Rock ‘n’ Roll Villains: Ravi Shavi unleash Special Hazards

On their third full-length release, Special Hazards, Ravi Shavi unleash a collection of 14 songs chock full of grooves, trashy surf and classic pop. Gems like “Going Going Gone” come off like a letter to an old flame with singer/guitarist Rafay Rashid asking, “How’s the city, how’s your mom, do you still have a car, have you taken your pills, have you smoken a joint?” The wistful chorus features backing vocals from Roz Raskin. One of the older songs in Ravi Shavi’s repertoire, “Is It True,” is a sunny burst of classic pop buttressed by backing vocals from Raskin as well as Kate Jones and Emily Shaw of The Sugar Honey Iced Tea. “High Hopes” has a Cramps-style guitar-from-the-gutter stomp with a guest appearance by Ian O’Neil of Deer Tick. O’Neil also appears on “Violence,” which has an early 2000s alternative rock flavor. “Absent Minded Fool” is a lament with the feel of a cool flamenco guitar gone wrong. The final track, “Casino,” is my favorite with its eerily seductive lyrics like, “Why don’t you take a gamble, I’ll be your casino,” floating like smoke through the air over a funky garage backbeat. Special Hazards is available now on Ravi Shavi’s Bandcamp page with physical copies on vinyl and CD coming later this year.

I spoke with Rafay Rashid to discuss pandemic living, how he and guitarist Nick Politelli write, and the villainous undercurrent flowing through Special Hazards.

Marc Clarkin (Motif): How have you been spending this weird time we’re all in?

Rafay Rashid (Ravi Shavi): I’ve been kind of going through it with everybody else. I’ve always felt that the world is ending, and this has just been sort of more concrete or a manifestation of that. I’ve been writing more and doing some side projects. I’ve been trying to spend more time with my friends and family while still, you know, trying to keep the disease at bay. I just got tested a week ago, not because I had any symptoms; I was just curious. I was negative, so hooray, right? No COVID for me!

MC: One of my favorite songs on Special Hazards is “Sixes and Sevens,” where you have a great line in the chorus: “We’re not going to heaven, we’re still stuck in traffic.” How did that song come about?

RR: Well that was the pinnacle of me and Nick Politelli, our guitarist, just writing in a frenzy to create material for the album. We had come up with God knows, like 40 to 50 songs. When we whittled it down, that was one of the ones that stuck. We kind of knew when we wrote it that it was going to stick. It was just a combination of trying to figure out how to be as abrasive as we were on our first two records while reflecting a little bit lyrically. It was more of a statement song in terms of where we’re heading. All the songs were written before COVID-19 or 2020. We actually wrote all these songs lyrically about four years ago. So everything that you hear on the album lyrically has been written well before this time, but yeah, it kind of felt prophetic in a way. Not saying that we’re soothsayers, but I feel like there’s a sense that like everybody kind of knew where this was headed. “We’re not going to heaven, we’re still stuck in traffic” is like, we all have to work through a lot of things in order to get to this idyllic place that our collective imagination brings us.

MC: “Red Hands” is carried by a funk backbeat that kind of reminds me of earlier Prince. Were there any new things you want to try with Special Hazards?

RR: So one thing about Special Hazards that is unlike the rest of the albums, it was a very concentrated time in which we were working on the album. On this one, because of the way the time schedule worked out with our label, we had a lot of time to work on demos. This was actually sort of a compendium of everything that we worked on while we were trying to catch up with ourselves in terms of releasing stuff to the label — whether it be album covers or waiting for the pressing plants, which take a certain amount of time. So we basically whittled it down to 50 to 60 of our best songs. I think this one was the most collaborative between myself and Nick. “Red Hands,” along with probably about 70% of the songs on the album, were a 50/50 effort between me and Nick, which was cool. So on “Red Hands,” Nick did all the music and I just wrote the melody and vocals on top of it. There was a cynical brooding element to it; our engineer pointed out that this is like kind of our foreboding album.

MC: You made a video for “Casino,” which, in addition to being one hell of a jam, doesn’t sound like anything else you’ve done. How did that one come about?

RR: I guess with songs like “Casino,” “High Hopes,” “Red Hands” and “Going Going Gone” we found a thread of a narrative in between these demos that we had done. Then we were like, “Where’s the story here?” even though we’re not really like a story or conceptual album band. We somehow found a story within the everything-and-the-kitchen-sink format. So we just picked the songs that fit the story, which was loose. It was somewhere between a heist and an emotional robbery. So there’s some love songs, there’s some nostalgic stuff, but then there’s some straight-up let’s go ahead and take what we can get type of thing. We did feel like the enemy a little bit — it came from a villainous perspective in a lot of ways.

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Summer Guide: The road to nowhere…

I was telling my friend Louie that I had to write a music summer guide and he responded, “Guide to what?” Good question, damned if I know. Maybe the best songs to listen to at the beach? That list for local music always starts with Neutral Nation’s “Bad Music Beach” with honorable mention to Someday Providence’s “Summertime in Rhode Island.” Technically there is still The Mummies at Askew on August 23, but you’d get better odds at Twin River on roulette than whether that show happens. Sammy Hagar said live music should return to save the economy. He was willing to sacrifice himself for the benefit of his kids and grandkids. It makes sense. He had no problem sacrificing Van Halen. So … fuck him, I can drive 55. Black Lives Matter. Here are some new tunes to crank up like the fireworks in the middle of the night.

Bob Mould — “American Crisis” (Merge Records)

Bob Dylan is the best lyricist in the history of rock ‘n’ roll. He even has a lyrically stunning new album out but, with all respect to Mr. Zimmerman and his chart-topping 17 minute song, he’s not the Bob who came out of Minneapolis that the world needs now. I saw Mould solo in January in Fall River and he talked about coming of age as a gay male in the ’80s, when the emerging AIDS crisis was referred to as “the gay cancer.”

“American Crisis” starts off with this lyric: “To come of age in the ’80s was bad enough, we were marginalized and demonized, I watched a lot of my generation die.” And he is just getting started. “Wake up every day to see a nation in flames, we click and we tweet and we spread these tales of blame … world turning darker everyday, in a fucked up USA.” This song makes it feel like he was phoning it in with his old band, Husker Du, on Zen Arcade. Zen Arcade was one of the best records of the ’80s. In under two and half minutes Mould and bandmates Jason Narducy and Jon Wurster power through more twists and turns than the Corkscrew at Rocky Point. In the fadeout Mould chants, “Silence was death, never forget.” Yes. And vote! steadystate — Fast Machine

I loved steadystate’s debut EP, Two Moons, last year mostly because of the track, “Radiation,” which exemplified great electro-alternative ’80s rock ‘n’ roll. It took a while to appreciate the followup, Fast Machine, because it was kind of like going from Bowie’s Diamond Dogs to Low. Fast Machine is trippy in both a psychedelic and melancholy manner, kind of like the times. I recommend checking out Tyna Calderone’s (from Big Haired Sluts fame) video for the first single “Slider,” which was shot in Providence right after the shutdown on their social media. Singer/Keyboardist Christian Calderon ponders whether “our nightmares will come alive, or will they clean up everything.” The title track asks, “What’s the point of no return?” while the band paints a foggy ’80s electro-influenced wall of sound. The final track, “D+,” isn’t just my high school math grade, it starts slow till squalls of feedback usher in the beat. Fast Machine is the perfect EP to blast at the beach to chill between New Order and Jesus Jones.

Malyssa BellaRosa — Affinity

Malyssa BellaRosa has been a busy lady between this solo album and another record she’s ready to drop with her band, Sugar Cones. I was expecting a more mellow album in the vein of “these songs didn’t work with the band” type of thing, but Affinity ain’t afraid of a little rocking and a rolling. The opening, “Great Escape,” starts with BellaRosa’s smoky vocals that leads the listener into the titanic chorus about the need to get away. “All Used Up” is a tune that BellaRosa has done with one of her other bands, Malyssa and The Liberators. I can’t say it is my favorite, but I get why it sticks around — when the song goes into the rocking part surfing a killer hook, I get the appeal. “Wanting More” reminds me of Bonnie Tyler with strings. As a huge fan of Jim Steinman’s songwriting, I love this! It only works because BellaRosa has the pipes to pull this off. “By My Side” has the neo-’60s garage strut reminiscent of Edwyn Collins “A Girl Like You.” “It’s Alright” is dirty guitar punk rock rave up. The closing “Groove With Me” is a meditative electro jam to fall asleep to on the beach under the stars.

Sick Pills — Late Night Death Trip (75orLess records)

Got this biscuit in the mail and after glancing at the song titles, I had to reach out to singer/guitarist Chris (Dr. Evil) Guaraldi to make sure he was okay. The song titles include “Wanna Die,” “Waiting To Die” and the title track. It turns out it was inspired by some health problems last year, including a late night ambulance trip. Thankfully Dr. Evil is doing better, and from the suffering came great art. The frantic opener, “Wanna Die” rips in a Husker Du pace before settling into a late ’90s breakdown. “One More Chance For Love” is another punk rave-up with a hook that recalls early The Replacements. “Waiting To Die” reminds me of ’90s The Queers and is infectious as hell — seriously, wear a face mask while listening. The title track has the frenetic backbeat like Funhouse-era Stooges, but at the same time, sounds nothing like them all. The CD version rounds out with a Devo cover in “Gates of Steel” and Q Lazzarus’ “Goodbye Horses” that was featured in Silence of the Lambs. Late Night Death Trip is the album to crank at the beach when one has had too much tequila the night before.

