Alt-Nation: Salt Dolls, Tequila and Zombie Girlfriends
The Low Anthem – The Salt Doll Went To Measure The Depth Of The Sea
After 2016’s wildly experimental Eyeland, The Low Anthem return with a stripped-down collection of short songs on The Salt Doll Went To Measure The Depths Of The Sea. The new album began with the wreckage of the previous album as The Low Anthem were forced to cancel their tour for Eyeland just four dates in due to a fiery roadside crash that left band members hospitalized. Shortly after the crash, Ben Knox Miller began writing the music to what would become The Salt Doll Went To Measure The Depths Of The Sea after reading a John Cage biography by Kay Larsen. Knox Miller was inspired by the salt doll fable he came across. “The salt doll fable basically tells the story of a doll that wants to know itself and what it’s made of. A teacher tells it, ‘Salt comes from the ocean,’ so it goes to the sea. When the doll puts its toe in, it knows something, but loses its toe. Then it puts its foot in, knows even more but loses its foot…and so on, until it’s completely dissolved, never to return to the shore.”
Knox Miller wrote the resulting mostly acoustic album on stripped-down equipment as a result of much of The Low Anthem’s equipment being destroyed in the accident. The mostly acoustic tone of The Salt Doll Went To Measure The Depths Of The Sea harkens back to the band’s folkier past on tunes like the infectious “Give My Body Back” and “To Get Over Only One Side.” The latter has a loop that sounds like a vinyl record scratching throughout the song, which shows up a few times throughout the course of The Salt Doll Went To Measure The Depths Of The Sea. It actually freaked me out the first time listening as I was trying to get some sleep wondering why I was hearing my record player on a digital album. In addition to the vinyl trick, there are all sorts of electronic loops that buttress jams like “Cy Twombly By Campfire” (where it gives it a wicked Massive Attack meets folk with the occasional horn effect) and “The Krill Whistle Their Fight Song.” On The Salt Doll Went To Measure The Depths Of The Sea, The Low Anthem leave behind the sensory overload of Eyeland for a trip-hop folk odyssey of self discovery through song with a renewed focus.
The Low Anthem celebrates the release of The Salt Doll Went to Measure the Depth of the Sea with a show with Arc Iris at the Columbus Theatre on Feb 24.
The Ghosts of Industry – Self-Titled EP
The debut from The Ghosts of Industry kicks off with swirly rock of “Providence” that reminisces about a girl who once lived off Hope Street and other times gone by. The trio features vocals/two- Malyssa Bellarosa, photo by Asim Barakzai string slide bass by Ian Lacombe (Route 44 & Consuelo’s Revenge), drums by Bob Giusti (Eric & The Nothings, Sasquatch & the Sick-A-Billys, and a thousand other projects) and Derek Reynolds on guitar. “Is This The End” has a very ’90s grunge-like stomp. I dug the mid-song swing of “Ordinary Man.” Check out The Ghosts of Industry online at theghostsofindustry.bandcamp.com/releases
The Lincoln Tunnel – Phone This One In
On their sophomore record, Phone This One In, The Lincoln Tunnel return with a digital box of left-of- the-dial toe tappers. Singer/Guitarist Christian Caldarone and the boys serve up a triple shot of the shake appeal stomp of “Bangkok,” the ’90s indie supersonic grind “Bedroom Eyes,” and the brooding “Kennedy Plaza” alone shows how the band can now expand its palette without sucking. Although I can’t help thinking when listening to the opening “Time’s Wasting,” yeah Caldarone, mine, the rest of the album grooves like the suburbs getting lit on a Friday night. They successfully nail meshing a hillbilly twang with a grunge chorus on “Interstate Interior,” and even their downer Christmas tune isn’t bad. I could have done without the closing “Start a Fire” where I don’t know if Caldarone is lyrically inspired by ’90s techno kings The Prodigy or trying to write another verse to the Billy Joel classic, but the rest of Phone This One In is pretty sweet. Check out The Lincoln Tunnel online at thelincolntunnel.bandcamp.com.
Sugar Cones – Self-Titled
Sugar Cones kick off their debut with a spy noir surf guitar lead on “Pretend” where singer/guitarist Malyssa Bellarosa promises, despite the title, not to pretend. One thing I like about the Sugar Cones is the different dimensions to their tunes, like where the cello on “Good Time” colors the roots yet rocking backbeat. “Rainbows” starts with a jazzy waltz before ascending into frenzied punk rock stomp that reminds me of a cross between Mary’s Danish meets early PJ Harvey. Many of the songs make reference to alcohol, which is cool because I like alcohol. That said, I don’t get the rally call of “tequila, whiskey and gin” on “To The Bar” because those are kind of either or drinks. Nobody in their right mind goes out intending to spend the night drinking all three. Sugar Cones save their two best tunes for last with Bellarosa’s driving declaration of liberation on “Don’t Tell Me” and “Plastic Things,” which channels the psych-garage of Question Mark and The Mysterians. Check out the Sugar Cones online at malyssabellarosa.com/sugarconesband where the new biscuit is available for order and live at the PUG Rhode Island Pop-up Gallery at the Lithuanian Club at 475 Smith St, Providence on February 24.
Tony Jones & The Jerktones – Ubiquitous PostMortem
The newest project from Tony Jones (Tony Jones & The Cretin 3) melds ’50s rockabilly and ’70s punk rock together with Creature Double Feature horror lyrics. “Baby Are You Dead” takes the opening chords from Them’s “Gloria” and dresses it up with the swagger of The Cramps. The guitar riff of “Brain Eating Zombie Girlfriend” sounds like what would happen if one took the riff of Bob Dylan’s guitar of “Don’t Think Twice” and paired it with Ricky Nelson singing a love song about his zombie girlfriend. Where Nelson has been dead for decades, it’s certainly feasible and I did get a laugh over the lyric talking about how she was on a diet. “Going Back to Creepsville” takes the melody of the Stones “It’s All Over Now” and darkens it up.
In The Flesh
Outlaw Roadshow, featuring sets by DharmaSoul, Marshall Pass, Dan Masterson, Patrick Coman and Eric Fontana, makes its monthly return to Alchemy on February 15. Murphy’s Law, Reason to Fight, The Pourmen and The Paraplegics rocks Alchemy on February 18. Portugal, The Man and Twin Peaks rock The Strand on February 22. Declan McKenna with Chappell Roan are at The Met Café on February 22. Trombone Shorty & Orleans Avenue and Funky Dawgz Brass Band bring the party to The Strand on February 24. Kishi Bashi and Julian Saporiti are doing an acoustic show at the Columbus Theatre on February 27. Lucero and Jake L Botz will rock The Met Café on March 1.
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Hip-Hop: 20 Minutes to Logan
Boston bubbles with energy, and there’s great music being dropped around every corner. A couple twists and turns lead us to Jackie Jones’ latest project, 20 Minutes to Logan. Jones’ hunger is apparent in his voice throughout all seven songs. His flows range well, the lyrics embody his theme and the sounds chosen support him without any turbulence.
The intro, “First Class,” lays the foundation for the project and its theme. He raps about enjoying the fruits of his grind as he travels toward the next step to success in, you guessed it, first class seating. It’s very reflective with lines like “This is a business, man, friends is last on my mind.”
After this one we land on “Way Up” with the only features of the project, Boston’s Kadeem and Darius Heywood from Brockton, Massachusetts. All three artists properly work the ambitious beat as the horns on the chorus keep them on their toes. The vibes from this one make it a standout every single listen.
The rest of the project is full of even more clever and descriptive raps about where his dream could take him. The sounds up until the final song, “LAX,” create the feeling of descending to our destination until we touch down with justified applause.
Jackie Jones excels at showcasing his talents on this one, and the energy presented through the music is impressive. He cares about his raps and makes great sounding songs.
Listen to 20 Minutes to Logan on all available streaming services!
ENSEMBLE / PARALLAX – Bringing the New into Providence
Let’s talk about “new music.”
The term sounds generic enough to describe any number of musical projects of differing styles, genres, instrumentations and interpretations. Within the broad field of classical music, however, the term “new music” has a more definitive meaning. It generally refers to composed music written after 1950.
In larger cities like Boston, LA or New York, there are any number of established new music ensembles. But in smaller cities like Providence, this music has been under-represented at best; that is until now.
Peyman Farzinpour is the artistic director of ENSEMBLE / PARALLAX, a recently formed new music and multimedia group based here in Providence. Now in its third season, E/P has perfected its version of the new music experience, which includes performances of musical works by renowned and emerging 20th and 21st century composers, alongside integrated multimedia.
On Saturday, February 24th at 8pm, E/P will present its next concert at AS220 in Providence. This concert features the work of composers Luigi Dallapiccola, John McDonald, Salvatore Sciarrino, Georg Friedrich Haas and Farzinpour himself, alongside video art by E/P’s video artist in residence, Jessica Richmond, and guest artist Marta Azparren.
A Providence dweller (via Iran, Los Angeles and Milan) Farzinpour categorizes this group’s work as “contemporary avant-garde classical music.”
“We are presenting an alternative kind of classical music,” says Farzinpour. “In fact, most people wouldn’t hear it as classical. We do this in alternative settings like AS220 or Machines With Magnets. The spaces tend to be smaller, allowing for a more intimate and immersive experience (especially with the multimedia) than in a traditional concert hall. There is less separation between the performers and the audience, and the audience can mingle and chat with the artists after the performance. It becomes more of a scene than a formal concert.”
Though the music may be experimental in nature, every note that is played is accounted for on paper.
“There are basically three ways in which this music pushes boundaries,” Farzinpour explains. “First, the listener encounters what they perceive as dissonance” (though it’s important to note that dissonance is a relative term – the musicians wouldn’t necessarily perceive the music as such).
“Second, after 1950, composers started to use extended techniques in their works. For example, if a violinist or cellist plays on the wrong side of the bridge to get a scratchy sound, or if a clarinetist over- blows and uses certain fingerings on the instrument, s/he can get something called multiphonics, where more than one note sounds at a time. In each example, the instrumentalist is performing outside the realm of standard technique.
“Third is the use of more complex rhythms and the altering of the musical scale, using notes that lie in between the notes of the standard chromatic scale.” These notes are referred to as micro-tones.
Farzinpour continues, “What is considered avant-garde, contemporary classical music, evolved from the music of composer Arnold Schoenberg. Schoenberg was the founding father of the ‘Second Viennese School,’ which was a group of composers in early 20th century Vienna who, after mastering the compositional techniques of romantic music, evolved their style into expressionism, which was a very intense, chromatic style of music without a tonal center. The evolution of their music spanned three periods: romantic, atonal and serial. Interestingly, if you look at Wasilly Kandinsky’s paintings, you can see the same exact progression from romantic work to abstract to geometric.” The work of these composers is the point of departure for the music that E/P performs, and to a certain degree, one can view Kandinsky’s style as a precursor to the aesthetics of the video art our artists create.
The former education manager for the Los Angeles Philharmonic, Farzinpour now carries a full course load at Berklee College of Music in Boston, where he teaches conducting, composition and music history. As a newcomer to Providence, he is inspired by both the established and emerging art scene and is excited about the possibilities of E/P both within the city and beyond.
There are interesting projects on the horizon for ENSEMBLE / PARALLAX. In May, they will perform at Machines With Magnets in Pawtucket, where they will feature works by Farzinpour, Toshio Hosokawa, Robert HP Platz, Gabriel Erkoreka and Gabriele Vanoni, and feature video art by Jessica Richmond and German artist A-li-ce. Next season, in addition to performances in Providence, they will be performing at Eastern Connecticut State University and will serve as ensemble in residence at Tufts University. In 2019, they will be traveling to Los Angeles to present a fully staged performance of Georg Friedrich Haas’s opera “ATTHIS,” which was originally commissioned by the Berlin Philharmonic and which Farzinpour first conducted in New York City.
The best way to experience this music? Come to a concert and indulge in it firsthand. ENSEMBLE / PARALLAX performs Saturday February 24, 8pm at AS220, 115 Empire St, PVD and on Saturday May 5, 8pm at Machines With Magnets, 400 Main St, Pawtucket. For more information on this exciting new group, visit ensembleparallax.com
Album of the Week: Alice Ivy – I’m Dreaming
I’m Dreaming by Alice Ivy
Australia has always had interesting music coming out of it. The country/continent has a very strong garage rock scene along with peculiar pop artists and they still worship ‘90s post-grunge act Silverchair like they’re The Beatles. With all of this going on, a new act is rising up from down under and it’s Alice Ivy. She brings a blend of trip hop, soul and electronic with hip hop tendencies in her debut album I’m Dreaming that came out on Feb 9 via the Australian label Dew Process. It’s stunningly authentic with a variety of samples to convey an old school vibe.
Ivy first tried her hand at music by playing the clarinet and it didn’t go as well as she hoped. She then turned to making beats and in turn she got the knack for creating hot jams. Her debut album is the culmination of an incredible talent that holds a lot of promise. It also has a wide-ranging appeal with hip hop purists, Motown soul enthusiasts and your typical hipster – all bound to enjoy what Ivy has to offer. There’s a contagious rhythm that’ll take hold of the senses once the ears are plugged in.
Another thing that makes Ivy’s debut awesome is a saxophone sneaking into a few tracks. There’s a jazzy tone and a distinct coolness that comes with it. I’m Dreaming is a rejuvenating album that’ll impress even the most pretentious of music snobs. It’s something new that has roots in music’s past. That’s what makes it great, so let’s see where the greatness comes from and take a look at my top tracks off of the Album of the Week: There’s a heavy dose of neo-soul and hip hop on “Be Friends” that has Cazeaux O.S.L.O. & Tim De Cotta alternating between both styles; what makes the track unique is that the beats are coming off of an atmospheric dream pop foundation. “Get Me a Drink” featuring E^st and Charlie Threads is the anthem for anyone who has experienced an awkward night out: The song has a hypnotic build up to an emotional chorus that’ll get the body moving. The samples are excellently exhibited during “Charlie” with a vintage aesthetic shining from start to finish.
She’s going to be embarking on a tour of Australia that starts at the Hudson Ballroom in Sydney on Feb 17, but hopefully Alice Ivy will be making her way to the States at some point this year. One can only imagine the party she brings when she’s performing live. In the meantime, get yourself a copy of I’m Dreaming. It has a groove that resonates a state of bliss.
Spotify: open.spotify.com/album/551nsOjkFMdljYZRcSMWIZ
Web site: aliceivymusic.net
Ryan Montbleau at the Knickerbocker, Feb 9
Ryan Montbleau
Peabody, MA, singer-songwriter Ryan Montbleau has a knack for leaving a lasting impression through melody. The way his lyrics bounce off the chords and strums is astounding and guarantees a wonderful listening experience. His stellar talent has catapulted him to the upper echelon of New England musical acts, and it looks like he’ll be staying there for the time being. He also has achieved a dedicated following over the years with loyal fans coming out to see him perform wherever he goes. On Feb 9, Montbleau will be making his presence felt at the Knickerbocker Café in Westerly.
We had a chat ahead of the show about planning gigs, a new duo that he’s a part of, who he’d like to share the stage with someday and what the future holds.
Rob Duguay (Motif): As a full-time musician, what do you find to be the most challenging and the most gratifying when it comes to thriving as an artist? Ryan Montbleau: I find it challenging to constantly plan out my life three or four months in advance. I spent so many years trying to get gigs that it’s sort of ingrained in me to take them. It’s a blessing to get opportunities but I get into trouble if I take on too much. Finding a balance of a home life and creative time along with all the gigging and touring is a constant challenge. Beyond that, having a broader vision of where I want to go can be difficult when I’m in the trenches too much of the time.
You tend to get opportunities based on what you’ve done in the past. It takes strong will to bend that towards where you want to go. Thriving as an artist in and of itself is gratifying, through, feeling like you’re getting better at your craft and doing the work. I also get a boost when people tell me how the music has affected them. You’d like to think that as an artist you don’t need that, but it really helps me to keep going. Knowing and hearing that you’re affecting someone with what you do is more important than any numbers or all the other crap.
RD: Recently you and fellow Massachusetts musician Hayley Jane (who opens the Feb 9 Knickerbocker show) started a duo titled Yes Darling. What are the dynamics that you and Hayley have artistically that’s different than other musicians you’ve collaborated with?
RM: Hayley and I really clicked as writers right off the bat. I’ve had some successful co-writing sessions before, but this was just very quickly and clearly a project on another level than I had experienced before. Plus, she’s a great harmonizer and we sing beautifully together. To me, the writing is really where it’s at. We can take our own experiences together, draw on past experiences, add in some general themes about men and women and it all seems to click together. We fight in the songs, we fight in real life, we love, we make up, it all finds its way into the music and the dynamic can be exaggerated, but at the end of the day it’s real.
RD: During your career you’ve gotten to share the stage with the likes of Ani DiFranco and Rodrigo y Gabriela. Is there any musician currently alive that you’d love to open for? What kind of effect have they had on you as a musician?
RM: I’d love to open some shows for the Wood Brothers. I sat in with them once, and they are so gracious and so profoundly great at what they do. I think they set the bar these days for writing songs that are both powerful and simple. It’s the hardest thing to do. I also got to open for Tedeschi Trucks Band before and their soundcheck made me cry, so that would be fun again.
RD: After your upcoming show in Westerly, what does the rest of the year have in store for you?
RM: The Yes Darling album is getting released officially on Feb 14, and we’re already getting a lot of offers and buzz about that project. We’re sort of waiting to see how that blossoms and I think we’ll plan the year accordingly. I’m running a few songwriter retreats in June up in Vermont, where I now live, and I will be continuing with my own band and solo shows. I have a great group of players around me and I’d like to dig in with them, see where the music can take us.
Tickets: knickmusic.com/events/2018/2/9/ryan-montbleau
Web site: ryanmontbleau.com
Facebook: facebook.com/Montbleau Event: facebook.com/events/1643039932415514 Album of the Week: Palm – Rock Island
Rock Island by Palm
During this era of music, it’s easy to disregard innovation. Some people think that every possible style has already been conceived so there’s no chance of discovering something new. Through the nonsense, a band comes along to push the envelope while making sounds that leave the ears in awe. Philadelphia math pop quartet Palm is an excellent example of a band harnessing their own originality with their second LP Rock Island being released Feb 9 via Carpark Records. It’s an album that’ll put the senses in a trance while offering a variety of sonic dimensions.
The guitars courtesy of dual vocalists Eve Halpert and Kasra Kurt make the new album stand apart. There’s a consistently abstract chord structure while Halpert and Kurt add sheens of harmony in each song. Bass guitarist Gerasimos Livitsanos holds it down with a laid-back foundation, while Hugo Stanley on drums contributes jazzy tones. Palm delivers music that makes the listener start thinking. From start to finish, Rock Island embarks on a mental voyage that conveys weirdness in accessible ways.
