Quick viewing(Text Mode)

Ahoy to the Humble Sea Shanty: Sharks Come Cruisin’ Elevate the Genre with a Punk Background,Just Released,RI Reposito

Ahoy to the Humble Sea Shanty: Sharks Come Cruisin’ Elevate the Genre with a Punk Background,Just Released,RI Reposito

Listening for the Depths of Winter: And a hot debate enters the House floor

Austin Bullock — Don’t Wake Me Up

At the end of 2020, Providence-based multi-instrumentalist Austin Bullock dropped Don’t Wake Me Up, a satisfying collection of eight with wide-ranging influences. A prolific writer, Bullock put out three in 2020, all following the theme of “8 hours labor, 8 hours recreation, 8 hours rest” according to his page.

Though it was hard to decipher any kind of throughline, all the songs feature smart arranging and superb guitar playing. He mixes a lot into the stew here, and all the parts are well fleshed out. “Circus Freak” has a kind of dancy Franz Ferdinand vibe, and “How Could You” is a breezy folk tune.

Some of the songs off Don’t Wake Me Up make that warbly, Mac Demarco guitar tone the star of the show, like the heavy groover “Deflated.” The leadoff “(I Don’t Want) Another” has the sunny, laid-back tones of Ryland Baxter. The interlocked guitars in “Evaporate” are straight-up Strokes.

The best moment comes when Bullock moves away from the modern indie influences completely in the bluesy, psych-infused ”Talk the Talk.” The ’s repetitive, hypnotic riff is something my brain hasn’t been able to shake.

There is a homespun basement vibe — Bullock appears to play all the instruments — that is definitely cool, but these songs would really rip with a full band. The act performs as a duo with Lauren Boucher on drums, and hopefully will be playing live at a venue near you soon.

Purchase Don’t Wake Me Up here. Torn Shorts — Live at Dusk

During this time of peak concert withdrawal, Torn Shorts has released their Dusk set from eight years ago. The quartet, consisting of Josh Grabert, Nick Molak, Brendan Tompkins, and Zach Zarcone, specializes in a mix of heavy , folk and jam.

The band always seemed like a popular live draw in the before times, and this set illustrates why. If you listen hard enough, you can almost feel yourself back in the post-industrial hinterlands listening to a live set, beer in hand, and afraid to use the dank, graffiti-covered bathroom.

Live at Dusk has many jams fans would describe as “tasty,” with extended guitar solos in “Wishing Well” and “Sunday Afternoon.” They mostly keep it pretty tight without entering moe. territory, though the part about getting high down by the river in “It’s A Feeling” may be a bit on the nose.

I’ve said before that Dusk has the best sound in the game and it’s on display here, where each instrument is well-accounted for. “Life On A River” features anthemic, Springteen-era rock with everyman themes. A groovy cover of the , Guthrie-penned song “Airline to Heaven” is made infectious with some tasteful .

On this , I gravitated toward the heavier stuff: “Take my Soul” is kind of a classic rock blowout and “Devil” is supercharged, distorted blues for the win.

The best part: all proceeds will go toward supporting Dusk.

Purchase Torn Shorts’ Live at Dusk here.

Making it Official?

A recent ProJo article highlighted a bill in the RI House of Representatives that would make R&B the state’s official . Warwick Democrat Rep. David Bennett filed the bill at the behest of RI R&B Preservation Society president Cleveland Kurtz.

The bill defines R&B as “music which contains elements of pop, soul, funk, hip-hop and .” My take: Perhaps folk or jazz would be a better option, given the state’s two historic music festivals. I suppose any way to draw more attention to our musical heritage is a good thing.

I can’t help but imagine what sort of spirited discourse this measure might inspire. Is House Speaker Shekarchi more of a ’90s hip-hop guy? Would a companion bill on the Senate spark debate, with Ruggerio pulling for doom metal? I guess we’ll have to wait and see.

Ahoy to the Humble Shanty: Sharks Come Cruisin’ elevate the genre with a punk background

As the new year rolls along, still chock full of anxiety and loneliness, a seafaring that peaked in the 19th century has become an unlikely star on TikTok. The trend started when 26-year-old Scottish mailman Nathan Evans posted his version of the “,” a song with origins in New Zealand. That triggered a full-blown frenzy, with hundreds uploading their own riffs. Sea shanties are maritime songs sung to accompany various ship tasks like hoisting. They combine the rhythms of African work songs with lyrics that are Anglo-Irish, often in 4/4 time with simple melodies that make them a good fit for mass consumption.

Some say the popularity of the sea shanty, meant to be sung together in support of a common goal, speaks to the desire for connection during these dark times. On the other hand, Vox contributor Rebecca Jennings sees it as the next in a series of random crazes driven by the social media hivemind: “The quarantine-era internet just makes us cycle through obscure niches of culture faster and faster,” said Jennings.

So what is it about these sea shanties? I spoke to local expert Mark Lambert of Providence’s Sharks Come Cruisin’, who specialize in sea shanties, about his experience with the unique genre.

Lambert grew up playing in punk and hardcore bands in Providence. His band, Return Around, fizzled out at the end of a long tour at which point he took an extended break from music. He wanted to start playing again in the early 2000s, but wasn’t sure what shape it would take. “A lot of my peers from the rock scene were gravitating to country or blues, which didn’t really seem all that authentic to me.”

One day, Lambert was watching the movie Jaws, which features a few shanties, and was immediately taken. “I heard Quint’s version of ‘’ — I knew there was something very New about the sound, and it felt very close to home for me,” he said. After borrowing some sea shanty LPs from the library he dug in further, working out the songs and playing local open mics. SCC started to take shape once he got a bassist and drummer involved.

On a musical level, the appeal for Lambert makes sense. Three chords, an everyman spirit and a supremely singable nature make shanties not unlike . “The melodies are all very familiar — even if you don’t know them, you kinda do,” said Lambert.

