DARLING PET MUNKEE,

DOWNBEAT 5

Radio, Somerville, MA

1/14/12

It’s the first review of the new year and I’m thrilled to report it’s a Downbeat 5 show. Savvy longtime Noise readers are predicting more glowing, sycophantic praise for DB5 out of me. I will not disappoint! Why not? This show’s like getting an extra Christmas present. JJ Rassler’s been sidelined for months due to hand injury, so they may be playing things cautiously (though likely my imagination). They keep the set short but it’s still a beefy selection of favorites (“Outcast,” “Think About Me,” “My Way,” etc). I see it as a victory celebration and there’s a good size crowd here to revel in it (not the overflowing mob I’d like for DB5, but it’s a nearly full room). Drummer Eric Almquist returns to action after a three year sabbatical and sounds great. Ditto Jen and Mike (minus the sabbatical part). And JJ sounds like the master he is, so all is right with the world.

It’s the first show I believe for Darling Pet Munkee, an amalgamation of Do Not Forsake Me Oh My Darling and Axemunkee that is fronted by Michael J Epstein, with Catherine Capozzi on guitar and Sophia Cacciola on drums. I’d call it something of an art project, and that’s tricky business. Art bands tend to fall into two groups: 1. People interested in doing art (i.e.: actual artists, amateur or pro), and 2. People interested in being artists (i.e.: intellectuals wanking off). Thankfully the Pet Munkee crew appear to be the former (no David Lynch references, so they must be). The concept comes from songs inspired by ads from Silver Age comic books, resulting in such tunes as “Genuine Dirt From Dracula’s Coffin,” “Sea Monkeys” (brine shrimp in actuality) and of course “X-Ray Specs.” The idea isn’t as limiting as you’d think and could be broadened to encompass any manner of silliness. The sound is straightforward rock leaning towards old fashioned new wave—Capozzi’s guitar is especially good. I very much hope they pursue this project! (Frank Strom)

 

PATTY LARKIN

Town Hall, Ashfield, MA

1/14/12

What a great M.L.K. weekend! Visiting friends in Western Mass., we were treated to a special event in the lil town of Ashfield—a concert by one of folk music’s premier performers, our own local Patty Larkin. She entertaines the packed town hall for almost two hours, showcasing her entire career’s worth of sophisticated tunes that have won her accolades and awards. She simply must be seen live to fully appreciate her prodigious talents—impeccably delivered, deft enriching material, stunning guitar playing, mischievous wit, and above all, her gorgeous melodious vocals. Lawdy, lawdy—the complete package! Among her choice material this evening are some major standouts: “Tango,” “Birmingham” (quite appropriately dedicated to Dr. King), “Italian Shoes,” “Lately,” “Coming Up for Air,” “Chained to These Lovin’ Arms,” “Booth of Glass,” “Hallelujah” (complete with loops and electric guitar), and the encore, “Good Thing.” After the show, she stuck around for a while to chat with the valley folk. Perfecto! (Harry C. Tuniese)

 

WATER SICKERT & THE ARMY OF BROKEN TOYS,

BURY ME STANDING,

JASMINE WAGNER AND JAMES McANDREW

Church, Boston, MA

11/19/11

Five minutes after entering Church, the casual music fan might think they’ve stepped into the wrong club. But no, this is a Walter Sickert & the Army of Broken Toys show, so things are gonna be pretty different, but in a great way. It’s the second night of a two-show extravaganza, and in part a fundraiser for Black Ocean Literary Luminaris, and includes a preview of the performance piece Slutcracker.

James McAndrew of Milquetoast and Co. is the first act of the night, and though he’s flying solo tonight, he still dominates the stage with a commanding voice and serious guitar skills, getting the crowd pumped for the show to come. The music’s pretty original and he encourages the crowd to share in the bad behavior and making some cracks about his family.

Jasmine Wagner’s music is very atmospheric, the kind the just fills the air around you as you get your day rolling. She breaks out a pretty long poem that has the crowd close to the stage. I’m not sure I’ve ever seen someone do that, but maybe I need to check out more of the Army’s shows. They seem to hang with a pretty cool crowd. As her set continues Jasmine breaks out the keyboard for some more melodic tunes that chill the crowd out, just as the next performers get ready to get them going all over again.

Bury Me Standing is a new one to me, and a welcome addition to my musical experience. It’s an eclectic arrangement, that blends a xylophone, upright bass, and drums. Vocalist Vesela Morova has a beautiful voice— deep and tightly controlled. I get a weird mix of international sounds from this band—sometimes it sounds like they’re channeling some Celtic elements, and at others I get some Latin beats. The set never slows down for a second, with some precise drum work, and a great blend of instrumentation and unique music.

