Category Archives: New Release

Interview, Music, Music Video, New Release, Punk, Rock

Interview: James Alex of Beach Slang

25 January, 2016 Brian Mc 1 Comment

Unless you were living under a rock last year, chances are you have heard about a band called Beach Slang.

If you recall, they topped my best of 2015 list. This is all with good reason too of course.

In the event you are sitting there scratching your head at who I am talking about, perhaps I can persuade you into checking them out. Think about the Replacements, a juvenile Goo Goo Dolls, and Jawbreaker. Beach Slang is a perfect variation of those bands and still manages to hold their own sound.

James Alex fronts the punk outfit I am babbling about. You might remember him from the 90s pop punk act Weston. No? It’s ok, I am not judging you.

I personally have been a fan of Beach Slang since they released Cheap Thrills on a Dead End Street on their BandCamp page in 2014. I also remember rocking out to Weston years back (Got Beat Up on Go-Kart Records ruled!!!). It only made sense for me to try and interview James. Of course he was cool about it.

The Peter Pan of punk rock was happy to answer a few pondering questions from this fan – who am I kidding, it is a short novel… Check it out:

BHP: First off, what does it feel like to be in a band that had their debut full-length anticipated by so many fans all over the world? Your first two EPs personally won me over and I can not tell you how long I waited for you guys to drop The Things We Do To Find People Who Feel Like Us.

James Alex: It’s been overwhelmingly humbling and incredible and perfect and heart-swelling. I swear, there are times I randomly sit in some weirdo smile-haze trying to figure out how Beach Slang got so lucky, you know?

How did Beach Slang emerge after Weston called it quits? I am sure it was not an A to B process. With the timespan, one might think about just not even trying again but you all did. What inspired you to try?

I never stopped writing words and songs and stuff. I just sort of stayed hidden away doing it. When Weston was asked to play Riot Fest in 2009, our drummer couldn’t make it so I reached out to JP to fill in. While we were hanging out for that, I let him hear some things I had been writing and he told me they needed to be heard. I thought maybe they should, too.

I mean seriously, this shit happened so fast. How did y’all cope with all of the immediate attention? I actually heard that in NYC, the fans were already singing along to your songs the first time you played there.

There could be worse things than people digging the thing you’re doing, right? So, yeah, coping was pretty easy.

Your lyrics are so personable and seem to include anyone who wants to listen and relate. Were many of the lyrics written based off of past experiences growing up?

They all are, man. Every one. I just did this podcast and I summed it up like this: To me, Beach Slang songs are little two-minute novels. They’re about me and my friends and the things we’ve done, and they’re important to me.

I need to ask about the artwork on all of your releases and online. It is so classic in a sense with carefully selected photos with some that are then spliced or manipulated. Where did this idea come from?

I’ve been asked about my approach to the visual stuff I make and I chopped it down to this very accurate summary: Mary Ellen Mark, Craig Stecyk, 1970s California and The Smiths, in equal parts. That feels very Beach Slang to me.

Speaking of Beach Slang your style of music is like a fine mix of Jawbreaker, the Replacements, and even Goo Goo Dolls. Was that intended or when you guys started jamming out it just came together?

I had the first EP written before I ever played with the other gents so, yeah, it wasn’t a thing that came out of playing together. I’m not necessarily sure it was intended either. I think all the beautiful records I had been shoving into my ears finally shared themselves with my heart and my hands. Finally.

You are a punk DIY band. There is no arguing that. What was it like growing up a punker in Philly in the 90s?

I’m guessing probably a lot like growing up punk most other places—really, man, all of the things that really matter are pretty much the same. Kids feel misplaced so they write poems, pick up a guitar, start a band, make ‘zines, screen shirts, make posters—it stays the same because it needs to, right? We’re all still those same wrecked kids looking to feel not so alone.

How was it to play Fest last October?

Fest is this beautiful car crash of everything that fucking matters. For one weekend every year, a whole bunch of punks get to takeover a college town and throw really loud parties. You get to leave behind all the things you want to forget and make a whole bunch of good trouble you never will. Baptism by amplifiers…yeah, it’s heaven.

Touring is not always the most fun. Tell me about a rough adventure you and the band experienced.

We’re fairly easily entertained. That stuff helps. But, yeah, on our last U.S. tour, we were doing like 75 mph across some Texas highway when our trailer tire blew out and we went into some wild skidding. Stuff like that is kind of not fun. But, mostly, we’re pretty A-OK. I mean, we do this thing because we love it. If it wasn’t fun, at least most of the time, I’d look for something else that was.

How do you pass the time when traveling?

Writing, reading, getting caught in tourist traps, meeting strange, wonderful people, drinking good beer and sometimes, I even sleep.

How well does the band see eye to eye with that huge age range difference? Do any of you find yourselves shaking your heads sometimes at your bandmates?

The age thing is a completely invisible, total non-factor in Beach Slang. Finally, my wild immaturity pays off.

You toured with Cursive. How rad was that? How did Cursive fans dig your sets?

It was pretty damn dream-come-true, you know? Their fans were wildly open-minded/open-eared and whether they dug or us didn’t, they gave us an honest chance. But, yeah, we were lucky enough that, far and away, they really seemed to be into the thing we do.

If you could tour with any band, current or past, who would you choose and why?

The Replacements but, you know, only if they wanted us there. I spend enough time being inconvenient. Why?—to me, they are the blueprint of everything a rock & roll band should be. I dig every fucking thing about them.

What is your favorite roadside meal?

Cheeseless pizza—easily.

Are you all super stoked to be playing overseas soon?

Wildly. We went to the UK & Europe for a couple weeks last year and it knocked my socks off in the absolute best way. We split in two days and I cannot wait for every out-of-control moment of this lovely time.

You’ve played my hometown of Cleveland a few times with a bunch bands I am pals with. What did you think of the city when you visited?

I dig it big. Look, for me, rock & roll is holy. And being able to have at the Hall of Fame is really right-on. There’s also a whole bunch of really sweet humans hiding out there. I cannot wait to make soft trouble with them again soon. Oh, and Melt is delicious.

Melt IS delicious… Have any of you received a compliment over the years from a fan that stuck with you you in a positive manner and impacted they way you make music?

“I was going to kill myself and your songs made me not do that.” Yeah, that one will stick around for the rest of forever, you know?

What does it feel like to see all of these tattoos with Beach Slang lyrics pop up? I seriously need to add one to my personal human canvas.

I wanted to be a writer long before I ever picked up a guitar so, yeah, words are big, necessary things to me. What I mean is—those lyric tattoos mean fucking everything to me.

You guys are active as hell on social media. Do you get a lot of fans contacting you all of the time? How important is it to respond to everyone and not just ignore the appreciation?

Thanks, man. The Slang social media is all me. I mean, I write all the time. That stuff gives me a place to go with all of these words and pictures I make. I suppose you could say people contact me a lot, but that’s the whole thing, you know? It means everything. If writing back, thoughtfully, to everyone means less sleep for me, that’s really the least I can do. Look, it’s not lost on me how lucky I am that people care enough to write me a letter or care enough about Beach Slang or care enough to even participate in rock & roll. I want to always say ‘thank you’ and I want them to feel how sincerely I mean it.

Having grown up in the 90s myself, there are quite a few bands that I appreciated and do to this day, one of them being Hum. What bands from your past are you still obsessed with?

The Replacements, The Psychedelic Furs, Jesus & Mary Chain, The Pixies, The Smiths, The Clash, Jawbreaker, The Buzzcocks, Senseless Things, Tommy Keene, fuck, man, this list could go on and on for far too long.

I know your debut just dropped just last Fall, but as a Beach Slang fan I have to ask…when can we expect a follow up?

I have half of LP2 already written and home-demoed. The other half is finished in its skeletal state. I just have to work out the guitar overdubs, vocal harmonies and finalizing lyrics. Meaning the hardest part is already sussed. Then, it’s on to teaching the other Slangs and going into the studio. I plan on doing that before leaving for our full U.S. tour in late April. And releasing the thing in the Fall of 2016. We are also recording Mixtape Volume II and I’m recording a Quiet Beach Slang record with my acoustic guitar, a cellist and pianist. Both of those will be available before LP2. Yeah, this year is going to be alright.

I am seriously excited about all of that…thank you. Your debut dropped on Polyvinyl, a label that happens to have Japandroids on. Can you please just tour with them in my backyard? I’ll grill tofu or beef. I hope you like babies and dogs.

You set that beautiful thing up and we’re there. We’re a band of vegetarians so, yeah, tofu works. And we dig both babies and dogs. So, yeah, let’s have a go.

Finally, did any of you ever think Beach Slang would blow up the way it did? Maybe you don’t think you have, but damn…tons of people adore you.

No way, man, not even a little. The most I ever dare to hope is someone might care, that something I write might matter. I hope it does. Thanks for making me think that maybe that might be.

The Things We Do To Find People Who Feel Like Us is available on LP/CD/Cassette/Download from Polyvinyl Records.

Acoustic, Folk, Music, New Release, Punk, Review

Album Review: Sam Russo – Greyhound Dreams

16 November, 2015 Brian Mc Leave a comment

There’s something to be said about storytelling and incorporating it into music. Sam Russo does that without skipping a thought or a beat.

(Speaking of beat, I should be clear and note that I am talking about the musician Sam Russo, not the button pushing DJ. I just wanted to make myself clear there. Thanks.)

Hailing from Haverhill, England, Russo has been playing his own style of a punk-ish Americana folk-rock for years now. Having released his debut over 3 years ago, Greyhound Dreams (Red Scare Industries) is an impressive follow up.

Russo is not just another punker with a guitar and some pent up anger. When I listen to him, I think of a hybrid mix of Tim Barry, Dave Hause, and Frank Turner. The beauty of Russo is that his music does not sound like a rip off of any of the previously mentioned and is genuine and at times flooding with anguished, heartfelt memories.

Opening track “Sometimes”, a blatant blast at a harsh personal outcry, was simple yet whole, especially when others jumped in to sing along in the chorus. The song was depressing as hell when you realize why Russo admits being unruly.

“Dream All You Want” contained so many visuals in the lyrics that I had to listen to it over a couple of times to my mind could settle down. Russo singing “you either chase your dreams, or you chase your dreams away” made it clear to me, this was not a happy song. This song wasn’t just about dreams, it also was the unspoken reality of those dreams never coming true.

“Crayfish Tales” was one of the better tracks on this album in my opinion. I swear to god, this guy and I have lived in the same shoes at one point in our past. I almost predicted that he was going to sing a couple of times. “Runaways” was also a great tune and a little more upbeat and personable.

I loved that “Forever West” spoke on Russo’s journey that he experienced in the states. While listening to it, I could not help but think of my own past experiences from the time I stayed in a ghetto Motel 6 in the hood of Baltimore to when, years later, my fiancé and I drove 2800 miles to New Mexico almost non-stop. It really hit home, especially when he sung about the sun coming over the mountains as I experienced that and it was amazing. It was like a musical observation, but different.

Russo sang his heart out on “Nobody’s Fool”. I feel that this was a more important track for him as reminisced on his past pain caused from heartbreak. “I would give you everything and just disappear” was sung towards the end making for a true statement of love.

“Western Union” closed the album down strong. Things picked up in the middle with some extra help on vocals, but mostly Russo held this song down solo. Not the happiest of stories, but incredibly impactful on those lonely memories.

Russo touched on something often on Greyhound Dreams that I think we all need to consider: Life is short and full of difficulties. We’ve all been through a personal hell at some point, but Russo really leads by example in his songs (and even song titles) by singing about moving on and never stopping. No one ever said being a human being was an easy thing.

I will be honest and say I never gave Russo the chance I should have. I missed out, that is a fact. Hell, the dude even supported The Falcon overseas and I still was lame and did not buy everything he ever recorded. (Disclosure: I would have been privy to Russo years ago had I made it to that Tim Barry show at the Grog Shop…)

If you are a fan of early Frank Turner music, you will adore this album. I am not sitting here trying to compare the two, I just know what I like, and Greyhound Dreams is pretty outstanding. Russo has won himself a new fan and probably a whole lot more once they give him a well-deserved chance.

With the year coming to an end, I just found myself another album that needs to be penned onto my best of 2015 post. Nicely done Russo. I look forward to hearing more from you.

Acoustic, Interview, Music, New Release, Punk, Rock

Interview: Joey Cape (Lagwagon, One Week Records)

1 November, 2015 Brian Mc 1 Comment

Fest. Fest. Fest.

I was not there, so I interviewed Joey Cape. I guess that is the next best thing, right?

Cape and his band Lagwagon just stopped at Fest in the middle of their tour to play a Halloween show. Based on the photos and videos I saw on the good ol’ internets, they donned King Diamond’s look and played a killer set.

Now, many of you know that Cape is a busy guy. Not only is he touring with Lagwagon right now, but he released Stitch Puppy, an all new solo album on Fat Wreck Chords that has really exceeded my expectations. Seriously, you should probably check it out before you read my interview so you know I am not just kissing booty throughout. I sincerely enjoyed it.

For a guy that is pushing 50, he does not seem to be slowing down one bit. Not only is he focused on his music, but he is also still continuing with One Week Records. On top of that, he is a family man. A true hero if you ask me.

I managed to get Cape’s attention the other day and was able to chat about Stitch Puppy, Lagwagon, and even other avenues. At the end, I was even able to get some fanboy questions answered. Let me just say that the final question was answered amazingly.

Check it out, and enjoy:

BHP: Man, Stitch Puppy was beautiful. Was the concept of this album leaning towards a darker path? I am not saying all tunes were gloomy, but it certainly had a somber feel to it.

Joey Cape: Well, I just decided to make it somewhat conceptual in a very broad sense. It was all written within the idea of the doll Stitch Puppy itself. It’s a victorian morning doll my daughter and wife made me. I had had a tough couple years with the death of a few friends, a falling out with an old friend, and a friend going to prison for a capitol crime. The lyrics simply represent the last couple of years of trauma in my life and the lives of others. In that way, the lyrics are no different than what I always write about. I guess I have always been most inspired by the dark side of life. It rings more true to me.

I loved the piano playing in “This Like IS Strange”. It seriously intensified the song for me, especially towards the end. Tell me, who is the monkey in this song?

I’m glad you like it. The piano is my friend Brian Wahlstrom. We have been working together for the last 5 years. We have co-written music together, his and mine and done extensive touring. I just love the way piano fills up the sound and adds tone. Brian and I have a great musical report. I am not going to share the “Monkey” name. Haha. I make an effort now to be discrete. I have gotten into a lot of trouble in the past for being too transparent.

You took a great song from a totally underrated album of yours, re-recorded it with Chris Creswell, and more or less blew my mind. Why did you select “Spill My Guts” off of that The Playing Favorites album?

I have done very little touring with that band and always wanted to play the 5 songs I wrote for that record. It just seems like the best way to re-introduce them by recording them acoustic. I don’t think any of them would work for Lagwagon.

“Moral Compass” was more folky sounding than the other tracks. Who helped you out with this song?

It was a song I originally recorded with Lagwagon for the “Hang” album. It didn’t really fit that record so I decided to do the Stitch Puppy version. The solo was written by Chris Rest of Lagwagon. I asked him if it was cool to use it. Otherwise, it was mine but, I think the reason it sounds a bit different is because I wrote it as a letter to a child and that effected the overall tone of the song. It’s supposed to be a soft delivery I suppose

“Tracks” was so emotional. Seriously, I just got chills listening to you sing “he would lay down on tracks for you”. Who was this song about?

“Tracks” was originally entitled “I Would Have Laid Down On Tracks For You”. A better title but too long for the layout. Haha. I wrote it in third person because it felt more like a story with empathy and less defensive that way. I wrote it as a letter to an old friend. Someone I knew for 30 years and recently had a falling out with. As far as I am concerned I was a scapegoat. Sometimes couples choose that “Me against the world” role in their relationships. They just have to cut friends almost randomly to keep it together. It’s a shitty move and difficult to forgive.

Tell me more about your daughter and the doll that inspired this release.

Yeah, it was all her doll and catharsis. That doll is my most prized possession and it speaks to me. There is something about a child’s ability to give a pure uninhabited view through their art. That sort of thing gets forced out in my cases by this overwhelming world. It’s beautiful and sad but vital to site and source.

I take it the cover art for this album is a representation of said doll? It’s like Powder meets the Nirvana smiley face, but different.

I thought it would be a good idea to embody the doll. It was fun to play the personality I imagined Stitch Puppy would have. I made a video for “This Life IS Strange”. I walked all over San Francisco in that get up. People starred. It was unnerving.

Can I ask, did you treat Stitch Puppy like a One Week Records recording and left it completely raw, or was there some mastering involved?

It was raw at its base. Brian Wahlstrom and I recorded the basics live at my studio just as I do the One Week Records I produce. It was aesthetically inspired by those records. I did bring some additional instrumentalist in for overdubs and had some guest singers lay down background vocals. I like the idea of not being precious with the production and going for the stripped down vibe. I like the idea of a more pure performance.

Were you able to get a lot of friends to help you write this album, or was most of it done by yourself?

I wrote the songs very quickly, then took them to my writing partner Brian Wahlstrom. Brian calls me out when I’m doing the same old same old. He’s the best sounding board I have worked with. We added a few parts, bridges, etc. and we tightened the arrangements up.

How tough is it to balance all you have going on in life? You have your solo material, Lagwagon, and One Week, plus a family on top of that. How do you do it?

As far as music goes, I just keep working and whatever is in front of me is what gets my full attention. It looks more difficult than it is. I don’t like down time. My family is of course, the most important thing to me and I would spend more time at home if possible. Unfortunately, we all need to work. At least I have a great job that I love even if it takes me away from them.

This was your first solo release in 5 years. Can we expect another one in the future?

I hope so. I just write songs and make records accordingly. It’s hard to calculate the best home for the songs. Lagwagon always gets the first right of refusal.

How’s touring going? Do you prefer the solo route or do you enjoy being with Lagwagon?

I like them both. They compliment each other. They alleviate the tension that either can bring. Sometimes a song gets lost in the band dynamic and that is where my true love lies. Doing the acoustic thing keeps that aspect alive. But I need the energy of the band too. They are both like addictions.

What does it feel like to be on an independent label that just passed the 25 year mark?

It feels great. I can’t say enough about the subject. We are so lucky to have foregone the drama and ups and downs of label change. Fat is an absolutely awesome label and they have always respected us and our wishes. We haven’t never had our integrity challenged by them. They support us unconditionally. We are the fortunate ones.

What’s one thing you can tell me that Tony Sly taught you about yourself musically?

Tony reminded me that it’s okay to do anything you want to do in songwriting. I think I reminded him of that fact too. We both recognized each other’s go to chords and melodies and I believe we both reminded each other that it’s okay to have them. They become your personality as a songwriter, your style. They can be a gift if allowed and appreciated.

Did you ever think you would be where you are today? Look at all you have accomplished as an artist. I seriously doubt you have even reached your peak.

Thank you. No, I am always surprised by every step. It’s just one of those things you are gracious for or not. I am very aware of my fortune, to be doing what I love and the ability to nurture it. I know how lucky it is to be able to spend nearly all my time doing this. I used to paint houses for a living. That is a great job and I loved that too but, this is better.

Not everyone can get into your solo stuff. I think sometimes as we grow older, our tastes change and we appreciate a good sounding acoustic track. I guess what I am asking is, which do you prefer more, Lagwagon or your solo material?

I have always loved both but I am a song guy. That’s what it’s about for me. I don’t really care much about the format. I listen for the hook, the lyric and want to identify. That is the universal language we all can speak.

What is this Cape karaoke that I keep hearing about?

I have no idea. Maybe it stems from the few shows over the years where I got sick and lost my voice. When that happens, we opt for Karaoke rather then cancelling the show. It sucks but it’s fun.

What’s next for Joey Cape?

Good question!

BHP FANBOY QUESTIONS:

I was hoping to talk about Bad Astronaut for a quick moment if you are cool with that. How did you get John Popper of Blues Traveler to play harmonica on “Our Greatest Year”?

My wife and him grew up together. I met him through her. I asked. He said yes. That simple. I doubt that will ever happen again.

So what is the fate of Bad Astronaut? Grated you stated there was no Bad Astronaut after Derrick passed on, but reforming in 2010 to play the band’s first live show as well as hints of a b-side album have gotten some of us fans curious.

Well, we still have a bunch of unreleased material but I have used many of the song ideas for other projects over the years. We have done a few tours but have had some drama with drummers and other members life schedules. We are all still very close and I imagine we will eventually record together again. They are amazing musicians and some of my closest friends.

Have you, Wahlstrom, and Snodgrass ever talked about maybe continuing with Scorpios or starting another project collectively?

Funny you ask. We are talking now. Jon and I are going to start working on some stuff in February and there is a new Scorpio in town. His initials might be C.C.. I’ll leave it at that.

Stitch Puppy is available on CD or LP at Fat Wreck Chords.

Cape and Lagwagon are currently on tour. If you have never seen Lagwagon live before, do yourself a favor and check them out.

Date	Location	Club	Details
10/30/15	Ft. Lauderdale, FL	Revolution	w/ PEARS, Runaway Kids
10/31/15	Gainesville, FL	The Fest 14!!!
11/2/15	Pensacola, FL	Vinyl Music Hall	w/ Riverboat Gamblers, PEARS, Runaway Kids, Broken Gold
11/3/15	New Orleans, LA	Parish at House of Blues	w/ PEARS, Runaway Kids
11/4/15	Houston, TX	Warehouse Live Studio	w/ PEARS, Runaway Kids
11/5/15	Corpus Christi, TX	House of Rock	w/ PEARS, Runaway Kids
11/6/15	San Antonio, TX	Paper Tiger	w/ PEARS, Runaway Kids
11/7/15	Dallas , TX	Club Dada	w/ PEARS, Runaway Kids
11/8/15	Austin, TX	FFF Fest	Fun Fun Fun Fest
11/10/15	Scottsdale, AZ	Pub Rock	w/ PEARS, Runaway Kids
11/11/15	Las Vegas, NV	Fremont Country Club	w/ PEARS, Runaway Kids, The Breifs
11/12/15	Santa Barbara, CA	Velvet Jones	w/ PEARS, The Runaway Kids
11/13/15	West Hollywood, CA	Troubadour	w/ Bobgoblin
11/14/15	San Diego, CA	The Observatory	w/ Runaway Kids
11/15/15	West Hollywood, CA	Troubadour	w/ PEARS, Runaway Kids
11/23/15	Tokyo, Japan	Makuhari Messe	Fat Wrecked for 25 Years in Japan w/ NOFX, Strung Out, Good Riddance, Snuff, Swingin’ Utters, Western Addiction, Masked Intruder, toyGuitar and more!
11/26/15	Byron Bay, Australia	The Northern	w/ The Flatliners
11/27/15	Brisbane, Australia	The Triffid	w/ The Flatliners
11/28/15	Sydney, Australia	Metro Theatre	w/ The Flatliners
11/29/15	Central Coast, Australia	The Entrance Leagues Club	w/ The Flatliners
12/2/15	Geelong, Australia	Barwon Club	w/ The Flatliners
12/4/15	Melbourne, Australia	Max Watt’s	w/ The Flatliners
12/5/15	Adelaide, Australia	Unibar	w/ The Flatliners
12/6/15	Perth, Australia	Amplifier	w/ The Flatliners
2/26/16	Curitiba , Brazil	Music Hall
2/27/16	Sao Paulo , Brazil	Clash Club
2/28/16	Rio De Janeiro , Brazil	Teatro Odisseia
3/2/16	Buenos Aires , Argentina	Groove
3/4/16	Santiago , Chile	Teatro Cariola
3/5/16	Lima, Peru	Festiva
3/6/16	Bogota , Colombia	Festival Skate Punk

Cleveland, Indie, Music, New Release, Review, Rock

Album Review: Seafair – The Querencia

27 April, 2015 Brian Mc Leave a comment

Cleveland’s Seafair is about to turn some heads this year.

I know I have talked about a lot of Cleveland acts on my site, but this is the first time I have spoken on a band that is this incredibly multi-genred.

Seafair has been doing their thing since 2012 and is comprised of six amazing musicians whose roots dip into an impressive and diverse dynamic of musical styles including everything from classical to punk rock. The Querencia is the band’s debut release and is dropping next month.

Lead vocalist Chayla Hope has a voice that demands to be heard by anyone willing to open their ears. Its deeper, powerful style is more Juliana Hatfield over Adele/Lorde (from what I have heard via mainstream radio, honestly I can’t stand either of those two). Seriously, it is a bit fierce and a whole ton of passionate.

Side note: Having been good pals with Seafair’s drummer Ryan Kelly for at least 10 years now, there was no way I was not going to talk about this new band. On another side note, I used to work with Andrea Bleding Elson’s husband at an EB Games back in the day. Small world…

A classical intro to the album set me back for a moment as I became enthralled in the peaceful composure that morphed into “Vultures”. I am not going to lie, I was not terribly impressed with this track and although Chayla Hope had a forceful and beautiful singing voice, the track itself did nothing for me.

“DIM”, however, was the complete opposite. I adored this track on so many levels. From the string playing to the infectious drumming of Sir Kelly, everything about this track was likable. Perhaps it was the Björk-like melodies and singing towards the end that grasped me. I almost hate myself for admitting I did not like the prior track, but then again, I am one one of millions of opinions out there. This track though was a solid jam and everyone needs to check it out.

“Inferno” followed with a bellowing Hope singing her heart out. This was one of the tracks I could image sounds so much better live on a hot summer night.

Hearing the “The Score” was like hearing an orchestrated indie rock track like none other. This song built up so nicely and once the guitar playing picked up at the peak of the track, I was quietly rocking out here to it. It was like one of those songs that is a story that builds with excitement. My only quarrel with this track, is I wish the story lasted a little longer.

I am fairly certain “Ohio” was written about me and my return back to my favorite state in the world. I am also positive that is not the case at all, but I’m ok with thinking that. Honestly, this track about love growing distant was amazing to listen to. I loved the breakdown at the end that changed things up. This was one of the best tracks on the album in my opinion.

“Discovery” was another fantastic track. I am sure this may be misconstrued in a sense, but this track was like listening to Foxy Shazam with a female singer. Hope’s range on this track was just all over the place and perfect throughout. I also got a kick out of the back up vocals that interjected throughout. The more and more I listened to it, the more I loved it.

Quick props need to be given to the Ween-like guitar solo in “Not A Cure”. The track overall was intense to listen to and it just erupted at the end.

Seafair to me is festival music, you know, the kind is best heard live during warm summer nights. I know they were trying to play Bonnaroo but sadly did not win a voting competition. That’s the voters loss, I think this band would kill it at the ‘Roo. Regardless, they will play shows and they will turn heads. I know it.

The Querencia is a beautifully put together album that is not over produced and spans over so many genres that I feel it will be difficult for anyone to not enjoy some part of it. The album really grasps your attention throughout and treats it to a fine listen.

I was not expecting Seafair to sound the way they did, and that’s ok. Surprises in music are one of my favorite things in life and I really hope others experience that feeling too.

00's, 70's, 80's, 90's, Acoustic, Cleveland, Indie, Music, New Release, Punk, Review, Solo, Vinyl

7-Inch Reviews: Jonathan Richman – “O Sun” & “Keith”

5 April, 2015 Brian Mc 1 Comment

Sometimes a review is tough to start. I find myself sitting here trying to think of how I am going to select the right words to create an introduction to the musician or band that I would like to share with the world.

