Album Review: Simon Scardanelli – What In The World?

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by James Morris, Contributing Blogger

Review of Simon Scardanelli’s newly re-released 1981 debut album: What In The World?

Time and its passing are no one’s friend. It’s a fleeting mistress whose seduction of your youth soon leaves you withering on the branch and you stare back behind you and wonder how the futures you planned became the memories of the past. Why, I hear you say, should I speak so coldly about this passing of the years? Well, to my mind time has moved too swiftly for the undeniable musical talents of Simon Scardanelli. Too long ignored, it seems inconceivable that 35 years have passed since What In The World?, his 1981 debut album release. It is a great injustice in the musical firmament that greater notice has not been taken of the brilliance of Simon Scardanelli. In 2016, he released the wonderful Make Us Happy, perhaps his best album to date. Now he is sticking his head above the parapet again, in his own belligerent and self-determined fashion, by re-releasing this long forgotten album.

Simon Scardanelli

photo courtesy of Simon Scardanelli

I know he had second thoughts about re-visiting this so many years later. As is Simon’s way, he never felt the original album back in 1981 was good enough but maybe hoped it could be a springboard to the next chapter. Falling out with the studio over the mixes and not co-operating with its promotion didn’t help sales, and so the album came and went. After the ice had thawed he managed to regain control of the recordings, and presented here for the first time is his take on the record with his preferred mixes and track listing which both differ from the original vinyl release. Mind you, I think you may be hard pressed to remember the original LP unless you are the die hardest of die hard fans.

For those that don’t know, after this album Simon went on to play keyboards in mid-’80s band the Boomerang Gang, and then in 1988 he formed, with his Canadian compatriot Shark, the duo Big Bam Boo who signed to Polygram and released the album Fun, Faith, & Fairplay.

Anyway, this is all 30-odd years ago, and much musical water has flown under the bridge. Simon has made many great albums, and his current style is far removed from what he was doing back in ’81, so I think it is very brave to go back and release a debut album that may confuse some listeners. Actually though, if you are a fan of Simon’s work, then you will find something tantalising in this time capsule.

Remember this was the time of Kraftwerk, Talking Heads, Bowie’s German period. A transition from ’70s prog rock to new wave synth pop. If you take this album with those thoughts in mind, you can see how it would stack up.

It opens with the track “Astral Suicide,” a slice of lunacy and pomp that immediately sets the bar. It is quickly followed by a crazily catchy song “A Pocketful of Spies,” something that could easily have been charted by someone like “The Thompson Twins.” Both these songs have all the hallmarks of embryonic Scardanelli. If you are familiar with his later releases you can hear that unique voice starting to warm up to what it will later become. You can hear the non-conformist lyrical style developing and the ear for a good tune. You can sense he is on to something and time will set it free.

The track “Day After Day” is proto synth city. I know that Paul McCartney was credited as being ahead of his time with his use of the then-new synth technology on his 1980 album McCartney II. Here on this track, Simon shows similar pioneering spirit, and some of the sounds did put me in mind of the outakes on that McCartney album.

There are many contemporaries that you can hear in the music, maybe Bowie in particular. But I know that Simon did not listen to much other music for fear of being influenced. This is why, most likely, he has never conformed to a genre or style throughout his career. The album was recorded in Germany, and a lot of free reign was given to the creative process. I think that a lot of fun was had in the studio pushing the technology and creating the layers that so identify this music with that time. Simon and studio engineer Nigel Jopson hired Kraftwork’s sequencer only to find it so complicated they didn’t use it in the end. You can picture the size of the equipment then, the wires, patch bays, knobs and generally unwieldy nature of the technology.

There is a bridge developed through this album between the last gasp of prog rock and the emergence of New Wave. As you get nearer to the end of the album you hear that prog rock influence in tracks “Those In Peril” and “You and I.” There are momentous crescendos of dynamic pomposity, sweeping you up and taking you back to those memorable musical times.

The album is an exhausting but pleasurable listen. It is relentless in its voracity with a brief moment of calm on the piano ballad “Lately,” which seems to juxtapose the rest of the album.

The final title track of the album “What In The World?” is maybe the closest you get to more familiar Scardanelli. Driving guitars and layers of synth lines make the audio connection to Big Bam Boo and then possibly even to his band venture Dr. Scardo in 2013. It is a fitting end to the album and both fascinating as a time piece and enjoyable as an album of music.

Any filmmaker or TV ad man that is looking for good genuine ’80s music that hasn’t become hackneyed by overuse should take note. This is a real gem of undiscovered ’80s music. Fresh, authentic, and at times exceedingly catchy. For fans of ’80s music it is a definite must, and for fans of Simon Scardanelli it is a revealing and rewarding listen.

 

Album Review: “Les Paul’s” (The Paul’s) – Night Worker

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Album Review of “Les Paul’s” (The Paul’s): Night Worker

"Les Paul's" (The Paul's) - Night Worker

image courtesy of Paul Robert Thomas

“Les Paul’s” (The Paul’s) are Paul Odiase and Paul Robert Thomas. Hence, the clever name. And while I may take issue with their punctuation, their music grew on me steadily over the course of multiple listens.

On The Pauls’ new disc, you can clearly hear the David Bowie influence. Some songs are upfront and overt about it, but you can hear the essence throughout. In the album’s promo material, the songs “This Song,” “On Charles De Gaulle Street,” and “Night Worker” are specifically called out as Bowie tributes. But stylistically, almost the entire disc clearly bears a Bowie-esque flavor.

Night Worker opens with “Say I,” a soft-touch but medium-fast-tempo number whose horns give it a festive nature and whose music video drives home its anti-war/pro-peace lyrics.  It’s one of a few tracks that particularly stand out on this album

“Night Worker” is a good, somewhat progressive, old-style soft rocker, mixing a Bowie-styled soft gravel vocal with a guitar line that softly drifts in and out of the song’s steady rhythm.

Possibly the sneakiest catchy track in the collection is mid-tempo “Peat Bog Soldiers.” Supported by an ’80s-reminiscent heavy synth backdrop, an infectious beat, and an earnestly important vocal delivery, the song’s irregular rhythm belies its earworm quotient.

It’s immediately followed by well-matched, faster-tempo, synth-driven “Six Feet Under,” whose lyrical phrasing and vocal fast-slow tempo are nearly hypnotic.

The album winds down with mellow, late ’70s/early ’80s Bowie-esque “Till My Day is Done,” pop-rock-slightly blues “Those Schizophrenic Blues,” and, finally, faster-tempo “Down, Down, Down,” a tune whose serious delivery is probably the main reason it’s not a full-on dance number.

In all, “Les Paul’s” (The Paul’s) deliver an album that makes some interesting artistic choices, paying tribute to David Bowie and using his ’70s or ’80s sound as an inspiration, jumping off from that starting point to explore surrounding artistic directions. If that sounds interesting to you, you’ll likely find a few tracks on here you’ll quite enjoy and, eventually, sing along with.

Album Review: Staircase Wit – Get ‘Em Next Year

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EP Review of Staircase Wit: Get ‘Em Next Year

When I’m out, I often chat with people about the music they like, and sometimes I discover interesting new music that way. In the case of Quentin Harrington, the singer/songwriter behind Staircase Wit, I found his 4-song EP, Get ‘Em Next Year, as a result of a conversation with someone in his family. While people are often mistaken about their relatives’ talent level, this was not one of those cases. This dude’s got some serious songwriting chops. And he’s a versatile musician, as well; he recorded most of the guitar and bass parts on Get ‘Em Next Year, recruiting friends to fill out the sound.

Staircase Wit - Get 'Em Next Year

image courtesy of Quentin Harrington/Staircase Wit

Quentin’s songs are energetic pop-punk numbers delivered lightly instrumented and with attitude. The songs turn interesting phrases, change tempos, and entertain.

First track “It’s Useless” reminds me of Wally Pleasant, a full-on acoustic aural assault with clever lyrics and a mischievous delivery; this folk-delivery-on-steroids style made me reconsider Wally Pleasant, realizing the man whose style I had always considered quirky folk was actually an acoustic pop-punk performer years before the genre existed.

The music calms down a bit on “Cigabutts,” a strong example of a more laid-back style.

The cello and vocal harmonies on “Cello, You Got a Bass” are courtesy of Julia Knowles. This song is a soft, engaging songwriting departure, adding a rich sound during the cello parts but a musical sparseness elsewhere, while also maintaining its edge with a snippet of well-placed dialogue, as you’d expect inserted into a movie soundtrack music video.

Quentin Harrington/Staircase Wit

photo courtesy of Quentin Harrington/Staircase Wit

Get ‘Em Next Year closes with the restrained energy of mid-tempo, youthfully nostalgic “Night of Our Lives.”

My favorite song on this EP changes by the day, depending on which songwriting angle fits my mood. This recording is one of those cool discoveries where you can hear the songwriting talent in a relatively raw, bare bones format, enjoy the catchy, fun songs, and wonder what comes next from the music’s clearly-talented creator.

