New England Music News

Rockin' again

CHRIS CONTI — Wed, 12 Nov 2008 23:38:56 GMT

The return of the Cobra-Matics
Johnny Maguire, aka the Colonel, dropped a line to give the heads-up on his newly reformed rockabilly outfit, the Cobra-Matics.

Johnny Maguire, aka the Colonel, dropped a line to give the heads-up on his newly reformed rockabilly outfit, the Cobra-Matics. They’ll be performing at the Bay Bash, a gala event hosted by Save the Bay at the Sharpe Building at the Foundry, celebrating the first completed phase of the largest public works project in Rhode Island history, a giant cored-out tunnel designed to finally deter sewage waste from the Bay (see the cover story in the News section). It will be the first show in more than two years for the Cobra Matics — opening for the English Beat, no less — and in the process will mark the debut of new lead singer, one Johnny Carlevale, a rockabilly kingpin in these parts.

“Johnny C. started playing with us at the end of the summer when we decided to try and get the band together after I put out the CD,” Maguire said. “A friend suggested get-ting him, and it seemed like a logical matchup.” Carlevale replaces Diamond Dan White, who sings on Under the Hood, the Cobra-Matics’ long overdue debut (Original Recipe), which was released in May after Maguire had been sitting on the material since the band split in 2006.

“We haven’t played since Dan left the band and [drummer] Snake [Kroger] moved to New York City, so we’ve chosen one helluva first gig back,” the Colonel declared. Original members Kroger and Backwards Bob Mac (bass) are back onboard, and the Colonel is rejuvenated and ready to rock. “I really look forward to playing live again and giving it my all,” he said. “I love being a showman — it’s in my blood to entertain.”

Maguire was a member of the Royal Crowns from ’93-’98, then led the Lucky Diamonds before forming the Cobra-Matics in 2004. Under the Hood also marked the first release on his Original Recipe recording label.

“I just thought it would be easier to do the label thing all on my own and do it my way,” the Colonel said. “I wanted it to be my own little business venture. Right now I am just using it as a way to release my back catalog of previously recorded material from the Cobra-Matics and two albums worth of tunes from the Lucky Diamonds.”

Under the Hood provides plenty of high-octane honky-tonk and rockabilly swing, and veteran Carlevale should have plenty of fun spicing up tracks like “Jailbait” and “Cousin Kimberly,” as well as the local

flavor of “Burrillville Bounce” and “Hi Neighbor, Have a ’Gansett.”

Their Cupola Runneth Over

SHAULA CLARK — Thu, 30 Oct 2008 22:11:50 GMT

Iron Guild Halloween Iron Pour 2008

Luke’s Record Exchange will spring back to life

IAN DONNIS — Wed, 29 Oct 2008 23:21:31 GMT

Retail Rebound
When Luke T. Renchan announced in March that his landmark record shop, Luke’s Record Exchange in Pawtucket, was closing after 29 years in business, it was a sad and not very unsurprising story.

Off the couch: October 24, 2008

CHRIS CONTI — Fri, 24 Oct 2008 15:00:12 GMT

Tim Taylor Band, Young Neil & the Vipers, and more

Rebirth of the cool

CHRIS CONTI — Thu, 09 Oct 2008 07:20:12 GMT

Call it a comeback: Jake’s Bar & Grille is back in action
The new and improved Jake’s Bar & Grille on Richmond Street reopens the 9th and kicks off a Columbus Day welcome back weekend with three diverse shows.

KICKING IT OFF: Cory Branan headlines at Jake’s tonight [the 9th].

“We could sure use a plug after being closed all summer,” Jackie Nichols , the owner of Jake’s Bar & Grille, told me this week. “I think most folks assumed we had closed permanently.” But they didn’t, and the new and improved Jake’s Bar & Grille on Richmond Street reopens tonight (the 9th) and kicks off a Columbus Day welcome back weekend with three highly diverse shows, something this modest venue has always excelled at, thanks to Nichols and her son Jake. The emphasis on live music may also prove to be a wise choice, with new neighbors Rick’s Roadhouse and Stanley’s Burgers on the block.

“We plan on continuing to host a wide range of artists, now more than ever,” Nichols said. “Jake and I have broad tastes in music, from hip-hop like the CunninLynguists to country-punk and classic rock.” The emphasis on live music this time around is abundantly clear, as Nichols reports that Jake’s will host shows Thursday through Sunday, plus a Wednesday singer/songwriter showcase beginning in November — glorious news for those of us still salty about the loss of the Met Café.

“We saw the need for a venue our size and I think we can do a good job with it,” she noted. Some 18-plus shows will be added, and most local shows will remain in the $5-$7 range, with national acts around $10 per head.

“National booking agencies tell us that the bands love playing here because the fans are so enthusiastic, and also because of our hospitality,” she said. “We’ve forged some solid relationships with bookers from LA to NYC.”

Nichols decided to “regroup with some minor repairs and painting,” but the most notable addition will be the subtraction of most of their extensive dinner menu. They will now offer “a limited menu that lends itself more to the venue, like burgers, pizza, and nachos.

“We originally opened as a restaurant, but had so many requests from local bands to play here that we eventually gave it a shot,” owner Nichols recalled.

Jake’s doors opened in July 1999. Jackie and Jake had previously been in the business for 15 years at spots like the Hot Club and Jake’s spiritual predecessor, Leo’s, an eclectic neighborhood watering hole for artists. Local bands such as Mahi Mahi, Von Doom, and Kilgore have graced Jake’s stage. And the club was way ahead of the hipster sect when they hosted national acts Lucero and Okkervil River.

Got live if you want it

BOB GULLA — Wed, 10 Sep 2008 16:33:13 GMT

Vets and newbs vie for your ears
Now that the idea that summer has come to a close has set in, it’s time to start thinking about what there is to look forward to this fall.

HOMECOMING: Joel Thibodeau and Death Vessel will be at the Living Room on September 23.

Now that the shock of the first few days of class has subsided and the idea that summer has come to a close has set in, it’s time to start thinking about what there is to look forward to this fall. Music is abundant and there are a slew of old standbys and up-and-comers headed our way. Here are some of the highlights.

Lupo’s Heartbreak Hotel
Lupo’s Heartbreak Hotel (401.331.5876, lupos.com) continues to be the place to see not-so-small and medium-sized national acts. This season brings some great attractions to Rich’s place, from THE MARS VOLTA (September 15) and TV ON THE RADIO (October 11) to “Love Song” singer SARA BAREILLES, who will be joined by Marc Broussard on November 6. But our best bet goes to IRON & WINE. The bearded Texan will bring his quizzical acoustic melodies to Lupo’s on November 16.

Living Room
You should head to the Living Room (401.521.5200, myspace.com/livingroomri) on September 23. Joel Thibodeau, formerly of the local band Stringbuilder, returns to Providence with a newish crew and a relatively new record deal from Sub Pop. His band, DEATH VESSEL, is eerie and evocative with roots in the British folk movement. Micah Blue Smaldone and the Wrong Reasons’ Joe Fletcher support. Also for indie heads is THE NEW YEAR, formed by ex-Bedheaders Matt and Bubba Kadane, who will hit the Room with Brooklyn shoegazers Dirty On Purpose on October 12.

Jerky’s
The resurgence of Jerky’s (401.621.2244, myspace.com/jerkysbar) and companion space Club Hell has added vitality, plus a couple of additional worthwhile destinations, to the Providence scene. Their booking philosophy is wide open and they offer many intriguing nights, one of which is a show by Ninjatune artist DIPLO (September 13), a Philly-based DJ and producer with a nose for mash-ups and more aliases/alter egos than the FBI’s “Most Wanted” list.

Club Hell
Local and national acts share bills at Club Hell (myspace.com/clubhelllive), one of the city’s newest stages. UK indie rock sensations THE WOMBATS hit it on September 9. On September 26, SOMEDAY PROVIDENCE throws its 100th show in the capital city — quite the impressive number—with STEALING JANE, THE EAVESDROPS, and SATURDAY AT NINE. Another bright night is October 10, when strident folk rocker LIAM FINN dazzles unsuspecting audiences with the help of THE VEILS, a quartet from New Zealand by way of London.

Stone Soup Coffeehouse
Stone Soup Coffeehouse (401.921.5115 or stonesoupcoffeehouse.com) opens its 28th season at the Pawtucket Arts Festival in Slater Park on September 13 before setting up at St. Paul’s Church. This year, methinks acoustic alchemists will be circling November 15, when folk fave CHRISTINE LAVIN will be headlining, with local literary heroine ANN HOOD reading from her work before Lavin’s set. Visit the Soup’s website to uncover the other jewels on this year’s roster.

Hotter than ever

CHRIS CONTI — Wed, 03 Sep 2008 16:16:24 GMT

A rich lineup at the Hot Club Waterfront Festival
The Hot Club Waterfront Festival returns this weekend with a lineup as diverse as the melting pot of 21-plus partygoers who will fill South Water Street throughout the weekend.

I SHALL BE RE-RELEASED: Deer Tick [with John McCauley III, center].

The Hot Club Waterfront Festival returns this weekend with a lineup as diverse as the melting pot of 21-plus partygoers who will fill South Water Street throughout the weekend. The 25th anniversary bash draws on the thriving local music scene, highlighting top-tier talents like Deer Tick, Sasquatch & the Sick-a-Billys, Pawtucket wordsmith Chachi, and fest vets Roomful of Blues, to name a few. The event has also landed renowned national indie acts Elvis Perkins and the Walkmen, who headline the excellent Friday schedule.

Longtime Hot Club employee Josh Collard is enjoying his first year as festival coordinator and acknowledged the emphasis on the diversity of live performers culled from the capital city.

“For the lineup, we assembled a team of music veterans along with some passionate young talent who have their finger on the pulse of Providence,” Collard said. “We looked for groups who reflect the varied tastes of the people who come here.”

The block heats up fast on Friday when the infamous party troupe World Premier kicks off the fest at 5 pm. Deer Tick follows around 8 and could be the talk of the weekend. Deer Tick head honcho and Providence native John McCauley III seems way too young to pull off such a genuine affinity for country-laced, foot-stomping blues, and his unique perspective just earned his crew a deal with Partisan Records, which will re-release his 2007 debut War Elephant in November. McCauley informed me that he just moved to Brooklyn last week and plans on eventually landing in Nashville, but says “Rhode Island will always feel like home.

“I’m looking forward to a really fun show,” said McCauley, who will most likely bring the house down when the trio closes out with their lively take on “La Bamba.”

Another folk troubadour with local ties, Brown alum Elvis Perkins (son of Anthony) also performs Friday evening, plucking numbers from his highly-acclaimed 2007 debut Ash Wednesday.

New York City indie darlings the Walkmen will headline the Friday night fun, touring behind You & Me, their latest foray into sonic melancholy. The new album, released August 19, was available a few weeks early for $5 through Amie Street, the online indie music store, with all proceeds going to the Walkmen’s charity of choice, the Memorial Sloan-Kettering Cancer Center in New York City. Vocalist Hamilton Leithauser informed me that the idea arose after friends of bassist Pete Bauer recently had a baby who was diagnosed with a rare form of leukemia.

“We were going to play a benefit show for them, but the people at Amie Street approached us with this business plan and explained that we could choose the charity. It sounded like a great idea, so we went with it.”

Unplugged

CHRIS CONTI — Wed, 27 Aug 2008 22:35:02 GMT

Arcadia Landing call it quits
Four friends, two bands, and nine years laer, Arcadia Landing is closed for business, according to a statement posted on their MySpace page on July 25.

Four friends, two bands, and nine years later, Arcadia Landing is closed for business, according to a statement posted on their MySpace page on July 25:

“It’s been an amazing nine-year run, but there comes a time when people need change and to do something different in their lives. And there are certain opportunities you just can’t pass up even if it means you have to sacrifice something you love so much.” On August 14, singer/guitarist Nate Powers elaborated about the amicable split with his childhood friends from Coventry, reporting that he has accepted a position teaching elementary music in New Hampshire. Having played a few hundred shows over the past five years, beginning as the ska-infused Slik Willy (voted Best Local Act in the Phoenix’s 2005 Best Music Poll) and as Arcadia Landing (2007 BMP Breakthrough Act champs), Powers sounded like a road-tested veteran with no regrets.

“It can be a blur at times to think about what we have all gone through in this band, but when I stop and think for a second, I realize that the past nine years have shaped who I am and who I have become.”

But fans of the Willy/Landing quartet (Powers, singer/guitarist Seth Printer, bassist Jay Blinkhorn, and drummer Chris Benson) will have one last opportunity to catch the crew in action when they headline their farewell show on Saturday at the Living Room where, like so many bands in Rhody rock lore, they performed their first show. It’s an appropriate book-end for another of those oh-so-close local crews who almost broke big while developing a steady fan base by way of a consistently entertaining live set. Lemon Lime Tennis Shoes and Senior Discount round out the bill, with rumors of some “special guests” on hand.

Their 2006 debut Bottom of the Ocean is still worth seeking out (available for $7 on iTunes and cdbaby.com). From the catchy openers “Arms Away and “Time to Breathe” to the bile-churning bass on the closing title track, the disc provided a glimpse into the band’s sonic maturity.

“That album, and the title song in particular, hits me so hard every time I listen to it,” Penrose guitarist Robb Pearson said upon hearing the news. “The writing, versatility, and talent just scream throughout.”

Late last year the Prov-based White Noise Records released an excellent local comp titled The Scene, featuring a new Arcadia Landing, “Chances,” that displayed a natural progression from silly ska fun to a razor-sharp, rocking foursome.

Pushing his buttons

CHRIS CONTI — Tue, 05 Aug 2008 20:47:22 GMT

Joe Beats heads back to the lab
“My number one priority is getting more of my music out there.”

REAL TIME Beats at work.

“My number one priority is getting more of my music out there.”

That’s not something you’d expect to hear from local DJ/producer extraordinaire Joe Beats, who has made a full-time living in the professional beat business since 1999 and has an extensive resume dating back to his days as one-half of immortal duo Non-Prophets alongside wordsmith Sage Francis. Beats has been playing out steadily all summer, from weekly local solo gigs to supporting AS220’s Rhodeshow collaborative on the road, where he supplied beats for The Growth Project 2.0 crew. But there’s bad news for fans of his re-nowned live set — a weary Joe Beats and his SP-404 samplers will take a well-deserved break, as chronicled in a recent post on joebeats.blogspot.com: “I need to go back to the drawing board [and] will rest for two months on live performances.”

Joe told me: “I hit points like now, where I’m completely exhausted by music and am forced to find new and interesting ways to keep myself enthusiastic.”

Beats has a few projects in the can and ready to roll, and said he has been in “research mode over the past few months,” getting ready to buckle down back in the lab and churn out his brand of uniquely raw yet buttery beats.

“If I go out to a record store without a plan or vision, just digging in crates, I’ll sound like everyone else or worse yet, I’ll find myself after the same types of sounds most produc-ers are out for.”

Beats broke the news that he has another album with talented Tampa-based lyricist Blak completed, the follow-up to the acclaimed Strategery EP.
“It’s different from what people would normally expect from me,” Beats said. “It’s much more accessible.”

Beats also contributed to Romen Rok’s upcoming debut album, due out by year’s end, and says the Edgewood-born rapper is “serious about his craft and ready to shine.”