And now it’s time for Walter Sickert & the Army of Broken Toys, the ones we’ve all been waiting for. Between the band and the dancers in the audience, we’re looking at around a dozen members, and all play their role with intensity. Once more I get a little taste of everything, with hints of big band and a dash of funk mixed in with a generous helping of awesome. Walter is a presence on the stage, commanding this troupe of performers through renditions of the classic Batman theme song, and an apocalyptic tune, and one written just for this show. It’s hard to fully process this band, with the dancers, singers, instruments, and general zaniness of the set. But trust me when I say this band cannot be absorbed via CD. You need to see them live. (Max Bowen)

 

ERIC BETTENCOURT,

SCOTT PETERSON

One Longfellow Square,

Portland, ME

11/17/11

It’s freezing outside and we squeeze into the crowded foyer. The bar is wristbanding people over 21 because some attendees look so young but there’s also a nice supply of gray hair present. It’s a CD release party and there are piles of reasonably priced CDs on tables.

Scott Peterson comes onto the stage with his long, thick, curly brown dreadlocks and a beard. He has a sweet smile, an intricate guitar playing style and a distinctive tenor voice. I like his songs. He piques my interest when he says that while having a period of writer’s block, he found an old book of poetry and decided to set some poems to music. Outstanding among these is “Lie Awake” by Amelia Josephine Burr and “The Colliery,” a song about coal mining based on a poem by Vernon Watkins. He plays another one based on two poems: “Crooked Hills of Holbrook/Hills of Mexico,” with additional accompaniment by Ron the drummer and Bill the bass/slide guitar player, who considerably fill out his sound. Once he gets going, he really starts cooking; his voice gets stronger and more passionate. He warms up the crowd nicely for Eric Bettencourt and gets an enthusiastic response from the audience.

Eric Bettencourt comes out to a cheering, sold-out room. There is a big Willie Nelson-esque hole in his acoustic guitar. He is slim with a face that reminds me of a young Frank Sinatra morphed with Johnny Depp. He sits down and is joined by Seth Kearns on drums, and Pete Morse on bass, and three backup girl singers. He sounds like he could be Melissa Etheridge’s younger brother—his voice is raspy-dry and hoarse and full of soul. He makes me think of Van Morrison, Rod Stewart, and Bonnie Raitt. He delivers song after song in tight arrangements with an interesting relay going on between alternating drummers Seth Kearns and Charles C. Gagne, and alternating backup singers, Amanda Gervasi, Monique Barrett, Megan Jo Wilson, and Sara Hallie Richardson. The backup singers have beautiful voices and make gorgeous harmonies. Bettencourt’s gifts are apparent. His songs are unique even though they have familiar genetic roots. He is likable and sweet. Someone yelled, “I love you Eric,” and he said almost shyly, “I love you, too,” and later when they persisted, “Aw, stop.” I had never heard him before but I was carried away by his heart and soul. (Kimmy Sophia Brown)

 

NATALIE FLANAGAN BAND,

DOUG MacDONALD,

DAVE WILDMAN,

JAY ALLEN

Tavern at the End of the World, Charlestown, MA

12/8/11

First time to the end of the world and it looks like they have a nice setup with a front bar room and a back room for the entertainment that is trimmed with Christmas lights. Jay Allen does a quick soundcheck by making up a song called “Play and Say Something.” Jay’s an old school rocker and I wasn’t sure how that would translate to the singer/songwriter thing, but Jay’s tunes are very listenable with good stories to follow. One song, “Am I Rough Enough” shows how Jay is not dainty with his guitar technique—and he kinda growls through parts that are probably guitar solos when he plays with his band, the Arch Criminals. He dedicates “Bar Fly” to the birthday gal of the night and includes the line “Gotta get her home and make love before she passes out.” “Fryin’ Pan Justice” is about getting too drunk and paying the consequences. But Jay admits he’s “just a matzo ball for your love.” He doesn’t pretend to be anything he isn’t and delivers the goods honestly.

Dave Wildman is up next with his rectangular eyeglasses and long sideburns. He starts with a shout out to the same birthday gal just because she said she’d kill him if he did. Dave takes a poetic approach; “She’s Not Really There” is about the girlfriend who died and the guy who’s in denial. The song has an interesting descending chord structure. And there are more songs about twisted relationships that include cannibalism and sex with the gal being set on fire. “Mountains of Shame” is heartfelt, but he admits it’s just to fool you into thinking he has a heart. He writes songs in his sleep and during devastating hurricanes that never happened. And he pays tribute to the ’60s Victorian phase—when the Stones put harpsichord in their songs like “Lady Jane”—and cops little guitar lines from “Paint it Black.”

Doug MacDonald is up next with his Guild pointed cutaway acoustic, and he’s got this one finger strum going, while the song explains that it’s safe to walk in Quincy Center at night. Quincy returns a few times throughout the set and Doug is on quite a roll with his clever lyrics that continue to make me smile. One is about Martin Doyle loosing his glasses—they were stolen by beavers who use them in their dam so they can see alligators coming. “I’m A Perverted Guy” has us all shouting out “You’re ugly—you’re hideous.” Doug puts on a fun entertaining show and the crowd lets him know they like him.

Last up is the first actual band of the night. Natalie Flanagan lets her hair down and transforms from a hooded sweatshirt bar gal to an attractive performer leading four guys. I notice a sculpture of a lady with no arms. Natalie threatens to throw out a guy she catches yawning, before she rolls through “Take Me To Heartache.” She poo-poos on bands that ask for pre-CD money and finishes her fourth beer—claiming it’s okay because she’s Irish. She’s got a bit of that Chrissy Hynde thing mixed with a Bob Dylan approach in her country-tinged Americana. Her band is excellent and even though they’re keeping the volume down, it still manages to be a little too loud to catch lyrics. The fiddle solos echo into the night as I head back to the other end of the world—Gloucester. (T Max)

 

THE SINBUSTERS

Magic Room Gallery, Brighton, MA

12/2/11

In the past year I have seen many garage rock bands: local, national, and international. Like any genre or style, some artists are better than others, but what I love about every garage act I see (or at least those that are labeled garage) is a sense of ubiquitous, never ending fun, almost like a commitment to having a good time. The Sinbusters certainly exemplify this quality and they bring their A-game tonight to the Magic Room Gallery. The trio rocks hard, bashing out loud chaotic jam after jam. The lead singer/guitarist, Nick Colella in particular, exerts a lot of enthusiasm, often hopping into the crowd for a slamdance or two. I have seen the Sinbusters before and they were awesome, but this performance is superior. In fact, the group is easily one of the finest bands I have seen in Boston this past year. Garage fan or not, look out for the Sinbusters. (Chris DeCarlo)

 

LYDIA THORNTON & HUGH McGOWAN,

BROWN NOTE ENSEMBLE,

UMBILICAL CORD

The Burren, Somerville, MA

1/10/12

For years the Burren has been home to a popular open mic series hosted by the talented Hugh McGowan. Every Tuesday night at the Burren, the cavernous back room fills with singer-songwriters armed with a hodgepodge of acoustic guitars, mandolins, and other assorted noisemaking devices. As with any open mic, you have a wide variety of acts and talent. There is no shortage of Bob Dylan, Joni Mitchell, Dave Matthews, and Jewel wannabes. There’s even a guy who could be Adam Duritz of Counting Crows. However, my favorite act of the night is John Stump of the Brown Note Ensemble, who does a fine Bill Morrissey cover, “Letter from Heaven” solo on bass. He also showcases a fun original that he aptly titles “I Want You ’Cause You’re Standing Next to Me.” The slap and pop of deep funky chords on a five string bass shows an unprecedented level of innovation and musicianship.

My other favorite is the metal band Umbilical Cord, performing for the first time. You can tell these guys are new, or extremely determined, because they lug a full drum kit with two bass drums on stage for their 12 minute set. They play heavy metal and themes from video games like the theme from Zelda: Ocarina of Time. They play with such passion, banging out five songs. When there are a few minutes left over at the end of their allotted time, there is some awkwardness because the band indicates that is all the material they know. I must say however, that it’s very cool that the Burren gives kids shots like this and let this kind of musical act happen at an open mic.

The night closes with a great singer, Lydia Thornton performing with the open mic’s host, Hugh McGowan. Lydia’s voice sparkles and Hugh’s guitar shines like beacons in the night. This talented pair make sure the night closes on the right note. Nicely done. (Kier Byrnes)

 

WHAT TIME IS IT MR. FOX?,

KRISTEN MILLER

Old Sloop Coffeehouse, Rockport, MA

1/7/12

Whoa! The Old Sloop is absolutely packed tonight. Extra seats are being pulled out and placed in any possible open area. Cellist Kristen Miller graces the stage in a semi-formal gown. She stands while creating loops that build layer upon layer in “Standing.” A one-note chug holds the rhythmic bottom, while slow moving notes build chords, giving way to beautiful melodies surfing atop a moving ocean of sound. Next she lays down a cool Morphine-type bass line and speaks over it with Laurie Anderson artfulness. The title track of her CD Walk evokes beatniks at a 1950’s poetry jam sticking the line “You don’t choose who you love—you love who you choose.” She whips out a cover of Eurythmics “Sweet Dreams (Are Made of This)” to show us how her looping style can be utilized in recreating songs we know. She eliminates the line, “Some of us like to be abused” in what I interpret as a personal statement. She has violinist Nathan Cohen join her for her dive into performance art, as she lays down with cello on top of her. She recites lines like, “I broke up with him, he did not break up with me.” Nathan subtly reacts to each line drawing more than one laugh. Later she offers the best line ever to sell her CD—“I promise you that you will have my CD longer than I will have your $10.” And I know it’s worth buying.

What Time is it Mr. Fox? starts off with a standup bass vamp and plucked violin, but soon morphs into a totally different feel incorporating a fiddle jig with that same bass vamp. Lead vocalist/guitarist 3rian King adorns a large top hat and can croon like a member of the rat pack if he so desires. He quips about playing in a church knowing his songs are filled with religious confusion—which is apparent in “Trinity” with the line, “Your love, it always feels like hate.” The next tune, “The Ladies Tree,” could have been in an Andrew Lloyd Webber opera with Joan of Arc the subject. 3rian states that Joan of Arc ultimately was condemned for wearing men’s clothing. This group has filled out since I last saw them two and a half years ago in this same venue. They’ve added three female background vocalists (the Furies—Shana Cahill, Liz Bean, Aura Valdes), viola player Dayla Stoerzbach, and Lori Perkins on the organ, while long-timers Mike Leggio (standup bass) and Nathan Cohen (violin and trumpet) fill out the stage around 3rian. Also adding to the big sound tonight is Kristen Miller’s cello. With 3rian on piano, the band shows its circus and German influences in “April Pearl,” again sounding like it was taken from a Broadway musical. Nathan shows off impressive violin techniques in “March of the Hares” and the crowd doesn’t hold back their appreciation. By the time we get to “Helium,” the Furies are back on stage and strange high pitched sounds are traded between the organ and violin offering the most experimental segment from Mr. Fox. The style jumps to gospel on Irma Thomas’s “Cold Rain” with chords building nicely. And then in “Little Bit of Blue,” my favorite of the night, the choir girls chant a traditional French Canadian tune with 3rian getting all soulful—it’s a lovely mix of styles that smoothy transition into a violin solo with a new feel. People start clapping along and continue when the song is done, bringing Mr. Fox back to encore with boppin’ version of “Tainted Love”—but they aren’t done ’til they play “Gospel of Beauty” with the line, “I forget how you almost killed me” drawing some laughs. This is a powerful, much appreciated presentation. (T Max)

 

BIG MESS,

A BIT MUCH

119 Gallery, Lowell, MA

11/12/11

A Bit Much is a local trio that specializes in uncompromising hard rock music. The band claims, “Rock ’n’ roll is not dead. No, my friends it’s just approaching that time of life appallingly similar to death: middle age. And a bit much is rock ’n’ roll’s mid-life crisis.” I think crisis is a little harsh, but there is a frenetic quality to this band for sure; they do a number on my ears, diminishing what is left of my hearing. Beneath the volume, I do hear a great deal of classic ’70s rock influence and perhaps this is how they see themselves as rock ’n’ roll’s “mid-life crisis.” In any case, I dig the loud, pulsing guitars, which remind me of classic rock giants AC/DC and Van Halen (especially their early work). With that being said, A Bit Much appears to be a band that dips back and forth through various genres/eras in the history of rock ’n’ roll.

Big Mess follows in a similar vein as A Bit Much, playing thunderous, classic rock inspired songs. The band dishes out a set filled with pounding, infectious tunes. They open with what I consider to be their catchiest song, “The Hook,” with the title to be taken literally. I am usually not a big fan of instrumental music, but Big Mess is a definite exception. Each riff you hear is memorable, in some instances almost instantly. Like Black Sabbath, the group makes great use of timing; the band often lingers in quiet moments, only to build up to a brilliant explosion of noise. “Gueule de Bois,” is one of my favorite Big Mess recordings and seeing them play it live just makes me appreciate it all the more. Big Mess appears to be making a name for themselves in the Boston underground music scene and this performance certainly reinforces their reputation. (Chris DeCarlo)

 

SCUD MOUNTAIN BOYS

Pearl St. Clubroom, Northampton, MA

1/15/12

We stopped into Noho to enjoy the reunion tour of the Scuds after a fifteen year hiatus. Originally from Northampton, they are a major progenitor of the local alt-country-rock scene. For a few short years in the mid-’90s, Joe Pernice, Stephen Desaulniers, Tom Shea, and Bruce Tull set a standard for precise, well-written roots tunes. Many groups (i.e.: Wilco, Calexico, Drive-By Truckers, etc.) followed in their wake with more success, after Joe P. left to form the much acclaimed Pernice Brothers during the next dozen years. Tonight, seated around a dimly lit table, they spin their low-key, gentle songs to a totally appreciative audience. Never having seen them before, they remind me of a mixture of Session Americana and the late great Willard Grant Conspiracy. No hee-haw or yahoo—just fine low-key confessional tunes. It’s totally surprising, effortless, and most enjoyable. Pernice jokes, “This is our third show in 15 years. Our sound man said it sounds like only 12 years since we last played.” An opening act, John Cunningham, an Irish folksinger, is quite pedestrian between the Scuds and the always effervescent pop-rock of Ray Mason (whose band now contains the afore mentioned Stephen D. and Tom S.). What a great night! (Harry C. Tuniese)

 

CHRIS SMITHER,

SCOTT ALARIK (host)

Me & Thee Coffeehouse,

Marblehead, MA

12/9/11

Back at the legendary Me & Thee Coffeehouse—with 41 years under its belt, this place knows how to book and run shows (thank you, Kathy Sands-Boehmer) of high caliber. Phillip Murphy, emcee and house crew coordinator, takes the stage to welcome the audience and bring up his evil twin brother (it’s really him with a New York Yankees cap on) to let us know the whereabouts of the fire exits. Philip turns this into a creative piece with folky hip hop rhymes. After a good laugh, he brings up Scott Alarik, a folk singer and writer who recently released the novel Revival—the book that Rita Flange insists was written about her. So I started reading the book to see if there’s any validity to her claim. It’s a good read… and now I’m wondering if Scott wrote this about me. Anyway, Scott Alarik is here tonight to read a couple of excerpts from this very book. He chooses a great folkloric tale about Lightnin’ Hopkins’ sly “David and Goliath” plan to get what he wanted for recording his songs with the big record labels of the day (1950’s). You should read Revival to see if Scott wrote it about you. He introduces Chris Smither as a singer-songwriter who is as good as it gets. Chris is a tall lanky guy who looks like he could have been a British invasion rocker. He plays with finger picks and his foot tappin’ is his built in rhythm section. He’s somewhere between Tom Waits and Randy Newman, with a dry low voice and a real knack for storytelling within his songs. At one point he even sounds like Jerry Lee Lewis using a guitar instead of a piano. The bulk of his songs deal with relationship issues—mostly women dumping him—but they are tinged with humor. One that sticks out, “I’m All Alone,” seems to be about all these women who have left him, but it turns out to be about the dogs in his life that have come and gone. Then there’s his daughter (he became a new dad at 60) who asks about everything—it’s all in the song “I Don’t Know” and now she wants to know about the royalties. Chris Smither puts on a cool show and the folks at Me & Thee readily show their appreciation with an immediate standing ovation. I think I just figured out that Scott Alarik’s book is about Chris. ( T Max)

 

BEN & SALLY TAYLOR

The Red Room at Cafe 939, Boston, MA

12/15/11

Before I even walk through the door I know this rare local concert of James Taylor and Carly Simon’s children will be a special event. Ben Taylor comes onstage alone to open the set and performs the clever and humorous “Boyfriend” written by David Saw. Then Sally Taylor and David join Ben and go through a great set that showcases their tremendous songwriting abilities. Yes, at times Ben sounds like his dad and yes, at times Sally sounds like her mom, but that isn’t their main attraction. Ben’s “You Must Have Fallen” and “Nothing I Can Do” are brilliant foot-tapping acoustic folk and his song “America” impresses me, as it’s like the “This Land Is Your Land” of the current young generation. The changes in the dynamics of the group when Ben sings in front and Sally and David sing beautiful three-part harmonies or when Sally sings lead and Ben and David do backup is very exciting. Another cool facet of this show is when the siblings rib each other while talking to the crowd. You can tell they are brother and sister and love performing together. When Sally introduces her song “Give Me the Strength” and retells her personal feelings dealing with Carly’s cancer scare, the performance touches the listeners even more. Or her sharing the relationship troubles that led to her writing “Disaster” really makes the song reach me even deeper. They also do “Mad World” (Depeche Mode), “Better Be Home Soon” (Crowded House), and a cover of “Tomorrow” a song they joke is from Bugsy Malone, one of their favorite movie as kids. In the audience, I watch uncle Livingston enjoy his niece and nephew carry on the family tradition. A great show . (A.J. Wachtel)

 

CHILDSPLAY

National Heritage Museum, Lexington, MA

12/4/11

This Cambridge-based fiddle extravaganza features some of the best fiddle players in the world and has toured for 26 years. The makeup of Childsplay includes a guitar, standup bass, keys, harp (the string kind), banjo, a couple of cellos, a flute, one lead voice, and 11 fiddles! All of these fiddles were built by the group’s artistic director and fiddle player, Bob Childs. The show starts with the crowd of fiddlers (80 percent female), dressed in a variety of autumn orange and cranberry colors, taking their places on the wide theatric stage. One fiddler, Hanneke Cassel, stands forward and plays solo with the backing of only guitar and bass. As the second verse begins, all the other fiddlers take a step up and fill the room with the lush sound of strings. “Katrina” was written by Lissa Schneckenburger, one of the most relaxed amazing fiddle players I’ve ever seen. There are a wide variety of faces and bodies on stage—I can’t stop searching for more to look at. More appears when step dancer Nic Gareiss enters full of purpose. Later, the exuberant Shannon Dunne appears as the second step dancer. Every slip, slap, slide, and tap is audibly translated through the microphones in their shoes. The two enter and exit quickly, keeping the show moving along with different fiddlers taking the spotlight. Bonnie Bewick of the Boston Symphony Orchestra plays as if the strings are attached to her heart. She solos in the gypsy-like “Turka” and the wonderfully orchestrated arrangement of “Shenandoah.” “Dante’s Prayer” is another one with a beautiful arrangement featuring Aoife O’Donovan on sweet vocals. This show totally features the fiddle in bluegrass, Irish, folk, gypsy, and Americana styles, but the one highlight that really sticks is Steve Hickman’s display of hambone. Alone on the stage with three mics aimed at his body, he slaps and brushes his thighs, chest, cheeks, mouth and anything that supplies a sound. He does it with style and humor. Toward the end of the show Bob Child’s introduces all the performers and the key people behind the scene who supplied great sound, lighting, and overall production. The group rolls through a three-part polka, composed by the group’s guitarist Keith Murphy, that brings most of the house to its feet. They encore with a rousing “Come Back Woody Guthrie”—the step dancers are going wild adding a side slide that all the fiddlers notice and start mimicking. The audience pours out how grateful they are with a full standing ovation for quite an exhilarating show. (T Max)

 

BLUEGRASS NIGHT

Atwood’s Tavern, Cambridge, MA

1/9/12

Tonight is the deadline for one of the other papers I write for but I have writer's block and I’m more in the mood to put a few beers down than some ink. So I head to one of my favorite local watering holes for some liquid and musical inspiration. Atwood’s has begun hosting bluegrass sessions every Monday night. Tonight features Jimmy Ryan on mandolin, Eric Royer on banjo, Sean Staples on acoustic guitar, and some guy I didn’t recognize on bass. Not wanting to interrupt their session for the sake of the review, he will unfortunately go nameless. This four piece sets up right into the crowd in the middle of the floor, with only a barstool between the four, holding their various glasses of bourbon and beer. The result is some face-melting, awe-inspiring classic bluegrass emulating the high lonely sounds of Bill Monroe to the breakneck fingerpicking of Earl Scruggs and Lester Flatt and everywhere else in between. I’m sorry that I didn’t catch the bass player’s name, but with music this good, I’ll be back next week for a second attempt. (Kier Byrnes)

 

AMOS BLOOD,

FOREVERS’ FALLEN GRACE,

STRANGERS WITH KNIVES,

THE TRASHKILLERS

The Beachcomber, Quincy, MA

12/16/11

What better place to spend a cold December night than at the Beachcomber, Quincy’s swankiest Summertime dive? Hey, I’m not complaining. There’s plenty of beer, a superb sound guy, and—thanks to UNregular Radio, the brains behind tonight’s operation—one helluva line-up. Let the fun begin.

The TrashKillers kick the night off—and by that I mean they dropkick it with a pair of steel-toed boots and make the night their bitch. A band with a name like TrashKillers has a certain reputation to uphold. Namely, to be as rowdy as they possibly can without breaking the law, or at least without getting caught. In that regard, this thrash-punk trio live up to their ferocious moniker. Each song has a breakneck tempo with lotsa d-beat drumming. Their frontman sounds like Dicky Barrett with laryngitis. The songs touch on a variety of hard-hitting subjects, like the folly of owning a flower garden and the band’s hatred toward Mexico, yet love for tacos and tequila. These guys are a heavy dose of hardcore punk music with a wry sense of humor that I can’t help but admire.

Next up is Strangers With Knives, a horror-punk outfit based out of Allston. The lead vocalist takes the stage wearing a ratty Misfits T-shirt and a hospital bracelet attached to his wrist. He’d been admitted the day before with a collapsed lung and got out an hour before showtime. Now he’s onstage and ready to belt out a couple hair-raising tunes to the audience. Now that’s dedication! He doesn’t so much sing as speak and yell rhythmically to the music with an occasional burst of maniacal laughter. It works well with the dismal homicidal nature of their music. The guitarist looks like a mix between Jesus Christ and Charles Manson. How appropriate. His amp head and stack are straight outta the ’60s. Same goes for his guitar style. He has a razor-sharp surf-rock tone and a surplus of raunchy rockabilly riffs that rage above the dirge-like plodding of the bass and drums. The horror, the horror! Completely over-the-top, these guys put on quite the show.

Forevers’[sic] Fallen Grace, an unremarkable metal band, is up third. I guess you could say these guys provide the comic relief. Not on purpose, though. Throughout the band’s set, their lead singer, a long-hair with a receding hairline, stumbles drunkenly across the stage, headbanging and grumbling into the mic. For a climax, the lead singer falls flat on his ass, spills his beer, and nearly knocks over one of the guitarist’s expensive-looking stacks. Fallen Grace, eh? I hope the irony’s not lost on him.