Background

This album was the culmination of Quentin’s persistent desire to continue pursuing his passion for music. He was previously in the band Our Names Forever, which achieved a level of local success, gigging regularly in Cambridge and performing at venues like the main stage of the Palladium in Worcester. You can hear his former bandmates on this recording during some of the group vocals on “It’s Useless.”

Quentin’s creative pursuits currently include screenwriting and photography, but he continues to write songs, as well. I certainly hope he’ll again feel compelled to share some of his new songs with the world.

Album Review: Greg Nagy – Stranded

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Greg Nagy

photo courtesy of Greg Nagy

Greg Nagy – Stranded

Backstory

Greg Nagy is well-established as one of the top bluesmen in Michigan. But his star has risen nationally with his last two releases, Fell Toward None and Stranded. Now, I was on hiatus from writing when Fell Toward None was released, so I haven’t heard it, though I did catch Greg’s band live in the interceding years (February 2013, to be exact). While Fell Toward None received national praise, it’s Stranded that really launched Greg into the national consciousness, earning him additional global accolades, chart-topping results, and some high rotation on XM/Sirius radio. All of this acknowledgement of his talent is well-deserved… though I suppose I should have prefaced that with a “spoiler alert.” Then again, I hand-pick a lot of my favorite artists to review – people I think you’ll be glad I introduced you to, if you don’t already know them – so it probably isn’t a big spoiler.

Album Review of Greg Nagy: Stranded

Greg Nagy - Stranded

image courtesy of Greg Nagy

When you think about great blues, it starts with the voice, and Greg Nagy has that voice. It’s not a deep blues voice but more mid-range – and, technically, a mid-range vocal is probably a high blues vocal – but it packs in the emotion. You can hear the passion and, in Greg’s case, you get a consistently strong voice with just enough gravel to convey every feeling that goes with the lyrics. But it’s also about the music. And Greg’s guitar sings as soulfully as his voice. After hearing Stranded, you’ll learn what learn what Michigan blues fans – and an increasing number of blues fans nationwide – already know. If Greg Nagy releases a new album, be excited. And buy it. The guy’s a rare talent.

Greg Nagy

photo by J. Bowler; photo courtesy of Greg Nagy

Stranded opens strong, with Greg’s mid-high vocals filled with emotion, as “Stranded” has an almost country edge to its true blue soul. Oh, you’ll be singing along to this one quickly. It’s simultaneously playful and melancholic. Starting the disc with such energy is an auspicious beginning.

“Walk Out the Door” begins plaintively before adding a bit of energy mid-tune, morphing into a soft-but-rockin’ blues number periodically for the chorus before softening again during the bridges and verses; it’s the sort of song you’d possibly hear in a hotel bar scene in a movie.

Greg slows it down in multiple bluesy styles. His Nagy-fied version of Bobby “Blue” Bland’s “Ain’t No Love in the Heart of the City” is centered on a rich, full, soulful wail with a pulsing rhythm, while “I Won’t Give Up” builds and soars slowly, hopefully, and with a bit of a bluesy gospel rattle. And “Run Away With You” is a gospel-flavored, soft R&B-seasoned, yearning crooner.

Greg Nagy

photo by J. Bowler; photo courtesy of Greg Nagy

The collection adds a little more texture with funky Delta blues number “Long Way to Memphis.” “Been Such a Long Time,” meanwhile, adds playfulness to that funky blues.

Finally, “Sometimes” is worth mentioning, as Greg pulls together funky blues with an R&B backbeat and a guitar line that seems to speak, more like a supporting vocal than a guitar at all.

And, of course, any good blues album ends either in a blaze of instruments or a drawn-out ballad. Stranded chooses the latter with “Welcome Home,” a gravel-vocalled, heart-on-his-sleeve, soft-touch keyboard and guitar driven slow fade into the sunset, ending the disc with the musical equivalent of a satisfied sigh.

Greg Nagy

photo by Geoff Wilbur

In summary, Greg Nagy’s Stranded has earned its spot at the top of various 2015 top ten lists. It landed in my top three. This dude hits every note, puts emotion in every word, and all the while comes across as cool as the other side of the pillow. I don’t have many blues albums on my personal playlists, but this one earns its spot with every song.

Looking Ahead

Greg has a couple gigs currently scheduled later this month – Friday, August 19th at Slo Bones Smoke Haus in Frankenmuth, MI, and a pair of afternoon sets on Saturday, August 20th at Fritz Park in Grand Haven, MI.

Beyond that, Greg’s site currently lists a couple Moriarity’s gigs in Lansing this fall (Fridays, October 21st and December 16th) and a Saturday, November 12th gig at the Backyard Blues Festival at Buckingham Blues Bar in Fort Myers, Florida.

Greg is planning to return to the studio this fall with the goal of a new album release in early 2017. The dude’s a workhorse, though, so I’d suggest also checking his website regularly to watch for additional live dates.

Live Review: The Buckinghams at Fifth Third Ballpark

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Their first hit, “Kind of a Drag,” knocked The Monkees from their top spot on the Billboard charts.

The Buckinghams are a pop band from Chicago, Illinois. They formed in 1965 and went on to become one of the top-selling acts of 1967. The band dissolved in 1970 but re-formed in 1980, and as of 2016 they continue to tour.

Their first contract was with WGN for 13 weeks as a cover band for their national hits show.  Their first record release was a Beatles tune, “I Call Your Name.”

A communication from Carl Giammarese, original guitar player and current singer, said: “The Buckinghams started in Chicago back in 1965, so we’ve passed the 50-year mark. A lot has been said about us over 50 years, we are just grateful to still have an audience that enjoys our music.”

Giammarese and Nick Fortuna, on bass and vocals, are founding members of The Buckinghams. The rest of the line-up consists of Dave Zane on guitar and vocals, Bruce Soboroff on keyboard and vocals, and Rocky Penn on drums and vocals.

According to the Billboard charts for 1967, The Buckinghams and the Beatles leapfrogged each other up and down the pop charts that year. The Buckinghams’ chart positions: No. 16, “Kind Of A Drag”; No. 39, “Don’t You Care”; and No. 51, “Mercy, Mercy, Mercy.” The Beatles’ chart positions: No. 30, “All You Need Is Love” and No. 55 “Penny Lane.”

The Buckinghams played all of their hits at this concert, and the audience of their peers enjoyed it very much. The three golden girls in front of me moved and grooved to the oldies with umbrella in hand as The Buckinghams ended their summer concert in a soft rain.

Album Review: The Triplets – Independence Road

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The Triplets

photo courtesy of The Triplets

The Triplets – Independence Road

The Backstory

I first reviewed a Triplets album in 1991, the group’s Mercury Records release …Thicker Than Water, for the New England-based regional publication College Monthly. Then, this past spring, one of those 25 year-old songs popped up on my phone’s playlist – yes, I still have a couple of those tunes on my playlist – and I was inspired to search for “whatever happened” to The Triplets. The timing was fortuitous, as it turns out they were planning to return to the recording industry and release a new album as The Triplets. So I reached out them, and they were kind enough to allow me to review an advance copy their new disc. Spoiler alert: We should all be glad they’re back!

Album Review of The Triplets: Independence Road

The Triplets - Independence Road

image courtesy of The Triplets

The Triplets, in the ’90s, were a group of extremely talented pop singers, Vicky, Sylvia, and Diana Villegas. In the interim, Sylvia and Vicki have left L.A., embraced Kentucky life, and, as per the title of one of the disc’s songs, become “Countrified.”  (Though third Triplet Diana doesn’t perform with the group, she does still co-write with her sisters.)

Indeed, while Independence Road, scheduled for a September release, plays to The Triplets’ vocal strengths and does hint at their pop harmonies of the past to varying degrees on different tracks, the album’s country flavor clearly comes from the heart, representing their current passions.

The title track kicks off the disc engagingly with a train theme, opening the music with acoustic strumming and a gravelly vocal that bleeds emotion, merges into a harmonic duo, and builds to power. The picking will get you grinning, and the rhythm will keep you swaying, while a bit of western-style guitar-picking adds texture. Welcome back to the recording studio, Triplets!

The Triplets

photo courtesy of The Triplets

The next cut is full-on country – the aforementioned “Countrified.” Old-fashioned country style is augmented by fiddle and slide guitar, while the lyrics tell the story of the sisters’ transition from big city starlets to heartland country girls, lauding the pleasures of small town country life, at one point singing “I’m a born-again rock-and-roller with a brand new attitude…” After a few listens, you’ll catch yourself singing along to some of the fun parts of this uptempo charmer.

“Night Like This” follows, energetic, harmony-filled, with an uplifting key change and upbeat melody that’ll leave the listener smiling. Next is “Every Breath You Take,” on which the Villegas sisters deliver a bit of a happier-sounding melody than ol’ Sting did, though even with the sweeter harmonies, the song is still just a tad morose.

“Coyote” is one of my favorite songs on Independence Road with its wide-open feel; it’s a contemplative track, with its lyrics well-suited to the open spaces of its musical arrangement. It’s followed by “Wild-Eyed Child,” a mid-tempo number with a sax line and some energetic vocals.

Next up is “Crazy Moon,” probably my favorite track on the album, a high-energy, dance floor-filler with a catchy beat and expressive fiddling that fills the speakers with a country dance party atmosphere.

The Triplets

photo courtesy of The Triplets

“Magnolia Street” is a nostalgic track with a cheerful pop energy, while “Maybe Tomorrow” utilizes some of the group’s soft pop instincts in a western-flavored, Latin-tinged ballad.

A really cool nod to The Triplets’ old fans is a slightly countrified reimagining of the group’s biggest hit from the early ’90s, “You Don’t Have to Go Home.”

The disc closes on yet another high note: “All I Need” is a great remake of The Hollies’ “The Air That I Breathe,” showcasing the depth and breadth of The Triplets’ vocal skills – harmonies, smooth transitions, and heartfelt crooning abound.

Independence Road is a terrific return to the music scene by this mysteriously underappreciated, talented group that teetered on the verge of breaking big a couple decades ago. The Triplets’ transition from their old incarnation as instantly-identifiable, harmonizing, song-driven pop singers to instantly-identifiable, harmonizing, song-driven country singers is not as dramatic as you might guess. After all, I only changed one word in my description. Sure, the songs are maybe a bit wiser, but that’s true of most of us two decades on. I’m glad to have The Triplets on the scene again, and the country music scene will be a richer place if they stick around and stay a spell. “Get your boots on!”

Follow and Contact The Triplets

You can like The Triplets on Facebook or e-mail them at TheTripletsBandRocks@gmail.com. Reach out to them to inquire about receiving a signed advance copy of the CD.

You can also check out The Triplets’ website, where you can sign up for their mailing list.

Album Review: The Accidentals – Parking Lot EP

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The Accidentals

photo courtesy of The Accidentals

by Joe Szilvagyi, Contributing Blogger

EP Review of The Accidentals: Parking Lot

This year’s vacation included a summer getaway to Onekama, Michigan. It’s a tiny tourist town along the north coast of Lake Michigan without so much as a stop sign to interrupt drivers enjoying scenic Route 22. Drivers might notice a small park with a platform that the generous might call a stage. Through the summer, Onekama brings the community together with lawn chairs and picnic dinners to enjoy free concerts. I was fortunate enough to be in town when The Accidentals took the stage.

The Accidentals - Parking Lot

image courtesy of The Accidentals

Free concerts are a fairly common occurrence in small towns throughout Michigan. Typically, they’re fun events where one of the more talented bar bands plays old favorites for the crowd. It’s the sort of thing that people like to remember as part of a summer vacation when looking back at good times spent with family and friends. The Accidentals gave us the good time we were expecting and more.

One of the things that sets The Accidentals apart from the regular crowd is that two of the band members only recently reached drinking age with the third waiting impatiently to catch up. Their talent has landed them concerts in bars that they’re too young to hang out in, leading to the title of their latest release, Parking Lot.

The Accidentals

photo courtesy of The Accidentals

The six songs collected on this EP are the next thing that make The Accidentals different from traditional summer park fare. The music is a little more poppy than folk but a bit too folksy to be considered pop. Electric cello, violin, guitar, bass and drums work together, supporting intelligent lyrics about life on the road in that awkward age where high school has ended but you still can’t order a beer.

As a trio, The Accidentals have traveled coast to coast, catching the attention of music critics and sponsors. Rated as one of the top seven breakout artists at SXSW last year, The Accidentals qualify as one of the most talented acts to grace a summer concert stage. On top of being talented, they are humble and grateful for the chance to perform their own music in front of so many people.

The Accidentals

photo courtesy of The Accidentals

Summer concerts have always been something I look forward to because they’re usually a good time. The Accidentals have set a new high-water mark for these summer shows. I expect the next time I get to see them will be at a larger music festival or even headlining a big show. Thankfully, I have their CDs to keep me company until that next show.

Here’s their soon to be released song, “On the Shoulders of Giants,” as seen at Onekama’s Concert in the Park on July 11: https://youtu.be/xPnOubVrojU

Check out their web site at www.theaccidentalsmusic.com to enjoy more great music.

Live Review: Danielle Miraglia & the Glory Junkies with Tom Bianchi at Front Street Concerts

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Danielle Miraglia & the Glory Junkies with Tom Bianchi

Front Street Concerts, Hopkinton, MA

July 30, 2016

Front Street Concerts

Front Street Concerts; photo by Geoff Wilbur

One of my favorite house concert venues, Front Street Concerts is a popular place to catch great music in a backyard setting out here in the outer suburbs of Boston. The timing for this evening’s concert was pretty good, a cooler night than most we’ve experience the last couple weeks, and quite comfortable by the time the concert was in full swing. Tonight’s gig featured Metro Boston’s not-so-hidden gem Danielle Miraglia and her band the Glory Junkies with her husband, Boston music scene veteran extraordinaire Tom Bianchi, serving as her opening act.

Danielle Miraglia & Tom Bianchi

Danielle Miraglia & Tom Bianchi; photo by Geoff Wilbur

Opening Act: Tom Bianchi

This was my first time catching one of Tom’s sets, and it was the fun experience I was told to expect.

Tom Bianchi

Tom Bianchi; photo by Geoff Wilbur

Tom was tuneful and delivered nearly as broad a mix of acoustic folk-rock as possible within a short set that mixed legitimate acoutic guitar (and electric bass) chops and fun between-song banter into a folky froth. Indeed, the set was mostly acoustic but occasionally featured his electric bass.

As usual, I didn’t ask about song titles, so I may get them wrong, but here goes:

Tom opened with a self-described new song, “My Old Friend,” which featured acoustic guitar strumming, Tom’s engaging, bit-of-a-growl vocal style, and his big, welcoming personality.

The several-song set closed with an interestingly matched couplet, as Tom himself pointed out, featuring first an original anti-cover-song song, then his cover of the Beatles’ “Something.”

It’s obvious from even this short set why Tom is such a popular local performer. His performance comes across a bit like organized chaos… a guaranteed fun night out!

Danielle Miraglia & the Glory Junkies

Danielle Miraglia & the Glory Junkies; photo by Geoff Wilbur

Headliner: Danielle Miraglia & the Glory Junkies

Danielle Miraglia was the headliner tonight with her band, the Glory Junkies – Laurence Scudder (viola), Jim Larkin (bass), and Chris Anzalone (drums). Favorites around the Boston area and up and down the east coast, Danielle and her band packed the house – OK, the barn and the yard – at Front Street Concerts.

Danielle Miraglia & the Glory Junkies

Danielle Miraglia & the Glory Junkies; photo by Geoff Wilbur

I reviewed Danielle’s February gig at Atwood’s Tavern, and I’m not sure I’ll ever write a better description of her blue-chip band’s rockin’ blues style than I did in that review; suffice it to say, Danielle Miraglia and the Glory Junkies again delivered a performance of folk-influenced, rock-inspired, subgenre-crossing blues, all with a sly, sarcastic, fun, and sometimes heartfelt edge. The band’s leader and her partners-in-crime seem to always be at the top of their games; this gig was no exception.

The band kicked things off by getting the crowd fully engaged with “See the Light” from Danielle’s Box of Troubles album, followed by the rollocking “Fair Warning” from her latest release, Glory Junkies.

Danielle Miraglia

Danielle Miraglia; photo by Geoff Wilbur

Popular culture-inspired “Famous for Nothing” followed, as did Danielle’s amazing ability to channel Janis Joplin in an inspired Joplin cover. Here, as elsewhere, Scudder’s inspired viola work stood out.

A few songs later, Danielle ditched the band for three songs and went acoustic, reaching back three albums for “Snow Globe” and following it with a new song (“Silence Was Your Weapon”?), both quite sensitive songs that spoke to the audience. The highlight of the acoustic trifecta for me, though, was Danielle’s new “empowerment” song, a tune I’d never heard before, “Aim Low.” Instant classic. Like a musical demotivational poster.

The return of the band featured Danielle growling along with some well-placed viola on “Don’t Pray For Me,” followed by “Stagger Lee,” an energetic number that always brings to my mind an image of a railroad train chugging full-speed down the tracks.

The set closed with Tom Bianchi joining the band for its final three songs, closing with a rendition of Tom Waits’ “3:19” that, a Danielle Miraglia concert staple that she truly makes her own.

The evening ended with one of my favorite Danielle Miraglia tunes, a rafter-shaking performance of “Choir.” And, of course, the evening ended too soon.

Danielle Miraglia & the Glory Junkies

Danielle Miraglia & the Glory Junkies; photo by Geoff Wilbur

Looking Ahead

The “shows” page on Danielle’s website lists her next gig as Friday, August 5th at Atwood’s Tavern opening for the Tim Gearan Band. Other upcoming scheduled shows include the Kingsville Folk Festival in Kingsville, Ontario on Saturday, August 13th; Saturday, September 3rd at One Longfellow Square in Portland, Maine, opening for The Mystix; Friday, September 16th at the Burlap and Bean in Newtown Square, PA with Beacoup Blue; a Saturday, September 17th house concert in Reston, VA; Saturday, September 18th at World Cafe Live at the Queen in Wilmington, DE with Kyle Swartzwelder; and Saturday, October 1 at Old Sloop Coffeehouse in Rockport, MA with Jon Shain.

Tom’s performances page lists his weekly local Somerville/Cambridge residencies: Thursday nights with the Baker Thomas Band at Toad; Sunday nights as host, emcee, and performer at the Burren Backroom Acoustic Music Series; and Monday nights as host and emcee of the Lizard Lounge Open Mic Challenge.

Front Street Concerts has one upcoming concert currently scheduled: Florent Dufour on Saturday, September, 10th.

Album Review: Suit of Lights – Break Open the Head

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Suit of Lights – Break Open the Head

Suit of Lights/Joe Darone

photo by The Lonely Doll; photo courtesy of Planetary Group

The Connection

Formerly of the Fiendz and The Rosenbergs, Joe Darone founded Suit of Lights in 2003. David Fagin of The Rosenbergs was interviewed by Pam West in the August 2001 Industry Edition of Geoff Wilbur’s Renegade Newsletter. That connection – the fact that my former publication interviewed Joe’s old band – was enough to pique my interest.

Album Review of Suit of Lights: Break Open the Head

Suit of Lights - Break Open the Head

image courtesy of Planetary Group

Break Open the Head, the follow-up to Suit of Lights’ critically acclaimed Shine On Forever, gives the immediate impression of being a concept album. I haven’t examined the lyrics for a storyline – it’s not important, though it makes for interesting consideration – but the songs themselves are largely psychological and “inside the head” in nature, and the overall flavor of the album’s ebb and flow is that of a ’70s rock opera. The music soars, the drums crash, and the sonic rises and falls are akin to those of the late, great, overly-ambitious concept disc, with the songs correlated closely enough to serve well as a soundtrack album for a non-existent film.

Though the hoarse, gravelly, strained vocal style may not trade well with a broader, more mainstream listening public, it is tailor-made for Break Open the Head‘s edgy, experimental-ish, cutting-edge theatrical alt-rock.

Suit of Lights/Joe Darone

photo by The Lonely Doll; photo courtesy of Planetary Group

The album opens energetically with the title track. “Break Open the Head” is an attention-grabber, with tempo changes, meandering bridges, and harsh, dichotomous musical peaks and valleys.

A few other songs could also cross over to more mainstream listeners, though that isn’t the apparent goal of this artistic endeavor. For example, “Ritual. Routine. Control.” has a flowing, broader musical appeal within its irregular beat-driven soul. “Monsters” also catches the ear with its occasional hook among the rising, falling, and crashing that give the track its texture.

“Revolution of You,” particularly due to its song placement after the melancholy “Zero Camera,” provides an uplifting, ear-catching respite. Indeed, all of the songs seem specifically placed within the album to provide a flow or contrast with the tracks around them, and I’m not convinced this tune would stand out as much by itself if not for its specific placement within the ebb and flow of Break Open the Head.

Suit of Lights/Joe Darone

photo by The Lonely Doll; photo courtesy of Planetary Group

You, of course, may be drawn to other tracks, depending on your inclination toward a particular blend of rhythm, pace, and melody and, of course, placement among the rhythms and beats of this carefully-orchestrated alt-rock collection.

Overall, Break Open the Head is an experimental progressive rock fan’s dream; it’s the musical version of an auto manufacturer’s “concept car,” with uneven but interesting results that are likely to inspire creativity in others both within and beyond the the field of music. And that seems to be the point. Whether it speaks to you or not, there’s no denying Break Open the Head is an ambitious attempt to play at the edges of – and perhaps expand – the progressive musical envelope.

However this album strikes you, though, expect something different from Suit of Lights’ next. As Joe Darone noted in the band’s bio, “Some bands go for 30 years with one sound, and there’s nothing wrong with that. But that’s boring to me.”

The Band’s Links

The band’s main dot-com web address directs to a music, merch, and video page. Other band links are the Suit of Lights Wikipedia page and Joe Darone’s Instagram account.

Live Review: The Mychael David Project at Ellsworth-McAfee Park

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The Mychael David Project

Ellsworth-McAfee Park (Northborough Summer Concert Series), Northborough, MA

July 14, 2016

The Mychael David Project at Ellsworth-McAfee Park

photo by Geoff Wilbur

The Backstory: About the Northborough Summer Concert Series

Of all of the local summer concert series, Northborough is one of my favorites. Four shows per summer, at 6:00 pm every other Thursday (with Sunday as a rain date). They tend to book top-notch performers (as do many of the local summer concert series), but just as importantly, the seating area is flat and comfortable, there is generally at least one food option if you don’t have time to pack a picnic basket, and there’s plenty of parking, though for those who arrive late it’s grass parking. When I first see the list of performers each year, I check them out online, and even though my availability is the key determinant of whether or not I attend, a quick listen to Mychael David’s music online suggested this was a show I didn’t want to miss.

The Show

With storms approaching, the organizers kept a close eye on the weather but made the appropriate call… just barely; the rain began falling during my drive home after the show. The result of the approaching storm, however, was a relatively cool summer evening ideal for an outdoor concert. In spite of weather concerns, the turnout was very good. Now, about the concert…

The Mychael David Project at Ellsworth-McAfee Park

photo by Geoff Wilbur

Mychael’s rich, full, deep, emotive vocals are this band’s calling card. It’s a special voice, capable of everything from ballads to rockers and great on the mid-tempo, laid-back-but-still-energetic songs that seem to be his sweet spot. He gets support from Susan Jayne on vocals, some impressive guitar shredding from guitarist Howie Swett, and some sweet keyboard work from Glenn Stegner, with the tight rhythm section of Pete Early and DC Carter rounding out his concert-caliber line-up.

Yes, there’s traffic in downtown Northborough at this time of day, so I may have missed the first song or two, but upon my arrival I was treated to the fun, rockin’ Southern rock-style country number “It’s All About Tonight” (with apologies to the artist if I don’t get the song titles quite right).

The band showed its versatility over the course of the evening. Mychael’s “Heartbreak Song” showcased his deep, emotional, tear-jerking vocals. The energy and tempo changes within “Hang on Tight” set it apart as a worthy listen. And “Little By Little,” a mid-tempo duet with Susan, was a pleasant, almost Buffett-esque tune with perhaps a little more guitar twang and some rocking Howie Swett axework.

The Mychael David Project at Ellsworth-McAfee Park

photo by Geoff Wilbur

Also worth noting were the Johnny Cash “Folsom Prison Blues” cover that got the crowd clapping along and took full advantage of the low end of Mychael’s vocals. And “Take a Lot to Make a Livin’,” a rollicking working-man’s country rocker; it’s so effective because Mychael delivers it with such conviction.

“Smoke and Ash” sported a growly vocal and a little funky guitar riff, while even on a mid-tempo twanger like “Goodbye is Still Goodbye,” Mychael’s vocals are still as crisp and clear as ever while still projecting full emotion. Did I mention that there’s a special nature to his vocal talent? I believe I did.

Finally, toward the end of the show, Mychael and band rolled out his biggest hit, “Nothin’,” a mid-tempo tune with lyrics that really connect, especially thanks to Mychael’s deep, emotional, powerful voice. The song is very catchy; I can see easily why it was a hit.

Looking Ahead

The Mychael David Project at Ellsworth-McAfee Park

photo by Geoff Wilbur

The Mychael David Project lists a lot of local dates over the coming months, so you may have an opportunity to catch the band yourself if you live in New England, particularly in eastern or central Massachusetts. The next few shows listed are Friday, July 22nd for the Center of Hope Benefit at the Indian Ranch in Webster, MA; Saturday, July 30th at Halligan’s in Auburn, MA; Saturday, August 6th for the Massachusetts State Chili Cookoff at the American Legion in Winchendon, MA; Saturday, August 13th at Forty’s in Leominster, MA; and Saturday, August 13th at the Straw Hollow Engine Show on Cross Street in Boylston, MA. Check the “Tour” page on Mychael’s website for additional information on those and additional upcoming shows in Massachusetts, New Hamphire, and at the Woodstock Fair in Woodstock, CT.

As for the Northborough Summer Concert Series, there are still two more upcoming concerts. Hit the Bus performs Thursday, July 28th, and Eclipse closes this summer’s series on Thursday, August 11th. Shows run from 6:00 to 8:00 pm. You can find more information on the Northborough Community Affairs Committee’s Facebook page here.