Vampy's memorial service is Wednesday in California
2)Girl On Top
The Winter Soldier
First Captain America review here
TJE FIRST AVENGER review
4)Rob Fraboni on Visual Radio 4/10/14
5)Kat Quinn "Kind of Brave"
The band Melt - Lindsey Kit on vocals, Dan Inzana on Guitar, Paul Pipitone on bass, and original drummer Ben Thompson (Ben Lyons is on the CD) rocked Club Bohemia downstairs at the Cantab April 18, 2014.
Melt took the stage at 10:21 pm opening with "Spiral" - something distinctly different after the Boney-M styled dance pop of the previous act, Dan Oulette. This was pure new wave ave in the new millennium - think The Rolling Stones "Sway" played backwards, solid and powerful with a great audience response. 10:30 PM the band went into "Leopard" - with a Kinks/Paul Revere & The Raiders chord-riff the drums, bass and guitar providing a frontal assault for Kyte's vocals - think Jefferson Airplane's Grace Slick meets Susan Boyle. Concise and smart hard pop with elegant guitar lines even sharper in the cement-floor confines of Club Bohemia. Kyte holds the notes extra high and long with drummer Ben Thompson pounding away a la David McLean of Boston's legendary Boom Boom band. At 10:34 came "No Shame" followed by "Quarter To 3" (not the 1961 song by Gary "U.S." Bonds).
"Supersonic" - track 5 from the band's Armageddon Party CD was more boom boom sounds, and splashy quasi-psychedelic guitar grooving from Dan Inzana. Some of the foundation sounds borrowed from the Bob Ezrin production of Alice Cooper's Killer lp. "Supersonic...histrionic...I don't know which way to go." Maybe a bit of the New York Dolls "Frankenstein" in there to boot.
"Bradford" followed at 10:46 PM, and the group dedicated it to the Boston scene's fallen solider, Anderson Lyn Mar. The heartfelt vocal glided perfectly over liquid guitar. Melt is a perfect name for the music, a great Fender sound that cuts through the hard-hitting rhythm section.
A lovely cover of Portishead's Glory Box changed the pace at 10:51 PM. Picture Marilyn Manson's "The Dope Show" put in a dreamier state.
GLORY BOX Portishead
"Grind", the eighth song of the evening at 10:55 PM had a sort of Tommy James "I Think We're Alone Now" undercurrent, nuts and bolts no-nonsense rock. "Babble On" featured a repeating guitar strum line over a bit of jass fusion. The title track, Armageddon Party" (see video below from another show) was a cosmic assault, a bit more in your face than the CD rendition with "Draggin' closing out the evning at 11:06, a bit of the Ramones' "Blitzkrieg Bop" but tightly packed in the vacuum container with more Kinks/Paul Revere & Raiders power added to it. A solid night and a revelation as this is one of Boston's best kept musical secrets.
The group's website notes "http://meltmusicrocks.com/about-us
This they achieved at Club Bohemia on a Friday night in April
November 12, 2010 Live at McGann's
ARMAGEDDON PARTY opening track of the disc
The Pyshco Merchants eponymous CD hits hard with the 3:24 blasts of "Stop Pushin'
http://www.reverbnation.com/page_object/page_object_photos/artist_3716130?sel_photo_id=16392447&onph...it's a blend of Joe Walsh meets Black Sabbath - think "Turn to Stone" - a Walsh tune that would fit perfectly within this power trio's non-stop sonic assault. Drummer/lead vocalist Kevin Hupp has a sound that ranges from Ozzy to Jim Peterik of the group Ides of March. "Fire" appears to be a biographical tune and would make for a killer CD single with its compelling riff and eerie guitar overlays swirling throughout its four minutes and five seconds. "Fire" (not the Hendrix tune) musically mutates into Rubiks Cube with a melody ricocheting in and out of the maze. Rubkis Cube would make for a nice "bonus" track 12 in instrumental form, it has the groove.
