HXC: Interview with Alex McCormick of PartyWolfe

PartyWolfe are an unstoppable force making its way slowly into the Providence music scene. These fine gentlemen hail from New Bedford, Fall River and Providence, and share some members with notable bands like Math The Band The Band. PartyWolfe does exactly what their name says: They bring energy to any show they play. All the members have fantastic stage presence, but Mr. Alex McCormick, vocalist, is absolutely insane on stage. You’d think that this man was fueled by that cute energizer bunny. I was lucky enough to steal some time from Alex’s rad life to ask him some questions about PartyWolfe and his thoughts on music and performing live.

Matt Morales (Motif): So, could you name the members in the band and what they do?

Alex McCormick: I’m on vocals and am the whimsical weirdo. Andrew Victorino is Stick flipper/Skin Ripper. Dan Hetu plays what he’s coined the dumb guitar, aka the bass. Jeff McGowan is our lead guitar/main writer/pedal pusher, and Kyle Sousa likes to party.

MM: How long have you guys been writing music together? Please tell me the guys in the band saw you singing at karaoke one drunken night and recruited you from there!

AM: We’ve been writing together for a year and a half. Kyle re-discovered me making an exchange with my local liquor dealer in Fall River at Sterlings Package Store. We went out, partied in Providence and I drunkenly free-styled vocals over some instrumentals in his car. Rest is history. I’ve done karaoke once. I entered to help myself, my band aaaaaand I lost in the finals. I lost the contest and out on work hours. Fuck me, right? Haha.

MM: What would you say are your main influences for the band? I hear similarities with Everytime I Die, Chiodos and Maylene Sons of Disaster. PartyWolfe seems to revive the metalcore and post hardcore scene that was alive in the early 2000s, but you’re refining it and making it your own.

AM: My influences for the band are hardcore/punk music and culture in general, puns, personal- philosophy, sociology, social experiments, people-watching, “Hood rat”/inner city struggle/behaviors, 2pac, John Lennon, meditation/astral Projection/Vipassana, psychedelic research and my journey for personal peace. Who my vocal influences are, I’ll leave to the listener to speculate. Jeff’s influences are “Mr Bungle and musicians who are better than him” haha. Drew loves prog music. ETID in terms of all things notable are lyricism, musicianship, longevity. It’s a rarity, I feel, that a band nails all of those things so seemingly casually, especially so consistently. As monumental as they are, we as a band are on our own pathway and are flattered to be muttered, still a newborn band, in the same breath as them. Also “Yo, KB – Stay lucid, homie. I see you though.”

MM: What inspires you guys to do what you do? For you, what is your main drive behind PartyWolfe? Do you have a specific message you’re trying to convey?

AM: I actually had a great dialog with a new-found homie who works at AS220 in Providence about this topic recently! I’ll paraphrase: We’re five dudes bound by the love for music and artistic expression. Life is short. We live in a mad fucking world, a LOUD world and in a country that is collectively very spiritually convoluted, sad and angry. I’m obsessed with, day by day, becoming a better/happier human and overall just leaving my mark on this planet, doing my part. Without being a racist, bigot, sexist or homophobic, I aspire, through our live-show and music, to use vulnerability as a strength, to inspire myself and other humans to be unapologetically expressive for the sake of personal peace and human/psychological/conscious development. It’s a tall fucking order. Music is the only legacy I have to leave behind as a man. All my childhood friends are dead, on drugs, in jail, or even worse … rotting away in their own personal mental-prisons. If I don’t step up and create something bigger than myself or my ego, then I feel my time on this earth will all have been in vain. My message(s)? With out being a racists, sexist, bigot or homophobic, “do what thou wilt,” be kind and have fun, and be unapologetically expressive and true to who you are for the sake of personal peace and human development.

MM: Describe the band’s energy on stage visually and musically. I saw you guys for the first time last Sunday at O’Brien’s Pub in Allston. You guys were tight as fuck; I really enjoyed your set.

AM: Thanks for coming out. Good question! I’ve actually never seen what we look like on stage. I warm up, go out there and just kind of get lost in the moment, like my name was Eckhart Tolle. I think that’s another spectator-sort-of-element that only a witness could testify to. My/Our aim is to just inspire people to take part in the moment happening rather than just spectating and feeling separate from it. We want to get it to the point where there are zero witnesses, but a swarm of people partaking in the moment happening. I think that is the prime directive.

MM: I know you guys just released your latest album, Homeless Romantic, not too long ago at Fete. How was that show? How has the album been received by the public? What’s your favorite track off the album?

AM: The show was great. My expectations were blown. The EP has been received pretty well, locally. Spreading it farther than New England is a focus. Favorite track? Gun to my head, it’s “What a Time to Be A-Live Band.” That song really sets a jaded-tone for where I currently am as a musician and perhaps where we are as a young band with everything to prove to the rest of the world.

MM: Is PartyWolfe currently writing new material? Do you have any plans to tour for 2017?

AM: A whole new batch of songs are nearly ready to be recorded. Finding the means to branch out for out-of-state weekend runs is a goal at the moment. I’d sleep on broken glass and rusty nails every night if it would constitute the means to become a national act and have the privilege to connect with and meet new humans every day. MM: As the vocalist of PartyWolfe, what are some of the toughest parts of fronting the band? I’m sure it’s no walk in the park preforming live. Your vocal range is pretty insane, from super angelic to some brutal and burly screams.