Blackletter — Animal Farm

Singer/Keyboardist Dave Laros told me this record was a reflection of the times and is his effort to make sense of it all. The release party for Animal Farm was to be the week everything shut down, so if the times were weird before, good luck with the next one, Laros. Animal Farm starts off with a ’70s rock strut with bassist Rob Shaggs holding down the low end before guitarist Vic Foley unleashes a bomb of guitar pyrotechnics on the title track that rival anything in Providence at 2am these days. “Vlad The Impaler” reminds me a lot of Blue Oyster Cult when they are not being sweet and singing about the Grim Reaper. “Murder on the Run” is my favorite on the album with Foley’s blues licks playing against Laros’ keyboards till the chorus that kicks any other power ballad to the curb. “Better Rain” reminds me of a cross between ’70s stoner rock and Kilgore Smudge. “Invisible Chains / The Waltz” has the title backward because it starts off with a waltz before undergoing a metamorphosis into early Queen at a freak show. Animal Farm is the record to put on the ghetto blaster at the beach for those who apply 110 SPF and … it’s not enough.

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Panic! Pandemic!: Quarantine and non- quarantine tracks to check out

So, we are on what, day 50-whatever of the apocalypse? And all the hot shows coming up are remarkably similar to last month: CANCELLED! I’m stoked, looking forward to seeing everyone and pouring a few back with ya. Since I somehow … still have a little space left over after all those shows, let’s talk about some new jams and EPs that have been rocking my world. Before I get to them, I also recommend following your favorite bands because there are tons of cool livestreams to check out while quarantined. Let’s share that with our friends and on social media to keep us somewhat connected till we’re able to get back together. Thank you for tuning into this column now or hanging in there anytime for the past 15 years.

Quarantine Singles

Electric Six — “Panic! Panic!”

The pandemic might have become real to most when all your favorite clubs, bars and restaurants closed but for me, it wasn’t real ’til Dick Valentine weighed in. “Panic! Panic!” has a chorus that says “Wash your hands till you love me” and it made me pause writing this column in a combination of procrastination and/or just a need to hit my bedroom dance floor. The tune continues the upward trend that Electric Six has been on with their most recent album, Bride of The Devil. Check it out at soundclound.com/electricsix2020 — I give it a 7.4.

The Dirty Knobs — “Lockdown”

Tom Petty’s right-hand man, guitarist Mike Campbell, has a new number to rock the quarantine called “Lockdown.” It’s an enjoyable rocking take on un-rocking times with lines like, “I got a face mask and some rubber gloves, I’m washing my clothes in an old bathtub.” Check it out at thedirtyknobs.com. I give it a solid 6.7, but by August it might be an 8.2 — who the hell knows?

Non-Quarantine-Related Singles

Scott Janovitz — “The One Below” / “Over The Wire”

Scott Janovitz is one of my favorite songwriters from the late ’90s and early 2000s. Back then I tried to hit every one of his shows with his bands, Rhino and Dragstrip Courage. I distinguished myself by being the one non-girlfriend or wife there back then. I saw them everywhere from playing on what is now PC’s soccer field to Mama Kin in Boston — back when Aerosmith decided they should have their own club on Boston’s Lansdowne Street. I still listen to those cassettes sometimes to hear the non-album shit “Screaming Gun Blues” and “I Feel Alright.” Anyways, my man Janovitz is back with two new jams. The first tune, “One Below,” is a gazing Brit-Pop love letter to the mid- to later-era Beatles. It’s infectious as fuck. The B-side, if you can call it that on a digital release, is a less rock but more groove straight shot. I give this a 7.1. Check out Scott Janovitz on Bandcamp.

Jesse Malin — “Backstabbers” / Crawling Back To You”

After the boom of his Lucinda Williams-produced Sunset Kids record, Jesse Malin is back with a new single, “Backstabbers,” that was recently named the coolest song of the week by Little Steven’s Underground Garage. To be fair, it is his record label, but Malin also cleaned up with three awards at the Independent Music Awards last week. It was a well-deserved honor as Sunset Kids is a great record and also a long time coming for one of my favorite modern day songwriters. On “Backstabbers,” Malin reminisces about his youth growing up in New York City where “the dealer and the doctor were charging the same price.” “Backstabbers” is a sneaky track that grows on you. It’s tough to rate. Today it might be a 6.1 and tomorrow it might be an 8.3. The B-side is a faithful cover of Tom Petty’s “Crawling Back To You.” Malin has talked about how the last verse really struck a chord with him. The lyrics of “it was me and my sidekick, he was drunk and I was sick, we’ve got caught up in a barroom fight, till an Indian shot out the light, I’m so tired of being tired, sure as night will follow day, most things that I worry about, never happen anyway.”

