May 2005 Volume 1 Issue 5 Blues ● Country ● Folk ● Hip Hop ● Rock

pronounced no-mah-so-nah

Northern Mass. - Southern New Hampshire Artists

pronunced: no-ma-so-nah

IN THIS ISSUE:
THE TWO SIDES OF D-TENSION
A BAND CALLED SPIKE, PAUL RISHELL
LOST CITY ANGELS, Q, GYPSY JAZZ
YOGA FOR MUSICIANS, MIDI, MORE...
 L! Melville Park
Acoustic Recording Specialists

Martin Sexton, Jim Infantino, Vox One, Kerri Powers,

Vance Gilbert, Scott Alarik, Lorraine Hammond, Don White,
Sara Wheeler, Kim Trusty, Cindy Kallet, Debra Cowan,
Late Bloomers, Chris & Meredith Thompson

Steve Friedman Engineer

617-361-6107 www.melvillepark.com
ProTools - ADAT - MULTI-TRACK LIVE RECORDING

2
 Table OF Contents
The Buzz ................................................... 4
Local Radio ............................................... 8
Ask Ronin ................................................. 8
CREDITS
Paul Rishell and Annie Raines .................. 9
Two Faces of D-Tension ......................... 11
Publisher: Rig Painter Productions
An Interview with Q ................................. 14
A Band Called Spike ............................... 15
Editor: Marc Friedman
New England Rock TV ............................ 18
Lost city Angels ....................................... 19
Copy Editors: Rachel L. Cadran, Cheryl Siegel, and
NHTunes.com ......................................... 20 Jenn Mottram
Gypsy Jazz ............................................. 21
Yoga for Musicians ................................. 22
Associate Editors: Sswytch Blade
Recording Songwriter: MIDI .................... 23
WUML .................................................... 24
Photos: Dante Parker, Todd Walley
Reviews .................................................. 26
Classifeds ............................................... 28
Writers: Chris Peters, Don Gibson, Ronin, James Le-
Jam listings ............................................. 30 Boeuf, Shaun O’Brien, Rod X, Adam Savage-Adalman,
Show listings ........................................... 31 Suadiggitti, Todd Walley, Marc Friedman, Andrew Law-
rence, Rachel L. Cadran, Keven Pearce, Tracey Milton,
Andrea McPhee, Bob Bourque

Layout: Marc Friedman

Cover Art: Ward Morgan

www.wardmorgan.com.

Logo: Tony C. Antinoro

AD RATES (Subject To Change):

$300, $175, $100, $65 for biz

$150, $100, and $65 (no 8th of page) for
bands/musicians

To a cow, tanning has a whole Dimensions

7.5" x 10" - Full pg. $300 biz, $150 bands/musicians
different meaning. 7.5" x 5" - Half pg. $175 biz, $100 bands/musicians
3 5/8" x 5" - 1/4 pg. $100 biz, $65 bands/musicians
3 5/8" x 2.5" - 1/8 pg. $65 biz, not available for
bands/musicians
Continental Cobbler
6 W. Broadway For ads you can send a biz card, PDF or image
(preferably 300 dpi TIFF).
Derry, NH 03038
603-434-7670 If we create your ad:
$25 if it's just words - 2 fonts Arial and Palatino
$35 for words and image
Graphic art work prices available upon request

NoMaSoNHa
c/o Continental Cobbler
6 W. Broadway
Repair: guitar/bass cases, leather jackets, boots and shoes Derry, NH 03038
Custom: guitars straps, gig bags, leather pants, vests, etc. 978-258-2606 friekman@hotmail.com

3
The Buzz Local Artist & Music News
To submit news items to be considered for print, please check spelling and grammar.
Poorly written summaries and press releases will be discarded or returned for revision.

Reflections'/Lowellrocks.Com Battle Of The Bands

Reflections'/Lowellrocks.Com Battle Of The Bands continues on May 7 with the Semifinals - Wildcard Round. Scheduled to play are
Indoor Recess, Kweejeebo, Rockville Coventry, and Why vs. Rome

Judges needed for Characters Pubs Battle of the Bands

The Characters Pub summer battle of the bands will be held this June through August. The battles will be held every Thursday with
the finals being broadcast on The Eagle 99.9FM.
Three judges are needed for each Thursday starting at 9PM. An added bonus is that they drink for free (or another arrangement
can be worked out). There will be a lot of radio coverage and judges cannot be affiliated with any of the competing bands. Ideal judge
candidates would be sound people, photographers and music industry members. Please contact laura@characterspub.com
Bands: Register at characters pub. www.characterspub.com

Sully Erna of Godsmack Hosts CATS Battle of the Bands

Justin Paul Goodrich helped to organize the late April battles. The first prelminary was held at Timberlane High School and the three
winners were Johnny Graves, S and Emerse. The second was held at Gilbert H. Hood Middle School and the three winners were
J.P.G., Zion and All Rights Reserved. Both events were hosted by Sully Erna of Godsmack. All of the bands that won the preliminar-
ies moved onto the finals Saturday April 23rd at the Lowell Auditorium.
Each band will be given a $100 gift certificate to Superdupes and the winning band will get an all expenses paid trip to LA to record
with Sully.

The 2nd Annual "Sweet Leaf Festival"

Rootsucker Records presents the 2nd Annual "Sweet Leaf Festival", in Lowell on May 14th, 2005 at Evos' Arts (www.evosarts.com)
doors open at 5PM and the shows are 21+. Rootsucker Records' goal is to create the premiere event of its kind in the Northeast. Re-
cords and Evos Arts have collaborated to present this multi-media presentation of the hallucinogenic, kaleidoscopic and tripped-out
underbelly of today's hard rock world.
This year's festival will feature two stages of music, showcasing a total of 13 bands. There will also be art on display by Eric David
Love, world renowned visionary/psychedelic artist Scott Cranmer, Bruce Bettis of Zeroflesh.com, and others. Live video installations
and accompanying soundscapes will be provided by Rob Byrd & Kris Thompson, Steve Albert, and J'Ambiance.
Tickets are available for sale in advance for $12.00 online at www.rootsuckerrecords.com/sweetleaffestival or through the bands
and other participants.
The confirmed lineup is as follows, with the aforementioned artists and performers displaying their wares throughout the day:

Upstairs Stage Downstairs Stage

5:50-6:30 -Presley (MA) 5:15-5:55 -Suicide Contest (NH)
7:00-7:40 -Heretic's Fork (RI) 6:25-7:05 -Bury the Needle (MA)
8:10-8:50 -Ogre (ME) 7:35-8:15 -Septic Youth Command (MA)
9:20-10:00-Eldemur Krimm (ME) 8:45-9:25 -Ichabod (MA)
10:30-11:10-Sumo (MA) 9:55-10:35- Cable (CT)
11:40-12:30- We're All Gonna Die (MA) 11:05-11:45-Wooly Mammoth (DC)
12:15-12:55 -Dove (FL)

(schedule subject to change)

The festival will also serve as the CD release party for Rootsucker Records' latest album, "Reaching Empyrean" by Ichabod.
www.blacklocustent.com www.rootsuckerrecords.com

Get Press
Send your musical news to NoMaSoNHa
friekman@hotmail.com

4
Local Artist & Music News The Buzz
The Fourth Annual Dick Curless Memorial Scholarship Fundraiser Show

This fund was established by the Pine Tree State Country Music Association and the widow of Dick Curless, Pauline Curless. The
scholarship is awarded annually to a deserving student from Bangor Maine High School (Dick's hometown) that is going on to attend a
collegiate music program.
Dick is a member of both the Maine and Massachusetts’ Country Music Hall of Fames (he grew up in MA) and is one of the most
prominent singers to ever come out of New England.
The event will be held on Sunday June 5th 1:00 PM to 5:00 PM at The Thompson Community Center in Union, Maine and the All-
Star line up includes:
House Band:Tommy Thompson,Gary Seavey,Bob Coombs,Phil Clement and Ed Hinkley
Everard Dodge & Roseanna Rogers, Bob Elston, Slim Andrews, J.D. Foster, Yodeling Montana, Florita, Stevie Cee, Jackie King, Doc
Morrill, Ken Wentworth, Otto Proctor, Jr., Jerry Lindsey
Donation $7.00 Seniors & Members,$8.00 Non Members
For more info and reservations call (207)542-3093 or (207)490-1232
If you are unable to attend but would like to make a donation to the scholarship fund,make checks payable to "Dick Curless
Memorial Scholarship Fund". Send to:
DCMSF
c/o Russ Connell
2587 Old Augusta Rd.
Waldoboro,Maine
04572-5509

CD Releases

Weather Outpost 12 "The Legend of Chico Shanghai" [World/Brazilian/Blues/Eclectic] The debut CD from this genre mixing group led
by vocalist La Gringa. www.cdbaby.com/cd/wo12

Kudisan Kai "Confessions" (EP) [Hard Rock/Metal] Vocal powerhouse Kudisan Kai delivers a hard-hitting performance on her newest
recording "Confessions." www.cdbaby.com/cd/kudisankai

Gabrielle Goodman "Angel Eyes" [Jazz/R&B] Acclaimed vocalist Gabrielle Goodman releases her third album. This is her first on her
own label and it follows in the footsteps of her success on her JMT/Verve releases. www.cdbaby.com/cd/gabrielleg

Hearing is Believing: The Tupelo Music Hall Brings Music to Southern NH

by Chris Peters

Londonderry, NH seems as unlikely a place as any to find world class music, but
that’s exactly what you will find at the Tupelo Music Hall. Formerly The Muse at
Grey Goose, the venue was purchased in June 2004, and transformed into the Tu-
pelo Music Hall.
Since the purchase, owner Scott Hayward and his wife have gone about
the task of renovating and refurbishing this venue. Their efforts have resulted in the
creation of a space with a look and feel of any stylish music club you may find in
Boston or Manhattan.
The installation of a new sound system that ensures professional and high
quality sound production is among one of the many changes. The original stage has
been reframed and made larger, making space for a 1942 Baldwin piano that now graces the stage. A small intimate listening envi-
ronment, the Tupelo has table seating with capacity for 138. The club is smoke-free, has a BYOB policy and offers a small food
menu.
Mainly an acoustic venue, the Tupelo has opened its doors to all types of music, wishing not to cater to just one genre. You can
find folk, rock, country, Celtic and new age all under one roof.
The efforts put forth by the new owners have seemingly paid off. While remaining a small venue, the Tupelo is attracting a vast
array of performers. National artists such as Jonatha Brooke, Shawn Colvin, Richie Havens, John Eddie and Cracker have all made
the roster, as well as larger regional artists such as Chris Smither, Harvey Reid, and Don Campbell.
The last Thursday of each month has been set aside for an open mic night. Hosted by Robert Haigh, former host of the highly suc-
cessful and long running Old Vienna Kaffeehaus, the open mic provides yet another bit of prestige and culture to the venue. In a re-
gion where you have to either go to a restaurant, bar or the Verizon Wireless Arena in order to hear live music, the Tupelo has estab-
lished itself as a culturally significant music venue where people can see quality artists.
The word Tupelo has several meanings, and can conjure many images. When I asked the owners about the significance of the
word in the name of the venue, I received several answers: the birthplace of Elvis, a Van Morrison song (“Tupelo Honey”), and a
small Southern town. Maybe the word Tupelo represents the purity and soul of music in all its forms; music that may have been born
in the South, but proceeded to invade small towns everywhere, even small towns like Londonderry, NH.
Tickets and schedule information are available online at www.TupeloHall.com.