Beats also found some unexpected inspiration collecting dust on the shelf.

“A New York MC named Anonjondoe and I have had an EP in the can for awhile now, and I called him up recently and told him that I still love these songs and that we need to get it out there, which is rare after listening to them over such a long span of time.”

Having known Beats since the Warwick high school days, I’m comfortable when trying to push his buttons a bit, in a matter of speaking, when discussing his live show. So, what’s so hard about it, Joey? Why so exhausted? What’s the big deal?

A team effort

CHRIS CONTI — Wed, 23 Jul 2008 15:30:12 GMT

Everyone’s gonna find out about Hello Mahalo
Yes, the name sounds familiar and no, they don’t play Hawaiian music.

Hello Mahalo

Yes, the name sounds familiar and no, they don’t play Hawaiian music. Over the past 18 months, rock quartet Hello Mahalo has paid dues on the New England concert circuit while building a solid fanbase along the way, similar to kindred spirits Zox. Both bands shared the stage at last week’s WBRU Summer Concert Series, along with Badfish and Someday Providence.

UMass Dartmouth School of Music grads Joyce and guitarist Jared Pizarro recruited Justin Hardy and drummer Tom Stanwood and their distinct musical personalities quickly meshed. The four guys hail from random parts of southern Massachusetts but have firmly planted their roots here, thanks in large part to hiring Brown University alum Dilini Fernando last year. Mahalo is her first foray into management. It all started at the BandStandLive in Taunton, Massachusetts, a full-service practice space for aspiring acts, where Fernando works as general manager.

“They rehearsed at BandStand and played their first show just two days later,” Fernando recalled. “Four guys, practically strangers, played a 90-minute set as if they had been jamming together for years. I remember thinking if they could pull off a stunt like that in 48 hours, imagine what they could do with more time, effort, and planning . . . I truly believe Hello Mahalo has all the elements needed to be a nationally recognized band. It’s just a matter of growing into that role. They push each other in new directions and at the end of the day we are even more passionate about what we do.”

That “we” team spirit isn’t lost on the fellas who, in separate e-mails, all referred to Fernando as the fifth band member of Hello Mahalo.

“Without Dil’s guiding hand we wouldn’t be nearly as far along as we are,” drummer Stanwood said. “It’s not just her hard work and diligence that has helped us, the biggest thing is having someone there who truly believes in us. She keeps us moving forward, and slaps us around when we need it.”

Fresh tracks

BOB GULLA — Wed, 16 Jul 2008 20:03:49 GMT

New discs by Someday Providence and Suicide Bill
It’s a big deal when Someday Providence gets new music out. Their new EP extends the band’s dedication to breezy pop, but also adds depth, dimension, and a wee bit of heaviness.

It’s a big deal when Someday Providence gets new music out. Voted top Local Act in the 2007 Best Music Poll, they have big shoes to fill and bigger expectations to meet. The new seven-song EP, Thanks For Listening, extends the band’s dedication to breezy pop, but also adds depth, dimension, and a wee bit of heaviness, especially on the chugging “Sing with the Radio” and the super-intense opener “The Gentleman.” Guitarist Tommy Gardner, without a doubt an aficionado of the Chili Peppers’ genius John Frusciante, gets a wide berth on these tracks and he fills that space up with some serious licks. Singer Paul Giammarco’s voice has a certain Every Guy sweetness that goes hand in hand with the band’s feelgood tunes. And bassist Eddy Maher and drummer Fuzzy Moran keep it totally tight and tasty without calling lots of attention to themselves. Recorded at White Noise by Dave Pezza, the disc sounds really good, and it gives Someday Providence’s jaunty vibe a genuine hi-fi lift. Some of lighter tunes, like “The Girl Who Wears the Sun” and the reggae-flavored “Drank Too Much,” are perhaps too thin for the band’s own good. Live, we’re sure these lilting tracks give Giammarco a chance to let the girls sing along. But the band has way too many chops to spend its time paying tribute to Sugar Ray. Still, this material shows growth for what remains one of the scene’s best bands. Catch them with Badfish and ZOX at the WBRU Summer Concert on Saturday (the 19th) at Providence Piers.

Suicide bill and the Liquors
The recording starts with a surly rhyme Neil Young himself would have loved: “You can take a big piss on a fire and still get a little bit burned.” From there, Suicide Bill and his band course through a rootsy array of meaty melodies on A Little Bit . . . Burned? (75 or Less). There’s a Replacements feel to “Original Lonely” and “Strawberry Quik” in the way Cole’s voice suggests a less angry Paul Westerberg. In fact, a lot of the album feels like late ’80s/early ’90s indie rock, the kind that came out of the Restless and Twin/Tone labels. Cole was obviously moved by that ol’ raspy and soulful garage sound; there’s a certain simplicity to the his melodies, especially on “Valium” and “Alligator Arms,” where Cole and the boys cross that indie sound with a little more Harvest-era Neil.

Keep a knockin’

BOB GULLA — Wed, 09 Jul 2008 16:15:04 GMT

Mike Dinallo helps Eddie Floyd get back in action
Mike Dinallo has been in and around R&B, roots, blues, and rock since I started writing this column, most notably with the Radio Kings a while back.

