to the audience. He now has long white hair and wears glasses. He tells about recently finding the cartoon after it had been lost for almost 40 years. Then he plays the tune live and the crowd sings even louder along with him. He gets behind the keyboards for a few songs. When on acoustic guitar, he sits front and center next to a guitar rack containing four acoustic instruments, including a nice sounding 12 string.
Arlo mentions that tonight is the 46th wedding anniversary with his late wife Jackie, and the people start clapping. Jackie passed away about three years ago but tonight is a night for celebration, not sadness, and everyone present rises to give Arlo, his children and his band, a well deserved standing ovation at the end of the performance. An incredible show by a legendary artist. Sitting in on guitar is ex-Son Volt, ex-Blood Oranges guitarist, Mark Spencer, a guitar legend in his own right He accompanies magnificently, throwing in some of his own tunes as well.
The crowd is as lively and ready to take whatever the band throws at them. They close their set not with a Hayride tune but a Mark Spencer original, however Jimmy Ryan, the king of the mandolin, once again proves that he has earned his crown. Kier Byrnes. The Real Kids shows are always an event because they never overbook.
They have a current full length Shake… Outta Control to promote with another one in the works. Judd and Dickie Oakes on bass lock into a groove, laying down a bedrock foundation for each song. We fans simply marvel as he pours out his soul on a torrent of sound. Yet the best part is always when John and guitarist Billy Cole rock back-to-back with a look of bliss on their faces and they start burning like the band Vesuvius! God bless The Real Kids!
Long live John Felice! Nancy Neon. Mosrie, a striking woman with pale skin, raven black hair, and an air of quiet, intense grace, is opening for Nashville-by-way-of-New Orleans and a brief but significant tenure in Boston where she honed her songcraft at open mics while running the late great Dixie Kitchen troubadour Mary Gauthier on this chilly October evening. With her clear and soaring voice and a elegantly fingerpicked guitar, Mosrie plays five songs in this set to the packed and rapt pews.
Between songs she tunes her guitar and shares witty anecdotes and observations with us: an ex-boyfriend from her teens who finds her online and what feels romantic at first takes a dark turn when he starts calling. A lot. For her last two songs, she is joined onstage by her friend Cliff Eberhardt, who is widely regarded as one of the founding fathers of the modern folk movement.
Any weekend in October you can catch Marblehead resident Joshua Rodriguez doing his junkyard jazz drumming on plastic bins and metal pans on Essex Street in the outdoor walking mall area. The kid is a talented street performer. He first gathers a small crowd around him by doing a short drumming display. Then he gets his newly acquired fans to attract more people by getting them to scream and make a lot of noise. Where is he going next? Los Vegas is his destination.
Good luck, Joshua. And I think they may be right! The stoner prog scene seems to be more influenced by krautrock, if anything at all. Minimalism but with bizarre rhythmic surprises and unique sounds are a theme I heard a lot of, and I must say, it felt like I was hearing a new type of music!
Another thing that makes this scene special is the musical skill of many of the musicians. But these stoner prog bands will drop your jaws sometimes and that makes sense, as many of these virtuosos met at New England Conservatory, as it turns out.
My friends took me the Flittering Loft, a wonderful-if-typical loftspace where they throw infrequent parties with live bands. I get it. Pretty funny name. Two drummers not playing the same thing, thank god , fuzz bass, and two male singers, it was herky jerky distorto madness, but pretty amazing. It was like hearing two different songs playing at the same time. Lots of very aggressive or complicated rhythms with the fuzz bass holding the riff down or the melody.
My only criticism is that their unique sound is not fully baked ha ha yet. October, November, Dismember another great name I think came next, and they seemed to be going for a parody of goth that would make a nice album title! Their melodies were excellent, spooky, and the quartet guitar and voice, synth and voice, bass and voice, and electronic drum pad almost reminded me of a creepier My Bloody Valentine.