Thinking back, it’s just amazing how stacked Petty’s Wildflowers was. That was track 14 and still … straight-up fire. Malin doesn’t really add anything, but does it justice. I give the single a 6.6, and look for Malin’s new album, Lust For Love coming in 2021, the year we all make contact … allegedly.

Check out his Saturday livestreams on YouTube at 4pm and his interview show, “Meet Me At The End of The World,” on YouTube on Wednesdays at 5pm.

123 Astronaut — “Cry Baby Cry”

One of my favorite local bands, 123 Astronaut, released a new jam that is completely different from the rocking stomp that is their usual calling card. At first, I was like, ‘I don’t know, Jeff,’ but the guitar riff is just so hypnotic that it spreads like love. I can’t wait to see it live. It started as a 4.1 on my scale, but it’s a 6.7 now. It’ll probably be an 11 by the time this all ends. Check it out on 123 Astronaut’s Bandcamp page and check out their lyric video on their social media page.

Okay, I’m halfway through so this means I will do at least one more column. Till next time, stay safe, stay healthy, stay positive and email me shit at [email protected]. Time to vamos!

Pandemic at the Disco: Music venues are empty, but RI keeps rocking out

Heading For A Clampdown

As much as I liked the idea of every Yankees, Giants or Jets fan being stopped on the highway without probable cause and the state police forbidding them from leaving their houses — that idea was bat shit crazy. And even though crossing our borders now gives automatic quarantine to people from all states — not just New York — I think this is completely unconstitutional and a draconian abuse of power.What are we going to do next, build Trump’s wall around Rhode Island? There seems to be a thin line between public safety and an Orwellian state. I get the seriousness. I was too scared to see my dad, who isn’t in the best of health, last week on his 76th birthday because I couldn’t live with myself if I infected him with COVID-19. That sucked. I get the importance of not overwhelming hospitals. Certainly all the healthcare workers are superheroes and should be issued capes. My blessings to all of them and their families, and let’s be safe together (by distancing) in these very weird times. Without further adieu, let’s get to the top three must-see shows of April.

Cancelled

Cancelled Cancelled

Well those were a hoot! Here are three artists that have been doing livestream shows from home that I’ve been rocking out to.

Low Cut Connie: Next shows are Thursday and Saturday at 6pm.

Jesse Malin: Next shows are Wednesday and Saturday; check the interwebs for times.

Ben Nichols (from Lucero): Check Lucero’s social media page for upcoming times.

As the great prophet Strummer once sang, “Know Your Rights” and let’s be safe. Here are some of the new releases to rock your Great Quarantine of 2020 playlists.

Micah Schnabel — The Teenage Years of the 21st Century

On this solo album, the Two Cow Garage troubadour, Micah Schnabel, spins tales of emergency room visits and searching for empathy amidst toxic masculinity in the context of a broader struggle to survive. The youthful idealism of “How To Ride A Bike” is pitted against being in the non-1% trying to survive. “A Celebration” sets up my favorite tune on the album, “Filthy Cash,” which deals with racism and erupts in a coffee shop celebration of community equality. “Remain Silent” is packed with all-too- true musings like “when did being a decent human being become political, how have we’ve become so dark hearted and cynical” The Teenage Years of the 21st is an honest (pre-COVID-19 because who saw this shit coming) examination of life in the 21st century. I give it a 7.1 for the optimism in battling a losing cause.

Mister Frizzle — Sophomoric

I caught wind that Mister Frizzle was some folk rock thing, which begged the question: Why isn’t this going to Fuzek? But in these times where everybody is losing their rights and minds, I dove deeper and listened to their first album, Blue Monday, and then the new biscuit Sophomoric. The differences are stark as Sophomoric is a much better recording and has a punch. As far as folk, I don’t see it. “Crazy” sounds like an outtake of a fictional jam session between Screaming Trees and The Afghan Whigs. “Shark Song” reminds me of Pavement. “Money To Spend” and “Take Me Away” have an early Weezer vibe. “Born In The 70’s” channels the first two albums Radiohead with the nostalgia wish in the title. I don’t really get that because those of us who were born in the ’70s wish they were born earlier to experience the ’70s punk rock explosion. I guess it’s just a generational thing where we glorify those golden times before us. Whatever is clever, I listened to that tune three times in a row so it must be working on some level. My favorite jam here is “Money To Spend” which, like most of the record, is not quite as catchy as COVID-19, but more like a less contagious version of the flu on the infectious scale. Mister Frizzle will release Sophomoric on April 17 on all your favorite streaming services. There is a big release show booked at Askew, which almost certainly won’t happen. In the meantime, give Sophomoric a listen in your quarantine casa, I give it a solid 6.7.

Bob Dylan — “Murder Most Foul”

Dropping from seemingly out of nowhere, “Murder Most Foul” is the first new song from Dylan since 2012’s Tempest album. Over the course of the nearly 17-minute-long track, Dylan interweaves a non- stop stream of pop culture poetry while continually coming back to JFK’s assassination. “Murder Most Foul” floats over a breezy jazz as Dylan references Charlie Parker, Marilyn Monroe, Patsy Cline, The Beatles, Woodstock, Altamount, The Who, Nightmare on Elm Street, and too many more to mention. As far as history songs, “Murder Most Foul” is a much darker candlelit jazz than say Billy Joel’s “We Didn’t Start the Fire,” athough Dylan does reference Joel’s “Only The Good Die Young.” Scary tune for scary times for sure, it’s just not as good as “Things Have Changed” on the Dylan haunting scale. I give it a 5.8.

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Spring Into It!: Album releases and shows to start the season off right

Fluffernutter — “Got It So Bad” / “Got What You Came For” Single

Fluffernutter is an all-star local collaboration between multi-instrumentalist / all things recording wizard Kraig Jordan and vocalist Jodie Treloar. Billed as “pop sex metal,” Fluffernutter lives up the hype while managing to sound nothing like Poison. One listen to “Got It So Bad” and the whole pop sex metal all makes sense. Musically, it reminds me of Eagles Of Death Metal but not just any track; Fluffernutter is comparable to track 1 or 2 that one make you buy the Greatest Hits compilation. As rocking as the music is, what really makes “Got It So Bad” is Treloar’s vocals which alternate between sweet, seductive and sinister. The breakdown has this cool flamenco guitar-like accent as Treloar croons, “Why can’t you sit still, let me take your pills, here’s what I’ll do, I’m going to run you through.” “Got It So Bad” is in my top 10 of tunes for 2020 and even made it to the inner circle, my hockey pregame Spotify playlist. “Got What You Came For” is in the same vein, but not quite as powerful. I give it a 7.4 overall; check it out on your favorite streaming service if you can’t find the cassingle.

Foul Weather Friend — Hang On / Hang Out (75orLess Records)

One of the biggest questions looming over the Rhode Island music scene heading into 2020 was whether Foul Weather Friend could avoid the dreaded sophomore slump with their upcoming release, Hang On / Hang Out. So it was with grave trepidation that I tore off the shrink wrap and popped Hang On / Hang Out for the first time. By the second tack, “A Million Cuts,” I was feeling much better about this record and my place in the universe thanks to the glacier-sized hook carrying the chorus. The vocal harmonies stuffed into the chorus like a calzone make lines like “Killing me with the games that you play, I don’t know who I am anymore, feel myself just slipping away, my heart keeps dripping, dripping all over the floor” burn. “Mercy In Retrograde” is kind of like the stereotypical rock song that bands write to have something to rock out to live. Better on the rocker spectrum, though, is “I Got Nothing” (no relation to the Iggy Pop song), which features plenty of shredding packed in tight to a ’60s garage rock structure. The opener, “Good Day,” tries to have early R.E.M. feel. “Misfits” is a wistful look back on youth blowing in a poppy breeze like the sprouting seeds of Big Star. No sophomore slump here; I give Hang On / Hang Out a solid 6.2. Rodeo Roundup:

Chance Emerson

This 19-year-old Brown University student from Hong Kong recently came on my radar. I was really struck by the power of his narrative in his songwriting. No joke — it is really like listening to the second coming of Paul Simon. Emerson’s debut album is coming out later this month and the advance single, “How Can I,” is already blowing up on Spotify with nearly 100,000 spins.

Chance Emerson will be playing two upcoming shows in PVD at Dream Hau5 in on Mar 6 and at Askew on Mar 7.

Dustbowl Revival

Dustbowl Revival returns to town in support of their new record, Is It You, Is It Me, which I’ve been digging. The only constant with the Dustbowl Revival is the ass-shaking beat. The sound of Dustbowl Revival is like if Americana, NOLA style horns, campfire folk and ’70s AM Gold all collided in a multi-car pileup on an interstate highway.

Dustbowl Revival will be at the Columbus Theatre on Mar 11.

