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speedfossilby Brian M. Owens

Brandishing an unforgettably clever name and highly inventive music, speedfossil has raised the bar for Boston area rockers. Led by the brilliant songcrafting of Garret Vandermolen coupled to the production help of longtime musical cohort, Greg McCleary, speedfossil just unveiled a vinyl record of inspired songs that will appeal to a wide range of audiophiles. I caught up with Garret Vandermolen one day in February and he talked about the process of tracking the new album, You’re So Next! as well as the musician’s that helped him make it come to fruition...

METRONOME: You’ve been very busy since we last spoke, however, there have been some changes in the band. What’s been going on? Garret Vandermolen: It’s been an interesting time. We’ve been busy working on finishing this record [You’re So Next] which is now done and that I’m very excited about. We’ve had some new people get involved in the recording process and also in the playing process. The first record was basically Greg [McCleary] and I for a large chunk of it. Now I have David [Medeiros] and Mike [Scotti] on board.METRONOME: Tell us about the new guys and what instruments they play? First of all there’s always been Greg McCleary. Greg is producing the record and plays many different instruments including keyboards & drums. He does a good chunk of the harmony vocals on everything, in fact, most of the backing vocals are Greg. We have since added Michael Scotti who plays bass on every track on the record except for one of them. He’s a fantastic musician and quick on the uptake for everything. That’s been a real pleasure. David Medeiros played on the first record, but came in full time for this one and contributed lots of guitar work. He also plays in the live band. It’s terrific. It was tumultuous because he replaced a close friend of mine and we parted ways. For a time, I didn’t know what was going to happen. I wanted another guitarist to support the live band. Then there’s Chris Walsh who is drumming for us. It’s been a weird, “anyway to get it done” attitude. When we started out, it was Greg playing drums which is not his natural instrument. We finally switched to this thing where Greg is on keyboards and we have a bass player and a drummer. Before it was by hook or by crook- any friends I could find (laughs).

METRONOME: How did you meet David? David came with the first record. When we were doing this track “Absent Minded” there was a need for some guitar that required technical skill that was beyond my ability. Greg said, “I know somebody who can do this and he would do a fantastic job.” David did that track and that was the end of it. When we started playing out, the dynamics changed in terms of who was in the live band. We asked David if he would play with us. He came and saw us as a trio with Greg on drums, Mike on bass and me on guitar. He said, “Okay, I’ll do it.” We’ve been moving forward ever since with him.METRONOME: How did you meet Michael? Michael came on board because of the personnel changes. I had no bass player. I had played a couple of shows with him and his other band, The Bitter Bastids. He said,

“I’ve been playing bass for twenty years and I really love your songs. How about if I become your bass player?” So Michael came in. Then we asked Michael’s drummer, Chris if he wanted to join at the suggestion of Greg, so that he could move over to keyboards. Somehow it all happened. Now, the latest change is, Greg is retiring from playing live. He is the oldest member of speedfossil and he really wants to focus on producing. When we go out and do this show at Thunder Road we’re going to be a 4-piece. It will be more guitar based in terms of the live presentation.METRONOME: Did Greg’s retirement from playing live come as a surprise? It was a surprise at how soon it happened. He went in to it telling me that he was not going to be a longterm contributor live. His goal is to continue to work on the records

with me and the recording process. Playing live music is not one of the things he wants to do. I completely respect that and understand. I was just hoping he would stick around and do a few shows after the record came out, but it wasn’t meant to be.METRONOME: How long did you work on the songs for You’re So Next! This started right after Light of Day. The actual creative process, not the sequencing, mastering and manufacturing, took about a year and a half to do. I would have liked to do it faster, but because of the set backs with the personnel and the live band- we were simultaneously trying to play live gigs and do this record- it was challenging to get everybody together in a room or a studio to get their parts done, but we did it.METRONOME: You sent us a sampler a few months back. Did those songs make it on You’re So Next!? Yeah, that was a single and a taste of some of the tracks that were going on the record. Those songs were “Land of The Blind” and “LOL.”METRONOME: Why did you release those two songs rather than sending out an entire album? I’m trying to make this thing work for everybody. Everyone has a different investment in speedfossil. Obviously for me, it’s making these albums and getting the songs out. For the guys helping me, they want to play music. They want to play live and they want to record. I’m trying to help everyone meet their goals. I try to operate my label, Expensive Hobby, like an actual label. We’re going to put music out when we have stuff to put out. If we’re working on a record, I’m going to put a single out and try to promote it to generate some excitement and keep a buzz going so that we can get gigs and play. All the things you need to build something and support it and try to make it successful. So that’s the reason I do it. I think it’s a healthy thing and it keeps your name out there.METRONOME: Did you write all the material for You’re So Next!? There was one co-write on it. The song “LOL.” That one goes all the way back to the way speedfossil started before we even did Light of Day. We were in a rehearsal room and there were two guys named Dave Bove and Dan Hirschkop who was playing in speedfossil for a while. We did that song and it was basically a political rant coming out of David’s mouth. “LOL” originally stood for “lightning over

Lubbock.” That’s when Rick Perry was a presidential candidate. David had this thing going that he was tired of voting for wealthy, white old men that are completely disconnected from the rest of us. He did it in a way where there were some great phrases and lines. I thought it was terrific. I went and wrote out the lyrics and added some things. The bridge section was added and is a little more applicable to what’s going on right now. Politics don’t change that much. It’s pretty cyclical. We always get presented with “choose the lesser of two evils.”METRONOME: What were some of the influences you culled to write the other tunes? Most were just ideas where you try to convey a feeling for a positive, uplifting song. A lot of it came through that because I’ve been playing again and playing out. When you’re immersed in the music, the ideas just come and you get in to a songwriting groove. I’ve been really lucky that I’ve been in that groove. I have a lot of different ways to write- I write on guitar, I write on piano and I’m a horn player. There’s a whole nice canvas to work with in terms of coming up with ideas.METRONOME: Did you find that the addition of new members to the band spawned new songwriting ideas? Yeah, it did. Greg and David in particular really pushed me to explore the less rock & roll type of stuff. When you listen to the record, the first five songs are not quite as in your face, aggressive rock songs. They said, “You write some good songs in that vein. Can you give us more stuff like that?” They really encouraged me to explore that and to go in that direction.METRONOME: Did all the guys currently in the band appear on the new record? Chris only made it on one track. The last track we did was “Tattoo.” Chris had just joined up. I asked him to play drums on the track and he did. It was originally done with a loop that I stole off of a Rolling Stones song (laughs). I looped Charlie Watts.

METRONOME: Chris had no problem with it? He was great and he got the idea. When you listen to the record, the drum track really stands out. He really did a terrific job.METRONOME: How many songs are on You’re So Next!? Ten songs. No covers.METRONOME: What was your role musically for the ten tracks? I played guitar on every single track except the last one. There was almost no guitar on that except for the very end which Michael played, believe it or not.METRONOME: Why? Michael is a multi-instrumentalist and plays great on a whole bunch of stuff. I wrote the song on piano, so I did the piano part, the vocals and my son, McCoy, played the trumpet on it. Then I sent it over to Greg and he said, “I’m a better piano player than you are, so I’m going to redo the piano parts.” I said, No problem (laughs).METRONOME: So you weren’t on the track instrumentally at all? Not at all. It sounded good, but Greg felt that the left handed bass line was a little awkward, so he wanted to do something with that.METRONOME: How does the songwriting process work for you? It depends. Sometimes I’ll do it on bass. “Stuckinarut” was a bass song. I wrote that whole song on bass. We ended up adding everything in afterwards.METRONOME: Did your original bass track make it on to the song? I think some of it might be there. When we were tracking it, I did a guitar part through a POD and it just sounded so good. We just left it.METRONOME: Did you go in to a studio to work on any of the songs? Everything starts at Greg’s studio. It starts from a click and a guitar, a bass and a vocal. From there, we start putting the track together with ideas. It’s counterintuitive to what people probably romanticize how the record is going to be made with all the guys

in there and they’re cutting their drums, bass and guitars at the same time. It didn’t work that way for this record. It starts with the song to a click. Everything else comes in after it. The guys that are playing on it are great musicians because they’re playing to a click without having rehearsed it. They come in and put their part in there. It’s exciting for me to hear it as it develops. I bring in lyrics, a melody and some chord changes. From there, it morphs in to what it eventually becomes. After this record, we’re going to do the next album the other way. We’re going to play a bunch of gigs and then go in and record the songs all together.METRONOME: So you have new songs already? Yes. Let’s talk about the next one before this one even comes out (laughs). I have been pretty productive. It’s been going for a while. It just has to pass the test of the other guys saying, “Yeah we like it. We’ll do it.”METRONOME: Tell me about some live shows that you’ve played recently. We did our one and only live show with everybody who played on the record in November at Thunder Road in Somerville, which is a terrific club. My family came. My friends came and some folks that I didn’t know showed up. It was very gratifying to do it with the band. We added a background vocalist to help get the harmonies just right.METRONOME: Do you want to drop their name? Sure. Evan Biela who is a trumpet player, educator and a great singer. He came in and helped us do that and it was really fantastic. The next show will be at Thunder Road on May 25th. That will be our album release show.METRONOME: What format are you using to release the album? I’m pressing 300 LP’s on clear audiophile vinyl. Grade A vinyl. Inside every LP will be the full CD as well as a download card. You get everything. All bases are covered that way. When you see the cover art, I wanted it to

be in LP format. That’s the thing that I loved when I was growing up- getting a record and staring at that album cover. Reading the credits and seeing who recorded and produced it and who wrote this. All the tasty tidbits that are in that packaging. For the sonic part of it, I wanted to do it on the Grade A, Class 1 vinyl. If you’re handing over some money for it, you’ll feel that you got a good value.METRONOME: What does the artwork look like? You’re So Next! is me being a little adolescent. I grew up watching a lot of Bugs Bunny cartoons. There’s a great one called, “The Barber of Seville,” and Bugs Bunny is saying to Elmer Fudd, who is about to cut his hair, you’re so next. I thought that was brilliant. I couldn’t get Warner Bros. to let me use that, so I made the front cover of all of us in a barber shop. It’s a very staged photo where David is the barber, Mike is in the chair and Chris is reading a magazine. Greg is the janitor and I’m getting up to be the “next one.”METRONOME: Did you know someone with a barber shop? I went down to talk to the guy where I get my hair cut and asked, Could we come in here and do this? He said, “Sure, come after we’re closed.” They let us come in and my brother-in-law, Dane Johnson, who also plays on the record, brought his iPhone and took a couple hundred photos (laughs). We lucked out that it went so well and the that concept worked.METRONOME: Is there something you’d like to close out with? It’s all about this record. That’s the main thing for me. I’m very proud of it. We’re going to try to play more shows and then we’re going to start working on the next album. I’m also going to do a Christmas EP. I am a fan of the seasonal record. I put a single out two years ago with “Jingle Bells” on it. I’m going to expand that and do a 5-song EP. I’ve actually been writing some original Christmas music to do that.

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Top 5 for May 2017(In NO Particular Order)

• John Mayall• Melissa Etheridge• speedfossil• The Velvet Ants• Howie Newman_____________________________GIRL ON TOPARMY NATION13-SONG CD

• MONEY• CORPORATE WAR JUNKIES• ALWAYS• IN A MOMENT• LIVIN’ A LIE• ARMY NATION• ATOMIC WORLD• HEAL THE EARTH• COVERED IN BLOOD• YOU LOVE HATE• GIMME SHELTER

• LIBERTY• RAISED TO DIE

Led by powerhouse singer-songwriter Karen DeBiasse, this femme fatale alongside bandmate, David Simmons on guitar, with cameos by Peter Zicko, Ray Fernandes, Angelo Aversa, Manuel Smith and David Westner, deliver a hard rockin’ gem with their album, Army Nation that cites past rock & roll heroes like The Ramones, Joan Jett, Black Sabbath and Lita Ford. Throughout the album, DeBiasse boasts vocals that can go from feminine and swooning to robust and ferocious in 0 to 60, while her lyrics from tune to tune are contemporary and germane. Favored songs include the Sabbath infused “Corporate War Junkies,” the head-bangin’ “Always,” the testifyin’ “In A Moment,” the uptempo pop stylings of “Heal The Earth,” and the country punk snarl of “You Love Hate.” Karen DeBiasse and her band, Girl On Top, are truly an original force to be reckoned with and one that should really be experienced in the live arena. Good stuff! [D.S.]

Contact-- www.girlontop.com

MELISSA ETHERIDGEMEMPHIS ROCK AND SOUL12-SONG CD

• MEMPHIS TRAIN• RESPECT YOURSELF • WHO’S MAKING LOVE• HOLD ON, I’M COMING• I’VE BEEN LOVING YOU TOO LONG• ANY OTHER WAY• I’M A LOVER• ROCK ME BABY• I FORGOT TO BE YOUR LOVER• WAIT A MINUTE• BORN UNDER A BAD SIGN• I’VE GOT DREAMS TO REMEMBER

I first heard Melissa Etheridge in 1993 at Great Woods in Mansfield, MA. She took the stage as a three piece and blew the amphitheater apart. I’ve been a fan ever since. On her latest release, Memphis Rock and Soul, Etheridge pays tribute to the pioneering artists (and personal heroes) from the stable of Memphis’ Stax Records label. Covering stellar classics like “Respect Yourself,” “Who’s Making Love,” “Hold On I’m Coming,” “I’ve Been Loving You Too Long,” “I’m A Lover” and a handful of

other notable numbers, Etheridge’s soul-drenched vocals are perfectly suited for this material. She also enlisted Stax studio “cats” Reverend Charles Hodges on organ, Leroy Hodges on bass, Archie “Hubbie” Turner on keyboards, guitarist Michael Toles, and James “JRob” Robertson on drums to make this outing as authentic and real as it gets. Singer-guitarist John Mayer also makes a guest appearance on “Rock Me Baby,” and “Born Under A Bad Sign,” turning things dangerously electric. In all, it doesn’t get much better than this. If you’re a fan of Melissa Etheridge and a fan of Stax artists you will love this album. Bravo! [B.M.O.]

Contact-- melissaetheridge.com

SPEEDFOSSILYOU’RE SO NEXT!10-SONG CD

• EVERYTHING• SAY GOODBYE• HYMN• INVISIBLE•TATTOO• LAND OF THE BLIND• LOL

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• NIKE HEART• STUCKINARUT• CLOSE THE DOOR

Pop rock masters, speedfossil, are back with an impressive new record (literally... an LP beautifully pressed on Grade 1, clear vinyl). Entitled You’re So Next, this magnificently packaged 33-1/3, includes a full-length CD as well as a download card, which covers all the bases for audiophiles no matter what listening medium they prefer. Singer-songwriter-pianist-guitarist Garret Vandermolen is the heart and soul behind speedfossil and for You’re So Next, he managed to assemble an outfit of well qualified players that starts with musical partner and engineer/multi-instrumentalist, Greg McCleary. Most of these songs were borne out of their collaboration while guitarist David Medeiros, bassist Michael Scotti, Djatal Babazadeh on violin & viola, Jillian Chamberlin on violin, Chris Walsh on drums, Lois Leonard on backing vocals, Len Presutti on saxophone, Dan Hirschkop on lead guitar, Tim Gunderman on bass, and son, McCoy Vandermolen on trumpet augmented the recording as it was in full swing. Songs of particular note include the raucous, radio-friendly, pop-rock album opener “Everything,” the infectious vocal and instrumental groove of “Tattoo,” the eye-opening political verve of “LOL,” the

cleverly penned, “Nike Heart,” the head boppin’ strut of “Stuckinarut,” and The Beatle-esque album finale, “Close The Door.” To learn more about speedfossil, read this issues feature on the band. It’s good stuff, guaranteed. [B.M.O]

Contact-- speedfossil@gmail.com

TOSKILLER10-SONG CD

• DEATH OF ME• SOUL KEEPER• CRY BABY• MOUTHFUL• GHOST• WATERFALL• RECKLESS• NEED THIS LOVE• THE ONE• KILLER

It’s uplifting to see a new generation of young singers and players making music and the quintet TOS is one such local group. Fronted by lead singer-songwriter, Sophia Ward the band offers up all original songs with Jackson Parker on lead guitar, Jonathan Sommer on rhythm guitar, Jae Mannion on bass and backup vocals, and Mitch Rolla on drums. Ward’s vocals are

authoritative yet sweet while the band builds a solid foundation around her. Best tracks: the sweet lilt of “Mouthful,” the gorgeously crafted “Waterfall,” and the haunting “The One.” [D.S.]

Contact-- tosofficialmusic.com

THE VELVET ANTSBLACKLIGHT PRESS10-SONG CD

• PROP ME UP• AUDIO SUNSHINE• NOTHING• KITSCH• ANOTHER PLANET• A THOUSAND YARDS• DEAD ROSE• NO TOMORROW• VAPOR STREET

This inventive trio featuring Ian Margolycz

on vocals, guitar & bass, Bing Quiogue on bass, vocals, guitar & synth and Jordan Zadorozny on drums & guitars caught our attention from the opening notes of their outstanding album. In fact we had to look twice to make sure it wasn’t R.E.M. back in action and using an alias. For a three piece band, The Velvet Ants exceed all expectations sound wise. Each member multi-tasks, filling the aurasphere with layers of sound and voices. It’s impressive to say the least. Then there’s the songs. All well constructed and arranged, The Velvet Ants put heart and soul in to every note. Our favorite songs include: the genius of “Prop Me Up,” the driving bombast of “Nothing,” the trippy “A Thousand Yards,” the beat heavy “Dead Rose,” and the ethereal wisp of “Vapor Street.” A monumental work of art by a band of talented players. [B.M.O.]

Contact-- www.velvet-ants.com

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THE COURTNEYSII10-SONG CD

• SILVER VELVET• COUNTRY SONG• MINNESOTA• TOUR• LOST BOYS• VIRGO• 25• IRON DEFICIENCY• MARS ATTACKS• FRANKIE

These Vancouver, Canada young ladies are taking the world by storm while hitchhiking on the legendary New Zealand Flying Nun label. The recipe for success is the infectious pop vocal harmonies layered on top of loud guitar, bass and drums that have this nice soft focus grungy blur, just this side of controlled. “Silver Velvet” immediately grabs your attention with sunny sugary melodies, a healthy beat and the aforementioned instrumentation. “Country Song” is more mid paced, somewhat fervent yet also has some of the NZ patented lo-tech guitar noodling that has proven so infectious in the past. “Minnesota” has a winter theme and some neat hooks driven by a bouncier rhythm, however it is the vocals that sound as if recorded in a cathedral that sends shivers down your spine. I’m sure there are some unusual tunings at work here as well. The Courtneys pick up the pace on “Tour,” which sounds like a break-up song, where they create tension and then take you on the road with all the enthusiasm of a young band that has had choir practice in the past. There is a chugging rhythm propelling the opus. The vampire film “Lost Boys” came out in 1986, long before any of them were born, yet it appears to have inspired them to become enamored of the lifestyle as far as their boyfriend material of choice is concerned. “Virgo,” in turn, works on the high vocal register, but otherwise just has the instruments droning on with less direction than usual. “25” has similar issues, but keeps drawing you back with neat touches. The vocals don’t reach the same quality as the other tunes, but at least it sounds different. “Iron Deficiency” deals with a typical female issue which has, to my knowledge, never been put to music before. “Mars Attacks” was struggling on a bit, until they really started the guitar noodling and multi-layered the harmonious voices as well at the gang vocals, ending the tune on a high. “Frankie” has melancholic undertones and

then picks up the pace again with a bright chiming sound. This record won’t please everyone, but it’s just the ticket for those who like guitar driven vocals and appreciate an import from either Canada or New Zealand. [Gecko]

Contact-- thecourtneys.bandcamp.com

HOWIE NEWMANWHEN YOU’RE HAPPY (I’m Happy Too)10-SONG CD

• MY BABY CAN’T PARALLEL PARK• OUR KIDS AREN’T KIDS ANYMORE• WHEN YOU’RE HAPPY, I’M HAPPY TOO• LOW TECH• THE BALLAD OF MIKE HESSMAN• WHERE IS EVERYBODY?• REALITY CHECK• THAT OLD CAR• IT’S ONLY MONEY• MY LAST CUP OF COFFEE

Singer-songwriter-guitarist Howie Newman melds folk, pop, roots and a lil’ bit of country into his playful songcrafting fare on his latest 10-song offering, When You’re

Happy (I’m Happy Too). Making spot-on observations about love, life, marriage, children and everything in between, Newman does a stellar job of chronicling those moments with a light heart and telling voice that may remind listeners of Livingston Taylor. Recorded by Rob Ignazio (who captured Newman’s vibe perfectly), the addition of top notch local players like Jackie Damsky on fiddle, Billy Novick on clarinet, Tim Ray on piano, Todd Glacy on drums, Joe Kessler on mandolin, Janet Feld on vocals, Rob Ignazio on bass, son Keith Newman on flute and daughter Jennifer Newman on vocals, round out this well performed and recorded project with their respective talents. There’s no filler here gang. This is the songbook of life and Howie Newman captures the very essence of those moments with charming accuracy. [D.S.]

Contact-- www.howienewman.com

MOON DUOOCCULT ARCHITECTURE VOL. 17 SONG CD

• THE DEATH SET

• COLD FEAR• CREEPIN’• CROSS-TOWN FADE• CULT OF MOLOCH• WILL OF THE DEVIL• WHITE ROSE

Moon Duo have been around for a while, but they made a name for themselves collaging the NASA documentaries into a very trippy epic back in 2015 entitled, Shadow of the Sun. This year, their back with even more vibrant material. It’s amazing how a synth pop duo can actually generate a groove that emulates a 5 piece jam band, as on “The Death Set” or “Creepin’” which have warm, soft, smooth male vocals. At all times you know there’s a drum machine keeping things together. On “Cold Fear” they feature more of a Kraut Rock ethos. There’s something missing on the rather repetitive beat of “Cross-Town Fade,” but the guitar like solo more than makes up for it. “Cult of Moloch” has an unnerving vocal take and a softly droning beat while the synthesizer solos, again, make the song soar. In places you’re reminded of very early Belgian industrial music, which had a similar appealing aloofness that drew you into their myth. “Will Of The Devil” is warm and draws you into its own myth thanks to the melody and playful synth variations. I’m impressed with how Moon Duo continues enhancing the groove with inventive adornments as on “White Rose,” despite the repetitive nature of the genre. Ambient synth pop has never been this enchanting. There’s a second part to this album coming this Fall. [Gecko]

Contact-- moonduo.bandcamp.com/album/occult-architecture-vol-1

COLIN HAYFIERCE MERCY13-SONG CD

• COME TUMBLIN’ DOWN• SECRET LOVE• A THOUSAND MILLION REASONS• THE BEST IN ME• FROZEN FIELDS OF SNOW• I’M GOING TO GET YOU STONED• I’M WALKING HERE• TWO FRIENDS• SHE WAS THE LOVE OF MINE• I’M INSIDE OUT• BLUE BAY MOON• LOVE DON’T MEAN ENOUGH

Former frontman for Australian rockers, Men At Work, Colin Hay, has maintained a successful solo career since the band’s breakup in 2002. Releasing albums and

Hearings

touring under his name as well as playing with Ringo Starr & His All-Starr Band, Hay has remained very much intact with the business over the years. For his latest album, Fierce Mercy, Hay unveils a beautifully written collection of originals that toggle between touching love songs [A Thousand Million Reasons; She Was The Love of Mine; Love Don’t Mean Enough], dance numbers [Come Tumblin’ Down; I’m Inside Outside In”], pop masterpieces [The Best In Me; Frozen Fields of Snow; The Last To Know] and reflective ditties [Blue Moon Bay; Secret Love; I’m Going To Get You Stoned; I’m Walking Here; Two Friends]. But no matter what mood Hay is zeroing in on, he fills his musical message with magnificent musical accompaniment and his clear, concise, trademark voice. Recorded in Topanga, California and Nashville, Tennessee, the latter city seems to have had more influence on Colin and the record’s outcome. Nice touches of slide guitar, gang vocal harmonies and stellar lead guitar work permeate the tracks, giving them a lush, complete sound. Men at Work may only be a memory to those who remember the band, but the founder and architect of that landmark group, Colin Hay, is still creating relevant original music that needs to be heard by all. A superb outing. [B.M.O.]

Contact-- www.colinhay.com

JOHN MAYALLTALK ABOUT THAT11-SONG CD

• TALK ABOUT THAT• IT’S HARD GOING UP• THE DEVIL MUST BE LAUGHING• GIMME SOME OF THAT GUMBO• GOIN’ AWAY BABY• CARDS ON THE TABLE• I DIDN’T MEAN TO HURT YOU• DON’T DENY ME• BLUE MIDNIGHT• ACROSS THE COUNTY LINE• YOU NEVER KNOW

At 83 years young, the Godfather of British blues, John Mayall, continues to crank out vital blues-rock anthems filled with his barrelhouse piano playing, Hammond organ work, timeless vocals, and wailing harmonica. For his latest release, Mayall stands toe to toe alongside the searing guitar work of Rocky Athas and the rock steady rhythm section of bassist Greg Rzab & drummer Jay Davenport, the very same lineup of players John has been performing with since 2009. On the new CD, Talk About That, Mayall proves that he hasn’t lost a thing musically. In fact, Mayall hasn’t lost anything at all, and like fine wine, he’s aged to vintage perfection. It can be said that unlike other aging blues stars, Mayall continues to look

ahead and not in the rear-view mirror. Opening with the funky blues vibe of the album’s title track “Talk About That,” Mayall let’s it all hang out vocally. On “It’s Hard Going Up” citing “it’s twice as hard coming down,” Mayall notes that you’re going to pass those people coming down to your hole in the ground. Pretty heavy stuff. Joined by the great Joe Walsh on the next track, “The Devil Must Be Laughing” Mayall testifies heart and soul on this cut. Things lighten up for the New Orleans cadence of “Gimme Some of That Gumbo.” This is a tasty song for sure. Next up, “Goin’ Away Baby” reminds listeners of his early Bluesbreakers days with a two steppin’ snare driven the beat and Mayall’s wailing harp playing call and response to his vocals. “Cards on The Table” once again features Joe Walsh’s stellar slide guitar work and finds Mayall inspired vocally by the accompaniment. “I Didn’t Mean To Hurt You” is a heartfelt apology to the one you

love while “Don’t Deny Me” is an uptown two stepper that simply cooks from start to finish. Mayall proves his meddle at this style of swing blues. “Blue Midnight” features a searing guitar solo from Athas as well as a chiming keyboard solo from Mayall. Then the harmonica comes out blazin’ on the party number, “Across The County Line.” “You Never Know” closes the record, leaving doubt in the mind of the listener if this may be the last time you hear Mayall on record. Either way, the master himself, John Mayall is all good with it. Whether your a fan of John Mayall, the history and architects of British Blues or just discovering Mayall and the rich British scene for the first time, Talk About That is a great place to start. For folks who love Mayall and have followed his career, this new album should definitely be in your catalog. Great stuff! [B.M.O.]

Contact-- www.johnmayall.com

www.Facebook.com/MetronomeMagazineBoston

by Brian M. Owens

Alien Drag Brandishing a cool band name that’s currently pushing an out-of-this-world seven song EP entitled, Escape From Alpha, the North Shore based Alien Drag is turning heads with their space age, guitar driven, rock & roll tunes. After tracking them down in deep space, the guys agreed to take time out from their musical orbiting to weigh in on their universe expanding sound...

METRONOME: How long has Alien Drag been together? Trent: Joe, Eric and I go way back to the ‘90s (The Relaxers, Biopop, The Inhalers, Riding Elmo, Trucker Mouth, Moving Buildings). Joe and Eric were hanging and jamming together here and there a few years ago. Joe asked if I’d like to hang and jam and it was a no-brainer for me. Joe, Eric and I played together in Charlestown for a few months as The Dukes Of Deception in 2014, before we got a cool jam spot a little closer to home the following spring. I met Levaughn (only one “a”) when he was recruited to drums for Ivy League, a punk band I was playing guitar for. All I had to do was ask and then our band became four.METRONOME: The space man theme is cool. How did you come up with that? Eric: I’m not sure we ever made a determination at the outset that the band would have a spaceman theme, but then it sort of came about from “Scrumble 47.” The song’s basically a twisted ballad about extraterrestrial invasion from the viewpoint of the invaders. After we finished the song during one of our shows, Trent blurted out a back story for the song. The rest of us had no idea whether he made it up on the spot, or if he actually had this back story figured out when he wrote the lyrics, but I think it was at that point where we sort of started aligning ourselves as if that song and its back story was about us. Trent: We like aliens. It was our second gig at Koto. There was some empty space that needed to be filled, or so I thought. I suggested that “Scrumble 47” was the spaceship we arrived on. That perhaps there were 46 prototypes and lots of good aliens who perished before we nailed it and made it to the sandy beaches of the North Shore. We already had the alien name. Seemed in the zone. Now we do space stuff.METRONOME: Who is in the group?J-L4NDr7 on bass, synths & sommelier, E-81834ULT on guitar, vocals & schwag, L-FU553LL on drums, percussion, & flapjacks and T-J0N35 on guitar, vocals & incidentals.

METRONOME: How did you all meet? Trent: The Bleachers complex back in the day, Dodge Street, and Front Street Coffeehouse, Salem, MA. through girlfriends.METRONOME: Who are some of the band’s musical influences? Eric: From a performance standpoint, I’m influenced by everyone I see. I file those experiences away and remember what I liked or disliked about those performances, which subconsciously informs me when I perform. Musically, I’ve always liked bands that have two guitarists that are able to seamlessly weave in and out of each other- Keith and Ronnie era Stones, Sonic Youth, Television, Jon Spencer Blues Explosion and Interpol. I don’t think we’ve achieved that yet as a band, but there’s definitely glimmers of it, especially in “Song Embryo.” Trent: Some of my closest influences are Zappa, The Beatles, Guided By Voices,

Nirvana, Ween, Mike Watt and Primus. Levaughn: Coheed & Cambria, Periphery, Rush, Circa Survive, Chon, The Contortionist, Oh The Humanity, I Was Awake and Boston Joe: The Beatles, Mike Watt, Allen Woody, Shonna Tucker and of course, Chad RaleighMETRONOME: How many releases does Alien Drag have out? Trent: Escape From Alpha (2016) and one coming soon, Alternative Slacks. It’s gonna rock!METRONOME: How many songs are on the recordings? Trent: 7 on the first one and 3, maybe 4 on Slacks.METRONOME: Are they all originals? Trent: Yes, although we may release a

cover album featuring Devo, Future Islands, Neil Young, Spike Emerson Society and other awesome bands’ songs. METRONOME: Who’s the principal songwriter(s) for the band? Eric: Trent and I are the principal songwriters in the aspect that we may bring ideas to the band, and then the band fleshes everything out. “Song Embryo” is a good example. I linked a couple of riffs together on my couch at home and named it “Song Embryo” - literally the beginnings of a song. I brought it to the rest of the band, and it was fleshed out into what it is now, but the name stuck. Trent: It’s an awesome working relationship. Just the other day we were recording a new track, “Hits Galore,” and Eric needed a little assist on the lyrics. We hashed it out and you’ll love it. Same with all those sick guitar riffs we complement each other with. It just

works and is long overdue. Levaughn and Joe always round everything out, bringing everything that Eric and I introduce to a different level.METRONOME: How does the songwriting process work for Alien Drag? Is it collaborative? Does each member bring in ideas? Eric: It’s absolutely collaborative. Trent and I may have some riffs or songs that we came up with, and introduce them to the band. That’s where the fun is because what you think the song is takes off in a different (and better) direction once the collaborative process kicks in. Also, a good amount of songs come from jamming. We record every practice

and listen back, to our already established songs, and to make sure we document the occurrences during the jams where we hit upon something. We have a pretty large backlog of ideas and half-completed songs that we can’t wait to finish and record. Trent: There’s a constant evolution. It’s kinda alien. Joe: It’s actually Levaughn and I who write everything, all the time, every day. We just let Eric and Trent take the credit to boost their fragile self esteem. Levaughn: Word!METRONOME: How many original songs do you guys have in your catalog? Eric: We have our current 7-song EP, and another 3-song EP in the works. Last I checked on our dry-erase board we have approximately 45 songs that are either completed or almost there, and another 15 or so in the embryonic stage. Trent: We’re going to unleash a bunch of “new” material at our upcoming gigs.METRONOME: You just released an excellent new disc called, Escape From Alpha. How long did it take to write the music for it? Trent: The songs probably wrote themselves over a few weeks each, but the recording took over a year. Maybe there are mental issues. It worked out though.METRONOME: Where did you record the CD? Trent: Oddio Sound production studio (our jam room/my office during the day in Salem, MA).METRONOME: How long did it take to record from start to finish? Trent: About a year plus a couple of months for final mixes, mastering and artwork.METRONOME: Who produced and recorded the project? Trent: We all produced it at our studio, Oddio Sound. I was the engineer. Fred Giannelli (The Kooky Scientist) gave me some good pointers on mixing in Ableton Live back in the 2000s, and Jeff Murray (Lo-Fi User) gave me some good tips along the way. Joe helped a lot with mic-ing and late night encouragement. We also have to give a shout out to Steve Corrao at Sage Audio in Nashville, for mastering. Further, an awesome friend of mine, Laura DaSilva, did the cover art while Levaughn’s lovely lady, Megan Pepin did the art that’s printed on the CD.METRONOME: Escape From Alpha has a retro rock & roll flavor to it that conjured bands like Bowie and Kiss. Do you guys like those acts?

Eric: For me, saying that I “like” David Bowie is an understatement. I’d be remiss if I didn’t mention that Mick Ronson had a large influence on me. As far as Kiss is concerned, from second grade through fourth grade, I thought I was Ace Frehley, and this was way before I even picked up a guitar. But then 5th grade hit and I discovered The Beatles. Trent: The intro to “Scrumble 47” is a total Bowie rip off, then it gets Bad Brains. I was more partial to Hendrix, Page, Slash and CC Deville from Poison in my young years on guitar and Beach Boys, The Beatles, Zappa, Ween, Neil Young for songwriting. Levaughn: I love those acts, but I don’t necessarily base my playing off of Bowie or Kiss. Joe: Yes, of course. I think we can all agree, those are great acts.METRONOME: Who handles the lead vocals or do you guys trade off lead vocal chores? Trent: Chore is a good term. I never wanted to sing, but in high school I was the only one in my group, Riding Elmo, that could sing and play an instrument at the same time. My mom’s a fantastic singer. I never thought I stood a chance, so I just yelled a lot, trying to be in key. It worked for that time. I like to sing now, but I also like when Eric sings instead and I can work on killing my guitar. Eric: Yes, we share the chore.METRONOME: Who handles the lead guitar work? Eric: Some of our songs definitely have leads that either Trent or I will handle, but we don’t think of ourselves as lead guitar or rhythm guitar. We actually think of ourselves as a band with three guitars (including the bass), and make our best attempt at making them all fit together.METRONOME: Joe and Levaughn are a taut rhythm section. It must be a pleasure to have such a good drummer and bass player building the foundation? Eric: Absolutely. They both play well together, and both Trent and I can depend on them to stay in the pocket when we go over the edge. They reel us back in. Joe: We do our best to keep it together when you two are hanging brain over the edge.METRONOME: The album opener, “Dependable” is a great tune. Who wrote it and what was the inspiration for it? Eric: It may sound cliche, but “Dependable” came to me in a dream. I had this really vivid dream where Judas Priest was leading a marching band on an airport tarmac, and they were playing that song. I don’t know where that dream came from. I don’t even particularly like Judas Priest. It was one of those instances where I realized I was dreaming, woke myself up because I liked the song, and hummed it into my iPhone. The only lyrics I recalled from my dream were the “You’re dependable, I’m expendable” part of the chorus.

When I woke up the next morning, I captured the entire song in Garageband, and brought it to the band. The song is pretty much intact except for the addition of Trent’s guitar flourishes. METRONOME: “Song Embryo” has an inventive jangle to it. How did that song develop? Eric: The jangle of that song is all Jazzmaster. Certain guitars are conducive to a certain approach to playing, and that’s what happened here. When we recorded the song, I used a Les Paul and a Stratocaster. They both sounded good for the chorus, but couldn’t capture that jangly feel for the verses. We ended up recording a take with the Jazzmaster, and there it was.METRONOME: “Scrumble 47” reminded us of something The Ramones would have done. What inspired that tune? Trent: I’m not sure this song has much Ramones about it. Inspiration was definitely David Bowie, Pixies and Bad Brains mostly for the music. The lyrics are ridiculous. I take video of myself sometimes, trying new riffs, and send it to the guys. Video files “Scrumble 4” and “Scrumble 7” made the cut for the tune. I just labeled the vids that, we put the riffs together, and it stuck. Levaughn: I never thought that song was going to work because it’s like seven different songs in one, at least regarding what I’m playing. There’s no verse-chorus-verse. Now it’s one of my favorite songs.METRONOME: How often does Alien Drag play live? Trent: We try to air out at least a few times a year, but we’re just as interested in recording and creating moods at Oddio Sound studios as we are playing live. Joe: I think we’re aiming for one show a month, and trying to vary the geography.METRONOME: Do you have any regular gigs at area venues where people could check you out? Trent: You can catch us around the North Shore of Boston at Spotlight Tavern, Koto, and Opus. We’ve also played up in New Hampshire.METRONOME: Do you have any big shows coming up in May? Trent: We’ll be playing on June 10th at Koto in Salem, MA. METRONOME: Do you have any music videos on YouTube for your songs? Trent: Working on it. If anyone wants to lend a hand, by all means. We’re just four busy dudes with too many ideas and too little time.METRONOME: Where can people go to find out more about Alien Drag on the internet? Trent: They can find us at: iTunes, Spotify, YouTube and various other streaming services. They can also go to our web site: www.aliendrag.com or facebook.com/aliendrag. They’ll be directed or find everything there.

Chuck BerryPhoto circa: 1958- Onstage in a TV studio performing his trademark “duck walk.”Band Members: Chuck Berry (vocals & guitar).Musical Achievements: Born in St. Louis, Missouri, October 18, 1926, Charles Edward Anderson “Chuck” Berry was a pioneering American rock and roll guitarist, singer and songwriter. With the songs “Maybellene” (1955), “Roll Over Beethoven” (1956), “Rock and Roll Music” (1957) and “Johnny B. Goode” (1958), Berry refined primitive American blues into the major elements that made guitar fueled rock distinctive. Berry is also known for creating a musical style that included guitar solos and showmanship, and would influence all rock musicians that came after him.Where are they now?: On March 18, 2017, police in St. Charles County, Missouri, were called to Berry’s house, where he was found unresponsive. He was pronounced dead at age 90. Although Chuck Berry’s life was fraught with as much controversy as fame, he still remains one of the architects of modern rock music. That fact cannot be denied. On his 90th birthday, Berry announced that his first new studio album since Rock It in 1979, entitled Chuck, would be released in 2017. It includes his children, Charles Berry Jr. and Ingrid, on guitar and harmonica, and is dedicated to his wife of 68 years, Themetta Berry.

The Time Machine

31 Holland StreetDavis Square, Somerville, MA.

(617) 625-7707www.rockinbobsguitars.com

Hours:M-Th 11 to 6; Fri 11 to 7Sat 11 to 5; Sun 12 to 5

400 Littleton Rd. (Rte. 110)

Westford, MA. 01886(978) 486-3891

343 Bedford Rd. (Rte. 225)

Carlisle, MA 01741(978) 369-1910

1543 Lunenburg Rd. (Rte. 70)

Lancaster, MA 01523(978) 534-9800

158 Turnpike Rd. (Rte. 124)

Jaffrey, NH 03452(603) 532-5765

~ Kimball Farm Cruise Night ~Every Wednesday night in Jaffrey, N.H. and

every Friday night in Lancaster, MA. from 5 to 9pm. Hundreds of cars from Vintage Classics to Tricked-out Street Rods.

FREE Admission. Bring the whole family

Driving Range

Sawmill Arcade

Animal Adventures

Mini Golf

Bumper Boats

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Soaring Eagle Zip Line

Spin Zone Bumper Cars

Roadhouse Diner

www.KimballFarm.com

by Brian M. Owens

Hemway Seamlessly melding the best of Island, folk, rock and funk, alternative popsters, Hemway have created a pristine sound all their own. Led by the rousing vocals of singer-bassist Anna Rae and fueled by the propulsive drumming of Shaun Utter, Hemway is expanding the concept of the power trio. Riding the success of their latest effort, Make Mountain, Hemway is poised to become one of Boston’s favorite acts...

METRONOME: How long has Hemway been together? Anna Rae: Since June of 2014. METRONOME: Who’s in the group and what instruments do they play? Anna Rae: Shaun and I are the core members. Shaun plays drums and I play bass and sing. James played guitar and sang with the band for about 2 years, and he played on our recent recordings but he’s moved on to other pursuits. We’re currently auditioning for a new lead player. METRONOME: Anna, how long have you been singing and playing bass? Anna Rae: I’ve been singing since I was a child. I can remember sitting in the back of the woody station wagon my parents drove when I was growing up, just singing about whatever was happening outside the window. Singing was a very natural outlet for me as a child - a connection between my internal and external worlds. Somewhere along the way that changed. I noticed a couple of years ago that I never just sing when I’m going about my life. This probably relates to how cerebral I am. I think about things for a long time, and when I feel the ideas are adequately developed, I put them in a song and sing about them. I’ve been playing the bass for about five years. Tom Bianchi hosted Cilla Bonnie at The Burren one time and she played her bass solo and sang. Her songs were very innovative and personal. The sonic space between the bass and voice made it easier to hear what each instrument was doing in relation to the other. I had a strong reaction and connection to what she was doing. The first time I picked up a bass I was just like, this is my jam. I love everything about it - the register, the feel, the power, all of it. I play the bass in a pretty non-traditional way. I want to push the boundaries of what people are doing with the bass.METRONOME: Shaun, how long have you been hitting the drums?

Shaun: I’ve been playing the drums for about 15 years. I think it was my first or second year in High School when I started. I never took lessons and never went to school for music. My dad always had drums set up in our basement because he was a drummer in a wedding band. One day I just sat at the drums, turned on the radio that my dad had set up next to the kit, and started playing along with the songs. I believe the song on the radio that I first tried drumming to was “Absolutely (Story of a Girl)” by Nine Days. METRONOME: How did you all meet? Shaun: We met through Craigslist. Anna was making a last ditch attempt at finding collaborators through Craigslist after several pretty unsuccessful attempts. Anyone who

has done it knows what it’s like. James and I were the first two people to come for a jam and it really clicked. It was pretty clear by the end of the jam that the project had legs.METRONOME: How did you come up with the name for the band? Anna Rae: We spent a lot of time thinking and talking about that. It was an opportunity to talk about the direction of our music, and the dynamics of the band. We’re a democratic band - we share the vision, artistic creation, and labor - so we wanted a name that would represent our combined

entity, rather than a single member. Shaun is a visual artist and designer and he came up with the name Hemway a while ago, to make a logo for his portfolio. When he suggested it as a band name, we started making connections. It sounds like Hemenway, a street in Boston; it also sounds vaguely literary, which affects the way we think and write music. Plus, it’s an ambigram, which means it reads the exact same way if you spin it 180 degrees. If you go to our website, you can see how Shaun designed the logo to spin like a record. METRONOME: Who are some of your musical influences? Anna Rae: We actually come from very different musical backgrounds and tastes, so our influences vary a lot. What we have

in common is that we like to innovate and try different things. We love asymmetrical song structure or even small asymmetrical moments within a standard song format. METRONOME: How many recordings does Hemway have out? Anna Rae: We put out our first three-track EP, Make Mountain, this year. We’re excited to get the songs out there, and there are so many more we want to get on record. The first three tracks are a good representation of some of the different directions we’re going in as a band.

Shaun: “Keeping Even” was a co-write between myself and Anna. While many of the songs we play now were written by Anna, co-writing is an important part of the democratic nature of the band and making space for everyone’s ideas. That song was inspired by a friend of ours, the Boston-based writer Thomas Dodson. It was fun to include that song as a nod to the Boston community and the people who inspire us. Thomas is someone with incredible artistic integrity. He works very hard at his craft and the art he puts out into the world is very high quality as a result. METRONOME: Are they all originals? Anna Rae: Yes. Sometimes we throw a cover in at a live show, but we like to put our own spin on them. One that we do is a darker, noir-esque version of Britney Spears’ “Toxic.”METRONOME: Who is the principal songwriter(s) for the band? Shaun: We’re all songwriters. Most of the songs we play now were written by Anna Rae, but we’re really moving toward co-writing. Regardless of who the songs were written by, we all write our own parts, and give each other ideas about how to adapt and evolve those parts. We actually had a discussion very early in the band about songwriting credit, because copyright law was originally designed for a very different kind of era. Melodies and lyrics were what defined the copyright primarily, and you had songwriters producing sheet music, that would then be performed by totally different people. It was set up to make sure that the songwriters got their fair cut. That really isn’t a good model for a band where one member may have written the melody and lyrics, but all the members have poured their sweat, blood, and tears into writing their parts. Sometimes a drum fill or a guitar or bass riff is what ends up defining the song in the audiences’ minds.What’s cool is that we can create our own contract and decide how we want to assign credit and rights based on our concept of the music. METRONOME: Where did you record Make Mountain? Anna Rae: We recorded at Plaid Dog in Brighton, MA. It was recorded, mixed, and mastered by Mike Davidson. Bryan Fennelly assisted.METRONOME: What made you choose Plaid Dog? Anna Rae: There are a lot of really passionate and talented producers and engineers in town and many of them are

our friends. Mike has a lot of great qualities and his studio space is really fantastic. We listened to a bunch of recordings he’d done with other bands and liked the sounds he was getting, particularly from the drums. We asked him to comment on some songs we were considering recording, and felt that his feedback was thoughtful and honest. Mike is also extremely professional. He’s clear about what he can provide, and what to expect from the process and price... all of it. Studio recording can be both costly and stressful, and it really helps to have someone who is super clear and open in how they communicate about those things. Mike and Bryan are also excellent human beings. That’s important to us - collaborating and recording with people we respect. METRONOME: How did you meet Mike Davidson? Shaun: Anna met him when she entered a song in his contest for free production advice. During the session, Mike gave Anna some very specific advice, as well as a list of albums to listen to, that helped her make a significant change in her songwriting structure. Over time they became friends, and Anna continued to follow Mike’s production work as well as take note of the kind of energy and presence he was bringing to the community. When it was time for Hemway to record, Mike was in the top tier of producers/engineers we wanted to try working with.METRONOME: How long did it take to record from start to finish? Anna Rae: Not long. Unless you count all the practice we did with a metronome leading up to the sessions (laughs). We had three full recording days, and two short mixing sessions. Mike gets the mixes to a certain point before he brings the band back in. METRONOME: Did Mike produce the EP? Anna Rae: That’s an interesting question. The definition of producing can range a lot - from a producer that changes song structure and adds instrumentation or effects at will, to simple suggestions during a take like, “Let’s try a different approach to the vocal. Maybe

soften it up a bit. Try using your head voice.” It’s so important to give people credit for their contributions. When we were in early talks with Mike about this, we let him know that we had a concept of what we wanted, and would make final decisions, but that we also wanted his feedback and ideas if he had them. It was really fun, during the course of recording, mixing and mastering, to see what Mike’s ideas were, and we definitely used many of them.METRONOME: Does the album’s title, Make Mountain, have any significance? Anna Rae: Shaun came up with the title. All of the songs relate to self-realization and self-creating. That process is a gigantic undertaking, especially when we need to deconstruct what others have tried to make us, and rebuild from scratch. We spend our whole lives doing it. Making the mountain represents that very personal and profound work. It also represents a place. Imagine a signpost announcing your entry to the Make Mountain territory, where people create things that are positive, that have meaning. Or, where they create just for the sake of creation. Coming up with the name was also a literary exercise. Shaun liked the idea of an alliterative two-word title, and also using “make” as verb and noun at the same time. METRONOME: Anna, how did you become the lead singer for Hemway? Anna Rae: I guess that’s true? To be honest, I am very resistant to take on a title that implies I’m somehow out in front of other band members, or in the lead in some kind of way. I was the lead of my self-titled project for many years, but I was never comfortable with that. I want to be part of an artistic organism that is balanced and equitable. That being said, I do sing most of the lead parts right now. It’s a skill I have and something I’m comfortable doing. When we started the band we talked about who would do what, and that continues to evolve.METRONOME: The band is tight and has a

clean, polished sound. Does that translate in to the live arena as well? Anna Rae: Thank you so much. We work very hard to achieve that. When people go out and pay money to see our music - and more importantly, when they show up to have an artistic experience - we want to deliver. Live sound can be very hard to control, especially if you’re working with new gear or an unfamiliar venue. However, the more shows we’ve played in a variety of venues, the more we’ve been able to figure out what we need to do to get that sound. It’s also true that we like to react in the moment- to each other, to the space, to the audience - so we’re naturally going to sound a bit different live for that reason. We still want the sound to be tight, but we also want it to feel very alive. METRONOME: “Plumb Line” is a cool song. What inspired that tune? Anna Rae: For those who don’t know, a plumb line is a construction tool that is used to measure vertical lines to make sure they’re true. It’s a metaphor for people in your life who tell the truth, and it’s a song about working hard to show up for those people. Lyrically the song was inspired by a combination of things, but one of them was a story that Annie Dillard tells in her book, The Writing Life, about a man who rows against the ocean current all the way through the night to get home. One fun thing about that song is the drum solo at the end. Shaun changes it up every time we play live.METRONOME: “Empty Chamber” seems to carry an ominous message. Who wrote that and what is it about? Shaun: Anna wrote the lyrics to that one. The empty chamber is a metaphor for the throat - it’s a song about finding yourself and your voice after a long period of oppression or repression. Anna was raised in a fundamentalist evangelical community and that song references her journey out of that ideology, and particularly the manifestation of that ideology in her childhood home. METRONOME: How often does Hemway

play live? Shaun: We usually play live about once a month in the Boston area. We’re on a brief hiatus auditioning guitarists and reworking a couple of songs right now, but we’re planning to be out gigging again this spring or summer. In the mean time, we hope people will listen to Make Mountain, follow us on facebook, and reach out. We love to talk music, or anything else, with people who are interested.METRONOME: Have you ever toured outside of the New England area? Shaun: A couple of years ago, Anna Rae did a 28-date tour with Kristen Ford to Colorado and back. Hemway is still a little young for extensive touring, though we’re definitely headed in that direction. We want to focus on local shows and writing a little bit longer. METRONOME: Do you have any music videos on YouTube for your songs? Anna Rae: We have videos on YouTube of live performances at a number of venues around Boston. People can search “Hemway” and find our channel. Now that we’ve got some solid recordings, we can start to think about music videos. METRONOME: Where can people go to find out more about Hemway on the internet? Anna Rae: Our website is www.hemwayband.com. Our Facebook page is a great way to stay in touch about our releases, shows, and other news: www.facebook.com/hemwayband/.METRONOME: Is there anything special you’d like to tell people about Hemway before we close out? Anna Rae: We care about the Boston arts community, the bands that are making great music, and the audiences that are coming out to shows to experience the music and support the scene. It’s not just about us, it’s about the artistic and social conversation we’re having as a community. We’re excited to participate in that, and to keep celebrating the innovations and contributions of other bands and their fans.

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Metronome MadnessHello friends and welcome to the April segment of Metronome Madness. Winter refused to melt away as March proved to be a very stormy month, however nothing can stop the true power of music. As usual, we have lots of news to let you in on, so get comfortable and please read on... Chick Corea has released The Musician: A new documentary film and 3-disc set chronicling his historic 70th birthday concerts with 10 different bands and 28 legendary musicians. The new live 3-CD and Blu-ray set captures Corea’s birthday celebration at the famed Blue Note Jazz Club in 2011, where he assembled a staggering lineup of musical friends and fellow-travelers – among them Herbie Hancock, Bobby McFerrin, Wynton Marsalis, John McLaughlin and Stanley

Clarke – for a month-long residency featuring 10 different bands, including triumphal sets by his own Chick Corea Elektric Band and Return to Forever. All of it is captured brilliantly in the first feature-length documentary on Corea’s life, music and genius musical partners. The film takes you inside the heads and “hangs” of some of the greatest artists of our time, backstage and personal. The CDs capture the music with Corea’s characteristic thrilling live sound, and the documentary goes even further: with total access to Chick’s creative process, the film features live footage, but also rehearsals, backstage hangs and candid interviews with the musicians. Everything that goes into making music at this level – the hours of practice, rehearsals, gear moving in and out – is in full view. The Musician shows Corea welcoming his 70th year with friends and thousands of fans. Now, five years later, he shows no sign of slowing down. He continues to look forward to more tours, more gigs, and more sessions. Looking back on the month-long celebration that is now remembered on The Musician, Corea calls it motivation “to keep on experimenting and researching and putting new bands together and playing music. It’s that simple.” Boston

band, Black Helicopter is back with a new recording, Everything Is Forever, scheduled for release on May 19, on Limited Appeal Records. Black Helicopter follows up 2016’s Deadlines for Deadbeats by telling it like it is. Everything you’ve seen, heard, read, posted, sent, browsed, written, created, destroyed, processed, sold, bought, or done is on record, filed, compiled, and stored for future reference. Everything is Forever. We’re all on the gird, wired in, encased in our reality with no choice but to face it, head on. So get on with it already. Black Helicopter is Tim Shea on guitar & lead vocals, Can Keskin on guitar, Mike Davis on bass & vocals and Matt Nicholas on drums & vocals. Award-winning blues star Selwyn Birchwood is set to release his new Alligator Records album, Pick Your Poison, on May 19. On Pick Your Poison, Birchwood, along with his band, saxophonist Regi Oliver, bassist Huff Wright and drummer Courtney “Big Love” Girlie, takes a major step forward, crafting visionary blues for a new generation of forward-looking fans. Since the 2014 release of his Alligator Records debut, Don’t Call No Ambulance, Birchwood’s meteoric rise from playing small Florida clubs to headlining international festival stages is nothing short of phenomenal, as he continues to set the contemporary blues world on fire. The album received the Blues Music Award and Living Blues Critics’ Award for Best Debut Album Of 2014. With Pick Your Poison’s urgent, uncompromising music, Selwyn Birchwood is forging new directions for the blues. The hard-hitting, cutting-edge songs on Pick Your Poison, along with his incendiary live performances, prove without a doubt his status as the blues’ world’s hottest young talent. On May 5th, Taj Mahal and Keb’ Mo’ will join forces to release TajMo on Concord Records. TajMo is a historic collaboration between two

generations of blues giants, converging their singular talents for the first time ever on an album of original songs and covers featuring cameos from Bonnie Raitt, Joe Walsh, Sheila E., Lizz Wright, and more. While the two have known and influenced each other for decades, and Taj played a key role in Keb’s first record deal, TajMo marks the first proper collaboration between Taj Mahal and Keb’ Mo’. The album was self-produced by the duo and was recorded in Nashville’s Stu Stu Studio. The 11-song set includes covers of John Mayer and The Who, along with 6 originals. TajMo brings out the best in both artists, with the pair merging their distinctive voices, personalities and guitar styles to create vibrant, immediate music that’s firmly rooted in tradition yet ruled by a playful sense of adventure. The Taj Mahal and Keb’ Mo’ Band will be touring extensively in support of the record. Catch them live when they roll through New England:

Aug 16- Prescott Park, Portsmouth, NH Aug 18- Cape Cod Melody Tent, Hyannis, MAAug 19- South Shore Music Circus, Cohasset, MAChick Singer Night Boston will hold their next show on Saturday, May 6, 2017 at the Parish Center For The Arts, 10 Lincoln Street, Westford, MA. CSN-Boston Director Jennifer Truesdale will be performing along with co-director, Marcia Macres, The CSN Boston House Band and featured artists: Annie Bake, Ava Suppels, ANNIK, Emma Brazinski and Olivia Freyman. It will be an amazing evening with all proceeds going to benefit music programs in the Westford school system. See the ad on the opposite page for more details or get tickets at: www.chicksingernightbston2017.brownpapertickets.com. PASSING NOTES: World-famous blues harmonica master James Cotton, died on March 16, 2017 of pneumonia at St. David’s Medical Center in Austin, Texas. He was 81. His overwhelmingly powerful harmonica playing was one of the iconic sounds of the blues. He toured worldwide for over 60 years. James Henry Cotton, known as “Mr. Superharp,” recorded nearly 30 solo albums, winning one Grammy Award, six Living Blues Awards and 10 Blues Music Awards. He was inducted into the Blues Hall Of Fame in 2006. Born on a cotton plantation in Tunica, Mississippi on July 1, 1935, Cotton was a working musician by age nine. He learned harmonica directly from Sonny Boy Williamson II (Rice Miller), toured with Williamson and Howlin’ Wolf, and recorded for Sun Records in 1953 before spending 12 years touring and recording with Muddy Waters at age 20. Cotton was featured on Muddy’s famous 1960 At Newport LP on Chess Records, including the iconic version of “Got My Mojo Working,” one of the classic recordings of Chicago Blues. Cotton is survived by his wife Jacklyn Hairston Cotton, daughters Teresa Hampton and Marshall Ann Cotton and son James Patrick Cotton as well as numerous grandchildren and great-grandchildren; Former Boston drummer, John Thomas “Sib” Hashian, who played on the band’s first two albums, died March 22nd while performing on a Legends of Rock Cruise during the band’s set. Sib was recruited in 1975 to play drums on Boston’s self-titled debut album, replacing Jim Masdea at the request of their record label. He remained with the band for their second album, Don’t Look Back. His playing can be heard on the hits, “More Than a Feeling,” “Long Time” and “Peace of Mind.” After leaving Boston, Hashian went on to play with former Boston guitarist/bandmate, Barry Goodreau in his band, as well as with Ernie [Boch] & The Automatics. Sib Hashian was 67 years

Chick Corea

Selwyn Birchwood

old; Chicago bluesman Lonnie Brooks, passed away on Saturday, April 1, 2017 in Chicago, according to his son, Ronnie Baker Brooks. He was 83. Standing behind his ferocious vocals and blazing fretboard prowess, Brooks created a trademark signature sound. It combined Chicago blues, rock & roll, Memphis soul, bayou swamp and country twang into a style that his peers called “Voodoo Blues.” He was inducted into the Blues Hall Of Fame in 2010. On June 12, 2012 Mayor Rahm Emanuel declared Lonnie Brooks Day in Chicago. Brooks was born Lee Baker, Jr. on December 18, 1933. Over the course of his 60-year career, he recorded 11 full albums and dozens of 45s for several different labels. His career began in Port Arthur, Texas in the mid-1950s. Recording under the name Guitar Junior, he scored a string of regional hits, including “Family Rules” and “The Crawl” for Goldband Records. In 1993, Brooks spent the summer on a national concert tour with B.B. King, Buddy Guy, Koko Taylor, Junior Wells and Eric Johnson. In 1995 Eric Clapton honored Brooks by inviting the bluesman on stage for an unforgettable impromptu jam at Chicago’s Buddy Guy’s Legends club. In 1998 alone, he appeared in the film Blues Brothers 2000, performed on The Late Show With David Letterman

and co-authored (along with his son Wayne Baker Brooks and music scribe Cub Koda) the book, Blues For Dummies. His final two releases, 1996’s Roadhouse Rules and 1999’s Lone Star Shootout (recorded with fellow Gulf Coast blues veterans Long John Hunter and Phillip Walker), showed Brooks at his very best -- an electrifying guitarist with full-throated vocals, clever original songs, and a dedication to having fun; Local guitarist Jeffrey “Rick” Serafini passed away at Lowell General Hospital March 8th. He was 58 years old. Born in Stoneham on February 28, 1959, Rick grew up in Tewksbury, MA. He was a member of the Eagles tribute band, Another Tequila Sunrise. He is survived by his wife Kelly, two sons and a grandchild. VIDEO PICKS OF THE MONTH: Now You See Me 2- This heist thriller film stars an All-star cast that includes Jesse Eisenberg, Mark Ruffalo, Woody Harrelson, Dave Franco, Daniel Radcliffe, Lizzy Caplan, Jay Chou, Sanaa Lathan, Michael Caine and Morgan Freeman. This sequel to the 2013 film Now You See Me follows the Four Horsemen who resurface and are forcibly recruited by a tech genius to pull off an almost impossible heist. Fabulous special FX abound; Self/Less- This well scripted science fiction thriller stars Ryan Reynolds, Natalie Martinez, Matthew Goode, Victor Garber, Derek Luke, and Ben Kingsley. When business tycoon and billionaire Damian Hale (Ben Kingsley) is diagnosed with terminal cancer, he finds a business card directing him to a man named Professor Albright (Matthew Goode), who informs him about a radical medical procedure called “shedding,” in which one’s consciousness is transferred to an artificially grown healthy body. Damian undergo the procedure, and transfers him into a new body (Ryan Reynolds) and prescribes medication to alleviate the vivid hallucinations which he claims are side effects of the procedure. It all goes upside down from there; Last Witch Hunter- Vin Diesel stars as the immortal witch hunter who must stop a plague from ravaging New York City. Great story line and FX; Keeping Up With The Joneses- starring Zach Galifianakis, Jon Hamm, Isla Fisher and Gal Gadot, this outstanding film follows a suburban couple (Galifianakis and Fisher) who begin to suspect their new neighbors (Hamm and Gadot) are secret agents. Funny and highly entertaining; Criminal Activities- Things are not what they seem in this mind messing flick starring Michael Pitt, Dan Stevens, Christopher Abbott ; Rob Brown, Edi Gathegi, Jackie Earle Haley and John Travolta. Don’t worry if you think it’s slow going at first... it gets real good towards the end. Well that’s all for now ladies and gents. Until next time, keep making, listening and supporting beautiful music. HAPPY BIRTHDAY TAURUS, YOU BULL YOU. Catch you all next issue. Thanks for reading.

--Compiled by Brian O.

Peter Buzzelle & The Academyby Brian M. Owens photos by Joshua Pickering

Former founding member of Oregon based pop-noise band, Frequency dB, singer-songwriter Peter Buzzelle returned back to his Beantown roots at the turn of the century. After releasing two well received solo efforts, he formed his latest project, Peter Buzzelle & The Academy. Zeroing in on the guitar-driven power pop tremors of bands like Big Star, The Posies and The Shins, Buzzelle and company are now writing their own energetic musical destiny with catchy songs filled with trippy guitars and raucous vocals. I caught up with Peter one cold New England morning and we talked about his return to Boston and how his music has evolved...

METRONOME: Your bio states that you’re from the Northwest. Did you grow up in Seattle? Peter Buzzelle: I was actually born in Lowell and lived in Billerica for a while when I was a kid. I moved to Oregon with my mom when I was seven. I moved back here in 2000. I lived in the Northwest for almost 20 years.METRONOME: Were you in a band in Oregon? Yeah, I was a drummer in a band called Frequency dB during the 1990s. We were fortunate enough to be in the Northwest when that music scene came out with the big bands we all know- Nirvana, Sound Garden and Pearl Jam. They were all rising out of it. F requency dB performed quite a bit. We toured the West coast and had an indie noise rock sound. That band broke up in 1998. A couple of years later, I moved back to the Northeast to be with my family. I’ve been back here ever since.METRONOME: Did you jump back in to music when you moved back to Boston? I didn’t. I got married and had kids. I have two girls. I started a business in carpentry. That always paid the bills when I was playing music. I was always writing even when I wasn’t actively doing music.

My wife’s brother was in a Boston band called, Helicopter Helicopter.METRONOME: What is his name? Chris Zerby.METRONOME: You married Chris’ sister? Yeah. We actually met at T.T. the Bear’s at a Helicopter Helicopter show. I ended up working with Chris on my first two records. He’s a very talented guy. He basically produced, especially my second record, Museum Of. I flew out to L.A. several times with him to work on it because he moved out there in 2010. He still lives out there.

METRONOME: Is he in the music business? He was good friends with Michael Eisenstein and Kay Hanley from Letters To Cleo. They moved out there and he was out there with them. Michael was in a band with him for a while. Chris was pursuing it quite a bit, but for the past couple of years, he’s just been focusing on his writing.METRONOME: Songwriting? No. He’s actually writing books.METRONOME: What was the name of your first album?

The first album was called To Telescope.METRONOME: How many songs were on it? That was ten songs. All originals. It came out in 2010.METRONOME: What was the name of your next album? Two years later, Chris and I did another full length record called Museum Of. Chris was much more involved in that recording.METRONOME: How many songs were on that? That was ten. All originals.

METRONOME: Did you do anything after that? In 2014, I released an EP which was entitled, Sea of White.METRONOME: What inspired the title for that EP? For that one, I had a concept of two people getting together and meeting and going through phases together. That ended up having five songs with that theme. Originally, it was going to be a full length, but we just ended up focusing on the five songs.

I recorded it at Q-Division.METRONOME: Was Chris involved with that project too? Yes. He was involved in the tracking. He flew out here. I finished the record with Craig Small of Airport. He helped me and produced the vocals in particular. He’s a very talented guy