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S Never California,CD Review: Adam Michael Album Of The Week: The Train Set’s Never California What do you think of first when 80’s indie rock from Britain first comes to mind? Maybe The Smiths, The Stone Roses, The Sisters Of Mercy or even The Charlatans? Well, what if there was a band that started during that period but just released an album? That’s what’s happening with The Train Set and their album Never California, which be officially released off of Firestation Records on September 7. Any Britpop fanatic (I know there are a few of you) and anyone who worships the mantle of Ian Curtis, Steven Patrick Morrissey, Johnny Marr, Ian Brown and John Squire should love The Train Set’s latest release. If not, then please throw your music snob card out the window, and go hide in whatever miserable cave you came from. Never California is a series of singles the act put out during the Second Summer Of Love heyday of the late ’80s, and it makes me wonder why they didn’t achieve the success of their contemporaries. It could have been that they went away way too soon after their formation, which is an absolute shame. A first listen will show their incredible talent, and you’ll know why Noel Gallagher, formerly from Oasis, holds them in such high regard. Why did The Train Set disappear? Will they get back together? Well, they got a Facebook page up. Is it a fan page? Why haven’t you looked them up already? Maybe my top tracks off of the Album Of The Week will do the trick. Definitely influenced by the Madchester scene, “She’s Gone” has a little bit of jangle, a hint of synth and a bit of a blues aesthetic. The lead guitar really gives it an edge with riffs showing up through the track. With surfy tone, “Stop Stalling (Sob Stories)” has impeccable rhythm and a hell of a beat in the chorus. The riffs in “Gets Me Down” reminds me of the ’90s alt-rock band Cracker; it’s also catchy and groovy, and you’ll definitely love it. Will The Train Set do a reunion show? Are the members still alive? I have no idea, but I’d love to see them play in the States. So you know what the hell I’m talking about, get a copy of The Train Set’s Never California when it comes out on Labor Day. What a better way to spend a day off than listen to a killer album? Listen to “She’s Gone” here: https://www.youtube.com/watch?v=yMmzJNL8wNY The Train Set’s Website: http://www.thetrainset.co.uk CD Review: Adam Michael Rothberg’s Soul Of A Man In 2013, Boston musician Adam Michael Rothberg was diagnosed with a rare and potentially life-threatening cancer. The treatment and fallout from his illness has resulted in his introspective new CD, Soul Of A Man. The moody title track was performed by Blind Willie Johnson in 1930. The percussion by Fabio Pirozollo nicely complements Rothberg’s haunting vocals. “I’ve traveled different countries/Traveled to the furthest lands/Couldn’t find nobody could tell me/Tell me what is the soul of a man,” Rothberg sings. “Gonna Be Fine” is about the lonely life of a musician on the road. Rothberg’s lyrics brilliantly capture this theme. ”Too many motel rooms sucking down diesel fumes/we all smelled like locker rooms/too much love on the phone.” “Only Human” is about the sometimes frustrating struggle to find true love. “Crazy For You” was clearly inspired by the works of Paul McCartney and Randy Newman. It’s a romantic jazzy composition and a throwback to a more innocent time. It’s the best McCartney tribute you could ever hope to hear. Another highlight is “The Guitar Song,” an upbeat folk tune featuring a banjo and mandolin. “Take my vintage Cadillac car/but don’t you touch my guitar,” Rothberg sings. “Postcards from the Moon” is an intriguing look at what God thinks of humanity. “I’d like you to walk in my shoes for a mile/I made the world in one week/But so what/Cause I watched you destroy all I made.” “Lullaby” and “Shirley’s Gone” close out the album. They are a pair of contemplative songs about death. Befitting the title of his album, Rothberg sings with a tremendous amount of passion and soul. These songs are imbued with heart and stir the emotions of the listener with genuine feeling. The backing musicians also do a spectacular job. Soul Of A Man can be purchased at CDBaby.com. Some of Rothberg’s songs can be found on iTunes. Rothberg is currently touring around Massachusetts to promote the album. For a full list of dates, go to his website: amrsounds.com. Rob’s Album Of The Week: Vundabar’s Gawk With a mix of garage rock and jangle pop, Boston’s Vundabar have a uniquely infectious sound that couldn’t be more evident than with their upcoming release, Gawk, the band’s spectacular follow-up to their debut, Antics, that came out in April 2013. Driving chords, fuzzy riffs and a song structure that alternates between emphatic and soft tones are abundant throughout the album. Strikingly original while not going too over the top, Gawk gets weird, but in a cool way that’ll keep you from putting down your headphones. Vundabar was born from the sense of alienation many of us felt in high school. This feeling spawned the songwriting partnership between Brandon Hagen and Drew McDonald when they were both in their early 20s. In addition to alienation, Gawk deals with identity, perception, detachment and subtle bitterness with absurdist humor accenting the entire album. There are points of jarring energy that’ll hit you during various tracks, but it’s only a part of Vundabar’s creativity. Read an article, watch TV or just walk down the street, and you’re bound to see something absolutely crazy. It’s a wacky world out there, so take a break with my top tracks off of the Album Of The Week. I love the grooves of “Oulala” along with the catchy twee pop that brings a sense of smoothness to a track that features a lot of distortion and a few downbeats. Reminiscent of bands like The Cars and The Talking Heads but with a dose of serious edgy rock, “Alien Blues” is adorned with a rhythmic shine that keeps up with the band’s catchy style. “Bust” has some soft tones while going back to the scorching riffs that are all over this quick and energetic number. On July 17, Vundabar will play a kickass local rock show at The Middle East Upstairs located in Cambridge, Mass, with Pile, Creaturos, Ian and Milk. Grab a copy of Gawk when it’s released on July 24. It’s kind of all over the place and it’s kind of not — compacted weirdness that you’re going to love. Stream “Oulala”: http://vundabar.bandcamp.com/track/oulala CD Review: Richard Thompson’s Still On his new album, Richard Thompson, one of the all-time folk greats, proves once again that he’s Still got it (sorry about that one, it was right there!). He’s made a career as a road warrior; you probably won’t find the Bon Jovi tour rolling through Middletown, Ohio, or Grass Valley, Calif, but years of touring off the beaten path has earned Thompson a die-hard fan base. He hasn’t had the familiar career of a music legend; as a teenager in the ’60s, he helped create folk- rock in Fairport Convention, and in the ’70s through early ’80s he released critically acclaimed albums with his wife Linda. But his best work came 20-plus after he separated from his wife and moved his operations to California, deciding to start over as a solo artist. Still isn’t as guitar-heavy as 2013’s Electric, but any Thompson album is genius when it comes to sprinkling gems of guitar wisdom that reward repeat listening. It could be the leads alongside a chorus or a two-bar solo before a verse, but his playing is always fascinating (“Patty Don’t You Put Me Down” and “Long John Silver” stand out). Side note: To see some serious guitar wizardry, get to one of his electric shows. While his more well-known English contemporaries like Page and Clapton became guitar gods by ripping through pentatonic scales, Thompson created a style truly his own, using hybrid picking and drony down-tunings. His solos are intense, meandering affairs, full of off-notes that are cleverly resolved. “Pony In The Stable” perfectly mixes Celtic folk and electric guitar, and “Josephine” shows his masterful folk fingerpicking. Still was produced by Wilco chieftain Jeff Tweedy and features Thompson’s longtime associates Michael Jerome and Taras Prodaniuk on drums and bass, respectively. It doesn’t seem like jumping aboard Team Tweedy yielded any big breakthroughs compared to past albums. But Thompson is a shrewd operator, and I suspect that Tweedy’s name recognition and the possible access to a whole generation of indie fans was a big factor. Along with his fretwork, Thompson is known for his absorbing lyrics, the best of which remain squarely on the depressing side of the spectrum. “She Never Could Resist A Winding Road” tells of a love who got away and “No Peace No End” is an entirely bleak affair illustrating what it’s like to have nobody.
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