AM: 1) Breath control 2) Not fumbling over my words, when feeling vulnerable, while talking to a crowd of strangers 3) Not letting nay-sayers or heckler types dictate the vibe I’m trying to create or set.

MM: What are the best and worst parts about being in PartyWolfe?

AM: Best part for me: I have a popular outlet/platform to express myself and connect with my fellow man. Worst part: I’m a fucking alien to some of my band mates and sometimes our listeners. Some of my band mates and our listeners have “way more chill” than I do, when it comes to approaching life and art. Sometimes I feel like I live/write/play/express myself with a particular and manic urgency that is not always met with loving understanding. Disclaimer: That’s not a jab. It’s okay to be misunderstood by my band mates and peers. That’s part of MY process. I love my band mates and am grateful for anyone who takes time to observe us or listen to us.

MM: Do you guys have any shows coming up soon? If so, when and where?

AM: We do! Some we can’t announce. Some our listed on our Facebook. Thank you for your time, Matt. Much love to you and your own, dog. Stay UP, stay lucid. Shalom.

Find PartyWolfe here:

Partywolfe.bandcamp.com facebook.com/partywolfe instagram.com/party_wolfe

Itunes/youtube/spotify

Hip-Hop: Spotlight on Scribe

I often find upcoming artists trying to sound like their favorite artist. Not too many are creative enough to think outside the box and discover what their sound is. But once in a while I find an artist who doesn’t sound like anything I’ve heard before. That happened a few months ago when I attended a fundraiser for Flint’s water crisis. A bunch of cool artists took the stage, but the one that stood out the most was named SCRIBE. I attended more of his shows through the year and now he is starting to release songs and videos for his upcoming project.

Spocka Summa: Where are you from?

SCRIBE: I am from the East Side of Providence and moved to Cranston when I was in middle school. SS: How did you come up with the name SCRIBE, and what does it mean?

SCRIBE: I went through a bunch of rap names like Count Christopher and C Vex and was about to just use my government name. Then one day I was reading up on Egyptian history and came across the word scribe, which was someone who kept records of what happened. As an artist I definitely cover the things young, yearning people go through as they follow their dreams and talk about what’s going on in the world, so I felt it fit me perfectly.

SS: How long have you been rapping?

SCRIBE: I’ve always been a writer. In grade school I remember my teacher having me read my stories to the class. But I started writing music about 8 years ago.

SS: Chasing your dreams is a tough job. Have you ever wanted to quit?

SCRIBE: It definitely is tough, but I’ve never thought about quitting. Sometimes I second guess myself, but never have I thought of quitting. This is what I live for. I really feel like I get the best out of myself through expressing myself and my culture through music and writing. I feel as though I can inspire a lot of people and that’s what keeps me on this grind.

SS: What is the biggest issue you find being a upcoming artist?

SCRIBE: The biggest issue is getting the exposure you feel you need. Being from Rhode Island is never an excuse I’ll use, but we don’t have the biggest connections or resources out here. Sometimes it’s disheartening, feeling like you’re not getting the exposure you deserve. And some people really could care less about local artists and won’t take them seriously. But joining forces with other local talents, networking and traveling will open many doors.

SS: Do you have any business plans outside of making music?

SCRIBE: I want to write films and act. Music is my first love, but I definitely want to write a few short films and TV series leading up to a feature film. I’ll act a bit here and there, too. I want to do a lot to help my community; as my resources grow, I want to do a lot of charity funds and help my community as much as possible. I want to show everyone how beautiful Rhode Island is and let them know they can make it here doing whatever it is they’re passionate about.

SS: I see you just dropped a video. What inspired you to make this part of your project?

SCRIBE: The video is called Impatient and I dropped a quick verse just basically addressing how I’ve been feeling. I’ve been working really hard and all my best work has yet to be released. So I’ve been growing real impatient. I just want to reveal myself to the world and let them into my world and let them see my vision. But there has to be a method to the madness, so the video was me basically venting to the audience about how although I am growing impatient, I’m doing things the right way and building my stairs to success one step at a time.

SS: How long did it take you to film?

SCRIBE: It literally took us two takes and we only did the second take for reassurance. We ended up using the first take. We thought it was as genuine as it would get. We filmed altogether for like 20 minutes. It was awesome; that was my first music video.

SS: Which song is your favorite that you ever recorded?

SCRIBE: My favorite song I ever recorded so far is definitely “Scribe of My Time.” I’ve performed it at the end of all my shows, but I haven’t released the album version yet. That song is basically my anthem.

SS: Do you have any new year’s resolutions?

SCRIBE: I don’t really have any. I always stress to myself how important it is to be consistent. Every day I want to give 100%, so no matter if it’s new year’s day or a random day I want to progress and keep at it. So for 2017 I just want to continue to grind and put myself in the position to succeed.

SS: Where can people find you?

SCRIBE: People can find me @Supremescribe on all social medias including SoundCloud and just Scribe on YouTube.

Many people give up before they ever have the opportunity to discover themselves as artists. I believe everyone can reach their full potential as long as they are willing to dig deeper than usual. It may take years to make it where you want to be, but consistency is key. Learn from your mistakes and do not ever give up.

Tight Crew’s New Year’s Eve Retro Bash

On New Year’s Eve, Tight Crew will be throwing a “Retro Rewind” Party, taking up three floors at the Hope Artiste Village. For those who like to rave all night and bask in the glow of the black light, their events are the local gold standard.

Providence punches above its weight when it comes to New Year’s Eve festivities, and Tight Crew’s Retro Rewind will be no exception. This is not watching your cousin DJ in your aunt’s basement; it’s a huge production, complete with immersive lights and video (check out the photos from their website if you need proof). There will be music featuring DJ Venom, Sneaker & The Dryer, Jimni Cricket and tons more. Judging by past events, there’s a slim to none chance that this thing won’t sell out, so get your tickets ASAP.

To find out more, I spoke to Tight Crew’s Shane Burke, who operates Supreme Sound & Lighting, responsible for the sound and lighting at the event.

Jake Bissaro: What are you most excited about?

Shane Burke: We’re pumped about the retro theme; we’re going to have vintage video games set up, and old-school bowling (from Breaktime Bowl and Bar) comes with the ticket price. We’ve also made a pretty epic lite bright board. And The Met is always great. JB: It seems like there are a lot of moving parts; what does it take to put together?

SB: All our sets are custom built, so it’s a big job. The crew has around 30 active members, and we have even more than that who help out. If we’ve done the theme before, sometimes it’s just a matter of putting fresh paint on some of the props, but for this one, everything is from scratch.

JB: Does the retro theme mean people should dress for a particular period?

SB: The things we’ve set up reflect the vintage video game era of Pac Man and Space Invaders. But I think generally, “retro” means different things to different people, and we like to have people be creative with the theme. I expect we’re going to see things from the ’70s, ’80s and ’90s.

JB: It’s pretty cool that you guys have been able to consistently sell out these huge spaces.

SB: Yeah, our last two events sold out a week in advance. We’ve been able to build an amazing community of supporters. On the other side of it, it’s unfortunate that some people who want to can’t come, but our fans have been able to set up ticket swaps online that have worked out well.

JB: After the NYE event, what’s next for Tight Crew?

SB: We generally take a winter break, and we’ll be back for our Toy Story event at Fete in April. We’ll also be getting ready for our annual beach party that takes place at the WindJammer in Westerly.

Tight Crew’s Retro Rewind happens on Dec 31 at The Met, 1005 Main St, Pawtucket from 6pm to 3am. The event is all ages, 21+ to drink. Get your tickets here.

The Roots Report: Iceberg Straight Ahead!

Okee dokee folks… I am wondering if I should make a New Year’s resolution this year. I never do. I do, however, NEED to get organized. I live in a state of perpetual chaos. Maybe that is good, especially now, because I think things are going to get very chaotic in a few weeks. I am not sure what is going to happen. I don’t think anyone is. But I don’t think smooth sailing is ahead. I feel like we are all about to board the Titanic. I really hope that it doesn’t hit the iceberg! Let’s just hope for the best and stick together. Bon Voyage! Read on…

I know that a lot of folks feel that the winter is LONG, and it hasn’t even started yet! To help you get in the mood for the season, Music at Lily Pads is presenting The Longest Winter: A Christmas Concert and Singalong on Saturday, December 17. Liam Robinson and Jean Rohe have performed the show for the past nine years. Hosted in venues and house concerts throughout the Northeast, this event has become an audience favorite, and a staple of the season. This year, they bring their midwinter music to Peacedale, complete with a backdrop of a triptych of paper cut light boxes designed by illustrator Andrew Benincasa. Robinson & Rohe go deep into the Christmas repertoire and present the mystical, the melancholic and the soulful. Expect songs you may not know: haunting melodies of old Europe, joyful singalongs of the Southern US and modern takes on the Christmas tale. Jean Rohe (guitar, singing) and Liam Robinson (banjo, accordion, singing) make their selections shine with detailed arrangements and elegant harmonies. For more, yuletide to MusicAtLilyPads.org

Judy Blue Eyes is coming to Craaaaaaaaaaaaaanston. That’s right, the legendary folk performer Judy Collins, inspiration for the Stephen Stills’ song, will be at the Park Theatre on Friday, December 23 at 8pm. For over 50 years Judy Collins has inspired audiences with angelic voice and songs. The award- winning singer-songwriter is esteemed for her imaginative interpretations of traditional and contemporary folk standards and her own compositions. Her rendition of Joni Mitchell’s “Both Sides Now” from her landmark 1967 album, Wildflowers, has been inducted into the Grammy Hall of Fame. Collins’ version of “Send in the Clowns,” a ballad written by Stephen Sondheim for the Broadway musical A Little Night Music won Song of the Year at the 1975 Grammy Awards. Judy began her music career at 13 as a piano prodigy and dazzled audiences with Mozart’s “Concerto for Two Pianos,” but the folk revival music by artists such as Woody Guthrie and Pete Seeger seduced her away from a life as a concert pianist. In 1961, she released her debut, A Maid of Constant Sorrow, her interpretations of songs by artists like Bob Dylan, Phil Ochs and Tom Paxton. Later she helped introduce other singer- songwriters such as Leonard Cohen, Joni Mitchell and Randy Newman to a wider audience. Judy Collins, who is now 76, is as creatively vigorous as ever, writing, touring worldwide and nurturing fresh talent. She is a modern day Renaissance woman who is also an accomplished painter, filmmaker, record label head, musical mentor and an in-demand keynote speaker for mental health and suicide prevention. The award winning Cranston East High School Choir will open the show with some holiday music to set the spirit, and they will also accompany Collins for two or three songs in her performance. For more, catch the sparrow at ParkTheatreRI.com

If you were around in the ’70s, then Jonathan Edwards’ first album was probably spinning around endlessly on your turntable. Songs such as “Everybody Knows Her,” “Emma” and “Train of Glory” were a few of the gems on this recording. “Sunshine” was the catchy, political-pop single that brought him mainstream attention. You may have even put a good buzz on listening to “Shanty.” Back then, FM radio used to play good music and deep cuts so you were able to hear songs besides the hits. Edwards benefited from this and was well played. He has kept writing songs, strumming his guitar and blowing his harp for over 45 years and he is coming to northern RI on Thursday, December 29. Jonathan Edwards will be at The Purple Cat Vineyard & Winery in Chepachet as part of their concert series called Downtown Live. Edwards says, “I’ve been…doing what I do best, which is playing live in front of people. I’ve been concentrating on that and loving it.” Local favorite with the big hair, dry wit and a brandy-new CD, Ian Fitzgerald, will be opening the show. Doors open for the all ages show, at 6:30pm. Ian Fitzgerald hits the stage at 7pm. The Purple Cat is very easy to get to. It’s just 30 minutes from PVD, about five or six miles off 295’s exit 7B and straight up Route 44. Say hi to the spirit of Betty the elephant as you go over the little bridge in Chepachet. For more, uncork PurpleCatWinery.com

The folks down at Shady Lea Guitars recently moved into the old Pump House and are having a New Year’s Eve Open Mic/Potluck. This truly sounds like a good time. Ariel Rose Bodman and Dan Collins are not only building guitars, they are building community. Besides this cool NYE party, they offer guitar building classes, repair services, custom guitar builds and their own Shady Lea brand guitars. The fun kicks off (or should I say picks off?) at 6pm on Saturday, December 31. For more, get the pluck over to ShadyLeaGuitars.com

If you don’t know this by now then I will tell you again. Aztec Two-Step is one of my biggest musical influences. The duo’s first album is a timeless classic. One half of the folk duo, Rex Fowler, has experimented with many other side projects over the 45 years of his career. His latest endeavor is called Rex and the Rockabilly Kings. They will celebrate Elvis Presley’s birthday at The Courthouse Center for the Arts on Saturday, January 7, at 7pm. The show begins with a screening of 200 Cadillacs, an original 48-minute film conceived of and co-produced by Rex Fowler. The film showcases the often forgotten generosity of Elvis. A question ad answer session immediately follows the film, after which Rex and the Rockabilly Kings take the stage to perform a concert of Elvis’ early RCA and SUN Records classics. There will also be a multimedia slide show shown while the band plays! Rex Fowler leads the group on Elvis-style acoustic guitar and lead vocals, and is backed by a three-piece rockabilly band: Billy Roues on electric guitar and vocals, Steven “Muddy” Roues on slap bass, blues harp and vocals, and Joe Geary on drums and percussion. The Roues brothers contribute the stirring Jordanaires-like harmonies that were an intricate part of Elvis’ early sound. Rex Fowler has performed worldwide and toured with scores of notable artists including Bruce Springsteen, Jackson Browne and The Beach Boys. As a most enduring and prolific artist, Rex continues to thrill and engage audiences, whether as Aztec Two-Step, or with one of his other brilliant undertakings. For more, hound dog to CourthouseArts.org

That’s it for now. Thanks for reading. JohnFuzek.com

Alt-Nation: The Best of The Best

The last column of the year for music journalists is typically reserved for “Best of” lists, or so says my inbox, which is flooded with suggestions from various publicists. Anyways, here is a bunch of “Best of” from the 2016, including national records, local records and best bets to ring in the New Year.

I’d like to apologize to Kanye West for omitting Beyonce’s Lemonade. I just wanted to see one “Best of” list without that album and it seems like this was the only way to make that happen, in this, the most prestigious list in the nation. Here’s to happy holidays and a new year filled with all the best.

Best New Records of 2016

10) Angel Olson – My Woman

9) PJ Harvey – The Hope Six Demolition Project

8) David Bowie – Blackstar

7) Ty Segall – Emotional Mugger

6) Peter Wolf – A Cure for Loneliness

5) Bob Mould – Patch the Sky (Merge Records) – The third in a series of Mould’s return to form fronting a power trio is more reflective. Mould and band still can out-rock the youngsters with hook-fueled anthems like “The End of Things” and “Lucifer and God.” It may not be Flip Your Wig part two, but it is close.

4) Eric Bachmann – Self-titled (Merge Records) – The former Archers of Loaf front man abandons indie rock for a heaping helping of modern singer-songwriter gold. “Mercy” sounds like the Ronettes fronted by Warren Zevon. My favorite cut here is “Modern Drugs,” which starts with just a piano before building to a harmony-rich crescendo.

3) Iggy Pop – Post Pop Depression – This collaboration with Josh Homme (Queens of the Stone Age) reinvigorated Iggy Pop musically after the last mediocre Stooges record. This album harkens back to Iggy’s Berlin Trilogy with Bowie with the understandable Queens of the Stone Age slant. Iggy’s baritone vocals croon on tunes like “Break into Your Heart” and retain his signature bite on “In the Lobby.” The introspective “Chocolate Drops” and the fed-up-with-everything “Paraguay” are my favorites.

2) Shovels & Rope – Little Seeds (New West Records) – On Little Seeds, their most diverse record, this husband/wife duo has never been louder and more intimate. From the frantic stomp of “Botched Execution” to the celebratory “This Ride,” Shovels & Rope have never been more raw and tender. The soaring “Last Hawk” gives one the feeling of lying on a porch in the south looking up at the stars.

1) D Generation – Nothing is Anywhere – There is no rust on D Generation’s first album in 17 years, which picks up in the post-millennium apocalypse where their last record, Through the Darkness, left off. The post-glam rock meets punk rock strut comes across as a dark take on ’70s Cheap Trick. From the post-hardcore of “Militant” to the early Alice Cooper meets T Rex swagger of “21st Century Blues,” Nothing is Anywhere is worth the wait.

Best Local Albums

6) The Z-Boys – Self-titled – A mostly instrumental surf swing with a touch of soul to dance the manta ray to in your room.

5) Atlantic Thrills – Vices (Almost Ready Records) – Another truckload of surf garage rock to howl at the moon to at a mid-summer beach party.

4) Jets Can’t Land – You Can’t Linger On (75OrLess Records) – Indie guitar swing at its finest, complete with all the bells and whistles. Jets Can’t Land even accomplished this without using any bells or whistles.

3) The Low Anthem – Eyeland – On their first release in five years, The Low Anthem touch on everything from ambient sounds to dreamy takes on garage rock in their most diverse offering to-date.

2) The Silks – Turn Me On – The Silks drops the boot on another bluesy testimonial to a love affair with rock ‘n’ roll.

1) Tall Teenagers – Self-titled – Tall Teenagers’ debut is an homage to indie rock in the vein of Surfa Rosa Pixies. The tension in Damian Puerini’s and Chelsea Paulhus’ vocals makes me probably like this record better than the 2017 Pixies album.

5 Best Shows to Rock in the New Year

5) Turkuaz with Moon Hooch, Kung Foo, and West End Blend at Fete Music Hall on December 30 and 31.

The “powerfunk” Turkuaz comes to Fete for a two-night party celebrating that 2016 is finally over. Turkuaz churn R&B, pop and soul into their funk-a-tron machine, creating the perfect sound to dance the night away.

4) The Silks and Cactus Attack at The Met Café on December 30.

The Silks were in the last column, but since then they won a Boston Music Award for “Best Blues Band,” which is a real accomplishment for a Providence band. This show is a real hometown throwdown of ’70s blues boogie rock.

3) Julie Rhodes, Arc Iris, She Keeps Bees, and Last Good Tooth at the Columbus Theatre on December 31.

If you haven’t caught Julie Rhodes yet, you are missing a modern-day Janis Joplin. When it comes to having pipes, Rhodes is a powerhouse. Rhode’s new album, Bound to Meet the Devil, and Arc Iris’ dreamy Moon Saloon are excellent gifts for the music lovers on your lists.

2) Gogol Bordello presents Da Da Western at Lupo’s Heartbreak Hotel on December 30.

I don’t know Da Da Western, but Gogol Bordello is one of the most electrifying live bands on the planet. The original gypsy punks have never failed to put on a show that stimulates, and their message is needed more than ever.

1) Murphy’s Law / Midnight Creeps reunion at Firehouse 13 on December 31.

I talked about Murphy’s Law last issue, so the focus here is on the reunion of the Midnight Creeps for their first show in several years. Midnight Creeps were a female front punk rock warhorse that started in the vein of The Cramps meets The Stooges at a tribute show to The Plasmatics. In their later years, after some personnel changes on drums and guitar, a touch of Motley Crue worked its way into the Creeps’ sound. I have a long, twisted history with this band, but that said, it is good to hear Jenny Hurricane and the band are back to give 2016 the black eye that it deserves.

Email music news to [email protected]

What Cheer Records + Vintage Celebrates Their 17th Anniversary Ringing in their 17th Anniversary as one of the top record and vintage stores in Providence, What Cheer Records + Vintage has a few things special planned for December 18. Not many independent small businesses can say they have been around as long as What Cheer has, and it’s a wonderful opportunity for shoppers to show their gratitude while buying something special.

Since the late 1990s, Chris Daltry and his wife, Jennifer, have persevered despite the ever-changing tastes of music enthusiasts, the constant roller coaster that is the American economy, a few location changes and numerous obstacles. Through it all, they’ve stayed relevant at their current location on 180 Angell Street. At What Cheer you can find a rare record from your favorite musician, a cute knickknack and some stylish clothes all in one fell swoop. The Daltrys have never been the type to stay in a creative box — they always come up with interesting ideas for their business. Customers are always greeted by the friendly charm of either Chris or Jennifer themselves or their employees. What Cheer possesses a uniquely organic vibe that only a successful small business can capture.

On December 18, in addition to holiday cheer there will be snacks and tasty brews supplied by Narragansett Beer, and everything at the store will have a special 17% discount. What Cheer has never shied away from having live music at their establishment so perhaps a few local artists will be performing a few songs. It’s bound to be a very enjoyable experience. Keep your eyes peeled for more details, but for now mark your calendar for What Cheer Records + Vintage’s 17th Anniversary Celebration on December 18.

Event page for What Cheer Records + Vintage’s 17th Anniversary Celebration: facebook.com/events/1133989176695116; What Cheer Records + Vintage’s Website: whatcheerprovidence.com

Album Of The Week: Soviet Soviet’s Endless Music sometimes echoes the changing of the seasons. Spring and summer bring with them an upbeat feeling, and some bands’ styles go perfectly with it. Some bands, like The Beach Boys, built a career on it. Fall and winter bring a vibe that goes well with dark tones and driving rhythms as the temperatures get colder, and it’s fitting that Italian post-punk act Soviet Soviet released their new album, Endless, as temperatures begin to drop.

Off of the New York City indie label Felte and Black Candy Records in their home country, the band shows a distinct and steady progression to follow up their 2013 debut Fate. Soviet Soviet gets more emphatic and electrifying on Endless. There are instances of spine-tingling solos and other instances where a fuzzy, distorted bass anchors the whole track. If you’re the type who digs bands like The Fall and Joy Division, then Soviet Soviet might just be your new favorite band. They push the envelope as Endless runs from start to finish, and the listening experience is addictive.

So this is it everyone, it’s my final Album Of The Week of 2016. It’ll only be gone for a few weeks and then it’ll be up and running starting next year. Thanks for taking the time to read my opinion on an album each week; it definitely means a lot. Anyway, for the last time this year, let’s examine the top tracks off of my Album Of The Week:

“Remember Now” has a rigid bass tone fusing with a dynamic drum beat at the beginning and then the guitar comes in. It’s a bit edgy while the rhythms move at a feverish pace. An example of the band’s driving structure is “Pantomime;” it accelerates while the bass increasingly becomes present as the song moves along. It’s easy to tell why “Endless Beauty” became one of the lead singles off of the album. The track is catchy and it’s not as distorted as a few others off of the album.

Soviet Soviet are currently in the middle of doing a tour of Italy in support of Endless; their next stop is at the Astro Club in Pordenone on December 9. Hopefully they’ll cross the Atlantic sometime next year and play a show or two in the New England area. Judging on the listening experience their new album offers, this Italian trio must put on a spectacular live show. Whether they come to the United States next year or not, grab a copy of Endless from Soviet Soviet and surround your ears with sonic darkness.

Stream Endless via Soundcloud: soundcloud.com/felte/sets/soviet-soviet-endless-official; Like Soviet Soviet’s on Facebook: facebook.com/sovietsovietband The Roots Report: Once at PPAC

Okee dokee folks … I had the opportunity to experience the musical Once on its first night of a four- show run at the Providence Performing Arts Center. I needed to let it percolate in my brain for a few days and contemplate what I really thought about the show before I wrote this. Initially I really wasn’t sure. I WANTED to love it. I loved the film, the songs and The Swell Season (Glen Hansard and Marketa Irglova who wrote the music), so I assumed that I would love Once the musical. Unfortunately this was not the case, in spite of its win of eight Tony Awards.

When I arrived at PPAC I saw a crowd gathered on the stage. These were theater goers who were getting drinks at the functioning bar on the stage and mingling with some of the cast members. Soon the cast began a sort of Irish session. The sounds of guitars, an accordion, a mandolin, a cajon, tambourines, a cello, a banjo, violins, a ukulele, a piano and singing filled the air with lively, unplugged music that sometimes seemed very Mumford and Sons-ish. The scenery was simple: an old Irish pub with lots of antique mirrors and sconces on the wall and chairs. As 7:30 neared, the audience was cleared from the stage and the performers kept on performing for a bit.

The official start of the show was soft. The “Guy” (Sam Cieri) character began to play “Leave.” As he sang and strummed his worn Martin guitar, the theater lights slowly dimmed and the stage lights focused on the performance. At the close of the number, “Girl” (MacKenzie Lesser-Roy) approaches “Guy” and begins a conversation. They talk about music and Hoovers. At one point she remarks “I’m always serious, I’m Czech.” This was repeated a couple of more times throughout the evening. The dialogue, in parts, was amusing.

Just a few minutes into the first act, the Oscar-winning song, “Falling Slowly” was performed. There were short musical interludes and dance numbers to keep the show moving while they changed scenes, which involved little more than chairs, tables and lighting shifts. A couple of the characters had bigger roles in this version of Once: Billy the music store owner, “Girl”’s brothers and “Guy”’s father. There seemed to be far more dialogue in this version than the film. When the Czechs spoke, they spoke in English but ran subtitles in Czech on a light bar above the bar. I guess it was meant to be funny?

The first act closed out with the two songs that were written for the musical, “Abandoned in Bandon” and “Gold.” These songs were not in the film and not composed by Hansard or Irglova. The second act moved along similarly to the first, though with fewer musical numbers. “When Your Mind’s Made Up” was the strongest song of the second half. A reprise of “Falling Slowly” with the ensemble brought the show to a close. The cast members were given a rousing standing ovation.

In all honesty, I had high hopes for this show, but was let down. Once moved slowly and seemed to drag. It felt more like a play with occasional songs than a straight-on musical. The dialogue, though occasionally cute and amusing, seemed labored and long. When there was music I enjoyed it, though the renditions of the songs were far tamer than The Swell Season played them. They lacked the intensity of Hansard’s “Guy.” I think the best number of the night was “Gold.” It felt like it belonged to this show and rightly so, as it was written for the musical, not the film. The musical Once was reverse engineered from the film and it felt like it. Most musicals have songs that propel the story forward in place of endless dialogue. Once the musical doesn’t do this and relies heavily on the dialogue to tell the story. For the most part, the songs, though wonderful, are just songs. They worked completely differently in the film and don’t seem to translate well into a Broadway format. I feel that the show could have been a good half hour shorter and kept the story moving quicker to avoid the drag. This is my opinion. I heard many folks say that they loved it, but I did talk to a couple of people who thought “It was just OK.”

I am going to wrap up my bit here, but leave you with what my mother (yes, mother), Dianne Fuzek, wrote about the show. Mom has been to more stage productions in the past 75 years than most professional reviewers. She has FILES of programs and can remember cast members she saw when she was a kid! Mom likes to post her reviews of the shows she goes to on Facebook. I asked her to hold off and let me publish hers along with mine, and she agreed. She saw the Sunday matinee and here are her thoughts. Read on …

Inside the cavernous Kodak Theatre, on a stage surrounded by a multitude of suspended guitars, with thousands of glittering celebrities on view and viewing, a scruffy Irish folk singer, Glen Hansard, and his shy-appearing music partner, Marketa Irglova, played their lovely 2008 Best Picture nominated song, “Falling Slowly” from the little Indy motion picture Once. As I watched, I thought to myself, “They could really be any ‘folkies,’ much like a great many of our local performers.” However, as they performed, I found the tune and them growing on me. The duo won the Oscar, and Hansard’s acceptance speech ended with two words: “Make art.”

Having not seen the film, I sought it out and fell in love with it. In three weeks time, with a $100,000 budget, that little film was born. Apparently the right people at the right time decided to “Make art.” That little film was made into a musical theater piece that landed on Broadway and garnered eight Tony Awards in 2012. This was the show that had a short-run appearance at PPAC.

Anyone who knows me knows I love theater, especially musical theater. I am rather easily pleased, finding some good in every production. If not the from show itself, I derive pleasure from the lights, stage sets and the costumes. This was our second time seeing Once the musical. The first time, I found it not particularly memorable as a play. I found the sweetness and the romantic tension missing, and I was not anticipating my opinion to change.

Inside the theater I was disheartened to see that there were as many theater-goers partaking of the on- stage bar as were were in their assigned seats. Because the actors/musicians were already onstage performing a sort of mini-concert of Irish music, the actual play’s start was a bit confusing.

The practical non-changing set became a pub, a vacuum cleaner store, a recording studio and a hillside all by the random placement of chairs and tables, relying on spot-lighting for mood changes. The Guy (Sam Cieri) and Girl (MacKenzie Lesser-Roy) were well played for the most part, especially the Girl. The cast was fleshed out by a couple of parts that I can only describe as “buffoonery” — a couple of annoying Czechs, and an amusingly silly Billy (John Hays). Although a decent singer, Cieri didn’t fit the part physically, recollecting Hansard in the film. Roy’s dialogue was much clearer and easier to follow, while Cieri’s Irish accent was often muffled. Also, I found the song lyrics inaudible at times. There were several effective songs, among them the first, “Leave,” which almost makes me snicker. It is a breakup song, full of angst, that nearly ends in a primal scream. Of course, “Falling Slowly” was beautifully performed first by Guy and Girl who were joined by the entire cast. Also, “When Your Mind’s Made Up” was beautifully done. The brief yo-yo, would-be, doomed romance was a bit overshadowed occasionally when the cast would burst out into loud, footstomping Irish songs and shouting, “HEY!!” thus awaking my companion theater-goer – my dozing husband. Tony’s two word critique? Never again! As is my normal procedure – elbowing him when I notice him nodding off — I did not practice that habit for this show. For him, “Falling Slowly” fell entirely too slowly.

Rhode Island has rather a large Irish music/dance fan base. As many members were in attendance, they presented the cast with a loudly appreciative standing “O.”

I think I will seek out the film and watch it “once” more. Dianne Fuzek

That’s it for now. Thanks for reading. Thanks, Mom! www.JohnFuzek.com

The Supersuckers Come to Firehouse 13

On Sunday, December 4, at Firehouse 13, beer will be swilled and a whole lot of rock ‘n’ roll will grace the room. The Supersuckers are coming through as part of a stacked show with Jesse Dayton, Gallows Bound, The Living Deads and locals The Quahogs for what has the makings to be one crazy night before the week starts. If you’re planning on going, then you’re in for a wild ride, and if you’re not, then you should reconsider.

Before this weekend’s festivities, I had a chat with Eddie Spaghetti from the band about moving from Tucson, Arizona, to Seattle during the late ‘80s right before the latter city’s musical explosion, being a little bit country and a little bit rock ‘n’ roll and his experience working with a lot of different artists.

Rob Duguay: When the Supersuckers moved to Tucson in 1989 to Seattle right when the scene was about to blow up, was it difficult playing in Seattle at first? Did it take a while for people to warm up to you guys or was it a fairly smooth transition?

Eddie Spaghetti: It was pretty great. Everybody was friendly when we got there and there wasn’t a lot of a backbiting competition between bands. It was kind of surprising because when we moved there, we thought for sure that we would be best band going on in the scene. We had no idea that there was a whole scene going on up there already. When we moved up there and we got to experience all that, it was such an amazing time to be in. RD: Do you still live in Seattle?

ES: I actually live in Arizona again.

RD: Was there a lot of changing in Seattle that made you want to leave?

ES: Seattle changed a lot; it’s a lot more expensive now to live there than when I moved up there. Everyone there now is more concerned with technology. It’s a lot more gentrified than it was when I lived there.

RD: It seems to be happening a lot in the Northwest. I know musicians in San Francisco have been saying similar things.

ES: Yeah.

RD: You’re a rock ‘n’ roll band, but the Supersuckers also have dabbled in country music. Notable examples are the 1997 release Must’ve Been High and last year’s album Holdin’ The Bag. Do you have a preference between the two genres or do you find rock ‘n’ roll and country to have a mutual relationship?

ES: Yeah, I feel like they get along pretty well together. In my heart, I’m a rock ‘n’ roll guy and I wouldn’t usually consider myself a country guy. I lean more to the rock ‘n’ roll side of the street, that’s my wheelhouse and that’s what I do. I like the songwriting challenge that country music offers; you have to be really clear with your thoughts while maintaining a sort of ambiguity.

RS: You’ve recorded with Willie Nelson, Steve Earle, Kelly Deal of The Breeders and Eddie Vedder from Pearl Jam among others. Who was your favorite person to collaborate with? Do you have any memories of the experience you’d like to share?

ES: The one who I probably learned the most from would be Steve Earle. He’s such a force in the studio and he played exactly what he wanted to hear and he did it exactly the way he wanted to do it. It was really eye-opening for me. When we recorded with him we did it continuously and I think we learned more in a couple days in the studio with him than we did during our entire time as a band leading up to that point.

RS: Steve Earle is a music legend and it must have been awesome to learn a few things from him. The end of the year is steadily approaching, so can we expect a new rock ‘n’ roll record from the Supersuckers in 2017?

ES: Yeah, we’re actually working on one right now and it’ll probably be out sometime during the summer. The wheels are always turning and they’re always in motion.

Grab tickets to see the Supersuckers, Jesse Dayton, Gallows Bound, The Living Deads and The Quahogs at Firehouse 13 on December 4 here: ticketweb.com/t3/sale/SaleEventDetail?eventId=6854635&pl=fh13&dispatch=loadSelectionData; The Supersuckers’ Website: supersuckers.com Is This Jazz?: Social Music For Social Change

I’ve often said that jazz is social music; however, I haven’t explained how it plays into the current musical landscape. The country appears to be in a state of flux, so perhaps now it is imperative to consider the history of jazz and the way it reflects the culture and the forces that shape it.

When I was 11, I realized how illuminating jazz can be when I heard Billie Holiday sing “Strange Fruit.” I was a young, white male living in a small, suburbanized farm town. I was just starting to learn about the darker edges of America’s history in school, and I had little concept of lynchings and racism toward African-Americans. When I first heard the scenes she describes, my perception was shattered. The imagery in Abel Meeropol’s poetry is haunting, while the sparse arrangement forces you to sit inside each phrase as Holiday’s voice carries a weight that is both indescribable and inescapable. She sings not only with heart-wrenching purpose to vividly describe this horrifying reality, but also with a cold resignation to the possibility that these atrocities may never end. It would take time for me to grasp even a small fraction of these truths, but the starting point of my understanding was the lesson I received from this chilling, moving song.

Even the performance of a specific tune can be as much a protest as the composition itself. There’s a famous story of one such occasion in 1971 involving Charlie Haden on a European tour with Ornette Coleman’s quartet. The quartet was to perform in Portugal, which at the time was under an authoritarian dictatorship and in the midst of the Portuguese Colonial War taking place in Guinea- Bissau, Angola, and Mozambique. Along the tour the group had been playing Haden’s “Song For Che,” which was written for his politically charged Liberation Music Orchestra. When it came time to perform it on the Portuguese stop as a means of protesting the Estado Novo regime, Haden announced the song would be dedicated to the black peoples’ liberation movements that were working to stop the systematic elimination of their race in Guinea-Bissau, Angola, and Mozambique. The next day he would be arrested at the Lisbon airport and interrogated by the Portuguese secret police, but his dedication energized the people. Although the regime wasn’t overthrown or another three years in the Carnation Revolution — and though it would be speculative to suggest that Haden’s actions were responsible for the coup — the act of using music as a means to stand up for the rights of others and to ignite the passions of revolutionaries who helped lead the charge should not be overlooked, especially with the clarity we have now.

Modern musicians have continued this tradition of truth-telling and protest in their works. Trumpeter and social activist Christian Scott’s album Yesterday You Said Tomorrow is a direct response to a slew of issues that have plagued our country for generations. As he told Downbeat magazine in 2010, “The impetus behind the [album] was to illuminate the fact that the same dilemmas that dominated the social and musical landscape of the ‘60s has not been eradicated, only refined.” Over the album’s 10 tracks, Scott and his band take on racial profiling, Proposition 8 and anti-abortion efforts. The majority of this collection is a spotlight on the difficulties we face not only as a nation, but as a global people. In this way, Scott doesn’t provide any answers, but instead puts himself in the forefront of the dialogue, ready to face the challenges head on.

We live in a divided nation that looks radically different from when this music first came into being, but continues to suffer deep scars and renewed obstacles. We are faced with caustic realities that either went ignored or overlooked, and have shown themselves to be reckoning forces that must be attended to with resilience. But the success of jazz bares a striking resemblance the successes felt in this country. A multi-cultured group of individuals with vastly different backgrounds work across barriers to devise a system that works by and for the people, regardless of their stature, and continues to grow with the people who define it. If we continue to be aware, reflect and act in service to our shared goal — be it melody or social justice — then we will guide this ensemble toward a more prosperous, unified harmony.

Happening Around Town:

The John Allmark Jazz Orchestra; Mondays @ The Met (Pawtucket)

Is This Jazz?; first Friday, bimonthly @ AS220 (Providence) isthisjazz.tumblr.com

Joe Potenza; Fridays @ Rosmarin (Providence)

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam;Tuesdays @ Ten Rocks (Pawtucket)

Groove E Tuesday;Tuesdays @ Murphy’s Law (Pawtucket)

Parlour Jazz Jam; third Sunday each month @ The Parlour (Providence)

Matunuck Beach Hot Jazz Party; Thursdays @ The Ocean Mist (Matunuck)

To add your listing please email [email protected].

Ben Shaw is a local composer, performer, writer, and podcaster. Dig into his works at ahueofshaw.tumblr.com or find him on Twitter @ahueofshaw.