Just Another Band Out of Boston: A Special Boston Playlist


Here is the latest installment in our periodic series highlighting Boston and New England artists. (View the complete series here.)


Mark Erelli (from the Hillbilly Pilgrim Records release Milltowns)
Erelli pays loving tribute to his hero and mentor, the late folk musician Bill Morrissey. With the help of some talented friends — including Peter Mulvey, Kris Delmhorst and many others — Erelli re-visits twelve songs from the Morrissey canon. The selections range from the amusing “Letter From Heaven” (“I bought Robert Johnson a beer / Yeah, I know, everybody’s always surprised to find him here.”) to the sadly moving “These Cold Fingers” (“Everything slips through these cold fingers / Like trying to hold water, trying to hold sand.”)

In addition to the Morrissey songs, Erelli contributes one original composition to the collection. The title track is a touching reflection on his relationship with Morrissey:

I was getting ready to go on / you said “Grasshopper, you sing ‘Birches’ / I’ve been singing it for too long” / So I sang it like I’d written it / though I wished you hadn’t asked / ‘Cause I couldn’t shake the feeling / like something was being passed.

One can hear the admiration in every note. Here, for your listening enjoyment, is “Milltowns.”


Four AM, Josh Buckley (from the self-released Blind Side of the Heart)
Ok, so Buckley moved to Austin a few years ago. I’ll always associate him with Boston, however, where he lived for several years. Heck, this album was even recorded here with local quartet the Blue Ribbons and several other talented Boston musicians providing musical accompaniment.

If Buckley’s last release was a rock record with a Neil Young and Crazy Horse vibe, this collection veers more towards Gram Parsons and Doug Sahm. The songs move along with an ambling feel, accompanied by lyrics that reflect on heartbreak and loss. The combination gives them a distinctive blend of resignation and contentment.

Of course, Buckley still likes to have some fun as he does on this sauntering gem. “Only Warren Zevon calls at 4am that’s why I didn’t pick up.”

Audio Download: Josh Buckley, “Four AM”

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Tattooed Man and the Saint, Dan Blakeslee (from the self-released Owed to the Tangled Wind)
Despite the fact that Dan Blakeslee is widely recognized as one of the friendliest, happy-go-lucky musicians in town, his songs often has dark and mystical overtones. All the better I say, as he is a master at using vivid and poetic language to tell ornate musical stories.

Blakeslee travelled to the Columbus Theater in Providence Rhode Island to record Owed to the Tangled Wind. The theater has become something of an artist community, anchored by Ben Knox Miller and Jeff Prystowsky of the Low Anthem. That duo appear (and lend their engineering talent) along with Joe Fletcher and Jonah Tolchin among others. The musicians create a rich musical tapestry that is the perfect setting for Blakeslee’s songs. The results are strikingly beautiful.


World Go Round, Will Dailey (from the Wheelkick Records release National Throat)
Having finally extricated himself from a failed label deal, Dailey set to do things on his own terms. If National Throat is any indication, the newfound freedom suits him well. Dailey creates a sound that is best described as eclectic pop, mixing in bits of everything from reggae to jazz. Hooks abound, with the occasional angular twist to make things interesting.


Wellspring, The Boston Singer’s Project
Songwriter and multi-instrumentalist Andy Santospago has set out to release a song a month in 2014. Although each track features a different singer and a host of other musicians sharing their talents, one can hear the consistent thread of Santospago’s musical pen. So far the songs have ranged from classic Harry Nilsson-esque pop to groove-heavy blues to Americana pop.

Nine months down and three to go. I, for one, am eager to hear what’s coming next.

(Visit the Boston Singers Project site for lyrics and the stories behind each song)


Fort Point Boogie, Tony Savarino (from the self-released Guitarino)
Any guess as to Tony Savarino’s instrument of choice? Savarino puts his guitars to work on this eclectic collection of instrumentals. You’ll hear a bit of blues, some pop and even a standard (a wonderful solo acoustic “As Tears Goes By”), all played with the perfect combination of skill and personality. Here’s the tasty opening work-out.


They’re Gonna Shoot, Abbie Barrett & the Last Date (from the self-released The Triples)
Barrett’s latest, the compilation of a recent ep series, is filled with regal indie pop that is sometimes dark and sometimes dreamy. Well, perhaps more dark than dreamy but brimming with melodic hooks that occasionally veer in unexpected directions.


Flash of White Light, Watts (from the Rum Bar Records single Flash of White Light/The Mess is the Makeup)
Are you ready for some smokin’ stadium rock? This Boston quartet pick right up where they left off with 2011’s On the Dial. Do you like big ol’ hooks and loads of in-your face guitars? If so, this is your jam.


Life Goes On (Until It Don’t), Township (from the self-released ep Life Goes On (Until It Don’t)

1970′s rock in all it’s glory. If you ain’t playing it loud, you ain’t playing it right.

Mayer’s Playlist for July 2014, Part 1

ALBUMS OF THE MONTH

Resolution Road, by Easton Stagger Phillips

Easton Stagger PhillipsI don’t like to draw direct comparisons between artists but it’s hard not to do so with the latest release from Tim Easton, Leeroy Stagger and Evan Phillips. This talented trio of singer-songwriters conjure up the finer moments of Crosby, Stills and Nash. Resolution Road flows with the laid-back feeling and gentile harmonies that were – and are – a CSN hallmark.

Phillips kicks off the album with “Always Came Back To You,” a graceful love song made all the richer by the trio’s warm harmonies on the chorus. His reflective “Lucillia” has similar qualities and a day-dreamy vibe.

Stagger brings a tempered rock attitude to his contributions. A persistent drum beat ushers along “Traveler” as vocal harmonies give way to a George Harrison-flavored slide guitar solo.

Easton’s closing “Baby Come Home” is simultaneously melancholy and sentimental. “Sitting here late at night wondering where you might be,” he laments before the others join him to declare “baby come home right now, I need you for the rest of my life.” Guest Derry deBorja adds some subtle yet expressive organ flourishes.

Each singer-songwriter bring their own personality and songs to the group. Yet they blend together beautifully, as if they were meant to perform together. Like CSN, Easton Stagger Phillips prove that sometimes 1+1+1 equals more than three.


Dereconstructed, by Lee Bains III and the Glory Fires

Lee Bains III and the Glory FiresThere’s an old adage — write what you know. Birmingham, Alabama native Lee Bains takes this to heart with a searing album about life in the modern South. His lyrics reflect on the weight of history, religion and everyday economic struggles of small town Southern life; his songs are fueled by incendiary guitars and furious rock beats.

Bains doesn’t shy away from social commentary on tracks like “The Kudzu and the Concrete”:

You can talk, talk, talk about it: Repentance, and forgiveness, and loving your neighbor as yourself.
But what the hell does that mean when all your neighbors look the same and think the same or else live a couple miles down the rural route?

He wrestles with the love-hate relationship of growing up in Birmingham in “The Weeds Downtown.” “I know that Birmingham gets you down, but look what it raised you up to be,” he sings.

“The Company Man” takes a stand against greed and blind obedience. “All it takes is one wicked heart, a pile of money and a chain of folks just doing their jobs,” he cautions.

Bains lets his guitar do plenty of talking, too. Dereconstructed is a no holds barred rock album. Bains and fellow guitarist Eric Wallace trade licks like Keith Richards and Mick Taylor back in the day. The entire band sounds ferocious, rough and ragged. Bains describes it best on “Dirt Track” when he says, “Squeezing glory out of three rusty chords.” The results are glorious, indeed.

Audio Download: Lee Bains III and the Glory Fires, “The Weeds Downtown”

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THE PLAYLIST


Bernadine, Adam Carroll (from the self-released Let It Choose You)
I’d lost touch with the music of Austin folk-country singer Adam Carroll a few years back. I recall him tending towards humor in his songwriting yet always equally adept at finding the tenderness of a moment. His latest release shows that he hasn’t lost his touch.

While there are still occasional glimpses of humor, his latest batch of songs tend towards the sincere end of the spectrum. His voice and music have a gentle aura about them, his songs filled with thoughtful character-driven stories.

Audio Download: Adam Carroll, “Bernadine”

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Carry On, Denver (from the Mama Bird Recording Company release Rowdy Love)
Three singer-songwriters out of Portland serve up songs that are alternatively ramshackle and relaxed. The eleven tracks on Rowdy Love are rooted in country but sometimes veer towards mountain folk-rock territory that is reflective of the region from which they take their name. Then there is this track, a personal favorite, which has a decidedly Gordon Lightfoot feel.


Down, Kingsley Flood (from the self-released Live at the Armory)
I wouldn’t often call a live album one of an artist’s best releases but it’s appropriate in this instance. To tide us over until their next studio release, the Boston and Washington D.C-based six piece sextet took over an intimate venue to perform a career-spanning set. They impressively find a way to breathe fresh life into older songs and ratchet up the intensity of their already forceful more recent work. It also showcases the talents of songwriter Naseem Khuri, who crafts songs that are exceptionally intelligent and damn catchy, too.