In my opinion, I think being fearless is a prime ingredient when it comes to creating something different from the artistic norm. Musical progression is important to move culture forward: The last thing we need is to be bored by the things that we love. It’s a depressing notion, but, in today’s day and age, the mainstream seems to be consistently rehashing the past for the sake of nostalgia. Palm is the antithesis of that by not being afraid to be contrasting; let’s see how that is so by taking a look at my top tracks off of the Album of the Week:
With a wild beginning, “Composite” has breakdowns that set everything up and complement the complex rhythms well by maintaining a mellow vibe. “Heavy Lifting” exemplifies the laid-back æsthetic through the upbeat and smooth sounds; Stanley’s jazzy skills on drums, mentioned earlier, shine like a diamond. Another great one is “Forced Hand,” all over the place but also poignant. New England live music addicts can check out Palm at Great Scott in Allston, MA, in the Boston metro area on Feb 16. It promises to be a fun time at one of the coolest places to see a show in the region. While you’re there, grab a copy of Rock Island. It’ll pique your interest instantly after you press play.
Bandcamp: palmnewyork.bandcamp.com/album/rock-island
Facebook: facebook.com/palmmlap
Mike D’s Top 5 Can’t Miss Shows of February
1. Thursday, Feb 8: Twin Foxes (CD Release), Weak Teeth, Darklands, Fine; 9pm; $6; All ages; AS220, 115 Empire St, PVD. Providence’s Twin Foxes are celebrating the release of their first album, Sleeping on the Attic Floor. I am kind of surprised that this is the first LP; the guitar-driven indie rock act has been kicking ass in Providence for a while, but I guess its been all EPs and splits so far. Two of the songs are up on their bandcamp already; you should check them out. It’s a strong Providence line- up, should be a great night. You might also want to bring a sleeping bag; a keytar playing bear is playing the club the next night.
2. Friday, Feb 9: Keytar Bear, Timecop Beach Party, Triangle Forest, Ruune; 9pm; $8; All ages; AS220, 115 Empire St, PVD. Timecop Beach reunion, cool. Triangle Forest, always great. Ruune, I’m not familiar, but intrigued by the double u. BOSTON’S PREMIER KEYTAR-PLAYING BEAR?????!!!!!!!!! WELL NOW YOU HAVE MY ATTENTION! First off, if this is the premier Boston keytar-playing bear, does that mean there are other Boston area keytar-playing bears? What’s his name? Is he nice? What other hobbies does he have? I NEED ANSWERS!
3. Thursday, Feb 15: Wiki, Tmose, Lando Tuesday, Delta / Chronic E, Hate Street Dialogue; 8pm doors / 9pm show; $12 advance / $15 day of; All ages; The Met, 1005 Main St, Pawtucket. NYC rapper Wiki is poised to break out in 2018. He started in the NYC underground group Ratking, and started making waves releasing solo material and making high-profile appearances with big acts such as Run The Jewels. In 2017 he released No Mountains In Manhattan on XL Records, an artist-friendly label that only releases a few albums each year, but has been the home to huge artists such as Vampire Weekend, Radiohead and recently one of my other new favorites, King Krule. Make sure you get there early, as my moles tell me there is going to be a very big unannounced special guest (Spoiler alert: I booked it with Spocka Summa and I know who it is).
4. Saturday, Feb 24: Trombone Shorty & Orleans Avenue; 8pm doors / 9pm show; $30 advance / $35 day of; All ages. The Strand Ballroom & Theatre, 79 Washington St, PVD. Party of the year happens in February and it isn’t Patriots-related. Trombone Shorty & Orleans Avenue might be as close to a New Orleans party as I will get this year, and what better month than a couple weeks after Fat Tuesday? Trombone Shorty has been at this since birth; at 4 years old he performed on stage with Bo Didley at the New Orleans Jazz & Heritage Festival. There are now several New Orleans Brass Bands leaving home to tour the country, none of them are as fun as Trombone Shorty. Get there early and wear some light clothing cause the dancing is going to make the club hot. 5. Saturday, Feb 24: The Low Anthem; 8pm doors / 9pm show; $17 advance / $20 day of; All ages; Columbus Theatre, Broadway, PVD. The Low Anthem are back, and bringing with them a new album, The Salt Doll Went To Measure The Depths Of The Sea that is out the day before on Joyful Noise Recordings. There isn’t any new material released as of press time, but there is a Youtube teaser that is only 30 seconds long but sweet none the less. A little birdie told me that NPR (I was drinking with said birdie, I might be wrong) will be streaming the record a couple weeks before the Feb 23 release date, so keep watch for that too.
Also worth noting: Feb 3 — Sisqo & Dru Hill @ The Strand; Feb 8 (& every Thursday in Feb) The Z-Boys residency @ Newport Blues Cafe; Feb 10 — The Mallett Brothers @ The Ocean Mist; Feb 17 — Matt Bellassai @ The Strand; Feb 18 — PVRIS @ The Strand; Feb 18 — Murphy’s Law / The Pourmen / Reason To Fight @ Alchemy; Feb 22 — Declan McKenna @ The Strand; Feb 22 — Portugal. The Man (sold out) @ The Strand; Feb 23 — Tigers Jaw @ The Met; March 1 — Lucero @ The Met; March 3 — Jonathan Richman @ The Met; March 3 — Soja @ The Strand; March 3 — Wyclef Jean @ Fete
AltNation: Steve Smith, WHEM, and More
Steve Smith and the Nakeds Turn 45
Celebrating four and a half decades this February are acclaimed R&B/soul group Steve Smith and the Nakeds. The band has become a mainstay of the live music circuit both locally (there’s no higher level of RI cred than being featured in the final Benny’s commercial) and nationally.