"Dashboard Jesus" (with a gun in his hand) - a tongue-in-cheek composition from songwriter Hupp and his accomplice, guitarist Rick Tedesco, gives a mountainous blast of wry irony followed by the four minute twenty-seven second ballad, "Magdalena." It's stylish with overtones the Venutres put into their sci-fi meets C & W work in the 1960's. "Freedom" - another Hendrix title but not the Hendrix tune (though Jimi's song would fit so nicely into Psycho Merchants repertoire,(
This "Freedom" is more macho-rock with muted guitar sludge over a melodic, repeating chorus/chant. Anthemic hard-metal with attitude. "Hit Me" continues the attack while "Round & Round" (not the Ratt tune, nor Chuck Berry's "Around & Around" that the Stones had so much fun with) is a departure from the sound of the rest of the disc, a rhythmic, pulsating exploration of dark karma with a repeating chorus.
The cover of Led Zeppelin's classic, "Thank You," has bassist Frank Gagliardi doing a nice Felix Pappalardi run in a standout track - a thoughtful Zep reprise with the group Mountain's overtones. Hupp gives very nice Robert Plant inflections while Te4esco admirably cops Jimmy Page's tender and tough guitar picking.
The music of Psycho Merchants is not for the timid. Industry veterans who turn the amps up to 11 and are clearly having fun while doing so.
CHUCK BERRY AROUND & AROUND
Ratt ROUND & ROUND
The title track to Vincent Poag’s For The Girls has a neo-reggae calypso-drenched pop dressing as the platform to the singer’s reflections and perspective on life and love. Mexican horns blend in with the heavy rhythms and vibes, kind of like Elton John’s “Island Girl” taking a visit to Jimmy Buffet’s “Margaritaville.”
While Lou Reed was “Waiting for the Man” Poag responds with a dark, cascading “Waiting for Me” that could easily slip into an Evening of Kurt Weill. Poag blends multiple styles that at first glance seem incongruous to the formula, but somehow it all makes sense and in doing so the stylist comes up with a unique blend.
“Forever” is a more traditional, lilting piece with acoustic guitars, strings, piano and subdued percussion while sprinkling some Dylan/Ian Hunter flourishes in the vocals. Opening track, “45 Mile and Hour Girl” is cheeky in its clever – but silly – sincerity. It might have worked better as track three with “For The Girls” opening the disc, but perhaps they can do that for the vinyl in the days of iPad. Does Track selection even matter in the digital realm??? (I say it does.)
The CD album is solid Americana which could get some country crossover on adventurous stations. “Once Upon A Time” would be fascinating in the aforementioned hands of Ian Hunter. Poag reads the essay while limiting the vocal range over sweet violin and piano.
Diana Hope’s vocal on “Wonder” is reminiscent of Fairport Convention with a touch of Sandy Denny or perhaps Judy Collins with Celtic leanings with the formidable Mark Newman accompanying the band. Hope and Newman were also on Poag’s previous cd, Circling Back.
The music on For the Girls touches upon a wide array of genres. It’s an appealing something different offering a change of pace for traditional playlists looking for a little fun to shake things up.
Joe Viglione is the Chief Film Critic at TMRZoo.com. He has written thousands of reviews and biographies for AllMovie.com, Allmusic.com, Gatehouse Media, Al Aronowitz’s The Blacklisted Journal, and a variety of other media outlets. Joe also produces and hosts Visual Radio, a seventeen year old variety show on cable TV which has interviewed Jodie Foster, director/screenwriter David Koepp, Michael Moore, John Cena, comics/actors Margaret Cho, Gilbert Gottfried, Gallagher, musicians Mark Farner and Don Brewer of Grand Funk Railroad, Ian Hunter of Mott The Hoople, Ray Manzarek, John Densmore, Felix Cavaliere of The Rascals, political commentator Bill Press and hundreds of other personalities.
Whatever happened to my review of Carole King Songbook?
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