You can download a free six-song sampler from this release here.


Monday, Caleb Caudle (from the This Is American Music release Paint Another Layer on My Heart)
New Orleans by way of Winston-Salem North Carolina singer-songwriter Caudle says that much of this album was inspired by a year of touring and the corresponding yearning for home. “I’m really leaving it’s really Monday, I don’t know how it got here so soon,” he laments on this stand-out, “lately I’m finding so little to trust in, that’s why it’s harder leaving you.”


Too Long I’ve Been Gone, Dom Flemons (from the Music Maker Relief Foundation release Prospect Hill)
The Carolina Chocolate Drops co-founder continues his exploration of the early American music canon on his latest release. Flemons roots himself in folk but masterfully blends countless other genres into the mix. “Georgia Drumbeat” beautifully blends jazz, country and folk while “Have I Stayed Away Too Long?” has a touch of Dixieland and “I Can’t Do It Anymore” brings in some tasty blues playing. I’m partial to this song, a more traditional – and winsome – ballad.

Mayer’s Playlist for May 2014

ALBUM OF THE MONTHS

All Or Nothin’, by Nikki LaneNikki Lane

Nikki Lane’s sophomore effort caught me by surprise. I’d be lying if I said that I had more than a cursory exposure to her 2011 debut, but the just released All Or Nothin’ has grabbed my attention.

Lane’s songs are rooted in country, albeit with a healthy nod towards the pop end of the spectrum. “You Can’t Talk to Me Like That” is a soothing retro ballad with a chorus of harmonies setting the stage for Lane’s entrancing vocals. “Seeing Double” moves along with a rumbling rockabilly beat while a lap steel guitar propels the gentle “Good Man.”

Lane doesn’t pull any punches lyrically. All the better I say. She takes a defiant tone on “Man Up,” demanding “you better get off your ass, you better man up or I’m gonna have to be the one who gets tough.” She steps out on the brash and boozy “Sleep with a Stranger,” proclaiming “I ain’t looking for love, just a little danger.”

As if to drive the point home, the title track finds her declaring “It’s always the right time to do the wrong thing.” Words to live by, right?


THE PLAYLIST


Beauty of All Things, Bow Thayer and Perfect Trainwreck (from the self-released Eden – Live at the Chandler)

Thayer’s 2013 release Eden was a real gem, an organic slice of Americana with a slightly jam band feel. Well, Thayer and the boys are back with a complete live performance of said album, recorded live at the Eden cd release show in Thayer’s native Vermont. The talented group of musicians prove that they are the real deal, a band that can beautifully and consistently capture their studio magic on a live stage.


Hold On to Rockets, Gina Villalobos (from the self-released Sola)

Few artists capture melancholy as skillfully as Villalobos. Her music walks the subtle line between tranquility and yearning, a sound made all the richer by the mix of angst and charm in her voice. It is a potent combination that makes Sola, her first release in five years, such as treat.

Audio Download: Gina Villalobos, “Hold On to Rockets”

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You Don’t Know, Glen David Andrews (from the Louisiana Red Hot Records release Redemption)

Combine two parts New Orleans rhythm & blues with one part rock & roll and you’ll end up with a sound like Glen David Andrews. Like many an artist, he has faced down some personal demons and emerged with a powerful and personal musical statement.

Redemption is filled with plenty of guitars and horns but it is Andrews’ booming voice that stands front and center. It has a sinister quality that is intoxicating, coming across like a potent mix of a preacher and an old bluesman.

As an added bonus, Andrews invited some friends to sit in on various tracks. Ivan Neville, Galactic’s Ben Ellman and guitarist Anders Osborne all join in the redemption.

Audio Download: Glen David Andrews, “You Don’t Know”

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Man in Question, Cheap Girls (from the Xtra Miles Recording release Famous Graves)

When you just need some good ol’ rock and roll, look no further than Cheap Girls. The Lansing, Michigan-based trio take great pop hooks and serve ‘em up with burnished flair. Bassist Ian Graham sings with a bit of a drawl that makes for a nice contrast with the raucous noise that he and his bandmates make.

Lots of bands like to say that their music is best played loud. With Cheap Girls it is true.


