Rock ‘n’ Roll Villains: Ravi Shavi unleash Special Hazards
On their third full-length release, Special Hazards, Ravi Shavi unleash a collection of 14 songs chock full of grooves, trashy surf and classic pop. Gems like “Going Going Gone” come off like a letter to an old flame with singer/guitarist Rafay Rashid asking, “How’s the city, how’s your mom, do you still have a car, have you taken your pills, have you smoken a joint?” The wistful chorus features backing vocals from Roz Raskin. One of the older songs in Ravi Shavi’s repertoire, “Is It True,” is a sunny burst of classic pop buttressed by backing vocals from Raskin as well as Kate Jones and Emily Shaw of The Sugar Honey Iced Tea. “High Hopes” has a Cramps-style guitar-from-the-gutter stomp with a guest appearance by Ian O’Neil of Deer Tick. O’Neil also appears on “Violence,” which has an early 2000s alternative rock flavor. “Absent Minded Fool” is a lament with the feel of a cool flamenco guitar gone wrong. The final track, “Casino,” is my favorite with its eerily seductive lyrics like, “Why don’t you take a gamble, I’ll be your casino,” floating like smoke through the air over a funky garage backbeat. Special Hazards is available now on Ravi Shavi’s Bandcamp page with physical copies on vinyl and CD coming later this year.
I spoke with Rafay Rashid to discuss pandemic living, how he and guitarist Nick Politelli write, and the villainous undercurrent flowing through Special Hazards.
Marc Clarkin (Motif): How have you been spending this weird time we’re all in?
Rafay Rashid (Ravi Shavi): I’ve been kind of going through it with everybody else. I’ve always felt that the world is ending, and this has just been sort of more concrete or a manifestation of that. I’ve been writing more and doing some side projects. I’ve been trying to spend more time with my friends and family while still, you know, trying to keep the disease at bay. I just got tested a week ago, not because I had any symptoms; I was just curious. I was negative, so hooray, right? No COVID for me!
MC: One of my favorite songs on Special Hazards is “Sixes and Sevens,” where you have a great line in the chorus: “We’re not going to heaven, we’re still stuck in traffic.” How did that song come about?
RR: Well that was the pinnacle of me and Nick Politelli, our guitarist, just writing in a frenzy to create material for the album. We had come up with God knows, like 40 to 50 songs. When we whittled it down, that was one of the ones that stuck. We kind of knew when we wrote it that it was going to stick. It was just a combination of trying to figure out how to be as abrasive as we were on our first two records while reflecting a little bit lyrically. It was more of a statement song in terms of where we’re heading. All the songs were written before COVID-19 or 2020. We actually wrote all these songs lyrically about four years ago. So everything that you hear on the album lyrically has been written well before this time, but yeah, it kind of felt prophetic in a way. Not saying that we’re soothsayers, but I feel like there’s a sense that like everybody kind of knew where this was headed. “We’re not going to heaven, we’re still stuck in traffic” is like, we all have to work through a lot of things in order to get to this idyllic place that our collective imagination brings us.
MC: “Red Hands” is carried by a funk backbeat that kind of reminds me of earlier Prince. Were there any new things you want to try with Special Hazards?
RR: So one thing about Special Hazards that is unlike the rest of the albums, it was a very concentrated time in which we were working on the album. On this one, because of the way the time schedule worked out with our label, we had a lot of time to work on demos. This was actually sort of a compendium of everything that we worked on while we were trying to catch up with ourselves in terms of releasing stuff to the label — whether it be album covers or waiting for the pressing plants, which take a certain amount of time. So we basically whittled it down to 50 to 60 of our best songs. I think this one was the most collaborative between myself and Nick. “Red Hands,” along with probably about 70% of the songs on the album, were a 50/50 effort between me and Nick, which was cool. So on “Red Hands,” Nick did all the music and I just wrote the melody and vocals on top of it. There was a cynical brooding element to it; our engineer pointed out that this is like kind of our foreboding album.
MC: You made a video for “Casino,” which, in addition to being one hell of a jam, doesn’t sound like anything else you’ve done. How did that one come about?
RR: I guess with songs like “Casino,” “High Hopes,” “Red Hands” and “Going Going Gone” we found a thread of a narrative in between these demos that we had done. Then we were like, “Where’s the story here?” even though we’re not really like a story or conceptual album band. We somehow found a story within the everything-and-the-kitchen-sink format. So we just picked the songs that fit the story, which was loose. It was somewhere between a heist and an emotional robbery. So there’s some love songs, there’s some nostalgic stuff, but then there’s some straight-up let’s go ahead and take what we can get type of thing. We did feel like the enemy a little bit — it came from a villainous perspective in a lot of ways.
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Precarious Pandemic Predicament: Dying for music, but don’t wanna die for music
Okee dokee folks… I am in a bit of a precarious pandemic predicament. One one hand I REALLY want live music to start happening again; I want to get back to performing, writing about what is coming up, and reviewing and photographing shows. On the other hand I REALLY don’t think it is wise to be out because people are still getting sick and dying from the Trump Virus (COVID). Rhode Island WAS doing well, among the top states handling this, but we have started to backslide, so I don’t want to encourage anyone to go out when I don’t really want to go out. These days I only venture to the grocery store, and sometimes I feel like I am one of the few people taking this pandemic seriously because I have seen people publicly flaunting the fact that they are infected with the Moronavirus by NOT wearing a mask in a store or social distancing. People have been going out and having fun; I guess there is just no stopping them even in life-and-death situations. Some venues have been getting creative about presenting live music by holding drive-in concerts, socially distanced performances and livestreams from empty venues. I played one private show a few weeks ago. I felt safe because I was outside under a tent and roped off and distanced from people, and everyone in attendance wore a mask. In all honesty, if I did not feel safe I would have left and not done the show. As much as I agree with the sentiment, “Stay the fuck home!” I can’t force anyone to stay home, not even my parents or my girlfriend. They go out to casinos, restaurants and wineries, but I will not, not until the all clear is loudly sounded. Sure, you can take your chances, but PLEASE practice social distancing and try not to affect anyone else, especially if you have the Moronavirus. By the way, alcohol increases the affects of the Moronavirus, just so you know. Read on…
Festival fans have gotten extra depressed over the past couple of weeks and probably will continue to sink deeper in the coming weeks. The COVID cancellation of festivals like Newport Folk and Jazz, Falcon Ridge, Grey Fox, Rhythm and Roots, and Providence Folk Festival have left huge holes in the souls of the tribes of annual festival gatherers. Many have tried to connect online and listen to streams of past shows or livestreams of some of the artists who were scheduled to perform. While the internet is no match for a true festival experience, the upside is that you won’t have to use a port-a-john!
Some live music is coming back under strict guidelines, though the openings may be changed as the virus progresses. It is very important if you do attend any performance that you adhere to the rules that are in place for everyone’s protection. If they are not followed it could cause problems for the venue and cause another shutdown of that establishment. Don’t be the reason for closure and more importantly, don’t spread your germs!
Here are a few places that are currently presenting performances, though you will need to check for updates because the virus doesn’t play by the rules and can alter schedules at will. If you are in need of a good laugh, the Comedy Connection in East Providence has some big names stopping in for multiple dates. Chelsea Handler takes over from August 10 through the 12th, and you can take a “Break” with Michelle Wolfe, August 28 and 29. Giggle over to ricomedyconnection.com
The Rathskeller Tavern has a nice outdoor set up (according to my girlfriend) and has quite a few bands on the remainder of their summer schedule. Wild Nights, 7 Day Weekend, Paula Clare Blues, Nick Bosse, Another Tequila Sunrise, Steve Smith, Take It To The Bridge, Underestimated Prophet, Dirty Deeds and others are slated for shows until the end of August. For more, hit the back roads to thecharlestownrathskeller.com PumpHouse Music Works in Peacedale lets the music play on their front lawn! Coming up: Sidy Maiga and Afrimanding with Rhode To Bali, Tai Chi Funk Squad, Dysfunktone, Guess Method & Smug Honey, Troy Gonyea Band, The Honk & Country DNA, Leland Brown Quartet & Blue City Quartet, Slurp & Dudemanbro, Duke Robillard, Will Evans, Fellswater and more. They will have an outdoor bar and food trucks available. Shady Lea to pumphousemusicworks.com for info and reservations.
The Complaints will be at Finn’s Harborside in East Greenwich on August 14 (finnsharborside.com). Strings Bar & Grill on George Waterman Rd in Johnston has Juxo & Lisa Marie on August 8 (stringsbar.com). On Sunday, August 16, enjoy a Blues Concert with Helen Sheldon and The Trash Pandas at the Lippitt House Museum on Hope Street in Providence (preserveri.org/contact-lippitt-house-museum). The Last Resort in Smithfield has Aerosmith tribute Last Child on August 8 (thelastresortri.com).
Common Fence Music will present Jake Blount, an award-winning banjoist, fiddler and singer in a free online concert on Sunday, August 9 at 7 pm. A link will be provided at commonfencemusic.org at showtime and all tips go to the artist. A Musical Journeys interview with Jake will immediately follow the concert.
Lucy’s Hearth, Newport County’s only homeless shelter for children and their families, announces its virtual summer concert, We Love Lucy’s Hearth, slated to air Wednesday, August 19 at 8pm. Scheduled to appear are Nancy Paolino, Alan Bernstein, Mike Renzi, Slackwater String Band, John Monllos, Joanne Rodino, Dopey Lopes, Jimmy Winters, Carrigan Nelson, Jonathan Perry, Leslie Grimes and Matt Bruneau. Being homeless during this pandemic places additional stress on families and the services provided by Lucy’s Hearth. The suggested donation is $25. Warm up to lucyshearth.org for donation and viewing details.
A few years back, Canadian songwriter Kathleen Edwards quit the music biz and opened Quitters Coffee Shop in Stittsville, Ontario. If you are a fan like me, that was a disappointing decision. Edwards has done a bit of an about face and will be releasing her first full length recording in almost eight years. The album, Total Freedom, will be out the second week of August. To pre-order your copy keep your “Options Open” and get to kathleenedwards.com.
Brianna White, a Motif Music Award Winner, has just released new project called Resonate. White is known for her use of looping devices to enhance her solo performances. Her recorded material is radio friendly, catchy and slick. Check out her video for the song “Jaded” on her YouTube channel. Brianna is definitely one of the bright spots on the Rhode Island music scene. For more, hop over to brianawhitemusic.com
Neil Young has reworked the lyrics and released the song “Looking For A Leader 2020” as a protest against the squatter in the White House. He is also considering bringing suit against the mango moron for his use of “Rockin’ In The Free World.” Go Neil! You can hear the song and read Neil’s take on things at NeilYoungArchives.com
One more thing, someone made a comment on Facebook last week that there is a lack of coverage for the local music scene by the RI press. That is completely untrue! Remember: If I don’t know about it, I can’t write about it. You have to send a press release at least two weeks before an event to be considered for coverage. It is just that easy. That’s it for now. Thanks for reading. If you all get sick from going out I don’t want to hear about it! JohnFuzek.com #DumpTrump2020 The Story Behind the Song about a House: A lyrical comparison of Taylor Swift’s “last great American dynasty” with the real life of “the maddest woman this town has ever seen”
Taylor Swift graced us with her presence back in 2013 by claiming the infamous Watch Hill Mansion as her own. But like many places that have existed (and will exist) long after its current inhabitants are gone, this house has a story – one that makes even the illustrious life of Taylor look dingy and oddly banal in comparison.
It makes perfect sense that the millennial songstress might reflect a bit on one of her favorite abodes as she spends more time in it lately. She mentioned on her social medias that her recently released eighth studio album folklore is largely based on stories she had floating around in her head during self- quarantine, so it’s no wonder that the story of Rebekah Harkness, the previous owner of the mansion, would make the cut.
It’s clear from the lyrics that Taylor definitely did some research while writing my personal favorite song on the record, “the last great american dynasty.” But how accurate was she, really? I set out to find out, and wanted to share my findings with Motif readers.
Rebekah rode up on the afternoon train, it was sunny Her saltbox house on the coast took her mind off St. Louis
Bill was the heir to the Standard Oil name and money And the town said, “How did a middle-class divorcée do it?”
So far, all this checks out (assuming the weather that day really was sunny). Rebekah Harkness was married four times in her lifetime; Bill Harkness was her second husband. She was originally from Saint Louis, where she was born and raised by nannies, and then attended finishing school. Some reports say that the lack of emotional closeness with her parents is likely what pushed her into marriage haphazardly (allegedly, she said there was nothing better to do) over the course of her life.
The wedding was charming, if a little gauche There’s only so far new money goes
They picked out a home and called it “Holiday House” Their parties were tasteful, if a little loud The doctor had told him to settle down It must have been her fault his heart gave out
From what I’ve read about these people, Bill Harkness was The Great Gatsby 2.0 with more money than he knew what to do with, and that’s why people questioned how Rebekah (also known as “Betty” – yet another reference to a different song on this album) was able to nab a guy with pockets that deep. So she probably threw it in their faces a bit, making the Holiday House parties a bit extra. This lady was sassy to the highest degree, and definitely didn’t let the naysayers have their day without fighting back somehow.
Historically, Bill did pass away from a heart attack, but I thoroughly enjoyed the way Taylor lyrically voices the snide things that unfriendly neighbors probably said about her that aren’t necessarily true, but quite probable. It is this intersection between storytelling and history that hits the sweet spot for those with a taste for local flair and pop trivia aficionados.
And they said There goes the last great American dynasty Who knows, if she never showed up, what could’ve been
There goes the maddest woman this town has ever seen She had a marvelous time ruining everything
The chorus of the song is more creative and poetic, but given what we know about Rebekah Harkness, none of this is all that surprising. Much like Taylor Swift, Rebekah likely attracted a lot of noise and traffic to the area while throwing parties and networking with high-end socialites in the performing arts — her bread and butter. Even though she had money at this point, Rebekah loved entertaining and being the center of attention. Lyrically, I’d wager that Taylor Swift infused some things that have been said about her in the media as well (“Blank Space,” anyone?).
The similarities of the social dynamics between the two women are striking, and my favorite line is undoubtedly “she had a marvelous time ruining everything.” It’s an obvious nod to the Rhode Islanders who weren’t the stoked teenaged girls thrilled to have their favorite pop icon bunking tantalizingly close to home. Despite Swift’s legal permits being filed to put up a chain link fence, locals were still pissed and even instated a “Taylor Swift tax” as a means of coping with the chaos of more traffic and paparazzi flooding the area.
Rebekah gave up on the Rhode Island set forever Flew in all her Bitch Pack friends from the city
Filled the pool with champagne and swam with the big names
And blew through the money on the boys and the ballet And losing on card game bets with Dalí
After a while, it makes sense that this rich woman would give up trying to please the locals, and fly in some of her old mischievous friends from finishing school who dubbed themselves “The Bitch Squad.” The first time I heard this song, I was convinced it was just a Swift-ism, showing off her newfound comfort cussing in her songs. So imagine my amusement when I read this was actually an historical fact. As far as the shenanigans mentioned here, it’s hard to find precise accounts, but many sources report similar things of this nature, like putting mineral oil in the punch bowls and filling a fishbowl with scotch (probably not healthy for the fish, but I rest my case).
Ballet was definitely a crucial part of her life, as Rebekah was widely credited with being a big-name philanthropist who funded and ran her own prestigious ballet company, as well as being credited with donating two million dollars to New York Hospital for research and recovery medicine in her will. She did end up poaching dancers from the Robert Joffrey Company, which then ended her company due to some ugly allegations and split artistic decisions. I couldn’t find any specific accounts of Rebekah playing cards with Salvador Dalí, but she definitely demanded to be cremated and kept in one of his fancy urns (which she didn’t even completely fit into, so some of her limbs were allegedly kept separately in a grocery bag).
They say she was seen on occasion Pacing the rocks, staring out at the midnight sea And in a feud with her neighbor She stole his dog and dyed it key lime green Fifty years is a long time Holiday House sat quietly on that beach Free of women with madness, their men and bad habits And then it was bought by me
I am obsessed with the ghostly nature of the bridge section of this song – it’s so haunting, and the way Taylor positions herself squarely in the center of the vacuum Rebekah left at the time of her death is poignantly beautiful and slick. In many ways, it’s almost as if this house has embodied the crazy eccentricities of its occupants, dooming all its future inhabitants to a similar fate. On a lighter note, media reports say that it was actually a cat that was dyed key-lime green, apparently. The timeline, however, is easy enough to figure out — it was indeed about 50 years since Rebekah’s death in 1982 and Taylor’s purchase of the home in 2013. Point is, Taylor and Rebekah are both eccentric creative types with a petty (yet hilarious) sort of dark side.
To get the full sense of the story, I definitely recommend listening to the song with headphones on and the world turned off. It’s such a masterful piece of storytelling, and if history class was this half this illustrious and glittering, I might’ve actually paid a bit more attention to it.
Listen to the official lyric video of the song HERE: https://www.youtube.com/watch?v=2s5xdY6MCeI
Newport Jazz Fest: Home edition
Back in late April, as all events for the foreseeable future started to be canceled or postponed due to the unfolding COVID-19 pandemic, the Newport Festivals Foundation came to the conclusion that due to safety concerns they would have to cancel both the Folk and Jazz Festivals and wait until summer 2021 to return to the Fort. This weekend (Jul 31 – Aug 1) marks what would have been the official start to the weeklong festivities in Newport and although it is absolutely necessary that these festivals do not take place at this time, for those who spend the whole year looking forward to the Folk and Jazz Festivals, it still stings knowing that we won’t be going this year.
However, in the months between the postponement announcement and now, the NFF has been hard at work crafting “Newport Jazz Revival 2020,” which will take place over Jazz Fest weekend (Aug 7 – 9) and will offer a plethora of unique experiences, programming and other content to give jazz fans plenty to stave off their cravings for the festivals. Here is a quick preview of what they have planned.
Kicking it off will be Jazz Night In America (an NPR-produced public radio program), which is running a three-part Newport Jazz Festival Radio Special. In each part, host and NJF artistic director Christian McBride reaches back into the long history of Jazz Fest and hand picks special sets to highlight the 65 years of Newport Jazz. Part 1 took place on Fri, Jul 24, 11pm / Sat, Jul 25, 6pm. Catch Part 2 on Fri, Jul 31, 11pm / Sat, Aug 1, 6pm; and Part 3 on Fri, Aug 7, 11pm / Sat, Aug 8, 6pm.
On August 8 and August 9 WBGO is helping to produce Newport Jazz Revival Radio, which will present archived sets from across the spectrum of amazing performances that have taken place at the Newport Jazz Festival.Tune in 88.3FM or visit wbgo.org from 6pm – 10pm on Sat, Aug 8 and Noon – 4pm on Sun, Aug 9.
Finally, on Sunday, August 9 at 7pm will be the premier of Jazz Together, a short film about the festivals, the NFF, and all they are doing to support artists and music education programs all across the country. Tune in to watch over on Newport Jazz’s Facebook or YouTube channels.
As the Newport Festival Foundation says, “Newport Jazz Revival 2020 is Newport Jazz’s way of celebrating all of the work we’ve done together, bringing music to our communities any way we can.” Visit newportjazz.org for all information regarding these offerings and ways you can interact with the NJF. Hope to see you all next year at the Fort!
Stay safe, stay healthy, and keep listening to jazz!
Ben Shaw is a local composer, performer, and writer. Find him at benjaminshawmusic.com.
Emancipation Day in PVD, Aug 1 Advertisement for Emancipation Day rally, 1854, in Providence on the 20th anniversary of the abolition of slavery in the British Empire. (Credit: RI Black Heritage Society) Slavery ended throughout the British Empire on “Emancipation Day,” August 1, 1834, when the Slavery Abolition Act came into force. Free Blacks in the United States began celebrating the anniversary as many had personal and community connections with the former slaves of the British West Indies, the Caribbean Islands (including Antigua and Barbuda, The Bahamas, Barbados, Dominica, Jamaica, and Trinidad and Tobago) where 95% of the slaves brought from Africa to North America were forced to cultivate sugar cane. Because slavery continued in the United States until the Civil War ended in 1865, these annual commemorations throughout the 1830s, 1840s, and 1850s were rallies in support of abolishing it. Emancipation Day Providence 2020 flyer
That tradition is being revived now in a radically different context, and a celebration rally with speakers and music is scheduled for 3 – 8pm, Saturday, August 1, at the Temple to Music in Roger Williams Park in Providence (facebook.com/events/747105509428811). Speakers include historian Keith Stokes, who provided a copy of an advertisement in the collection of the RI Black Heritage Society for the 20th anniversary march in Providence in 1854, using the florid language of the era: “assemble in Nature’s garden, with the blue vault of Heaven for a covering” (meaning outdoors). In addition to Stokes, the speakers list includes event organizer Khalif Andreozzi, Mayor Jorge Elorza, City Council President Sabina Matos, Sen. Harold M. Metts, Rep. Marcia Ranglin-Vassell, Rep. Anastasia Williams, NAACP President Jim Vincent, Cultural Equity Initiative founder Raymond L. “Two Hawks” Watson, Muslim American Dawah Center of Rhode Island imam Farid Ansari, Lisa Ranglin, and Zuli Vidal. Performers include Maxx Major, Jahmal Brown, Michael Clark (gospel), Cam Bells, MrDeep Positivity, Indigo (poetry), and Infinite Power of Culture (youth dance). The master of ceremonies will be Jermaine Whitehead-Bailey. Attendees should wear face coverings and are invited to bring water to stay hydrated, signs, lawn chairs and umbrellas for shade. For more information, text “emancipation” to 797979 or telephone 401-263-1691.
Jazz Insights: Al DeAndrade
Rhode Island veteran trumpet player Al DeAndrade was born and raised in Pawtucket. His father, known as “Jim Daddy,” had a local orchestra and played alto saxophone and clarinet. Young Al began performing with his dad at age 9 on his horn. His brothers, Richard and Vincent, played saxophones with the orchestra, as well. Al was taught trumpet by veteran instructor, Howie Wintergrad.
After high school, Al went on to Rhode Island College and became a teacher. He taught elementary students in Central Falls. Al joined the Musicians Union and played for The Ralph Stuart Organization for many years, performing with them all along the Eastern Seaboard. On occasion he played with the famous Lester Lannin and Myer Davis high-society orchestras. His love for the big band and jazz arrangements became his lifetime passion.
Al continues to serve as Vice President of the Providence’s Musicians Union, since 1995. He is well known for Chairing, the Musicians Union’s on-going Cavalcade of Bands, which is regularly held at Rhodes-On-The-Pawtuxet. Now in his 80s, he continues to play his sweet-sounding trumpet, performing with sundry groups throughout Rhode Island.
Al DeAndre is truly listed among the many great musicians hailing from our special state.
Check on Your Venues!: Struggling spots can use your help
Okee dokee folks… I sincerely hope that none of you reading this are getting complacent about COVID-19. It is far from over. You still need to wear a mask and social distance. Please do not listen to the mango moron; he is as dangerous as he is stupid and we need to fire him in November to get back to a time when science, facts and intelligence were the norm.
I would like to commend the folks who have been out there protesting. It is making a difference. Please don’t relent, but please stay safe. There is so much more that needs to change. We have to look at life differently now and that is hard for some people. Humans need to evolve — evolution aids survival.
The pandemic has decimated the music industry, and definitely has affected me personally. My life revolves around music, and it has been almost four months since I have played a gig. I hadn’t touched a guitar at all during this time until just the other night when my band got together for an outdoor rehearsal. I REALLY needed that. The depression of having all the work I put into booking shows, rehearsing, and writing all come to a screeching halt hit me hard. When the pandemic began my neighbors wanted me to play a backyard concert for them. I said that I would but still haven’t. It is a good idea though. House concerts were quite popular in the pre-pandemic days so maybe this summer can be the summer of backyard concerts? You really don’t need much sound reinforcement, if any, to do this kind of show. Sit around a fire pit and play music. Does anyone remember the commercial for Campfire Girls in the 60’s? “Sing around the campfire, join the Campfire Girls” Google it! Now it will be stuck in your head for 50 years! Of course you will still have to social distance and wear a mask but don’t fight it, just accept it. Seriously, choose your your battles wisely.
While some bars and restaurants are beginning to have music, mostly outdoors, the main music venues are still closed. Some venues might be closed for good. If you have a favorite venue, you may want to check in with them. Many are doing fundraisers to stay alive. Some are getting creative, like the Galactic Theatre in Warren (galactictheatre.com). They are selling ICE CREAM through the front door. If you are in that neighborhood you can stop by for a cool, tasty treat. Some, such as Common Fence Music (commonfencemusic.org) and The Narrows Center for the Arts (narrowscenter.org), are doing regular live internet streams. Pumphouse Music Works (pumphousemusicworks.com) has a GoFundMe campaign running and director Dan Collins notes, “We are in the midst of finalizing our reopening plans, which include an outdoor stage and service area. The costs of these upgrades, in addition to everyday expenses of keeping the lights on and mortgage paid, put us in the unenviable position of asking for your financial help.” To donate, visit: gofundme.com/f/pump-house-music-works-needs-your- help The Greenwich Odeum sent out an e-mail with some positive news, “We have been anxiously waiting to reopen our doors… Our staff has been working hard these past few months to figure out ways that we can keep the Odeum safe for all of our patrons, volunteers, artists and employees and we look forward to sharing our plan with you in the coming weeks, along with some exciting programming!” The National Independent Venue Association has a website committed to collect signatures in support of music venues like the aforementioned. Please visit the site and add your name (saveourstages.com)!
In the meantime, you can still find most musicians doing livestreams. Check your favorite musician’s Facebook page or website. Local legend and fav, Juxo, has been doing his “Live From The Practice Space” series with special guests on Monday nights (facebook.com/johnjuxo). My band, Forever Young, will be doing a livestream sometime soon. We had so much fun playing music in the backyard last week we want to share it with you. We just want to do it right. We are working on getting proper video and sound techs secured to do so. Check our page for news ForeverYoungNeilYoungTribute.com
New protest songs are beginning to blossom and hopefully music will once again use whatever influence it can on society. The (Dixie) Chicks, who are known for speaking their minds, just released “March, March” from their album Gaslighter. I have an anti Trump song that I wrote a few months back but the pandemic got in the way of recording it. If you have a protest song/anti-Trump song I would love to know about it.
That’s it for now. Thanks for reading. JohnFuzek.com #DumpTrump2020!!!
Summer Guide: The road to nowhere…
I was telling my friend Louie that I had to write a music summer guide and he responded, “Guide to what?” Good question, damned if I know. Maybe the best songs to listen to at the beach? That list for local music always starts with Neutral Nation’s “Bad Music Beach” with honorable mention to Someday Providence’s “Summertime in Rhode Island.” Technically there is still The Mummies at Askew on August 23, but you’d get better odds at Twin River on roulette than whether that show happens. Sammy Hagar said live music should return to save the economy. He was willing to sacrifice himself for the benefit of his kids and grandkids. It makes sense. He had no problem sacrificing Van Halen. So … fuck him, I can drive 55. Black Lives Matter. Here are some new tunes to crank up like the fireworks in the middle of the night.
Bob Mould — “American Crisis” (Merge Records)
Bob Dylan is the best lyricist in the history of rock ‘n’ roll. He even has a lyrically stunning new album out but, with all respect to Mr. Zimmerman and his chart-topping 17 minute song, he’s not the Bob who came out of Minneapolis that the world needs now. I saw Mould solo in January in Fall River and he talked about coming of age as a gay male in the ’80s, when the emerging AIDS crisis was referred to as “the gay cancer.”
“American Crisis” starts off with this lyric: “To come of age in the ’80s was bad enough, we were marginalized and demonized, I watched a lot of my generation die.” And he is just getting started. “Wake up every day to see a nation in flames, we click and we tweet and we spread these tales of blame … world turning darker everyday, in a fucked up USA.” This song makes it feel like he was phoning it in with his old band, Husker Du, on Zen Arcade. Zen Arcade was one of the best records of the ’80s. In under two and half minutes Mould and bandmates Jason Narducy and Jon Wurster power through more twists and turns than the Corkscrew at Rocky Point. In the fadeout Mould chants, “Silence was death, never forget.” Yes. And vote! steadystate — Fast Machine
I loved steadystate’s debut EP, Two Moons, last year mostly because of the track, “Radiation,” which exemplified great electro-alternative ’80s rock ‘n’ roll. It took a while to appreciate the followup, Fast Machine, because it was kind of like going from Bowie’s Diamond Dogs to Low. Fast Machine is trippy in both a psychedelic and melancholy manner, kind of like the times. I recommend checking out Tyna Calderone’s (from Big Haired Sluts fame) video for the first single “Slider,” which was shot in Providence right after the shutdown on their social media. Singer/Keyboardist Christian Calderon ponders whether “our nightmares will come alive, or will they clean up everything.” The title track asks, “What’s the point of no return?” while the band paints a foggy ’80s electro-influenced wall of sound. The final track, “D+,” isn’t just my high school math grade, it starts slow till squalls of feedback usher in the beat. Fast Machine is the perfect EP to blast at the beach to chill between New Order and Jesus Jones.
Malyssa BellaRosa — Affinity
Malyssa BellaRosa has been a busy lady between this solo album and another record she’s ready to drop with her band, Sugar Cones. I was expecting a more mellow album in the vein of “these songs didn’t work with the band” type of thing, but Affinity ain’t afraid of a little rocking and a rolling. The opening, “Great Escape,” starts with BellaRosa’s smoky vocals that leads the listener into the titanic chorus about the need to get away. “All Used Up” is a tune that BellaRosa has done with one of her other bands, Malyssa and The Liberators. I can’t say it is my favorite, but I get why it sticks around — when the song goes into the rocking part surfing a killer hook, I get the appeal. “Wanting More” reminds me of Bonnie Tyler with strings. As a huge fan of Jim Steinman’s songwriting, I love this! It only works because BellaRosa has the pipes to pull this off. “By My Side” has the neo-’60s garage strut reminiscent of Edwyn Collins “A Girl Like You.” “It’s Alright” is dirty guitar punk rock rave up. The closing “Groove With Me” is a meditative electro jam to fall asleep to on the beach under the stars.
Sick Pills — Late Night Death Trip (75orLess records)
Got this biscuit in the mail and after glancing at the song titles, I had to reach out to singer/guitarist Chris (Dr. Evil) Guaraldi to make sure he was okay. The song titles include “Wanna Die,” “Waiting To Die” and the title track. It turns out it was inspired by some health problems last year, including a late night ambulance trip. Thankfully Dr. Evil is doing better, and from the suffering came great art. The frantic opener, “Wanna Die” rips in a Husker Du pace before settling into a late ’90s breakdown. “One More Chance For Love” is another punk rave-up with a hook that recalls early The Replacements. “Waiting To Die” reminds me of ’90s The Queers and is infectious as hell — seriously, wear a face mask while listening. The title track has the frenetic backbeat like Funhouse-era Stooges, but at the same time, sounds nothing like them all. The CD version rounds out with a Devo cover in “Gates of Steel” and Q Lazzarus’ “Goodbye Horses” that was featured in Silence of the Lambs. Late Night Death Trip is the album to crank at the beach when one has had too much tequila the night before.
Blackletter — Animal Farm
Singer/Keyboardist Dave Laros told me this record was a reflection of the times and is his effort to make sense of it all. The release party for Animal Farm was to be the week everything shut down, so if the times were weird before, good luck with the next one, Laros. Animal Farm starts off with a ’70s rock strut with bassist Rob Shaggs holding down the low end before guitarist Vic Foley unleashes a bomb of guitar pyrotechnics on the title track that rival anything in Providence at 2am these days. “Vlad The Impaler” reminds me a lot of Blue Oyster Cult when they are not being sweet and singing about the Grim Reaper. “Murder on the Run” is my favorite on the album with Foley’s blues licks playing against Laros’ keyboards till the chorus that kicks any other power ballad to the curb. “Better Rain” reminds me of a cross between ’70s stoner rock and Kilgore Smudge. “Invisible Chains / The Waltz” has the title backward because it starts off with a waltz before undergoing a metamorphosis into early Queen at a freak show. Animal Farm is the record to put on the ghetto blaster at the beach for those who apply 110 SPF and … it’s not enough. Email music news to [email protected]
The Road to Reopening: How are local music venues going to handle Phase III?
This pandemic has taken a massive toll on the entertainment industry, and it’s one that might be insurmountable for small clubs. On a national level, the newly formed National Independent Venue Association (NIVA) revealed that “90% of independent venues report that if the shutdown lasts six months and there’s no federal assistance, they will never reopen again.” On June 18, NIVA released a letter signed by a who’s who of musicians calling for financial relief from Congress.
Here in Little Rhody, there is a glimmer of hope on the horizon. As I was beginning to put this column together, Governor Raimondo announced in a press conference that indoor public spaces will be able to open with 66% capacity in Phase III of reopening. She was asked whether the indoor openings will include establishments with live music.
Commerce Secretary Stefan Pryor answered in the affirmative, noting that performers will be required to be 14 feet from the audience, with musicians also spaced apart. He went on to say that venues will be required to come up with an approved plan, and that specific guidance for music venues will be released in the coming weeks. The governor has since announced that for free-flowing venues, like music venues, one person per 100 square feet is allowed.
But there remain many unknowns. Much of RI’s live music was silenced in March when entertainment licenses were pulled by the city of Providence, so it’s unclear how city regulations will jive with the statewide rules. And furthermore, is it worthwhile for small clubs to book shows at reduced capacities?
I talked to three local venues about their plans for the near future. Noah Donnelly of Nick-A-Nee’s cited an executive order from the City of Providence on June 18 that says nothing about lifting the live music ban, so they’re holding out on hosting music for more clarification on the rules.
As far as operational changes going forward, Donnelly “assumes it will be the same as it was prior” if music is allowed in Providence. He added, “We are going day by day. There does not seem to be a real plan for the arts, and that is very disappointing.”
In an effort to play it safe, The Parlour is also waiting it out. Gregory Rourke said that “with limited space and no outdoor seating, it’s impossible for us to socially distance effectively,” and that “the risk outweighs the reward.” He said they will be starting take-out food service after July 4.
Rourke’s concerns point to the element that may be the toughest for these neighborhood spots. For most patrons, it’s not about just the live music; it’s about getting together with friends at a bar for talking, drinking and general merriment. Implementing this new normal with social distancing is going to be a tall order. Local musician Mark Lambert organized a wildly successful fundraiser to benefit The Parlour; it raised more than $8,000 after an initial goal of just $2,000. Rourke said without that, they would’ve closed for good. “This has been an incredibly hard time for many,” Rourke added. “The music/entertainment field has suffered greatly, and it’s been amazing to see so much love and support in the community.”
When I heard from Danielle Tellier of Dusk, they were in the beginning phases of formulating a Phase III reopening plan. They’re hoping to start off with limited live acoustic acts and DJs, with both indoor and outdoor seating.
Dusk is taking safety seriously, with plans to implement measures like “a designated ordering station, Plexi partitions, ample space between tables both indoor and out, mask requirements when ordering/going to the restrooms, disposable everything and available sanitizer.”
Teller also realizes the constraints. “Our largest hurdle is that our floor space is not set up for social distance with most live music, so providing entertainment, not only to draw in customers but to continue to support our music community, will be challenging,” she said. “We hope to survive as a bar and start integrating our musical format as time, law and safety allow.”
Dusk will be updating their Facebook page regularly as their plans take shape.
None of the three clubs received any state or federal assistance; Nick-A-Nee’s didn’t apply because of “limited payroll and the lack of transparency in the PPP,” while The Parlour did apply for grants and loans but received no aid.
Like most small businesses during this time, your local venues need your help as they try to reopen. Hopefully, imagining your favorite venues shuttered gives you more than enough motivation. Yes, things will be different, but after more than three months with no live music, I’m certainly excited to give it a try.
Rough and Rowdy Ways: After 60 years, Bob Dylan has started to open up It’s comforting to know that at 79 years old, Bob Dylan is pissed. A true American soldier, a wordsmith smitten with pugilism. An old, wealthy man who seems to be viscerally and cerebrally aware of the plight of people stricken with poverty and affected by boiling racial tensions; Bob Dylan is an anomaly because he is telling the truth.
Rough and Rowdy Ways, Dylan’s first album of original material since 2012’s Tempest, comes at a time of fright and uncertainty in the world. Dylan boldly addresses death and injustice in the long, pop- culture-reference filled, “Murder Most Foul,” which is a commentary on the very public assassination of then sitting president John F. Kennedy and the shady coverup surrounding his murder. Dylan spends 17 somber minutes painting a vast and detailed account of the climate in the nation and popular culture leading up to Kennedy’s assassination, and segues into shading in the feelings of the changing political climate and the shift of culture following the president’s death. Dylan includes a wide range of references from the Everly Brothers’ fictional “Little Suzie” and Larry William’s (also fictional) “Dizzy Miss Lizzy” to Abraham Zapruder, whose 8mm film of the assassination is probably the most widely viewed footage of JFK’s murder. In what seems to be a desperate midnight prayer to Wolfman Jack, Dylan begs to hear John Lee Hooker, the Eagles, Etta James, the Allman Brothers, Nat King Cole and Junior Wells, and to see silver screen legends Buster Keaton and Harold Lloyd, to name a few. The breadth of the pool of knowledge that Dylan draws from knows no bounds. Dylan conveys the desperation and sharply pointed sadness that was bestowed on America when the president of the people was murdered in broad daylight in Dallas, Texas, on November 22, 1963.
Dylan’s band on the record is his top-notch touring group Tony Garnier (bass guitar), multi- instrumentalist Donnie Herron (pedal steel guitar, violin accordion), both Charlie Sexton and Bob Britt on guitar and Matt Chamberlain plays the drums. Benmont Tench, formerly of Tom Petty and the Heartbreakers, and jazz artist Alan Pasqua provide the organ and piano work. Blake Mills and Fiona Apple are also credited, seemingly providing the spacey backing vocals that bob and weave throughout the album. Dylan injects his winding and wiry guitar playing, as well as some harmonica work, which has become increasingly bluesier over recent years.
The tour infamously dubbed “the Never Ending Tour” is on hold for the longest period since its inception in 1988, and “I’ve Made Up My Mind to Give Myself to You” reads like an ode to the road that has harbored Dylan so graciously, particularly for the last 32 years of his career. He made up his mind to give himself to his fans and the road after a tumultuous stretch of career in the ‘80s during which Dylan himself admits that he had been written off as a ‘has-been’ and was washed up.
Since then, he’s upheld his decision to give himself away with 14 album releases (not to mention numerous extensive releases of previously unreleased material and live recordings), the first installment of his memoir, Chronicles, a few authorized documentaries, and over 3,000 tour dates performed since ‘88. His work has not gone unrecognized as he’s earned seven Grammy wins, an Oscar for the song “Things Have Changed,” the Presidential Medal of Freedom from President Obama and 2016 Nobel Peace Prize in literature.
“Goodbye Jimmy Reed” is the upbeat highlight of the album with collectively bold guitar performances from Charlie Sexton, Bob Britt and Dylan that drive Dylan’s lyrical search for a simpler time that he admits isn’t better, but simply, more simple. Dylan’s harmonica playing is sweet and clear and reminiscent of Little Walter; Dylan once said “rock n roll died when Little Walter died.” Emitting the same cool late-night juke-joint feeling of “Goodbye Jimmy Reed,” “Crossing the Rubicon” is arguably the best song on the album; Dylan brags about his experience and showcases his bravado, but remains skeptical of the whole thing, giving us a rare glimpse into the state of his creative being and reminding us that his mind is ever mossy.
If you’re looking for Blood on the Tracks, you came to the wrong place. However, Dylan touches down as close to his Blonde on Blonde-era sound as we may ever hear on “My Own Version of You,” which seems to be vaguely inspired by the tale of Frankenstein’s monster in whatever form Bob may have come across. “Key West (Philosopher Pirate)” is like a travel brochure written by an oracle meant to end up in the hands of some romanticized criminal on the run, and it seems like Dylan places himself in the song as the romanticized criminal, as he has in other recent work like “Pay in Blood” from his 2012 offering Tempest. As the nine and a half minute epic slides along, Dylan speaks from the point of view of someone who spent time down there and speaks of the place frankly and preaches of its dark virtues.
In “False Prophet,” Dylan proclaims, “I ain’t no false prophet, I just know what I know.” He says he’s just one of us, while pleading with his eyes and his subtext not to let our pasts be forgotten as we will put ourselves in danger of repeating mistakes. In a New York Times interview with historian Douglas Brinkley, Bob Dylan is very candid about his feeling of disgust over the brutal murder of George Floyd, which took place in Dylan’s native state of Minnesota. In the same interview, explaining his sentiment of staying educated about the past, a seemingly wistful Dylan clearly articulates a feeling shared by anybody aging and watching the world change; the kids born yesterday won’t be able to truly grasp what life was like before them.
Luckily, Bob Dylan is hard at work putting it all together in song — the sentiment, the reality, the references and the history — without forgetting to include a bit of tongue-in-cheek humor. He’s delivered the first honest and true State of the Union address we have been given in about four years, and set it all to music.
Album Stats: Overall Score (Donovan Scale) 4.5 out of 5 Stars Key Tracks: “Murder Most Foul,” “Goodby Jimmy Reed,” “Key West (Philosopher Pirate),” “Crossing the Rubicon,” “I’ve Made Up My Mind to Give Myself to You” Singles Released: “Murder Most Foul,” “I Contain Multitudes,” “False Prophet” Produced by Jack Frost (Bob Dylan pseudonym) for Columbia Records