Sometimes an Ear Is Just an Ear: Baylies Band releases Freudian Ears

Baylies Band – Freudian Ears

Baylies Band is back with Freudian Ears, a new LP released late last year. A long-running local favorite, the group is a unique combination of zany spoken word, art rock, psychedelic noodling and guitar noise. The maestro is Eric Baylies on vocals and keys, a man whose flair for experimentation and thirst for truth knows no bounds.

The group first came to my attention at the Fourth of July fest last year at Dusk, where toward the end of a rollicking set, Baylies dragged a huge A-frame ladder onto the floor, set it up, and finished the show atop it. Total rock ‘n’ roll.

Now entering their “26th year of international underexposure” (Baylies’ words), Baylies Band’s material sounds as urgent as ever and reveals truths about … well, something or other. This iteration of the group includes members of Joy Boys, Tapestries, Throne Of Saturn and Bad Motherfucker.

Reached through the magic of email, Baylies described the themes of the album: “Mental illness and self medicating to overcome crippling depression in no uncertain terms in unsettling times,” he said. “I try as best as one could, considering limitations of reality and whatnot, to colorize a black and white, paranoid, drug-induced fever dream.”

“You’re Fresh” has the new wave tones of The Cars and includes the memorable line, “You got your boyfriend at Savers,” and “Out of the Can” is a minute-and-half of electro punk along the lines of Devo.

The eight-minute “Schizophrenic Valentine” is an indulgent, sprawling epic with spaced-out guitars and a driving groove. According to Baylies, this track is a “kind of musical bridge constructed of gold between our older Sonic Youth or Captain Beefheart influences to a more almost dance music like Sun Ra produced by Giorgio Moroder.” The guitar jamming borders on overkill, but you can’t knock it for lack of ambition.

So how does this all come together? “Sometimes I work with something from an improv and take it from there, and sometimes I present songs in their entirety and then the band really brings them back to life like Pinocchio on Easter,” said Baylies. “Some songs tell stories with a linear secret language, others are seemingly nonsense phrases pulled together from different memories and parts of my heart.”

“Fashion Mullet” is an experimental rock tune that includes a history lesson of sorts, back to the days when Baylies did have a mullet, and started legendary enterprises Eric Baylies Academy Of Dance and the Handsome Boy modeling school.

The closing track, “Rainbows,” features The Legendary Rich Gilbert on what I can only assume is the ripping guitar solo. The famed once-local guitarist who has played with Frank Black and Human Sexual Response, among other notable acts, agreed to play on the track after simply being asked, a fact Baylies calls “mindblowing.” “Maybe you’ll be in Baylies Band next year, or maybe the judge will just grant you parole,” he added.

To hear Freudian Ears, visit: bayliesband.bandcamp.com/album/freudian-ears

Older Brother — Older Brother

The promise of a debut album is always exciting, and this is a promising release indeed from Providence trio Older Brother. Before the rock ‘n’ roll lifestyle takes its hold and throws everything into a pit of despair, let’s enjoy a very focused, high-quality album that was a pleasure to listen to.

The album has a subdued lo-fi rock vibe like a Pavement for modern times. Older Brother has a minimalist, organic feel, with some three-note guitar leads and simple drums that give it the vibe of a spontaneous bedroom jam session. The opener, “Regain My Footing,” is probably the album’s single, and “Gulp It Down” sounds like vintage Built to Spill. “Loney”’s guitar harmonics and vocal harmonies make for a wistful, sensitive quality that doesn’t seem cheesy.

“Moving Forward” was the highlight, and the emotional resonance of “the highway always groans” line is the best thing I’ve heard in a while. Everything from the build-up, the comedown, the hi-hat flourishes and the noise of the outro make it all-around just a killer tune.

Older Brother is available at: https://myolderbrother.bandcamp.com/album/older-brother-2

Dylan Lucas — “Eye Took a Trip”

A shoutout to Dylan Harley for his new song “Eye Took a Trip,” in which he reimagines a psychotic break he suffered in 2012. It takes a somewhat standard folk progression and adds a kind of funky, stuttering groove on top. A kind of train track under everything and some pop-culture samples round out an intriguing song worthy of multiple listens.

Listen to “Eye Took a Trip:” open.spotify.com/track/3hCGAcMRon1t3UJ3aB5bxY?si=Vopu7sD- TrmJL4iCYOTBGQ

Long Live Rock

Though it happened a month ago, approximately 50 years in today’s news cycle, I’d like to mark the passing of Neil Peart. I’ve only ever been a casual Rush listener, but as a kid in drum lessons, it was kind of mind-blowing to learn that this guy had been playing those insane fills the exact same way since the ’70s. I’m too lazy to grab the actual article, but The New York Times described his drumming as something like “very flamboyant, and ultra precise at the same time,” which is a pretty great description. RIP Neil.