5
The Buzz
Classical
Cantemus Chamber Chorus will sing music of Copland, Bar-
ber, Pinkham and Thompson as it celebrates the choral art in a
program of “American Treasures” on May 7, 7:30 pm, Christ
Church, 149 Asbury Street, Hamilton; and May 8, 4:00 pm, Cen-
tral Congregational Church, Pleasant and Titcomb Streets, New-
buryport. Tickets at the door are $20 for adults, $15 for seniors;
add $1 for tickets purchased online. Admission is free for stu-
dents 21 and under. For reduced-price tickets and details, visit
www.cantemus.org or phone 1-888-CHORUS 1.
Dance
14 year old Latina pop/r&b singing-songwriting
prodigy Lynett debuted her new single "I Need
You to Know" on "La Voz De Pueblo" with Isabel
Melendez on WCEC 11 on April 13. The single
was produced by Chris Billias of Boston’s Bristol
Studios and is being independently released by
Funusual Records. www.LYNETT-Online.com
J&N/Sony recording artist Domenic Marte's tour
schedule has been added to his official website at
www.DomenicM.com
Mike Mazzotta's re-release, "Stay Together for then Kids ver-
sion 1.5," is finished and will be available for purchase online
May 1st at www.transceover.org. The album is a re-mastered
full-length LP based on Mike's first Transceover release, "Stay
Together For The Kids", and includes over 30 minutes of new
music. www.hs2.cjb.net
Lawrence’s SonChild is writing and recording his debut album
"Attitude” to be released in later this year. Meanwhile, the 2005
UK remixes of "Merry-Go-Round" will be out this Spring 2005.
www.SonChildOnline.8k.com
Folk & Singer/songwriter
Ongoing Open Mic/Song Swap Series:
Second Saturday Monthly, 8PM at St. James Episcopal Church,
120 Main St., (downtown) Amesbury, MA. Admission is $5 and
sign-up begins at 7:30pm on a first come basis. There is also a
featured performer each month. 978-834-0367
Hip-Hop
The Undisputed Compilation featuring some of hip-hops next
best like Dre Rob-N-Son, Tek. Mp, Ty-Storms, Myart, Brix
and more is now available at www.assassinmu.com.
Rock
Burden Of Liberty's upcoming shows are:
May 7, The Bombshelter, Manchester. NH
May 14th, The Uptown Tavern, Manchester, NH.
www.bluntfacerecords.com
Dipthong‘s new EP is going to be mastered by Alan Douches at
West West Side Music. An unmastered version can be heard at
www.myspace.com/dipthong.
Upcoming shows include:
Saturday, May 14th, 2005, The LowellRocks.com Battle Of The
6
Local Artist & Music News
Bands: Round Two at Club Reflections, Chelmsford
Friday, May 20th, 2005 at The Mammoth Road House in Dracut
Thursday, May 26th, 2005 at Shooters Sports Bar in Dracut
www.dipthong.net
Dogfight’s new collaboration with Italian Ice made it’s world
premiere on WAAF on the Hillman morning show on April 5th.
Their single, “Standing Still” was once again featured on Hard
Drive, the nationally syndicated radio show hosted by Lou
Brutis. The song was first featured in late March and received
numerouscross the country requests.
The band also plaid two dates with Andover’s Powerman
5000 on April 15 and 17. www.DogfightBand.com
Local favorites Fear of Flying are soon entering the studio for
the making of their second album which has been titled
"Drama". www.fearofflying603.com
Justin Paul Goodrich‘s latest album, Everything Changes, is
on sale online at www.jpgonline.tk and www.myspace.com/jpg
and if you order a CD through e-mail you'll get a free bonus disk
featuring previously unreleased tracks, outtakes and a free 2x4
sticker.
Lowell's Hell Within’s (pictured) Lifeforce Records debut Bleed-
ing Me Black is now out and the band is touring nationally in
support. www.hellwithin.com
Hostile Witness took first place on during the first round of
competition of the LowellRocks.com battle of the bands on April
2nd and is moving on to the second round. photos by Kristen
Ingoldsby.
Lucretia's Daggers made it to the 2nd round of the Interna-
tional Emergenza Music Festival and will play Sunday, May 22
at the Paradise Rock Club in Boston. There, the band will debut
its new song, "The Sickness". www.emergenza.net
www.thedise.com
The band also has a new webmaster: guitarist Duane da'Vein
of Coven of 13 (www.covenof13.com). The new Lucretia's Dag-
gers' site features music clips of 10 of the 13 songs from their
upcoming album, Sad Flower Songs, produced by Scott Matalon
of Daisycutter and Music Lane Studios
(www.daisycuttermusic.com, www.musiclanestudios.com).
The instrumentals from Lucretia's Daggers' cult song "The
Horrors of Retail" are featured in a gender-bending scene in
Warren Lynch's upcoming film, Pony Trouble!
(www.ponytrouble.com, warrenlynch@gmail.com), also pro-
Local Artist & Music News
duced by Scott Matalon (www.musiclanestudios.com) A debut
screening of the scene and more were shown at the Boston Film
Festival at the historic Someville Theatre.
In more somber news, Lucretia's Daggers' keyboardist, Stepha-
nie, is leaving after finishing the band's first full-length album and
the Emergenza competition. Lucretia's Daggers seeks a replace-
ment keyboardist ASAP. Backup female vocalist and/or driver
preferred. lucretiasdaggers@rcn.com. www.lucretiasdaggers.com
Local hard-rockers Memorybox are taking a small hiatus from
shows to learn some new cover tunes and to write/record original Battle of the Bands.
material. Their debut EP, "Within Arms Reach" is slated for a
summer release. 'Not fully mastered' tracks "Fear" and "Medicine" legends Meliah Rage on April 16. The show was presented by
can be heard at www.myspace.com/memorybox.
Milo's Syndicate will be giving away free copies of their new CD
"Russians At The Village" at its release party on May 14th at
O'Brien's. Other acts on the bill are Mongrel, Superpower (Dave
from Tree's band), and Sin City Chainsaws.
www.milossyndicate.com
Mindset X has put sound clips from their new CD, "StateCraft,"
online under the music section of www.mind-set.net. Also in-
cluded is the full version of ”Red Tides.”
Nashua’s Mongel is busy, as always. Their single, “Without
Mercy," is being played on WAAF's Baystate Rock. The band will
also open for Wednesday13 (singer from the Murderdolls' own
band, his album just came out on RoadRunner records) on May
1st back at Club 125 in Haverhill.The show is all ages. To further
promote the show, the band is having a contest. Whoever helps
them sell the most tickets for the Wednesday13 show (5 tickets or
more) will get an embroidered hooded Mongrel sweatshirt or T-
shirt and free admission to the show.
Due to club rules, the band was unable to give out stickers at
The Misfits show, so if you want a sticker you can send them an
email with your full name and address and they'll get one out in
the mail to you ASAP. Also on the bill for the Misfits show: pics
are up on www.mongrelband.com.
Recent NoMaSoNHa feature, oma, unfortunately may be no
more. Reports are that singer Jeff Bragg has decided to leave the
band. Guitarist Jason Calieri and drummer Joey Korenman are
going to put a new project together.
Robotzen released their second CD, The
Violence Factors In on April 9 at the Ominous Pink Dots as mentors, Specimen 37 use lighting and video for full
Collective’s monthly series, Kabarett 16-bit, effect to "chronicle seven days in the life of a nameless
at the Zeitgeist Gallery in Cambridge, MA.
Robotzen have coined their own style of mu-
sic, which they call Digital Crash. Obsessive
about creating all samples and loops from
scratch, they sample live instruments, mix,
and master everything on Mac G4 Power-
books. The line up includes a guitar-
ist/programmer who goes by the moniker
Steve Robot, Austrian actress/singer Sue Zen and local arts
muse/booking agent DJ-1988. www.robotzen.net
www.ominouscollective.net
Pondering Judd recently met with the proprietors of the newly
opened Garrison Players Arts Center in Rollinsford, and they'll be
putting on a series of all ages shows over the next year, most
likely similar to the Sunday afternoon show they played at the
Stone Church.
The band has also been nominated for a Spotlight Award for
The Buzz
Best Rock Band. The awards were given out at the Portsmouth
Music Hall.
Their song “World Series Beard” will be featured on the new Hun-
gry for Music baseball compilation, yet to be titled. Last year,
PJudd's Losing was featured on The Seventh Inning Stretch
baseball compilation.
Blackout Frenzy opened for Cryptopsy on Friday, April 22 at
The Bomb Shelter in Manchester, NH. Blackout Frenzy has also
advanced to the 2nd round in the Reflections’/LowellRocks.com
The band, who now has a new CD out, played with local metal
Gidates.com and Screamin Ferret Wreckords at Cats at Kc's Tap
in Pawtucket, RI. www.blackoutfrenzy.com
Straight To Video's upcoming gigs:
• May 14 at Reflections, also in round two of the Reflec-
tions’/LowellRocks.com Battle of the Bands.
• May 19 at The Paradise in Boston as participants in the semi-
finals for the Emergenza Music Festival.
• May 26 at The Hogs Trough Saloon in Manchester.
• June 4 at O'Brien's in Boston.
www.straighttovideo.net
SixgrooveNine Music presents Juniper’s Daughter on May 11 at
The Middle East Upstairs in Cambridge, MA. The band has solidi-
fied their lineup and is laying down some new tracks for a CD.
www.junipersdaughter.com www.sixgrooveninemusic.com
Girl On Top announced new band members: new guitarist David
Simmons is their former bassist, new drummer, Ray Fernandes
hails from Boston’s famed The Atlantics and new bassist Mike
Quirk, formerly of the Last Ones. The band debuted at Somer-
ville’s Good Times Emporium on Friday, April 22nd.
www.GirlOnTop.com
On May 7, The Ominous Collective will present the fourth Kaba-
rett 16-Bit, combining theater, prog-rock and a poet who is "part
Tori Amos and part Lost Dog." The exclusively female Illegitimate
Theatre Company returns with another installment of their work-
in-progress rock opera; Specimen 37 (pictured) who were intro-
duced to the Collective by Boston scene maven Lexi Kahn, are
indeed prog-rock. Naming such seemingly disparate artists as
Steve Vai, Godspeed You Black Emperor!, and the Legendary
'specimen'.”
Boston metal masters, We’re All Gonna Die released The Wreck
of the Minot, their 2nd on Underdogma Records, on April 26. The
CD release party will be at O'Brien's on May 7th with local rockers
Ichabod, Greatdayforup and Eldemur Krimm.
www.wereallgonnadie.com
Wisteriax is back and will be playing Saturday, May 7th at The
Skybar in Somerville. http://wisteriax.com
Character’s Pub Listings for May
• May 6th - Gain 211
• May 13th - Chris Fitz
• May 20th - Whiskey Thursday
• May 27th - Evenspeak
7
 Local Radio ASK RONIN - VOLUME V
by Don Gibson Dear Ronin,
Why is it that a lot of musicians seem to draw
Lists are compiled based on how many times a band/song is played in a month.
battle lines between themselves and club
Strongarm Radio owners and vice versa when they are both
after the same thing—success?
Artist # of plays Songs Played Submitted by Al via LowellRocks.com
1. Killswitch Engage 4 The End of Heartache(2), Rose of Sharon (2) What a wonderful world it would be if club owners and bands
2. Shadows Fall 4 The Light That Blinds(2), What Drives The Weak(2)
3. Burn In Silence 3 Primal Human Pain(3), Lost One, Self Reliance
could all get together and work together to build business. I don’t
4. Rubikon 3 Monster(2), The Hollow Men believe however that clubs and musicians have the same defini-
5. Hour Cast 2 This Life (2) tion of success. With my band, the definition of success is having
6. Throe 2 If X's Were Kisses(2)
7. All That Remains 1 The Deepest Grey
a good crowd to feed my ego and making enough money at the
8. Invocation of Nehek 1 Sever the Leech end of the night to sink into any new band toys I need. I’ll never
9. Diecast 1 Fire Damage really “make” money, especially when you consider how much
10. Unearth 1 The Great Dividers(3) time there is put into rehearsal and equipment. If you’re an original
Strongarm Radio (hosted by Brian and Tom) is on Mondays 10PM – band it’s even worse, you can generally completely forget about
12AM on 104.9FM WRBB www.wrbbradio.org; making money the first few years with all the costs associated with
www.myspace.com/strongarmradio recording, equipment, promotions, etc.
Email mp3s to strongarmradio@yahoo.com Clubs however absolutely need to make money and a lot of it to
stay in the black. If they don’t, they go under as we’ve seen from
Indie Flakes Cereal
the number of them that went under this past winter in the valley.
1. Mittens What’s the answer to working together? I’ve had this discussion
2. Audible Mainframe with a bunch of musician associates and it’s really time to start
3. Choo Choo La Rouge reinventing the nightclub to help both musicians and owners. If I
4. The Sheila Divine knew exactly what that meant, I’d open my own club and get rich.
I have ideas but for now, I’m keeping them to myself! (Is that a
5. The Texas Governor
future article in Nomasonha I smell?)
6. The Lyres Dear Ronin,
7. Rosie Huntress How important is a cover band set list? Should you stick to
8. Swim Team an exact set list at every show, or "quarterback" one for
9. The Tampoffs every gig by playing off the crowd? My band does this and
10. Dear Leader sometimes it works great if you can read the crowd well. At
other times though there is a lot of standing around thinking
Indie Flakes Cereal Fridays 7-9AM WMFO 91.5FM (www.wmfo.org)
of what the next song should be if the crowd is hard to read
LiveWire or alcohol hasn’t done its job?
Submitted by Keiley via LowellRocks.com
1. Visional - Choke For the answer to this question, I turned to the ever popular Carl
2. Haloburn - Atrophy Ayotte, leader of one of the Merrimack Valley’s top cover bands
3. Stoic - Loss For Words “Captain Morgan and the Rumrunners.”
4. Breathe - Burnt By Shadows According to the good Cap’n, there's a fine line between feeding
5. Child - Laced off the audience for ideas of what to play and standing around
6. Synj - Breathe doing nothing. His band used to run into that problem but started
7. Dryft - Explanation Varies making "half sets" and "suggested possibilities" lists for when the
8. Product 62 - Second Nature crowd just wasn't providing enough great ideas. Sometimes the
simple guideline "set list" will save us just long enough for the
9. Twist Of Fate - Tatoo My Heart
crowd to get into it and start dictating the direction of the night.
10. Plank 63- Numb The best bands are those that can shift on the fly and adapt.
Every other Saturday night 12am-3am on 91.5FM WMFO or listen Once you get a crowd dancing, you better hold onto them be-
online at www.wmfo.org . cause more often than naught, their heading out the door for the
Official LiveWire website: www.jadeandphil.com. Local bands wishing next distraction the second they even get remotely bored.
to submit music either email mp3s to jadeandphil@yahoo.com or snail- Dear Ronin,
mail CDs to Live Wire 11 Fernald St. Lowell, MA 01851. What the worst thing that’s ever happened to you on a gig?
Don's Picks for the Month Submitted by Gina via email
It has to be forgetting the words and notes to “Can’t Get Enough”
Live From The Fallout Shelter
(a song I’ve been hearing since I was an elementary school kid
Every Monday Night from 8-11 pm
growing up in Malden in the seventies) when a gorgeous well en-
WUML 91.5 Lowell, Ma. dowed blonde decided to dance a foot away from me at a gig with
Listen Online at www.wuml.org/webcast.php no stage. I just stood there with drool hanging out of my mouth
going “uh, can’t uh….d’uh…….can’t…uh….” I think I used more
HeadBangers Ball “uhs” than a Kennedy that night. From that moment on the “five
Every Tuesday from 2pm - 4pm second rule” went into effect. The rule says after five seconds you
Hosted by Stephanie Marino have to turn away or you’re apt to forget more than the words to
WMFO 91.5 Medford the song! That rule has been in effect with every musician I’ve
Listen online at www.wmfo.org played with since.
Have a question about life, the universe and everything? No? Okay, how
email Don Gibson at Rockbostondon@yahoo.com about music? Email Ronin at AskRonin@yahoo.com or go to Lowell-
Rocks.com and look for the “Ask Ronin” thread.

8
 Just Three Folks Talking Music:
An Interview with Paul Rishell and Annie Raines
by James LeBoeuf
“(Songwriting is like) vapor
in a bottle, floating around
where you can watch it.
At a certain point you grab
it and it becomes solid.”
- Paul Rishell
H ow long have you been playing together?
Annie Raines [A.R.]: Thirteen years? Twelve years and
some change.
How did you two get together?
Paul Rishell [P.R.]: My late wife was my manager. She came to
a band gig I had and at the time I had a harmonica player who
knew Annie. I didn’t know her, but he invited her down to play with
the band. On that particular night it was the first night that my wife
had a chance to go out after having our daughter and she had a
few too many drinks. Annie sat in with the band, and I have to
admit I wasn’t paying much attention to her. I was more con-
cerned with making sure my wife was alright. On the way home
my wife was raving about how good Annie was. I had to admit I
didn’t really hear her. I kind of figured it was the drinks but the
next morning she was still talking about how good Annie was. My
wife was very involved in my career and she had a lot of good
insights into my own sort of personality and what I needed to do
on stage. She would say “When your up there playing by yourself,
your into the music and people can tell that but your sort of mysti-
cal about it because you know so much about the music and you
talk about it in such an authoritative way, it’s kind of imposing.
You need some one to lighten you up.”
I didn’t take umbrage at what she said, but my feelings were a
little bit hurt. I figured that she would eventually move on to some-
thing else and forget this. I played with so many harmonica play-
ers who would try to force fit what I was doing into some harmon-
ica thing. I don’t need to accompany. I don’t mind being by myself.
But Leslie just would not drop it. She would say, “How about I call
Annie?” I finally said ok. As it worked out Annie got this gig and
one of the people in her band was sick. so she called me. It was
an odd sort of party. It was a party for people who are too busy to
have a social life.
A.R.: It was a singles club for Ivy League graduates. So a lot of
very smart people with no social skills …
… staring off into the corner of the room.
P.R.: Yeah! Staring at us. I had a pleasant surprise because when
I started playing I thought that I would have to deal the best I
could with this harmonica player. When she started to play, I no-
ticed that she would only play something that was musical. It was-
n’t necessarily a harmonica thing - it was integrated into the music
9
BLUES
and had its own integrity. She left spaces and fit
into what I was trying to do and did it in such a
way that she was calling upon herself. She wasn’t
just saying well I’ll put this here - she was thinking
and making it work. A lot of times she was making
it work by not playing at all which I think is a very
rare quality in musicians. All I got was sympathetic
feeling - I began to see what my wife, Leslie was
trying to explain. From that point on I was eager to
play with Annie more and to find out where we
could take this. It was obvious that we could play
blues together - it was also obvious that we could
do so much more that neither of us ever knew we
could.
Ever since I’ve been playing with Annie,
all of my ideas have been better - I can ask her to
do things that I could never ask anyone else to do
and have them work. We, after thirteen years, are
just beginning to write more tunes together. On
the last couple of albums I asked Annie to pay the
mandolin. She had never played before but
started with “Movin to the Country” and “Kansas
City”. On the last album (Goin’ Home) she played
a Zither that was laying around the studio for “I had a Good
Mother and Father”. You can ask her to do anything and she will
come up with it.
A jack-of-all-trades!
P.R.: Yeah! For someone like me who is a musical curiosity (by
that I mean I like a wide and varied variety of music), I can throw
an idea at Annie - anything I can think of and she will give me her
take on it. It is very efficient and we don’t discuss it much - we
casually stroll by it and take what we need.
A.R.: There is not a big ego investment - our partnership is open
that way. I consider myself so lucky. When I started playing to-
gether with Paul the ease in our partnership is hard to find. I had
another bandleader who passed away that really helped me learn
and pushed me a bit - I trusted him and his belief in music. Ours
was a good relationship and I know that those (relationships) don’t
happen all the time. When I met Paul I knew I was really lucky to
find that again. I played with the Susan Tedschi Band for a while
in 1995. Paul had gotten sick, and luckily did not pass away. I
called Susan to sub for him and we kept on getting gigs. We won
the Battle of the Blues Bands and offers were piling up. Even with
that I always considered it a close second to working with Paul
because of our great chemistry. You know Susan is great! We
have a good interaction on stage and I think the world of her sing-
ing and showmanship, but it just wasn’t what I have with Paul. It’s
a whole different world. I learn so much with Paul’s Synapses’
firing!
P.R.: I might add something, that sounds a bit one sided that way
- you can only really be learning something if you are teaching at
the same time. When we compare the outside world to our world,
it doesn’t come close to have ideas and be able to exchange them
with someone. So much about songwriting is that it is sort of va-
porous - you get an idea, just walking down the street and some
you remember, but most you don’t. The ones you remember, you
add something to it. As soon as you add something to it now you
have put a leg on it and it can walk around - you don’t really want
to complete it right away. It’s like a house of cards and you don’t
want to knock it over. You want it to be like vapor in a bottle, float-
ing around where you can watch it. At a certain point it is like “ok
this is it” - then you grab it and it becomes solid. You can’t easily
change it as you have to get it a certain way. But in Annie I have a
person around where I only have to get it to this stage, and then I
can give it to her. She may add a note, take one away or do noth-
ing at all, but I know I can trust her with it. She is not going to
judge me - she is just going to look at the work. There is an odd
privacy of the soul between people sometimes in a non- typical
relationship, and by this I mean the musical factor - very intense
and intimate. In a way you have to be more respectful of that even
more than living and sleeping together. It demands a certain
amount of modesty to agree without speaking. It works the same
way on the stage, reacting without speaking. You can stand on
the shoulders of your best work and take it even farther with the
right person.
The whole way that you’ve explained your relationship and
the way you have the common thread of music, music is very
personal to a musician. Maybe that’s why you have the un-
spoken.
P.R: Precisely! Music gives us a vantage point. Music is an exten-
sion of a person. That gives you a gauge of who the person is.
You both are fortunate in that.
P.R.: Amen!
Are either of you classically trained in music?
A.R.: I took piano in grade school and had slight ability to play by
ear - kind of single finger stuff, so I would muddle through classi-
cal pieces but stopped in seventh grade. I never practiced -
showed ability but didn’t foster it through practice yet I still did get
a lot out of it. I don’t read (music) very well but started playing the
harmonica when I was sixteen and that was the thing that really
got me going.
That’s all the training? I am surprised with the number of in-
struments you play.
A.R: That’s it. It was the harmonica that caught my interest and
helped me gain. I will learn any foreign language to the point that I
can tell a joke in it! (laughs). In blues music you have to be able to
make a lot of jokes and have a large vocabulary. Blues always
inspired me to go back and listen to the masters - Little Walter,
Big Walter and others. I really got into listening to them through
listening to Jerry Portnoy who was living in Waltham at the time. I
heard him with Muddy Waters in the seventies and I just figured
he was some seventy-year-old guy…
P.R.: He old but he ain’t that old!
A.R.: I took a couple of lessons and talked to him.
He set you on the path.
A.R: Yes, he set me on the path. Another big influence was the
Cambridge Harmonica Orchestra. It doesn’t exist anymore, but it
was a loose conglomeration of harmonica players, accordion play-
ers, and melodica you know those mouth organs. It was just a
rhythm and blues harmonica band of fifty or so harmonica players.
All I did for the first three years was fairs and parades playing
rhythm so I got to work out my lungs.
Paul, how about you? Any training?
P.R: I learned to play by ear. No one in my family was musical
except my Mother and I didn’t even know she was musical until I
was grown and she told me she learned to play piano by ear as a
girl. I started out as a kid memorizing T.V. commercials and I can
still remember them to this day. If I hear a song once and like it, I
remember that person’s voice and I can name it and am rarely
wrong, so music was easy for me. I don’t read and never wanted
to read music. My family was in Austria in 1960, I was ten years
old and we were staying in this hotel. There was a trio playing in
the dining room playing Austrian 1960 dinner music, whatever that
may be. The whole band doubled on other instruments - the piano
player played vibes, the bass player played trombone, and the
guitarist played drums. The guitarist hated playing drums - he
would rather play guitar. I sat watching him and on the third night
went up to him on the break and said “Can I play your drums?” He
replied, “I don’t know, can you?” I said, “I never played drums
before but I know I can do what you were doing. He sat me down
and I played. The band questioned me, “You never played drums
10
before?’ “No. Never touched ‘em before.” So I played a bit that
night. The next night the guitarist came up to my parents and me
and asked if I could sit in and that they would pay me. My parents
asked if I wanted to and I said sure, so I played a few nights. The
end of the week they gave me a Tyrolean hat and some chocolate
cake. We moved back to the states and were living in Connecti-
cut. I played drums in a few surf bands - we realized we needed a
singer so I started to sing. After a while I got sick of the drums and
really wanted to play guitar. My Mother bought a guitar when I
was sixteen - a really nice one that I still own. I realized nothing
made as happy when I got the guitar and never put it down. I
would practice everyday, missing breakfast and dinner. I practiced
so much that on one Sunday I asked my Mother if I really had to
go to school the next day because I was sure if I could stay home
and practice more I was about to make a breakthrough. She told
me she had never seen anyone work so hard at something and let
me stay home. That was the first of many things that made me
realize I was doing the right thing. Started at sixteen, fifty-five now
- I should be phenomenal by now!
Do you look at it as practicing or playing?
P.R: It is way beyond anything. It is like you have two hands and
two feet. Without a guitar I would be lost. You can continuously
learn from an instrument. Learn about the instrument, the music,
yourself, and it never stops.
I have to admit to being bowled over by your last CD “Goin
Home”. It is a virtual history lesson in Pre-War blues. Some
of the songs have an Appalachian feel, melancholy at times
and uplifting at times.
A.R: This CD contains some of the happiest blues we’ve done.
Really?
A.R.: Yeah, songs like “Custard Pie”….
Yes that song definitely, but songs like “Candy” and “I Had a
Good Mother and Father” - I like it but it is a bit melancholy.
P.R: Yeah it makes you want to call your parents up and say “Hey
Mom! Thanks a lot.”
I love the innocence of that song.
A.R: That’s funny because on this CD we did more blues, deeper
blues than we’ve ever done. Yet in terms of what is widely ac-
cepted as blues, it was the least like that of anything that we’ve
recorded.
But this is the whole beauty of the blues. This is one of my
aims to teach people that the blues is not just a plodding or
shuffling beat. It is everything from Robert Johnson on his
acoustic to Jimi Hendrix and his wall of Marshalls.
P.R.: That’s right man. Jimi Hendrix is nothing but blues.
A.R.: It’s like the public perception of the blues is white guys in
funny hats. It has nothing to do with being white or black. Wearing
the get up is like wearing black face in the minstrel days. The
beauty of the blues is all you have to be is yourself.
www.paulandannie.com
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 The Two Faces of D-Tension

Hip Hop
Part I: Hip-Hop
by Shaun O’Brien

D -Tension, a man of two sides. This interview deals with the

hip-hop face of this complex and talented local artists (and
new father).
nitely not what they were. She has motivated me to make my life
better.
Can the fan base expect any solo projects in the upcoming
months of 2005?
Now, you have a hip-hop career as well as a rock career,
My album “Contacts & Contracts Volume 2” will be out in Septem-
which became first in your life?
ber. Once again I have assembled an all-star lineup of hip-hop
I always had rock music at home. My mother listened to bands
artists from around the country: Krumbsnatcha, Akrobatik, Slug
like The Mamas and The Papas, Crosby, Stills & Nash and Billy
from Atmosphere, Wordsworth and many others. The beauty of
Joel. My father was more into The Who, Led Zeppelin and ELO.
this album is that it serves fans of my production as well as fans of
But that was their music. I grew up in New York as hip-hop was
my hip-hop songs. There is a bonus disc on the album, so it’s a
creating itself, so that was MY music. All I ever wanted to do was
double LP, the bonus disc is my solo album “Rap Music Sucks”.
rap, break and play records. So as a career, hip-hop has always
So for the price of one CD you get C&C 2 as well as my solo al-
been first. My rock band is a side project for fun and isn’t as seri-
bum AND the cd’s are enhanced so you can put them into your
ous as my rap career. I just needed an outlet to express my rock
computer and see my 4 music videos as well. It’s quite a package.
roots.
After that I will release The Dead Von Erich’s album.
Hip-hop and rock are two almost completely separate genres, Then I have a top secret project that will manifest itself in due
coming together slowly. Which do you believe has had the time.
biggest impact on your life and on your bank account?
For the interested fans, is there a place where they can cop
Well I think they are two different genres and when they come
up some older joints from you?
together the result is usually garbage. I mean The Beasties have
done it well, Run DMC did it well, but Kid Rock and Limp Bizkit I’m going to continue to add my older material to my website,
are exactly what they sound like: rock bands fronted by a wack www.d-tension.com. I just posted some songs from some sound-
MC. It takes more than talking on time to a beat and using the track work I’ve done for indie films and national TV including

ESPN, HBO, Fox Sports, Showtime and The Discovery Channel.

occasional Ebonics to make you an MC. Most of these rap rock-
ers are fake and insult the craft of MCing. It ain’t that easy, dude.
As for how they have impacted me. Hip-hop culture is my
life and always has been. I breathe beats and rhymes. But lyrically
I find a lot of inspiration in the rock songwriting approach. Espe-
cially as compared to modern rap music. I mean, how many
songs about diamonds and cognac do you need to hear in life? I
like to tell stories and use a more varied palate for my subject
matter. I find that’s where bands like The Clash and The Rolling
Stones influence me. They have a variety of intelligent lyrics about
everyday life. I try to sprinkle that train of thought into my hip-hop
lyrics.
As far as fan base, there’s no question that my hip-hop
career is a career and therefore has made me more money and a
larger fan base than my rock-n-roll hobby.
Being a father as well as a producer/artist, has it impacted
your craft at all? better or worse?
I’ve only been a father for 6 weeks so the impact on my music
hasn’t been felt yet. I’m sure it will. My daughter has definitely
impacted my life in those 6 weeks, even the pregnancy leading up
to her arrival has changed my life. I’ve lost 55 pounds and am
trying to take better care of myself. She needs me, it’s no longer
about me. So my days of drinking and smoking till 5 am are defi-
My older records are out of print so this is the only way you’re
going to find a lot of this stuff. Of course, I did see my first 12”
single on eBay going for $75 the other day, so the stuff is out
there somewhere.
How many shows do you believe you've rocked?
Well, let’s see. I play about once a week for the last 5 years and
once a month for the 5 years before that. So 52 x 5 is 260, that’s
the first 5 years. Then 52 x 4 x 5 is 1060. So I’ve played some-
where over a thousand shows, concerts and parties. Give or take.
Out of all those shows, which was the most memorable,
which few just had you step back for a second like "Damn...
just .. damn.. "?
Boston Hip-Hop Fest 2000. I was on the money that night and had
some mediocre performances leading up to that show. I had been
working on making my songs more unique because before that
show I was just a regular rapper rapping about regular rap things.
I was sick of doing that and started to write songs with a story line
and different topics. I had just decided to drop all the cliché crap
and be 100% myself in my music. You always here people say
“write what you know” but that’s easier said than done. At that
exact moment I figured out what it meant, it meant: quit being
afraid of what people think. Just do you. And I’m one off-color,
joke crackin’, wise a$$ motherf**ker. I’m not like the image you

11
picture when you think of what a rapper is, so why was I doing
regular rap sh*t? Didn’t make sense. So I let it all go and wrote
some new songs ”Guess Who’s Coming To Dinner” and “My
Fashion Statement”, two self-deprecating, controversial, funny
songs. I debuted them at Hip-Hop Fest 2000 at The Middle East
in Cambridge and I never was the same again. The crowd went
nuts and I felt free to be me. That was an amazing experience, it
changed my career and my life. I have played bigger shows in
bigger places but that show stands out as life-altering.
Are there any shows you’re rocking anytime soon? Upcom-
ing projects you want to announce, website address, etc?
I am taking some time off of shows for a while because I have a
serious lung infection and my lungs need time to heal. I’m also
adjusting to life with a new baby and babies don’t sleep for the
first few months. So I will be back to doing shows when my record
drops in September. I will do a show in my hometown of Lowell,
MA during Folk Festival weekend. Cats can check my website for
more info soon. I’m also concentrating on my job as a DJ at 101.7
WFNX. That’s the first real job I’ve had in ten years so I am taking
it very seriously, putting a lot of time into improving my radio skills.
In this fish net of the hip-hop game, where do you see your-
self in say, 3 years?
As I get older I see myself doing more behind the scenes stuff.
More producing, more movie work and helping develop young
artists. I’m sure I will always end up back on stage but rap is a
young man’s game. Not too many 35 year old rappers out there,
and to be honest I’m starting to feel ridiculous up there, amongst
all these post teenagers rapping about their ice and shit. I also
see myself staying in radio for a while. I’ve also been writing for
The Boston Phoenix and would like to write more. The only thing
is, they have me writing hip-hop and I would like to have a
broader range than that. So we’ll see where I am. Only thing I
know for sure is I will be progressing into new areas of the music
business.
How do you intend to make a dent, or difference in the sights
of the underaged, easily molded by the media fan base?
I don’t. My music is just as rude as the rap you hear on the radio
12
and see on videos. I’m no role model, I’m a bastard. The only
difference I can make is to show, by example, that there’s more
than one way to do things. You don’t have to let the big labels and
artists tell you how to live. You don’t need a gun, you don’t need
big money to have fun, and you don’t need to snort coke to be
cool. But I’m an a$$hole, so why would they listen to me?
Any artists you have in mind who you'd like to work with in
the future?
No. I will work with anyone who wants to make thoughtful and
creative music. I’ve been around long enough that I’m not star
struck by anyone. My current dream would be to resurrect David
Lee Roth’s career by making a totally different album that no one
would ever see him making. Maybe not even tell anyone it’s him,
and then when it’s a big hit we can reveal that we fooled the world
into falling in love with Diamond Dave all over again. I would love
to fix Canibus. He’s so brilliant but he can’t seem to make an al-
bum. Also The Rolling Stones, if you’re reading this give me a
call. Let’s drop the modern crap, no samples no click tracks and
let's get back to jamming live in the studio and making cool re-
cords again.
Describe the state of Boston hip-hop as you see it.
It’s great and terrible at the same time. We have tons of talent but
no unity. Lots of beef, jealousy and self-hate mixed in with artistic
genius and musical greatness. It’s not what it once was. There
was a time when we all went to each other’s shows and appeared
on each other’s records. Now people are out for self. We also
have two distinct scenes that need to start loving each other. You
have your Boston Natives from Dorchester, Mattapan and West
Roxbury and their music is very street oriented. Then there’s the
college crowd with a more eclectic style. These two scenes do not
support each other - they bash each other. It’s Hatfields and
McCoys. The thing is, we all love hip-hop, so why not love each
other? We’re keeping ourselves down. And the irony of that is, we
have more talent than any city on the planet.
How would you categorize your sound? Your production?
80s hair-alterna-post-prog-punk-hop.
www.d-tension.com
 The Two Faces of D-Tension

Rock
Part II: Rock
by Rod X
No one is expendable or replaceable and while
they may only appear as a bass part here, a drum
part there, they are so much of what we do live on
stage.
So no chance of doing a DVE gig with a DAT?
No way.
Knowing the band versatility and skill, would
you ever consider dropping in some of your
hip-hop songs during the rock set?
No, that doesn't fly.
How helpful are the contacts you've made in
the underground hip-hop scene?
Not at all. These kids don't want to know about a
rock album, you know? Scenes suck! And that
narrow-minded cliquish thinking sucks too. People
“I'm a music fan. I like have told me right to my face that the rock band is
no good and that I should stick to rapping. Also, I
good music, I don't had no idea how poorly rock bands are treated at
like a genre.” gigs by booking agents and club promoters. It's
unbelievable.
- D-Tension
So why rock?
Because it's part of me, it's what I like, you know,
I'm a music fan. I like good music, I don't like a
genre. I like art and baseball, literature and mov-

I t was tax day. D-Tension was having a rough week, bravely ies, too. I'm a musician so if you like my music, I don't see why
battling pleurisy, the IRS, and the World Wrestling Federation. you shouldn't like my music whether it’s rock or rap or whatever --
To cheer him up, I promised him that the magazine would splurge it's all me talking about my life in an interesting, poignant or funny
for the full Rock Star treatment (Marc -- see attached expense way.
report). I picked him up at Wonka Sound in Lowell in a trashy www.deadvonerichs.com
white limousine chauffeured by "Bernie C", a four foot transvestite
of some repute. It was dusk and the river was high. We stretched
out in the back and enjoyed the free goodies while listening to a
rough mix of "The Curse of the Von Erichs". D-Tension's voice is
an incendiary punk rant against the heavy angular metal riffs. On
the surface, it's quite a departure for a successful hip-hop artist to
record a full album of highly polished punk-metal but deeper
down, it's all about the hooks, kids, from hip-hop to punk rock, it's
all about the hooks. We pull up to the Cafe Paradiso and wait for
Bernie to negotiate the cobblestones in her high heels so she can
open the door and usher us in to a high top table where more
drinks are furnished (thanks Marc) and I press record on the tape
machine.

