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•Our 33rd Year Proudly Promoting All Things Music•
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December 2018
The Countess Zaleska Lay Low Moon
Jeff Root Danielle Miraglia
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Danielle M. & The Glory Junkies
by Brian M. Owens
Danielle Miraglia is a one woman tour- ago at Smoken’ Joe’s when that was still the last bunch of years. It also helps me lead guys the material before recording?
de-force. Whether she’s mesmerizing happening. Eddie Scheer did a Tuesday my own band. That’s been my main focus I would send them a bare bones voice
audiences at a solo gig, performing high- night All-stars thing there. He’s since moved the last year with The Glory Junkies; playing memo of the tune and say, Can we rehearse
profile shows with Laurence Scudder or it over to the Corrib Club. It’s right around original stuff with the band. this at the next rehearsal? We would
laying down a groove filled night of blues/ the corner from where Smoken’ Joe’s used METRONOME: When did you form The rehearse it and then do a live rehearsal at
rock with her band The Glory Junkies, to be. The Corrib Club welcomed him there Glory Junkies? Toad during one of my residencies there.
Danielle never fails to impress. I caught to keep it going. I do that with him every so It’s been a slow build. It’s been on going When it came time to do the record, we
up with this talented gal the first week of often and that’s how I met Cheryl. for a long time. Laurence Scudder, the went in and did most of it live in the studio.
October and we talked about music and the We started doing duo gigs together and viola player in the band, and I have played We went back and did some overdubs, but
thing that’s exciting her most these days... still play every other month or so. We take together for a long time. At one time it was the songs were recorded as a band live, old
turns leading stuff. I’ll play guitar with her my husband Tom Bianchi on bass and Jim school.
METRONOME: You’ve been very busy on her stuff and she plays harp with me on Larkin on drums. Tom got really busy so now METRONOME: How many songs?
playing solo and with your band The my stuff. Jim plays bass and we got Chris Anzalone Ten all together.
Glory Junkies. How are things going? METRONOME: Do you develop the songs on drums. Erik White is also in the band with METRONOME: How long did it take to
Danielle Miraglia: I keep my tentacles in a and sing vocal harmonies and stuff like us. It’s a good hang. I love the band. We put record?
lot of different places so it keeps me working that? a record out almost a year ago. About a full year. I was thinking, we’ll
(laughs). I usually do the solo thing when I’m Yeah, we do a little of that. METRONOME: What was the name of the bang this thing out in a few weeks, but that
traveling because it’s more feasible. METRONOME: What kind of music are CD? never freakin’ happened (laughs).
METRONOME: How far out do you travel? you playing? Originals? Blues standards? It’s called, All My Heroes Are Ghosts. It’s METRONOME: Did you do any pre-
I do mostly East coast, but really wherever We do a mix of both, but probably more all my material except for a cover of a Janis production at your home studio?
it takes me. I’ve been touring We did most of it at the
the East coast for a long time. studio, then Dave Westner
I’ve gone out west and done mixed it at his home studio.
some mid-western gigs. I try to METRONOME: How many
keep a balance between being CDs do you have out under
home and being on the road, your name now?
so I don’t do the long couple I think there are three that
of months out anymore. Once are still in print out there. I did a
a month now, I’ll do an out of couple of EPs before that and
town thing and then come a couple of live ones, so there’s
back. about four more than what’s
METRONOME: How far down out there now.
the East coast do you travel? METRONOME: Is this the
Florida, North Carolina. first Glory Junkies release?
Usually if I have something Yeah.
in that area now, I’ll fly down METRONOME: Did it surprise
and do a few dates then come you that The Glory Junkies
back. project developed as nicely
METRONOME: Do you do the as it did?
booking yourself or are you Yeah. I feel it’s a good
on an agency’s roster? chemistry both musically and
I do a lot of it myself, but personality wise. We all really
I’m also working with this guy enjoy the band. The first thing,
named Nick Young who does obviously, is that we can all
some of my booking as well. play well together and that we
He works with Chris Trapper have chemistry musically, but
and Will Dailey too. it’s so important to me that the
I’ve been lucky that I’ve been hang is good (laughs). When I
working for so long now that go to a gig with these guys I
gigs tend to come to me, so I say, Cool, I want to be around
don’t have to do a ton of outreach myself. on the blues side of things. Joplin tunes. these people.
It’s good because I’m working a lot. Part METRONOME: Are you comfortable METRONOME: Did you write for the METRONOME: When you have your
of keeping working is to be as flexible as playing the blues? album? chops together musically, the hang is
possible. I guess with any thing you do, Oh yeah. That’s been a big part of what There are about five songs that were very important. Don’t you find that’s
that’s the case. I’ve been doing the last bunch of years. I’ll new when we recorded them. Then I have a really what it’s all about?
METRONOME: In the last few years I see sit in with Eddie or Bruce Bears. song from the early 2000s that finally made It’s so important. I feel so lucky that I
you playing shows with Cheryl Arena. It’s been a really fun local thing to do for a record. It’s a mix of old and new stuff, but have really good people around me. For
How did you two meet? me as a guitar player and as a performer. most of it is new. all the projects that I do, I love the people
We met maybe three or four years I’ve gotten comfortable in that setting over METRONOME: How did you show the that I work with. There’s enough good talent
out there that you don’t need to deal with Theater this past year. I opened for Robert
knuckleheads (laughs). I don’t have time for Cray there and Buddy Guy last year.
it. Laurence played with me. We did it as a
METRONOME: How much are you Glory Junkies duo. Playing that theater
working locally? is beautiful anyway, but the crowds were
Usually three or four times a week. It just so good at those shows. I love the blues
kinda happens. I don’t even think about it. crowds because they’re party-ers, but they
It’s feast or famine sometimes too because also love music. They’re so enthusiastic.
when we get in to the winter months, it gets They’re in to it. I love that. That’s my favorite
a little lighter on the schedule, which is fine. combination.
But generally, I’m doing something a few METRONOME: What do you think about
times a week. the music business now and has the
METRONOME: How often are The Glory internet hurt or helped?
Junkies working now that you have a Honestly, at my level, I feel that it’s
new CD? helped. It allows you to do everything at a
I try to get us playing a couple of times grassroots level. You can get your music out
a month. there without the help of a label. It’s weird
METRONOME: Do you play anywhere because the same thing that’s making it
solo locally? feasible is also making it problematic. I love
No. Generally when I do the solo thing it and I hate it.
it’s in the coffeehouse venues. I play mostly For me it’s always been DIY and grassroots,
in the listening rooms or as an opener so it hasn’t changed a lot for me. I haven’t
sometimes. I don’t do bar gigs solo, had that big major label success, so for me
because I can’t deal with that anymore. it’s basically the same. The only thing that’s
I did it too many years. I would do those changed is knowing whether or not people
four hour, soul-killer gigs sitting in a corner. are actually going to buy CDs. You still have
It was good for me at the time. It got my to print them otherwise it doesn’t feel like a
chops up. You need to experience that, but legitimate release. People will still buy CDs.
generally I don’t take solo gigs unless it’s in You have to give them something to take
a listening room environment. home.
METRONOME: What kind of guitar(s) are The music business has been in the
you playing these days? awkward stage for about ten years. Nobody
A Gibson J-45 is my main acoustic guitar. knows exactly where it’s going.
I also switch off to a 1967 Gibson LG-0. I METRONOME: What’s coming up for you
use a Telecaster when I play with the band. in the New Year?
METRONOME: Do you have a lot of I’m starting to do some writing for the next
videos out on YouTube? project. I want to keep the band working. I’d
I do have one for the title track of this like to get us in to some festivals next year.
record. My friend Lisa Bastoni is a great It depends on where the writing goes too. I
visual artist and she does illustrated videos might write something that’s actually better
for some of her own songs. She said she for solo. I can’t really predict it.
wanted to start doing some for other people METRONOME: When you dive in to it, will
so we had an idea for the song, “All My you have the blues in the back of your
Heroes Are Ghosts.” She did a collage of mind?
musical heroes that have passed away. Not I think it’s always there no matter what,
all of them, but everyone we could think of. even if I’m not consciously trying to do that.
She did a beautiful job with that. I’d love to There’s a little bit of that in there. It just goes
make more videos... where it goes.
METRONOME: They’re very time METRONOME: I was watching late night
consuming. TV and Jim Braude came on with his
Yeah. The time that goes in to it... I give show, “Greater Boston” and you were
credit to anybody that spends that kind one of his guests. That must have been
of time and money on that kind of thing. I cool?
always think, I should make a video for this, Jim and Margery Eagan do Boston Public
then I just don’t (laughs). Radio on WGBH and I was on their show a
METRONOME: Sometimes one video can year before that. They were putting together
take longer to make than ten songs in a a panel regarding the music scene, so they
studio. got in touch with me to see if I would be
A couple of years ago I was in one of part of that panel with Tom Rush and Larry
Dwight & Nicole’s videos. They have this Watson. That was fun. They’re really cool
really cute one called, “Smile.” They asked people, Jim and Margery. I listen to them a
me to be in it and do a little dance routine. lot. To Apply, Call The Store Nearest You or Go To www.GuitarCenter.com
We were there for the entire day and it’s METRONOME: I heard you were
literary only a thirty second part of the video nominated for a music award. Guitar Center-Natick Guitar Center-Danvers Guitar Center-Millbury
(laughs). They had to spend so much time. Yes. The band is nominated for a Boston
METRONOME: Have you done any really Music Award for “Blues Act of The Year.” (508) 655-6525 (978) 777-1950 (508) 865-3573
cool shows lately? That makes me happy because it’s the
I did a couple of openers at The Cabot band.
Hearings by Doug Sloan, Alex Gecko or Brian M. Owens
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Contact-- blackwaterstn@gmail.com titles remain the same, Gaetano and the
boys venture off course to deliver whimsical,
guitar-driven, blues-rock versions that METRONOME MAGAZINE,
GAETANO LETIZIA &
THE UNDERWORLD BLUES BAND
manage to maintain the same energy as the
originals. Covering The Beatles has never
P.O. BOX 921, BILLERICA, MA. 01821
BEATLES BLUES BLAST easy, but Gaetano and his guys don’t try to
17- SONG CD sound like the Fab Four, here they just honor
them. Interesting. [D.S.] voice who plied her trade as a young teen THE KNICKERBOCKER ALL-STARS
• COME TOGETHER Contact-- www.gaetanoletizia.com on the streets of Paris, France before hitting LOVE MAKES A WOMAN
• DO IT IN THE ROAD the big time with her album, Careless 10-SONG CD
• DRIVE MY CAR Love in 2004. A native of Athens, Georgia,
• MONEY MADELEINE PEYROUX Peyroux grew up in New York and California • SO SOON
• TAX MAN ANTHEM to “hippie” parents who nurtured her • HIGHER & HIGHER
• WHILE MY GUITAR GENTLY WEPS 12-SONG CD musical aspirations. Now, with eight albums • GOOD ROCKIN’ DADDY
• SHE CAME IN THROUGH THE and a greatest hits release to her credit, • TALK TO ME, TALK TO ME
BATHROOM WINDOW • ON MY OWN Peyroux has become one of the elite ladies • LOVE MAKES A WOMAN
• I WANT YOU (She’s So Heavy) • DOWN ON ME of contemporary jazz & blues. • GO GIRL!
• AND I LOVE HER • PARTY TYME On her latest project, Anthem, Peyroux • DON’T CRY BABY
• CAN’T BUY ME LOVE • ANTHEM teams up again with longtime producer Larry • WILD WILD YOUNG MEN
• YOU CAN’T DO THAT • ALL MY HEROES Klein to push the boundaries of music with • NICK OF TIME
• YESTERDAY • ON A SUNDAY AFTERNOON genre-less conviction. Peyroux pens twelve • SINCE YOU’VE BEEN GONE
• GET BACK • THE BRAND NEW DEAL inventive tracks with writers/musicians
• WITH A LITTLE HELP FROM MY FRIENDS • LULLABY Patrick Warren, Brian MacLeod and David The Rhode Island based Knickerbocker All
• BIRTHDAY • HONEY PARTY Baerwald, who also act as the basic rhythm Stars feature a who’s who of the local blues
• BLACKBIRD • THE GHOSTS OF TOMORROW section players for the record. The music is scene that includes singers Darcel Wilson
• A DAY IN THE LIFE • WE MIGHT AS WELL DANCE sweet, beautiful and moving while Peyroux & Thornetta Davis, guitarist Kevin Barry,
• LIBERTE dazzles us with her remarkable vocal gift. pianist Dave Limina, bassist Brad Hallen,
Cleveland, Ohio native, Gaetano Letizia Listen and enjoy! [B.M.O.] drummer Mark Teixeira, saxophonists Rich
and his trio, Lenny Gray on bass & vocals Singer Madeleine Peyroux has a sultry Contact-- www.madeleinepeyroux.com
Continued on next page >>>
Hearings continued
Lataille & Doug James, trombonist Carl Joined by bandmates, Michael “Squid” songs culled from some of the greatest • WHY
Querfurth, trumpeters Doc Chanonhouse Rush on bass, vocals & songwriting and blues artists/creators of the genre, James • WOMAN
& Carl Gerhard and percussionist Michael drummer Glenn Rogers, this taut quartet reconnects with the guitar he played as • BLUEBIRD
DeQuattro guided by the vision of producer/ are as musically entertaining as any act a teenager, a Gibson ES-335, to fulfill the • MISTY FOREST
engineer, Jack Gauthier. working the Northeast region. blues wails heard by the masters. • BETTY’S KITCHEN
On Love Makes A Woman, the tracks Guest players Chris Vachon on lead Offering up masterfully executed • TALKING TO SOMEONE
were inspired by the pioneering female soul/ guitar (who also recorded, mixed, mastered renditions of songs by Muddy Waters • MYSTERY MAN
R&B singers of the twentieth century while & produced the CD) , John Loud on congas (“One More Mile” & “Still A Fool”), Arthur • REPROBATES, TRAMPS AND SAINTS
being captured by the unrivaled vocals of and hand percussion and Ronnie Earl on “Big Boy” Crudup (“Dig Myself A Hole”), • LOVIN’ MAN
Thornetta Davis and Darcel Wilson. Album lead guitar, all weigh in with their respective Howlin’ Wolf (“Ooh Baby Hold Me”), Jesse • WINTER ALWAYS TURNS TO SPRING
highlights include the effervescent “Higher contributions to an already respectable Mae Robinson (“Black Night”), Blind Willie • BLUES IN MY BLOOD
& Higher,” the swingin’ “Good Rockin’ record. Favored songs include: the swinging Johnson (“Soul of A Man”), Blind Lemon
Daddy,” the uptown instrumental jump & jive album opener “Meadow Lounge,” the jazzy Jefferson (“See That My Grave is Kept Singer-songwriter-guitarist Satoru
of “Go Girl!,” the steamy “Don’t Cry Baby,” jump & jive of the album’s title track “The Clean”), John Mertis, Jr. (“I Need Your Love Nakagawa and singer-bassist-keyboardist
the beautifully orchestrated Bonnie Raitt Lower Level,” the shimmering “Big Wheeled So Bad”) and Walter Davis/Geoff Muldaur Yukiko Fujii are the heart and soul of the
penned “Nick of Time,” and the rousing Bonneville,” the Island infused “Smoke,” (“Tears Came Rollin’ Down”), and two Boston based, Tokyo Tramps. They along
album closer, “Since You’ve Been Gone.” the sizzling fretboard/keyboard workout of new originals, “I Will Remain” & “40 Light with drummer Tim Carman return with a
[B.M.O.] “Cookin’ In Groveland” and the Booker T. Years,” James along with stellar sidemen, blazing new CD entitled, If I Die Tomorrow,
Contact-- www.knickerbockerallstars.com inspired “Hot Coals.” Good stuff! [B.M.O.] pianist/organist Jesse O’Brien, rhythm inspired by the threat of mortality, the
Contact-- www.facebook.com/ guitarist Chris Caddell, synth player Colin cheery vibe of New Orleans music and the
landmrhythmkings Nairne, harmonica player Steve Marriner, otherworldly electric energy of Jimi Hendrix.
L&M RHYTHM KINGS bassist Steve Pelletier, drummer Geoff Penning eleven of the album’s thirteen
THE LOWER LEVEL Hicks, saxophonists Steve Hilliam & Jerry songs, Nakagawa pushes the limits of his
11-SONG CD COLIN JAMES Cook, trombonist Rod Murray, and backing six string workouts to create colorful forays
MILES TO GO singers The Sojourners & Colleen Rennison into psychedelia and supercharged electric
• MEADOW LOUNGE 12-SONG CD serve up a satisfying battery of blues. blues ala Hendrix, Winter and Trower while
• WITHOUT YOU Tracks of note include the rousing Fujii and Carman keep a tight reign on each
• THE LOWER LEVEL • ONE MORE MILE “One More Mile,” the jumpin’ “Dig Myself arrangement. The songs are ripe with taste,
• TARA SAYS SO • STILL A FOOL A Hole,” the superb Colin James penned tone and technique that will satisfy a wide
• BIG WHEELED BONNEVILLE • DIG MYSELF A HOLE “40 Light Years,” the revealing “Soul of A swatch of rock & blues guitar lovers.
• SMOKE • I WILL REMAIN Man” and the blues lament of “I Need Your Best tracks on If I Die Tomorrow include
• COOKIN’ IN GROVELAND • 40 LIGHT YEARS Love So Bad.” With nineteen albums to his the pioneering album opener, “Flowing
• INSIDE OUT • OOH BABY HOLD ME credit, Colin James continues to roll out his Water,” the groove heavy lament of “If I Die
• THE SAME 50 • BLACK NIGHT qualified brand of blues to venerate fans in Tomorrow,” the funky Yukiko Fujii penned
• HOT COALS • SOUL OF A MAN Canada and beyond. Good stuff! [B.M.O.] “Why,” the moody, Robin Trower inspired
• CLOSING TIME • SEE THAT MY GRAVE IS KEPT CLEAN Contact-- www.colinjames.com “Misty Forest,” the Curtis Mayfield infused
• I NEED YOUR LOVE SO BAD “Betty’s Kitchen,” the funky groove filled
Singer-guitarist Larry Lusignan [L] and • TEARS CAME ROLLING DOWN “Mystery Man” and the hopeful “Winter
singer-keyboardist Mark Longo [M] lead • ONE MORE MILE (Acoustic) TOKYO TRAMPS Always Turns to Spring.”
the L&M Rhythm Kings on an uplifting IF I DIE TOMORROW Expanding the boundaries of blues-rock
excursion of uptown swing, steamy blues, Canadian blues rocker Colin James 13-SONG CD design, the Tokyo Tramps have truly found
funky shuffles, a salsa rhythm and a healthy delivers the sequel to his 2016 album, Blue their voice creating the finest music of their
dose of roadhouse blues on the band’s new Highway, with his new effort, Miles To Go. • FLOWING WATER career. [B.M.O.]
