Monthly Archives: November 2022

BOSTON, MA | Baltimore’s innovative hardcore force Turnstile tore up Boston for the first of two weekend shows at Roadrunner on November 19th. The intensity of their show propelled this sold out crowd into a frenzy in what felt like a purge of emotion for all involved. Each song was a favorite battle cry for fans as they let off a controlled chaotic energy filled with joy and gratitude. Turnstile offers a unique show that needs to be seen and felt to be truly appreciated.

As the band prepared to take the stage, Whitney Houston’s “I Wanna Dance With Somebody” hyped the crowd up with positivity to set the tone of the night. Turnstile exploded onto the floor, fittingly opening their set with “HOLIDAY” as the night felt very much like one.

Singer Brendan Yates shared the mic with the crowd during emphatic parts of songs, locking in the connection between the band and crowd, making the two feel entwined. Bassist “Freaky” Franz was constantly interacting with fans and headbanging along to the music.

Guitarists Pat McCrory and Greg Cerwonka kept the energy high with tight rhythms and a showcased blend of heavy and ethereal riffs. Drummer Daniel Fang served as the heartbeat by combining punk, latin, and go-go grooves seamlessly. Justin Andrade of Warwick, RI said, “They’re a band that blends a lot of heavier influences with a more alternative / pop flair. Their live shows are where they really shine though—bring your dancing shoes!”

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Ever since the 50th anniversary reissue of The Kinks Are the Village Green Preservation Society (2018), considered the first concept album from The Kinks, the group has been rolling out some box sets befitting its exalted place in the pantheon of rock and pop music history.

The Kinks Are the Village Green Preservation Society was followed by Arthur (Or the Decline and Fall of the British Empire) in 2019 (the group’s last ’60s concept album) and Lola Versus Powerman and the Moneygoround, Part One, in 2020, its first concept album in the ’70s. Lola Versus Powerman and the Moneygoround, Part One was a biting critique of the music industry and cast a jaundiced eye on the pitfalls of musical stardom, or obscurity, clearly from first-hand experience. It would be the group’s last album released by Reprise in America, surprisingly a very artist-friendly record label at that time.

While Lola Versus Powerman and the Moneygoround, Part One is certainly a bitter album from a veteran pop music insider, it isn’t heavy. Davies conceives these albums as conceptually thematic, but unlike some others who created concept albums in this period, he avoids the weighty pretentiousness and grandiose egotistical bombast that often mars otherwise ambitious and worthy works. Also, Davies does not write about working-class people from the lofty perch of a rich and famous pop star, or simply paint the rich and famous as bad either, but instead brings empathy to the writing of both kinds of characters.

Between Lola Versus Powerman and the Moneygoround, Part One and Muswell Hillbillies (1971), its RCA debut, the group was involved in the soundtrack for the film Percy, released in 1971. It was directed by Ralph Thomas and was based on the novel by Raymond Hitchcock, and the screenplay was co-written by Michael Palin.

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Celebrating John Ashton, born on this day in 1957. —Ed.

Love a band? Hate a band? It often comes down to simple timing. For instance, had My War been the first music by Black Flag I ever heard, instead of their earlier EPs and singles, I would never have given them the time of day. The same is true for The Psychedelic Furs. I first heard them when they were putting out such catchy and undeniably lovely new wave songs such as “Love My Way,” “Heaven,” and “Pretty in Pink.”

Unfortunately, I disliked new wave, because in the wake of first-generation punk it sounded too wimpy, emasculated, and dance-oriented for my tastes. To paraphrase one David Bowie, “I never got it off on that new wave stuff/How bland/Too many Duran Durans.” Or to quote the great Minutemen, “Do You Want New Wave or Do You Want the Truth?”

But had I heard the Furs around 1980, instead of, say, 1983, things would have been very different. In fact, I’d have loved them. Because 1980 was the year they released their debut LP, the eponymous and post-punk The Psychedelic Furs. Forget their melodic new wave tunes that ended up on film soundtracks and got played at every prom in the land.

The Furs’ debut is a fabulous collection of droning grooves over which vocalist Richard Butler talk/sings enigmatically about who knows what to the accompaniment of guitars and one great saxophone. And to think I never heard so much as a song off it until Kid Congo Powers covered the ecstatic “We Love You” at a live show here in DC. Thank you, Kid, for your great tastes in music and your great mustache and for turning me on to The Psychedelic Furs. I owe you big time.

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Everywhen We Go is the second album by the unimpeachable trio of Mike Baggetta on acoustic and electric guitars, Jim Keltner on drums and percussion, and Mike Watt on bass. Cohesively structured with an air of spontaneity, the ten-track LP is a non-vocal affair with expert interplay that’s spacious yet disciplined as it thrives on the deepened familiarity of the participants. The record is out now on vinyl and digital through BIG EGO Records, the label of the album’s producer Chris Schlarb.

The story is that Wall of Flowers, the 2019 debut by Baggetta, Keltner and Watt was the byproduct of a cold call by the guitarist, who admired and had been influenced by the other two points in this creative triangle. The results are impressively together given the specifics of its creation, though I don’t want to suggest they just arrived at Chris Schlarb’s BIG EGO studio and proceeded to wing it.

Wall of Flowers is a potent dose of expansionist instrumental rock, at times atmospheric and with an edgy post-fusion jazz tinge, which is unsurprising given that Baggetta has cut four albums for the Fresh Sound label, three with his quartet (Small Spaces, 2008, Source Material, 2010 and Thieves and Secrets, 2013) and one with his trio (Spectre, 2016).

After Wall of Flowers release, Baggetta and Watt took it out on the road with Stephen Hodges stepping in for Keltner (who doesn’t tour) under the name mssv. They also cut two records, Live Flowers (2019) and the studio follow-up Main Steam Stop Valve (2020), the title referencing Robert Wise’s 1966 film adaptation of Richard McKenna’s novel The Sand Pebbles (the album’s title also directly inspired the initials of the trio’s moniker).

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BOSTON, MA | ‘80s American heavy metal icons W.A.S.P. brought their electrifying 40 Years Live World Tour to a sold out Big Night Live Wednesday night. The eager crowd buzzed with excitement as this tour ended a decade-long touring hiatus in the United States.

Los Angeles heavy metal act Armored Saint who also became well known in the same era as W.A.S.P. fittingly opened the night and got the crowd amped up. Vocalist Jason McMaster sounded great as he filled in for John Bush who was recovering from an illness. He was notably excited to be in the spotlight, especially in Boston where he shared his appreciation for how this city always gives the energy back to the artists. The Sandoval brothers continued to be the heartbeat of the band, both on drums and lead guitar.

W.A.S.P. frontman Blackie Lawless commanded the audience with every shout and was met with equal enthusiasm by a crowd headbanging along to their biggest hits. Blackie was joined by W.A.S.P.’s current lineup of bassist Mike Duda and guitarist Doug Blair, whose tenures in the band span 26 and 18 years respectively, along with drummer extraordinaire Aquiles Priester.

Custom sawblade guitars perfectly suited Doug Blair’s shredding as he filled the night with lengthy and passionate solos. Duda kept the energy high while shouting backing vocals and bouncing around the stage. A thunderous double bass kit was in high gear with Priester behind the drums. Led by Blackie Lawless, this lineup had Boston throwing up their horns and shouting along all night.

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VIA PRESS RELEASE | On November 17th at the Prudential Center in Newark, New Jersey, the Grammy Museum Experience previewed its new Beatles exhibit, “Ladies and Gentlemen…The Beatles!” for the press and other invited guests. The exhibit will run through June 25th, 2023 and will also feature various events, including several author events. It covers The Beatles’ invasion of the United States from 1964 through 1966.

The exhibit showcases some priceless collectibles, such as Paul McCartney’s Hofner bass and the suit he wore at the group’s first historic Shea Stadium concert, gold records, ticket stubs, posters, clothing, and other ephemera. It’s a Beatles fan’s dream come true and also offers various video and interactive displays.

The evening included a short, informal Q&A between Beatles author and scholar Kenneth Womack and May Pang. After the talk, Pang’s film, The Lost Weekend: A Love Story, was shown. This was the first screening of the film since its debut at the Tribeca Film Festival in June. The riveting film depicted Pang’s time with John Lennon, during his so-called “lost weekend” period. It also provided some depth and context by including background on Pang’s upbringing and her time at Apple and touched on her life since her relationship with Lennon ended. It’s great to see a Beatles exhibit in the tri-state area that will have such a long run and that comes with a very affordable admission price.

Future confirmed events include Allan Kozinn and Adrian Sinclair, co-authors of the The McCartney Legacy (Volume 1: 1969–73), will appear at the exhibit on December 14, the day after the publication of their book. The world’s foremost Beatles scholar, Mark Lewisohn, will appear on March 30, 2023, concurrent with the New York The Fest for Beatles Fans, happening nearby at the Hyatt Regency in Jersey City from March 31 through April 2. Lewisohn will actually be appearing at the White Eagle Hall in Jersey City.

Remembering Denny Doherty, born on this day in 1941. —Ed.

A few random observations about The Mama’s and the Papa’s’ 1966 debut LP and folk-pop classic If You Can Believe Your Eyes and Ears.

1. This album has everything, including a toilet on the cover! Which puts it in some elite crapper company, including the Rolling Stones’ Beggars Banquet, Sebadoh’s Bakesale, Millie Jackson’s Back to the S__T!, and Humble Pie’s Thunderbox. (The Circle Jerks’ Golden Shower of Hits doesn’t count, because it features a urinal.) As for the toilet on If You Can Believe Your Eyes and Ears, it faded from view and was living in filth and poverty until 1988, when it sued the Mamas and the Papas for royalties and won. It currently resides in Costa del Sol and is married to a supermodel.

2. There’s a great story about how Mama Cass Elliot came to join the Mamas and the Papas. Seems John Phillips didn’t want her in the band because of her limited vocal range. THEN, but let’s let Elliott tell it:

“They were tearing this club apart in the islands, revamping it, putting in a dance floor. Workmen dropped a thin metal plumbing pipe and it hit me on the head… I had a concussion and went to the hospital. I had a bad headache for about two weeks and all of a sudden I was singing higher. It’s true. Honest to God.”

It’s a great story. Unfortunately it’s not true. Seems Phillips didn’t want Elliot in the band because she was too fat. Me, I prefer her story. It gives me hope that one day I’ll get conked on the head by a length of pipe, and suddenly discover I can sing like Geddy Lee.

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Emotional Response Records of Cottonwood, AZ has amassed an impressive discography, with the Typical Girls various artists compilations amongst the standouts in the bunch. The focus of these comps is international female-fronted punk, post-punk, darkwave, and indie sounds (a song by The Slits gives the series its title), and the latest volume is out now on vinyl (limited transparent red and classic black) and digital download. As the 16 selections featured on Typical Girls Volume 6 unwind, it’s clear the endeavor is as inspired and unpredictable as ever.

One of the dependable positives in the Typical Girls scenario are the introductions to new bands, and so it remains here, even as The Linda Lindas open Volume 6, with this considerably high profile Los Angeles-based Asian/Latinx band having played on national television at least once. Hearing them on TV, my initial thoughts turned to the Vivian Girls’ brand of post-Ramones action, but their cut “Claudia Kishi” here is securely in the punk tradition of their hometown, and notably their label Epitaph, as the Ramones (and even a little Buzzcocks) are still part of the equation.

Navigating north to Oakland, Fake Fruit offer “No Mutuals,” a decidedly post-punk proposition, as early Wire and Pylon are cited as influences, though I’m also reminded of more recent developments like Slant 6 and Scott and Charlene’s Wedding. Hailing from nearby Berkeley, Naked Roommate bring an electro-punky art-poppy spin to their DIY-ish “Wandering Thumb,” while San Francisco’s Cindy (a band constructed around the voice and guitar of Karina Gill) dish gloriously classique ’60s-imbued keyboard-infused bedroom pop with their “Thin as Flags”

Shifting gears and geographical regions, Melbourne, Australia’s Swab throw down crunched-out hollering hardcore in a late ’80s East Coast USA/ Japanese vein with “Nothing to Lose,” so fans of Deep Wound, Lip Cream, and the pungent aroma of circle pits can rejoice. Swab’s blitz is over right quick, giving way to Greek act Selofan and the robust cold wave of their “Black Box.” From there we return to the USA with Sweeping Promises of Lawrence, Kansas, whose riff-laden art-punky “Falling Forward” sounds like it could’ve came out on Rough Trade in 1979.

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