Christmas in Quarantine: Crock of Gold - a few rounds with Shane MacGowan

Christmas in Quarantine: Crock of Gold – a few
rounds with Shane MacGowan

This Julien Temple directed, Johnny Depp produced documentary shines a spotlight on Pogues singer,
Shane MacGowan. Crock of Gold starts with MacGowan talking about growing up in Ireland living in a
crowded house, without electricity or indoor plumbing, where he worked in the field with his uncle, and
how his aunt would bribe him at the age of 5 with whiskey to read the Bible. The one part of Crock of
Gold that irritated me was the overuse of stock film by Temple (one of his trademarks from his other
films about Joe Strummer and the Sex Pistols) to re-enact MacGowan’s childhood. This is interspersed
with MacGowan, his wife Victoria Mary Clarke, and Johnny Depp having drinks in a pub while
MacGowan shares things like his belief that “God chose me to save Irish music.” When Clarke asked
him why, MacGowan replied with a cackling “because God is Irish.”

MacGowan’s family moved to London where MacGowan got kicked out of schools, began experimenting
with drugs, and joined a gang after enduring an initiation where he got beaten with a stick while having
a trashcan over his head. During his teens in the late ’70s, punk rock explodes in London and bands like
the Sex Pistols inspired MacGowan to start a band of his own, which eventually comes to be called The
Nips. After punk rock fizzled out of fashion, MacGowan started a band with Spider Stacy called Pogue
Mahone to breathe new life into traditional Irish music fueled by the energy of punk rock. The band
name only gets shortened to The Pogues once a TV show the band was to be on discovers that the
Gaelic translation of Pogue Mahone is Kiss My Arse. There is great early footage of The Pogues, covers
the creation of the iconic Christmas classic “Fairytale of New York,” and ends with MacGowan getting a
medal from the President of Ireland for contributions to Irish culture in a star studded 60th birthday
concert. Crock of Gold features interviews with MacGowan’s sister, parents, politician/Northern Ireland
peace broker Gerry Adams, Nick Cave and Bono, among others. The movie is out in theaters (if that is
ever a thing here again) and streaming platforms – check crockofgoldfilm.com for screening options.

Low Cut Connie — Private Lives

If Private Lives is not the best rock album of 2020, it is definitely in the top 5. The double album is a hot
pie stuffed with American music. The ballad of “Look What They Did” covers the fall of Atlantic City
after being raided by billionaire developers. Swagger-filled romps run wild from indie guitar squalor of
“Tea Time” to the New Orleans boogie “Nobody Else Will Believe You.” “Help Me” has
singer/keyboardist Adam Weiner singing about “hanging like a scarecrow” before the gospel chorus
kicks in like a choir. “If I Die” belts out the blues. “Stay as Long as You Like “ is even like an ’80s pop
ballad. Private Lives stylistically plays like a jukebox, shuffling between genres with Weiner’s lyrics
pushing a comforting message of hope through the joys and sadness. In addition to this absolute beast
of an album, Low Cut Connie does weekly streams every Thursday and Saturday for their close-lnit
community of fans that Weiner has dubbed “Tough Cookies” – check out their social media pages for

info. Private Lives is the soundtrack for the turbulence of 2020.

The Replacements – Pleased To Meet Me (Sire/Rhino Records)

This deluxe reissue of this 1987 classic includes three discs and one album of previously unreleased
songs, demos and alternate mixes. Among the highlights are the Mats last recordings with original
guitarist Bob Stinson on the Blackberry Way demos before they went to Memphis to make Pleased To
Meet Me with legendary producer Jim Dickinson as a three piece. In a break with tradition, the vinyl
offering is a completely different version of the album with some non-album songs sprinkled in, and a
mix that has a raw demo quality. Pleased to Meet Me showcases singer’s Paul Westerberg’s lyric
creation process as he’ll sing different lyrics before settling on the final version. Pleased To Meet Me
also provides a snapshot of the infancy of bassist Tommy Stinson’s development as a songwriter. In a
very Replacements-esque fashion, the boxset appears to have no involvement of the band members and
was largely compiled by Mats biographer Bob Mehr. Pleased To Meet Me is a treasure trove for any
Mats lover on your Holiday shopping list.

Tom Petty – Wildflowers & All The Rest (Warner Records)

Long rumoured to be the works, the deluxe version contains unreleased tracks that were originally
intended to be part of Wildflowers as a double album. There is some filler (I’m not sure it was really
necessary to buy the 9 vinyl version) but rarities like “Leave Virginia Alone,” the scorching psychedelic
romp of “Driving Down to Georgia,” and “Girl on LSD” are pure gold. There is a double album of home
demos and a double album of early versions of Wildflowers. The highlight for me is the double live
album of tracks, both on and written for Wildflowers. Available in digital and in various CD and vinyl
packages, Wildflowers & All The Rest will no doubt light up the world of any Tom Petty fan on your
shopping list.

Rolling Stones – Goats Head Soup (Polydor Records)

After a string of four albums considered to be their best, Goats Head Soup is largely overlooked in the
Stone’s vast catalogue. I’ve always loved it from the spooky opening riff of “Dancing With Mr. D.” to the
longing optimism of “Winter.” The deluxe reissue contains three unreleased tracks with my favorite
being the driving “Criss Cross,” which seems to be the most untouched from the original sessions.
Another of the unreleased tracks “Scarlet” I don’t like as much because you can tell Mick Jagger re-did
the vocals. There are a few different mixes and instrumentals, the standout being an instrumental
version of “Heartbreaker.” The deluxe version contains a long circulating bootleg called Brussels Affair,
which is a solid snapshot of the Stones live from this era. Goats Head Soup and the recent reissue of
Keith Richards and The X-Pensive Winos Live at the Hollywood Palladium are to go to gifts for any

Stones fan on your shopping list.

Email music news to mclarkin33@gmail.com

Election Night Soundtrack: Serving up fresh
hot biscuits

Turn Up The Mains

Let’s start this off with addressing the undecided voters in one of most divisive presidential elections
ever. Four years of Trump, an epically mismanaged pandemic, and a knife stuck in the long festering
wound of racial inequality and yet you are still undecided. Congratulations, you are the unicorn nobody
thought could exist!

Most columnists are going to try to sway you, but not me! Democracy is a myth. Hillary Clinton won the
vote by nearly 3 million votes in 2016 and she lost. Rhode Island is going to throw a whopping 4 votes
for Joe Biden. So take a load off and have a drink. The last time a Republican won the state was in 1984
and it’s not like there was any book written predicting that year. It’s cool, it isn’t like we have cameras
everywhere though, right? I know things are contentious on Facebook with your in laws, but take
another sip; the game is rigged.

Now I’m not suggesting you not vote. In fact, everyone should vote more! Especially in primaries where
you actually have a say in which candidates appear on the November ballot. So vote, but then demand
accountability from your local officials. Turn up the mains, let’s go!

Dropdead – Dropdead (Armageddon Records)

When Trump got elected, the glass half full take was maybe this will make punk rock great again like in
the ’80s with Reagan. Welp, we got a new Dropdead record, plus their other two records have been
remastered and re-released. Was it worth it? I don’t know, but maybe we’ll stick to the advice of the
Doobie Brothers and “Listen to the Music.” So before diving into the biscuit, I listened to the old stuff to

see if there was any drop off? Did they become Linkin Park singing about getting their periods? Hell
no! Dropdead are alive as ever and the passion, which is how I measure hardcore bands, is bursting on
this new biscuit. “Book of Hate” is the closest they come to Meatloaf in terms of song length (most
songs are under a minute) clocking in at just under 3 minutes. This tune takes me back to what I love
about hardcore, stuff like Circle Jerks. “Stoking The Flames” is genius, breaking-the-sound-barrier rock
‘n’ roll. “Hail toThe Emperor” is another banger for your Zoom election night party. It thrashes, it rocks
and really just knocks your socks off. The world is a sick place and Dropdead is the soundtrack. My
favorite tune here is “The Future is Yours” because in the classic tradition of the Bad Brains, it is both
angry and offers light for better times. This album is available at all the usual places, but I’d suggest the
place at the end of my street, Dropdead guitarist Ben Barnett’s Armageddon Records on Broadway
Street. I own at least 50 records purchased from there over the years. Sadly they are closed for in-store
browsing due to COVID, but you can order at armageddonshop.com and stop by for a safe pickup.

Chrissy Stewart – House of Christina

The backstory of Stewart’s debut album, House of Christina, is fascinating. She was at a show in
western Mass, stopped on the way home, realized it was near the house she grew up in, ran to the
house, met the owner and learned it was now a women’s shelter called the House of Christina. Mind
blown, Stewart was driven to make this album. The title track is the first one that grabbed me for its
haunting beauty. “Remember When” continues the ghostly sway, but underneath the handclaps there is
some shredding happening. I love the dreamy folk feel of “Tired Heart Talking.” My favorite here is
“Preacher’s Daughter;” it has a jazz-based swing like an old showtune. House of Christina is available
on the usual streaming formats, but I got to say the vinyl sounds fucking fantastic — go to
chrissystewart.com for that like I did. In addition to performing, Stewart puts on great shows and has
PVDLive on Instagram where I think there is a blog of stuff to check out.

Spook Power – Devil’s Night!

This night will be a throwback to my six-year run at the legendary E&O Tap spinning Alice Cooper,
Misfits and whatever else — trust me, I have a bottomless bag of tricks. I miss those E&O Days, so it is
an honor to be asked to DJ at one of the last two dive bars remaining in downtown Providence. October
30 is known as the Devil’s Night, so I’ll be playing songs about the devil. That seems appropriate for
2020. To keep this a safe and socially distanced event, I’ll be DJing in the mausoleum of 38 Studios,
possibly on Curt Shilling’s desk — worth every penny of that $75 million bond. So wear a costume or
don’t, but wear a fuckin’ mask and let’s get weird. It starts somewhere around 8 and lasts till 11 or
when they pull the plug. So let’s come together and celebrate the Devil, QAnon and whatever else
doesn’t exist!

Spook Power will go down at Muldowney’s Pub on October 30 starting around 8pm. Free!

Live Music:

2020 has been rough for everyone, but music venues have had it as bad as anyone. They were the first
to close and will be the last to reopen. Some estimates say that up to 90% of venues will not survive. We
are lucky to have some gems in Providence. Askew, Dusk, Nick-A-Nees and Platforms are doing live
music. So let’s keep these great soldiers alive!

RIP Eddie Van Halen. I grew up when time “Jump” hit MTV. I finally got to see him in 2007 in Boston on
the day of the Red Sox victory parade, and had to crawl over some zombies to get into the Garden.

RIP Walter Lure from Johnny Thunders & The Heartbreakers — the original Heartbreakers and I love
Tom Petty. I just finished his book To Hell And Back, which was a great quick read. The sub-title had the
words “The Last Man Standing,” though — apparently not a good idea in 2020.

I feel like I’m forgetting some others, the singer of The Outfield for one, but blessings to anyone who
has lost someone that was dear to them.

Email music news and fantasy football tips to mclarkin33@gmail.com

Catch it While You Can!: Music is live and
outside … for now

Throwing Muses — Sun Racket (Fire Records)

It’s amazing to think that Newport’s Throwing Muses have been together 40 years now. To celebrate,
Throwing Muses will release a new album, Sun Racket, on September 4. Sun Racket is packed with
singer/guitarist Kristin Hersh’s abstract poetry that floats and flails in the seas of psychedelic guitars
echoing into the sunset. David Narcizo’s drumming is the glue that holds the ship together while
Bernard Georges’ driving bass lines push it forward. The album kicks off with the haunting “Dark Blue,”
which really is one of only two songs with anything resembling a “chorus.” On “Maria Laguna,” I can’t

tell if Hersh is singing about someone who has drowned, but I do love the lyric “dotted with sharks,
spilling prom dates’ videotapes.” “Upstairs Dan” is another stormy hypnotic shot where you can’t tell if
the character is dying or if they are bracing for a hurricane (Hersh’s house got destroyed when Katrina
hit New Orleans). “Kay Catherine” has a waltz feel that starts off with a line about a terrible secret that
the abstract lyrics leaves buried in the sand. Sun Racket works as a blast of mysterious noise lying on a
bed of uneasy harmony, like a diary that washed up ashore, half destroyed.

Jesse Malin — ‘Todd Youth”/ “Sally Can’t Dance” (Wicked Cool Records)

On his new single, Jesse Malin pays tribute to his late friend Todd Youth, with a tune by the same name.
Malin wrote the song by imagining his friend’s perspective on his last night before losing his battle with
addiction. Some lines in the song like “sold my records and my last guitar, on a night so dark I couldn’t
see the stars” capture the desperation that Youth was likely experiencing. HR from Bad Brains, who
also had a side project with Youth, opens the song and appears throughout, singing lyrics that Malin
borrowed from a couple of Bad Brains songs, such as “Leaving This Babylon” and “Sailing On.” It works
as a fitting tribute because Malin, Youth and HR all came out of the early ’80s hardcore scene, even if
this track is more at Tom Petty or Mink Deville level of rock. The B-side is a faithful cover of Lou Reed’s
“Sally Can’t Dance.”