So the WWF tried to stop you from using the Von Erichs
name as some kind of trademark infringement or something?
Well, first I got an e-mail from some representative of the Von
Erichs saying I was besmirching their good name and I should
cease using the name immediately. The thing is, it's such a joke
because first of all it was a stage name of the father Kevin Von
Erichson whose character was Nazi Fritz Von Erich whose partner
was Colonel De Beers! I e-mailed back saying "What did I be-
smirch? The good name of wrestling nazi's?" I haven't heard
back.
How's the album coming?
It's done, basically, I'm just deciding how I want it released. Some
indie labels have expressed interest but most of them are just
blowing smoke rings.
Your band is so tight and powerful, but they only appear
fleetingly on the album. It's all samples that you assemble the
same way you would do one of your hip-hop songs. What do
they bring to the table?

13
 An Interview with Q
Rock
by Adam Savage-Adalman
In all honesty, we were really nervous going out there. We've
heard the stories and fully expected to be another casualty on
this tour. We had been told every one of the openers has had
stuff thrown at them and been horrendously booed throughout
the tour. It had even been happening to KSE & Mastodon! We
only had a 20-minute set so we had very little time between
songs to be booed. We kind of planned it that way. But after the
second song a weird thing happened, something we didn't ex-
pect. People we're cheering and applauding! Later on in the set
there were moshpits and crowd surfers too! The Jager tour man-
ager told us that we had been the first opener on the tour not to
get things tossed at them during the set. Which is good! We had
been told that Slayer's guitarist, Kerry King, had been watching
our set, and after we were done Kerry talked to Missy and intro-
duced his wife, who also really enjoyed the set. We ended up
hanging with her for most of the night. They got a CD from us as
well as Missy's phone number. All in all, it was a great response.
You're sponsored by Jagermeister, Spector, Coffin Cases,
and Silverfox. How did you go about getting endorse-
ments (since not a lot of bands know much about that), and

H ailing from Springfield, MA, Q is a hardworking

band that plays shows all over the New England area. They
how have these ties helped the band?
Well, it's tough to describe how it gets done. There's a lot of
are frequent visitors at local venues like Scorz in Nashua, NH and phone calls and mailing promo packs and such. BUT, the biggest
The Hogs Trough Saloon in Manchester, NH. I’ve had the pleas- thing is...PLAY AS MANY F**K’N SHOWS IN AS MANY F**K’N
ure of sharing stages with Q as peers and as attending their PLACES AS YOU CAN! Gear companies don't want to endorse a
shows as a fan. I would certainly recommend seeing this band live band or player that plays shows in one area twice a month.
when they come to a venue near you. To find out when they’ll be You need to be able to show these companies that they will get
around next or to hear some of their music, you can check out something in return for hooking you up with gear and/or promo-
their website at www.thisisq.com and they are also listed at tion. Good exposure for their product. It's not easy either. These
www.jagermusic.com. ties have helped us in the respect that it shows we are a
I recently had the pleasure of doing an email interview with Q’s serious musical entity. People tend to take you more seriously if
bassist, Eric Bousquet. there’s proof that you’ve worked hard at your craft.

How would you describe Q to someone who hasn't heard you

before?
I'd say we are a mix of industrial & Metal (ala NIN, Ministry, Rob
Zombie, Static-X) with a different spin, namely our vocalist
Missy.
What makes a Q show different than going to
see otherlocal or even national acts?
Unlike a lot of regional & national acts
today that expect fans to pay their money and show up, only to
get a bunch of guys in their street clothes staring at their fret
boards, showing about as much emotions as a cigar store Indian.
We put a lot of time and emphasis on creating a show. A show
that people not only feel they got their money's worth on, but a
show they would recommend to their friends and want to see
again themselves.
You recently opened for Slayer, Killswitch
Engage, and Mastodon, and you've opened for some other
national acts as well. What would you pick as some of the
best experiences you've had in the local music scene?
The Jagermeister Music Tour has to, by all accounts, top that list.
The professionalism that the company displays and how it treats
its acts. Not just on a national level but a local one, it's just unbe-
lievable. Definitely the best show we've done
thus far.
Many bands opening for Slayer have a hard time with the die
hard Slayer crowd (i.e.. I saw American Headcharge open for BLUE MOON HAREM
them and just during the change over they were getting lam-
basted for having keyboards before a note was even played). LIVE @ EVOS ARTS
How did that go? Was the response from the crowd good?
Did you get any feedback from Slayer? SATURDAY MAY 21ST @10:30PM

14
 It’s Original or Nothing: An interview with A Band Called Spike

Rock
by Suadiggitti
PIC Jim: There is a difference. Nothing compares to playing

A Band Called Spike has recently released their latest CD,

Subliminal Salt. The band consists of guitarist Jim Alger,
bassist Frank Giannetti (The G-Man), and drummer Ray Chiffy.
your own music. I play covers. I much rather do this be-
cause of the freedom of expression.
How do you feel about music and the labels that are associ-
I caught the boys of “Spike” at Shooters in Dracut, Ma. The ated to it.
boys agreed to sit down after a killer set of live, original music. We Jim - Well, I don’t know. That’s how it’s always been. Music has
talked about the new release, about being a musician and about always had some kind of label associated to it. In terms of our
the band. music being labeled, we’ve been compared to Henry Rollins
When was the Band formed? meets the Who meets the Doors (with no keys). I guess you could
Jim Alger: Spike formed sometime in ‘93/’94. Although the line up say we are the 70’s rock of the New Millennium (laughs). We don’t
has changed, the music and drive is still the same. Although I feel care about being labeled.
we are more of a band now then ever before. Every band has their ups and downs. Tell me about Spike’s.
Where did you guys start out? Jim: We went though a period where we didn’t have a full-time
Jim: We started out playing in the clubs of Boston. We have had drummer. We had two guys lined up. One night these guys held
some really cool experiences. I mean, we’ve played in some of us hostage. I mean, we didn’t know if someone was going to show
the worst sh*t hole clubs to some of the most sought after gigs. up or who it was going to be for that matter. It sucked. We were
Subliminal Salt. How did you come up with that name? so unfocused. Things have gotten better in that area. We still
Jim: Never hold yourself hostage first comes to mind. People do have our challenges.
crazy things for whatever reasons and sometimes you have go at Being a trio has its downs. There’s not too much room for mis-
it at a different angle. Being subliminal and then pouring some salt takes out there on stage. We’re getting there. I mean, there is a
into the wound pretty much describes the band at this point. looseness and a tighten discipline that is needed to do this. You
Who did the cover? got to keep it balanced. It’s what makes it fun. The goal has been
to get it correct and also have a blast.
Jim: Ray, our drummer, did the cover (which I think is great) and
we used some of his older art for the tray. The Ray: We are still working on that. The being focused thing. Tight-
rest is from photos and facts I put together to ening up our act.
make it a full package. The original art is very “Frank Giannetti, was and And the Ups?
cool. is the only real bass Jim: The up had to be when the G-man joined
What is does track 1, “Aulderwater”, refer player that I have known the Band in ‘95/’96. The G-Man, Frank Gian-
to? netti, was and is the only real bass player that I
that also knows how to have known that also knows how to play what
Jim: Aulderwater was a song I wrote and
brought to the band when I had gotten back play what I'm playing, like I'm playing, like telepathy sometimes. As mem-
from Europe a few years ago. I had been in this telepathy sometimes.” bers of the band, he and I have seen the most.
creepy town in Holland were witches were killed Ray: Playing out is an up.
in the 16th century for meaningless reasons and
- Jim Alger Jim: Playing out is definitely an up (laughs).
just got a vibe from it. It is sorta of like Salem, My favorite track is “Wendy” off of Crumbs
Mass., in a way. 100 years. All new people, you really have no From Atlantis. Tell me about that tune.
idea what will happen in history do you? Jim: I wrote that tune about a girl I knew in college. She was a
Where did you record Subliminal Salt? funny girl. The way she spoke would make us laugh. When you
Jim: TileMite Reservation in Tewksbury, Mass. We did those re- listen to the track you can hear a sense of urgency, in her voice,
cordings over the past couple of years while still doing gigs. frantic almost. She was like that all the time it was so funny. I
Jim, who are your guitar influences? guess I was poking fun. Not just at Wendy, but at yourselves to.
The list, I would say, is endless because I love so many styles of Frank: We are poking fun. This is not our job. This is our fun; it’s
music. The main ones that come to mind are early Pink Floyd’s what we do. If we can’t have fun at it then I don’t want to do it. I
Syd Barrett and, also, Dave Gilmour, Frank Zappa, Hendrix, love playing! I’m addicted to playing out, playing live. It beats sit-
Frank Marino of Mahogony Rush, Rory Gallagher, Ted Nugent, ting on the couch, too (laughs).
the guys in Status Quo, lately though Steve Wilson and John Jim: I second that for sure.
Wesley from Porcupine Tree, Warren Haynes from The Gov’t.
Mule, and even Ed Wynne from Ozric Tentacles. There all fun in www.abandcalledspike.com www.jimalger.com
there own way. Rod Price of Foghat just passed away and I love
his slide playing. Very underated, I thought. Anything can influ-
ence me when the moment strikes.
I heard some musicians say that they would rather play in front of
500 people for nothing rather then play for $500 in front of 10 peo-
ple. What’s your feeling on that?
Frank: We don’t see it that way at all. As far as we’re concern,
playing live, original music is the difference. It’s not often we get
paid a lot of money to do our thing, but we do it to the max. In
front of 5 or in front 500, it’s all the same. It’s not that I don’t play
covers, it’s that when I play covers I’m not doing it for nothing.
Covering other musicians’ music is not my favorite thing. I get
paid for that.
Ray: I would rather play original stuff. I feel like a musician when I
playing something we created.

15
16
17
 New England Rock TV: SOFTER, the band
by Todd Walley

T hanks to the help of Jake from N.E. Booking, the past few months we have filmed several of his bands, most recent being Softer
from Portland, ME. This indie rock band has been turning heads over the past year and we couldn’t have been more pleased to
have them on our set. They played four songs that will be on their self-release of their upcoming EP I Was A Teenage Immaterialist.
During the interview portion of the show viewers will
learn a variety of interesting facts about Softer, from the different
styles of music they listen to to their story about playing a show
in New York City during a blizzard this past winter.
In the upcoming tapings we have many more of N.E.
Booking bands are on the schedule. Please visit their website:
www.nebooking.com to find all the information you need about
any of the bands on their roster.
Coming up this spring on NERTV: Malus, Softer, Larry
Bird, Skylit, Coasades, Southcott, The All Starz, Queen City
Knights and Speakerfire. For information on all these bands
please visit our website at www.plaidshirtproductions.net or
www.myspace.com/newenglandrocktv

New England Rock TV (NERTV) is putting together its summer

schedule. If you wish to play, please contact Todd Walley at:

New England Rock TV

14 Range Rd.
Windham, NH 03087
todd@plaidshirtproductions.net
www.plaidshirtproductions.net www.myspace.com/newenglandrocktv

[New England Rock TV is not affiliated with NewEnglandRock.net or NewEnglandRock.com – Ed.]

BUSINESSES
You can have this
1/2 page ad space
For only $175
($100 for Bands/Musicians/Artists)

18
 An interview with Lost City Angels

Rock
by Adam Savage-Adalman
and it was where we wanted to go. We decided it was best
if we left Nitro to see what we could do next. And at that
time the demos we had done started getting out online, like at
Purevolume and My Space, so people from other labels started
hearing them and getting in touch with us. We got offered the Liv-
ing End tour and decided to have a good friend Nate Albert man
handle the reigns of dealing with labels. It was the right idea, we
talked to a bunch of different labels and after meeting with the
Stay Gold people we knew where we wanted to be. So now we
stand with SG and they back us - that's all we wanted, focus on
LCA. Stay Gold is in indie label, the only difference is they get
Universal Distro.
How did you come to have Joby from The Bronx do the art-
work for the new cd, Broken World?
Photo by Dagan Barrett We've been friends with the Bronx for years, and I've always
loved Joby's work. They were here in Boston last year and we

W hile Lost City Angels have been playing in the New England hung out all night (with a wink), and I think I demanded Joby do
area for quite a while now by typical local band standards, I our cover. Seven months later we needed the artwork, got him the
had my first encounter with the band last fall when I went to see music, worked closely together and wah-lah.
The Bronx at the Middle East. I ended up talking to Adam Shaw Broken World itself was recorded with Sean Slade and Paul
from LCA at the show and then went and checked out their music Q. Kolderie, who've done recordings such as Hole's "Live
which I quite enjoyed. Not long after that I learned that they had through This", Radiohead's "Pablo Honey", and has worked
signed to a rather impressive national label and were on their way with The Bosstones and the Pixies. I've heard a couple of the
to breaking out of the local scene and taking their place on this new tunes on your myspace.com site and on the Stay Gold
summer’s Warped Tour. I recently had the opportunity to interview Records site and they sound great! What was it like working
Lost City Angel's, Adam Shaw, self described "drummer/chronic with such industry bigwigs on this record? Did it change how
pot smoker/bastard out of Boston. you approached making this record or how your songs
How would you describe Lost City Angels to evolved?
people who haven't heard your music yet? Sean and Paul are just amazing - they have an
Who are some of your influences as a band?
“Don't ever think any-
incredible presence between the two. They know
The one question I find next to impossible to an- one is going to do this music, they know what sounds good, and they
swer - I just can't make my mind up. I usually say for you, if you want know what doesn't. They really made us dumb it
if you like GN'R, Social D, AFI, DKM, Clash, Re- something go after it, down, just to find out the real substance behind
fused, and maybe Flogging Molly, you'll like LCA. the loud guitars and screaming vocals. They're
The band members all love different styles of spoon-fed children do process is not insane, it is so smart and there is
music, you could not work in this busi- no over producing involved at all - it's just what
say we're all rockers, we can get down with al- ness. ” you do to make the songs come to life. I can't
most anything good. wait to do the second record with them.
How long has L.C.A. been together and how did the band get I saw on your site that you've been confirmed to be part of
together? the 2005 edition of the Warped Tour. Congrats! Are there any
We've been together for like 4 1/2 years. Drew, Duggan, and my- particular bands on the tour this year that you're most ex-
self started playing in my bedroom and then actually wanted to do cited to be touring with?
more than just rock out to Swingin' Utters covers. We started We just got added to the Tiger Army "Dark Romance Tour" it's
brainstorming about who we'd love to have involved, and who perfect for us and I just can't wait to get rolling. It comes right out
would make the band everything to us...enter Ron and Nick. They of the Catch 22 March tour.
were both in bands that had broken up, but still wanted to play the As a Boston band who's obviously done quite well for your-
game. We never looked back. selves thus far, what advice can you offer to other bands in
What's been your favorite experience and/or best show to the area? Any warnings you can offer as well?
date as a Boston area band? Don't ever think anyone is going to do this for you, if you want
Well that depends on where, we just had the best show we've something go after it, spoon-fed children do not work in this busi-
ever had in Boston at the Middle East - it was insane. That show ness. Don't listen to people who constantly tell you how awesome
seriously made the top of my list. But we've played shows all over you are, you're not, you can be better. The rest you'll learn on
the US and we've had dozens of shows that were just electric. your own.
DKM on St. Paddy's last year was sick, the whole Flogging Molly What other bands in the local scene do you see making it
tour was awesome. out of town soon as well?
You're now signed to Stay Gold Records; how did that come I would love to see Cocked N Loaded make it out, they are an
about? What does Stay Gold bring to the table that other la- awesome young band. Darkbuster's new record will be out a
bels might now? Is Stay Gold a major label sub-label or a week after ours and will totally do rad in the Northeast. Ducky
completely independent entity? Boys new record is awesome. Street Dogs record is really doing
Another very long story, but the slightly abridged version follows. good too, but they're not from Boston - does that count?
LCA and Nitro (ed. note: the band was previously signed to Nitro Perhaps more importantly, when is the Lost City Angels,
Records) were not really seeing eye to eye - where the band was, "Broken World" coming out?
where we were going and what we wanted to do. We had a bunch April 5th 2005.
of demos and they got less than mediocre response from our www.LostCityAngels.com and/or www.staygoldrecords.com
(label) people, yet we loved them, all of our friends loved them
19
 Scene Makers: NHTunes.com
by Marc Friedman

