Boston Rock Photos And Stuff
Who’s that all decked out like a scruffy Bret Michaels? Why, that’s Brian King of What Time Is It, Mr. Fox?
Backed at times by various members of The Brendan Burns Instrumental Heptad, Mr. King tore down the hits of 1988. His rendition of “Every Rose Has Its Thorn” prompted the first sing-along of the night, with Nate Rogers and Rod Van Stoli jumping in on the action.
Nate Rogers, king of the MixTape series, originally billed this ensemble as The Brendan Burns Instrumental Quartet. As it turned out, there were seven players involved. Quick thinker that he is, Nate re-dubbed them The Brendan Burns Instrumental Heptad. I probably would have gone with the more obvious Brendan Burns Instrumental Septet.* Whatever the name, this group of talented players gave their own unique twist to the songs of 1988.
* Upon further review, The Brendan Burns Instrumental Heptad is way cooler.
Christians & Lions
More Songs for Dreamsleepers and The Very Awake
2006
In 2006, Christians & Lions returned with More Songs for Dreamsleepers and The Very Awake. Sound familiar? It should. It’s the same title as their previous effort, with many of the same songs. The original version was created by the band’s original duo in preparation for a tour. This updated version gets the full band treatment.
The songs are as good as ever. The intimate recordings of the past have given way to fully polished indie folk pop gems. Songs as good as “Bones,” “Longboy,” “Tender Sparks (October & Over)” and “Stay Warm” would sound good sung into one of those micro cassette dictation recorders. The fact that they happen to beautifully recorded by Jack Younger certainly isn’t going to hurt.
While comparisons to The Shins and Iron & Wine are still somewhat relevant, the band branches out this time around. These recordings play up the influence of The Kinks and The Beatles on the band. You can even hear some Jack White in the distorted guitar sounds. It’s hard to pin Christians & Lions down, other than to say they know what they’re doing and they do it well.
Where to get it:
I always enjoy seeing Spirit Kid. I’m a sucker for a well crafted pop song, and these cats have ’em in spades.
After catching Sidewalk Driver opening for The B-52s* at the House Of Blues, I rushed over to the Kenmore Square T stop in an effort to get to The Middle East in time to catch The Russians. You’d be hard pressed to find a band in town with better songs than Scott Janovitz and his cohorts. It had been a long time since I’d had a chance to catch one of their sets. I needed a fix.
I walked into the Middle East Upstairs during the band’s second song. It was dark. Really dark. A couple of those fake candles they put on the tables in restaurants would have provided more light than the club’s red stage lights. It fit the music, I suppose. The songs came off a little darker and heavier tonight. “Not So Loud” packed a particular punch. The Russians covering Elliott’s Smith’s “Bottle Up And Explode” is certainly something I wouldn’t mind hearing more often. The band even debuted a new song, which is the best thing Scott Janovitz has ever written. At least I hope so. He threatened to break up the band if it wasn’t. So, it was. This world needs The Russians.
* Bikini Whale was better.
A couple of months back, Sidewalk Driver opened for The B-52s up at Hampton Beach.* When I heard about that show, two things crossed my mind:
Alas, it wasn’t in the cards. Fast forward to the announcement that Sidewalk Driver would be opening for The B-52s as part of Epilepsy Therapy Project’s fundraiser at the House Of Blues. Two things crossed my mind:
Oh, House Of Blues. You’re usually not too keen on people bringing cameras to take pictures of your innards. I was pretty sure this wasn’t going to happen. Then fate Kate smiled upon me and got me a photo pass. So happy. So very happy.**
Come showtime, Sidewalk Driver did what they do best: worked their glorious confetti and power chord magic to make the audience swoon.*** Isn’t that what they always do? Hell yes, it is. This band lives to entertain.
…
A couple of days later I was looking through the photos on my computer.
“Who’s that?”
My five year old had just wandered into the office with his little brother close behind.
“That’s Tad from Sidewalk Driver.” I replied.
“Side-walk-dri-ver?” questioned my curios 2 and a half year old.
“That’s the band that sings ‘Tornado’!” exclaimed his older brother.
I couldn’t have been more proud. For the next ten minutes we scrolled through the photos, the boys quickly learning to identify each band member. So happy. So very happy.
* I’d like to point out that when I started this blog, the thought never crossed my mind that it would have any references to The B-52s. Live and learn, I guess.
** Have I mentioned how happy I was? Seriously, it’s a little embarrassing. When I got word that Kate had secured the photo pass the combination of sheer joy and the sudden realization that “Golly, I better take some good pictures at this thing or I’m a complete jerk” nearly incapacitated me. I was a wreck. Still… so very very happy.
*** Did I mention showtime was 30 minutes before the stated start time on the House Of Blues website? Surprise! No matter. Sidewalk Driver still kicked ass. No surprise there.
Rule
“Bloodletter”
2011
Remember when I asked you to remember when you liked metal? This is why…
“Bloodletter” is Rule’s first single and it’s awesome. The future classic metal riffs come flying right from the start. John Brookhouse’s throaty guitar riffs are propelled by the bombastic duo of Greg Beadle on drums and Jim Zavadoski on bass. This metal has a groove. Even when they thrash through the song’s outro they never lose the heaviness. The guitar solos have just the right ratio of flash to trash.* Above it all, Mike Soltoff’s vocals soar to metal glory. The dude can wail. Rule can wail.
Where to get it:
* This is metal and John Brookhouse is on guitar. You knew there would be guitar solos, right?
The Wrong Shapes
“Places I Used to Hunt”
2011
There’s something about The Wrong Shapes I find intriguing. This group makes music that spins my head. The guitar and cello are intertwined in a double helix. This is musical DNA. I feel like Bo Barringer and Rachel Arnold are toying with me. The sounds are looped and processed until they become some kind of twisted, cryptic puzzle. The vocals only give me clues, never the whole meaning. I’ve heard Bo and Rachel perform “Places I Used To Hunt” as a duo. The recorded version is augmented by Reuben Bettsak’s intricate drum patterns. Another twist in the plot.
Where to get it:
Mellow Bravo is the band you should be begging to play at your basement kegger. Sure, the cops are gonna come and bust the thing up, but it’ll be awesome until then…
The Organ Beats & Friends
“This Christmas”
2010
Last year, The Organ Beats got together with some of their friends and recorded “This Christmas”. The song has the familiar longing of of “Blue Christmas” and “Christmas (Baby Please Come Home)” set over a power pop beat and big guitars. Noelle LeBlanc and Ronnie Ragona trade off verses before joining in their plea to Santa for a holiday reunion. The xylophone is the kicker here. Nice touch.
Need more incentive? All of the proceeds go to the MSPCA. C’mon. Do good this holiday season.
Where to get it: