Roots Report: Take Me Out of the Ballgame
Okee dokee folks … I am going to preface my column by stating that much to my father’s disappointment, I do not like baseball at all. Last week I received a mass e-mail that must have been sent to every musician in the state (they didn’t blind cc the e-mail) from the Pawtucket Red Sox. They asked performers to play before each one of their home games. Sounds like a good gig, doesn’t it? Well, it’s not. It pays peanuts. Actually, it doesn’t pay at all. They only offer a hot dog and general admission to the game that you perform for. You provide your own sound system and play for almost two hours. So, in essence, with set-up, you work about four hours for free, err … for a hot dog. In Motif‘s Oct ’14 issue, I wrote a bit about musicians performing for free. I guess the PawSox didn’t see that column. Before I go on, I have to admit that last year I agreed to go play this gig. Why, you may ask? As I mentioned before, my father is a HUGE baseball fan. He actually tried out for the Red Sox after he got out of the Air Force, but was told that he was too old. He ended up playing softball on Sundays for most of his life — until the artificial hip benched him!
I wasn’t crazy about doing the gig. It was kind of sketchy, but they agreed to let me sing the National Anthem before the game. I thought that it would be worth doing for Dad. After confirming the gig, I never heard back from the person who booked me. The day before the game, I still had heard nothing. I fired off an e-mail to the PawSox that said if I didn’t hear from them that day I would not be able to do the gig. I had no idea where I was going to set up, what time I had to be there, and how many of those general admission tix I was going to get. I don’t work like that. I PLAN gigs. I ALWAYS get the info up front, but in this case I was told that it would be sent to me. I received a response to my e-mail on the day of the gig. They wrote that they told me I wouldn’t get info until the day of show and that I WAS NOT going to be performing the National Anthem. I replied that I never would have agreed to that arrangement and the only reason I was going to play the gig was so I could sing the National Anthem. It was already too late to make arrangements to have my father attend and I would have had to rush to get there in time to perform. The PawSox were not happy, and they told me I was blacklisted from ever playing there because I left them without music that day. I figured that I would never hear from them ever again. Wrong. In addition to the recent mass e-mail about this year’s PawSox offer, I received a phone call asking me to perform. Had they forgiven me? I didn’t call them back; I didn’t want to play for them. I was just going to blow the whole thing off until the other folks who received the e-mail began sharing their disdain for the gig offer via “reply all” and by posting on Facebook. I love a good controversy. I chimed in. I told folks about my experience with the offer. Others voiced their concern about setting a poor example for musicians by playing for free. It sparked a firestorm of back and forth e-mails and Facebook posts.
The controversy still burns. Some folks agreed to play for free while others continue to protest. Some musicians don’t understand their own worth. I know that I should have never agreed to play last year. It was wrong of me, but I was going to do it for Dad. In a way I am glad that the gig didn’t happen, but where else am I ever going to sing the National Anthem before a baseball game? Fenway Park? Yeah, right. If the PawSox WANT music before a game they should PAY the performers a proper amount for the gig, put them in a decent place to play (not a parking lot for people to hear them only as they walk by), and treat them with AT LEAST the SAME amount of respect that they show the ball players. They should save their money, keep the stadium that they already have and pay people what they are worth! Enough said, for now… Read on… If you want to learn about navigating your way through the murky waters of the music business, mark Sun, May 3 on your calendar when the first annual Southern New England Music Expo premieres at The Crowne Plaza in Warwick. The event includes anything having to do with music and is geared toward the average to adept music creator. The expo will feature celebrity meet and greet/book signings and guest speakers, including Ken Caillat, who produced and engineered several Fleetwood Mac albums. A keynote panel featuring Joe Belliotti, who was on Billboard’s “Power 100” list of the most powerful players in the music business; Josh Burke, VP Strategy & Major Accounts for Music Dealers — a music agency that works with brands, agencies, TV networks, and film & game studios; and Jeff Rabhan, Chair of The Clive Davis Institute for Recorded Music at NYU and artist manager. Also expect hit songwriter moderated workshops/seminars, song critiques, and a songwriter, performance and pitch session. Equipment, recording, instruction, used vinyl and other music memorabilia will be for for sale, as well as any kind of musical service of interest to music lovers. This event was founded by local musician Greg Lato in partnership with Rob Marin. Lato says, “I wanted to create the type of event I always wished existed while growing up as a music fan and musician in Rhode Island.” For more, treble over to snemusicexpo.com
On April 28, you can enjoy an evening of solo, acoustic music from Richard Thompson. The award- winning guitar master, songwriter, performer, former member of Fairport Convention and member of the Order of the British Empire (this is not a band, it’s a title bestowed upon him by Queen Elizabeth II) will be swinging by The Met in Pawtucket. Named by Rolling Stone Magazine as one of the Top 20 Guitarists of All Time, Richard Thompson is also one of the world’s most critically acclaimed and prolific songwriters. Probably his most famous and most covered song is the moving “1952 Vincent Black Lightning.” Having co-founded the groundbreaking group Fairport Convention as a teenager in the ’60s, Richard Thompson and his mates were one of the innovators of British Folk Rock. At age 21, he left the band to pursue his own career, followed by a decade-long musical partnership with his then-wife Linda and then 30 years as a highly successful solo artist. Thompson’s massive body of work includes over 40 albums and numerous film soundtracks. Don’t miss this opportunity to witness a musical genius live on stage.
I am out of room so I will just mention a couple of other shows worthy of your time and the ticket price. Stone Soup has two shows up their season’s sleeve. On April 25, catch Mustard’s Retreat, with Lori Diamond and Fred Abatelli opening. On May 9, it’s Martyn Joseph. Spread over to StoneSoupCoffeehouse.org for more. Motif’s Best Americana Act nominees Longshot Voodoo and guests Crocodile River Music will be at the Blackstone River Theatre on May 9. As a part of this show, there will be a Drum Workshop led by the Crocodile River Music drummers at 4pm. The last time these two bands played together it resulted in a sold-out, standing-room-only show, so get your tickets early. Paddle over to riverfolk.org. Get your Contra Dancin’ shoes on! The Greater Providence Contra Dance gives you a chance to dance on Fri, April 17, at St Paul’s Episcopal Church in Pawtucket. David Eisenstadter will do the calling with Jon Cannon on fiddle and Max Newman on guitar. Sashay over to providencecontra.com.
That’s it for now. Thanks for reading. JohnFuzek.com Alt-Nation: A Celebration, A Film, and Shows You Don’t Want to Miss
Before we begin the roundup, I have to congratulate the National Champion Providence College Men’s Hockey team! I had the thrill of seeing the championship game last Saturday and the atmosphere was electric. Congrats boys, you’ve earned it! On another note, to hear some tasty cuts from some of these upcoming shows, the best in local rock ‘n’ roll, old school, rock, R&B, soul and punk come down to the E&O Tap in Providence on Thurs, April 16 where I’ll stage my monthly coup d’état of the tunes from 9pm to midnight.
From The Living Room to The Parlour: 40 years of Local Music!
In April 1975, on Westminster St in downtown PVD, brothers Randy and Brian Hien opened the first of what would be three locations of The Living Room. The Living Room became a place where, thanks to the vision and spirit of the late great Randy Hien, every aspiring musician had a chance to realize their dreams. Longtime Living Room employees (and now owners of The Parlour) Aaron Jaehing and Gregory Rourke along with Brian Hien will host a two-day celebration of the 40th anniversary of The Living Room opening. The Parlour will host this celebration of The Living Rooms over two days packed with great local music. Sat, April 18 will feature performances by Pistol Shot Gypsy, Hope Anchor, Viking Jesus, That’ll Learn ‘Ya, Joe Silva (The Threats), Brian McKenzie (Kilgore), James “Boney” Beaupre (The Probers) and Hillbilly Graham Crackers. On Sun, April 19, Extinction Machine, Sasquatch and The Sick- A-Billys, The Worried, Neutral Nations, Two Guys and Another Guy, Bill Keough, and more to be announced will rock the house. The shows start early with the doors set to open at 4pm, and the music runs all night.
Ex Hex
I’ve been stoked to see Ex Hex from the minute this show was announced. Ex Hex is an all-female punk power trio that released one of last year’s best albums, appropriately called Rips. Ex Hex is led by singer/guitarist Mary Timony who is best known for fronting indie rock bands like Autoclave, the Boston-based Helium, and most recently, the super group Wild Flag. Ex Hex are like a mix of the power pop of Cheap Trick with the punk rock of Johnny Thunders and The Heartbreakers boiled up and dished out with a heavy dosage of sass. This will be a show for the ages.
Ex Hex, Kuroma and Littlefoot rock The Parlour on Apr 25.
Roddy Radiation (from The Specials)
The only time I got to see The Specials was in the late ’90s in the basement of the Middle East nightclub. I was staking out a spot near the stage when I got shoved out of the way by a bodyguard who was escorting Robert Smith from The Cure through the crowd up a ramp to the backstage area. If the king of goth new wave loves The Specials, how could anyone not? The Specials, for those unfamiliar, were the leading band behind the late ’70s ska revival that mixed a rocksteady beat with a punk attitude. Roddy Radiation was the lead guitarist and songwriter for The Specials. In addition to having perhaps the coolest stage name in rock ‘n’ roll, Radiation will be playing a mix of tunes he wrote for The Specials and tunes from his other projects while backed by The Scotch Bonnets. Roddy Radiation of The Specials, The Scotch Bonnets, and The Copacetics will rock it rock steady at The Parlour on Apr 26.
The Final Obsession
The Final Obsession is a new short film that delves into the world of a made-for-TV actress and the dramas that surround her life. The Final Obsession has a lot of connections to the local music community. The film features Miss Wensday Greenbaum (Miss Wensday & The Cotillions) and Dan White (The Cobra-matics) as actors. The movie was also written and directed by Adam Theroux (Hank Sinatra Jr., Bi Anal Ham Sandwich, and Girl Haggard). In addition to the screening of The Final Obsession there will be screening of some other shorts and live performances from Dan White, Eric and the Nothing, and Denver Boot.
The Final Obsession Premiere is at AS220 on May 1. The fun starts at 8pm.
Email music news to [email protected]
Take the Stage at Providence Hoot
Providence has never been a stranger to events that are interesting, out of the ordinary and fun. A monthly open mic called the Providence Hoot is happening tonight at Anchor, a warehouse space/art gallery located on 42 Rice St, and it’s always a good time. It’s free and even better, there’s free beer supplied by the Narragansett Brewery, a sponsor of the Hoot. The man who started this whole shindig is Josh Aromin and we had a chat about how the Providence Hoot got started, how people can get involved and what the future holds for the monthly open mic series.
Rob Duguay: How did you come up with the Providence Hoot?
Josh Aromin: When I was in high school I was really jaded about Rhode Island and only really started thinking it was a cool place to be when I was a freshman in college, so around 2007-08. The first thing I went to that I thought was pretty cool here was the open mic downtown at the now-closed Tazza Cafe. I loved going to that open mic so much, but then they remodeled their restaurant and got rid of it.
When my cousin Armand Aromin moved back to Rhode Island after going to school in Boston, he became a tenant at Anchor for his violin-building. One day out of the blue he said to me that because he was a tenant there he could use their event space for free. He asked if I’d help him organize an event and what type of event I thought would work well there. I immediately suggested we do an open mic, and in October 2013 we held our first event there.
RD: How can musicians, comedians, poets and creatives get involved?
JA: Anyone can get involved. Our philosophy is that we’re a venue for performers of all types and all talent levels. Our stage is your stage. If you’re a beginner performing live for the first time, that’s cool. And if you’re a pro who wants to test out new material, that’s great, too. Performers can sign up at the event for two songs/10 minutes of stage time. We start signups at 7pm and start performances at 7:30, and performers do not have to be 21.
RD: Which regulars are worth going to check out?
JA: Our regulars include John Faraone, Jenny White, Steve Delmonico and Rick North. They’re all fantastic and we get some really great gems of performances every time. Last month Steve and Armand played together and it was really something to hear. Here it is: youtu.be/Nmzezauac1s
RD: What do you think the future holds for the Providence Hoot? Do you have an ultimate goal for the open mic series?
JA: We like to do pop-up open mics when we can. We’ve got something coming up this summer, but I’m not sure if I can talk about it yet. As for now, we’re content with having our one regular event a month and want to build around that. I think last year we tried to do too many and that kind of diluted the open mic a little bit. We’d rather have one really cool event a month than three mediocre ones.