The High Road, Archie Powell and the Exports (from the self-released Back in Black)

Did someone piss off Archie Powell? His latest release has an angry edge (and lots of shouted vocals), much more so than 2012’s impressive Great Ideas in Action. Don’t get me wrong, Powell still knows his way around a pop hook and there are plenty to be found here. Even when he slows things down, albeit to a tempo just a notch below “furious”, the songs still have some venom and punch. The Exports are in fine form as well, making quite a racket of their own.


Gimme Truth, High on Stress (from the self-released Leaving MPLS)
This is one of those unfortunate posthumous reviews as the Minneapolis-based quartet recently called it quits and played their farewell show. ‘tis a shame, as the band really know their way around a rock song. Leaving MPLS is chock full of hearty guitar-driven rock and roll, the kind of fist-pumping songs that beg to be heard live. Pardon the pun but they are leaving on a high note.

Audio Download: High on Stress, “Gimme Truth”

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You Are Gold, The Soft White Sixties (from the self-released Get Right)

This San Francisco-based quartet walk the line between the 1960’s R&B-influenced pop that their name suggests and contemporary indie rock. If you like this shimmering track, you’ll find plenty more like it on their latest release.

Audio Download: The Soft White Sixties, “You Are Gold”

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Katie Deter – The Brooklyn Sessions

katie deterIt isn’t every day that a sixteen year old singer songwriter can captivate a producer through a social media post. In fact, the same would go for a 26 year old songwriter. However, that is exactly what happened in this case. When Brooklyn based producer/musician Brian Murphy saw a video of Katie performing posted on a mutual friend’s Facebook page, he reached out to her. Next thing you know, Katie and her father are on their way to Brooklyn for a recording. For the project, Murphy assembled a team of musicians that are essentially the backing band for much hyped group, The Lone Bellow. The result is a five song EP entitled “The Brooklyn Sessions”.

One word comes to mind when describing these songs. That word is “refreshing”, and the accompanying music captures the feeling perfectly. The perspective in these songs is what is so refreshing. Katie may have a sixteen year old’s view of the world, but it is her own view and accompanied by a healthy dose of humor. Take the opener ”The DMV Song”. It is all about how a drivers license to most people marks the first step to being “independent and free”. Katie rejects this conventional view and says, “I’ve got this spirit in me, and I will do with it what I please. I don’t need that piece of paper to prove I’m independent and free”. Kudos to her for realizing this now, because it seems that in each stage of life there is a piece of paper that tries to define us. All of the songs in this project deal with identity in one way or another. Katie deals with the subject of identity often with humor. On “I Wish I Was Irish”, you can’t help but laugh as she describes an idyllic vision of the future in a fun way. The song “Black Coffee” has the same feel when describing an aspect of love.

It is so enjoyable to listen to a collection of songs that can make keen observations without being too heavy. On “The Brooklyn Sessions” Katie’s comforting voice and perspective is accompanied by a well produced indie-folk framework. On the song “Gotta Grow Up” Katie sings about trying to “make my mom and dad proud”. I think she already has.

Mayer’s Playlist for Feb/Mar 2014, Part 2

ALBUMS OF THE MONTHS

English Oceans, by Drive-By TruckersDrive-By Truckers

I suppose that this review could be titled “Cooley Steps Out.” The band co-founder, who has historically contributed only a couple of songs per release, is credited with six songs on English Oceans. Ever better, they are some of his strongest songs in years.

The opening “Shit Shots Count” is classic Cooley, a guitar-fueled shot of attitude. “Pride is what you charge a proud man for having,” he barks, “Shame is what you sell to a whore.”

“Hearing Jimmy Loud” finds Cooley, well, shooting the shit with a guy named Jimmy. The song mingles tales of hardened blue collar life with life teachings like “the moral lessons of a charmed life only get through guilty ears.”

He reflects on old age with the melancholy “Primer Coat.” A jangly guitar propels the song forward as he sings, “He’s staring through his own taillights and gathering speed.”

Patterson Hood, too, serves up a fine batch of songs. His story-telling and character studies are as vivid as ever. The somber “When Walter Went Crazy” is the dark tale of a husband and wife who have drifted apart and whose lives have spiraled into darkness. “When Walter went crazy he had rattlesnake in his eyes,” Hood explains, “blended whisky in his veins and murder in his heart.”

Hood’s “Pauline Hawkins” starts with a brooding guitar and snare drum beat before exploding into a piano-fueled rave-up. The song, inspired by a Willy Vlautin novel, tells of a fiercely independent title character warning companion, “I won’t let you cage me or lock me away.”

Album closer “Grand Canyon” is an epic and moving tribute to a longtime friend of the band who passed away last year.

If the recently departed make the sunsets
to say farewell to the ones they leave behind
There were technicolor hues to see our sadness through
as the sun over Athens said goodbye


Dark Night of the Soul, by Jimbo MathusJimbo Mathus

The latest album from Jimbo Mathus has an interesting backstory. The artist was given access to a studio near his home for nearly a year to work on the release. With the time and freedom to explore, Mathus emerged with an album that is a bit darker and more rocking than his recent work. As he so brilliantly describes it, it is “more ultra chrome and less sepia tones.”

The song collection hearkens back to the finer moments of the 1970’s rock era, calling to mind a number of the finer artists from that period.

“Tallahatchie” has the musical feel and storytelling style of a long-lost song from the Band while “Casey Caught the Cannonball” would fit well in the Little Feat cannon.

“Fire in the Canebrake” has a mighty fine Neville’s groove. A simmering organ and some funky guitar propel the song towards the forceful chorus.

Mathus showcases his mountain country roots on “Hawkeye Jordon,” the tale of a happy-go-lucky moonshiner.

“Rock and Roll Trash” is, well, a dirty ol’ rock and roll song with a Faces vibe. “Yo mama say she don’t like the rock & roll, your friends say you ain’t nothing but trash,“ he sings as guitarist Eric “Roscoe” Ambel joins in with a healthy dose of electric guitar and harmony vocals.

The album may have dark overtones, but it sure is a whole heap of fun.

Audio Stream: Jimbo Mathus, “Rock and Roll Trash”

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THE PLAYLIST


Half the City, St. Paul and the Broken Bones (from the Single Lock Records release Half the City)

Last fall we chronicled some of the incredible music bubbling down in Muscle Shoals, Alabama (read more here). St. Paul and the Broken Bones were among the up-and-comers featured on the list. Well, fast forward a few months and the boys and have finally unleashed their debut album. Damn, if it don’t sound good.

This is old school soul in all its glory. Horns figure heavy in the mix with just the right amount of electric guitar added to usher the melodies along.

And then there is vocalist Paul Janeway. Upon first glance he looks somewhat academic with his blazer and glasses. Any impression that he is quiet and subdued, however, disappears when he opens his mouth. His voice is equal parts honeyed gospel and gritty soul shouter.


Hope Dies Hard, Jonny Two Bags (from the Isotone/Thirty Tigers release Salvation Town)

Jonny Wickersham, aka Jonny Two Bags, is known to many for his work with Mike Ness as a member of Social Distortion. Well, the time has come for Mr., um, Two Bags to step out on his own. Based on the strength of the songwriting on his debut release, one wonders why he didn’t do so sooner. These are honest and heartfelt songs about striving for, but not always achieving, happiness.

Wickersham is joined by a veritable all-star cast that includes Jackson Browne and David Hidalgo (Los Lobos), among others.


I Know It’s Wrong (But That’s Alright), Hurray for the Riff Raff (from the ATO Records release Small Town Heroes)

There’s a wandering spirit that wafts through songwriter Alynda Lee Segarra’s songs. Perhaps this isn’t surprising given Segarra’s history. She set out from her Bronx home at the age of 17, heading west and eventually settling in New Orleans. She and her talented collective of musicians perform with a loose and jammy feel. Their performances ebb and flow, filling Segarra’s songs with grace and charm.

Though Segarra is still a young 27, she has an old soul. That’s a glorious thing for a folk singer, for sure.


The Mighty Storm, Peter Bradley Adams (from the I Me Mine Records release Mighty Storm)

Adams is a songwriter’s songwriter. His songs are brilliantly crafted yet they possess a raw honesty. The title track of his latest release is a great example. A simmering tension makes for an evocative song.

Audio Download: Peter Bradley Adams, “The Mighty Storm”

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Violet, The Damn Choir (from the self-released Creatures of Habit)

With a name like the Damn Choir, it isn’t surprising that this Chicago-based sextet has an edge. Yet there is a brilliant majesty to their music. Some of this comes from the contrast between Katy Myer’s elegant cello against singer-songwriter Gordon Robertson’s impassioned vocals. Robertson writes from a place of honesty and raw emotion, which the band brings to life with a sound that is as graceful as it is intense.


Mary’s Getting Married, Amelia White (from the White-Wolf Records release Old Postcards)

I like my Americana with a rock edge and damn if White doesn’t hit the spot with Old Postcards. The songs on her latest release are fueled by driving drum beats and plenty of electric guitar. Throw in White’s weathered songwriting and vocals and you’ve got a keeper.