The call and response element, which helped shiphands stay in sync when performing heavy-duty chores, was another big draw for Lambert. “It reminded me of exactly where I grew up at hardcore shows — the singer was singing and the audience screaming back at them.” SCC, to date, has two full-length albums, along with various EPs and live recordings mostly consisting of traditional shanties and the odd original mixed in. Lambert’s punk background really shines through in songs like “South ” and “Donkey Riding” off their album When I Got Home From Across the Sea, which are uptempo, semi-rocked out shanties. Instruments like banjo, fiddle and accordion round out the sound.

The band has also become known for the monthly Shanty Sing at the Parlour, the rare family-friendly evening gig. Lambert came up with the idea and pitched it to then part owner Aaron Jaehnig, and it ended up being a major success. SCC had been doing virtual shanty sings at home remotely until this month. “It is a little unfortunate that this popularity comes in the middle of a pandemic, when no one can actually come together and do the real thing,” said Lambert. Lambert, who says he’s had many articles around the “Wellerman” craze sent to him by friends, isn’t so sure that the craze is related to the pandemic. “I think it’s more a matter of this guy in putting his own spin on the song (which I had actually never heard), with a great hook that happened to resonate with a wide audience. And now, it’s great to see others who are continuing to make it their own.”

Listen to the music of Sharks Come Cruisin’

Just Released

I wanted to start with a few words on the passing of legendary Dolls guitarist, Sylvain Sylvain. Although I am trying not to write a monthly rock ‘n’ roll obituary column, I would not be writing this column without the influence of Sylvain Sylvain and the . The New York Dolls, along with the Stooges and MC5, pretty much invented everything that became punk rock. The New York Dolls were pretty much a trashy glam rock version of the Rolling Stones on more drugs in the barren wasteland that early ’70s was. The first two Dolls records are classics and even some of their 2000s reunion albums, notably One Day It Will Please Us To Remember Even This, were great. Thank you and rest in power, Sylvain Sylvain.

Sugar Cones — Road Soda

On their sophomore album, Road Soda, Sugar Cones come back with 11 scoops of ballads, bangers and cliff hangers, some of which have been released in different forms. Sugar Cones are pretty much a straight-up rock ‘n’ roll band with loud guitars anchored by the elastic tight rhythm section of bassist Jeff Sullivan and drummer Alyson Hammond. “Dark Side” hits like a punk rock bomb while “Keep Walking” grooves before bursting into an arena-sized chorus. “The Game” kind of reminds me of Wax Ecstatic-era Sponge. “Bobby Dufresne starts off with a Cramps vibe before injecting some ’90s rock and even a little surf guitar on the solo to the party. The blues shimmy of “Hex on Me” reminds me of a zero carb version of The Gun Club. “Ghost Dance” is made for spirit swaying campfire under a hungry moon. The best way I can sum up Road Soda is every time I feel like this review is done, another tune comes on that I feel compelled to include because it’s my favorite song. I’m settling on “By My Side” as my favorite for all the adjectives that were used above. I can’t wait for live music to return to catch the Sugar Cones perform these songs live, loud and in the flesh!

Foo Fighters —

It’s hard to believe Medicine At Midnight will be the 10th album from , but I guess shit went down over the course of 26 years. I remember seeing them back in 1995 at the old Westminster St. Lupo’s, opening for Mike Watt, before they had a record come out. That show only sold out because the opening band had Eddie Vedder, the biggest rock star in the world at that time, playing drums. Now the Foo Fighters might be the biggest rock band in the world — circle of life, I guess. Medicine at Midnight is packed with stadium-ready thumpers like “” and “” that will appease the masses. The tunes on Medicine At Midnight have more of a groove than past records. “Holding Poison” has a new wave feel before darting off to a weird prog-rock-like bridge. “Cloudspotter” rocks with a seesaw groove to get wild to in your kitchen on a Saturday night. My favorite is the title track, which sounds like something unearthed from ’s archives. It’s not really surprising that and company would have a Bowie sounding tune because — come on, who doesn’t like The Thin White Duke? What is weird is you’d expect from a big rock bans something that sounds like Bowie’s Ziggy Stardust or Alladin Sane eras. Nope — this is straight up “Let’s Dance” era Bowie. “Chasing Birds” is the lone ballad and has a psychedelic tinge in a Byrds-meets-Tom-Petty- at-a-bowling-alley way, albeit with some cliche lyrics. Usually when a band achieves the commercial success that the Foos have, albums tend be phoned in as an excuse to make bank on tour (cough, cough KISS). Medicine At Midnight, while not being their best record, is a rock solid album that shows the Foos can evolve while maintaining what makes them great.

The Queers — Save The World

Speaking of bands that have been around forever, The Queers have a new album just in time for their 40th anniversary. They’ve almost doubled the lifespan of their heroes, the . It could be argued that one only really needs to hear Love Songs For The Retarded and Don’t Back Down from The Queers to get their best batch of their Ramones meets Beach Boys anthems. But if Mike Love’s Beach Boys can cover “Rockaway Beach,” then there is no reason The Queers, who do a superior cover, can’t release new records. I wasn’t expecting much from The Queers Save The World when I popped it on driving around in a snowstorm, but it blew me away. Singer/Guitarist (and really The Queers) Joe Queer still writes funny infectious tunes like “Attack of the 5 Foot Bitch” and “Fanculo A Tutti.” The Queers take on white supremacy in “White Power Feud in Atlanta” and it’s awesome! Don’t know if I’m more surprised that The Queers didn’t already have a song called “Bubblebum Girl” or that it’s the best thing they’ve done since “Punk Rock Girls.” I don’t care that it is a cover. I don’t think any other band would write songs called “Cheeto in a Speedo Eating a Burrito,” “Young Dumb and into Iron Maiden” or “Hong Fucking Kong,” but hey, it works for The Queers. In “We Love Our Fans,” they refer to their fans as “mental midgets following us around” in the most loving way possible. The Queers might not save the world, but they do make it a hell of a lot more enjoyable!

Email music news to [email protected]

RI Repository: Taking the Wayback Machine to ’s improbable history

To kick off a hopefully brighter 2021, here’s another edition of RI Repository, where we revisit notable releases from RI’s past. This year, we examine 1995’s Severe Exposure from band Six Finger Satellite. 6FS formed in Providence in the late ’80s with a lineup that included singer/keyboardist J. Ryan, John MacLean and Peter Phillips on guitar, and Rick Pelletier on drums. The band was signed to Sub Pop records after, legend has it, they submitted an alt rock-styled demo and the label signed them thinking they would provide something along the same lines.