The Providence Hoot is a monthly open mic that takes place at Anchor on 42 Rice St near Firehouse 13. It’s always free and you’re bound to be entertained. It also only goes on from 7 – 10pm so you won’t be out too late on a Wednesday night. Be there or be square.
Horse-Eyed Men’s Grave Country Reimagines the Cowboy If you’ve never heard of the Horse-Eyed Men, it’s time to take notice. The two-man band made up of brothers Noah and Dylan Harley has been impressing audiences at local spots like The Parlor and Nick-a-Nees with nothing more than a few guitars, a bass drum and snare pedal contraption, and some hilarious and bizarre banter. With the help of a cash infusion from the Danish Government, The Horse-Eyed Men have created a true masterpiece in their album Grave Country.
It’s hard to deny that we’re experiencing a traditional American music revival, but no one expands the parameters like the Horse-Eyed Men. Though Noah, the band’s primary songwriter, described Grave Country as his attempt to write a country album, the subject matter is hardly the typical “drown my sorrows with a bottle” country tropes. The Horse-Eyed Men give you tales about the inexorable plight of the American businessman (life, stress, death, rebirth) and old ladies’ heads falling off. The subjects range from the whimsical to the weighty, but the lyrics always hit you like a sock in the gut.
The pedal steel guitar and laid-back tempos conjure images of the archetypal cowboy, walking alone through the windswept prairie. The Harley brothers also take it a step further and ask: What if that lone soldier swallowed a few stiff cocktails and headed to a 1920s jazz club? The swingin’ ragtime numbers add vivid flashes of color to the album. “Dyspepsius Majorum” eerily compares being in love to having a tapeworm (“we share the same food and the air that we breathe”) and “Drunkard’s Ball” could be this generation’s drinking anthem (“You can’t regret what you don’t recall!”).
The band has a sizable amount of material aside from the album that focuses on such piercing issues as the Earth’s primordial soup and dietary restrictions, and they’re gearing up for a run of shows with Spirit Family Reunion starting this week. I recently spoke to Noah and Dylan about Grave Country’s unlikely origins and a few other subjects.
Jake Bissaro: You received financial backing from the Danish Government to record Grave Country. How did that happen?
Noah Harley: Europe is basically the tits! I was living in Berlin at the time (summer 2013) playing with some other projects. We got the opportunity through The Danish Arts Council, an arm of the government designed to fund artistic projects. They actually have a special grant to foster musical cooperation between Danish and American musicians, and we applied to be the Americans with the help of our friend Anders Christoperson (who ended up producing the album). Dylan Harley: The grant also included enough to fly me out there. I just got a call from my brother out of the blue like, “Hey, do you want to come out to Copenhagen?”
JB: What was the recording process like?
NH: We got really lucky because the grant didn’t just cover the recording; it paid for us to rent an apartment for two and a half weeks, and living expenses, food, and everything like that. And I even got to fly back later on to record a few more songs!
DH: It also covered production, mastering and vinyl pressing. We spent two and a half weeks in a small studio and we were able to get great musicians like our former bandmate Carlos Santana (not that one) on piano and Hugo Rasmussen (legendary Danish studio bassist). Spending weeks with these guys allowed us to really develop a rapport and a feel for each other’s playing. Having these professionals around also gave the album a multi-generational feel, and made it more than just a few young guys screwing around in the studio.
NH: It was a totally surreal experience, especially playing with Rasmussen. Like, this guy has been doing it for like 50 years, played on hundreds of albums, and he’s in here jamming with us! He was essential to the feel of the album.
JB: You’re located in different cities. Do you consider yourself a part of the Providence music scene?
NH: Yes, Providence has been really great to us. We’re located in different cities, which is a blessing and a curse. I have contacts in New York and Dylan has contacts here, but it’s sometimes hard to organize things. We play in different bands, but this project is always great to come back to for both of us.
DH: Here in Providence there’s much more camaraderie than in other scenes; you start out as fans, then you become friends and everybody helps each other out. There are enough small stages that getting started is not super intimidating.
JB: I could be wrong, but your hometown of Seekonk, Mass, doesn’t seem like a place known as a traditional American music hotbed. How did you get into this type of stuff?