album, The Lower Level. Featuring a collection of personally selected • IF I DIE TOMORROW Contact-- www.tokyotramps.com
You Break... Sound Museum Rehearsal Rooms
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VERONIQUE De La CHANSON lot of minor note accents. “Tschau Und Bis • OCTOPUS 6 intertwined manner on the chorus while
WOLKEN ZUCKER HIMMEL Dann” is more in-your-face with an epic • ACID BOOKS the verses remain gritty and urban. The
14 SONG CD chorus for this extremely affirmative love • OCTOPUS 7 throbbing and insistent guitars are rumbling
song. “Zivilisation” and “Kleiner Astronaut” • ΓΛΥΚΙΆ ΜΟΥ ΌΜΟΡΦΗ underneath the mix. The guitars and bass
• WOLKEN ZUCKER HIMMEL also rock out with aplomb and take classic of “Mirroir” gives off a mysterious and
• REVOLTIONAR garage rock riffs to new heights. “Rollbahn This time we travel to Greece with threatening ambiance until one of the
• MADCHEN KUSSEN In Den Irrsinn” and “El Trash” don’t give you former Sonic Youth guitarist Lee Ronaldo young ladies starts a French spoken word
• WARE ES NICHT SCHON any respite either, while the later pulls you in for a look into the local art rock scene to piece only interrupted by the Ionas properly
• TSCHAU UND BIS DANN with enthusiastic gang vocals. meet brothers Lakis (bass, vocals) and Aris singing the chorus like section in English
• ZIVILISATION “Reisefieber” has a poppier approach Ionas (guitar, vocals) as well as Chrysanthi which then fuses into largely controlled
• KLEINER ASTRONAUT with an absolutely infectious chorus as the Tsoukala (drums, vocals), Marilena Petridou catharsis.
• ROLLBAHN IN DEN IRRSINN killer lead guitar polishes you off for good. (percussion) and Chris Bekiris (guitar). The A middle eastern guitar vibe underlines
• EL TRASH V. sees off the album with three positive multimedia artist brothers have been going the intro of “Πετώ” which then gets heavier
• RUCKWARTS and catchy love songs, that all have their since 2005 when their first known track was and more serious yet always remains
• REISEFIEBER own edge. She’s a most gifted songwriter released. paced. “Acid Books” is more urgent and
• DEIN HAARSCHNITT UND DEINE for those with a yen for foreign language “Octopus No. 1” creates tension, which has gang vocals chants near the beginning
GITARRE chansons. [Gecko] “The Magic Fruit Of Strangeness” builds and throughout with a deeper more
• BOSER SCHWARZER MANN Contact-- www.veroniquedelachanson.com on with more drama, tabla like drums and commanding Ionas vocals taking over on the
• BRILLIANT angry bursts of guitars, yet overall quite verses. “Γλυκιά Μου Όμορφη” has Ionas’
calming vocals from one of the Ionas lads. sensuous singing with a very slow paced
Veronique, the former guitarist of Essen’s THE CALLAS with LEE RONALDO As always, one of the Octopus tracks bass tact and backing vocals interrupted
Cherrypops returns with an upbeat solo THE TROUBLE AND DESIRE provides an interlude. In turn, “Μελανιά” only by conventional lead guitar work and
album where she forgoes the axe and 14-TRACK CD has very Gothic undertones with the very then more dramatic guitar constructions. It
sticks to the mic. She kicks off with a clear and high voice Ionas giving a more would have been easy to imagine this gang
bouncy reflection on life that has a heavy • OCTOPUS 1 sacral feel with tribal elements coming unleashing primeval mesmerizing forces in
emphasis on rhythm and sees searing leads • THE MAGIC FRUIT OF STRANGENESS from Tsoukala’s drumming and Petridous some sort of free for all (Bacchanalia?), yet
from guitarist Martin. “Revolutionär” has • OCTOPUS 2 occasional tambourine. The male and they erotically tease you by holding back
a feline vibe and gets a cabaret feel from • ΜΕΛΑΝΙΆ female gang vocals on some of the chorus just a little before the liberating crescendo,
the backing vocals. “Mädchen Küssen” has • OCTOPUS 3 like sections add to the mesmerizing effect. leaving you hooked.
V. reprising one of her older tunes with a • TROUBLE AND DESIRE You would expect a bit of Sonic Youth While this record could easily have gone
hillbilly twang for a nice change of pace. • OCTOPUS 4 to seep in, but interestingly the killer rockin’ down the retro route, The Callas just sample
Our German chanteuse gets sentimental • MIRROIR track “Trouble And Desire” reminds me a bit of the texture and move on in their own
and up close on the near ballad “Wäre Es • OCTOPUS 5 more of an adult Huggy Bear with the boys multi-dimensional mindscape. [Gecko]
Nicht Schön” where the organ delivers a • ΠΕΤΏ and girls singing together in a beautiful Contact-- www.thecallas.com
Recording /Engineering Available for
In-House Studio, Remote Location or Live Sound.