The band’s first album, The Pigeon Is the Most Popular Bird, is a scratchy, post-punk affair, and their second, Machine Cuisine, is mellower and made extensive use of synths. With Severe Exposure, the band arrived at a satisfying middle ground between the two sounds, an adventurous mix of the herky- jerky new wave of and the punishing guitars of .

“We started out as a guitar band, but were really into bands like Chrome and Public Image Ltd.,” said Pelletier. “A big reason we added the synths was because we didn’t have many choruses in our songs. To us, the synth lines were hooks that the listener could grab ahold of.”

The warbly, distorted synths in “Cock Fight” and the unsettling modulation of “Rabies (Baby’s Got The)” provide a deliberate dissonance that, if anything, heightens the level of chaos. “We were never interested in using the synths as some kind of atmospheric, background noise,” says Pelletier. “We intentionally tried to make them as hard-edged as the guitars.”

Severe Exposure’s unintelligible vocals, jagged guitars and frenetic pace creates a trance throughout. “Dark Companion” has a MC5, frenzied proto punk vibe, and “White Queen to Black Knight” sounds like demonic blues. The whole album has a compelling spirit of confrontation and experimentation.

According to Pelletier, the Severe Exposure era marked the band’s most cohesive and well-known lineup, and saw the band firing on all cylinders. “Around that time, we were always playing, pretty much all our spare time was spent either playing or recording at the studio.”

It helped that the atmosphere was so inspiring. “The Fort Thunder scene was great, and Providence had a lot of clubs with touring bands coming through at the time,” said Pelletier. “People felt that creative buzz and tapped into it.”

Their sonic mélange was concocted at The Parlour, the 6FS’s own studio in Pawtucket, (located in the building where Jamstage is now), which the band put together to gain more control over the process. “We had recorded in studios before and inevitably it always came down to time or money, so we took each advance from Sub Pop and put it into getting our own gear.”

According to Pelletier, the band also received invaluable recording and gear advice from legendary indie engineers , who recorded their debut, and .

The song “Parlour Games” got the ultimate ’90s treatment when the , directed by RI filmmaker Guy Benoit, was featured in an episode of “Beavis & Butthead.” 6FS went on to put out two more critically acclaimed records that failed to set the charts on fire. The follow up, Law of Ruins, was produced by James Murphy (later of LCD Soundsystem fame) who had joined the band as a live sound engineer.

After Law, John MacLean left the group, partly due to tensions arising from his relationship with Murphy, and Sub Pop dropped them shortly thereafter. They called it quits in 2001, and Pelletier and Ryan reformed the band in 2007.

6FS is now recognized for being ahead of the electro-rock curve. ”We knew we weren’t going to sell a shit ton of records, and did a lot of what we set out to do,” said Pelletier. Ultimately, Severe Exposure is now looked at as something of a cult classic, and their catalog is remembered by many as a bold exploration of new sonic territory.

6FS has two releases consisting of demo reissues coming out this year. Stream Severe Exposure on . Long Live the Legend: Big Jon Tierney and the best in the worst of 2020

Welp, the ball finally dropped in 2020, minus the usual glitter and confetti, to the thud of a collective sigh of relief. We made it, right? Well here we are, not even a week in and so far the President incited a mob of thugs to storm the Capitol on . I don’t know what frightens me more, that Pence has taken the reins or that it feels like a relief. There were plenty of reasons over the past year to storm the Capitol and demand accountability from our public servants. Failure to deal with the pandemic, relief for small businesses crippled by COVID, and racial justice reform are just a few issues that come to mind. Instead it took conspiracy theories over an election that certified a clear victor, after all the counting and recounting of votes and more than 60 legal challenges, to mobilize these crackpots. I can only facepalm watching a handful of Republican senators trying to moonwalk over their states rights stance to curry favor with a demented despot. I’m still optimistic that 2021 is going to be a better year. Let’s get this party started paying tribute to a local music legend we lost and look back at some of the best in the worst of 2020. Happy New Year!

Big Jon Tierney

This one hit hard like one last kidney suckerpunch from 2020. Jon was an amazing performer who really could perform any style of music and hold his audience by their heartstrings. When I first saw Jon play it was fronting a metal band called Icenine singing these monster rocking numbers like “Truckstop Hooker” that were just awesome! Ten years later he was fronting essentially a Dave Matthews style jam band, which, while not my normal cup of tea, was great for just the sheer power of his big gravelly voice and his soul-stirring lyrics. Jon played a weekly residency for years with Kris Hansen that packed a wallop of frenetic energy, comedy and just a great vibe of positive energy. As great as a performer that Jon was, he was an even better person. I first met Jon sometime in the late ’90s and he had this warm genuine personality that just made everyone feel at ease as his laugh echoed through the room. In the past few weeks I’ve read so many accounts of how great of a friend he was and the lengths he’d go through to help people through their turmoils of life. Jon performed countless shows to raise money for charities, worked tirelessly with people with developmental disabilities in group homes, and had a knack for making everybody feel better and laugh in the face of adversity. I love you Big Jon, and your spirit will always be with us.

Best in The Worst of 2020

2020 was such a weird year. I don’t know how to rank albums or songs because everything was so in flux while going nowhere. Here is my soundtrack for the year. Let me know via email or Twitter (@marcclarkin) what you were rocking to!

Craig Finn — All These Perfect Crosses (Partisan Records)

This compilation of tunes that didn’t make Finn’s past few albums and stripped-down alternate versions provided a quiet comforting tale of lost characters trying to find their way. As with his work fronting , Finn’s songs are short stories accompanied by music. The standout here is “It’s Never Been A Fair Fight,” which is reminiscent of growing up with punk rock in the 1980s. My favorite line is “You said there were no rules, but there were so many goddamn rules. You said they’d be cool but then they had so many goddamn rules.” Anyone who grew up in that era knows how true that was.