Amos Blood takes the stage just in time to salvage what’s left of the night. This band mashes together an eclectic group of styles—blues, rockabilly, sea shanties, you name it—along with the volume and oomph of metal to form a super-dense ball of concentrated badass-ness. There’s an upright bassist (always a welcome surprise) with its warm fluid plunkings amidst the thunderous cacophony of the drums, and the psychobilly twang of the guitar. There’s even a separate percussionist with a couple toms to really thicken the primal rhythms. Last but not least is their powerhouse singer, with a gruff voice that breathes fire and brimstone. All together, they sound like a band you’d hear playing at a biker funeral. (Will Barry)

 

SELF-PROCLAIMED ROCK STARS

West Side Social Club, Wakefield, MA

11/23/11

The Self-Proclaimed Rock Stars come home to Wakefield, MA, for their annual Thanksdrinking Day show to kick off the holiday weekend. Everyone is in a merry mood and the music only enhances the joy spreading through the room. The band maintains this celebratory aesthetic throughout their performance, acting as an extension of the overall party. In their hometown, they are at ease, playing a smooth and undeniably tight set. SPR mix things up with both originals and covers; in both cases the crowd reacts positively. Their covers vary from FM staples such as Queen’s “Fat Bottomed Girls” and Led Zeppelin’s “The Immigrant Song” to more relatively obscure but nonetheless classic versions of the Pixies’ “Where Is My Mind” and Nirvana’s “Frances Farmer Will Have Her Revenge o n Seattle.” All of the above are longtime favorites of mine and each rendition is unique, but stays true to the original as well. (Chris DeCarlo)

 

OBSIDIAN TONGUE

O’Brien’s, Allston, MA

1/16/12

It’s not just a celebration of Martin Luther King Jr. Day at O’Briens, it’s a celebration of metal. Obsidian Tongue is a black metal duo that wails in every sense of the word. The volume is high, the energy tremendous, and the screaming vocals sounds as if permanent damage is being inflicted on the singer’s vocal chords. I can’t make out a single lyric, but that’s okay I suppose, it’s all part of the genre. Between songs, I eaves drop on the couple in the row in front of me. One comments, “That was good,” the second replies, “I feel like I’m deaf; I’m going home to feed the cat.” I am told by the bartender that this duo is in another popular band called Blood of the Gods, which apparently doesn’t have as much screaming and machine-gun-style drumming on the double bass pedal. You gotta love Allston. (Kier Byrnes)

 

THE TRUTH ABOUT DAISIES,

BOB DANZILO,

JOHN MALLOY,

JOE GALLANT,

PETER ALEXANDER

One Longfellow Square, Portland, ME

12/14/11

I arrive a little late for the Maine Songwriters' Association open mic event. It’s too bad, because everyone is saying how wonderful the first singer, Max Garcia, was, but alas, I missed him. I enter while Bob Danzilo is playing. He’s from my generation—a strongly built man with a lovely, resonant voice, singing seafaring songs. He’s a good guitar player, has a comfortable stage presence, and I’m impressed by the freshness and strength in his voice. He plays two or three original songs and then does a cover of a Stan Rogers tune called “The Lockkeeper.” He tells us that he is a yacht captain by day, and mentions how ships and music have gone together for centuries. I like his compositions “Inner Smile” and “Stars on the Ocean.”

Up next is John Malloy, a big teddy bear of a guy. He has a really nice tenor voice that is surprisingly powerful. I think if he has voice training he could do musical theater or possibly even opera. He has an understated presence, very quiet and likable. His first song is about a rope swing. He muses, “Let’s pretend we’re at a Sweaty Moss concert,” and he sings, “Radio you read me.”

Peter Alexander, the president of the MSA, is the MC. He introduces a young man named Joe Gallant. He is a real cutie, kind of a Donovan meets Paul McCartney (I’m giving my generation away again!) He’s an earnest, clean-shaven young man with a knitted cap and a lot of heart. I really like his first song, “Sweet Rebellion,” especially when his voice goes up when he sings, “Save me, sweet rebellion.” Peter says that all the CDs that Joe cut are sold out. I’m not surprised because he looks like a heartthrob. He is a passionate rhythm guitar player. His voice could use a little training but he has a lot of enthusiasm.

Peter Alexander tells a story about his wife being out of state for many months caring for an ill parent. While she’s gone Peter writes a song called “If You Know Me,” about missing her, which he says came out all at once, from beginning to end. He plays it elegantly on a 12-string guitar, and has a good strong voice.

Now it’s time for the Truth About Daisies. It’s a memorable name and immediately makes me wonder what the daisies have been up to! Ronda Dale is dressed in several shades of pink and orange and plays a mean bass and supports with lovely backup vocals. Doug Swift plays lead guitar, banjo, recorder and has a clear, steady voice. Sheila McKinley is a tall, striking blond woman who could be the cousin of Mary Steenburgen or Jenna Elfman. The band has a kind of country sound. I can imagine Emmylou Harris recording any of these songs—“Forgive Me,” “Hard Time,” “Night Falls,” “Pink Peonies.” Sheila is a passionate songwriter and her songs are full of feeling. She has a great voice, full of power and emotion. I think I know where the melody of a song is headed and then it goes somewhere else. She wrote one for her sister who recently lost a husband, and that one is particularly moving. I think Emmylou ought to meet them, I think they’d hit it off. (Kimmy Sophia Brown)

 