Prefer to record at 96/24 using Logic.
We Love Recording All Varieties of Sound.
Rates: Ha! No Such Thing. Everything is Negotiable.
Jeff Chitouras
Jeff@undertheradarrecording.com
http://undertheradarrecording.com
https://www.crossroadsmusicseries.org
Jeff Root
by Brian M. Owens
Singer-songwriter-guitarist Jeff Root is was nice. It’s nice to keep that collaboration got a very encouraging note back from Sir end up going there?
a well known veteran of the New England happening. George Martin back in 1973-74. That was Our drummer Grant retired from
music scene. With twenty releases to his METRONOME: How exactly did Martin a great impetus to go forward and continue Lockheed a couple of years ago and
credit, Root is not only an accomplished help you with production? with our work. It was very cool. decided to get back to music. He bought
musician, but a much sought after studio I would say with the sequencing and METRONOME: Were you and Martin a place in Gloucester and rebuilt it with a
engineer and producer. His latest CD having a breakdown in a song at a certain Olson ever in a band together? studio that we could use for recording
release, The Endless Adventure, features point and dropping guitars completely here We had a duo. We didn’t play out much. drums and rehearsals. Hi-Hat Studio is his.
a timeless collection of songs that capture and there... general ideas about how to It was mainly writing and sending stuff out For all of the tracks, we ended up inserting
the essence of where rock & roll has been keep things well paced and interesting for to all the powers that be at the time. Then he kick and snare in a bunch of places mainly
while navigating the direction of where it’s the listener. got interested in comedy. We did a comedy to improve the sound, which is a vital part of
headed. I spoke with Jeff on a tepid Friday METRONOME: Was Martin in the studio film together in the late 1970’s, early 1980’s. the recording.
afternoon in October and he outlined the with you for that? He eventually got a job doing what he METRONOME: Did you layer the snare
ideas that forged the making of his latest No, he’s out on the West Coast. He always wanted to do and I’m working as an and kick drum?
record... works for Disney. He’s working on Milo engineer. We had eight or ten mics going on the
Murphy’s Law, the cartoon show. He’s also METRONOME: Where do you work drums and it sounded pretty good for a
METRONOME: How long was your new worked on Phineas and Ferb, Sponge Bob during the day? live recording, but when we compared it
album, The Endless Adventure in the Squarepants and Rocko’s Modern Life. I wanted to get in to web technology to other professional recordings, we were
making? He’s got a full time job being serious about which is where all the jobs are now- Cloud missing the isolation we needed on the kick
Jeff Root: We had a slow summer after cartoons (laughs). We’re thinking about technology and all that stuff. When I left and the snare. We ended up getting triggers
our last release with only and ran it in to the drum
few shows and then I brain in order to get MIDI.
started getting serious When you listen to drum
about writing in the Fall. sample libraries all the
I had some regular job genius engineers and
changes in the middle producers are getting the
of he process too which absolute best sound you
made it a little bit longer can possibly get. Most of
than usual. It took a full the modern production
two years to put it all today is done with inserts
together. I tried to do on the kick and the snare.
something less quirky METRONOME: For The
and more enjoyable by a Endless Adventure, I
larger group of folks this noticed that you walked
time around. a fine line between
METRONOME: Did you 60’s/70’s English rock
feel like the last album and American Pop. I
was too quirky? heard The Dave Clark
No, but since I’ve been Five, Tom Petty, The
collaborating with my old Beatles and Leon
drummer, Grant Clark, Russell. Are they all
he’s a guy that takes influences?
things seriously and I think you have all this
professional, so he’s kept stuff engrained in your
me on a higher track. He mind. Tunes that you’ve
was always the serious listened to hundreds of
guy with The Hot Dates times that you’re still
and our earlier bands. totally inspired by. I think
I wanted to make this album have a pop starting an album together right now. Avid, I decided to dig in deep and finally a lot of that is integral and part of your DNA.
appeal as well as having some piano based METRONOME: Do you fly tracks via the landed a job doing web based stuff: Java, Certainly I look back on The Beatles, The
ballads, and that’s what we did. internet back in forth to each other? Java Script and Google Cloud. Now I have Kinks, The Lovin’ Spoonful, Chuck Berry
METRONOME: It took almost two years We send mp3 based tracks to each a future (laughs) and that’s a good thing. and The Who as being the inspirations
to complete? other. He’s always been a good sounding It’s very similar to audio engineering in my behind the ideas for writing and production.
Yeah. I continued working on songs right board. He’ll give you a real honest opinion mind. It makes you think about how to solve METRONOME: The whole piano ballad
after I completed the other project. I did about things. Grant and Zach do that as problems to get the best results. thing was a cool change of direction for
some writing with my son Zach again, and well, but it’s nice to have somebody that’s METRONOME: Most of the album was you. It reminded us of Leon Russell.
collaborated a little bit with my old comedy outside the band giving some assistance recorded at your studio, The Root Cellar, Yeah, but I can play the blues pretty well
writing buddy, Martin Olson. I got a lot of as well. The first four records I did were but I noticed that some work was done at on the piano too. Leon Russell was always
production assistant ideas from him which total collaborations with Martin. We actually Hi-Hat Studio in Gloucester. How did you one of my favorites.METRONOME: You wrote a song for and to it and add some soul to it. I thought the
dedicated the album to the late Marty raw guitar and the B.B. King notes would be
Nestor. How did Marty pass away? a good way to go.
He had a number of things wrong. He had METRONOME: Did you have a CD release
cancer, diabetes and some other things. party?
Eventually his kidneys and system down Yes, what a great time. I had it at The
below just let go. He was on machines for Bull Run in Shirley. My whole family was
the last couple of months of his life. He there. My mom, who is 91, my son Zach,
was a crazy man... I think he did himself in who played with me of course, my two
during his early days. He also battled with daughters, Adrienne (21st Century Girl)
depression. It was hard for him to keep and Rebecca (clarinet), my two grandkids,
things going towards the end. and my sister and brother-in-law. It was
Playing with him as his bass player and amazing. Plus tons of musical friends.
musical director for the past four or five George and Alison at The Bull Run are like
years was such a blast. He was so in love family as well to all of us. George and I had
with the playing and being out in front of a great chat at the end of the whole thing. It
people. It was a joy to hang out with him was a great success and lots of fun.
and the other guys. I also got close to a lot METRONOME: Are you shooting any
of his friends and family by doing all that. videos for any of these songs?
When he passed, we were still touch, but Yes, just to promote the album I put
not the same way we were when he was together some videos. I want to get in to
around. It was a big part of my life for those some serious video production though.
four or five years. I thought I should make a METRONOME: What else is happening
dedication to him. cool riff. The phrasing is interesting against tongue-in-cheek as well, so I loved that with you and the band?
METRONOME: Was “Marty’s Tune” your the riff itself, so that was the framework of whole thing. On that, I was trying to find a We want to get out playing in the clubs
ode to him? the song. I had a lot of contribution from my song that would have the one chord and again. Shows at Ralph’s Diner, The Middle
Yeah. I think it was an honest inspiration son on that song. then the seven chord; something like the East and some more openers at the Cabot
from his passing. I knew for a couple of METRONOME: I loved your tune, “The very first phrase from “The Sound of Music.” Theater would be fun gigs to play. There
months that he wasn’t going to make it, Boogieman.” What inspired that? I wrote a melody around that transposition are opportunities out there if want them.
but we would go and joke around and have The first phrase hit me right between and tried to do something like Cole Porter Creating another record with the band is
a laugh, the bunch of us. The day they the eyes as being really cool. From there lyric-wise. That’s where that came from. obvious as well.
finally pulled the plug, it happened to be I figured out other things. At the time, I I sent it to Martin and he said, “You
the day after his daughter’s wedding. His was terrorized by all the things we were should score a little clarinet arrangement
girl friend Sharon called me and said, “We hearing about bombings in Paris and the against that like in “When I’m 64.” He was
had to do it. Marty’s gone.” It was such an Isis murders. What was most inspirational right. That was the final touch.
emotional thing. But what happened was, about all of that was the defiance people METRONOME: The song that really hit
almost immediately that tune came to me. had inspite of those moments where they me was “Ordinary Girl.” What a great
I recorded it on the piano and worked on said, “You’re not going to kill what we have. tune. What’s that about?
the words for a couple of weeks. Something We’re going to get passed this.” It has a That’s an old one actually. I recorded
that would talk about a continuation of life in little bit of religious imagery in there too. it when I had a little duo with a previous
the world as we see it at that point. METRONOME: “Fits Me Like A Glove” drummer, a guy named Kim Miller. It was my
METRONOME: “Out of The Blue” was a had a Vaudevillian swagger to it. Where first foray in to doing the studio with modern
great rocker. Can you tell us about that did that come from? gear on my own. It was totally quirky and
tune? I’ve always loved those kinds of tunes. opposite of what I was trying to do with this
Yeah. I was just playing and riffing around I used to love it when I would hear Paul current record. It was all MIDI and poorly
one day and I thought, What if I dropped McCartmey do something that the other produced, but had lots of great, imaginative
this beat. I had this great lick and figured out Beatles might not be totally behind. I like ideas. This was one of the tunes we did, but
how to fit it in to 7/8 time rather than 4/4 time. the tongue-in-cheek feel of it. The original it didn’t have any soul because of all the
After that I fit some simple vocals over this compositions by Cole Porter were all quirkiness. I always wanted to come back
METRONOME
MAGAZINE
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MetronomeMagazineBostonThe Time Machine
Jimi Hendrix
Photo circa: 1968
New Recording: Earlier this year, Experience
Hendrix and Legacy Recordings, released Both Sides
of The Sky, a new Jimi Hendrix album featuring 13
studio recordings that were made between 1968
and 1970—10 of which had never been released
before. The album was released on multiple formats
including CD, digital, and as a numbered 180 gram
audiophile vinyl 2-LP set. Recorded between January
1968 and February 1970, Jimi’s desire to push the
boundaries of blues music can be heard throughout
Both Sides of the Sky highlighting Jimi’s mastery of
studio production and his increasing use of these
facilities as a proving ground for new sounds,
material, and techniques. Many of the album’s tracks
were recorded by the trio that would become a Band
of Gypsys with Jimi on guitar and vocals, Billy
Cox on bass, and Buddy Miles on vocals & drums.
For their first-ever recording session on April 22,
1969, Hendrix turned to their shared musical root,
delta blues. Both Sides of the Sky also features an
assortment of notable guest musicians that includes
Stephen Stills, Johnny Winter, Duane Hitchings,
Dallas Taylor Young and Lonnie Youngblood. Both
Sides of the Sky was produced by Janie Hendrix, John
McDermott, and longtime Hendrix collaborator and
engineer, Eddie Kramer.Musician’s Autobiographies
Book reviews by Alex Gecko
Kim Gordon published Girl In A Band: A and eventually feels comfortable with gay
Memoir in 2015. Gordon together with culture and mellows out quite a bit. The
Thurston Moore in Sonic Youth, were explosive creative anger turns then towards
perceived for nearly 30 years as the royal a softer emotional intensity. The reader can
family of American Indie Rock until the question the guitar hero’s frame of mind
marriage and the band crumbled. It was when he tried to go into electronic music or
the day the music died for my generation, attempt managing TV wrestling shows. He
though more with a whimper than with a hardly leaves anything out from his private
crash. As a result, Gordon reviews her life, life.
many of the successes and the first cracks The writing flows well with eloquent
in the foundation that provide the track sentences, but a minimum of dialogue in a
record. largely chronological order with only a short
Being a bit shy and unassuming, she out of sequence intro. While he never came
doesn’t actually answer what it’s like to be to terms with the now deceased Grant
the “girl in the band,” although she was Hart, Bob Mould continues to be a musical
repeatedly asked this throughout her career. ground breaker and inspiration in his middle
An element of disappointment creeps into age. past. She did include cooking her placenta.
the narration. You get a very quick history Love Smith admits to a stint in AA when
of the No-Wave scene, where this gang Frieda Love Smith of Blake Babies and the life style became too much and one
claims to have only come in at the tail end. Antenna wrote Red Velvet Underground: A night in a strip club when the bills needed
The Sonic Youth bassist does however give Rock Memoir, With Recipes in 2015. This to get paid. Still the writing is very polished
a lot of input into the lyrical content of the is the most left field music autobiography as and artistic and she cleverly squares the
songs, which may be perceived as overly it revolves around Love Smith teaching her circle in combining her entire life into one
intuitive rather than deep, though the riffs 2 teenage sons to cook amidst occasional concise document without any waste. You
and tunings were the realm of the 2 guitar revelations on her careers in 3 bands. You get very little input on the songs or the gigs,
players. Some background of the recordings do get about 40 mostly vegetarian and but find out how a little indie band fed itself
and the tours is also given, though by no Bob Mould of Hüsker Dü and Sugar vegan recipes and a peek into the lives of without resorting to junk food in a pre-digital
means, a blow by blow account. Her art and published See a Little Light: The Trail of bohemian middle age academics with a age.
literary background features prominently Rage and Melody in 2011 with Michael
as do many of the scene people in LA and Azerrad. Bob Mould reveals his evolution
NYC. The sentences are deceivingly short from a musically gifted but insecure pudgy
yet quiet complex. Overall, you get an gay teen in rural upstate New York to an all
extremely useful albeit brief summary of the around modern elder statesman of sorts.
last 30 years of US Indie rock as well as the He practically escaped a lynching and his
story of an artistic life. dysfunctional lower middle class to make
his way to college in Minneapolis. Only the
chance meeting of Husker Du co-founder
Grant Hart revived his interest in music and
unleashed the pent up creative force.
The trio started jamming but then played
hard and fast with such intensity that they
ended up making a mark on the hardcore
punk scene before moving on to deeper
atmospheric pieces later on. Mould’s
compulsive work ethic may have made the
band a success, but also shows how he
was avoiding or escaping his inner demons
and insecurities.
The pace of the book is frenetic and
matter of fact with only inklings of self
reflection at first. At the same time, Mould
was always the first to quit relationships or
turn his back on a situation in order to regain
control, even booze or drugs, through sheer
willpower and move on. He gives you a
lot of musical details and meaning behind
songs and the music business, though there
is less emphasis on the live performances,
unless something was going wrong. Out
of concern his old fans would reevaluate
their attachment to his body of work and
legacy, it’s only later that he comes outYou can also read