Ravi Shavi — Special Hazards (Almost Ready Records)

This record had so many great tunes like “Going Going Gone” and “Sixes and Sevens,” but my favorite here is “Casino.” “Casino” successfully manages to combine an eerie sultry vibe with riding a wave that breaks into your heart. It is definitely one of my top 10 songs of 2020!

Bob Mould — Blue Hearts (Merge Records)

The lead single, “American Crisis,” dropped like a bomb in the midst of the unrest following the murder of George Floyd last spring. I recommend the lyric video to get the full frontal assault as Mould and band unleash their rage in a cyclone of hooks and guitars. The rest of the album is good, but nothing that hits as hard as “American Crisis.”

Nymphidels — Insurgery

This duo creates jangling guitar pop that isn’t afraid to rock your socks off like on “Reprieve.” I thought about going with the soothing yearning of “Saved You” as the essential track, but “Change” just has too many goddamn hooks to be denied the honor. It is a shame that the pandemic kind of buried this great EP.

Low Cut Connie — Private Lives

Private Lives is my album of the year. There are so many bangers like “Wild Ride” and the title track on this that it is tough to pick the essential track. I’m going with “Help Me” because after 2020 we could all use some help having our spirits lifted up.

Guided By Voices — Mirrored Aztec (Rockathon Records)

Leave it to Guided By Voices; the entire music industry shuts down and they release three full length albums. Sometime I wish they’d leave some songs on the cutting room floor and put out another Alien Lanes, but that isn’t how Robert Pollard rolls. I chose Mirrored Aztec because that is the best album with mega-jams like “Please Don’t Be Honest” and “Haircut Sphinx.” As for their other records, on Surrender Your Poppy Field check out “Volcano” and on Styles We Paid For the go-to jam is “Never Abandon Ship.”

Fiona Apple — Fetch The Bolt Cutters

Fetch The Bolt Cutters just seemed to drop out of nowhere last spring and for two weeks it seemed like no other music mattered. The pounding rhythms that Apple crafted her poetry around conjures up a magic that is both unique and now. My favorite is “I Want You To Love Me.”

Blackletter — Animal Farm

Animal Farm slays with the feel of a rock opera that really isn’t an opera. Blackletter mix poetry, Dio- like howls and Blue Oyster Cult playing Deep Purple riffs to create some really magic rock ‘n’ roll. The essential track here is “Invisible Chains / The Waltz” for more reasons than I have space to describe.

Bob Dylan — (Columbia Records) Rough and Rowdy Ways is a return to rockin’ blues for Dylan after a series of cover records. This album is chock full of barroom jams, but the stunning “Murder Most Foul” is the pick here. Not just because it is Dylan’s first number one song, or the first 17-minute song to be a number one song, but because nearly 60 years into his career Dylan is still breaking ground and creating compelling art.

Throwing Muses — Dark Blue

Throwing Muses are only about 35-plus years in as a band, but they are still creating tunes that are both vivid and haunting. It feels like there is always something going on in between the spaces of reverb from the feedback squalls of Kristin Hersh’s guitar. The pick here is “Dark Blue” because it is like a painting of sound come to life.

Malyasa BellaRosa — Affinity

BellaRosa has a newer album with her band, the Sugar Cones, called Road Soda that I’ll cover in the next rodeo. I spent more time listening to Affinity this year so that makes The List as Chris Jericho would say. The pick here is the Jim Steinman type ballad, “Wanting More,” just because I’m a sucker for that shit.

Sick Pills — (75orLess Records)

Late Night Death Trip (along with Mould’s Blue Hearts) is my pick for punk album of the year. The first five tracks are all killer and is my favorite Sick Pills album to date. My go-to track is “One More Chance For Love.”

Steadystate — Fast Machine

Fast Machine grew on me like malaria as the shutdown happened last spring and I liked it. Electro-rock groovers like “Slider” were the soundtrack to driving around empty downtowns all over the state.

Jesse Malin — / Ameri’Ka singles(Wicked Cool Records)

Malin released a few singles as a planned album got delayed due to the pandemic. These tunes weren’t even on the same single, but who cares — there were no rules in 2020. These were my two favorites of the singles. I’ll go with “Ameri’Ka” as the essential track since it is about everything that went down in 2020. My favorite line is “Adam got the virus like when Reagan was in charge, history repeats itself, the killers are at large.” Right on, Doctor.

Email music news to [email protected]

Christmas in Quarantine: Crock of Gold – a few rounds with Shane MacGowan

This Julien Temple directed, Johnny Depp produced documentary shines a spotlight on Pogues singer, Shane MacGowan. Crock of Gold starts with MacGowan talking about growing up in living in a crowded house, without electricity or indoor plumbing, where he worked in the field with his uncle, and how his aunt would bribe him at the age of 5 with whiskey to read the Bible. The one part of Crock of Gold that irritated me was the overuse of stock film by Temple (one of his trademarks from his other films about Joe Strummer and the ) to re-enact MacGowan’s childhood. This is interspersed with MacGowan, his wife Victoria Mary Clarke, and Johnny Depp having drinks in a pub while MacGowan shares things like his belief that “God chose me to save Irish music.” When Clarke asked him why, MacGowan replied with a cackling “because God is Irish.”

MacGowan’s family moved to where MacGowan got kicked out of schools, began experimenting with drugs, and joined a gang after enduring an initiation where he got beaten with a stick while having a trashcan over his head. During his teens in the late ’70s, punk rock explodes in London and bands like the Sex Pistols inspired MacGowan to start a band of his own, which eventually comes to be called The Nips. After punk rock fizzled out of fashion, MacGowan started a band with Spider Stacy called Pogue Mahone to breathe new life into traditional Irish music fueled by the energy of punk rock. The band name only gets shortened to once a TV show the band was to be on discovers that the Gaelic translation of Pogue Mahone is Kiss My Arse. There is great early footage of The Pogues, covers the creation of the iconic Christmas classic “Fairytale of New York,” and ends with MacGowan getting a medal from the President of Ireland for contributions to Irish culture in a star studded 60th birthday concert. Crock of Gold features interviews with MacGowan’s sister, parents, politician/Northern Ireland peace broker Gerry Adams, Nick Cave and Bono, among others. The movie is out in theaters (if that is ever a thing here again) and streaming platforms – check crockofgoldfilm.com for screening options.