WILD MAPLE,

JULIE DOUGHERTY

Cat in the Cradle Coffeehouse, Byfield, MA

11/19/11

Singer/songwriter Julie Dougherty starts off her set sounding like a country gal. She’s with full band tonight—Jimmy Scoopa shares the tasty guitar licks, drummer Jack Osoro handles the thunder rods and brushes with precisions, and Julie’s husband Woody Woodward (reminding me of Bill Clinton tonight) supplies the solid bottom with the four-sting electric bass. Julie’s croonin’ “The Real Deal” co-written with her talented niece Kelly Fitzgerald while Jimmy adjusts his Tele’s tone through a ’63 Fender Viboverb. Julie strums her acoustic guitar with metal fingerpicks while she sings a beautiful song, “You Have No Choice,” for and about artists who follow their path. She changes the gender in the cover of the Zombies’ “Tell Her No” and audience girls dance the space in front of the stage. Pulling the strings of romance in “Private Island,” Julie sings about a place where she and Woody will retire. Experience and talent has brought this woman to the forefront of her craft.

After a short break for snacks downstairs, the acoustic duo Wild Maple takes the stage joined by Woody on bass—pulling double duty. Trish DeCaprio dips while slicing melodies from her fiddle. Her porcelain doll features are accented by a sexy off both shoulders’ lacey black top. Her sound is rich and her blonde curls dance with the beat. Guitarist Gary Dolinsky has the look and the talent that would fit the Kingston Trio. He has a crisp guitar sound and is the storyteller when the two are not engaged in tight harmonies. Their songs range from traditional folk to light Americana and verge on Celtic at times. The staccato instrumental introduction in the Beatles’ “I Will” shows off their creativity. The maritime tune “Lord Franklin” tells a devastating tale of sailors looking for a northwest passage only to be frozen before completing their task. These two really bounce and swing tonight and we learn that Julie Dougherty is responsible for bringing them together years ago at her open mic at the Grog. Wild Maple rides us out of town with “Ride.” They’re an impressive pair and Trish does a thorough job of sharing her heartfelt thanks. (T Max)

 

METEORA

Maine Coast Artist Studio, Friendship, ME

11/17/11

We’re Christmas shopping at a Holiday Fine Arts Open House. After perusing paintings and pottery, we are treated to a set of live music! Meteora is a folk trio, comprised of Will Brown, Jim Loney and Kat Logan. Their main asset is their wonderful three-part harmonies. From the first note of the first song I am moved to tears. Will Brown plays the guitar as if it were part of his body and he sings like a Christmas angel. Tall and lean Jim Loney, has a beautiful tenor voice and a kindly stage presence. Kat Logan has a rare, crystalline voice and conveys buckets of heart and love through her sweet face. They all play guitar and spice it up with banjo and congo drums and the whole presentation is first rate.

Their version of the Kate Wolf song “Brother Warrior” undoes me. They play a variety of secular and sacred songs including a Cuban folk song; “Arlington” by the Wailin’ Jennys; “The Christmas Song” and “Baby, It’s Cold Outside.” They make me cry again with “The Kid,” by Buddy Mondlock. “Tebe Poem,” is a gorgeous Slovakian choral piece. They finish with Kat’s composition “Grace,” and then “Bring Me Little Water, Sylvie,” which segues into “Go to Sleep, Little Baby.” I’m blissed out! Watch the musical calendar for the Rockland, ME, area to get a chance to hear this wonderful group. (Kimmy Sophia Brown)

 

BARRENCE WHTFIELD

Chianti Tuscan Restaurant & Jazz Lounge, Beverly, MA

11/23/11

“It’s about Black Friday, not because of me or this,” as he pulls at the side of his stretchy black shirt, and the band launches into “Mad House,” qualifying his reference to the crazy shoppers who will come alive two days from now. He grabs the old rounded “Elvis mic” but this show is in control, so far, with the man of the night sitting comfortable on the edge of a stool. The band is Johnny P on bass, Kemp Dunn keeping time, Robert Lyons on sax, and first-timer with Barrence, Jay Aptt supplying the guitar licks over blues and R&B progressions. Barrence talks about his recent European tour where all the buildings in Portugal were old—because the entire city is old. He orders fizzy water with cranberry juice and let’s his audience know that he’s available for Thanksgiving dinner tomorrow night. He states that he misses the dancin’ from the old days as they slide into “Big Fat Mama,” a stroll with growling sax and blues riffs coming from the black Fender Jazzmaster. Barrence quips, “Don’t stop, it’s a holiday,” to extend the solos. Johnny’s walking his five-string bass and Kemp adds a lot of drum accents to keep all on their toes. Anne and I are here to eat, so we roll into the other room to catch the kitchen just before closing. Through the walls I hear the muffled sound of Otis Redding’s “Sitting on the Dock of the Bay,” followed by lots of screaming, a drum solo, and more screaming. We finish our tasty pasta and ravioli dinners then squeeze our way through the packed barroom between band sets to be released onto Cabot Street in Beverly. My thoughts: “Barrence is cool—always has been, and always will be.” (T Max)