What makes an artist remain vital for 45 years? The most obvious draw of the Nakeds is the terrifically tight horn section, an irreplaceable element that puts the group way above your average soul quartet. Smith agrees that the horns are a big part of what kept people coming back for 45 years. “You really don’t see a 10-piece band with five horns that much anymore, and even a lot of the national acts play to tapes,” says Smith. “I think people enjoy seeing real music.”
Credit is also due to Smith, with his great stage presence and a voice that has really held up over the years. The history of the Nakeds, a band that has had 63 members in its different forms, is a long one. Smith started out in the hard rock band Bloody Mary, and in 1973 he joined Naked Truth, one of the first rock ‘n’ roll bands in Rhode Island to carry its own horn section. They found success through the ’70s, and changed their name to the Nakeds in 1981.
Though superstardom never materialized, there have been some impressive and unexpected career highlights. When Springsteen broke up the E street band in ‘91, The Nakeds for a while became the backing band of saxophonist Clarence Clemons, touring with him for a number of years. Later, their song “I’m Huge (And The Babes Go Wild)” ended up as a bonus feature on a “Family Guy” DVD and took off online, giving the band a surprising boost and getting them a record deal. They were inducted into the RI Music Hall of Fame in 2013.
”Not in my wildest dreams” did Smith ever think he would still be making a living playing music for this long. “We’ve been lucky — over the years, when the band seems to be losing luster,
Steve Smith and the Nakeds something usually happens to bring it back. Like the partnership with Clemons, or our song recently featured in Dumb and Dumber To,” said Smith.
“I think one of the other big reasons we’ve stayed together is we always kept the focus on the music, and not the partying and false idols that often come with it,” said Smith. “We just kept plugging along.”
For those who have never seen the horns in all their glory, there are plenty of opportunities – they maintain an impressive roster of gigs. The Nakeds will share a bill at The Stadium Theatre on February 3 with fellow RI lifers John Cafferty and the Beaver Brown Band and Roomful of Blues. They also have upcoming dates at Pub on Park (Feb 9) and the Ocean Mist (Feb 18).
When asked if booking the full horn section is ever negotiable, Smith replied, “Absolutely not. It’s an essential part of the sound, so you’re either going to get the whole package or nothing at all.” I suppose you don’t last this long by compromising your principals.
Rhode Island Music Legends Concert goes down this Sat, Feb 3 at the Stadium Theatre in Woonsocket.
WHEM – Get on This Bandwidth
With downsizing and consolidation everywhere you look these days, the fake radio broadcasting biz can be brutal. Luckily, local brotherly duo Horse Eyed Men possess the constitution for it, and have been killing it for almost a year. WHEM (Horse Eyed Men) is a sendup of an old radio variety hour that has been going steady every first Thursday at the Columbus Theatre.
A statement from the group reads: “The show features local and national musical talent, skits, imaginary promotional offers, interviews and a recurring segment called ‘Mom’s Attic,’ in which we raffle off items from our mother’s attic (really).”
These shows are a real treat. They’ll wow you with creative flair and regale you with whimsicality, like the epic tale last month of Noah Harley’s brutal decimation in a phone app at the hands of an 8-year-old Chinese boy.
The series has become quite successful, “for reasons completely unbeknownst to its hosts,” and past guests include Willy Mason, Roz Raskin and Hubby Jenkins of the Carolina Chocolate Drops. Highlights for me have been Malian percussionist Sidy Maïga and Cowboy and Lady.
Thursday’s show will feature New York folksingers Feral Foster and Ali Dineen. In the words of WHEM, “Drop by, tune in and flip out!”
The next installment of WHEM goes down Feb 1 at The Columbus Theatre. Doors are at 7, show begins promptly at 8.
Torn Shorts
As far as local music goes, every Torn Shorts show seems to be an event, and with good reason. They provide audiences with unpretentious, solid songwriting and a bluesy flair.
Their last release, 2016’s Be My Mechanic combines revved-up, Black Keys-style blues (“All them Kids,” “Be My Mechanic”) and jangly rock tunes (“Run with Me”). There may be a few more extended guitar solos than I usually prefer, but you certainly won’t be let down by their live show.
Torn Shorts and The Freeway Revival roll into Alchemy on Wed, Feb 21 at 9pm.
Jason Isbell and the 400 Unit
I sort of missed the boat with Jason Isbell and his recent rise to fame, but an airing of his band on “Austin City Limits” a few weeks ago showed what all the fuss is about. They put on a pretty epic live performance, which definitely amps up the material on the records. It’s the kind of act that would make sense headlining at a festival.
Their sound is gritty but refined, like a bar band that went to music school. Isbell rocks killer harmonies with girlfriend/fiddle player Amanda Shires and there is excellent playing from the whole band. James McMurty opens the show.
Jason Isbell comes to The Vets Auditorium Fri, Feb 2. Show at 8pm.
The Roots Report: Is This Thing On?
Okee dokee folks… Maybe you made a New Year’s resolution to finally get out and perform in public. If so, open mics are a great stepping stone to get into the world of music performance. In case you are not completely sure what an open mic is, I will clue you in.
First of all “mic” (pronounced like “Mike”) is short for microphone. At an open mic, anyone is permitted to get up to the mic and do their thing — music, poetry or sometimes comedy. Some open mics are run as a ruse to get folks into a venue on a slow night, whereas others are set up for the genuine purpose of nurturing novice performers. Usually there is a limit to the time you are given (10 to 15 minutes) or the number of songs (3 to 5) you can perform. It usually depends on how many folks have signed up on that particular evening.
The absolute BEST open mic I ever performed was at the Old Vienna Kaffeehaus in Westboro, Mass, during the early ’90s. This was a serious open mic where people listened. You had to get there early to sign up and names were tossed in a hat. You never knew exactly when you would get to play until the names were drawn, and even then they only did the first half and then drew more names about halfway through the night. This eliminated/discouraged one of the rude habits that some open mic performers have: leaving right after they play. This wasn’t an open mic where you played cover songs. You were there to play your own tunes and get feedback on them. This open mic was attended by both the newbies and the stalwarts of the folk scene. I still remember Martin Sexton doing a kind of Al Jolson bit while smoking a cigarette (yes, they still smoked in venues back then — UGH!!!).
If you want to get into performing at open mics, here are a few tips:
Be prepared. Have about a half dozen songs practiced and well oiled that you can perform from memory. Make them your strongest numbers. Don’t tell the story in the song before you sing the story in the song! If you are playing someone else’s music, give them credit. Be sure your guitar is tuned before you hit the stage. Have your guitar strap adjusted, and have your pick, capo and guitar cord all readily accessible. If you are playing a keyboard or some odd instrument, make sure you coordinate set-up with the host long before your performance time. Sing into the microphone — about 1 to 3 inches away from it, not over it and not 3 feet away from it. Take your open mic performance seriously and act like it is a mini gig. Be professional. Be conscious of your appearance. Lose the backward baseball hat and the sunglasses. Wear shoes and not flip-flops — no one wants to see your ugly ass feet! Whether this is your first open mic performance or your hundredth you are still up there to entertain, so remember that. Some people do just go to open mics to listen. Be courteous to the other performers; listen to them and don’t talk over their performance. Stay until the end; don’t play and leave!!! Network, listen and learn. Lastly — and this is one of the things that kills some open mics — avoid the tribe mentality. Some folks go into an open mic, play every week and take it over. If this sounds like you, then it’s time to move on, get a real gig and start a whole new learning process. Go out and play a lot of different open mics and practice playing under all kinds of conditions, from the real listening crowd to the noisy bar where you can barely hear yourself play. It’s all learning and it is a constant process. Open mic on…
One of the folks who takes her open mic very seriously is Joanne Lurgio. She hosts an open mic every Tuesday at the Pub on Park in Cranston (pubonpark.com). Gary Fish runs an open mic on Tuesday at Sandywoods in Tiverton (sandywoods.org). Don Tassone holds an open mic on Thursdays at the Mediator in Cranston (mediatorfellowship.org). The Pump House in Peacedale schedules an open mic/potluck once a month — usually the last Saturday (pumphousemusicworks.com). The Galactic Theatre in Warren has a Wednesday open mic night (galactictheatre.com). The Parlour on North Main also holds a Tuesday open mic night (theparlourri.com). Perks & Corks on High St. in Westerly has a Monday night open mic (perksandcorks.com). Lori Silvia, who was a great friend and mentor to me THIRTY-some-odd years ago when I was just beginning to perform, runs an open mic at Strings Bar & Grill in Johnston on Wednesday nights (stringsbar.com). These were all off the top of my head, but this should get you started. Lots of other local bars and coffeehouses also have open mics, so just check their websites and keep your ears open for more. Have fun!
Waaaaay back, when I ran the Rhode Island Songwriters Association, we held a weekly open mic. One of the people who would frequent that open mic was Dean Petrella. Back then he was in his late teens. Nowadays he has a band, The Complaints (thecomplaints.com), and has been performing up and down the East Coast and beyond for over 20 years. Besides Petrella, the band includes bassist Chris Cruz and drummer Anthony Marotti. The Complaints have shared the stage with many national acts including Sugar Ray, Train, Collective Soul, 3 Doors Down, Nickleback and Guster and have won numerous awards, including the Band of the Year award from Motif. Though they are primarily a rock trio, their latest CD offering, Talk To Me, is more of an acoustic recording. They celebrate the release of their fourth CD on Sun, Feb 18 at 5pm. The party will be held at The Last Resort located at 325 Farnum Pike in Smithfield. For more, “Breathe” over to thelastresortri.com.
Finally, if you are cold this winter and need some warming up, then get to Rhodes On The Pawtuxet on Sat, Feb 10 for the 26th annual Mardi Gras Ball where you can dance yourself hot and sweaty. Doors open at 6pm in anticipation of Grammy-winning Cajun band Beausoleil avec Michael Doucet, international performers Nathan & the Zydeco Cha Chas, and New Orleans blues from Rhode Island’s own Knickerbocker All-Stars.
Cajun and Creole cuisine is offered by the renowned Chili Brothers Food Company, arguably the most popular food vendor at the Rhythm & Roots Festival every year, serving up their world-famous Louisiana-inspired cuisine. The ball also features a costume contest with cash prizes in a variety of categories, including best group, best couple, best individual and a grand prize of $250 for best overall costume. The event will benefit VSA Arts RI, the nonprofit organization that opens the world of art to children and adults with disabilities. For more, zyd-e-go-go to rhythmandroots.com/mardi-gras-ball.
That’s it for now. Thanks for reading. JohnFuzek.com
Is This Jazz? My Funny Valentine
Many jazz standards have faded from popular memory and been usurped by newer charts, but a select few continue to be played throughout the years, never losing their luster and sounding as current as the day they were composed. In the spirit of the upcoming romantically themed holiday I’ll explore one such standard: My Funny Valentine.
Written by Richard Rogers and Lorenz Hart for the musical Babes In Arms, this song made its debut on April 14, 1937, at the Schubert Theatre in New York City. In the play, a character named Billie Smith sings the song to Valentine “Val” LaMar, needling him about some of his faults, but by the end clarifying that these are all the things she loves him for and would never wish him to change. The show ran for 289 performances, and while there were other hits to come out of this production, nothing has had an impact equal to that of My Funny Valentine.
Compositionally, the piece is one of the most versatile in the Great American Songbook. The basic harmonic structure remains relatively static throughout the 36 bar form, settling mostly around concert C minor with a brief departure into Eb, the relative major key. This opens up the form to a wide range of interpretations, allowing musicians to add in interesting colors like passing chords or re- harmonizations. This space also allows musicians to play with the feel of the piece by performing it as a ballad, a contemporary style groove, or by changing the time signature altogether and unlocking an even larger set of rhythmic possibilities. With a mostly diatonic, linear melody that only goes to a minor third past the octave, it sits nicely within the performable range of most people — let alone professional singers — and also makes for easy transposition into any key for various instruments.
While the notes and chords are an important part of its universality, the lyrics deserve just as much of the credit in establishing this as an essential part of our musical heritage and culture. While we now know that the phrase “my funny Valentine” pertains to a specific individual, Val LaMar, over the years the term “valentine” has been re-contextualized to apply to any person we designate as “a valentine” which is traditionally meant as the one that we love most. Additionally, as we grow to love someone and learn more about them we eventually are faced with their faults and deficiencies, but it is through that love that we accept these traits. Even in its brevity — most versions only contain 12 lines of lyric — the song arrives at, and ultimately works through, this essential conundrum faced in any relationship. This is exemplified when our protagonist sings “is your figure less than Greek, is your mouth a little weak, when you open it to speak are you smart? But don’t change a hair for me, not if you care for me. Stay little Valentine, stay.”
These characteristics make for a song that can be shaped to suit whatever adaptation the arrangers and performers need or desire, letting the chart flex and evolve with the changing musical world, as it has in the estimated 1300+ recordings that have been made in its 80 years. There are many notable versions, but the artist who is possibly most credited with the song’s lasting importance is trumpet player Chet Baker who sang a version on his 1954 album “Chet Baker Sings,” which set a new tone for the how the piece would be performed vocally. He returned to it in 1959 as part of Gerry Mulligan’s quartet, a recording that would be added to the Library of Congress’s National Recording Registry for its “cultural, artistic and/or historical significance to American society and the nation’s audio legacy.”
I implore you to listen to these recordings, and hope you share them with your own funny Valentine.
Happening Around Town:
The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket)
Is This Jazz?; first Friday bimonthly @ AS220 (Providence) isthisjazz.tumblr.com
Allary At Arias; Sundays @ Arias Lounge (Providence) Groove Merchants; Mondays @ Fifth Element (Newport)
Jazz Jam; Tuesdays @ Ten Rocks (Pawtucket)
Groove E Tuesday; Tuesdays @ Murphy’s Law (Pawtucket)
Parlour Jazz Jam; third Sunday monthly @ The Parlour (Providence)
Jeff Platz Quartet’s Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence)
Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)
To add your listing email [email protected]. Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com or on Twitter @ahueofshaw.