N HTunes.com is a musician’s resource like no other. Whether

you want to post an ad looking for band mates or have a dis-
cussion on the message board or would like to post mp3s, New
Hampshire’s little online gem is the place for you. Bob Desmarais
(of Goffstown, NH) and I, in the spirit of the internet, had this con-
versation via email.
How did you come up with the idea for NHTunes.com?
NHTunes.com came about simply because there wasn't a whole
lot of support for New Hampshire musicians. The idea was to de-
sign a site where musicians could spotlight their band, post their
gigs and MP3's, search for bandmates in a forum, etc... All that,
specfically for New Hampshire artists. That's basically how it
came about. So far I'm very happy with the traffic on the site, and
how the site's being used.
Who does the web development?
I do, which is probably why it's not the 'latest and greatest' tech-
nology. I firmly believe, however, that at least part of
NHTunes.com's success lies in the site's simplicity. There's noth-
offer mobile recording, and other services as listed at
NHTunes.com. If your looking for an on-location recording, I'd
encourage you to visit NHTunes.com and see what we have to
offer.
Another thing I'm considering is a local web radio station. That
would be a great opportunity to showcase local music. There's
some great local acts out there that need to be heard. I'd love
some feedback from local musicians on that idea.
Do you have any plans to grow NHTunes.com? If so, what are
they?
The site has seen steady, impressive growth over the last 4 years,
and I'd like to see that trend continue. One thing we'd like to add
is a search feature that would enable prospective customers to
find a band based on music type, location, etc... Again though, the
basic philosophy is to keep the site simple, streamlined, and to
the point...... don't overload it with fancy fluff that just slows things
down.
What kind of impact do you think you have made on the mu-
sical community?

ing more frustrating than a website with all the bells and whistles I think it's been a good one. I will admit I've received a large num-
that runs at a crawl. And there's also nothing more frustrating than ber of 'thanks' e-mails from local musicians who have found band-
a 'resource' site that's plastered with banner ads for credit cards, mates, gotten gigs, etc... from the site. That's great. But we've
etc... what kind of support site is that? You won't see that at only touched the tip.
NHTunes.com. You could say that NHTunes.com is outdated, but It's all about keeping local musicians communicating, and keep-
I've yet to have a complaint about that. I do, however, often get ing them working.
praises on the site (and they're appreciated!). I'd encourage New Hampshire musicians to use the site as
How do you fund NHTunes.com? much as possible. Post your gig schedule, any MP3's that you
We don't charge for bands to list themselves, post their MP3 links, have, and use the forum for any band announcements. And keep
use the forum, etc... It's all free. NHTunes (not NHTunes.com) the suggestions coming in.
offers mobile recording and other services, which takes care of
the site. We also charge for CD reviews. You're not so much pay-
ing for the review itself, but the fact that it's posted for a year,
along with an image of your CD. I'll say that the reviews are done
in an unbiased, honest manner, so again you should consider the
payment for the fee to post, not for the review itself.
Are you planning on getting involved with the community
offline (i.e. sponsoring shows)?
Right now we're working towards moving the studio to a larger
permanent location. That's project #1. It's an exciting project that
we expect to be done within a year or so. We'll announce the new
studio on the site once it's up. In the meantime, we'll continue to

20
 The Gypsy Jazz Caravan Rolls Our Way
By Andrew Lawrence
John Jorgenson
I 'm sure there's a name for this phenomenon, but I don't know
what it is: you hear about something for the first time, and then
find yourself hearing about it again and again. If the term Gypsy
Jazz is new to you it's a safe bet that – now that you’ve heard it -
this is about to be your experience. Walking by the magazine rack
you will notice that Acoustic Guitar, Flatpicking Guitar, Vintage
Guitar, Just Jazz Guitar, and even Fiddler Magazine all have fea-
ture articles on the style or some up-and-coming Gypsy Jazz per-
former. While scoping out the high-end acoustic guitars at The
Music Emporium, right beside the flattop Martins and the archtop
Gibsons, you'll see these guitars that don't seem to fit either cate-
gory, guitars with 90 degree cutaways and odd shaped sound
holes. Upon inquiring, you'll be told, “that's a Gypsy Jazz box”.
You will notice bands with the name Hot Club of This or That
cropping up at venues ranging from the Community Church of
Boston, to the Regatta Bar, to the local coffee shop. You will be
watching TV or go to see The Triplets of Bellville and - if you've
learned to recognize the distinctive, percussive mix of guitar and
violin by then - notice it in the soundtrack. You may even come
across a poster for something called Django in June, a Gypsy
Jazz Festival to be held just down Rt. 2 in Northampton later this
spring.
Coincidence? Not really… this music's time has come. Or per-
haps we should say, this music’s time has come again. In any
case, it's coming our way in a big hurry, and not a moment too
soon.
A brief history lesson. Gypsy Jazz is the not-entirely-satisfactory
term that has come to be applied to the musical tradition unwit-
tingly launched by guitarist Django Reinhardt and violinist
Stephane Grappelli in France in the 1930s. A Belgian-born Gypsy,
Django was the first hugely influential jazz figure to emerge from
Europe – and he remains, arguably, the most influential European
jazz musician to this day on any instrument. Despite an injury that
largely immobilized two fingers on his left hand, he was the first
great virtuoso of the jazz guitar on either side of the Atlantic. Ex-
posed to American jazz in the early ‘30s in Paris, he found a musi-
21
Jazz
cal soul mate in Grappelli. Their all-string jazz combo – the
Quintet of the Hot Club of France – not only launched their
careers, but the unique jazz genre now known stateside as Gypsy
Jazz.
There is no historical evidence suggesting that Django ever had
any intention of developing a new jazz style. He just wanted to
play the fantastic music he was hearing on American records. But
given his genius, his instrument, his musical background, the dis-
figurement of his hand, and the enormous cultural and geographic
distance between the Gypsy caravans parked on the outskirts of
Paris and the centers of the jazz world in the US, he simply could-
n't help but leave his distinctive stamp on “our” music.
Ah, and there's the rub, and the best explanation for why this
music has taken so long to take off here in the States. For, re-
vered as Django has been by guitarists and classic jazz buffs,
American musicians have never really “gotten” the knack of
Gypsy Jazz. Sure, we play Swing. After all, we invented Swing.
But it's that very familiarity that has made it hard for us to hear our
music with fresh ears, to approach our instruments differently, to
play American music with a French/Gypsy accent, as it were.
I first got a taste of just how far off the mark most American
jazzers are while at the Festival de Jazz Django Reinhardt held
every year in the French town where Django spent the last years
of his life, Samois-Sur-Seine. Hanging around the campfires to all
hours of the night with Djangophiles from around the world, I
heard what I can only describe as a sort of Euro-folk-jazz unlike
anything I had ever heard at a jam in the United States. The puls-
ing voom-chick-voom-chick of the rhythm guitars. The odd, angu-
lar arpeggios the lead guitarists were using. The unfamiliar chord
voicings I could scarcely recognize as I watched the left hand of
player after player. The picks most people were using…absurdly
thick by our standards. And then, of course, the guitars them-
selves, often referred to as Selmer-style, after the brand favored
by Django himself throughout his career. My vintage Gibson
archtop – the prototypical American jazz guitar - was utterly out of
its element.
Not long ago, this is what it took – an expensive and humbling
trip to Europe - to get a taste of Gypsy Jazz played in an authentic
manner. And there's no denying that it still the best place on the
planet to hear this music played by Gypsies who have grown up
immersed in the tradition, for whom it is native and natural. But
the times they are a changin’, even here in the Northeast where a
new crop of fans and players are learning and listening to Gypsy
Jazz with a depth and breadth of exposure that was unheard of as
recently as four years ago. In just the last year or so, nationally
(and internationally) known Gypsy Jazz artists Dorado Schmitt,
The Robin Nolan Trio, Stephane Wrembel and The Hot Club of
San Francisco have all passed through the region, courses in the
style have begun being offered at Berklee, informal jams have
been launched, a Yahoo group devoted to GypsyJazzNewEng-
land has gathered steam, and a new instructional book or video
seems to arrive on music store shelves every other month.
This last point has been crucial in helping guitarists get hooked
on the style and it is a Massachusetts native and Berkeley gradu-
ate by the name of Michael Horowitz who has been as responsi-
ble as anyone for helping raise the bar for Gypsy Jazz educators
everywhere. During 2002 Horowitz received a Fulbright fellowship
to conduct his dissertation research among the Sinti Gypsy jazz
guitarists of The Netherlands. The result was a book entitled
Gypsy Picking (Djangobooks), which laid out the right hand tech-
nique used by Django and most of his musical heirs more clearly
than had ever been done before. Many Gadjo (that is, non-Gypsy)
guitarists were shocked to learn just how much the rules and hab-
(Continued on page 25)
 Ohm For The Musical Soul
by Rachel L. Cadran

T he ancient traditions of yoga find common ground with

musicians in their reverence and utilization of music and
sound. Melodically vocalized Mantras such as the staple
flow and achieving a greater range of motion. For those who de-
sire greater concentration on their hands, Mudras are ideal. These
are poses done with your arms, hands and fingers specifically
Ohm confirm this, utilized to purposefully invoke precise (some basic and other more challenging) that have accompanying
tones. abstract and symbolic properties.
Many of the basic stretches recommended to musicians have MIND – Meditation & Creative Visualization
their roots in yoga. There are several other fundamentals that
can be great assets when utilized by musicians. A healthy body is indeed the pre-requisite for a healthy mind.
There are numerous physical attributes that contribute to optimal
Yoga terminology and techniques originate from ancient Sanskrit mental health. To nourish and nurture our abstract mind, medita-
texts entitled the Vedas, which also mention sound and music tion and creative visualization are both revitalizing and invigorat-
specifically. The base philosophies and practices of yoga aim to ing. It is simple and enjoyable to incorporate and the benefits
unite and harmonize body, mind and spirit. Asanas (poses) condi- have been studied and verified.
tion our body, pranayama (breathing exercises) and meditation Mantras are sometimes utilized in conjunction with meditation
nurture our mind and spirit. Collectively these serve to condition, and/or creative visualization. These are words or phrases that are
balance and maintain our whole being. There are several special- melodically vocalized in a verbal, semi-verbal or silent manner.
ized practices and branches of yoga that place focus on various Proper recitation involves breath, intertwining energy into each
philosophies, but the most basic fundamentals can serve to im- word. Each mantra has distinct properties and corresponding en-
prove health and quality of living. ergies that are released and invoked for a specific effect. The
The most profound artists often have mastery in utilizing body, mantra Ohm for example is renowned as resonating with a tone
mind and spirit in unison, whether consciously or unconsciously, that is evident in all living things. Repeating this mantra properly
in the execution of their craft. As a mind and spirit give life and balances and aligns atmospheric energies and our innermost es-
breath to an idea, our bodies toil to bring them into true form and sence.
existence in this world. The benefits of More advanced studies that serve the
mind-body fitness methodologies are pro- mind include the exploration of the noble
found – yoga additionally incorporates eight-fold path, ancient texts, stories and
energy and sprit, making it an especially writing. The Yamas and Niyamas
powerful tool for artists. Every artist serves (restraints and observances) are also ex-
to benefit from familiarizing themselves plained as parts of the eight philosophies
with some basic yoga principles. and practices. These are logical and noble
As a complete yoga regimen aims to concepts defined as moral provisions that
serve your full being, certain key practices serve to assist you in sound and con-
address these areas both collectively and scious living, which further fosters a bal-
individually. As the objective is union, anced and sound mind. When collectively
many of these practices have a positive observed, these demonstrate great char-
effect on all three components. acter and integrity in actions and aware-
ness.
BODY – Asanas (poses)
Musicians can benefit from the regenerative and therapeutic ef-
Asanas are the foundation of yoga practice, conditioning the fects meditation can provide, in addition to the brainwave fre-
physical body - done either as still poses, with props or in motion. quency fluctuations it induces. These visible effects of stimulation
There’s a multitude of different kinds, each divided into a category and utilization are also evident when utilizing the mind in creative
according to their structure. A complete yoga practice includes ways. Creative visualization is a powerful tool for mental condi-
one asana from each category. The following categories cover all tioning and preparation. When trying to prep for a performance or
types of asanas and their primary benefit. perfect a challenging musical passage, creative visualization
Standing Poses: Vitality gives you a definite advantage. Envision yourself successfully
Sitting Poses: Relaxing executing that which brings you anxiety and/or frustration. You
may find your mind ironically replay the event negatively and
Supine Poses: Renewal
struggle at first, but once a clear visual is patterned in your mind
Prone Poses: Invigorating
you will be at a distinct advantage to recreate that in life.
Backbend Poses: Energizing
Inverted Poses: Mental Strength SPIRIT – Pranayama (breathing exercises)
Twisting Poses: Purification A healthy mind and body form a solid foundation as the vehicle or
Balance Poses: Balance temple for your spirit. Breath is considered the essence of life,
Jumping Poses: Agility composed and conducting energy. Pranayama involves breath
Advanced yoga study introduces more advanced asanas and work – techniques and exercises that serve to revitalize your body
anatomy in greater depth. Additional guidelines pertain to diet and and spirit. Proper breathing has many benefits - regulating energy
natural living. For extensive detail on healing or preventing ail- flow, oxygenating your blood and conditioning your cardio-
ments, Ayurveda is an ancient and well renowned alternative vascular system. Incorporating breathing exercises and develop-
health system. ing a greater awareness of your breath is very important to facili-
tate sustenance for body, mind and spirit.
Musicians can benefit from gaining increased flexibility in their
muscles, associated ligaments and tendons. Stretching and doing Full Yogic Breath: Sit cross-legged and align your posture. Place
selected asanas before practicing or performing will allow you to one hand on your stomach and another over your ribs. Breathe in,
achieve greater comfort, endurance and quality - increasing blood (Continued on page 30)

22
 The Recording Songwriter
Make Your Recordings Better with MIDI
Part I: Start with a MIDI Framework
by Keven Pearce
W hat if I told you that your next recording was going to be
better than you thought possible? That your tempos were
going to have an unexpected confidence, that editing would be
easier than ever - that your guitar parts would be more dynamic
and your keyboard parts would explode with flexibility? Oh, and
did I mention that your background vocals are going to be flat-out
better than they would be otherwise, and that you’ll nail solid
takes in half the time? And what if I said that while making this
happen you would inadvertently create a fabulous compositional
tool that will let you tap into unexpected creative ideas. If you’re
not making the most of the MIDI tools that are already right in
front of you in your studio, then indeed your life is about to get
better. First, a little background…
I have been in several studios in the NoMaSoNHA area, and
I’ve talked with lots of recording musicians and sound engineers.
I’ve helped lots of folks, both pros and hobbyists, put their studios
together. One thing that always surprises me is that many of
these people don’t realize how much better their recordings would
be if they had a solid working knowledge of MIDI.
For instance, I talked to a studio owner in Manchester who had
quite an investment in recording space, isolation booths, and the
hardware and software that goes into making a multi-track studio
capable of recording whole bands in one pass. When I asked him
the how he incorporated MIDI into his productions, he said he did
“whatever I have to, to avoid it.” Conversations revealed that to
him, the term “MIDI” meant fake-sounding electronic beats and
methods that were somehow unprofessional. I have sensed simi-
lar attitudes from young bands that were in the process of re-
cording first albums, and from old-school engineers who want
their digital recording sessions to progress in a manner analogous
(pun intended) to the reel-to-reel units they started with. What all
of these people have in common is this: they as yet have no clue
as to the myriad of practical day-to-day ways that MIDI can be
used to make their recording life easier and their recordings less
expensive and better.
MIDI, or ‘Musical Instrument Digital Interface,’ is a studio work-
horse you can’t afford not to use. It’s not expensive to incorporate,
and it doesn’t require fast, expensive computer gear to use. Many
of the tools scattered all around your studio right now have MIDI
In/Out connectors in back somewhere. They can be connected
with standard MIDI cables to your computer audio interface or
your all-in-one multi-track workstation. They’re all just waiting to
talk to you and to each other.
Most of today’s recording tools, from PC or Mac software such
as Sonar or Digital Performer, to stand-alone workstations like the
Korg D-series, function as both MIDI “sequencers” and audio re-
corders. A sequencer, whether it resides in a computer, a key-
board, or other device, is merely a recorder and editor of MIDI
data. MIDI data is locked temporally to audio data from the get-go,
so there’s no worry about synchronization. Analog tape can also
be linked to a MIDI sequencer with relatively simple and inexpen-
sive tools.
To take full advantage of this power, you’ve got to start at the
beginning of a project. Here’s how.
First, make a MIDI “framework”. This might be called a beat
map or tempo map. Most tools will allow you to lay out a song
using a “staff view” (showing musical notation) or other graphic
representation. Start with a 2-4 bar silent “lead-in” at the begin-
ning. Then input how many bars of what patterns (4/4, 3/4, etc)
and what tempos make up your song. For a typical song that’s all
23
4/4 rhythms at the same tempo, it’s simple. If your song is more
complex - especially if it has gradual tempo changes, you’ll have
to spend some time to get the feel right, but it will be well worth
the effort.
Now make some markers for each section of the tune. This will
save much time later. I use V1, V2, etc., for the verses, Ch1, Ch2,
for choruses, and so on. You may also find it useful to enter
chords, symbols or lyrics if your system allows it. With most tunes
you can make a map for one verse, one refrain, etc., and copy
and paste it.
Now, get your hardware to play a “click” through your “empty”
song. Have a guitar handy? Then you might pick it up and strum
and sing along. Is the tempo right? At this point you can easily
vary the tempo a little or a lot until it feels just right. Take your
time here because once an audio track is recorded, the tempo is
set just the same as if you had recorded audio without the MIDI
framework. The first tracks of your song will be recorded to the
click or to an easily constructed MIDI bass line or drum beat. (You
can go back later and have your bass player play the “real” bass
line.) If you’re one of many who are probably grumbling about the
“click” already, read on and your life will get better soon.
Myth: “It’s unmusical to be ‘locked’ to a beat.” Not! The fact is,
most of the music you hear today was recorded such that the first
“real” notes were laid down to a click or sequenced sound of
some sort. Every studio musician must be able to play musically
to a steady tempo. Yes, the feel of some types of music is de-
scribed as feeling “ahead” or “behind” the beat. (Or maybe the
bass player’s behind, the drummer’s ahead and every one else is
in the middle.) One way or the other the beat is still there. I’ve
recorded several slow-tempo folk-style tunes that started with a
tempo framework, and each of them breathes and flows in an
organic, natural way because the performances were musical and
dynamic. In many cases only “real” acoustic sounds made it to the
final mix, but the process was made infinitely easier by the under-
lying framework.
Because this is an issue, let’s give it some further thought. If
you are a drummer for example and a bass player lays down a
steady beat, can you play with it musically? What if the bass
player is rock steady and won’t “give” to your lapses in concentra-
tion? Bands are often more likely to “lose the tempo” and cause
you to have to build whole songs on a wandering beat than they
are to lose musicality by having to adhere to a beat. If you’re pro-
ducing the project, you now have an objective way of saying,
“Here’s the tempo. Listen to the playback and help me figure
where we’re losing it.” Only rarely will you find a situation where
this structure is not a benefit. Musicians who resist this are usually
the ones who can’t hold a tempo. You must work with musicians
who can. (A friend of mine met drummer Steve Gadd, famous for
his work with Paul Simon and many others, a few years ago. My
friend asked him why he was so successful and Gadd replied,
“When I was getting started, records were going to click tracks
and a lot of people couldn’t play with them. I learned to play with
click tracks and everyone wanted me on their records.” NoMa-
SoNHA editor, studio engineer, and bass player Marc Friedman
agrees with me on this issue and added (in case you missed the
Steve Gadd hint), “practice with a metronome.”
Lay down your basic tracks as any combination of MIDI or
audio tracks. This could be your band’s drummer and bass
player, with a guitar and vocalist supplying support tracks that will
(Continued on page 25)
 91.5FM — WUML
Your alternative FM Choice from Metro West MA to Southern NH
by Tracey Milton
The views expressed in this article do not necessarily represent the views
of NoMaSoNHa magazine.
“WUML? I thought it was WJUL?” Maybe you already know that
91.5 FM, Lowell’s college and community radio station, changed
its call letters back in October, 2003, but that’s not the only
change looming on the horizon for the station that has champi-
oned local music and community voices for the past 52 years.
A few years ago, the then-completely student run radio station
was surprised when UMASS Lowell administrators announced
their new morning talk show, co-produced by The Lowell Sun, the
city paper. “Lowell Sunrise” debuted in September 2003, airing on
91.5 FM weekdays from 5AM until 10AM. Despite the on-air talent
of none other than Perry Persoff (Free Form Friday nights on
92.5FM, the “River”), the Sun has since removed itself from the
program. Perry’s still doing the show though, so you may want to
check it out some weekday morning.
So with the Sunrise remaining on the air for 5 hours a day, the
students and the university entered into an agreement that guar-
anteed the station management 19 hours of broadcast time each
day. Nineteen hours to continue their long-standing free-form for-
mat of eclectic student run shows and community programming,
with an emphasis on local music and non-mainstream offerings.
Fast forward to May 2005. UMASS administrators have just
inked not one, but two major contracts with decidedly commercial
interests, and again have neglected to notify the station manage-
ment until after the fact. One of these contracts gives the Lowell
Spinners (a for-profit baseball team) the right to broadcast all their
games on WUML. If you’re a Spinners fan, then you may be
happy about that, but if you’ve ever listened to “Live from The
Fallout Shelter” on Monday nights, or “Blues Deluxe” on Saturday
afternoons, oh, anytime in the last TWENTY years, you’re bum-
ming, because those shows are going to be pre-empted by this
programming change. “Ok,” you may think, “But that’s just for the
summer, right?” Not really. These shows, along with many others,
24
will have to re-cultivate their listenership all over again, each
year.
And that’s just one of the two contracts. The second one
spells ominous changes. We’re talking “Invasion Of NPR.”
Now, NPR is pretty cool, especially if you want to listen to
good news, like “The World,” which airs weekdays at 4pm on
WGBH (89.7). But that’s the point here. You can already listen
to all the NPR stuff you want on WGBH and WBUR (90.9, which
also used to be a student run station). In fact, you’ll be able to
listen to the new NPR show that UMASS Lowell just bought for
$500,000 on WGBH, when it’s slated to air weekday evenings.
WUML will carry it too, in the same time-slot. Gee, now we can
listen to the exact same program at the same time on two differ-
ent stations (three, if WBUR picks up the show). All hail diver-
sity. Not. It’s eerily similar to when you turn on the TV some-
times, and you find that “Fear Factor” is on three channels at
once.
This new UMASS funded program, to be hosted by Boston-
based Christopher Lydon, (former host of NPR’s “The Connec-
tion”), is to be called “Open Source.” It’s so open, it seems, that
it isn’t even going to be produced here in Lowell. Lydon is pro-
ducing “Open Source” at WGBH studios in Boston on the uni-
versity’s dime. I guess if UMASS Lowell students want to intern
with a notable radio personality, they’ll need to pony up $5.25
each way and take the Commuter Rail.
For the past 52 years, the station once known all those years
ago as WLTI has been the starting point for a legion of profes-
sional broadcasters’ careers, many who are working today at
major stations across the country. Not only does the station pro-
vide vital real-world experience in media broadcasting and busi-
ness management for the students of UMASS Lowell, but 91.5
FM WUML also serves as an important voice for the diverse
ethnic and social communities thriving in Lowell.
And now, in a time when media broadcasting is seriously
trending towards homogenization, WLTI-WJUL-WUML is still
one of a dwindling number of different voices. And it’s a wel-
come choice. From what may be the only news program to
broadcast in five languages (“Thinking Out Loud,” weekdays
from 10AM ‘til noon), to the ultra-indie rock stylings of “Eat Your
Face,” which airs on Fridays from 2pm till 4pm, and the hard-
core mayhem of “You’re Scum” (Thursdays, 2pm-4pm), free
speech lives at 91.5FM in the greater Lowell area. Let’s hope it
continues to live, because losing an original voice is never a
good thing.
What do you think? Make your voice heard!
www.wuml.org - gm@wuml.org
William.Hogan@uml.edu – Chancellor -- 978-934-2201
NoMaSoNHa needs a
Sales Rep.
Help us stay in print and earn
20% Commision!
friekman@hotmail.com
978-258-2606 (new number)
(“Gypsy Jazz” Continued from page 21) (“MIDI Framework” Continued from page 23)

its of Gypsy picking differ from the techniques they had worked
for years to master. This was news. Not always welcome news,
but news.
This peek under the hood, as it were, was exactly what many
players needed in order to get within shooting distance, (if not
within easy reach), of the sound they had come to love on the
early Django recordings of the 30’s and 40’s. Combine your
average musician’s capacity for obsession and fanaticism with
an increasing availability of recordings, Selmer-style guitars, and
ever more instructional materials and you have…well, you have
exactly what we have today: a building swell of interest, first
among musicians and then among the broader public who have
always responded to this exuberant, accessible jazz style once
exposed to it.
All over the country, music festivals dedicated to the Gypsy
Jazz tradition have begun to crop up. The Northwest lead the
way with its DjangoFest NorthWest, which has been followed in
recent years by similar events in San Francisco and LA. New
York, Philadelphia and Chicago have held major festivals as
well, and smaller events are springing up everywhere.
Right here in Massachusetts, AcousticGuitarNetwork.org is
hosting New England’s first weekend-long Gypsy Jazz festival –
Django in June - June 3-5 in Northampton, MA on the campus
of Smith College. The event will feature performances and pres-
entations by two of the best and best-known Gypsy Jazz en-
sembles in the country right now, The John Jorgenson Quintet
and The Stephane Wrembel Trio, as well as a series of dinner
showcases by the budding crop of regional artists such as Will
be re-recorded later. If, on the other hand, you are working solo,
one-track-at-a-time, you’ve got even more options. When work-
ing alone, I often start with a bass line using a MIDI instrument.
This means recording MIDI data, not digital audio! This could be
a sound from a keyboard or sound module or a soft-synth on-
board a computer. It can be recorded by “playing it in” from a
keyboard, or it can originate by “writing it out” on your computer
screen (a “staff view” allowing you to see actual notes, is quite
useful for those who read well.) The “played” version will be
more musical (if you’re a decent keyboard player), but the
“composed” version can be tweaked until it sounds any way you
want. (More on this next month.)
Now look what you’ve done! If this is the first time you’ve
made a MIDI framework for a song, you may not yet realize
what a beautiful thing you’ve created! You’ve built a base that
will make for easy exploration of ideas that come up during the
recording process and you’ve enabled options that will make the
recording process easier.
Next month we’ll explore the options we’ve created and
learn how to make the make the most of them.
Keven Pearce has lots of info for recording engineers, home
studio owners & songwriters at TheSingerSongwriterStudio.com

NOMASONHA
Patton and Don Schabner (Vermont), Ameranouche!! (New
Hampshire), and
Francois Rousseau (Montreal). Along with the mainstage per-
formers, a number of others will be on hand to offer clinics for
musicians who would like to hone their Gypsy Jazz chops: Djan-
gobooks’ Michael Horowitz himself will make the trip back East
from his current home in Seattle to work with guitarists; local
NEEDS A SALES REP
fiddler and author Peter Anick will help both fiddlers and classi-
cal violinists grapple with Grappelli; Will Patton will lend a hand
to mandolin players who are ready to set aside (temporarily)
their Bluegrass and Celtic riffs in order to try something new;
20% COMMISSION
and upright bassist Jared Engel will put forth on The Tradition of friekman@hotmail.com
Gypsy Jazz Bass Playing. The event will also feature a Guitar
and Gear Show, which will provide rare hands-on time with a
wide variety of Selmer-style guitars - from entry-level axes to
custom-made one offs - as well as all manner of hard-to-find
CDs, strings and accessories.
For those who are already deeply into the tradition, however,
the main event will be more or less incessant ‘djamming’ on the
Smith campus, where participants from around the Northeast
will be staying. ‘Djamming’ is Gypsy Jazz’s answer to the park-
ing lot picking familiar to Bluegrass festivalgoers everywhere. In
fact, many people have remarked that Gypsy Jazz may well be
“the next Bluegrass”, drawing a parallel between these two mu-
sical genres the very identity of which is inextricably linked to a
festival setting that offers both the opportunity to enjoy world-
class performances and informal, participatory music making on
equal footing. If Django’s music is thriving today, it's because for
decades it survived in the Gypsy camps, passed from player to
player for the simple love and challenge of it. And it is by this
means - player to player - that the tradition is putting down roots
even here, so far from its native soil.
So next time you tune in to your favorite folk or jazz show,
don't be too awfully surprised if you are treated to someone's
fresh take on Minor Swing or Nuages, and then hear it de-
scribed as a “Gypsy Jazz standard”. And when it happens, go www.organiz-er.com
ahead, allow yourself the satisfaction of being in the know. Just
remember, you heard it here first.

25
Reviews
Blues
Paul Rishell and Annie Raines Goin' Home
Produced by Paul Rishell, Annie Raines, and Chris Rival
Recorded and Mixed at My Generation Studio and Middleville
Studio by Chris Rival
Tone Cool Records 13 Song CD
Performance: 5 Production: 5 Songwriting: 4 Recommend: YES
I was very excited when I received an e-mail from Paul and Annie
telling me a CD was in the mail, but was even more excited when
the first pure tones crept out of my CD player. This CD is a history
lesson in Pre-war blues. It carries a passion and authenticity so
real the only thing missing is the characteristic “scratch” of an
original 78 recording.
The disc opens with “Hunkie Tunkie Blues” - an airy guitar fig-
ure that starts and builds with a nicely compressed slide drifting
in. Annie Raines’ harmonica adds to the conversation as a set of
drumsticks keeps time on the rim. Paul Rishell’s vocals walk in
confidently but without arrogance. I can just see myself lying back
in the shade on a summer’s day watching the clouds roll by. In
this one song I can hear at least 3 different guitars: the opening
electric, the slide and an acoustic all handled easily by Paul Ris-
hell. From the liner notes we get history lessons in the blues. With
“Hunkie Tunkie Blues” for instance, it is stated that, “The tune was
written and recorded as a solo piece in 1930 for the Vocalion label
by Charlie Jordan….” The next song, a Rishell and Raines
penned number named “You’ve Got it Made”, is on the surface a
simple guitar rag but upon closer listening has an intricate inter-
play of acoustic guitar, slide and mandolin. In the opening verse
the tale is told, “When you’re walking down the street, fifty bucks
at your feet. Buddy, you got it made!” Next up is the smooth finger
picked “I Had A Good Mother and Father.” The song has a yearn-
ing Appalachian Sunday morning feel. As I said in the beginning,
this CD is a history lesson in the blues. As I listen through this the
honesty in the recording just knocks me out. Great playing, sing-
ing, and an exceptionally high level of recording quality mark this
CD. With such songs as Charlie Patton’s “I’m Going Home”, a
great Gospel laced number, and “Blind” Lemon Jefferson’s “Black
Horse Blues”, it gets better and better as the disc turns. Aside
from the great interpretations of classic musical pieces I really like
the song “It Ain’t Right” - this is another Rishell/Raines piece and
has a cool slinky groove with a full funky band. Annie’s sorrowful
harmonica playing is a standout in the song “Candy”. Paul lays
down some great jazzy chords behind while Annie’s harp tells us
of pain and hope all at once. The CD ends with a fantastic live
version of “Magic”, Sam Marghett’s song “Looking Good”. The
liner notes claim it was “Recorded with a handheld machine by
Jim Rehill.” If I didn’t read this I would never believe it as this songMartins and heading out to a Gin Blossoms or a Hootie and the
has a great sound.
As good as Paul and Annie are on disc it is very apparent that
live it is a whole other world. As a blues music lover I am so glad
that there are people like Paul and Annie that are helping us all to
dance and love this music.
Available at MusicToday.com and through retail sellers.
www.paulandannie.com - James LeBoeuf
Hip Hop
J-Menace Yours Truly
Production : 2.5 SongWriting : 2 Performance : 3 Recommend : YES
I shake my head, and say to myself, “I hope J does not call him-
self 'Underground Hip Hop'.” I will recommend this CD to all the
ladies and club fans. Go cop it. It’s worth the ten dollars. Under-
ground heads I ask to cop it up just to show some love for your
local artists then give it to someone who will listen to it that can
not afford to buy it for themselves.
Yours Truly is a mix of club ballads, club bangers, and a little bit Summer” should make a home in your CD collection. However, if
26
CDs Rated 1 to 5
hip hop with an R&B feel. The CD has its ups and downs, not a
total falling star. J-Menace delivers his lyrics in full force emotion,
over the beat. The production, I give a six out of ten... good mix of
flavor beats on this album.
I cannot say that I have not listened to the album more than
once. I will admit it’s worth the listen every time you hear it. It is a
mood album. You need to be in the mood for J-Menace. I do not
think i would categorize this under hip hop, but under R&B. As an
R&B album, my review would have been better. - Shaun O’Brien
Rock
Jim Branca Jim Branca-Live
Mystic Mojo Music 2004
13 Song CD
Performance: 4 Production: 4 Songwriting: 3 Recommend: YES
Jim Branca is a guitarist/vocalist hailing from Vermont. This CD
was recorded live at Nectars in Burlington, VT. The disc starts off
with the band's take on the Beatles' "Here Comes the Sun." The
song gets an almost Ska shuffle treatment. Jim has a snappy
guitar style, and Greg Sefner whips a very nice organ solo. After
that, Jim comes out with a sharp guitar solo that rides along the
melody. Tommy Buckley on bass and backing vocals and Jason
Corbiere on drums hold the backbone stock upright. Jim then
launches into an uplifting version of Bob Dylan's "It Takes A Lot
To Laugh, It Takes A Train To Cry." There is a great subdued
organ solo that builds like a Baptist church sermon. The next
song, "As Muddy Water Flows, Things Become Clear," is the first
original song on the CD and comes from a line in a book Jim was
reading on Zen poetry. The song drives like a Saturday night.
Jim's vocals remind me of Frank Marino from Mahogany Rush.
The song is half spoken, half sung, and of course, features an-
other great guitar solo. "Howlin' at The Moon" is next with a real
Halloween creeping style as Jim lays out a Grim Reaper-sounding
slide. The disc ends with an encore of the band doing their take
on the Beatles' "I Wanna Hold Your Hand." The recording and mix
are both extremely clean, and enough of the crowd is left in to
remind us this is live.
Jim has a lot of spiritualism in him and his message is positive.
He wants us to come along with him and smile. It is easier than
frowning after all. - James LeBoeuf
Singer/Songwriter
NOW is NOW Days of Summer
9 Song CD 2004
After listening to NOW is NOW's sophomore album, Days of Sum-
mer, I felt like throwing on a grungy flannel shirt, lacing up my Doc
Blowfish concert. Unfortunately neither the Blossoms nor the
Blowfish has careers anymore and the early 90s have come and
gone with no lament (maybe some regret). The talented, writer
and composer, Mitch Alden, who reigns from Portland, ME, has a
knack for composing bubbly lullabies and radio, hit-list wanna-
bees, but seems to have missed his calling… it was way back in
the early nineteen-nineties. If this tight trio, made up of bassist
Drew Wyman and drummer Neil Carroll, updated their sound and
created something slightly less generic, there could be a musical
future in store for these rockers. And while the Gin Blossoms were
rockin', NOW is NOW is not taking any risks that their 90s rock-
god predecessors haven't already. One song that sounds like a
good start is the slow paced “Fall Away.” This song has sensitivity
and sincerity that boldly brandishes its sentimental lyrics and laid-
back guitar strumming and steady drumming, for a polished prod-
uct that is cool, clean and completely its own. If you are a fan of
pop music and like having a good time, and are not terribly con-
cerned with a band’s ability to produce good music, then “Days of
 CDs Rated 1 to 5 Reviews
you like bands that take gambles and get a little deeper than
Hootie, maybe you should bypass this buy. www.nowisnow.com
- Andrea McPhee

STEPHANIE JACOBSON
Consciously Pathetic EP
Never Never Records

Stephanie Jacobson has girl power. The 23-year-old Massachu-

setts native knows how to rock a broken heart. And when it comes
to this singer-songwriters spirited, at times gritty, vocals and reso-
lute guitar riffs, power is all you feel pounding out of your head-
phones. Her latest EP, “Consciously Pathetic” opens with the toe
tapping “Don’t Ever Love Me,” and continues with depressing dit-
ties like “Numb (I Am Me)” and “Black & Blue.” The theme of Ja-
cobson’s bleeding brokenhearted lyrics and equally angry accom-
paniment is a bad breakup. With lyrics like, “You promised that we
would have romance. But those are just lies, they were untrue.
Now do I mean anything to you,” one wonders how painful a listen
this could album be? But happily, Jacobson’s songs make per-
fectly delicious poprocks, by adding just enough cheer with the
right amount of devastation. “Consciously Pathetic” is essentially a
modern-day, rock equivalent of a young woman’s Dear John let-
ter. And although she does her fair share of crying, she also does
ample crushing. Jacobson’s not afraid to get tough and angry
about her dance (almost thrash) worthy tunes and crank up the
volume. www.neverneverrecords.com - Andrea McPhee
Emilia Dahlin Self-Titled Album
10 Song CD 2004
If someone told me that this was a long lost demo that singer-
songwriter Ani Difranco recorded years ago, I would believe them
without thinking twice. Ms. Difranco has become the quintessen-
tial modern female singer-songwriter, for better or for worse, and
in turn is the standard that aspiring songstresses (by default) are
held up to. Maybe the pressure of living up to the artists that every
reviewer will reference, subconsciously influenced this sophomore
album of Dahlin’s, or maybe she intentionally composed her music
with Difranco in mind. Regardless of the motives, Emilia Dahlin’s
second self-titled album borrows heavily from Difranco’s musical
stylings while fusing blues-influenced jazzy vocals with a raw, alt-
acoustic, guitar rhythm. Dahlin sings on “6 Acre Lot,” “And it was BUSINESSES
here I was a puddle jumper and baker of my pies extraordinaire,
spent my time cradled by the hills and kissed by the air,” showcas-
ing her intimate lyrics. At times her apparent imitation of Difranco
compliments her slightly nasally voice but it is mostly distracting.
You could have this
The tune “Bound to Be,” sounds forced, although I do enjoy her
mid-song, impromptu scat-session. There are glimpses of what
potential Dahlin has scattered throughout songs that are not trying
1/4 page ad space
For only
so hard. “August On Exchange,” is an intimate look at an original
Dahlin style and an effort to create something new and real. We
already have an Ani Difranco, what we need is an original Emilia

$100
Dahlin. www.emiliadahlin.com - Andrea McPhee

NOMASONHA NEEDS YOU!

We are looking for:
($65 for Bands/Musicians/Artists)
• CD Reviewers
• Hip-hop writers
• Jazz writers
• Distribution drivers
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978-258-2606

27
 Classifieds
Classified Ads submitted to NoMaSonHa and via NewEnglandRock.com

FREE Musicians’ Classifieds & in studio recording songs for full album this check out my playing you can go to my website:
year. All in our 30s and consider band to be a melodicallyspeaking.com I teach guitar full time I
"serious hobby with potential." Practice weekly & also record music for commercials & movies. I've
Nomasonha would like to build up to playing 2-3 shows per been playing out in clubs for the last 14years &
c/o Continental Cobbler month. 100% drug-free & we do not mix alchohol I've played at all kinds of metalfests. I've jammed
6 W. Broadway with practices or shows (a drink after the set is with John Petrucci of Dream Theater, Joe Sa-
Derry, NH 03038 ok). Contact Harry at 603-731-5251 or Mark at triani, Andy Timmons, & many more.
asimplecomplex@comcast.net
friekman@hotmail.com Guitarist Wanted
DRUMMER WANTED/AVAILABLE
ONE TRACK MIND is in search of a seasoned,
Your ad here. Don’t forget area codes with phone #s. Drummer Available dedicated lead guitarist. We have gigs, mgmt., &
a rehearsal space in Littleton, Mass. OTM is a
ROCK/POP DRUMMER with electronic drum kit working cover band that plays WAAF/Rock 101
available for fill-in gigs, studio session work, style songs. Gig dates can be seen on our web-
weddings, parties, general business. Vocal abil- site. www.onetrackmind.biz otmband@msn.com
ity as well. Dan (508) 662-5471 or
dankirouac@hotmail.com. ORIGINAL BAND (featuring
singer/songwriter/guitarist & solid drummer) is
EXPERIENCED,CREATIVE DRUMMER with pro gear, seeking a dynamic, creative, melodic & tasteful
gigging and recording experience seeking estab- lead guitarist & a dynamic/melodic keyboard
lished original rock band. Influences range from player to solidify our 4 piece lineup. We have
Alice in Chains, Black Sabbath, Crue, Creed, practice space, plenty of original tunes, & we are
Zep, Floyd, Sublime, Pantera, Metallica, Incu- looking to gig & record our second CD by the
bus, Linkin Park, Godsmack, Disturbed, etc. I am summer. (Our debut CD is out currently & for
really interested in finding a band with a unique sale). WE DO NOT PLAY COVERS! Our style
sound and not your everyday screaming metal has been described as “a mix of - The Eagles,
Booking Manager Wanted band. I really like Incubus and that style of mu- Dire Straits, Rush, The Allman Bros, & Alice in
Booking manager wanted. Must be active, likes sic. Serious musicians only please! Dedication Chains unplugged all mixed together”. Basically,
to talk, and have people/ phone skills. Money plus! grrtopher@yahoo.com its progressive acoustic based rock with lots of
based on job performance. If interested call 978-
815-4401 or email Sswytch@gmail.com DRUMMER FOR HIRE: Solid, tasteful drummer with room for tasteful lead guitar & creative key-
over 20 years experience for hire for: sessions, boards. We are in our thirties & are looking for
BASSIST WANTED gigs, working cover bands, fill-ins, lessons, etc. the same (some cool guys/girls with day jobs
Open to almost any playing situation, but prefer that can be cool to hang out with, drink a few
CLEAR THE W AY seeks bassist, have many origi- Rock/Pop. Into lots of different styles. My influ- beers, & enjoy playing music as much as we do
nals & currently playing out in the Worcester ences are varied & I am open to almost any- at night). Pro equipment & transportation are
area. Based out of Littleton Ma, have rehearsal thing. Influences: Terry Bozzio, John Bonham, preferred as well as a good team player attitude,
studio in band complex with 24 hour access & is Tommy Lee, Adrian Young, Stewart Copeland, & backing vocals are a big plus! We are looking
currently a 3 piece. We play pretty simple stuff Sean Kinney, & Scott Rockenfield. I have an to play out once or twice a month, sell some
consisting of no more then pretty much 4 chords awesome kit & transportation. I am drug-free, & I CD’s/T-Shirts, promo the band, & record/release
per song give or take a bridge with a rock/little have a good working “team player” attitude. our second CD. If you don't have the time to
punk attitude to the songs, play through Marshall Resume available upon request & the bottom practice 1-2 times a week, play shows, &/or
half stacks & generally sing about everyday line is that I need to get paid to play, period. commit to an original band then please don't
things such as relationships/love/ di- Money talks, so if you got the cash call Crash. waste our time or yours. Steve: 781-856-2224 or
vorce/cheating & some other fun subjects. We 978-618-9010 Shaun: 978-618-9010
are not looking for an amazing bass player but a
good fit. Sean: 978-618-8103 Horns Wanted/Available

BASS PLAYER WANTED to join band playing tune-

ful, driving, guitar-based originals for gigs &
recording. We are experienced musicians from
name Portsmouth-area bands, getting a new
thing together in the vein of Wilco, Ryan Adams
(no, not Bryan), Drive By Truckers, early REM,
etc, but with a original style & direction. We have
rehearsal & recording facilities, & great contacts;
demos available. Call Dave (603) 431-8466 or
Tom (603) 682-3199
COMPATIBILITY FIRST, talent second. We are a
well established metal band. Seasoned musi-
cians ranging in ages from 27 to 42. Many inter-
esting benefits. Call (603) 770-0648 & leave a
message or e-mail info@screamingferret.com
EST. HEAVY ROCK BAND NEEDS BASSIST. A Sim-
ple Complex an original heavy rock band with a
sound comparable to many 90s rock bands such
as Alice in Chains, Prong, Pantera, Sevendust,
Deftones, Union Underground, Earshot, Dis-
turbed, Godsmack, etc. Starting to add couple
covers, but they are reworked heavier & made to
fit our sound. Have 12 song set list & few more
songs that are almost finished. Have live experi-
ence. Released one 4 track demo EP, "Opening"
Musician Classifieds
are FREE.
(subject to editing for space)
Drummer Wanted
LD50 IS LOOKING FOR A NEW DRUMMER. Anyone
interested, contact Andy @ 978-397-0091(cell)
or email iajones110@aol.com. Please call after
5PM to get me, or else you'll have to leave a
message. We have some songs written and are
looking to add more. We are a metal/ hard core
orientated band looking to create all originals. All
inquiries welcome.
GUITARIST WANTED/AVAILABLE
Guitarist Available
31 year old guitarist looking to join or form an
original band along the lines of & the style I like
is, Iron Maiden, Dream Theater, Megadeth,
Black Sabbath, Velvet Revolver, Led Zeppelin,
Judas Priest, Queensryche, Seven Witches, Dio. SERIOUS KEYBOARDIST NEEDED for 4-to-5 piece
Singers, Drummers, Bass players, if interested
email me at: skburrows24@hotmail.com To
LOOKING FOR W ORKING or Near Working Band.
New to Area. Woodwinds and vocals available
for funk, fusion, be-bop, gospel, G-B, and Coun-
try band. All Styles welcome. Joe (978) 726-
0879 or (978) 454-4071
KEYBOARDIST WANTED/AVAILABLE
Keyboardist Available
PIANIST/ELECTRIC PIANIST AVAILABLE for fill-in gigs,
studio session work, side-projects. Main styles
are pop/rock. Former member of regional
Beatles tribute band YELLOW SUBMARINE.
www.dankirouac.homestead.com.
dankirouac@hotmail.com
Keyboardist Wanted
Classic rock band looking for a keyboard player
with background vocals a plus. Must be mature,
willing to rehearse two days a week for future
gigs. Central NH, Franklin, Laconia, Tilton area.
mario934@verizon.net
(guitar, bass, keyboard, sequencer, vocals) Bos-
ton-area band, Lucretia's Daggers. "Genre":

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original dark lyrical art rock. Influences: 70s rock,
80s new wave, 90s punk, & 00s electronica
(Korg sequencer) with emphasis on introspective
poetic lyrics. Think Fiona Apple meets Sisters of
Mercy, mixed with some crunchy Nine Inch
Nails. Must be available for weekly evening
practices in Watertown, MA & monthly gigs.
Licensed driver (with or without vehi-
cle) preferred. Female, backup vocalist a plus.
See bios/photos/gigs & hear music at
www.lucretiasdaggers.com Contact: Lauri at
lucretiasdaggers@rcn.com , 617-924-8959.
ORIGINAL BAND (featuring
singer/songwriter/guitarist & solid drummer)
seeks dynamic, creative, melodic & tasteful lead
guitarist & a dynamic/melodic keyboard player to
solidify our 4 piece lineup. We have practice
space, plenty of original tunes, & we are looking
to gig & record our second CD by the summer.
(Our debut CD is out currently & for sale). WE
DO NOT PLAY COVERS! Our style has been
described as “a mix of The Eagles, Dire Straits,
Rush, The Allman Bros, & Alice in Chains un-
plugged all mixed together”. Basically, its pro-
gressive acoustic based rock with lots of room
for tasteful lead guitar & creative keyboards. We
are in our thirties & are looking for the same. Pro
equipment & transportation preferred as well as
a good team player attitude. Backing vocals a
big plus! We are looking to play out once or
twice a month, sell some CD’s/T-Shirts, promo
the band, & record/release our second CD.
Steve: 781-856-2224 or Shaun: 978-618-9010
BUBINGAH SEEKS KEYS. Bubingah is in search of
a keyboard payer. We are looking to expand our
sound and explore new territory. Please visit
www.bubingah.com/tunes for a sampling of our
music & influences. Rehearse in Nashua, NH &
are between 27-30. Currently have 2 guitars,
bass and drums. Recorded one album (2004
Self titled) & working on a follow-up (you could
be on this album). Have played 100 gigs over
the 3 years we've been together. Check the
website for venues we've played. Please contact
us if you have the slightest bit of interest. Con-
tact: Ryan eMail: ryan@bubingah.com
VOCALIST WANTED/AVAILABLE
MY NAME IS BRETT, I'm 16 & I am the guitar-
ist/vocalist for a Litchfield, New Hampshire
based band Memorybox. I am looking for some
musicians to form a new band. Please be be-
tween the ages of 14-20. Looking to do some
acoustic stuff, as well as hard rock. So please be
prepared to play a wide variety! e-mail: bretthig-
gins07@yahoo.com phone: (603)424-3216
Vocalist Available
EXP’D FEMALE VOCALIST/SONGWRITER AVAILABLE.
Looking for an acoustic songwriting partner
(guitar) or full band, original & selective covers. Pinnick (King's X), Robert Plant, Chris Robinson
No metal please. I have some connections, lots
of excellent references. Loads of personality,
great stage presence & lovely chops. DYING to
get back into the scene. Can work with the tri-
city (Dover, Roch, Somersworth), Concord, San- song samples, etc. Right off 495 near Milford,
ford/Portland, or Portsmouth area. Hell, I can
work anywhere, just ask. Influences include
Aimee Mann, Patty Griffin, Ani Difranco, Tom
Waits, etc. I have over 40 original songs. Want
to write more! heatherine_music@yahoo.com
Classifieds, con’td
ROCK/POP VOCALIST AVAILABLE for studio session
work, weddings, parties, fill-in gigs, side projects.Must be able to contribute lyrically. We have
Three-octave ability in the baritone/tenor range.
Former member of regional Beatles tribute band
YELLOW SUBMARINE.
www.dankirouac.homestead.com or
www.yellowsub.homestead.com.
dankirouac@hotmail.com
EXPERIENCED FEMALE LEAD SINGER with strong,
soulful voice looking to start/join blues influenced AIC, Sabbath, Rush. Serious Inquiries Only! No
rock band. Influences are Led Zeppelin, Black
Crowes, Aerosmith etc. Looking for lead guitar,
bass, drums & rhythm guitar/keys between the
ages of 21-33. Professional & dedicated indi-
viduals only please. kstefanier@hotmail.com
Vocalist Wanted
BURDEN OF LIBERTY are looking for a vocalist. All
interested parties should email bluntfacere-
cords@hotmail.com.
GIGGING ROCK COVER BAND based in the Merri-
mack Valley with dates through december. Look-
ing for a ballsy frontman. Must have experience,
range, & attitude. We're a full production
band(sound, lighting, & engineer) consisting of
drums, bass, & 2 guitarists that all sing backups.
Free rehearsal space. Songs by: 3 doors down,
lit, green day, ozzy, poison, creed, collective
soul, jet, matchbox 20, etc... Serious inquiries
only! rockband123@aol.com
COLD FIRE, a hard-rock trio of experienced musi-
cians (guitar, bass, drums), 70s-to-present cov-
ers with originals waiting, seeks male vocalist
with range (LZ, Maiden, Priest, VH, Aerosmith,
AC/DC, G&R, Ozzie, Rush, Dio). Experience
less important than a pro-attitude & strong desire
to learn & perform well. Rehearse once a week
in Northern Worcester County. Plan to gig 1 to 3
times a month. Pluses include vocal training, PA
equipment. Vocalists with music instrument abil-
ity welcomed. Contact: Mike: svtpro@verizon.net
or Dean: 978-297-0528
ALREADY GONE - Tribute to the Eagles is seeking
a dedicated lead singer to cover most of the
Eagles hits including their solo careers. This
band is the original founders of Spread Eagle
Tribute to the Eagles and has played hundreds
of gigs. We look for: 1. Dedication, 2. Wiliness to
travel, 3. Help set up & load equipment, 4. Help
make this band the best Eagles tribute band in
the country, 5. Positive attitude, 6. No depend-
ence problems "Drugs or anything"
Yes we like to have fun too! Many upcoming
gigs. Contact: Brian Millerpromotion@aol.com
http://alreadygonetributeband1.xbuild.com
BAND SEEKS LEAD VOCALIST with strong sense of
melody, emotion, & intensity. Anyone influenced
by Layne Staley, Pink Floyd, Bono, Doug
(Black Crowes), Chris Cornell, or anyone similar
would probably fit in pretty well. Sing (at least
mostly) in key, & have some emotion in your
voice? Visit us at www.leftofheaven.com for
MA. david@leftofheaven.com
MANCHESTER, NH. DEMIURGE looking for a lead
singer. Currently, we are a guitarist, drummer,
and bassist. We're looking for a singer who can
29
sing with emotion like Maynard but can belt it .
music for songs. Our ages range from mid-20's
to mid-30's. Must be able to financially & person-
ally contribute to the band (rehearsal space rent,
promoting the band, etc...) Looking for members
with pro attitudes, and must be really serious
about seeking music as your career. Influences:
Slayer, Maiden, Priest, Opeth, In Flames,
Dimmu, Nevermore, Lacuna Coil, Tool/APC,
heavy addictions, jealous girlfriends, or egos!
Please call or email Mark (603) 785-6924 (c)
(603) 487-2895 (h) email: zenfin@mac.com
www.zenfin.com (my new age instrumental pro-
ject).
Have a product or service
you’d like to advertise?
50 words for $25.
PRODUCT OR SERVICES
Seeking All Types Of Talent
Seeking R&B Singers, DJ's (all cultures), Fash-
ion Models, Dancers, Break Dancers, MC's, and
Spoken Word Artists to perform in all female
show in honor of National Women's Month.
March 2005. For details, please contact DJ Cut-
ter and J.L. Yancy, Filthy North Entertainment &
SFI Marketing (617) 825-2229 sfimarketing-
pros@aol.com
R&B/Hip-Hop/Soul
Singer-Songwriter-Producer available
R&B/Hip-Hop/Soul Singer-Songwriter-Producer
available for booking & available to write & sing
hooks. www.myspace.com/shaymuse Shay
Muse: shaymuse@solitaryrecords.com
Production and Recording
Boston Butta Beats, owned by drummer of clas-
sic hit band "The Atlantics," specializes in pro-
duction and recording for any genre from hard
rock to hip hop. rayboy1@sbcglobal.net
www.bostonbuttabeats.com
Custom Guitars
Choose the body, color, neck style and all the
hardware to make it run, and we hand assemble
it to your specs. Starting from $700.
sales@waveguitars.com
Replacement and Fill-In Musicians
Stunt Music has performers & consultants that
can help. We are building a database of musi-
cians with experience & chops for one night fill-
ins. No worries, we have screened them.
info@stuntmusic.com Go to
www.stuntmusic.com & apply to become a "stunt
musician."
Sound System Rentals
Stunt Music. Price ranges: $150 to $2500 per
night, all size venues. 603-377-0850 or
info@stuntmusic.com. Remote recording pack-
ages, too.
Review CDs for NoMaSoNHa
friekman@hotmail.com
 Show & Jam Listings (“OHM” Continued from page 22)

J.C. FENWICK'S filling the lowest part of your lungs (you will feel your stomach
37 Mechanic St. Leominster MA 01453-5700 area expand), and then fill the center and top (you will feel your
(978)840-4845 - www.jcfenwicks.com ribs expand). Exhale slowly and fully and repeat. Other breath-
UNDER NEW MANAGEMENT ing exercises involve pausing upon inhalation and exhalation for
further conditioning and cardio development.
Saturday Night Country Bands Are Back! Advanced studies that enrich spirit involve more demanding
9 Pm To 1 Am $3 Admission, 21+ pranayama practice and reflective reading. Spiritual essence
Sunday Afternoon Open Country Jamborees Are Back! and energy is introduced in greater detail, exploring energy cen-
3 Pm To 7 Pm All Singers/Musicians/Full Bands Welcome! ters (chakras) within our physical body. The presence of energy
centers and our capability to gather and focus that energy has
$3 Admission, Guest Performers Free, 21+
been observed and documented in scientific experiments.
Saturday May 7 Diggerdawg These lessons are very neutral, making them complimentary to
Sunday May 8 Host Band: Country Felix any and every belief system. As yoga fosters a greater aware-
ness and connection with your spirit, it can be used in conjunc-
Saturday May 14 Goldrush tion with any faith.
Sunday May 15 Host Band: Inside Straight Many of us fail to realize that we often breathe very shallow
Saturday May 21 Cabin Fever and inconsistent - this can be especially true for musicians.
There is often great focus and concentration on executing a
Sunday May 22 Host Band: Rachel And Western Partners
passage, which can alter breathing patterns and hinder success.
Saturday May 28 Angela West And Showdown Developing control and establishing proper flow of your breath
Sunday May 29 Host Band: Stan Martin And The Honky has a direct effect on your playing, regardless of the instrument.
Tonk Heroes The physical conditioning achieved with pranayama is directly
applicable to wind instrument players and vocalists as their lung
Saturday June 4 Dave Pike And The Good Ol' Boys capacity and health is imperative to their crafts.
Sunday June 5 Host Band: The Goat Ropers
YOGA PRACTICE
Saturday June 11 Gale County
It can be easy to incorporate yoga into your life without extra
Sunday June 12 Host Band: Borrowed Time
effort or accommodation. Void of special preparation, equipment
and requirements it is a less time consuming and complicated
alternative to other exercise and fitness activities. Once you
learn the basics you can design your own routines and will as-
suredly find it to be a complimentary and enjoyable addition to
the day. You can blend activities into your normal routine or
designate a specific time period for sessions.
Some prefer the structure and support of an instructor or
class, while others enjoy the privacy and freedom of independ-
ent practice. Sharing practice with a spouse, friend, family mem-
ber, or associate is an enjoyable alternative. You can be im-
mensely creative in customizing your practice sessions, imple-
menting props, music and utilizing various locations.
Collective practice, pranayama and guided visualizations can
be of great benefit when preparing for a performance. The bene-
fits are evident on an individual level, and can also aid to align
and empower a party in the pursuit of a common objective or
goal.
FOR MORE INFORMATION . . .
Musical Lahari - www.geocities.com/musicallahari/ni_eng.html
Yoga Journal - www.yogajournal.com
ABC of Yoga - www.abc-of-yoga.com

30
 newenglandrock.com show listings for May 2005
For more up to date information on any of these shows go to www.newenglandrock.com
New Hampshire
5-03 An Evening with Breez Evahflowin & Wordsworth at The Stone
Church Newmarket, NH
5-04 The Slip! at The Stone Church Newmarket, NH
5-5 The Slip! at The Stone Church Newmarket, NH
5-06 The Lounge Flies at Weirs Beach Smokehouse Weirs Beach, NH
5-06 John Eddie!! at The Stone Church in Newmarket, NH
5-13 High Range! with guests at The Stone Church Newmarket, NH
5-13 The Lounge Flies at Getaway Lounge Manchester, NH
5-14 Addison Groove Project! at The Stone Church Newmarket, NH
5-15 The Lounge Flies at Whippersnappers Londonderry, NH
5-18 Roots Nation Reggae at The Stone Church Newmarket, NH
5-19 The Lounge Flies at Wally's Pub Hampton, NH 5-20- The Prostitunes 5-19- Straight To Video at The Paradise Boston, MA
at The Getaway Lounge Manchester, NH
5-20 The Lounge Flies at Old Salt Restaurant Hampton, NH
5-21 Truffle CD Release Party! at The Stone Church Newmarket, NH
5-21 The Lounge Flies at Old Salt Restaurant Hampton, NH
5-22 Odetta! at The Stone Church Newmarket, NH
5-25 Darkbuster!w/ Shuttlecock at The Stone Church Newmarket, NH
5-26 Straight To Video at The HogsTrough Saloon Manchester, NH
Massachusetts
5-01 Forevers Fallen Grace at O'Briens Pub Allston, MA
5-01 Mongrel at Club 125 Bradfordl, MA
5-02 Death From Above 1979, Controller Controller at Middle
East (down) Cambridge, MA
5-06 WXRV presents Melissa Ferrick, Garrison Starr at Somer-
ville Theater Somerville, MA
31
5-06 Own Worst Enemy at The Office Whitman,MA
5-06 John the Conqueror at Midway Café Jamaica Plain, MA
5-07- Margaret Cho at Orpheum Theatre Boston, MA 5-07-
Haloburn at Club Deniro Taunton MA
5-07- The Lounge Flies at Lord Wakefield Hotel Lakeside Tavern
Wakefield, MA
5-13- NewEARS presents Gary Hoey at the Lowell Brewery
Lowell, MA
5-13- Two Of Us at Tavern on the Common Rutland, MA 5-14-
Straight To Video at Reflections Chelmsford, MA
5-19- Subliminal Salt Live A Band Called Spike will be at Shoot-
ers Dracut, MA
5-20- Own Worst Enemy Opening for Fat Angus The Ultimate
AC/DC experience at The Westgate Pub Brockton,MA
5-20- Two Of Us featuring Dan Kirouac & Ken Tracy Jr. live at
Geendales Pub Worcester, MA
5-20- Last Born and Breathe at the Crypt Everett, MA
5-21- Bane, Suicide File, Weerd Sience, Have Heart, No Trigger
at The Palladium (upstairs) Worcester, MA
5-21- Own Worst Enemy at The Mallard Brockton,MA
5-26- Somebody's Closet at LaCocina Pittsfield, MA 5-27- Slightly
Stoopid, Fishbone at The Palladium Worcester, MA 5-27-
NewEARS presents: Color and Talea at The Lowell Brewery
Lowell, MA
5-29- NewEARS presents: The Flower Kings at The Lowell Brew-
ery Exchange Lowell, MA
 Next issue:
Women In
Music
and the Arts
Lowell’s Premiere 105 Market Street
Rock/Metal Lowell, MA 01852
Nightclub

LIVE ROCK OR METAL EVERY FRIDAY

AND OCCASIONAL SATURDAYS
DOORS OPEN AT 8:30
MUSIC STARTS AT 8:45
HIP HOP DJ THURSDAYS

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