Jonathan Richman

The original Modern Lover returns for what promises to be another joyous night of sing-a-longs in various languages, flamenco guitar played as quietly as possible, solo Jojo dance breaks and memories that will endure. Whether you prefer the rocking “Roadrunner” Modern Lovers stuff or his later stuff from his cameos in Something About Mary and Kingpin, it is impossible to walk out of a Jonathan Richman show not grinning ear to ear like a less psychotic version of the Joker. One anomaly for this Richman show is there will be an opening act; the added bonus is it will be Bonnie “Prince” Billy.

Jonathan Richman (performing with Tommy Larkins) and Bonnie “Prince” Billy (performing with Emmett Kelly) will be at the Columbus Theater on Mar 12.

Against Me

This is probably the national punk show of the beginning of spring. One of the more popular punk bands of the millennium, Against Me, has a few doozies as far as albums go, notably Reinventing Axl Rose. As far as fist-pumping bangers, I’ve always been a “Thrash Unreal” dude, but I know some prefer the earlier stuff.

Against Me will rock The Met Cafe on Mar 13.

Too-Rye-Ay — A St. Patrick’s Tribute to Dexys Midnight Runners featuring Ted Leo

I’m not sure exactly what is going to be happening here, which makes it the most intriguing show of the month. Best I can tell, you have left-of-the-dial indie rock stalwart, Ted Leo, having a St. Patrick’s Day- themed show to pay tribute to the English band that sang “Come On Eileen.” I didn’t see this one coming, but it does sound awesome. It got me to go beyond “Come On Eileen” in Dexys Midnight Runners’s catalogue. They are to soul music what The English Beat are to ska.

Too-Rye-Ay — A St. Patrick’s Tribute to Dexys Midnight Runners featuring Ted Leo is going down at the Columbus Theatre on Mar 13.

Soraia, Kris Rodgers and The Dirty Gems, Blackletter

I’m definitely looking forward to catching Soraia and Kris Rodgers and The Dirty Gems, who are both making a dent nationally. Both bands are getting regular spins on Little Steven’s Underground Garage station, which is great, but what I’m really excited for here is Blackletter. Blackletter’s sound splatters like the carnage of some heavy glam-goth rock bomb; think Blue Oyster Cult with less cowbell. This will be the release party for Blackletter’s long-awaited second or third album, math never was my thing. The album will be released on streaming services that day.

Soraia and Kris Rodgers and the Dirty Gems and Blackletter will be at Dusk on Mar 18.

Brian Fallon & The Howling Weather

This is a pretty stacked lineup between Brian Fallon (Gaslight Anthem) and Justin Townes Earle. Everyone who cares about the Gaslight Anthem knows who Brian Fallon is, and I’d be surprised if this doesn’t sell out on that on it’s own. I saw Justin Townes Earle last fall. He mixes country and rock like his father and can ramble on between songs, but he’s entertaining when doing so. Earle covered The Replacements, which always earns points in my book.

Brian Fallon & The Howling Weather, Justin Townes Earle, and Worriers will be at the Columbus Theatre on Mar 27.

The Silks with Drivin N Cryin

It took one listen to “Fly Me Courageous” to take me back to that late ’80s WHJY/WAAF (R.I.P) style of rock ‘n’ roll. It still holds up. I think the case could be made that Drivin N Cryin should be getting a cut of Buckcherry royalties. The Silks also are on the bill, so this isn’t just a show, it is a certifiable banger to dance the night away.

The Silks and Drivin N Cryin will rock Askew on Mar 27.

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Mass Manslaughter: But Less Than a Felony

As February rolls in, I don’t think it is possible to discuss rock ‘n’ roll without pausing to remember the victims of The Station fire, which happened 17 years ago. I remember the morning after, getting up to go to work with our LAN line ringing off the hook from my roommate’s mother calling to make sure he was alive. He was, but 100 music lovers were not. I went to work up in Mansfield, still not realizing the scope of the catastrophe, only to see my boss leave because two of his cousins were at the show. I can’t count over the years how many people have told me they were supposed to go or knew someone who went. It is chilling. In the end they found a patsy, a 26-year-old kid, doing what he was hired to do on every stop on the tour and never blowing up the room — till that night. The Derderians were taken care of because they were rich and well connected. Great White was banned forever from Rhode Island, but the real culprits of this mass manslaughter got off light. February 20 will always be a solemn day in here for our lost sons, daughters and everyone else harmed. We will never forget.

Less Than A Felony – 27 Years

After speaking of mass murder, it is refreshing to move on to a band called Less Than a Felony. 27 Years was birthed in a safe zone where Less Than a Felony conjure voodoo in a shed in Smithfield. I was struck by how many of the tunes start in a prayer, notably “Somewhere In Between” and the title track. The melody takes you through like a U2 wave. Yes, these guys are Irish, but I maintain a lot of that guitar style emanated from Keith Levene-era Public Image Limited. “Comes And Goes” is a more aggressive guitar-fueled raver that takes the energy of Hendrix and mixes it with the swagger of Bo Diddley. I give this a solid 5.9 because with EPs, there isn’t much to choose from and one really needs that one classic song to carry the weight. Less Than A Felony is one of my favorite live acts, so it was an honor that vocalist/guitarist Charlie Greene took the time to talk about the history of the band and run through the stories behind the tunes of 27 Years with me.

Marc Clarkin (Motif): How did Less Than a Felony come together?

Charlie Greene (Less Than A Felony): We met in Jamaica Plain 17 years ago — three Irish lads looking to write some original music. Dessie, our first bass player, moved to Australia, so Ruairi and I moved to Rhode Island and we were on the lookout for a bass player. That’s when Damon Blair crossed our path. Then we started writing our second recording. After bouncing around several recording studios, we hit upon the late Great Joe Moody and completed our previous recording. We did some video with local legendary videographer Brett Davey, who coincidentally helped with and produced our latest video.

MC: Can you take us behind the scenes and into the infamous shed for some of the backstories behind the tracks?

CG: I wrote “Somewhere in Between” for a good friend who went through some unexpected departures with two family members. I penned it late night, when I do my writing accompanied by the solitude of the night. “27 Years” was about I lived in London at 19 years old. It was quite chaotic and turbulent, so my escape was catching Bob Dylan shows and Stiff Little Fingers while hanging out in some Irish pubs and listening to Irish folk music. Some days I’d walk Leicester Square and Piccadilly Circus looking to buy old second hand LPs in basement record stores. It all seems like a lifetime ago.

MC: How about “Comes and Goes?”

CG: “Comes and Goes” is a fictional song that came to me in my time of creativity. It’s about a catwalk model who lived a double life robbing banks and strutting her stuff while everybody was oblivious to it. I hope to do a cool video, maybe with Brett Davie! We loved the music we put to it; it is very rocky excellent bass and drums.

MC: What about “Don’t Care?” CG: “Don’t Care” is a song of observation. One summer night I saw a couple having a disagreement on the street. I thought it was a worthless exhibition, but they seem to have it down and then it just took a life of its own from there. We recorded at a nice big studio in Lincoln with Chaimes Parker behind the desk overlooking the Blackstone River. At our last show, Paul Jalette joined us on stage. He brought some untapped energy with background vocals plus guitar, and he’ll join us again too! We’re currently working on new music, so we hope everyone enjoys this EP cause there’s more to follow…

Ms. Lauryn Hill

There is an expression in the music biz about having that “It” thing, and Lauryn Hill has it in spades. There is no denying her talent from her time in the Fugees to her classic solo album, The Miseducation of Lauryn Hill. I saw Ms. Hill at Lupo’s (before it was The Strand but after it was The Strand) with Nas, and she was a show stopper. She has a voice for the angels, and her mix of R&B and hip-hop is sublime. I wouldn’t count on this show going off on time, but it will likely be more punctual than say maybe Shane MacGowan.

Ms. Lauryn Hill will be at The Vets in Providence on February 18.

Lucero

It’s been 15 years since I first saw Lucero at the old Jake’s. I only remember the year because I had some friends in town for a 10-year college reunion. I was scrambling to come up with things to do with them that didn’t involve going to the “official” reunion activities at Providence College. I only knew that Jake’s usually had rock bands on Saturday nights and that night it happened to be Lucero. That night was a magical transformative show that made me a Lucero fan for life. I bought every CD they had at the merch table, signed the mailing list and followed them on whatever social media existed at the time. I am disappointed that we lost touch on MySpace. Nonetheless, if gritty whiskey blues played by punk rockers is something you’ve been craving, I’ll meet you at The Met for Lucero.

Lucero will rock The Met Cafe on February 22.

Three Other Shows to Rock You Into Another Dimension

Viennagram, Triangle Forest, Moodrunners and Sweet Dreams will join forces to rock Dusk on February 7.

The Linda Ronstadt Experience with American Idol Star Tristan McIntosh and Disco Biscuits brings the love to The Met Cafe on February 14.

The Mallet Brothers make their triumphant return to The Met Cafe on February 15.

Email music news to [email protected] 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.

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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.

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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. •

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Keep on Moving: Three Points of Madness — Circus of Madness

The circus is coming back to town as Three Points of Madness release their third album, Circus of Madness, with a rager at Dusk this Saturday. Don’t worry, there will be no elephants! On Circus of Madness, Three Points of Madness bring it with a Tool meets Alice in Chains style alt-rock on nuggets like “Devil’s Face” and “My Sanctuary My Home.” “Nightmares” reminds me of …And Justice For All- era Metallica with an added prog-rock chaser. My favorite is “Evermore” because the chorus this one has takes me back to the early Kilgore Smudge of my misspent youth. I caught up with George Petrus from the band to learn about creating this Circus of Madness and to hear some of his inspiring story of overcoming addiction.

Marc Clarkin (Motif): I hear many things in your sound from metal to prog-rock stuff to alt-rock. How would you describe the band to someone who has never heard you?

George Petrus: I tell people we are a hard rock /metal act. If Tool, Alice in Chains, and Dream Theater had a love child together, we would be the offspring.

MC: Circus of Madness is your third album. Was there anything you tried to different this time around? Or anything in particular you hoped to achieve?

GP: We really took our time with this one. We tried a lot of new amp sounds and effects. We knew if we didn’t up the game on this one we were just chasing our tails. So we dove in and made sure we were happy with the mixes and didn’t rush the process. This is the first album we did completely by ourselves and we are really proud of the end product. We needed to evolve and attract more fans and so far, we have been getting a great response from a couple singles we previewed on the social platforms.

MC: I love the tune “Evermore” with its grinding riff that goes and bursts into this huge chorus. What is that one about?

GP: Basically, it is about how we treat immigrants now and how divided we are. Yes, we cannot have criminals coming into the country unchecked, but it is way beyond that. It has brought hatred to people just looking for a better life like our ancestors, and hatred toward immigrants who are new citizens just because they are not white. There used to be a middle ground; now it is one side or the other. So much hate, it is beyond sad.

MC: “Medusa’s Stare” is another one I like. It has a real Iron Maiden vibe. What inspired that? The Legend? GP: Definitely the Legend inspired it and I put a little relationship twist in the chorus with “turned to stone for your love.” Our bass player is a huge Maiden fan as well. That is funny you caught the Maiden thing. We have shared the stage with Maiden New England, a great Iron Maiden Tribute Band, many times, and their vocalist, Adriana Solorzano, always told us how much she loved this song live so we asked her to sing on it. She also brings in that Maiden vibe with her amazing voice and vocal vibrato.

MC: When I listen to the intro into the album, it reminds me a little of the beginning of KISS’ Psycho Circus record. Was that an inspiration?

GP: Well the album is called Circus of Madness and it is the title track, so I had to add that little circus theme in there. We are truly living in a circus of madness right now.

MC: You’ve shared with me in the past about overcoming drug addiction. How has music helped you in recovery?

GP: It has saved my life. I started with weed, cocaine, LSD and pills at age 15. I was a heroin addict for over 10 years in my 20s, sometimes living on the streets. I became an all-out thief and junkie as a young adult. It came to a head when I robbed the Sung’s Jewelers on Washington and Eddy right downtown, making the front page of the metro edition of The Providence Journal. I was living a life of evil. I knew I would be dead or in jail for a very long time. I did not care if I lived or died. I found music again and dove in headfirst. It gave me hope like nothing else. It also kept me busy; idle time is the devil’s workshop. We just need to find something we love and live it. Anyone ready to give up, know that there is hope and light at the end of the tunnel!

MC: Obviously opioid addiction is still a massive problem. Have you seen any changes especially with the prominence of fentanyl?

GP: I would be dead if I did not get clean when I did. It is far worse now and people are overdosing at a rate never seen before. It is truly a crisis. I know too many people who have died from drugs. I have lost many of my closest friends; it is beyond sad. I count my blessings every day and try to share my story of surviving as much as I can.

Three Points of Madness will host a release show for Circle of Madness with Galvanized and Oxblood Forge at Dusk on Fri, Nov 22.

Robyn Hitchcock

Robyn Hitchcock has been making music for more than 40 years and has released more than 20 records, whether under his name or as a member of the ’70s neo-psychedelia band the Soft Boys. It has probably been close to 20 years since I last saw Hitchcock, but he hasn’t really changed. Hitchcock was kind of Matthew Sweet before Matthew Sweet as far as taking ’60s Brit Pop harmony and sculpting it into song. Hitchcock has penned numbers like “The Ghost in You” and “Balloon Man” that seem like side B of a ’60s Kinks anthology. Most recently, he was commissioned for the soundtrack of the 2018 romantic comedy Juliet, Naked, and teamed up with English pop legend Andy Partridge (XTC) for the EP PLANET ENGLAND.

Robyn Hitchcock will be at the Columbus Theatre on Sat, Nov 23. The doors are at 7pm; the shows starts promptly at 8pm. Email music news to [email protected]