Boston Rock Photos And Stuff
It’s been some time since Miskatonic last played a show. They came back with a fistful of new songs to debut for an enthusiastic crowd at The Rosebud.
The Modifiers
Show And Tell
1998
If there was a club for bands that carry on the spirit of The Replacements in Boston, The Modifiers would be card carrying members (along with The Dirty Tuckers and *AM Stereo). Their rock is loud, loose and noisy. There are melodies and stories to be told.
The Modifiers may have some Westerberg hero worship happening, but they never go quite so far to make you think they should be sending the guy royalty checks. The songs are solid indie rock affairs. “Favorite Waitress,” “Glowing” and “Passage Through” are all fine examples of The Modifiers sound. “Outbound” is an ode to Mary Lou Lord a-buskin’ on the Red Line.
There’s not a lot of variety on Show And Tell. For the most part The Modifiers do one thing and do it well. The band does mix it up a bit on the bass driven “Tonight.” “Possession” is an all out basher. “Rough Draft” breaks things down to just guitar and vocals, showing once again that underneath all the noise it’s the song that matters most.
Where to get it:
Helicopter Helicopter
Analog & Electrical Fields
1999
Analog & Electrical Fields picks up where Helicopter Helicopter’s debut album, Squids And Other Fishes, left off. The songs are still dark, still noisy, and still beautiful.
The album opens with the blistering “Ghost Face”, which is reminiscent of the aggressive rockers of their debut. In fact, “Ever Since The Buzzards Moan”, “Scarab In A Hole” and “Sinking Light” all share the same ethos as those early songs.
The band begins to expand their sound a bit on this record. “Please Take Me To Mars” sounds like it would be at home on The Flaming Lips’ Transmissions from the Satellite Heart album. “Firefly Mechanical” lays back a bit and really lets the vocal take center stage. The triumphant closing chorus of “Map” could be on infinite repeat for a very long time before wearing out its welcome.
Helicopter Helicopter have created a classic album by balancing their emerging pop sensibility with their knack for dark imagery. The band proves once again that there’s beauty in the shadows.
Where to get it:
The Great Bandini
The Great Bandini
2008
On their one and only album, The Great Bandini just couldn’t seem to get enough of crunchy guitars and sweet vocal harmonies. We should all take a moment to thank them.
The barrage of catchy melodies is relentless. If the world was just and true this record would have spawned more hit singles than Def Leppard’s Hysteria. The songs are concise and well arranged. Solos are melodic and purposeful.
The Great Bandini managed to find the perfect ratio of rock-to-roll for their songs. “Maintain Relaxation,” “Rubber Knives,” and “Testa Mia” are raucous numbers with strong melodic sense. “Are You In Love With Him?” is a bittersweet pop song turned up to 11 that calls Teenage Fanclub to mind. “No Reply” has a magical British invasion guitar outro. “Sleep Through The Summer” sounds like a lost track from Superdrag’s Headtrip In Every Key.
This record makes me happy to be alive.
Where to get it:
Quintaine Americana
Dark Thirty
2003
Bad Motherfuckers. That’s what Dark Thirty should have been called. It should have been a self titled album. Bad Motherfuckers by Bad Motherfuckers. Then people would know exactly what they’re getting.
There’s nothing nice about the music Quintaine Americana makes. They are a rabid dog snarling at anyone who gets too close. The bass provides the growl. The guitars provide the bite. The music is dark, heavy and earthy. They lyrics are cinematic, moving pictures of backwoods characters that prowl the night. The band shines a light on the things you don’t want to see. You can’t look away.
The hooks are as big as the riffs on Dark Thirty. “Hitchhiker in Black” sets the tone. The sequence of “Then One More”, “Set Me On Fire” and “Hogs” absolutely kills. On second thought, add “The Sky” and “Blast Away” to that sequence as well. “She Lets Me Ride” tears along a dirt road at full throttle. For the most part their attack is focused. Get in. Take your shot. Get out in well under four minutes. Move on to the next victim.
With Dark Thirty, Quintaine Americana sets the bar for heavy rock n’ roll almost impossibly high. A gritty document of some dudes doing what they do best. Bad motherfuckers being bad motherfuckers.
Where to get it:
The Kickbacks
Motel Stars
2006
Motel Stars is full of roots based rock n’ roll polished to a high sheen. These personal tales of everyday life are the handiwork of Tad Overbaugh and his former band, The Kickbacks. The subject matter of the songs may be melancholic (“Fixed To Be Broken”) or raw (“Tip My Girl”), but the band delivered them with a ray of hope and refined pop hooks. While they certainly had a knack for writing compelling ballads, The Kickbacks were at their best when they let things rip a little. “Lazy Eye” and “Collect Calling For You” should be all the proof you need of that.
Where to get it:
Streight Angular
Everyone Is Syncopated
2011
Do you miss The Pixies? I’m not talking about the content and amicable version of The Pixies that tours now, but the hungry and desperate version of the band that created so many beautifully noisy songs? You do? Then maybe you should check out the song “Everyone Is Syncopated” by Streight Angular. Oh, oh, oh, oh, oh is it crazy good. How can you go wrong with fuzzy guitars, a memorable beat, a melodic bassline, a dash of synthesizer and a fantastic vocal hook? You can’t. Plus, they mention exfoliated chickens. That has to account for something.
Where to get it:
Mellow Bravo
Strut
2010
Do you like your ’70s inspired hard rock with a healthy dose of bombast? I thought so.
Mellow Bravo deliver the goods on Strut. They hook you out of the gate with the heavy groove of “Highs And Lows” and the blistering “I Get Off”. Mellow Bravo makes you feel good. Just try to not sing along to the “ooo ooo” parts in “Must Be My Woman” or “I Wanted A Girl”. You can’t help yourself. “Freshman Prom Queen” is wildly inappropriate and unbelievably awesome. “Hard Timin'” has a swinging guitar riff that sounds too good not to have been played before.
Just when you think you’ve got Mellow Bravo pegged as the ultimate party band, they hit you up with “Just Like Water Would” and “My Head And Heart”. Keith Pierce and Jess Collins carry these songs with their well paired vocals. Oh wait, did I just imply that Mellow Bravo aren’t the ultimate party band? No, no, no. They are the ultimate party band. They just happen to be able to go a little deeper as well.
It would be impossible to capture all of Mellow Bravo’s live energy in a studio setting, but Strut comes about as close as you could hope for. For one last hurrah, they close out the record with a live version of “Light Up My Little Love”. Mellow Bravo rules.
Where to get it:
Sidewalk Driver
For All The Boys And Girls
2009
Sidewalk Driver are know for their over the top live performances. Anyone who has ever walked out of the club covered in glitter and confetti after one of their shows will tell you that. They’re one of those bands you’ll tell your kids about having seen back in the day.
The thing that makes Sidewalk Driver truly special, though, is that they manage to back up all the glitz and glamor with great musicianship and songs so catchy no quarantine can contain them. For All The Boys And Girls is a non-stop barrage of clever lyrics and big rock hooks. Sidewalk Driver have managed to create majestic anthems with enough depth and imagination to make them personable, even when the scenarios presented within are so absurd that few people will actually be able to relate to them.
“Dancing With Her Friends” gets things going on the right foot. Phasered guitars and a snappy beat propel the carefree lyrics. “Marianne” is heartfelt and almost feels like an updated “Maggie May” at times. “Seeds & Stems (Just Like Angels)” may be the greatest song Elton John never wrote. The intro to “Radio” reminds me of Sweet with its glam meets bubblegum sound.
Things get awesomely weird on “Wake Up, John!” and “Jenny Don’t Really Like The Boys”. The former is heavily indebted to David Bowie, the latter to Lorena Bobbitt. In lesser hands, songs like these would become novelties. With Sidewalk Driver, these songs become essential.
It’s pretty clear by this point that I think Sidewalk Driver are pretty great. Would now be a good time to point out that I haven’t even mentioned the song yet? You know, the song. “Tornado”. “Tornado” is the song that makes people’s heads spin. “Tornado” is the song that makes my head spin.
With their skillful mix of witty lyrics, undeniable melodies and classic rock sound, Sidewalk Driver have managed to make an album of uplifting music with artistic integrity. That’s not an easy thing to do. Most happy music is written off as insubstantial. Cynical music is almost always taken more seriously. I’ve always said I admire The Flaming Lips for being able to make thoughtful, joyous music. I feel the same way about Sidewalk Driver.
Holy moly. I’ve just made references to Sweet, David Bowie, Elton John, Rod Stewart and The Flaming Lips. Are Sidewalk Driver really that good? Yes. Yes they are.
Where to get it:
Viva Viva
Viva Viva
2011
Viva Viva is on to something good. The band takes a romp through the best music of the ’60s and ’70s before giving it an updated spin. This is garage rock with pop hooks and an indie rock mentality.
“Heartbreak Sweepstakes” gets things off on the right foot with some fuzz guitar bliss. The sweet organ and kick-heavy drum breakdown are just the icing on the cake. Want more? Viva Viva keeps it coming on the very next track, “Keep Lookin’, Good Lookin'”. What a great opening one-two punch.
Viva Viva isn’t just a big garage rock party, though. “Dial Tone” brings out the band’s pop side. “Little Dirty Angel” is a scuffed up ’50s balled with a Luna influence. “Sympathy For The Devil’s Little Helper” is an unforgettable smoldering blues dirge.
“The The Only Way To Live” brings all of their influences together into one stellar 2:46 pop song. Just for good measure they do it all again on “First Time I Saw Her”, although this time we get 3:37 of enjoyment.
Viva Viva return to their garage rock ways with “If You Really Want It” before wrapping things up with “Nothings Getting Any Easier”. The record closes as strongly as it opens, with nary a lull in between.
This 2011 vinyl version of the band’s 2010 release is the limited to 100 numbered copies in letter press jackets from Repeat Press. There are also digital download and CD versions available.
Where to get it:
