Maybe someday it will all add up to be a book. This entry is not a fond memory. I think of myself as one who does not fall for a con.
While riding my bike home from the show, a well-dressed black man on the other side of the street near Beth Israel Hospital flagged me down to ask me a question.
He asked if I could help him. His car had broken down and he needed to get a part for it but he didn't have enough money. He told me his wife and his young child were waiting for him in the car. I talked with this guy for a while, joking with him about how this sounded like a rip off scheme. I trusted the guy—he really seemed so honest. Even when I said stuff like—yeah, but that license could be one you just stole, he laughed.
He told me exactly where his car was. I said I'd say hi to his wife Gloria and his kid Elliot and let them know he was on his way. When I got to where the car should have been I couldn't find it. I rode around for a while. Then decided to go back and look for him. I couldn't find him. When I got home and called the number he gave me—it was someone else's phone number.
He ripped me off. This guy was good. I really believed him. Now when I look back on it, I remember little things like how he started sweating a lot when I started asking questions. He also said we could walk to a Store 24 to call his phone number so I would trust him more. But why would we do that if he had a cell phone? I feel pretty dumb now. Having just celebrated the third anniversary of a Thursday night residency at the Cantab Lounge, the Slacks are renowned for their incomparable energy.
Can You Dig It? The album alternates smoothly between catchy simple structures geared towards dancing and slower sensual grooves. The Chicken Slacks bring funk to a whole new level; hell yeah, I dig it. Julia R. With Anthony Resta at the helm, this EP is much more about production tricks and wizardry than the band that I have come to know and love.
Although this is not a terribly, horrible thing, I do believe something of what makes this band so great has gotten a little lost in the translation. While there is certainly a quantum leap in production, the sound is generic to the point that virtually any band could have made this record and that saddens me just a little as a fan.
Joel Simches. Purposeful and passionate, righteous yet nuanced and sometimes poetic, these ska-loving punks are the rightful heirs to Operation Ivy. My only quibbles are minor, such as the album being a little frontloaded and the title track not quite being the anthem it wants to be. This is the type of album that gets a band headliner status really quickly.
Kevin Finn. With a title like Party Animal I was expecting maybe Iggy Pop fronting Motley Crue but instead this is floating, lilting music that flits through the air like a bird soaring.
Maybe a touch of Stereolab here or a dab of Air there but really this is pretty original stuff—experimental, trippy, psychedelic in sound but concise in form. Those looking for the traditional hard rock will feel this is for the birds but I give it two wings up. Powerful passionate vocals explore a wide range of themes, including depression, cynicism and of course, heartbreak.
Enjoy at top volume! There are loads of interesting musical moments, and for this type of music, the production is crisp and the energy is immediate and organic. The vocals leave something to be desired, but are well forgiven, given the genre. This is not just your typical collegiate fare. Coma Coma plays really well and writes intelligent songs that could just as easily find their way into mainstream brains.
Johnson track CD Short backstory: Singer-songwriter works the artistic treadmill for the obligatory several years, is handed his lucky break, takes his lucky break, and breaks it in two. This is lost music from a lost time, and the best songs on this magically seductive compilation-cum-reissue provide a much-needed remedy to fill a historic gap in the canon of local recorded music.
Francis DiMenno. Although she has elements of each of these artists and more, Barrett best Broken Glasses - Various - Rock Sound Volumen 47 (CD) in a category all her own. Still, I am positive I have heard something like this before.
There is something strangely familiar about her music and yet, this does not detract from its uniqueness. Barrett is refreshing, a bright light among others of her genre. This is evident through compelling vocals, ever-changing chord progressions and spontaneous melodies. Exquisitely crafted, the track is sensual; setting the tone for the rest of the disc, which is at times positively upbeat and at others morose, but never predictable.
However, I can also admit that her purposeful moaning really does have some legitimate punk moments. Their signature indy-rock sound takes me back to last call at T. I can taste bar tequila and smell the sent of unwashed MIT students. The sound of strumming telecasters, tambourine, and claps remind me of a genre almost forgotten.
Lance Woodward. As is often the case with those bands, the bass is quite prominent and the vocals are often treated as just another instrument, buried deep in the mix, allowing the guitar to create the landscape and carry the melody. Even after listening through the entire CD I feel that the music and lyrics suggest themes of a spiritual if not religious nature. His soulful crooning awakens my awareness, softens my eyes and breaths life into my sacrum.
Witness Tree is loaded with expert classical guitar work and island influences. There is also enough skilled saxophone work to keep even Kenny G. As far as the title, Witness Tree and the image of a guitar and a tree forming a cross, I suppose it is possible this collection of soft-spoken tunes is part of the Christian music movement.
Either way, all ten songs provide a perfect soundtrack as you ride through the elevators of life. It happens to everyone, right? Their songs are friendly and unassuming. They write and play nice songs that you will be humming in your head for days and tapping your tap thing to. This is music for a less hectic pace… music that would go great with lemonade… and those little frosty cookies.
Slimedog here, world-renowned serious music critic, displaying vast musical knowledge and exquisite nails. Ha, like he has any. Truth is, I write his so stick that in your pope and stroke it.
Slimedog says it does blow, but I think he is being dirty again or maybe just sultry. And my heart went bwang-shang-a-lang because I was actually really digging his portentious-slash-foreboding number "What If They Are Friendly". But—and correct me if I'm wrong—doesn't just a LITTLE bit of distortion, fuzz, overdrive, reverberation, wah-wah, flanging, phaser, pitch shifting, et al. If I were some kind of fucking Philistine, I'd say that making the very sound of such modulations the rationale behind, rather than the seasoning of, admittedly repetitive instrumentals howsoever melodic is rather like a week's worth of dining on three meals a day of hot mustard and relish, with a single lacklustre crouton on the side.
Umm… not nearly far enough. For God's sake, please—make it new. Right from the get-go I'm hearing pompous pooping bass and petulently emotive vocals and lowbrow-trying-to-act-pretentious lyrics. What gives?
There's a place, I suppose, in this crowded carnival called the world for an ersatz Rock Opera fronted by a Bowie-manque, but in just the same way that Colonel Sanders once rather grudgingly admitted that there's a place for the KFC extra-crispy. In a word, kind of… gruesome. You say it's high concept, but I say it's pastiche—and I say to hell with it. And, er, this rather begs the question, but riddle me this: What does one do for an encore—when practically the entire act is a reprise? In fact, I really do.
It forever saddens my soul that a band with so much talent and musical potential of their own can never just be their own thing. Within the first few minutes of this fine recording I find myself digging through my things looking for something to compliment the fields of strawberries crooning out of my speakers. Central Chambers is Broken Glasses - Various - Rock Sound Volumen 47 (CD) full of orchestral arrangements and witty lyrics.
I really like the liberal use of piano and distorted drum tracks. The moody vocals eerily glide into my ears raising my cerebral awareness. Needless to say, Central Chambers is an enjoyable walk through the darkness peering into the light.
That said, he is a very impressive guitar player, but the monotonous, half-spoken vocals coupled with pointless lyrics are really just painful to listen to.
Von Doom plays a safe form of classic indie rock that is moderately brawny and catchy, but never enough so that any of the songs really stick with you after they are done playing. Oh, what a joyless task it is inhabiting the debauched, power tool infested body known to you as Slimedog. This CD has pleasant vocals.
It has pleasant whistling on the first song, pleasant horns on the second. The acoustic guitar is strummed pleasantly throughout. The third song has a pleasant country feel to it. The fifth song is about West Virginia and it sounds like a nice, pleasant place indeed. I would recommend this CD highly for those who seek a pleasant musical experience. For me, I guess I would rather choose to stick a screwdriver through my real eye than to experience this again.
The four songs on this disc are like well-constructed sentences without punctuation. The bed of musical ideas lacks a melodic focal point and perhaps that is the object of the music. Also distracting is the piercing amount of high end on this recording. The result is a very tinny record, which sadly cheats the listener of the impact I am sure this music would have in a live setting.
As much as I love the musical ideas on this EP, listening to this makes my eyebrows hurt. Greg Moynahan must have been important in a lot of hearts. I bump this tall woman and almost get thrown out before the night begins. After host Ric Gill, clad in full baby costume regalia, gets things going, Cassavettes take the stage with their mix of Replacements via Fastball garage rock.
They Stone the tone of the night with signs of things to come, equipment wise. The downside of a show with many bands is often not enough time to get everything tested. Picture the singer of Simply Red sounding like Roy Orbison in a cowboy shirt doing a Boston-style southern rock. Next up are Rogue Heroes. It works, somehow.
I would love to see them again. Three Day Threshold takes the stage to the strains of the Rocky theme, so I know it is going to rule. Singer Kier Byrnes strolls on stage in brown leather pants, black Stetson, and big bossman shades looking like he owns the place, and for 45 minutes, he does. With a kickass band behind him and an enthusiastic crowd in front of him, the band barrels through their set of 16 Horsepower beating up Uncle Tupelo and go shot for shot with Hank III originals.
Good thing it stopped snowing. What a great ending to a fun night. Eric Baylies. The resulting bonus of the delay is a pretty packed house at the beginning of their set. They start off with "Holes in Your Liver" and the sound mix is excellent.
Every word is understood and every instrument has its own place. The towels on the snare and tom heads keep drum volume under control. Ray references the Rockin' Ramrods from his youth and claims they got it just right in "English Leather.
He covers "Everybody Knows This is Nowhere" and my friends join in on the la-la-las in the chorus. The band has eleven CDs for sale—you know they've been around for a while—and their stage experience is evident. The band has two birthdays and a recent engagement—so there's reason to party. Frank on drums one of the birthday boys delivers a message to the people of Somerville—which translates into a drum solo.
Ray promises all different songs in their second set. I'm sure they have enough for three sets. T Max. Their mix of ska-influenced punk, although no longer trendy, sounds novel and natural. Even if they sounded like crap, I would still enjoy them just because their drummer looks like Animal from the Muppets when he plays, only a little more graceful. I just wish the whole set would have been as lively as the first third. Despite being impressed with what they do, my mind does start to wander a bit.
The Side Effects appear to be playing at a completely different gig for an entirely different audience than the rest of the bill.
As they hit the stage, a few dozen in the audience storm forward, while the rest of the crowd retreats to the back. The singer looks and acts completely bombed and plenty of beer showers the stage, Stone. This has train wreck written all over it. Fortunately, as loose as the singer is, the band, featuring James Lynch of Dropkick Murphys on guitar, is tight as hell, and their infectious mix of glam and punk, best evidenced by their cover of T.
By the time Lost City Angels hit the stage, the house is surprisingly only half-full. Despite the layoff and an occasional botched lyric or note, the rust hardly shows. Singer Ron Ragona is all spastic energy, a herky-jerky dynamo who has me worn out just watching him by the third song.
Guitarist Nick Bacon contributes a sparkle to the songs and aptly compliments the brawn of fellow guitarist Drew Suxx. The band plays some samples from their album Dreaming the Life and the audience cries out for a second helping, but the evening ends too soon.
Kier Byrnes. I decide to round up a few friends and attend. This occurs in many variations and the outcome is a shoulder-to-shoulder dance fest in the upstairs part of the bar. From what I hear, this is a yearly event. Although it would be impossible to name each song and each band here tonight, I do want to say thank you to all the local musicians, singers, and songwriters who got together to make Noise a success.
Jill Harrigan. Tonight, Glenn Yoder and his boys do just that. Sometimes Glenn tones it way down and brings in guests like singer Sarah Blacker on backing harmonies, which gives the music a sensitive Joan Baez folk rock feel. At other times, the band explodes with playful energy. Coincidentally, just as Westerberg did with the Replacements, Glenn is exploring a solo career and branching off from Cassavettes, his main band.
It shows some real class and support for their friend and fellow musician. The pub, dingy as it may be, offers weekend entertainment to patrons of the hotel, as well as to the public. The Transistors are frequent entertainers here from pm until the early hours of the morning. A four-piece, these guys specialize in sounds of the sixties. His inexhaustible energy is unbelievable, his jump and jive infectious.
Sex is already onstage by the time I get through the extensive security checkpoints, and the crowd seems really into them. The crowd goes crazy as they finish. This has got to be one of the best local bands in Boston right now, and I must add that House of Blues is a nice improvement over Avalon.
As soon as I walk into the warmth of the venue, the ambience is calming. I make my way to the last open table, sit, and await the free acoustic concert. The audience is an eclectic mix of people and ranges in age from six to sixty. Jason Spooner takes the stage with his guitar and harmonica, sits center stage on a stool, and immediately begins to play. The rhythm of his music is relaxing and his voice is soothing. He reminds me of a cross between John Mayer and Jack Johnson.
During several songs, he plays the guitar and the harmonica at once. This is truly impressive. He mentions that he is usually accompanied by a band, but I am content with hearing his solo performance. He is accompanied by bassist Andy Dow. Be assured, however, his high notes are the only things that are comparable to Blunt. But what I see upon entering is a spacious, dimly lit venue with an odd blue glow to it. Their sound falls somewhere between the lines of rock and pop with slight traces of hardcore.
In addition to this, lead singer Tim White has great control of the crowd and encourages clapping, jumping, and everything in between. But the crowd sings back, powerfully and excited, and for the remainder of the night, that energy sticks. Angela Mastrogiacomo. Now there are five…or six. Your old band was pretty good too. So I walk into Porter Belly's at around and the place is pretty close to packed. So far so good. Then the mothertruckers do a couple of other cover tunes, which are totally fine…but then…they play their own stuff—deep, dirty, yummy, dirgy but not too dirgy grinds that make me stomp my foot and order some Jim Beam, straight up.
I slug it down, and on to the next tune which has some killer guitar with an octave pedal—man, good stuff. Turns out that this is their first gig. And rumor has it they never rehearsed. Damn good. Hopefully they'll be back to the neighborhood bar. During the 20 minute break, I buy the hottest chick in the bar the cheapest beer, the only one I can afford, and after she totally disses me can you imagine? Someone tells me their name comes from the fact that the lead singer in the band used to be on a soap opera called The Young and the Breastless.
I digress. There are lots of good hooks, and a great rhythm section. I generally don't like this kind of music, but it grabs me tonight.
My only beefs are the out-of-tune background vocals and that they play stupid cover songs at the end of the night when they run out of their own tunes. Oh, that, and the tie that the guitar player is wearing. Oliver Gunther. Squashing Gourds is a family band that has members as young as 10 and They gather around one condenser mic and rotate positions for solos. After a few songs, a few more members show up. These two are from the Logan family—dad Carter on slide-dobro and Sarah on fiddle. The two new additions announce that they did not score points when they left Grandma's 60th birthday party to come to the gig.
Vocals get thrown into the mix with some lively chanteys and folkie tunes. Family members communicate while playing with the slightest of looks, nods, and finger points to conduct arrangement, show approval, or laugh at the minor mishaps.
The community feel of the performance and the cafe is ultra comfortable. During the group's break, the coffee-sipping listeners gladly fill the bucket being passed—the up-lifting spirit of the families is contagious. There have been many Internet-based radio stations in Boston over the past few years—some more successful than others.
The site offers opportunities for artists to distribute their music and their message via recorded music and band interviews, which Jeff conducts weekly at, of all places, a local pizza joint somewhere in Metro West. I met with both Jeff and his partner, Kim Slamin, to gain a better understanding of the inner workings of bostongaragebands. Noise : How did you come up with this idea? I was just starting to get back into the music scene. I was creating my own CD and just starting to get my band, Bullethead, together.
This was just at the beginning of the boom of MySpace and all of the other free websites. They are great, of course. Noise : What were you looking for? Jeff : I wanted to know the back-story of the band—most bands sort of interview themselves or put up a bio on their MySpace or Web page.
I wanted to hear more about the bands. I listened to a podcast that was about Apple Macs and at the end of it they played a local band from somewhere around the country. I thought that the band was cool and I wished that I could find out more about them. I wanted to know what motivated them to write the song and what went into it. Do you have the technical background to start this? I had minimal computer experience. I started off with an Apple program called iWeb.
Everything is click and drag. I thought—hey I can do that! Jeff : I have a background in radio. I did the overnight shift at B up in New Hampshire. I worked on a Sunday morning show that is now an oldies station out in Worcester. This is giving me an opportunity to do what I wanted to do with music and radio. I love talking about music and this just seemed like a good idea for me.
Noise : Kim, how did you get involved in this? Kim : I sort of jumped aboard an idea that was already happening with Jeff.
I like to rush things. Noise : So Kim is the balance that sort of slows you down and makes you think before you just act? Jeff : Yes, exactly. Kim : Jeff is the creative one who likes to talk to bands and socialize. Instead, I plan the meetings keep the dates straight—more of the operational side of the business, I guess.
As far as creativity, it was already there. When I came on board, we re-vamped the site; we did the new design and met with the designers. Jeff : Um, yeah, the designers. We got it off of iWeb. Kim : [laughs] Yes, we did get it off of iWeb. As far as my background, I have more of a business background and not so much a musical one. I think we are a good team, he has the vision and I have the business background.
Noise : You obviously make a good balanced team. Jeff : Yeah, absolutely. There were selfish reasons for why I started it as well. I wanted it to be a social networking arrangement for other bands to get to know each other and be able to play shows together. It was cool for me to know that I was able to bring two bands together.
The glass-substrate CD is heavier and stiffer than the plastic disc, but is otherwise similar. My interest in this subject began in the mid-to-late s when I worked in a CD mastering lab.
In addition to being part of a six-man team that designed and built CD and Laserdisc mastering machines, my job included correlating problems in replicated discs with anomalies on mastertapes and the mastering process. A CD-replication client claimed that the discs we made sounded inferior to his mastertape. Not surprisingly, the data were bit-for-bit identical. In their view, we had done our job in delivering a CD with a bitstream that was identical to the master.
What more could one ask for? Nonetheless, I wanted to pursue this question, and cut another master from the same tape, but on a different mastering machine. The client reported that the disc made from this second master sounded significantly better than the first disc. There were no manufacturing differences between the discs; neither had uncorrectable errors or other problems that are routinely checked during QC.
My curiosity was piqued, so I had the jitter on both discs analyzed Stone a specialized piece of test equipment. To understand the concept of jitter in a CD, some background on how the CD works is necessary.
The playback laser beam is reflected from the disc to a photodetector that converts light to an electrical signal. The nine discrete pit and land lengths produce an amplitude-modulated signal at the photodetector composed of nine discrete sinewaves, which vary in frequency from kHz corresponding to the longest pit or land length to kHz corresponding to the shortest pit and land lengths.
The jitter analyzer counts the exact frequency of each of the nine sinewaves and then graphically plots their frequency distribution. The distribution is Gaussian, with most of the pit and land lengths falling very close to the ideal. On the disc that sounded inferior, the distribution was extremely wide, with large variations in the pit and land lengths.
Discover releases, reviews, credits, songs, and more about Stone Sour - Through Glass at Discogs. Complete your Stone Sour collection/5(18). Stone Sour are one of the most intriguing rock bands to hit the airwaves for some time. Not just because they feature two members of Slipknot (vocalist Corey Taylor and guitarist James Root) or the fact the have been nominated for three Grammy awards in their time together, but because theirs is a sound that is truly beguiling: shade and light all in one/5(3). Jul 02, · One Hell of A Live Performance Awesome Sound Stone Sour "Through Glass" Rock Am Ring Corey Taylor-Vocals James Root-Guitar Josh Rand-Guitar Shawn Economaki-Bass Roy Mayorga- Drums.
heavy rock sound, excellent songwriting and accomplished musicianship.” Memory File is a solid, quality offering of a collection of tracks recorded between November and February As veterans of the scene, having performed alongside Jon Butcher and Denny Laine, and as longtime members of the Cantab Lounge’s Fatback Band, Scott.
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Aug 01, · Anyhow, through glass by stone sour touches on the vulnerability that a human soul can unintentionally get subjected to when so many people are watching them. However, the lead singer also brilliantly adds a sympathetic angle to the song with the lyrics how does it feel and implying that sometimes easy answers are not always obvious/5(70).
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Ebonics (Explicit) - Marq C - Ebonics (Single) (File, MP3), Le Retour - Desireless - Greatest Hits (Cassette), 2. Problem - The Dass Sägebett - Musik Von Leuten, Die Eine Menge Probleme Haben (CDr), Youre Wrong, Paranoia - Saigan Terror - March Of Saigan (CD), Polynnesian Fever, Million Miles Away - The Armadillos (2) - Road Killed (CD), Nivunikonu, Jovink & De Voederbietels - Harder! (CD), Sonata In C Minor, K.37/L.406/P.2