I find this blog entry particularly a little more difficult to start out with not only because I am a huge fan of the musician of the EPs I am about to talk about, but I am equally a huge fan of the label that has put them out.

Blue Arrow Records is not only a brick and mortar staple in Cleveland thanks to their amazing selection of vinyl, music memorabilia, and other vintage goodies, but they are now a record label.

Makes complete sense to me.

I have been a fan of Blue Arrow since they first set up shop in 2009 and think the world of owners Pete and Debbie. Not only do they run one of my favorite stores in my neck of the woods, but they are also quality humans. I am lucky to know them and was floored when they told me they were going to start their own record label and first on the roster was none other than Jonathan Richman.

I adore all things Richman. Chances are if you are reading this, you might too. If you do not, I highly encourage you to check out anything Modern Lovers or just jump into Richman’s solo material. His style is unforgettable and almost always is in the most upbeat approach. Richman always has seemed to put me in a good mood.

This month, Blue Arrow Records is releasing two 7-inch singles by Jonathan Richman including four songs: “O Sun”, Wait Wait”, “Keith” and “They Showed Me the Door to Bohemia”. These are the first releases by Richman in five years.

I need to pause for a second and let you all know that I have been holding off on reviewing these 7-inches until I could literally just down and spin them endlessly next to me. With luck on my side this past Friday, I was able to set up a listening station of sorts by my desktop with the full intention of listening to these releases and reviewing them.

Moving along…

The 7-inches are both beautifully pressed with “Keith”/”They Showed me the Road to Bohemia” in white (33rpm) and “O Sun”/”Wait Wait” in turquoise with light hints of red (45rpm).

“Keith” paid tribute to the one and only Keith Richards. I loved the line Richman said regarding Keith’s style was “not exactly the blues cause it’s sorta European too.” “The Showed me the Road to Bohemia” was a spoken word jam by Richman that was relaxed yet joyless. Richmond can’t always be a ray of sunshine folks. He is human after all.

“O Sun” carried a more vintage beachfront island sound that I really was not expecting but completely loved. It was nothing too technical and quite repetitive, but mysterious like something you would hear in an old school James Bond movie soundtrack. “Wait Wait” really reminded me of the young Richman post-Modern Lovers I had adored for so many years. Plenty of clapping and good times were thrown in this jam with thanks to Juanramon Jimenez, a poet who Richman claimed “helped me express a feeling.”

I know I tend to tell everyone what I like and honestly, that is the whole premise of this little blog I have been holding onto for a while. If can find just one person out there who has not heard of Richman yet and they turn into a fan, then my job is done. I do this because I want to and there is no other reason.

Both 7-inches only have me excited even more for the full length that Blue Arrow Records aims to release this fall. Until then, you can stop in the shop and pick up both copies or click on the album covers below to place your order today at Blue Arrow Records ($10 each + shipping):

I find my posting of this appropriate with the statement that Pete released about Blue Arrow Records and their involvement with Record Store Day. If you have not read it yet, please do. It is a highly well-written discussion about his somber decision to not partake in perhaps the most popular retail event for independently owned record stores.

My thoughts about RSD are not as strong as they once were and I blame the greedy (the labels and the flippers). Where I love to see people standing in line to buy limited pressed releases, I feel it has gone too far and has turned into just another way for big business to make their money as well as shady flippers who throw them up on eBay and make a killing (sometimes even before RSD).

There are too many releases to even count this year and honestly, there were only maybe two that I might have raised an eyebrow about. What I am trying to get at was that I wasn’t excited about this year’s RSD offerings. Hopefully not everyone agrees with me and still will be lining up at their favorite local shop next week.

There may not be new pressings coming out that I give a crap about, but there are stores like Blue Arrow Records with tons of old and previously loved releases that I will happily flip through with hopes of finding a gem.

Don’t dismiss RSD. Remember it is about records, not just the new re-re-re-repressings on an 138 gram glitter-gold pressing with hologram download cards. Go out and support your local record store and find something that you can call your own.