Low Cut Connie — Private Lives

If Private Lives is not the best rock album of 2020, it is definitely in the top 5. The double album is a hot pie stuffed with American music. The ballad of “Look What They Did” covers the fall of Atlantic City after being raided by billionaire developers. Swagger-filled romps run wild from indie guitar squalor of “Tea Time” to the boogie “Nobody Else Will Believe You.” “Help Me” has singer/keyboardist Adam Weiner singing about “hanging like a scarecrow” before the gospel chorus kicks in like a . “If I Die” belts out the blues. “Stay as Long as You Like “ is even like an ’80s pop ballad. Private Lives stylistically plays like a jukebox, shuffling between genres with Weiner’s lyrics pushing a comforting message of hope through the joys and sadness. In addition to this absolute beast of an album, Low Cut Connie does weekly streams every Thursday and Saturday for their close-lnit community of fans that Weiner has dubbed “Tough Cookies” – check out their social media pages for info. Private Lives is the soundtrack for the turbulence of 2020.

The Replacements – (Sire/Rhino Records)

This deluxe reissue of this 1987 classic includes three discs and one album of previously unreleased songs, demos and alternate mixes. Among the highlights are the Mats last recordings with original guitarist on the Blackberry Way demos before they went to Memphis to make Pleased To Meet Me with legendary producer as a three piece. In a break with tradition, the vinyl offering is a completely different version of the album with some non-album songs sprinkled in, and a mix that has a raw demo quality. Pleased to Meet Me showcases singer’s ’s lyric creation process as he’ll sing different lyrics before settling on the final version. Pleased To Meet Me also provides a snapshot of the infancy of bassist Tommy Stinson’s development as a . In a very Replacements-esque fashion, the boxset appears to have no involvement of the band members and was largely compiled by Mats biographer Bob Mehr. Pleased To Meet Me is a treasure trove for any Mats lover on your Holiday shopping list.

Tom Petty – Wildflowers & All The Rest (Warner Records)

Long rumoured to be the works, the deluxe version contains unreleased tracks that were originally intended to be part of Wildflowers as a double album. There is some filler (I’m not sure it was really necessary to buy the 9 vinyl version) but rarities like “Leave Virginia Alone,” the scorching psychedelic romp of “Driving Down to Georgia,” and “Girl on LSD” are pure gold. There is a double album of home demos and a double album of early versions of Wildflowers. The highlight for me is the double live album of tracks, both on and written for Wildflowers. Available in digital and in various CD and vinyl packages, Wildflowers & All The Rest will no doubt light up the world of any Tom Petty fan on your shopping list.

Rolling Stones – Goats Head Soup (Polydor Records)

After a string of four albums considered to be their best, Goats Head Soup is largely overlooked in the Stone’s vast catalogue. I’ve always loved it from the spooky opening riff of “Dancing With Mr. D.” to the longing optimism of “Winter.” The deluxe reissue contains three unreleased tracks with my favorite being the driving “Criss Cross,” which seems to be the most untouched from the original sessions. Another of the unreleased tracks “Scarlet” I don’t like as much because you can tell Mick Jagger re-did the vocals. There are a few different mixes and instrumentals, the standout being an instrumental version of “Heartbreaker.” The deluxe version contains a long circulating bootleg called Brussels Affair, which is a solid snapshot of the Stones live from this era. Goats Head Soup and the recent reissue of Keith Richards and The X-Pensive Winos Live at the Hollywood Palladium are to go to gifts for any Stones fan on your shopping list.

Email music news to [email protected]

The Weary World Trudges Through: Support local with these holiday albums that don’t suck

Many of us are cancelling Thanksgiving plans and looking ahead to an equally weird Christmas, and with the holiday season comes the inevitable buying spree. It was recently reported that Jeff Bezos saw his wealth rise by an estimated $48 billion from March to June alone. In the spirit of rejecting this gross inequity, I urge you to support local businesses. Any of the albums featured in this column would make excellent gifts for the music lovers in your life. Even more enticing, December 4 is the last “Bandcamp Friday,” in which the revenue share is waived so that every cent goes to the artist. Whether it’s music related or not, consider kicking in a few shekels to your local creators or give a donation if you can swing it.

A few campaigns to consider:

The Narrows Center Fundraiser (also worth checking out is their series of livestreams) Rhode Island Artist Relief Fund Save The Parlour GoFundMe Newport Festivals Musician Relief Fund AS220

Dan Blakeslee and the Calabash Club — Christmasland Jubilee

Local songwriter and crooner Dan Blakeslee has built an impressive resume by pounding the pavement throughout New England and putting out a string of acclaimed albums. He’s well known for his ghoulish alter ego Doctor Gasp, but this time takes a turn round the ol’ Christmas tree with his first holiday record, Christmasland Jubilee.

It’s astounding to think that so many Christmas albums are released year after year given that the canon and themes don’t really don’t change much. Instead of a straight rehashing, Blakeslee manages to bring his own folksy flair to the catalog.

Blakeslee brings a brooding, rolling tumbleweeds vibe to “We Three Kings” and puts his own spin on the melody. He tries out boogie woogie on “The Reindeer Boogie,” and “Santa Claus Is Coming To Town” is set atop a gorgeous NOLA-style ragtime, replete with clarinet and muted trumpet.

Blakeslee describes the album as “a 10-year dream album come to life.” I have the pleasure of knowing Dan in real life, and there is no denying that the guy really loves Christmas music. The musical ornamentation (no pun intended) creates a captivating soundscape throughout the record, with deft backing vocals, accordion, and percussion. There’s a lot going on at times, but it’s managed with minimal turbulence. A high point is “Silver Bells,” featuring a beautiful combo of Hammond organ, mandolin and vibraphone.

The Calabash Club is pianist/accordionist Mike Effenberger, bassist Nick Phaneuf and drummer Jim Rudolf, but there’s a pretty extensive cast of characters who do a great job.