RIP Andy Gill & Moodrunning with the Bot

I want to start this one off paying respects to legendary guitarist Andy Gill of the band Gang Of Four who recently passed. I interviewed Andy in this space a few years ago when Gang Of Four was touring behind the album, What Happens Next, and he couldn’t have been sweeter. I was a little apprehensive going in between me not being the most knowledgeable Gang Of Four dude on the planet and him being this underground legend in a politically charged post-punk band, but it went great. We were supposed to talk for 15 minutes and ended up chatting over an hour on a Saturday morning. Rest In Power Andy — you will live forever in song.

Gang Of Four were known for pushing the barriers of sound through Gill’s innovative guitar chops. In this spirit of finding new sounds, I’m going to move on to a new band called The Moodrunners. Longtime readers of this space will remember our valued correspondent, Stimbot. As a quick backstory, Stimbot played a crucial role in the second act of the Midnight Creeps, had an underrated garage band called the White Devils (who had one hell of jam in “Monday Night Girl”), and dove deep to explore the depths of the inner soul of hair metal as the singer for TEAZER. Stimbot is in a new power pop band, The Moodrunners, that are steeped in the tradition of Cheap Trick meets Exploding Hearts while holding hands at the funeral of the bass player for The Knack. I sat down with Stimbot and amidst the constant haze from his rips off a mint flavored JUUL pod, we talked about his new band, what brands of hard seltzer inspired them, who the band is supporting for president, and his favorite place to get a burrito. You can catch The Moodrunners live and ask Stimbot equally important questions this Friday, February 7, at Dusk in Providence.

Marc Clarkin (Motif): How did The Moodrunners start?

Stimbot (Moodrunners): Chase hit me up last summer saying he had a band he wanted me to try out for on vocals or whatever (they already had the band name in mind). I got back to him mostly out of curiosity when TEAZER fizzled out a month later. He sent me some songs by some newish bands I had never heard of. We’d later run through them when trying me out. The songs were right in my goddamn wheelhouse, so I agreed to do it. I didn’t know these guys at all, so I was nervous when showing up at their space that first night. We ran those covers and then we tried some of the original song ideas they had. The melodies for those songs instantly came to me and after that we like, went down a rabbit hole of drunkenly playing everything from the MTV Buzz Bin circa 1996. I was sold at that point and now they’re stuck with me.

MC: If you had to pick the three influences to your sound, what would they be?

Stimbot: (After a long hit off his JUUL which he blows four perfect symmetrical rings of dank vapor) I dunno. I would say our sound is mostly influenced by White Claw, Bon & Viv, and that third kind of seltzer that isn’t as good. We did get some feedback from people after our first show as far as what bands we reminded them of, and you know, they were probably accurate, but I don’t want to name band names or anything like that. Let y’all decide.

MC: Who is your least favorite local band?

Stimbot: Hahaha! An old fashioned local band feud would add a bit of spice to life and I’m tempted, but yeah, we’re only about to play our second show. It’s probably too soon to start writing diss tracks and whatnot. Hopefully it’ll happen organically!

MC: What horse are The Moodrunners backing in the presidential primary?

Stimbot: Michael fucking Bloomberg, baby! You may as well call us the Bloomrunners! Don’t debate. Just throw money at everything. I dunno. We just can’t fuck this up in November. Hopefully 3 Doors Down has played their last inauguration.

MC: After a career in metal with TEAZER and career in punk with the Midnight Creeps, what made you turn to power pop?

Stimbot: It’s all rock n’ roll. It’s all good stuff. I keep lucking into situations where I end up with super talented bandmates. I really like what we’re doing. We’re keeping it kind of simple and fun, and we’re churning out new songs all over the place. I think we’d fit in fine playing on bills with punk bands, garage rock bands, electro-pop stuff, roots rock stuff, Amy Winehouse tributes, and whatever. Good songs are good songs regardless of genre, and I dunno, I guess I’m glad I don’t have to sing any W.A.S.P songs anymore. That shit was hard.

MC: Favorite place for tacos/burritos?

Stimbot: La Lupita has always been my spot for tacos around here though I can’t deny that the Garden Grille has my favorite burrito. I probably average about 30 to 40 of those things a year.

The Moodrunners will rock Dusk on a stacked bill that includes The Viennagram, Triangle Forest and Sweet Dreams on February 7.

Email music news to [email protected]

An Interview with Squeeze’s Chris Difford

Okee dokee folks… Have you ever been “Tempted”?, felt like “Pulling Muscles From A Shell”?, had “Black Coffee In Bed”?, or thought that you were too “Cool For Cats”? If the answer to these is a resounding “YES” then you owe it to yourself to get to Vets on Sunday, February 23. Starting in the late ’70s Squeeze began to provide the airwaves and MTV with some of the most memorable music to make it to US from the UK. I had a chance to talk with Chris Difford, who with Glenn Tilbrook, was responsible for most of Squeeze’s songs.

John Fuzek: Hi, are you there? Just checking…I am all confused, I had to punch in about 30 digits to make this call! Chris Difford: (laughs) It’s a conundrum…well, here we are! JF: You’re at Greenwich Mean Time, you are at the center of where time revolves. CD: Well, you could say center of the universe I guess. JF: Where are you, London? CD: I am on the South Coast, where are you? JF: Rhode Island, I am in the colonies. CD: (laughs) Those were the days. JF: I was actually called a colonist a few times when I was in England. So, your tour that is coming up will keep you on the road for months, correct? CD: Well, there’s nothing new there, Squeeze are a touring animal these days, we seem to tour an awful lot which is kind of good in a way because people want to hear the songs and we want to play them so it’s a good combination. JF: You are performing the Songbook Show this time around, the hits and a few, choice deep cuts? CD: That’s exactly right, yeah, we play hits and we play deep cuts too and that’s what people will appreciate. JF: You have your latest album, The Knowledge, when did that come out? I gave it a listen just before I called you. CD: Two years ago now. JF: One of the songs, “The Ones”, had a line in it “the fake news keeps coming”, can you tell me about that? CD: Well, that was one of Glenn’s lines, really, I think that Glenn has very astutely joined some of his lyrical ideas with mine and we just picked up on one of his, which is great. JF: Is it a reference to the current political atmosphere? CD: I don’t know, you’d have to ask him, he is more political than I am, so it’s hard to say but he has a very apt hand about putting his point across. We are in a very difficult time, obviously, for many reasons around the world, and sometimes it’s good to express your point of view about those things in songs because that’s what people like to hear, when it’s done right it makes sense I think. JF: So, you primarily write the lyrics for Squeeze songs, correct? CD: For the past 12 albums, yes, definitely. JF: What is your process? I am a songwriter as well and I am always curious about another writer’s process, especially since you cowrite with Glenn. CD: When I have the time to stand still, or sit still, as a lyricist I just sit at my desk and hope for the best, and see what ideas come to me, luckily things normally turn up, interesting and different stories come into my head, lots of different parts of my imagination, but these days trying to find the time to write are golden moments and it’s quite rare, whereas when I was a kid there was nothing else to do but write songs, you’d just sit around all day writing lyrics with a pen and a piece of paper, but in this modern world things are coming so quickly you don’t get a chance to stop spinning. JF: What I do is i always have note cards and constantly write notes, lines, lyrical ideas and such, often when I am driving, do you do that as well? CD: I do keep notes and usually ideas come to me later in the day and what I tend to do is try to remember them for the following day. If I can remember them the following day then they were worth remembering, and if they weren’t then they are gone forever, I like to tease myself, it’s good for the memory. JF: So, you actually started the band by putting up a note that you were looking for a guitar player for a band that didn’t actually exist, is that right? CD: That’s correct, I did that…I was looking for someone to come together with…I never imagined that that would the person I would spend my entire life working with, it was one of those very special moments. JF: I basically did the same thing and just celebrated 30 years a couple of months ago. CD: Congratulations, that’s amazing. JF: How long have you and Glenn been working together, 40? CD: 47 JF: Wow, that’s great!… You have a very interesting voice, I really like it, it is the lower register voice that we hear on the albums CD: Yes, I can scrape the barnacles off a boat with my voice. JF: (laughs) I like the combination your two voices (Glenn & Chris), it is a really interesting mix, that’s the signature Squeeze vocal sound, that blend, it’s very original and I like that. CD: Yeah, I like it and I have grown to like it even more as the years unfold, I am very fortunate, I was very flippant when i was a kid and expected whatever to happen and whatever did happen and had that kind of thinking, but my, God, that was amazing. JF: I took a couple of questions from my readers and someone wanted to know if you remember playing at the original Lupo’s? CD: I remember the name, but I can’t remember the venue off the top of my head, but I can remember playing, probably 1979…we were playing up and down the coast there. JF: On the latest album there is a song called “Elmer’s End” that is the last song on the disc, it’s an instrumental. That’s an interesting way to end an album, how did that one come about? CD:You will have to talk with Glenn about that one because he devised that piece of music, there are no lyrics for it so it remains an instrumental…he’s kind of lost in his own space creating wonderful music…he can take melodies and his music is ultra-intelligent, I think. If we were to have an instrumental album that would have that kind of melodic movement would be just awesome. He has the ability to do strange stuff like that. JF: It’s a very somber piece. CD: It is, it is a bit of a slow march, but I suppose at that point of the album that is where our heads were at, but I didn’t actually play on it, it was all of Glenn’s. JF: You run song retreats, do you do them just in the UK or in US as well? CD: They are mainly in the UK, but I am looking to do a couple in America, maybe Nashville but there’s already lots of songwriters. I am looking for the right venue to do a songwriting workshop and to invite people along, so I guess it will come but this is such a busy year, with Hall and Oates and our own shows there’s really not enough time to breathe. JF: You have the tour with Hall and Oates and KT Tunstall, you’ve got a Scot, the American and the Brits! CD: (laughs) Yeah, I went to see Hall and Oates last summer, and I was blown away how many hit songs they had, it’s just incredible, it was a great show, they have an amazing band, I think with them and KT, we have already played with KT…she is amazing. JF: I have not seen her yet, I have seen you a few times and Hall and Oates as well, that should be an amazing tour, that seems like it will one of the hottest tickets this summer…so, there is a reference to cheese sandwiches on your website, what does that mean??? CD: Well, two pieces of bread with a bit of cheese in it…who knows… JF: I thought cheese toast with Lee & Perrins was the big thing out there CD: Exactly…I love it… cheese toast is amazing! I am a cheese entrepreneur! JF: Anything else that you want to add about the show coming up, we’re almost out of time? This is just Squeeze, right, or is there an opening act? I don’t think that I saw one listed. CD: I don’t have my notes in front of me, but I am looking forward to coming back to that part of the world. We’re just packing our bags and getting ready now to head out there, yeah. JF: Well, I have to say that I love the band and have seen you many times, though it has been a while since the last time, my own gigs get in the way a lot. CD: Well, come out to the show and bring everybody that you can! JF: Anything else that you would like to add? My friend Ken is next up to talk with you. Tell him that you told John everything and you have nothing left to say! (laughs) CD: (laughs) This has been great, thanks for your time. JF: Thanks, take care!

For more about Squeeze at Veterans Memorial Auditorium in Providence on Sunday, February 23, “Slap and Tickle” to thevetsri.com That’s it for now. Thanks for reading. JohnFuzek.com Album Review: Picniclunch’s Yor Boy

It is always great to come home to find a package containing some new vinyl waiting outside my door. Most of the time it is something I half remember ordering while hammered, but on this particular day it happened to be the new record from New Bedford’s Picniclunch, called Yor Boy. I plopped the sucker on the turntable and immediately got flustered during the first track, “Mitch (At The Edge of the Void),” trying to figure out whether it was intended to be played at 33 or 45 RPM. It kind of works either way, but after repeating the song three times and listening to a little bit of the second track, I established that Yor Boy, much like about 94% of all full-length records, was intended to be played at 33 RPM.

My first impressions of Yor Boy is that Picniclunch have this no wave starkness that reminded me immediately of bands like The Birthday Party and Teenage Jesus and The Jerks. “So Unavailable” has the feel of Jello Biafra singing a polka tune backed by a high school punk band at a very weird wedding. I’d like Picniclunch just for having a tune called “I’m A Beast” that acts as a war cry. The music here is kind of rad too — like a train crash in waiting that somehow manages to make it around the next bend. “Clover” reminds me of first record Sonic Youth meets Silkworm fleshed out with an improvisational jazz feel. “Control Yrself” here jumps as the one with the buried pop hooks underneath the river of alternately tuned fuzz. “These Blue Eyes Are A Weapon” is probably the biggest rocker of the bunch in the unconventional lo-fi way that Picniclunch rock. I respect the originality that Picniclunch brought in the approach to Yor Boy, so for that I’m giving it a 7.1 — catch them Thursday, Jan 30 at AS220!

Picniclunch will be joining Black Beach, Joy Boys, and Charlie Dollard to rock the house at AS220 in PVD on Jan 30.

Email music news to [email protected]

Strumming the Right Chord: The future of promoting local music

Twenty years ago, local bands that plastered the bulletin boards and telephone poles of Thayer Street and local independent record stores with flyers turned to social media and used sites such as MySpace to reach out to new fans and advertise to their hungry base. Ten years ago, many moved to Facebook and YouTube for greater exposure. Today, as new bands spring up and established regional acts try to maintain their status quo, 2020 presents a plethora of predictions for the future of promoting for independent artists. This is where Right Chord Promotions (RCP) aims to take the reins and guide the wild horses onto the right trails.

RCP’s founder Patrick Pine says that competing against bigger beasts in the same jungle shouldn’t prevent young bloods from getting in on the feast. “No entrepreneur or artist or entertainer should have to suffer because they can’t keep up with the online world where corporations have millions of dollars to make someone big,” says Pine. Today’s musical neophytes are always searching for promoters and bookers, some of whom don’t have the artist or artists’ future in mind. As he explains, “You could have a booking agent, but they’re not promoting those events for you unless they are making money. They aren’t developing your following online.”

A musician of 16 years, Pine has been a part of The Funk Underground, Scruffy Aristocrats, Catnip Junkies and the Extraordinary Rendition Band. Through his experiences, he saw the need for an entity that would help new struggling entertainers without taking advantage of them. Right Chord Promotions, which became an LLC in 2018, set out to do just that. “The idea was to start a company that was affordable for musicians and entrepreneurs to be able to grow and develop until they have that income to generate their own growth,” says Pine.

RCP’s business model is a step-by-step process that begins with the basics of booking, and then moves onto promotions, recording, production and more. Along the way, RCP hopes to educate artists on the business aspect of their industry as they grow and move onto bigger industry relationships. This includes liaising with one or more of RCP’s network, which currently includes graphic artist Lauren Starr and musical engineer Taki Brano of InHouse Studios.

“Just like they’re translating their emotions into their music, I’m translating the data so they can generate revenue and following,” explains Pine. It can be confusing to use social media in hopes of acquiring and expanding traffic and engagement, which is a branch of the overall sales funnel. “Knowing your content. Knowing your following. What’s going to appeal? What’s not going to appeal?”

Pine pointed out two key factors entertainers need to remember through their career: being consistent and being genuine. The current online avenues that should be used are Facebook for delivering information and creating community commentary, Instagram for stand-alone visuals and YouTube for videos to follow and share. Interestingly, he also pointed out one of the newest platforms that has gone under the radar for connecting to new audiences: TiKTok. “[It] links with trending hashtags and it’s a younger audience where you want your music to reach out to. When you are getting the younger audience, you’re sustaining a longer and quickly growing fan base, and that’s appealing.”

For more information, go to rightchordpromotions.com

The Time Is Now: Music fuels the revolution

Okee dokee folks… Welcome to the ’20s, the year of the next presidential election when we have the opportunity to return this country to a state of normalcy and move forward with a progressive and positive agenda. My hope is that the people of this country take inspiration from others and take to the streets demanding justice, social change and a complete revamp in how we treat this planet. If it takes shutting down workplaces and highways with protests to accomplish, so be it. Wake up folks, look up from those damn phones, the time is now. Change does not occur with apathy. The 1960s were rife with protest because people were being immediately affected by the day’s issues, such as the war, the draft and racial inequality. These days, folks are duped by false news sources, a lying commander in chief, religion and basically, their own stupidity. One of my favorite quotes is from professor and author Isaac Asimov: “There is a cult of ignorance in the United States, and there has always been. The strain of anti-intellectualism has been a constant thread winding its way through our political and cultural life, nurtured by the false notion that democracy means that my ignorance is just as good as your knowledge.”

Folks need to understand that income inequality, corrupt politicians, greedy billionaires, climate change, health care, needless war and so many other issues are affecting us NOW. This country and the world are a mess and need to be fixed.

What has any of this to do with music? Everything. The arts have always had a finger on the pulse of society and artists have always helped spread the word and stir rebellion. Read on…

As a columnist for Motif, I have the opportunity to talk with many musicians and comedians. This month, I spoke with Paula Poundstone and rather than transcribe my interview with her, I am going to let you listen to it on the Motif website at motifri.com/xxxx. This is the second time that I have had the pleasure of talking to Poundstone, who will be bringing her comedy to Veterans Memorial Auditorium on January 18. For more, “Wait, Wait, Don’t Tell Me,” get to thevetsri.com

Here are a few more shows for you to check out this month. The Sweet Little Variety Show’s 10th Anniversary celebration is Thursday, January 9, at Askew. This month features mentalist Rory Raven, burlesque with Bettysioux Tailor, performance artist Elizabeth Keiser, Baby Oil, poet Vatic Kuumba, Tânia Montenegro & Nancy Lucia Hoffman, belly dancing with Manuela Ameena Birner, Jodi Jolt and The Volt, and host Eva Destruction (facebook.com/SweetLittleVarietyShow).

Common Fence Music brings singer-songwriter Jefferey Foucault to the Common Fence Point Arts, Wellness & Community Center on Saturday, January 11, for this Wisconsin artist’s first solo performance at their venue. Foucault has become one of the most distinctive voices in American music, refining a sound that is simple and emotional and a blend of blues, country, rock and folk. Foucault often tours and accompanies his wife, singer-songwriter Kris Delmhorst (commonfencemusic.org).

The Odeum on Main Street in East Greenwich keeps their stage busy with great concerts. Coming up is Everclear on January 16, The Stranger, a Billy Joel Tribute on January 18, Phil Vassar on January 19, Forever Young, A Tribute to the Music of Neil Young with Napoleon in Rags on January 25 and Marc Cohn with Mark Erelli on February 13 (greenwichodeum.com).

The Narrows Center for the Arts has a lot of great music slotted for January. Cheryl Wheeler with Special Guest Kenny White performs on January 11, Bob Mould has a solo show on January 17, The Englishtown Project performs on January 18, Entrain is on January 24, and Johnny Hoy & the Bluefish with Professor Louie & The Crowmatix perform January 31 (narrowscenter.org).

On Sunday, January 12, The Met will host a benefit for Carl Sugerman who is dealing with health issues. Stepping onto the stage to support Sugerman is Spogga, Kris Hansen, the Greg Rourke Band Mark Cutler, Jimmy ” Boney” Beaupre, Manny Vincent from the Probers, Dan Lilley and the Keepers, The Bickersins, Greg Allen, Eric and the Nothing, and, Fringe Religion. The benefit show runs from from 4 – 9pm (themetri.com). At the Ocean Mist on January 18 you can hear the music of Steely Dan as performed by the tribute band Hey Nineteen (oceanmist.net).

The Pumphouse, the best music venue in South County, always has a lot happening and January is no exception. The Paula Clare Band plays a RI Food Bank Benefit on on January 12, singer-songwriters John Faraone, Lily Porter Wright, Chip, and Sara Azriel perform their own music on Friday, January 17; and the Pump House’s monthly Open Mic/Potluck happens on January 25 (pumphousemusicworks.com).

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

All Aboard!: WhistleStop Rock Festival rolls into town

The WhistleStop Rock Festival is a rolling rock ‘n’ roll circus that is scheduled to hit six different New England cities (over seven nights) this winter and spring with more dates to be announced. The tour features all New England acts and will have eight to 10 acts performing per date. The festival kicks off Saturday, January 11, at Askew in PVD. To find out more about the festivals, I talked to Heather Rose and Lisa Middleton, from the band Heather Rose In Clover, who helped organize the festival.

Marc Clarkin (Motif): How did the WhistleStop Rock Festival come to be? Lisa Middleton: We were putting feelers out in the Boston music scene and started contacting some bands that we liked. The conversation shifted toward trading shows, and Cat Verliocco (from The Knock Ups, OTP and several other Boston-area bands) looped us into a group message with Simone Berk (Kid Gulliver, Sugar Snow). Little did we know that we were getting in on the ground floor of an amazing idea.

As more musicians were pulled into the discussion, we soon had a good swath of New England represented in what we now call “The Core 9,” (Justine and the Unclean, The Knock Ups, Cold Expectations, The Chelsea Curve, Field Day, Kid Gulliver, PowerSlut, Tiger Bomb and Heather Rose In Clover). Basically, our initial entry point into a conversation about swapping shows ballooned into planning a traveling rock festival tour – with like-minded musicians who wanted to be involved as much as their schedules allowed. That group message only happened in September, so we’ve been busy ever since working to pull WhistleStop Rock Festival out of fantasy and into reality.

MC: Were there any particular traits or common themes that were used to book the lineup? LM: It all started in a very RI way: the “friend-of-a-friend” method of sharing contacts. Another real magnetizing force with this group happens to be the fact that all of the bands involved have at least one female-identified member in them. Lynda Mandolyn from Tiger Bomb (out of Portland, Maine) has said that she’s always felt a kinship toward other musicians, especially women, and I really feel the same way. Many of us felt strongly about building a collective of other women who could pitch in and serve as a resource for each other, and what better way to support each others’ music than to pull together a collective of bands and a series of shows that essentially showcase the bands we’re all trying to support? We basically get to be fans and musicians at the same time, because I’d be going to these events even if I wasn’t on the bill!

MC: What are you most excited for? Heather Rose: I’m looking forward to the special guests we’ve added to each of the shows. For the Providence stop, I reached out to Tracy Garrity from the one and only dynamic rock duo, VulGarrity. She’s been talking about putting together an all-female rock band since we were in college, so WhistleStop Rock Fest was the perfect excuse to finally make that happen. For this one-night-only performance, Tracy is singing lead, I’m playing bass and we’re thrilled to have Amy Woodbine (Red Mantis) on drums, Lyn Kotuby (Metric Electric) on lead guitar, Brianna Kieon on keys and Heather Rose In Clover’s very own Lisa Middleton will hold down the low end on songs where I need to switch out my bass for rhythm guitar. The end result is an eclectic group of amazing Providence musicians that will add yet another level of fun to this full day of back-to-back power-pop-punk-rock bands!

MC: What is next for Heather Rose In Clover in 2020? HR: Shortly after our calendars flipped to January, we brushed any remaining New Year’s confetti off of ourselves and headed to Zippah Recording in Boston. By the magic of what can only be described as a rare post-Christmas miracle, both Annie Hoffman (Weakened Friends) and Brian Charles (The Sheila Devine) were available to engineer/produce our new single and begin tracking some other new HRIC material! LM: Brian and Annie really are so impressive and fun to work with. They are connected at the brain it seems, and can make magic happen without even talking sometimes. It’s a dream to work with them and to be recorded at Zippah, and we’re thrilled to release some new music.

WhistleStop Rock Festival tour kicks off on Saturday, January 11 at Askew in PVD. Doors open at 3PM and the music will go all night featuring performances by Heather Rose In Clover, Justine and The Unclean, PowerSlut, The Chelsea Curve, The Knock Ups, Kid Gulliver, Cold Expectations, Field Day, and Trace-Face-It (RI Supergroup featuring members of Vulgarrity, Heather Rose In Clover, & Red Mantis); check out whistlestoprock.com for more.

Bob Mould

Most musicians have that one group or time period where they put out their most compelling work, and then there is Bob Mould, who 40 years into his career, is still putting out amazing records like Sunshine Rock (Merge Records), one of the best in 2019. I saw Mould on the initial leg of the Sunshine Rock in Boston and the show was mesmerizing. Mould and his band blasted through the classics from Husker Du, Sugar and Mould’s solo work while sprinkling in new tunes that more than held their own amidst the sonic tsunami. For this tour, Mould is playing solo electric, which is different from an acoustic performance in that it is still loud and soul shaking, but tends to accentuate different elements of Mould’s songwriting. This is a night not to be missed!

Bob Mould and Will Johnson will play the Narrows Center for the Arts in Fall River on Jan 17.

5 Other Rad Shows:

Everclear is at the Greenwich Odeum in East Greenwich on January 16. Sweet Dreams, The Mood Runners, and Detroit Rebellion will rock The Parlour on January 16. The Devil Makes Three and Matt Heckler rock The Strand on January 17. The Quahogs and HOTT BOYZ deconstructed play the Columbus Theatre on January 18. Satisfaction: The International Rolling Stones Tribute Show rocks The Met Café on January 25. •

Email music news to [email protected]

Anthony Savino Does a Good Job: The artist discusses his evolution and facing the abyss

What better way to kick off the new year than discussing Anthony Savino’s thoughtful, ambitious release Good Job, which tackles weighty topics like wealth, work and love — ideas that might have made an appearance in your resolutions for 2020.

For a decade, Savino fronted the New Bedford-based punk band Half Hearted Hero, which now plays as Dream Job. Savino’s solo work takes a more straightforward approach and puts the spotlight on the lyrics. Good Job’s unvarnished production doesn’t add a lot of fluff, and the playing is subtle enough to make the songs a vehicle for Savino’s rich storytelling.

“North” has a sort of bossa nova lite feel and explores the realities of growing up. “Someone Else’s Dime” is a take on the enterprise that is the American desire to succeed: “One size American dream/I’m free and bored and rich on someone else’s dime/I see the stores and silver circles fill my eyes.”

The stripped-down “Work Harder” candidly explores what it means to build your craft as an artist while balancing the need to make money and keep the plates spinning. “Thick Line” has a country ballad vibe and talks about the powerful men called out for their behavior in this more enlightened era.

I recently spoke with Savino about the new album and his thoughts on songwriting.

Jake Bissaro (Motif): You’re probably best known in punk/alternative circles for your work in Half- Hearted Hero. Was there a conscious transition to a more stripped down sound?

Anthony Savino: I’ve always tried to maintain involvement in both the punk and singer-songwriter worlds, so I don’t really have a demarcation for either style. To me, it’s all guitar-based music.

JB: Songs like “Pictures” and “Someone Else’s Dime” are frank discussions on politics, and in some cases the American Dream. Do you intend on a theme for your albums?

AS: Typically no, at least not initially. I tend to just dive right in. I’ve done the concept album thing, but I’m mainly trying to have the song say everything it needs to say first, then look at the album and see what the bigger picture may be.

I like to think that I’ve always allowed myself to explore whatever topics come to mind as I understand them. For this round of songs, trying to focus my songwriting approach made certain subjects stand that before may have been more oblique. JB: Has your songwriting approach changed over through your time playing music?

AS: I certainly hope so. I like to think I’ve grown and developed over the years. I’ve really tried to seek out songwriting resources to apply to my own work, whether it’s reading materials or workshops. For a while I was involved with the Brown Arts Initiative songwriting course as a participant, then as co- facilitator. It’s a weekly meetup of songwriters, people bring their work and have it critiqued by the group.

JB: Tell me about the title track, which uses some history to explore the value of work.

AS: I’m wary to talk too much about the songs, because as soon as you put something out, I see it as being in the hands of the audience. But on “Good Job” I wanted to lay out something in a direct way. There’s a little sarcasm and humor in there, and some family history.

JB: What was the recording process like?

AS: As with my last album, That Easy, I recorded in Portland, Oregon, at my friend Ben Barnett’s studio. I had been sending him demos beforehand, but pretty much just recorded for three weeks straight. I went crazy for a little bit, as one does when digging into the creative process — there’s always that moment when you’re facing the abyss. I had great support from his team out there, and Ben really understands songwriting, which is a huge plus.

JB: There’s some great playing on the album. Any notable collaborations?

AS: A. Walker Spring sang these great harmony vocals with me on the majority of the record. And Danny Aley on keyboards added a wonderful magic layer to everything with his thoughtful playing. He’s the kind of player you would show a song to once, and they come up with something incredible right off the bat.

Anthony is playing locally twice in the next few months:

Sunday, January 12 | Co-Creative Center in New Bedford, Mass | with Hayley Sabella, Seamus Galligan.

Friday, February 21 | AS220 | with Mountainess, Lindsay Foote

Hear Good Job at anthonysavino.bandcamp.com/album/good-job

Jazz Insights: Lilyan Lipson

Lilyan (“Lill”) Lipson was one of the last silent movie pianists in Rhode Island. Lill was one of eight children and grew up on the East Side of Providence. She and her two sisters learned piano on the old beaten upright spinet that took up space in the family second floor. Her skills elevated her to become a professional performer in the Providence area.\ At the peak of her career, she was employed playing for the silent movies throughout the city. She became well known for her jazzy upbeat piano renditions during the “flicks” at the old Majestic, the Strand, the Metropolitan, the Empire, the RKO Albee, the Olympia and the Windsor theaters.

Lill performed matinee and evening showings. Though the general admissions were five cents each, she worked seven days a week (including the matinees) and was paid a total of one dollar for the entire week’s performances.

She claimed that she would give 50 cents to her mother (to help support their large family) and used most of the remaining 50 cents buying several 2-cent hot fudge sundaes for her close friends (and an occasional boyfriend). Any remaining cents were banked, with her mother. Lill passed away at age 86 at her retirement home in Scottsdale, Arizona.

Bochek Is Sticking to Their Roots

Bochek is a PVD-based jazz-rock band that has been working its way up the scene — this year, they received the number one title from Battle of the Bands, hosted by Rhode Island College’s Student Radio, 90.7 WXIN FM. The band consists of four members: Nevin, John, Noah and Dante; past member and founder of Bochek is Zack Davey.

Bochek’s first show was in 2012 when Davey entered the boys into the middle school talent show where they won third place. The band continued to play through high school as a cover band, and began writing and playing their own music at the end of high school. According to Dante, the name Bochek comes from a hymnal tune sung by the Buddhists. The band agrees that the name holds the idea and state of mind of “sticking to their roots.”

Most of Bochek’s songs come from jamming out and piecing things together. The band members describe their sound as “jazz-rock with a punk attitude.” Throughout their set at live shows, the band has elements of funk, soul and groove, all mixed up with a barefoot guitar player, a drummer wearing a dress and wicked, poetic performances from the lead singer, Nevin, whose dramatically delivered vocals flow.

Their song “Raygun” perfectly displays the jazzy rock vibe they’re going for. It starts off with a solo funky bass part, and nicely comes together with guitar and drums. The vocals join in after about 25 seconds of playing, and it all gives a dream-like feel as the vocals begin to transform into a falsetto chorus. The vocals purposefully sound faint, and gives a chill sensation before a sudden pause and drop hits. The song is one of my favorites and it holds a lot of feelings, vibes, soft yells and weird noises … good weird noises.

“Fuck anybody that says you need to know how to do something,” said Noah. “Do whatever the fuck you want, and make what you want to make.”

Bochek has played with many bands around the Providence scene, including Wax On, Jesse the Tree, Ava Callery, People Eating Plastic, Zoink Zulag and the Galactic Shag, and my band, grizzlies. Keep an eye out for upcoming shows.