I thought they were brilliant. Great stuff. But, like the first band, no CDs for sale and no Soundcloud or anything. Those basics are important! But I could easily see this band on SNL within a year. Next up were a band who were most definitely not stoner prog. Armored Cars is exactly what you may have suspected: a Cars cover band… who do super-heavy metal versions! I kid you not. They only did 5 songs and we were begging for more. The idiot costumes were pretty great too: they took cereal box cardboard I checked and made fake metal masks to look all Game Of Thrones and viking warriors, and suits of armor, but it was laughably crude and cheap!
They should be touring with Gwar tomorrow! With his messy long blond hair and scraggly beard, he confounds us with his trademark linguistic surrealisms. No accordion or keyboard for him tonight. Just words. The Schizophrenic Hum seem more of a collective than a proper band: some musicians joined them for one song and then returned to the audience.
It was a constantly evolving 40 minutes of instrumental wonder, or odd short songs. Most of it I would describe as gorgeous and trippy, and the music was very serious. Only the guy on theremin for the closing number was funny at all: he was dressed as a karate champion, playing the theremin with kicks and handchops in the air. Pretty hilarious. Variety seemed to be their goal. With a distinctive name like theirs, Jerusalem Witch made me logically expect either a metal band or a doom band or a goth band, but they were none of those things.
These guys really felt like I was listening to a new type of music. The uke player who said his name was Blankety Blank III when I prodded him either played dreamy, soaring, backwards melodies, or built giant architectures of clean loops, while the rhythm section improvised with him.
It was athletic. It was catchy. It was unique. It was fucking great. The wild loop architectures were the most striking but all of it was incredible. There is a lot going on in this band and you can hear what they are saying on a couple of different levels. In fact, some of them are teachers at the music school. Whenever they solo separately, it is inspiring, creative and very jazzy. And when the solos stop and the band picks up the pace together; it sounds even better.
They are all playing behind stands with charts too. How syncopated is THAT? This is a real groove band. I really dig when guitarist Sal and keyboardist Steve duel it out during the song while the rest of the guys support them and keep the groove going. Not a vocal all night. You have to drive through Salem where everyday in October is Halloween as far as that city is concerned to get to Marblehead.
Jim has an old pal, Christopher Williams who hails from Nashville, opening the evening. He hops on stage and lets us know that he wrote himself a note before he came out. Jim always lets the light shine, even when the message is sad. Both sides infuse the warm melodies of the Beach Boys with chewy hooks of the Brill building.
Overall, this project is an intriguing set of interpretations; but one which reveals more about Telamor than The Rolling Stones. This is a horn album. He flutters and honks all up and down the scale with a power you can FEEL as he blows. Then, when you least expect it, he jumps an octave, and the sound and fury comes at you with an even GREATER force — then he returns and continues his audio muscle flexing with a more potent and energetic thrust.
It must be heard to be believed. The momentum of the songs never waver. Close your eyes, play this CD on volume 10, and it may be the closest you have go to feel like you are there with him live. The rest of the band includes Matt Stubbs and J. This is wailing, screaming, and honking horns at their best.
I love it! This CD is no exception. Only six tracks, but he fits a lot of diverse coolness into it. The music is still T, only better. The same sound fans love, only a fuller, matured feel. Familiar songs sound richer and new songs, surprising. There are background noises sounding a lot like… sea gulls in spaceships. Completely unexpected! A sentimental song and his voice works magic with it. Nice sax and slick keys compliment it perfectly. Meant to make people feel good , this song delivers.
They have more structure than US Maple but retain a certain restless energy that jumps out of the speakers. This album is noisy psyche that you could probably slam dance to, but it is a little complex for a pit, like The Daughters meet The Doors. Is it noise? Is it jazz? Is this even music? Yes, yes, and yes. This album is cuter than a bag of dead kittens.
I really like the way the Professor plays a lot of fluttering notes. And his vocals are believable too. On this cut he plays a chromatic harp. While I find a lack of sonic variety in the lone man with a guitar approach, he does manage to accomplish a lot with a little. At its best, this collection is captivating. This is not the case.
Somehow Chanticlear make all those side-winding sub-genres sound like the same thing. If you like barely-together garage-rackets and warbling vocals lots of people do, put down your knives already , then this is the Lawrence, MA-based low-watt punk rock band for you. This cat can play! Tomo teaches at Berklee and this completely instrumental release showcases his incredible abilities that guitarists and music lovers alike will appreciate. He is a groove guitarist who plays lovely jazz chords in the middle of his lead solos, and I really dig his power and finesse.
Very very cool! If you think this album title is a tongue twister, you should see the song titles! Keyboard wizard and singer Ethan Weiss has assembled a talented crew of New Bedford and Fall River musicians behind him. If you ever wondered what would happen if New Bedford and Fall River had a baby it would be an ugly baby , here is your answer. Why would you wonder that, anyway? Do something constructive with your life and listen to Lazertuth.
This is a deep space trip with some aggressive rock leanings. This is like Emerson, Lake, and Palmer without the boring parts. This is a jewel of a punk prog album. Metal arena rock ballads with loud guitars and vocals and pounding drums. A grab-bag of hard-rocking tracks in a variety of modes.
Barrett is a great guitarist and I enjoy listening to everything he plays on all the cuts throughout the whole song. Anderson wrote most of the music and backing him on vocals and guitar is legendary B-3 organist Ron Levy and veteran drummer Per Hanson, whose impeccable beat-keeping cements the song as Barrett and Ron play off each other. The drums push the song but the tunes are taken to another level whenever Levy comes in. Sorta like Rory Gallagher meets Bo Diddley.
The great lead guitar work influences of Rory via Barrett and the rhythmic swirls of Bo from the rhythm section. It starts out as a Daughters sounding metal core type thing and you say, Oh, I know what this is going to be. Before you know it, the train takes twists and turns and flies off the tracks. This album is super heavy but swings in a way the old Killing Joke albums did.
Take a little Dillinger Escape Plan and add a dash of the Jesus Lizard and you get an idea of how unrelenting and great this record is. Not only do they have one of the best band names in Boston, they are one of the heaviest and best groups as well. His first in five years. He plays the guitar and does all the vocals and his older brother Jim provides upright bass, banjo, piano, backing vocals, percussion, and melodica.
This is basically a labor of love between two brothers on different coasts and it took three years of trading files to complete. Legendary local production ace Ducky Carlisle plays drums and produces the material. The voice is very personal and you get the feeling that Connolly is singing just to you, which is what you expect from such a personal project. The songs are all ballads at different tempos and every song has either country, folk, or rock influences. Hey, remember when Boston hardcore was basically a psycho-circus of blood-soaked, male-dominated ultra-violence?
These dudes do. Also my copy is pink, which is probably the punkest thing about this whole affair. This is a boogie band… and these cats can play. All the uptempo songs start with a blistering groove Charlie sets with or without his slide. Lenny Turnquist on bass and Uncle Dom Micarelli on drums keep the groove going as Keating sings and plays guitar.
The blues tunes are tense and passionate rather than introspective and calm. This is a very good and unique blues release. His licks are red hot, clean and creative. I love his mid-song solo, too. And it works! For decades, people have traveled from all around just to be present at these jams to experience some of the best musicians who have dropped in on this weekend-ending, non-stop party.
Listen to what this local treasure has to harp about…. Parker Wheeler : I conceived a simple plan — use my association with myriad A-list players to build the stage group every week with an original, ephemeral band and use my business acumen to craft a simple business plan that enticed Grog management to give me a chance.
The formula continues to be successful, providing The Grog with a profit and the wonderfully loyal audience and myself with great entertainment. Parker : The audience formed a core base that has remained loyal over the years, helping me and the players to have a unique comfort on stage; as the music has morphed over the years, it has added to the audience because it is known that every Sunday reflects a singular group that may never form again.
Even if the headliner has appeared previously, the supporting players are usually different, providing real appeal that is not found elsewhere. Noise : Do you still see any of the same people coming to your shows at The Grog from when you first started your Sunday party? Parker : Absolutely, many of them — as I said before, there is a core of about regulars who have earned the name through their amazing loyalty to the Sunday party.
Audience members Hilda Lilly and Karen Manzi probably have stories that encompass stuff I never became aware of on stage. Noise : Tell me some of the many guest artists you have shared the stage with at The Grog and elsewhere? Parker : Oh man, that is a tall order. So, giving my sincere apologies to anyone who is omitted, going by instrumentation and not in order of preference:. Bell, Floyd Murphy Jr.
Vocalists who have blessed the stage at The Grog include the tremendously entertaining Christine Ohlman, Susan Tedeschi whom I was lucky to have just prior to her break onto the national stage , John Cafferty — another amazing break for the Blues Party. That applies to other players, as well. Noise : Care to share a quick story or two about a great night or a night that was a very bad night?
Noise : In two sentences, tell me what your history is on the local music scene. The Grog invited me to play in December of and here we are today! Noise : Do you take your band out to play other gigs or do you only appear at The Grog? Parker : Most nights feature a fresh septet with three of us adding vocals. Once every six weeks or so someone will add a 45 plus or minus minute set showcasing a new CD or show material.
Noise : Who are your favorite harp players past and present on the local scene and why? Parker : I got my early chops together with peer James Montgomery starting in late and we continue a pleasant friendship and working relationship. Three memorable moments come to mind because I was in the right place.
Tim Gartland has written some beautiful material and is an exquisite player, and he filled the stage with joy last fall. Parker : We are very excited to ring in our 25th year at The Grog with special shows starting in December and the release, finally, of some recordings.
If there is ever a time when you need inspiration, look no further. From high school NCAA basketball record holder to a current record label owner. Listen to what this skilled singer has to say. Noise : You recently released your third full album Let Love In. How has the feedback been so far and care to share a story about writing the songs on it? What is your favorite song on Let Love In? Ayla : I produced my first two country albums and on my most recent project I hired Gus Berry to produce all of the songs.
He is incredibly talented and I put a lot of trust in him and the direction he wanted to go. Noise : You founded and own your own record company, Ambient Entertainment. What are the pros and cons of being in charge? Ayla : There are a lot of pros to owning your own business. I love the fact that I can make creative choices, keep all of the money I make, and pay my bills.
All of the pressure rides on my shoulders and I have to rely on the fans to really support me. Noise : You are the spokesperson for The Songs of Love Foundation that creates free personalized original songs to uplift children and teens who are facing tough medical, physical or emotional challenges. What a wonderful commitment. How did you get involved and what is your process for specifically writing a song to make someone happier?
It absolutely fills my heart up knowing that these songs bring a smile to their faces. Noise : You are from Wrentham. What bands did you like growing up? Any local artists? And what music did your parents Senator Scott Brown and T.
V Newscaster Gail Huff play around the house? Ayla : I was crazy about the Outfield growing up! I remember my sister and I would beg my father to put in the cassette tape every time we got into the car. But I really loved songs from musicals and more of the adult contemporary type of music. We loved Elvis. In fact, you are the sixth leading scorer in Massachusetts basketball history, male OR female! Is there anything similar in preparing for a big sports game and a huge concert?
Anything different? Ayla : Nothing different in terms of preparing for a concert, but I would definitely say there are similarities when dealing with musical competition, especially while competing on a show like American Idol. I am very grateful to get my competitive spirit from my dad! Do you sing it exactly like Key wrote it or do you make it your own in any way? Noise : You auditioned for American Idol at Gillette Stadium in Foxboro and went pretty far on the show in the fifth season, Care to share a short story about this experience, and looking back would you have done anything differently?
Now I am a fan of all types of musical genres, but I wish I knew that growing up. Noise : Early in your career your style was more pop and now it is increasingly country. Why the change in direction? What are the similarities and differences between playing for a New England and a Southern audience?
Country lyrics spoke to my heart more. The style of music I do is definitely a crossover between country and pop. Noise : In you went to Camp Leatherneck in Afghanistan and performed in front of 15, troops. What was that like and what will you remember most about this performance? Ayla : I will never forget that experience. If only I could do it all over again! Ayla : I am going to continue to work as hard as I possibly can to connect with as many people as possible.
Success comes in many different forms, and I want to be remembered as someone who put their heart and soul into every lyric, every melody, and every show. Noise : Any advice you can give to artists struggling to get their music heard in these tough times?
If you can make a living doing what you love, I suggest doing it for as long as you possibly can. There are singer-songwriters and there are singer-songwriters…. She recounts many other musical pairings with others on the road and tells us her newest album, Making Me Break.
Have you had been able to have any down time to just sit back and take a breather? Worth it! Was that show and your rehearsals leading up to it the perfect storm of talent and you all just strongly felt that your relationship would be much more than a one-night stand? Heather : There was much serendipity last year with Darlingside for sure. So they are very special to me. They are truly great people and stellar musicians who inspire me so much, and they will always represent a huge turning point in my career.
You also must have been on top of the world to get such a wonderful response to the song from Graham Nash! Heather : Whenever I recount that course of events to anyone, I always make sure to mention how I may have peed myself. Did you learn anything from those musicians who have been touring a lot longer than you have?
Any words of wisdom? Heather : Hmmm… maybe the thing that sticks out the most is from Rod y Gab. Those guys are total rock stars, and they own the stage. They tear it up every night. Their crowd always goes wild. They gave me some of the best tips and tricks to staying grounded… all right after they literally melted thousands of faces. Heather : Because that song is inherently a bit goofy, it was just pure fun to bring it to a serious show on a serious stage.
And getting to perform it with him was a huge honor. Noise : How would you describe your latest album Making Me Break? The record also explores some themes that are up for me, like gender roles, how feminism fits into the world of selling your body stripping, sex work, porn, etc.
Noise : When you look back at all your albums, do you have any memorable moments that stand out when you were recording? Did you have any ah-ha moments about yourself or your songwriting? Heather : In the making of this last record, in working with Bill Reynolds producer a great moment was when he suggested to replace a major chord with a minor chord in the chorus, on the third time it repeats.
It was such a simple move but it changed everything. The same words sung over top went from sounding hopeful to defeated and the song became so much more dimensional. Bill was an incredible producer that way… he never stepped on the song but instead lifted it up to higher places.
Noise : What can we expect from Heather Maloney in ? For more information about Heather Maloney, visit her website at www. Tickets at www. RITA : The end of fall and the beginning of winter is my favorite time of the year. I am also a star-gazer and just love to look up at a full moon and a sky full of stars. JOE and one or two other members had to give him the five finger wake-up call and some tough love!
I was sitting behind the stage in the high seats doing a little medicinal herb and saw him get some more encouragement to wake up and fly right by some other crew members of his entourage. Custom van shows are probably extinct now but you could compare them to biker gatherings… the culture and aesthetics were strikingly similar.
For a long long pouring rain weekend our band camped and slushed around miserably, comforted only by copious amounts of free beer and spliffs. We finally took our turn playing on a flatbed stage to a very large, very drunk and disorderly mob. In between our two sets was a wet T-shirt contest that went way off the deep end. I mean way. This performance was of such debauchery too distasteful to describe in decent company. Billy Mancini , who was there also, might like to elaborate further, but I hope not.
JET stage dived into a giant mosh pit just as the liquor inspector walked through the door. The guy was mortified as they pass JET around the room. Then he wrote me a citation for inappropriate entertainment. The complaint said it was more like a circus act and I had to get special approval in front of the licensing board to have that kind of entertainment. LUX warned him a second time. Sure enough, the kid did it again and LUX was ready for it.
I guess he slinked off the stage. I know he dove no more that night. Capacity will expand from the current to ZURI is robust and strong and beautiful. It was really cool and way past his bedtime. This is a paying gig folks! Friday and Saturday nights. Contact her on Facebook. Promoted by Hear Now Live Entertainment these cats mix house, electronica, hip hop, pop and rock, and their live shows have made them a dance floor powerhouse that audiences love.
RITA : Bret — yes, you! Tell me about a crazy performance you saw. As you know this band plays their music to a background of a large format film of a lad having his dick chopped off to become a lass. That film and music got the crowd worked up and GIBBY the guitarist leader of the band brought on a girl member of his tribe to dance.
She was only wearing a Sumo style pants and during the performance she peed in a cup and drank it at the end of the song. He hit the cymbals so the fire went everywhere and I shot from the mixing console out front to the stage and with a couple of bouncers we threw GIBBY and his guitar and amplifier off stage and out the back emergency door. But perhaps the wackiest performance was the so-called burlesque dancer who spent 45 minutes making love to a toilet onstage at The Cantab.
He decided that they should switch clothes — right then and there. So, as they were stripping down, JOE without pants on… the chick taking off her dress. JOE was barred from the bar for a month! By the end of set one, Cub Koda had everyone dancing on their seats.
When MC5 appeared, the room was spinning out of control! Mike Davis, Wayne Kramer, and Fred Sonic Smith are thrashing lifeless guitars, singer Rob Tyner is holding up a descending curtain, only Dennis Thompson happily gallops away on his drums.
The lights come on and everyone turns around to see a phalanx of police at the back of the theater. No one freaks! No one gets heavy! If my memory serves me well. Then I go see a really good show. Just too old to put up with crap. The band was rocking so he decided to play another. They still kept playing! Great night! He was there and he talks about his friends and associates who showed up. Joining him for this great cause is D. Eerie psychedelic sounds emanated from the dark stage.
When the lights came on, there were scantly clad dressed women in cages performing mock lewd sex acts. It was shocking… and barely legal. Then he announced to the packed house that every clown here should take off their suit and the rest of their clothes. Police arrived and shut down the club. DANIMAL made an announcement to the audience that there was a private party at his place and people followed him to his home a short distance away and partied into the wee morning hours!
It was a great club in Brighton that was owned by BU, as I recall, but they closed the club with little notice and local rockers were pissed. THE NEATS played the closing and the guitarist stuck his instrument through the ceiling tile and brought a lot of it down, along with exploding dust that made it look like a bomb went off. The fans did the rest and essentially trashed the club in anger — a wild night. See you next month everyone. Happy Thanksgiving! By golly, Goli has finally released their second album, seven years after their wonderful debut.
And eureka, this disc is even more stunning than could be expected. Their playing is tighter and more disciplined more academic?! This disc really plays up the disjointed mind games that she delves in — incisive, contradictory, fluid, flummoxed tunes that have swagger, sway, and sumptuous melodies.
Yes indeed, she still has that wacky adult wit, singing about her personal hang-ups, romantic failures, facing the void, and other self-deprecating adventures. Major kudos to producer Peter Moore for seeing a bigger picture and bringing in other instrumentalists and singers to enhance their chamber-style vibrancy. As they have entered a second stage of development, there is no lack of musical confidence in their approach.
What are we gonna sit here in and argue about what punk is? Actually, I thought that in , nevermind. So, anyway, this record. Two lead singers, one male the other female. Tom Leger and Maureen Kavanaugh share lead vocals. In a strange irony, Sean and Jeff Murray are cousins not brothers. Mo plays guitar also.
Tom sings the metal rockers and his significant other sings the mellow rockers and ballads. Great stuff from a wild band. At its best, this CD recording has a great deal of the good-timey ambiance and vim of the Rounder-and-friends album Have Moicy!
This six-piece ensemble is undeniably talented and deserves to become cult favorites among the folksy set. As I dance on, the costume comes off but the mechanical beats and synth bass lines continue their staccato rhythms. Again a sweet reverby violin supplies the lead line, dancing around like a classical musician breaking a sweat. DK can write your prescription. This album is so good it melts your ears, not in your hands. Death to false chocolate! Much of it is beautiful and melancholic.
Clever move: the CD includes a lyric sheet as well as the 12 tracks as instrumentals, so you and your friends can use them for caroling if you choose! I find most parody acts to be unfortunately juvenile, but this act does it with aplomb, from the Neville Brothers? I pray despite my atheism they play Boston this holiday season! Even I can sound like Paul McCartney in a studio with a good engineer, ya know?
Tom Waits because he has a good, very passionate and raspy voice, Dylan because his compositions are influenced by the master, and Billy Joel because his expressive vocals really tell a good story. Carl and Jeff also add their backing vocals to the mix. The crowd seems to really dig their performance and so do I. Interesting, if not particularly impressive. I fell in love with Guerrilla Toss after hearing a live performance somewhere that I can no longer remember.
Their disco punk sound was equal parts totally modern and craftily nostalgic. Unfortunately they were never able to translate the joyousness of the disco side of their formula onto record. In the studio they favored dissonant free-jazz electro-noise. I am happy to report that Guerrilla Toss discovered how to capture their live sound on record with the release of Flood Dosed.
The minute EP captures everything there is to love about this band. Bring on the full-length. George Dow. Not a style of music that I typically gravitate toward. Classified as rock, it sounds more like ambient, easy listening.
The production is great. Andrew Martin is talented — adeptly playing guitar, bass, piano, synth, and percussion. Moreover, all five songs sounded so much alike, that they seemingly blurred into one long song. Nothing struck me. Hopefully, he will in time, find a niche that allows his skills to truly shine through.
The album is a bit brief but packs a wallop in a very catchy garage kind of way. This album definitely has a unique sound. Throughout the nine tracks, I hear quite a range of influences. The musicianship all around is very good.
The only thing that loses me a little bit is the vocals. Nevertheless, this is a good album with cool ideas. If you are a fan of anything synth-y or slightly progressive, then definitely check it out! Tom Barvick. This is a really cool release. A blues and Appalachian old time fiddle CD. Sorta like going to a hoe-down in the South side of Chicago. There are no drums. You might have seen Ilana playing in subway stations around Boston. Her chops are imaginative and she plays with a lot of emotion and passion.
No joke, she really fiddles around! And nobody plays like Ronnie Earl. Ronnie also covers this great song on his Good News CD. I really love this blues and old time fiddle release and you will too. It was a beautiful chapter in the history of metal and it is refreshing to hear it revisited by Devil on Horseback. Their dual guitar attack brings to mind the classic K. Stacking lead guitars slightly out of phase always brings a smile. The rhythm section plays in a deep, dark pocket in a style reminiscent of nineties metal bands — bringing the retro sound forward into the 21st century.
But can you live up to that? Can you stay up past midnight and slither around Central Square? Would you actually pay to stand in a room as disgusting as the Cantab basement or the Midway? Do you even know how to dance to surf rock?
Seems like the world would be better with them in it. This is refreshing. Percussion and bass joins in, making everything bounce. When the trumpets come in I just want to do a Mexican hat dance. I love the trumpet again — I can imagine being at a post-bullfight party — though the lyrics are more about a desire to dance with that special someone.
Again, the music is all about getting those hips rotating. More cool hand clap percussion, a trumpet solo, and a nifty Spanish-type guitar solo. I wish The Noise received more CDs like this one. This Vermont-based band plays Southern rock. This is a good band that are all on the same page and that makes the difference. Chad Hammaker on guitars and vocals, and brother Justin Crowther pounding and playing harmonica jell well together.
Perfectl music for racing down the highway at full volume. Check them out. Murky hard rock, mostly.
Last winter nearly killed all of us.
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