Live Music Returns!

Live music has started to return, albeit very slowly, at venues that have the means to do outdoor shows.
I recommend seeing it while you can because nobody seems particularly optimistic about the prospect
for live music once winter hits. Both Dusk and Askew are hosting live music every weekend outdoors.
Dusk is having bands play in the parking lot behind the venue, and Askew has been closing down
Chestnut St every weekend. Both venues adhere to social distancing recommendations with table
seatings. Reservations can be made by contacting either club in advance; check out their respective
websites/social media pages for more information. Here are some of the upcoming shows to mark on
the calendar.

The Copacetics

The reigning kings of local ska return to get the dance party started on Chestnut Street. Social
distancing regulations must be a nightmare for ska bands with horn sections.

The Copacetics play outside Askew on Sep 4.

Steve Smith and The Nakeds

It would be like the summer of 2020 didn’t happen without a Steve Smith and The Nakeds concert. This
is the 47th year of the band and surely one of the oddest. Steve Smith and The Nakeds bring it with a
heavy dose of bar rock rock mixed with R&B. I also love going down to the Charlestown Rathskeller,
which has their stage out back with chairs and picnic tables.

Steve Smith and The Nakeds are at the Charlestown Rathskeller on Sep 12.

Absolute Eddie and Three Points of Madness

Not even a pandemic can kill heavy metal. Absolute Eddie is an Iron Maiden band, so right away I know
this show is going to be a hoot. Three Points of Madness mixes metal, heavy alternative and a smidge of
prog-rock in their thunder batter.

Absolute Eddie and Three Points of Madness will rock Dusk on Sep 12.

University of Rhode Island Virtual Guitar Festival 2020

University of Rhode Island Virtual Guitar Festival 2020 will take place from September 25 thru
27. Featured artists include Adam Levin, Raphaël Feuillâtre, Bokyung Byun, Derek Gripper, Yacouba
Sissoko, Redmond O’Toole, Zaira Meneses, Scott Borg, Matthew Rohde, Eliot Fisk, Corey Harris,
William Knuth and Patricia Price, among others. Check it out at uriguitarfestival.org

Ponyboy

Ponyboy make their debut doing two sets (one of original material and a set of covers) outside at Askew.
Ponyboy have a three-song single due to come out digitally later on this month. I’ve heard some of their
stuff and it’s all over the map where one tune will sound like the Stooges, the next one will harken back
to the Faces and third one will be something completely different. The band includes Dave Laros and
Vic Foley from Blackletter, Bob Giusti on drums, and Eric Hanson on bass. I’m looking forward to this
one!

Ponyboy will play outside at Askew on Sep 26.

Bonus Shows:

New Idols will rock Dusk on Sep 20, and Sweet Babylon and others will play Dusk on Sep 27.

Email music news to mclarkin33@gmail.com

Rock ‘n’ Roll Villains: Ravi Shavi unleash
Special Hazards

On their third full-length release, Special Hazards, Ravi Shavi unleash a collection of 14 songs chock
full of grooves, trashy surf and classic pop. Gems like “Going Going Gone” come off like a letter to an
old flame with singer/guitarist Rafay Rashid asking, “How’s the city, how’s your mom, do you still have
a car, have you taken your pills, have you smoken a joint?” The wistful chorus features backing vocals
from Roz Raskin. One of the older songs in Ravi Shavi’s repertoire, “Is It True,” is a sunny burst of
classic pop buttressed by backing vocals from Raskin as well as Kate Jones and Emily Shaw of The
Sugar Honey Iced Tea. “High Hopes” has a Cramps-style guitar-from-the-gutter stomp with a guest
appearance by Ian O’Neil of Deer Tick. O’Neil also appears on “Violence,” which has an early 2000s
alternative rock flavor. “Absent Minded Fool” is a lament with the feel of a cool flamenco guitar gone

wrong. The final track, “Casino,” is my favorite with its eerily seductive lyrics like, “Why don’t you take
a gamble, I’ll be your casino,” floating like smoke through the air over a funky garage backbeat. Special
Hazards is available now on Ravi Shavi’s Bandcamp page with physical copies on vinyl and CD coming
later this year.

I spoke with Rafay Rashid to discuss pandemic living, how he and guitarist Nick Politelli write, and the
villainous undercurrent flowing through Special Hazards.

Marc Clarkin (Motif): How have you been spending this weird time we’re all in?

Rafay Rashid (Ravi Shavi): I’ve been kind of going through it with everybody else. I’ve always felt that
the world is ending, and this has just been sort of more concrete or a manifestation of that. I’ve been
writing more and doing some side projects. I’ve been trying to spend more time with my friends and
family while still, you know, trying to keep the disease at bay. I just got tested a week ago, not because I
had any symptoms; I was just curious. I was negative, so hooray, right? No COVID for me!

MC: One of my favorite songs on Special Hazards is “Sixes and Sevens,” where you have a great line in
the chorus: “We’re not going to heaven, we’re still stuck in traffic.” How did that song come about?

RR: Well that was the pinnacle of me and Nick Politelli, our guitarist, just writing in a frenzy to create
material for the album. We had come up with God knows, like 40 to 50 songs. When we whittled it
down, that was one of the ones that stuck. We kind of knew when we wrote it that it was going to stick.
It was just a combination of trying to figure out how to be as abrasive as we were on our first two
records while reflecting a little bit lyrically. It was more of a statement song in terms of where we’re
heading. All the songs were written before COVID-19 or 2020. We actually wrote all these songs
lyrically about four years ago. So everything that you hear on the album lyrically has been written well
before this time, but yeah, it kind of felt prophetic in a way. Not saying that we’re soothsayers, but I feel
like there’s a sense that like everybody kind of knew where this was headed. “We’re not going to
heaven, we’re still stuck in traffic” is like, we all have to work through a lot of things in order to get to
this idyllic place that our collective imagination brings us.

MC: “Red Hands” is carried by a funk backbeat that kind of reminds me of earlier Prince. Were there
any new things you want to try with Special Hazards?

RR: So one thing about Special Hazards that is unlike the rest of the albums, it was a very concentrated
time in which we were working on the album. On this one, because of the way the time schedule worked
out with our label, we had a lot of time to work on demos. This was actually sort of a compendium of

everything that we worked on while we were trying to catch up with ourselves in terms of releasing
stuff to the label — whether it be album covers or waiting for the pressing plants, which take a certain
amount of time. So we basically whittled it down to 50 to 60 of our best songs. I think this one was the
most collaborative between myself and Nick. “Red Hands,” along with probably about 70% of the songs
on the album, were a 50/50 effort between me and Nick, which was cool. So on “Red Hands,” Nick did
all the music and I just wrote the melody and vocals on top of it. There was a cynical brooding element
to it; our engineer pointed out that this is like kind of our foreboding album.

MC: You made a video for “Casino,” which, in addition to being one hell of a jam, doesn’t sound like
anything else you’ve done. How did that one come about?

RR: I guess with songs like “Casino,” “High Hopes,” “Red Hands” and “Going Going Gone” we found a
thread of a narrative in between these demos that we had done. Then we were like, “Where’s the story
here?” even though we’re not really like a story or conceptual album band. We somehow found a story
within the everything-and-the-kitchen-sink format. So we just picked the songs that fit the story, which
was loose. It was somewhere between a heist and an emotional robbery. So there’s some love songs,
there’s some nostalgic stuff, but then there’s some straight-up let’s go ahead and take what we can get
type of thing. We did feel like the enemy a little bit — it came from a villainous perspective in a lot of
ways.

Email music news to mclarkin33@gmail.com

Summer Guide: The road to nowhere…

I was telling my friend Louie that I had to write a music summer guide and he responded, “Guide to
what?” Good question, damned if I know. Maybe the best songs to listen to at the beach? That list for
local music always starts with Neutral Nation’s “Bad Music Beach” with honorable mention to Someday
Providence’s “Summertime in Rhode Island.” Technically there is still The Mummies at Askew on
August 23, but you’d get better odds at Twin River on roulette than whether that show happens. Sammy
Hagar said live music should return to save the economy. He was willing to sacrifice himself for the
benefit of his kids and grandkids. It makes sense. He had no problem sacrificing Van Halen. So … fuck
him, I can drive 55. Black Lives Matter. Here are some new tunes to crank up like the fireworks in the
middle of the night.

Bob Mould — “American Crisis” (Merge Records)

Bob Dylan is the best lyricist in the history of rock ‘n’ roll. He even has a lyrically stunning new album
out but, with all respect to Mr. Zimmerman and his chart-topping 17 minute song, he’s not the Bob who
came out of Minneapolis that the world needs now. I saw Mould solo in January in Fall River and he
talked about coming of age as a gay male in the ’80s, when the emerging AIDS crisis was referred to as
“the gay cancer.”

“American Crisis” starts off with this lyric: “To come of age in the ’80s was bad enough, we were
marginalized and demonized, I watched a lot of my generation die.” And he is just getting started.
“Wake up every day to see a nation in flames, we click and we tweet and we spread these tales of blame
… world turning darker everyday, in a fucked up USA.” This song makes it feel like he was phoning it in
with his old band, Husker Du, on Zen Arcade. Zen Arcade was one of the best records of the ’80s. In
under two and half minutes Mould and bandmates Jason Narducy and Jon Wurster power through more
twists and turns than the Corkscrew at Rocky Point. In the fadeout Mould chants, “Silence was death,
never forget.” Yes. And vote!

steadystate — Fast Machine

I loved steadystate’s debut EP, Two Moons, last year mostly because of the track, “Radiation,” which
exemplified great electro-alternative ’80s rock ‘n’ roll. It took a while to appreciate the followup, Fast
Machine, because it was kind of like going from Bowie’s Diamond Dogs to Low. Fast Machine is trippy
in both a psychedelic and melancholy manner, kind of like the times. I recommend checking out Tyna
Calderone’s (from Big Haired Sluts fame) video for the first single “Slider,” which was shot in
Providence right after the shutdown on their social media. Singer/Keyboardist Christian Calderon
ponders whether “our nightmares will come alive, or will they clean up everything.” The title track
asks, “What’s the point of no return?” while the band paints a foggy ’80s electro-influenced wall of
sound. The final track, “D+,” isn’t just my high school math grade, it starts slow till squalls of feedback
usher in the beat. Fast Machine is the perfect EP to blast at the beach to chill between New Order and
Jesus Jones.

Malyssa BellaRosa — Affinity

Malyssa BellaRosa has been a busy lady between this solo album and another record she’s ready to drop
with her band, Sugar Cones. I was expecting a more mellow album in the vein of “these songs didn’t
work with the band” type of thing, but Affinity ain’t afraid of a little rocking and a rolling. The opening,
“Great Escape,” starts with BellaRosa’s smoky vocals that leads the listener into the titanic chorus
about the need to get away. “All Used Up” is a tune that BellaRosa has done with one of her other

bands, Malyssa and The Liberators. I can’t say it is my favorite, but I get why it sticks around — when
the song goes into the rocking part surfing a killer hook, I get the appeal. “Wanting More” reminds me
of Bonnie Tyler with strings. As a huge fan of Jim Steinman’s songwriting, I love this! It only works
because BellaRosa has the pipes to pull this off. “By My Side” has the neo-’60s garage strut reminiscent
of Edwyn Collins “A Girl Like You.” “It’s Alright” is dirty guitar punk rock rave up. The closing “Groove
With Me” is a meditative electro jam to fall asleep to on the beach under the stars.

Sick Pills — Late Night Death Trip (75orLess records)

Got this biscuit in the mail and after glancing at the song titles, I had to reach out to singer/guitarist
Chris (Dr. Evil) Guaraldi to make sure he was okay. The song titles include “Wanna Die,” “Waiting To
Die” and the title track. It turns out it was inspired by some health problems last year, including a late
night ambulance trip. Thankfully Dr. Evil is doing better, and from the suffering came great art. The
frantic opener, “Wanna Die” rips in a Husker Du pace before settling into a late ’90s breakdown. “One
More Chance For Love” is another punk rave-up with a hook that recalls early The Replacements.
“Waiting To Die” reminds me of ’90s The Queers and is infectious as hell — seriously, wear a face mask
while listening. The title track has the frenetic backbeat like Funhouse-era Stooges, but at the same
time, sounds nothing like them all. The CD version rounds out with a Devo cover in “Gates of Steel” and
Q Lazzarus’ “Goodbye Horses” that was featured in Silence of the Lambs. Late Night Death Trip is the
album to crank at the beach when one has had too much tequila the night before.

Blackletter — Animal Farm

Singer/Keyboardist Dave Laros told me this record was a reflection of the times and is his effort to make
sense of it all. The release party for Animal Farm was to be the week everything shut down, so if the
times were weird before, good luck with the next one, Laros. Animal Farm starts off with a ’70s rock
strut with bassist Rob Shaggs holding down the low end before guitarist Vic Foley unleashes a bomb of
guitar pyrotechnics on the title track that rival anything in Providence at 2am these days. “Vlad The
Impaler” reminds me a lot of Blue Oyster Cult when they are not being sweet and singing about the
Grim Reaper. “Murder on the Run” is my favorite on the album with Foley’s blues licks playing against
Laros’ keyboards till the chorus that kicks any other power ballad to the curb. “Better Rain” reminds me
of a cross between ’70s stoner rock and Kilgore Smudge. “Invisible Chains / The Waltz” has the title
backward because it starts off with a waltz before undergoing a metamorphosis into early Queen at a
freak show. Animal Farm is the record to put on the ghetto blaster at the beach for those who apply
110 SPF and … it’s not enough.

Email music news to mclarkin33@gmail.com

Panic! Pandemic!: Quarantine and non-
quarantine tracks to check out

So, we are on what, day 50-whatever of the apocalypse? And all the hot shows coming up are
remarkably similar to last month: CANCELLED! I’m stoked, looking forward to seeing everyone and
pouring a few back with ya.

Since I somehow … still have a little space left over after all those shows, let’s talk about some new
jams and EPs that have been rocking my world. Before I get to them, I also recommend following your
favorite bands because there are tons of cool livestreams to check out while quarantined. Let’s share
that with our friends and on social media to keep us somewhat connected till we’re able to get back
together. Thank you for tuning into this column now or hanging in there anytime for the past 15 years.

Quarantine Singles

Electric Six — “Panic! Panic!”

The pandemic might have become real to most when all your favorite clubs, bars and restaurants closed
but for me, it wasn’t real ’til Dick Valentine weighed in. “Panic! Panic!” has a chorus that says “Wash
your hands till you love me” and it made me pause writing this column in a combination of
procrastination and/or just a need to hit my bedroom dance floor. The tune continues the upward trend
that Electric Six has been on with their most recent album, Bride of The Devil. Check it out at
soundclound.com/electricsix2020 — I give it a 7.4.

The Dirty Knobs — “Lockdown”

Tom Petty’s right-hand man, guitarist Mike Campbell, has a new number to rock the quarantine called
“Lockdown.” It’s an enjoyable rocking take on un-rocking times with lines like, “I got a face mask and
some rubber gloves, I’m washing my clothes in an old bathtub.” Check it out at thedirtyknobs.com. I
give it a solid 6.7, but by August it might be an 8.2 — who the hell knows?

Non-Quarantine-Related Singles

Scott Janovitz — “The One Below” / “Over The Wire”

Scott Janovitz is one of my favorite songwriters from the late ’90s and early 2000s. Back then I tried to
hit every one of his shows with his bands, Rhino and Dragstrip Courage. I distinguished myself by being
the one non-girlfriend or wife there back then. I saw them everywhere from playing on what is now PC’s
soccer field to Mama Kin in Boston — back when Aerosmith decided they should have their own club on
Boston’s Lansdowne Street. I still listen to those cassettes sometimes to hear the non-album shit
“Screaming Gun Blues” and “I Feel Alright.” Anyways, my man Janovitz is back with two new jams. The
first tune, “One Below,” is a gazing Brit-Pop love letter to the mid- to later-era Beatles. It’s infectious as
fuck. The B-side, if you can call it that on a digital release, is a less rock but more groove straight shot. I
give this a 7.1. Check out Scott Janovitz on Bandcamp.

Jesse Malin — “Backstabbers” / Crawling Back To You”

After the boom of his Lucinda Williams-produced Sunset Kids record, Jesse Malin is back with a new
single, “Backstabbers,” that was recently named the coolest song of the week by Little Steven’s
Underground Garage. To be fair, it is his record label, but Malin also cleaned up with three awards at
the Independent Music Awards last week. It was a well-deserved honor as Sunset Kids is a great record
and also a long time coming for one of my favorite modern day songwriters. On “Backstabbers,” Malin
reminisces about his youth growing up in New York City where “the dealer and the doctor were
charging the same price.” “Backstabbers” is a sneaky track that grows on you. It’s tough to rate. Today
it might be a 6.1 and tomorrow it might be an 8.3. The B-side is a faithful cover of Tom Petty’s
“Crawling Back To You.” Malin has talked about how the last verse really struck a chord with him. The
lyrics of “it was me and my sidekick, he was drunk and I was sick, we’ve got caught up in a barroom
fight, till an Indian shot out the light, I’m so tired of being tired, sure as night will follow day, most
things that I worry about, never happen anyway.”

Thinking back, it’s just amazing how stacked Petty’s Wildflowers was. That was track 14 and still …
straight-up fire. Malin doesn’t really add anything, but does it justice. I give the single a 6.6, and look
for Malin’s new album, Lust For Love coming in 2021, the year we all make contact … allegedly.

Check out his Saturday livestreams on YouTube at 4pm and his interview show, “Meet Me At The End of
The World,” on YouTube on Wednesdays at 5pm.

123 Astronaut — “Cry Baby Cry”

One of my favorite local bands, 123 Astronaut, released a new jam that is completely different from the
rocking stomp that is their usual calling card. At first, I was like, ‘I don’t know, Jeff,’ but the guitar riff
is just so hypnotic that it spreads like love. I can’t wait to see it live. It started as a 4.1 on my scale, but
it’s a 6.7 now. It’ll probably be an 11 by the time this all ends. Check it out on 123 Astronaut’s
Bandcamp page and check out their lyric video on their social media page.

Okay, I’m halfway through so this means I will do at least one more column. Till next time, stay safe,
stay healthy, stay positive and email me shit at mclarkin33@gmail.com. Time to vamos!

Pandemic at the Disco: Music venues are
empty, but RI keeps rocking out

Heading For A Clampdown

As much as I liked the idea of every Yankees, Giants or Jets fan being stopped on the highway without
probable cause and the state police forbidding them from leaving their houses — that idea was bat shit
crazy. And even though crossing our borders now gives automatic quarantine to people from all states
— not just New York — I think this is completely unconstitutional and a draconian abuse of power.What
are we going to do next, build Trump’s wall around Rhode Island? There seems to be a thin line
between public safety and an Orwellian state. I get the seriousness. I was too scared to see my dad, who
isn’t in the best of health, last week on his 76th birthday because I couldn’t live with myself if I infected
him with COVID-19. That sucked. I get the importance of not overwhelming hospitals. Certainly all the
healthcare workers are superheroes and should be issued capes. My blessings to all of them and their
families, and let’s be safe together (by distancing) in these very weird times. Without further adieu, let’s
get to the top three must-see shows of April.

Cancelled

Cancelled

Cancelled

Well those were a hoot! Here are three artists that have been doing livestream shows from home that
I’ve been rocking out to.

Low Cut Connie: Next shows are Thursday and Saturday at 6pm.

Jesse Malin: Next shows are Wednesday and Saturday; check the interwebs for times.

Ben Nichols (from Lucero): Check Lucero’s social media page for upcoming times.

As the great prophet Strummer once sang, “Know Your Rights” and let’s be safe. Here are some of the
new releases to rock your Great Quarantine of 2020 playlists.

Micah Schnabel — The Teenage Years of the 21st Century

On this solo album, the Two Cow Garage troubadour, Micah Schnabel, spins tales of emergency room
visits and searching for empathy amidst toxic masculinity in the context of a broader struggle to
survive. The youthful idealism of “How To Ride A Bike” is pitted against being in the non-1% trying to
survive. “A Celebration” sets up my favorite tune on the album, “Filthy Cash,” which deals with racism
and erupts in a coffee shop celebration of community equality. “Remain Silent” is packed with all-too-
true musings like “when did being a decent human being become political, how have we’ve become so
dark hearted and cynical” The Teenage Years of the 21st is an honest (pre-COVID-19 because who saw
this shit coming) examination of life in the 21st century. I give it a 7.1 for the optimism in battling a
losing cause.

Mister Frizzle — Sophomoric

I caught wind that Mister Frizzle was some folk rock thing, which begged the question: Why isn’t this
going to Fuzek? But in these times where everybody is losing their rights and minds, I dove deeper and
listened to their first album, Blue Monday, and then the new biscuit Sophomoric. The differences are
stark as Sophomoric is a much better recording and has a punch. As far as folk, I don’t see it. “Crazy”
sounds like an outtake of a fictional jam session between Screaming Trees and The Afghan Whigs.
“Shark Song” reminds me of Pavement. “Money To Spend” and “Take Me Away” have an early Weezer
vibe. “Born In The 70’s” channels the first two albums Radiohead with the nostalgia wish in the title. I
don’t really get that because those of us who were born in the ’70s wish they were born earlier to
experience the ’70s punk rock explosion. I guess it’s just a generational thing where we glorify those

golden times before us. Whatever is clever, I listened to that tune three times in a row so it must be
working on some level. My favorite jam here is “Money To Spend” which, like most of the record, is not
quite as catchy as COVID-19, but more like a less contagious version of the flu on the infectious scale.
Mister Frizzle will release Sophomoric on April 17 on all your favorite streaming services. There is a big
release show booked at Askew, which almost certainly won’t happen. In the meantime, give Sophomoric
a listen in your quarantine casa, I give it a solid 6.7.

Bob Dylan — “Murder Most Foul”

Dropping from seemingly out of nowhere, “Murder Most Foul” is the first new song from Dylan since
2012’s Tempest album. Over the course of the nearly 17-minute-long track, Dylan interweaves a non-
stop stream of pop culture poetry while continually coming back to JFK’s assassination. “Murder Most
Foul” floats over a breezy jazz as Dylan references Charlie Parker, Marilyn Monroe, Patsy Cline, The
Beatles, Woodstock, Altamount, The Who, Nightmare on Elm Street, and too many more to mention. As
far as history songs, “Murder Most Foul” is a much darker candlelit jazz than say Billy Joel’s “We Didn’t
Start the Fire,” athough Dylan does reference Joel’s “Only The Good Die Young.” Scary tune for scary
times for sure, it’s just not as good as “Things Have Changed” on the Dylan haunting scale. I give it a
5.8.

Email music news to mclarkin33@gmail.com

Spring Into It!: Album releases and shows to
start the season off right

Fluffernutter — “Got It So Bad” / “Got What You Came For” Single

Fluffernutter is an all-star local collaboration between multi-instrumentalist / all things recording
wizard Kraig Jordan and vocalist Jodie Treloar. Billed as “pop sex metal,” Fluffernutter lives up the
hype while managing to sound nothing like Poison. One listen to “Got It So Bad” and the whole pop sex
metal all makes sense. Musically, it reminds me of Eagles Of Death Metal but not just any track;
Fluffernutter is comparable to track 1 or 2 that one make you buy the Greatest Hits compilation. As
rocking as the music is, what really makes “Got It So Bad” is Treloar’s vocals which alternate between
sweet, seductive and sinister. The breakdown has this cool flamenco guitar-like accent as Treloar
croons, “Why can’t you sit still, let me take your pills, here’s what I’ll do, I’m going to run you through.”

“Got It So Bad” is in my top 10 of tunes for 2020 and even made it to the inner circle, my hockey
pregame Spotify playlist. “Got What You Came For” is in the same vein, but not quite as powerful. I give
it a 7.4 overall; check it out on your favorite streaming service if you can’t find the cassingle.

Foul Weather Friend — Hang On / Hang Out (75orLess Records)

One of the biggest questions looming over the Rhode Island music scene heading into 2020 was
whether Foul Weather Friend could avoid the dreaded sophomore slump with their upcoming release,
Hang On / Hang Out. So it was with grave trepidation that I tore off the shrink wrap and popped Hang
On / Hang Out for the first time. By the second tack, “A Million Cuts,” I was feeling much better about
this record and my place in the universe thanks to the glacier-sized hook carrying the chorus. The vocal
harmonies stuffed into the chorus like a calzone make lines like “Killing me with the games that you
play, I don’t know who I am anymore, feel myself just slipping away, my heart keeps dripping, dripping
all over the floor” burn. “Mercy In Retrograde” is kind of like the stereotypical rock song that bands
write to have something to rock out to live. Better on the rocker spectrum, though, is “I Got Nothing”
(no relation to the Iggy Pop song), which features plenty of shredding packed in tight to a ’60s garage
rock structure. The opener, “Good Day,” tries to have early R.E.M. feel. “Misfits” is a wistful look back
on youth blowing in a poppy breeze like the sprouting seeds of Big Star. No sophomore slump here; I
give Hang On / Hang Out a solid 6.2.

Rodeo Roundup:

Chance Emerson

This 19-year-old Brown University student from Hong Kong recently came on my radar. I was really
struck by the power of his narrative in his songwriting. No joke — it is really like listening to the second
coming of Paul Simon. Emerson’s debut album is coming out later this month and the advance single,
“How Can I,” is already blowing up on Spotify with nearly 100,000 spins.

Chance Emerson will be playing two upcoming shows in PVD at Dream Hau5 in on Mar 6 and at Askew
on Mar 7.

Dustbowl Revival

Dustbowl Revival returns to town in support of their new record, Is It You, Is It Me, which I’ve been

digging. The only constant with the Dustbowl Revival is the ass-shaking beat. The sound of Dustbowl
Revival is like if Americana, NOLA style horns, campfire folk and ’70s AM Gold all collided in a multi-car
pileup on an interstate highway.

Dustbowl Revival will be at the Columbus Theatre on Mar 11.

Jonathan Richman

The original Modern Lover returns for what promises to be another joyous night of sing-a-longs in
various languages, flamenco guitar played as quietly as possible, solo Jojo dance breaks and memories
that will endure. Whether you prefer the rocking “Roadrunner” Modern Lovers stuff or his later stuff
from his cameos in Something About Mary and Kingpin, it is impossible to walk out of a Jonathan
Richman show not grinning ear to ear like a less psychotic version of the Joker. One anomaly for this
Richman show is there will be an opening act; the added bonus is it will be Bonnie “Prince” Billy.

Jonathan Richman (performing with Tommy Larkins) and Bonnie “Prince” Billy (performing with
Emmett Kelly) will be at the Columbus Theater on Mar 12.

Against Me

This is probably the national punk show of the beginning of spring. One of the more popular punk bands
of the millennium, Against Me, has a few doozies as far as albums go, notably Reinventing Axl Rose. As
far as fist-pumping bangers, I’ve always been a “Thrash Unreal” dude, but I know some prefer the
earlier stuff.

Against Me will rock The Met Cafe on Mar 13.

Too-Rye-Ay — A St. Patrick’s Tribute to Dexys Midnight Runners featuring Ted
Leo

I’m not sure exactly what is going to be happening here, which makes it the most intriguing show of the
month. Best I can tell, you have left-of-the-dial indie rock stalwart, Ted Leo, having a St. Patrick’s Day-
themed show to pay tribute to the English band that sang “Come On Eileen.” I didn’t see this one

coming, but it does sound awesome. It got me to go beyond “Come On Eileen” in Dexys Midnight
Runners’s catalogue. They are to soul music what The English Beat are to ska.

Too-Rye-Ay — A St. Patrick’s Tribute to Dexys Midnight Runners featuring Ted Leo is going down at the
Columbus Theatre on Mar 13.

Soraia, Kris Rodgers and The Dirty Gems, Blackletter

I’m definitely looking forward to catching Soraia and Kris Rodgers and The Dirty Gems, who are both
making a dent nationally. Both bands are getting regular spins on Little Steven’s Underground Garage
station, which is great, but what I’m really excited for here is Blackletter. Blackletter’s sound splatters
like the carnage of some heavy glam-goth rock bomb; think Blue Oyster Cult with less cowbell. This will
be the release party for Blackletter’s long-awaited second or third album, math never was my thing. The
album will be released on streaming services that day.

Soraia and Kris Rodgers and the Dirty Gems and Blackletter will be at Dusk on Mar 18.

Brian Fallon & The Howling Weather

This is a pretty stacked lineup between Brian Fallon (Gaslight Anthem) and Justin Townes Earle.
Everyone who cares about the Gaslight Anthem knows who Brian Fallon is, and I’d be surprised if this
doesn’t sell out on that on it’s own. I saw Justin Townes Earle last fall. He mixes country and rock like
his father and can ramble on between songs, but he’s entertaining when doing so. Earle covered The
Replacements, which always earns points in my book.

Brian Fallon & The Howling Weather, Justin Townes Earle, and Worriers will be at the Columbus
Theatre on Mar 27.

The Silks with Drivin N Cryin

It took one listen to “Fly Me Courageous” to take me back to that late ’80s WHJY/WAAF (R.I.P) style of
rock ‘n’ roll. It still holds up. I think the case could be made that Drivin N Cryin should be getting a cut
of Buckcherry royalties. The Silks also are on the bill, so this isn’t just a show, it is a certifiable banger

to dance the night away.

The Silks and Drivin N Cryin will rock Askew on Mar 27.

Email music news to mclarkin33@gmail.com

Mass Manslaughter: But Less Than a Felony

As February rolls in, I don’t think it is possible to discuss rock ‘n’ roll without pausing to remember the
victims of The Station fire, which happened 17 years ago. I remember the morning after, getting up to
go to work with our LAN line ringing off the hook from my roommate’s mother calling to make sure he
was alive. He was, but 100 music lovers were not. I went to work up in Mansfield, still not realizing the
scope of the catastrophe, only to see my boss leave because two of his cousins were at the show. I can’t
count over the years how many people have told me they were supposed to go or knew someone who
went. It is chilling. In the end they found a patsy, a 26-year-old kid, doing what he was hired to do on
every stop on the tour and never blowing up the room — till that night. The Derderians were taken care
of because they were rich and well connected. Great White was banned forever from Rhode Island, but
the real culprits of this mass manslaughter got off light. February 20 will always be a solemn day in
here for our lost sons, daughters and everyone else harmed. We will never forget.

Less Than A Felony – 27 Years

After speaking of mass murder, it is refreshing to move on to a band called Less Than a Felony. 27
Years was birthed in a safe zone where Less Than a Felony conjure voodoo in a shed in Smithfield. I was
struck by how many of the tunes start in a prayer, notably “Somewhere In Between” and the title track.
The melody takes you through like a U2 wave. Yes, these guys are Irish, but I maintain a lot of that
guitar style emanated from Keith Levene-era Public Image Limited. “Comes And Goes” is a more
aggressive guitar-fueled raver that takes the energy of Hendrix and mixes it with the swagger of Bo
Diddley. I give this a solid 5.9 because with EPs, there isn’t much to choose from and one really needs
that one classic song to carry the weight. Less Than A Felony is one of my favorite live acts, so it was an
honor that vocalist/guitarist Charlie Greene took the time to talk about the history of the band and run
through the stories behind the tunes of 27 Years with me.

Marc Clarkin (Motif): How did Less Than a Felony come together?

Charlie Greene (Less Than A Felony): We met in Jamaica Plain 17 years ago — three Irish lads
looking to write some original music. Dessie, our first bass player, moved to Australia, so Ruairi and I
moved to Rhode Island and we were on the lookout for a bass player. That’s when Damon Blair crossed
our path. Then we started writing our second recording. After bouncing around several recording
studios, we hit upon the late Great Joe Moody and completed our previous recording. We did some
video with local legendary videographer Brett Davey, who coincidentally helped with and produced our
latest video.

MC: Can you take us behind the scenes and into the infamous shed for some of the backstories behind
the tracks?

CG: I wrote “Somewhere in Between” for a good friend who went through some unexpected departures
with two family members. I penned it late night, when I do my writing accompanied by the solitude of
the night. “27 Years” was about I lived in London at 19 years old. It was quite chaotic and turbulent, so
my escape was catching Bob Dylan shows and Stiff Little Fingers while hanging out in some Irish pubs
and listening to Irish folk music. Some days I’d walk Leicester Square and Piccadilly Circus looking to
buy old second hand LPs in basement record stores. It all seems like a lifetime ago.

MC: How about “Comes and Goes?”

CG: “Comes and Goes” is a fictional song that came to me in my time of creativity. It’s about a catwalk
model who lived a double life robbing banks and strutting her stuff while everybody was oblivious to it. I
hope to do a cool video, maybe with Brett Davie! We loved the music we put to it; it is very rocky
excellent bass and drums.

MC: What about “Don’t Care?”

CG: “Don’t Care” is a song of observation. One summer night I saw a couple having a disagreement on
the street. I thought it was a worthless exhibition, but they seem to have it down and then it just took a
life of its own from there. We recorded at a nice big studio in Lincoln with Chaimes Parker behind the
desk overlooking the Blackstone River. At our last show, Paul Jalette joined us on stage. He brought
some untapped energy with background vocals plus guitar, and he’ll join us again too! We’re currently
working on new music, so we hope everyone enjoys this EP cause there’s more to follow…

Ms. Lauryn Hill

There is an expression in the music biz about having that “It” thing, and Lauryn Hill has it in spades.
There is no denying her talent from her time in the Fugees to her classic solo album, The Miseducation
of Lauryn Hill. I saw Ms. Hill at Lupo’s (before it was The Strand but after it was The Strand) with Nas,
and she was a show stopper. She has a voice for the angels, and her mix of R&B and hip-hop is sublime.
I wouldn’t count on this show going off on time, but it will likely be more punctual than say maybe
Shane MacGowan.

Ms. Lauryn Hill will be at The Vets in Providence on February 18.

Lucero

It’s been 15 years since I first saw Lucero at the old Jake’s. I only remember the year because I had
some friends in town for a 10-year college reunion. I was scrambling to come up with things to do with
them that didn’t involve going to the “official” reunion activities at Providence College. I only knew that
Jake’s usually had rock bands on Saturday nights and that night it happened to be Lucero. That night
was a magical transformative show that made me a Lucero fan for life. I bought every CD they had at
the merch table, signed the mailing list and followed them on whatever social media existed at the time.
I am disappointed that we lost touch on MySpace. Nonetheless, if gritty whiskey blues played by punk
rockers is something you’ve been craving, I’ll meet you at The Met for Lucero.

Lucero will rock The Met Cafe on February 22.

Three Other Shows to Rock You Into Another Dimension

Viennagram, Triangle Forest, Moodrunners and Sweet Dreams will join forces to rock Dusk on February
7.

The Linda Ronstadt Experience with American Idol Star Tristan McIntosh and Disco Biscuits brings the
love to The Met Cafe on February 14.

The Mallet Brothers make their triumphant return to The Met Cafe on February 15.

Email music news to mclarkin33@gmail.com

RIP Andy Gill & Moodrunning with the Bot

I want to start this one off paying respects to legendary guitarist Andy Gill of the band Gang Of Four
who recently passed. I interviewed Andy in this space a few years ago when Gang Of Four was touring
behind the album, What Happens Next, and he couldn’t have been sweeter. I was a little apprehensive
going in between me not being the most knowledgeable Gang Of Four dude on the planet and him being
this underground legend in a politically charged post-punk band, but it went great. We were supposed
to talk for 15 minutes and ended up chatting over an hour on a Saturday morning. Rest In Power Andy
— you will live forever in song.

Gang Of Four were known for pushing the barriers of sound through Gill’s innovative guitar chops. In
this spirit of finding new sounds, I’m going to move on to a new band called The Moodrunners.
Longtime readers of this space will remember our valued correspondent, Stimbot. As a quick backstory,
Stimbot played a crucial role in the second act of the Midnight Creeps, had an underrated garage band
called the White Devils (who had one hell of jam in “Monday Night Girl”), and dove deep to explore the
depths of the inner soul of hair metal as the singer for TEAZER. Stimbot is in a new power pop band,
The Moodrunners, that are steeped in the tradition of Cheap Trick meets Exploding Hearts while
holding hands at the funeral of the bass player for The Knack. I sat down with Stimbot and amidst the
constant haze from his rips off a mint flavored JUUL pod, we talked about his new band, what brands of
hard seltzer inspired them, who the band is supporting for president, and his favorite place to get a
burrito. You can catch The Moodrunners live and ask Stimbot equally important questions this Friday,
February 7, at Dusk in Providence.

Marc Clarkin (Motif): How did The Moodrunners start?

Stimbot (Moodrunners): Chase hit me up last summer saying he had a band he wanted me to try out
for on vocals or whatever (they already had the band name in mind). I got back to him mostly out of
curiosity when TEAZER fizzled out a month later. He sent me some songs by some newish bands I had
never heard of. We’d later run through them when trying me out. The songs were right in my goddamn
wheelhouse, so I agreed to do it. I didn’t know these guys at all, so I was nervous when showing up at
their space that first night. We ran those covers and then we tried some of the original song ideas they
had. The melodies for those songs instantly came to me and after that we like, went down a rabbit hole
of drunkenly playing everything from the MTV Buzz Bin circa 1996. I was sold at that point and now
they’re stuck with me.