Mike Dinallo has been in and around R&B, roots, blues, and rock since I started writing this column, most notably with the Radio Kings a while back. Since then, in addition to banging out some damn good music, he’s begun producing — some country, some roots and, most recently, vintage R&B. In fact, Dinallo just completed a project for the resur-gent Stax label and their legendary artist Eddie Floyd. The disc is titled Eddie Loves You So. “Working with Eddie and getting to know him has been a complete joy,” says Dinallo. “Eddie’s energy and enthusiasm has been and continues to be incredibly inspiring.”

It’s soul man Floyd’s first new album in six years. You may remember that Floyd recorded the monster soul classic “Knock On Wood” back in 1967; the new Dinallo-co-produced al-bum finds Floyd returning to those feisty Southern roots. Floyd and Dinallo unearthed a bunch of interesting tracks for the project, including 10 originals Floyd wrote for other artists back in the day but never recorded: “’Til My Back Ain’t Got No Bone,” a hit for William Bell and later cut by Esther Phillips; “I Will Always Have Faith In You,” a #11 hit for Carla Tho-mas; and “You Don’t Know What You Mean To Me,” a co-write with Steve Cropper that labelmates Sam & Dave took to #20 on the R&B chart. Floyd was a member of the Falcons in the late ’50s, later of the Contours and 100 Proof Aged in Soul. From that era, Floyd has re-recorded a few choice cuts, including “You’re So Fine,” a 1959 hit, and “Never Get Enough of Your Love,” which he recorded on Al Bell’s Safice Records. There’s also a previously unreleased Falcons song, “Since You’ve Been Gone,” which was demoed but never recorded until now. “In choosing the songs for this record,” says Dinallo, “it hit me that I was surveying the history of soul. I had to dig through Eddie’s catalog of the past 50 years.”

LA confidential

BOB GULLA — Wed, 02 Jul 2008 15:50:50 GMT

Sweet Eve get lucky
Sweet Eve, a local band, had been trying to make things happen since forming in 2005.

WORKING THE ‘HUMAN’ TOUCH: Sweet Eve.

So here’s a good story. Sweet Eve, a local band, had been trying to make things happen since forming in 2005. They played the usual local circuit to get it done. Last year, the band took a shot and sent out press kits across the country in an attempt to cover more ground through touring. One of the long shots, the Whisky on Sunset Strip in Los Angeles, offered a slot to the band, so they saved some money, built a tour around the LA gig, and headed west. One week before they had planned to leave, their bassist bailed. “We had to wander around asking peo-ple if they knew anyone who could play bass or guitar,” says guitarist/vocalist Tony Francis. “Then the next question was, ‘Are you willing to drop everything and come on the road with two strangers for over a month?’ ”

They found a guy who had a bass, but didn’t exactly know how to play it or tune it. They traveled America giving the new guy bass lessons. “The lessons didn’t take,” says Tony. “Every show on the way was ruined. He kept wandering off in cities, he spent all of his money on stupid shit. By Denver he was broke and we were only a week into the tour.” The other two floated him on their already limited funds. When they arrived in LA, Tony’s cousin helped the band find bassists to audition. “There were a ton of great musicians out there who didn’t have a band and a lot of them had never gotten to play the Whisky so it was a good opportunity.” The guy they found, Justin, learned all the band’s songs in three days. The gig at the Whisky went well. After the show, Delious, from the R&B group All-4-One (“I Swear,” “I Can Love You Like That”), approached Tony and applauded the band for their performance. “I asked him what he thought could make us better, and he said to me, ‘If I sang your music.’ ”

Delious invited Sweet Eve to stay in LA and jam. The day after the Whisky gig, they wrote a song, “Only Human,” in less than an hour. After they banged it out, Delious began calling in favors from friends to get the band a practice space and a recording studio. On Monday they were in a practice space; on Tuesday they were in a recording studio laying down “Only Human.” Two days later they drove 49 hours straight to get back to Rhody.

Real life rock ’n’ roll

BOB GULLA — Tue, 24 Jun 2008 20:25:23 GMT

Pistol Shot Gypsy: ‘For the people, by the people’
Pistol Shot Gypsy, formerly Soma City, has been in the midst of a complete overhaul, nominally, artistically, and personally.

ROLLING WITH THE CHANGES: Pistol Shot Gypsy.

Pistol Shot Gypsy, formerly Soma City, has been in the midst of a complete overhaul, nominally, artistically, and personally. Since 2004, they changed singers, lost a bass player, rethought their name (which sounded too similar to that of a Canadian band), and were on the brink of collapse. “Trainwreck” is the word they like to use to describe what had been going on. But since, then there’s been a resurrection: a new singer, Ron Travis (ex-Rise), a new bass player (James Thompson), a manager, a lawyer, and a new album with a new sound. In fact, it’d be a whole new band if it weren’t for the valuable experience they’ve gained along the way.

The band’s new album doubles up on Soma City’s previous work, meaning it’s taken their previous sound and realized it more fully. They still like the feel of heavy classic and alt-rock, but songs such as “The Showgun” and “Train Wreck” zone in on something considerably more powerful and unique than their previous work. Travis, who comes from a hardcore background, is a massive presence, a gripping frontman whose potent melodies rise above the fray much like Scott Weiland or Layne Staley. Here’s an e-mail exchange with the collective band.