NH: Our dad [Grammy award-winning children’s songwriter and storyteller Bill Harley] always had folk music playing around the house, and from there I got really into traditional American music. I never really lived in the Carolinas and Virginia, but I don’t think you necessarily need that to get the essence of the music.
DH: I got more into the alt-country scene, stuff like Lucinda Williams and Whiskeytown. Townes Van Zandt was also a big one for both of us.
JB: What are your plans for the future?
NH: We hope to go back overseas to Europe this coming fall and do some more recording.
The Horse-Eyed Men will open for Spirit Family Reunion at The Columbus Theater on April 9 and at The Sinclair in Cambridge on the 10th. Grave Country can be purchased here. Photo Essay: New Found Glory at The Met
Photo Essay: Casey Veggies at Lupo’s
Alt-Nation: Public Alley Wins the 2015 WBRU Rock Hunt and Jesse Malin’s Latest
In one of the biggest upsets in Rock Hunt history, Public Alley shocked the local music community to take the crown. This high school band didn’t even make the original cut and had to win an online poll against somewhere around 20 other local acts just to sneak into the Finals. Vegas had Public Alley at a distant 43 to 1, but I thought it was a steal for those odds because once you’re in the dance, you always have a chance. Another reason why I didn’t think Public Alley was a snowball’s chance in Hell type pick was that I wasn’t really impressed with either We Were Astronauts or Forest Fires. They are each well rehearsed and good at what they do. That said … I find them both to be boring. It happens; great songs don’t grow on trees. You can be as tight as a virgin and have some good ideas, but it doesn’t mean that one is going to be able to hold the attention of a couple hundred people for 30 minutes. It’s not easy. Watching Forest Fires in the semi-finals, they just struck me as the type of band that never wins it all in these types of contests. They reminded me of ’90s shoe gazing indie rock — if that’s your bag, check them out. We Were Astronauts have a more contemporized indie rock sound.
The goliath in the competition was the aptly named Most Dangerous Men Alive. They are kind of like a hybrid between alt rock and a jam band. They have hooks that can be lethal in a fight. I accepted that Most Dangerous Men Alive were taking the crown despite the eye opening set from Public Alley till someone told me they were planning on doing a Rage Against the Machine cover. Covers can hurt a band in a competition like this as much as they help them. Most Dangerous Men Alive had everything firing on all cylinders, totally nailing it, and then in a WBRU Rock Hunt moment they threw it away. Close to the end of their set they slowed it down for some dumb Dave Matthews sounding tune and tried to pick it back up with the Rage cover and it blew up in their face. It’s just not what they do. Covering a punk/rap/rock thing like Rage Against The Machine doesn’t work well for jam bands being judged by music critics because it has to live up to the originals.
Most of the people I was talking to knew nothing about Public Alley before they played, which is normal considering… they are still in high school. But what they did have going for them is they made an impression. Some people shrugged them off as they’ll be good in a few years. Others, including myself, loved them for the imperfections. They had a certain chaos to them where the songs were all different. They may not have been as tight as the other bands, but they were rock ‘n’ roll! It worked because it was all heart and soul. They are pretty much alternative rock, but they play around with different things. It was really their energy on stage that made Public Alley so endearing. Sure it helped that they packed the room with friends and family, but that is what bands are supposed to do. Congratulations to the new WBRU Rock Hunt Champions, Public Alley! Congratulations to all the other bands that participated especially Most Dangerous Men Alive, Forest Fires, We Were Astronauts, and to WBRU for once again putting on a great extravaganza.
Jesse Malin – New York Before The War (One Little Indian Records)
Jesse Malin returns with his sixth studio solo album after five years on the down low. Much of New York Before The War deals with pre- and post-gentrification of Malin’s hometown. On New York Before The War, Malin presents a collection of tunes that have a couple of rockers, but mostly mid-tempo numbers that are sandwiched between an opening and closing ballad. Tunes like “Addicted” mix the rhythm of Simon & Garfunkel with the aggression of the Ramones while Malin sings about book stores being razed for high end condos. “She Don’t Love Me Now” has a cool doo-wop feel to it, while “Bent Up” is a roots-tinged ’50s styled rocker. “Turn Up The Mains” finds Malin going back to his punk rock roots channeling the MC5 and The Clash with its chorus “to kick the system and turn up the mains.” “Death Star” has nothing to do with Star Wars, but has a Lou Reed with a better hook style to it feel. The horns illuminate the album closer “Bar Life,” which wouldn’t be out of place on a record like Tim by The Replacements. Alive with memories of the past and wariness of the future, New York Before The War is a gritty ride on the roller coaster of life. And possibly the best record of the year to-date.
Jesse Malin and band will be performing at The Church in Boston on April 9. Email music news to [email protected]
Album Of The Week: Ceschi’s Broken Bone Ballads
When it comes to the world of independent underground hip-hop, there are few who can match the uniqueness and originality of New Haven, Conn-based artist Ceschi Ramos. Combining rhymes with tinges of both folk and indie rock, Ceschi is a musician who is never afraid to push boundaries in both genre and style. It couldn’t be more evident than with his brand new release, Broken Bone Ballads. With tracks that come straight from the heart as well as the mind, Ceschi educates and entertains in unison.
These days, when modern hip-hop is all enamored with big beats and cocky, arrogant lyrics, Ceschi brings a new take on the old school with most of his songs adorned with acoustic guitar chords and meaningful lyrics that stay with you. Whether it’s about the government, society or even the struggle we all know as life, all cylinders are hit on every angle possible. Ceschi crafts his music in such a real and genuine way that it’s very refreshing. This isn’t your typical hip-hop album, and we should all thankful for that.
Get with the grooves, the rhythms and the vibes. What you need to tap in to your inner music snob are my top tracks in the Album Of The Week. It won’t make you better than anyone else, but it’ll show you what’s good.
An excellent collaboration with Providence hip-hop and slam poetry legend Sage Francis, “Barely Alive” has a catchy, simple chorus combined with epic tones and hard hitting rhymes. The best example of Ceschi keeping things real, “Say Something,” is an honest commentary about friends, the world, society and the apathy that has invaded it all. I absolutely dig the emphatic backing beat on “Beauty For Bosses,” a head nodding jam that anyone can get down to.
Currently Ceschi is over on the West Coast where his next show will be at Kelly’s Olympian in Portland, Ore. Since he’s an artist based in New England, stay confident that he’ll be making his way back to Providence in the near future. Until he takes the stage at your friendly neighborhood music venue, grab a copy of Ceschi’s Broken Bone Ballads. It’s music straight from the heart that’ll enlighten your soul.
Ceschi’s Website: ceschimusic.com
Photo Essay: Fifth Harmony
HxC: Salad Days Showcases DIY Punk
As220 is holding a screening of the brand new DIY documentary Salad Days on April 10. The punk hardcore community holds Minor Threat, Fugazi, Bad Brains and many more in high regard and name them as influences in their music. Punk and DIY has always gone hand in hand, and these aforementioned bands put a stamp on what a group of people can accomplish without big record labels and managers. In the ’80s into the ’90s, punk and hardcore musicians booked their own shows, pressed their own vinyl and made statements without thought to the law or government. This documentary highlights the underground music scene in Washington DC that caused a whiplash of alternative music across the country.
Over the years there have been multiple documentaries trying to get across what exactly started this epidemic of hardcore and punk, but what makes Salad Days different is that the story is told by the scene’s originators. It includes interviews with Ian MacKaye, Henry Rollins, Dave Grohl, Alec MacKaye and many more. “Thirty years later, DC’s original DIY punk spirit serves as a reminder of the hopefulness of youth, the power of community and the strength of conviction,” says Scott Crawford, creator of Salad Days. Providence’s DIY community is alive and well and can be seen at venues across the city. AS220 prides itself on being a home for all artistic expression, making it the perfect place to view this influential documentary. Don’t miss out on this screening on April 10 at 8pm at the AS220 Main Stage.
April 4: As220 — Sete Star Sept, Lotus Fucker, Sadist, Clean April 10: As220 (before Salad Days viewing) — Sweet Jesus, Big Mouth
April 11: Aurora Pvd — Inertia, Sunrot, 1 Local TBA
April 14: Deep Desert — Full Of Hell, The Body
April 17: As220 — Weak Teeth, Violent Sons, New Strange, Public Policy
April 25: Firehouse 13 — The Casualties, Burning Streets, The Alley Saints, Honest John, Devils Twins