In addition to the classics, Christmasland Jubilee has a solid crop of originals. “Glowin’, Blowin’, Jumpin’, Swayin’, Wishin’, Swingin’, Dancin’, Rockin’, Fishin’, Laughin’ Christmas Tree” brings a jazz flavor and proves that the holidays are no time for brevity.

“The Somerville Lights” is a straight-ahead folk tune about the light displays in Blakeslee’s former city, and a bonus song, “Let’s Start Again,” has a more off-the-cuff feel and really shows off his songwriting chops.

Maybe the fact that Dan and others can keep coming out with engaging takes on the same material is a comment on the supreme adaptability of music itself. Sure, it’s all been done, but now it’s been done by Dan Blakeslee.

Purchase Christmasland Jubilee on at Bandcamp.

Holiday Albums That Don’t Suck

My relationship with holiday music mainly involves grumbling when the dentist’s office starts playing it in early November, but after Dan’s album I decided to see what else is out there. Here are a few of my most cherished holiday records, most of which I pulled from other online “best of” collections yesterday.

Sharon Jones & The Dap Kings — It’s a Holiday Soul Party

The late Sharon Jones put out this soulful selection fearing the glorious of the The Dap Kings in 2009. The slow burn of “Silent Night” and “Please Come Home For Christmas” really let Jones’s vocals shine, and upbeat fare like “8 Days (Of Hannukah)” and “Funky Little Drummer” boy will bring down the house at your Zoom holiday party.

Jethro Tull — The Jethro Tull Christmas Album

What says Christmas more than some woodland woodwinds or super show-offy arrangements of the classics? In what was to be their last studio album, Tull puts their own proggy spin on the holidays with tunes like “Birthday Card at Christmas” and “Jack Frost and the Hooded Crow,” as well as rerecordings of fan favorites like “Weathercock” and the instrumental “Bourée”

Aimee Mann — One More Drifter in the Snow

Christmas doesn’t have to be all good times and cheer; Aimee Mann depresses along with the best of them with “Whatever Happened to Christmas” and “Christmastime,” about things falling apart around the holiday. “Calling on Mary” is a brilliant song no matter the time of year.

David Sedaris — Holidays on Ice

While not technically music, I always enjoy hearing the audiobook being played on NPR and getting a look at Sedaris’ time as a department store elf.

Willie Nelson — Pretty Paper

By ‘79, Nelson had released 24 albums and was just beginning his well-publicized troubles with the IRS. The title track is a rerecording of Nelson’s song, which was a hit for Roy Orbison. The bright spot for me, though, is the nifty organ and keyboards on tunes like “Rudolph” and “Here Comes Santa Claus” by Booker T. Jones, who also produced the record.

The Vandals — Oi to the World!

The Vandals specialize in juvenile themes mixed with lightning fast skate punk, evidenced here with tunes like “A Gun For Christmas” and “Christmastime for My Penis.” Interestingly, the 1996 album received renewed interest after No Doubt covered the title track a few years later.

Jelly Side Down — Had to Be There

The golden era of pop-punk may have come and gone, but Johnston newcomers Jelly Side Down do a good job capturing the spirit. And with stellar recent releases from bands like The Callouts and U.G.L.Y, maybe there’s something in the water.

There’s definitely some examples of Jelly Side Down nailing the format, with general themes of unease and the angst of the young along with some effective hooks and crunchy guitars. “$18,000 and a Chance at the Title” has the shredding and lead harmonies of Sum 41, and “Midnight” packs a killer hook.

“I Hope You See This” has some heavy breakdowns and dark edges that remind me of Evanescence. “Specter” features an impenetrable fortress of beefy guitars, and they also cover “Valerie,” made famous by Amy Winehouse, which they manage to rev up a bit.

Buy Had to be There on Bandcamp.

Misster Dylan’s Beautiful Blues: Dylan Harley releases his debut album, Dark Side of the Force

Misster Dylan – DARK SIDE OF THE FORCE

Just in time for perhaps the darkest time in recent memory, Misster Dylan, moniker of local songwriter Dylan Harley, is out with his debut record DARK SIDE OF THE FORCE. DSOTF is a sonically diverse, thematically ambitious record that wades straight into muck that seemingly no one can avoid these days.

Harley boldly mixes together everything from rap to folk and focuses on demons both inner and outer. “Mac Milliner’s Ball” has a kind of swaggering ragtime with great horn arrangements by John Birt, and “Tragick Magick” deals with addiction via a minor-key macabre reggae groove.

“The general theme of the record came about organically,” said Harley. “The songs were written separately over the last three years, but I realized that these songs have a unifying force in that they’re all about fear, and especially my personal fears.”

My favorite track, “The Gom Jabbar,” combines the funereal doom metal of Sleep and a shuffling, Stevie Wonder-like drum groove with some spooky, demonic Halloween screams. This dark-but-funky tune deals with the release of death by way of a Dune reference.

“It refers to an ultimatum the hero is given when being tested by the high priestess to see if he’s a human. They give him the choice of putting his hand into a box with the most immense pain imaginable, or getting pricked by the poisonous Gom Jabbar needle,” said Harley. “The point being that an animal will gnaw their own arm off to escape, even if it means dying. I wanted something that would take the listener out of the day-to-day and frame it in a more universal way.”

If that all wasn’t enough, he forays into rap in “Invasive Species,” spitting rhymes about the toxicity of his own white privilege: “No need to ask, I just help myself/beneath the leaves of my family’s tree of inherited wealth.” The song, which even contains the obligatory *inhales weed* noises, ends with a fiery verse from local rapper Slitty Wrists that flatly rejects the entire premise of injustice and racism.

“I didn’t want the song to be entirely a white dude gloating about how good he’s got it, especially while appropriating the genre,” said Harley. “I connected with Slitty through Jessee Tree after I heard him on Jesse’s record, and knew immediately that he would be great to rap the ‘kill shot’ verse,” said Harley.

The song is one of two notable collaborations, the other being “Shai-Hulud” (a second Dune reference), which prominently features the djembe of local percussionist Sidy Maiga. Harley, who recorded much of the album and plays virtually every instrument on it, doesn’t shy away from collaboration.

“I’m so inspired by so many artists and musicians in this city, so I figured why not see if there are people who can help elevate it?” he said. “It helps make things way less precious and more communal. At the end of the day it’s about trying to achieve some kind of resonance, and I think that’s much easier to do when there’s other people involved.”

Harley noted that there are at least two other collaborations that didn’t make the record, but which he hopes to release in the future.

“Killing the Planet” is about every single move you make puting us closer to the undoing of the Earth, and the album ends aptly with the experimental folk balled “Let’s Try Not To Fuck Up Our Kids (TNTFUOK?)”: “A rock ‘n’ roll dose of Red, White, and Blue that’s been tellin’ us all what to think, feel, and do.”

Preorder DARK SIDE OF THE FORCE before its October 31 release at missterdylan.bandcamp.com/album/dark-side-of-the-force.

Minky Starshine – Gold Plated

Rob Anastasi’s Minky Starshine has been cranking out reliable since the mid-2000s, and the recent Gold Plated is the first in a planned trio of releases coming in the next few months. The slick production, creamy guitars and horns make listening to this like being ensconced in velvet.

The standout “Wrong and Right” has a fun, bouncy glam rock feel and killer fuzzed-out guitar leads. “Somebody’s Heart,” is kind of a strong but starry eyed rock ballad that reminds me of Badfinger. Along the same lines, the sappy heartache of “Radio Holster,” with its ’80s sax solo, falls a bit flatter.

Frankly, what originally attracted me to the release was seeing the cover of “1000 Umbrellas” by XTC, one of my favorite cult rock bands. Anastasi really nails the string section, shelling out the dough for a mini orchestra, and the reverb and ethereal backing vocals give this impressive take a more melancholy effect.

Gold Plated is definitely worth a spin in your rotation, so stay tuned for the others.

Purchase Gold Plated at minkystarshine.bandcamp.com/album/gold-plated.

Song Birds

Song Birds is a new group out of Providence with two turbulent EPs released in quick succession that direct the collective anger of the current day into some unhinged garage rock. Their sound is akin to being ensconced in a psychedelic fireball, like they’re in a loose jam session rather than a studio.

“Fever Dream” is a catchy mid- song about being unable to connect with somebody, and “Swallow Glass” is pure punk rock. The highlight, “Time Pulls the Trigger,” is a big, brash southern rock funeral dirge for this dumpster fire of a year, with a total barnburner of a guitar solo.

The second EP, The World’s Gone to F​@​#king Hell, sounds even more cathartic and low-fi. I enjoyed the indulgent noise of “Space Camp” and the maniacal jamming on “Cashmere.”

TwentyTwenty and The World’s Gone to F​@​#king Hell are available at the Song Birds Bandcamp page: songbirdspvd.bandcamp.com

Election Night Soundtrack: Serving up fresh hot biscuits

Turn Up The Mains

Let’s start this off with addressing the undecided voters in one of most divisive presidential elections ever. Four years of Trump, an epically mismanaged pandemic, and a knife stuck in the long festering wound of racial inequality and yet you are still undecided. Congratulations, you are the unicorn nobody thought could exist!

Most columnists are going to try to sway you, but not me! Democracy is a myth. Hillary Clinton won the vote by nearly 3 million votes in 2016 and she lost. Rhode Island is going to throw a whopping 4 votes for Joe Biden. So take a load off and have a drink. The last time a Republican won the state was in 1984 and it’s not like there was any book written predicting that year. It’s cool, it isn’t like we have cameras everywhere though, right? I know things are contentious on with your in laws, but take another sip; the game is rigged.

Now I’m not suggesting you not vote. In fact, everyone should vote more! Especially in primaries where you actually have a say in which candidates appear on the November ballot. So vote, but then demand accountability from your local officials. Turn up the mains, let’s go!

Dropdead – Dropdead (Armageddon Records)

When Trump got elected, the glass half full take was maybe this will make punk rock great again like in the ’80s with Reagan. Welp, we got a new Dropdead record, plus their other two records have been remastered and re-released. Was it worth it? I don’t know, but maybe we’ll stick to the advice of the Doobie Brothers and “Listen to the Music.” So before diving into the biscuit, I listened to the old stuff to see if there was any drop off? Did they become singing about getting their periods? Hell no! Dropdead are alive as ever and the passion, which is how I measure hardcore bands, is bursting on this new biscuit. “Book of Hate” is the closest they come to Meatloaf in terms of song length (most songs are under a minute) clocking in at just under 3 minutes. This tune takes me back to what I love about hardcore, stuff like Circle Jerks. “Stoking The Flames” is genius, breaking-the-sound-barrier rock ‘n’ roll. “Hail toThe Emperor” is another banger for your Zoom election night party. It thrashes, it rocks and really just knocks your socks off. The world is a sick place and Dropdead is the soundtrack. My favorite tune here is “The Future is Yours” because in the classic tradition of the , it is both angry and offers light for better times. This album is available at all the usual places, but I’d suggest the place at the end of my street, Dropdead guitarist Ben Barnett’s Armageddon Records on Broadway Street. I own at least 50 records purchased from there over the years. Sadly they are closed for in-store browsing due to COVID, but you can order at armageddonshop.com and stop by for a safe pickup.

Chrissy Stewart – House of Christina

The backstory of Stewart’s debut album, House of Christina, is fascinating. She was at a show in western Mass, stopped on the way home, realized it was near the house she grew up in, ran to the house, met the owner and learned it was now a women’s shelter called the House of Christina. Mind blown, Stewart was driven to make this album. The title track is the first one that grabbed me for its haunting beauty. “Remember When” continues the ghostly sway, but underneath the handclaps there is some shredding happening. I love the dreamy folk feel of “Tired Heart Talking.” My favorite here is “Preacher’s Daughter;” it has a jazz-based swing like an old showtune. House of Christina is available on the usual streaming formats, but I got to say the vinyl sounds fucking fantastic — go to chrissystewart.com for that like I did. In addition to performing, Stewart puts on great shows and has PVDLive on Instagram where I think there is a blog of stuff to check out.

Spook Power – Devil’s Night!

This night will be a throwback to my six-year run at the legendary E&O Tap spinning Alice Cooper, Misfits and whatever else — trust me, I have a bottomless bag of tricks. I miss those E&O Days, so it is an honor to be asked to DJ at one of the last two dive bars remaining in downtown Providence. October 30 is known as the Devil’s Night, so I’ll be playing songs about the devil. That seems appropriate for 2020. To keep this a safe and socially distanced event, I’ll be DJing in the mausoleum of 38 Studios, possibly on Curt Shilling’s desk — worth every penny of that $75 million bond. So wear a costume or don’t, but wear a fuckin’ mask and let’s get weird. It starts somewhere around 8 and lasts till 11 or when they pull the plug. So let’s come together and celebrate the Devil, QAnon and whatever else doesn’t exist!

Spook Power will go down at Muldowney’s Pub on October 30 starting around 8pm. Free!

Live Music: 2020 has been rough for everyone, but music venues have had it as bad as anyone. They were the first to close and will be the last to reopen. Some estimates say that up to 90% of venues will not survive. We are lucky to have some gems in Providence. Askew, Dusk, Nick-A-Nees and Platforms are doing live music. So let’s keep these great soldiers alive!

RIP Eddie Van Halen. I grew up when time “Jump” hit MTV. I finally got to see him in 2007 in on the day of the Red Sox victory parade, and had to crawl over some zombies to get into the Garden.

RIP Walter Lure from & — the original Heartbreakers and I love Tom Petty. I just finished his book To Hell And Back, which was a great quick read. The sub-title had the words “The Last Man Standing,” though — apparently not a good idea in 2020.

I feel like I’m forgetting some others, the singer of The Outfield for one, but blessings to anyone who has lost someone that was dear to them.

Email music news and fantasy football tips to [email protected]

Lockdown Listening: Something old, something new

In a furious attempt to see some live music before winter hibernation sets in, I attended shows at both Askew and Nick-A-Nees last weekend. I’m happy to report that it was a good time, and both places did a great job with masks and social distancing.

But fears about the future remain. A recent Vice Article chronicles some of the dire consequences that independent venues could face without some sort of support from Congress, going as far as to say there could only be one indie venue left standing in Nashville by year’s end. So continue to get out to shows while you still can, and call up your representatives.

Dandy Highwaymen — Land Shanties A crowd of three are the Dandy Highwaymen, now out with their debut recording, Land Shanties. It’s an amusing release that bills itself as rococo punk, a genre I was unaware of that’s “inspired by the art, history and culture of 18th century France and England.”

They say write about what you know, and for the Dandy Highwaymen, it’s … being drunk highwaymen, as evidenced in tunes like “Drunk Highwaymen,” “The Ballad of the Dandy Highwaymen,” and a cover of Adam and the Ants’ “Stand and Deliver.” In addition to the strong branding, the album contains tales of intrigue, wig theft and being exiled a world away.

The players, Jean-Jacques J’adore, Beau Pummel and Sovay Beausoleil, are two-thirds based in Rhode Island. The songs go from pub singalong to rock ‘n’ roll, though the playing is a bit sloppy, kind of like they’re actually in the back corner of a dank tavern.

The Dandy Highwaymen do, however, have a real flair for storytelling. “Four Finger Frederick” is a cautionary tale about overindulging in lady fingers, and “Ballad of the Dandy Highwaymen” is an epic canard featuring characters like Vance and swift Claudette.

Fitting with the historical period, a lot of these feature a revolutionary tilt, like the Swiftian “A Modest Proposal,” about the age-old fantasy of eating the rich. “Let’s Go” and “C’est Bon” go full-on punk rock, though the canned drum sounds detract from the desired effect a bit.

Land Shanties is available at: http://dandyhighwaymen.com/product/land-shanties/

RI Repository | Small Factory – I Do Not Love You In this edition of the RI Repository, where we delve into simpler times, we take a look at the celebrated rock trio Small Factory’s debut album, I Do Not Love You. Drummer Phoebe Summersquash, guitarist David Auchenbach and bassist Alex Kemp formed the group in 1991 in PVD, and were already New England indie up-and-comers by the album’s release.

The record consists mainly of simple, two-minutes-and-change tunes about disconnection, lost love and youthful exuberance. It brings to mind the stripped-down innocence of the Blake Babies or the Lemonheads, but with more raw edges.

“Valentine,” a Lois Maffeo cover, has a wistful dorm room vibe, and the repetitive “Come Back Down” drives home the point with a soft punk rock growl. Small Factory was not about achieving virtuosity; simple bass lines and no guitar solos kept the spotlight firmly on the songwriting. Kemp handled most of the lead vocals, with Summersquash often simply covering the high octave.

I Do Not Love You was recorded at Warren’s Normandy Sound and White Room in Boston and released by SpinART, the now-defunct New York label that boasted releases by Frank Black, The Apples in Stereo and The Magnetic Fields.

“What to Want” is both vigorous and delicate, and admits “sometimes I’m a child and I don’t know what I want.” The highlight, “Keep On Smiling” is a jangly rock song with just enough dissonance that builds to a catchy chorus with everyone joining in on vocals. While the language in “Junky on a Good Day” may be outdated, it’s a plainspoken song building to a jagged, jamming outro.

Ultimately, Small Factory didn’t set the world on fire, but their softer, starry-eyed approach to ’90s rock is remembered fondly by plenty.

I Do Not Love You generated enough buzz to get them on Vernon Records, an indie division of Virgin Records, for their follow-up For If You Cannot Fly. The record would be their last, and the band broke up in ‘95. Post Small Factory, Kemp and Summersquash formed the band Godray, and David Auchenbach went on to produce artists like Lightning Bolt.

Stream the album on Spotify. Popcast

And finally, an interesting podcast from “Popcast” about the state of the charts. Two music biz journalists discuss how the Billboard charts are now essentially meaningless because many artists are finding creative ways to bundle album sales with concert tickets and other media to pump up the numbers.

Top View