So why the name change?
Our lawyer asked us if, to our knowledge, there was anybody else using the name Soma City. We had heard of a band out of Canada that has the name, the Soma City Ward. It was not service marked here in the US, but she said why even put ourselves in a position for a legal battle down the road. She said if we reach any level of even moderate success, they all come out of the woodwork for a piece of the pie. So a name change it was! We found a Website that had different names for excessive drinking and one of the terms was “pistol shot” (as in he was pistol shot last night). We also liked a name with “gypsies” in it. Gypsies are nomadic people, always moving to the next location to make another buck. Everyone loved the idea of putting the two together. Pistol Shot Gypsy for us really is about life in a rock and roll band.

How do you feel the band itself has evolved over the last few years?
The realization of this being a music business hit home pretty hard and our manager has really tried to pull us together on that front. In today’s music industry, it is especially hard to get signed and maintain any longevity. You really have to have all of your shit together to even get noticed.

The Fab Three?

BOB GULLA — Tue, 17 Jun 2008 19:00:52 GMT

The Complaints’ new disc; plus, the Neutral Nation film
The Complaints have been one of Providence’s true stalwart bands, and one of the city’s most underappreciated acts.

The Complaints

The Complaints have been one of Providence’s true stalwart bands. Over the years they’ve stood steadfastly by their melodic, middle-of-the-road rock sound, a sound infused by the work of names like Lennon, Springsteen, Petty, Crenshaw, and the like, in which meaning and substance co-exist with danceable grooves and raw-edged guitars. The trio — Dean Petrella, Anthony Marotti, and Chris Cruz — is one of the city’s most underappreciated acts. And while that perception may never change, listening to the band’s latest album, Sunday Morning Radio, will call attention to how excellent they are. Here’s an interview with frontman Petrella.

How did you get the title Sunday Morning Radio?
“Sunday morning radio” is one of the closing lines from “New Face,” a track on the new album. The song is about the passing of my dad. He was a DJ for an Italian radio station on Sunday mornings. The cover is dad with my oldest brother taken in 1961.

What kind of thing were you going for when you went in to make the record?
We weren’t going for a specific sound, but I feel like this record encompasses everything we do. You get some of the acoustic flavors, some of the funky, sexy stuff and straight-ahead rock ’n’ roll. The only criticism that we’ve had on past records was, “Where is the sexy, funky stuff you guys play live? Where is the live energy?” I feel like we hit our stride in the re-cording process and that this record will make old school Complaints fans very happy and be a great introduction to new fans.

Do you still have rock star dreams?
Well, after touring the country and spending some time backstage with some rock stars, you realize that being a rock star is a relative term. Me and my two best friends write and record our songs. We get to play them for people around the country in a live setting close to 200 times a year and we make a living doing it! I feel like I already am a rock star! But we’re going to continue making great efforts to make the Complaints a household name. The Fab Three? Maybe!

Johnny Carlevale and the Rollin’ Pins live it up

BOB GULLA — Tue, 10 Jun 2008 21:00:52 GMT

Gettin' real gone
Over the years, Providence’s Johnny Carlevale has served as a kind of musical archivist.

HARD HITTING: Carlevale and his crew.

Over the years, Providence’s Johnny Carlevale has served as a kind of musical archivist. With his throwback sideburns and neo-thrift shop attire, he spends a lot of time dwelling in the past, which is a good thing when it comes to the music of the present.

On That’s Life, a project he recorded with his latest band, the Rollin’ Pins, he celebrates the raw rockabilly sounds of the New England artists of the 1950’s. “In fact,” he says, “we got our name from the Ricky Coyne tune ‘Rollin’ Pin Mim!’ ” This is Carlevale’s first attempt at fronting a rockabilly band since the Young Ones a few years back. “I’m proud to dedicate this band to local guys,” he says. “Nobody realizes that there was a lot of great rockabilly around New England in the ’50s. They just didn’t get the kind of national attention that Elvis, Jerry Lee Lewis, Roy Orbison, and Buddy Holly got. Some of the tunes are just as good if not better than those done by the bigger named artists.” The Boston rockabilly band the Raging Teens introduced him to “Rollin’ Pin Mim” at a gig. He then found the song on a collection named The Raging Teens (from which the Boston band took its name) that featured music by those vintage local rockers. “A record collector and music historian by the name of Jack Warner was the man who put the collection together and Norton Records released the set,” Carlevale says. “Jack is an amazing man to talk with and the two of us have started a wonderful friendship.”

Recorded in Wellington, Ohio, at Ace Brown’s studio, That’s Life brims with great tunes and boasts the kind of throwback production that enhances their authenticity. Of course they cover Coyne’s tune, which is indicative of the band’s formula: zesty acoustic guitar with “go cat go” electric licks provided by Brown. The opening “Cry Baby” and the randy, rollickin’ “You Better Stop” are especially smokin’, but the rest is pretty hot, too. “Brown,” says Carlevale of the set’s producer, “has an amazing ear for authentic sounds of almost any era, and he built the studio himself in order to get those unique sounds.” Flanked by Brown, Derek Moniz on bass, and Jeremy Kroger on drums, Carlevale really lets it fly and demonstrates an undeniable affection for the genre.

Greatest hits

GREG COOK — Wed, 04 Jun 2008 15:44:33 GMT

RISD shows off its new and renovated galleries
The RISD Museum continues its top to bottom renovation and expansion.

RIVETING: Paul Morrison’s Exine.

The RISD Museum continues its top to bottom renovation and expansion. This week the institution premieres several exhibits in new and renovated galleries in the museum’s existing buildings. And things are shaping up well.

The main event is the long-term exhibit “Subject to Change: Art and Design of the 20th Century,” in two new galleries in the renovated third floor of the 1926 Radeke Building, in a space cleared out as offices and storage move into the new Chace Center, which is scheduled to open in September. But there are also new adjoining galleries for photography, works on paper, and new media art. Two rooms are rehung with 19th- and early 20th-century American painting.

The exhibitions draw on greatest hits in the museum’s collection, a good number of which will be familiar to RISD devotees. But a new education room offers Paul Morrison’s smashing, brand new black-and-white mural that resembles a giant blow-up of an old wood engraving. A pair of giant flowers explode across the walls and, if you manage to take your eyes off them, farm buildings stand in the background.

SWEEPING LINES Margaret Bourke-White’s
George Washington Bridge.

But back to “Subject to Change.” Here gorgeous art nouveau confections like William Christmas Codman’s spectacular silvery 1903 lady’s writing table give way to Pablo Picasso’s cracked-up cubist portrait of a woman, the calligraphic abstractions of a Henri Matisse still life, and the geometric simplicity of a Frank Lloyd Wright library table. Ideas ripple out, combine with surrealism in Wilfredo Lam’s spiky monsters, and bring us to Jackson Pollock’s wild dancing drips and Cy Twombly’s graffiti scrawls. The less-is-more aesthetic produces Mark Rothko’s humming floating blocks of color, Ad Reinhardt’s woven blue-and-black bars, and Agnes Martin’s hovering minimal rectangles. And on to Andy Warhol, David Hockney, Philip Guston, and many other notables.

In the main gallery, 20th-century sculptures, clothing, and furniture are dramatically arrayed on two cantilevered platforms, while paintings occupy the walls. The dense, loosely chronological arrangement feels a bit jumbled, but obviously there’s a lot of ground to cover. The point is the stylistic and ideological links between artists that are made apparent just by looking across the room. And beautiful moments rise to the surface: the gnarled hands of a man in an Oskar Kokoschka portrait; the radiant colors of Tiffany glass vases; Charles and Ray Eames-designed molded plywood splints for the Navy’s medical use in World War II, which inspire their sleek spare post-war chairs; Bernice Abbott’s nighttime Manhattan panorama seen from the newly built Empire State Building; Ettore Sottsass Jr. and Perry King’s cute-as-a-button red Valentine portable typewriter; and the sweeping lines in Margaret Bourke-White’s photo of the George Washington Bridge.

Striving for magic

BOB GULLA — Wed, 04 Jun 2008 15:21:34 GMT

Scarce are taking it slow; plus, Killing Pablo
Do you remember Scarce?

URGENT AND DYNAMIC: Killing Pablo.

Do you remember Scarce? A decade ago, they were the biggest band in Providence and one of our greatest hopes. Then tragedy struck. Chick Graning, the band’s primary force, suffered a brain aneurysm and nearly departed this mortal coil. But he managed to recover and get back on his feet — after relearning how to play guitar and sing his own songs. Chick, bassist Joyce Raskin, and a bevy of drummers plowed through a few more tours, but Chick’s faltering health put a strain on things and they called it quits. “It was really hard. I don’t think I returned to normal for like five years,” Graning said the other day, noting he was just “emotionally flat. It was impossible to feel anything. I was blank for a long time, which is hard when you’re trying to feel the rock.” Joyce wrote a book about her adventures in Scarce (Aching to Be: A Girl’s True Rock and Roll Story). The writing process brought Joyce (now the mother of two little girls) and Chick together and ultimately led Scarce to reunite. Drummer Joe Propatier also made good use of his time away, playing for acts as diverse as Silver Apples, the Bevis Frond, and Will Oldham.

Scarce is trying to convince its former label, Universal/A&M, to loosen its grip on Deadsexy, and at least stick it on iTunes. The band has released a couple of collections of old tracks and demos to build anticipation, which are also on iTunes and available at their MySpace site, and they are working on demos with Blizzard of ’78’s Chris Cugini and at Joyce’s home studio.

Scarce has a bunch of tour dates in Europe slated for this fall, which means we might hear some new music before they head out. “There was just magic when we got together,” says Chick. “We’re taking it slow right now, in hopes that we capture some of it again.”

SCARCE + BLIZZARD OF ’78 + THE DIG | The Blackstone, 1005 Main St, Pawtucket | June 6 | 401.726.2181

Killing pablo
The Providence-based quartet Killing Pablo recently released its first full-length, Quiet/Loud/Repeat, on 75 or Less, following the EPs Pop Songs for Assholes and A Collection of Songs on Compact Disc. On Q/L/R, the band yoyos from sweet, melodic strumming to intense, distorted blasts of noise. The new stuff, less abrasive and more crafted than their previous work, recalls mid-’90s indie-rock — part-shoegazer, part-hipster/geek stuff like Treepeople, Silkworm, and Built to Spill. It’s a sound they’ve been working toward since ’05 when they came roaring out of Webster, Massaschusetts.

Text messages

JOHNETTE RODRIGUEZ — Wed, 04 Jun 2008 16:08:15 GMT

CTS Dance Company’s reverent movements
Cross-pollination in the arts shows up in many media, but it is perhaps most evident in dance.

POWERFUL IMAGERY Soriano’s Postponing
Descent.

Cross-pollination in the arts shows up in many media, but it is perhaps most evident in dance, where music and/or text almost always interact with movement phrases. A dance concert on Tuesday, June 10 at Providence College, titled Petitions, vividly illustrates this. Choreographer Christina Tsoules Soriano formerly lived in Providence and taught dance at Providence College, Rhode Island College, Salve Regina University, Festival Ballet, and Providence Ballet. Now an assistant professor at Wake Forest University in Winston-Salem, North Carolina, she will bring her new dance troupe, CTS Dance Company, to Rhode Island to present two new works — a refurbished solo (performed by Soriano) and a structured improvisation.

Soriano uses four professional dancers from North Carolina and four Wake Forest students in this production, and she feels proud of giving undergraduates the chance to tour — they’ve already performed the 20-minute piece titled Every Text Has an Intertext in six venues in North Carolina. This piece was inspired by the “mesostic” poems of John Cage and the music of Arvo Pärt.

Soriano had heard a recording of Cage reading some of his “chance-oriented” poems, and she was haunted by the cadences of his voice and the resonance behind the stark words that he repeats.

“I picked the words I wanted to work with the most: ‘structure,’ ‘intention,’ ‘devotion,’ ‘chance,’ ‘method,’ ” she recalled in a recent phone conversation from her office at Wake Forest. “I also realized that I needed excerpts of the poems that I could hold onto thematically, short phrases with a message, something to think about, little moments that are stunning.

“Essentially, you hear short excerpts of these poems layered into the Arvo Pärt track, which is from Spiegel im Spiegel and Für Alina,” Soriano continued. “It also became evident that I wanted to see the words on the bodies of the dancers at key points in the piece, so I worked with a costume designer to help with the revealing of words on the arms. There’s a big zipper on the left arm, and as it stays open, the weight swings as the dancing happens.”

As Soriano watched her dancers in rehearsal, she became aware of “a lot of reverence in the movement, a lot of awestruck references upwards,” and thus Petitions seemed the right title for the concert. The dancers work in duets and quartets, often crawling on their knees, and the dance came to look to her like a “prayerful ritual,” although she hastened to clarify that she didn’t set out with that theme in mind — “the dance gradually reveals to me what it is about.”

Walking the line

BOB GULLA — Wed, 28 May 2008 13:58:17 GMT

Duke Robillard comes out Swingin’
Duke Robillard comes out Swingin’.

JAZZIN’ THE BLUES: Robillard

In the liner notes to his new album, A Swingin’ Session with Duke Robillard, the guitarist writes, “For me, there’s a very thin line between the jazz and the blues. All the early jazz and big band players were adept and often great at playing the blues.” He goes on to cite the likes of Louis Armstrong, Ben Webster, Count Basie, and Charlie Parker.

This quote explains a lot about Robillard, and the terrain he has explored throughout his career. He has spent much of his life walking the broad line covering these overlapping styles, occasionally stepping into pure blues or pure jazz, but most often mingling the two in a potent cocktail.

On Swingin’, his 14th disc for Stony Plain, Robillard stretches into a spectrum of areas, all bound together by his passion for timeless sounds. You can hear Robillard’s musical curiosity in the way he tackles Ray Charles’s “Them That Got,” the bluesy barrelhouse of Hot Lips Page’s “They Raided the Joint,” and the sweet standard “The Song Is Ended” from the Irving Berlin songbook. Many of our fave studio aces accompany Robillard, including Scott Hamilton, Bruce Katz, Doug James, and “Sax” Beadle, plus Al Basile, Marty Ballou, Carl Querferth, and drummer Mark Teixeira. You can catch a good number of them this weekend when Robillard celebrates the release of A Swingin’ Session at Chan’s, 267 Main Street, Woonsocket, on Saturday (the 31st) at 8 and 10 pm. Call 401.765.1900.

Mike G & Associates
Guitarist/songwriter Mike Gendron has spent his career with GrandEvolution — at least for the past 300 or so gigs — plowing through New England with Sarah Kollett and Scott Kenyon. Now it’s time for Gendron to put GE on the back burner and take control of his own career, with a new band and a new album ready to roll.

The Traveler’s Diary is Gendron’s first shot at a new project and it’s a doozy. It heaves with big doses of hard rock chords, loose harmony vocals, and anthemic melodies. It’s easy to hear the inspirations at the heart of the Mike’s music: Tom Petty, Bruce Springsteen, Neil Young, and many other soaring rockers. It’s meaty, too, and above all, singalong rock with sweat pouring from the grooves. He’s sincere as hell, he wants us to believe him, and these songs make a pretty convincing argument.