Death Songs

Sinking Suns

Independent Release, 2016

Primitive and moving with an animal instinct, the Sinking Suns skulk warily through familiar territory, bristling with an nervous unease. Prowling and staying on the defensive at the same time. This recording is feral.

Sinking Suns, from Madison, Wisconsin, have managed to tap into that magical place where noise and melody manage to collide and somehow avoid being either one, exactly. Noisy bands often forgo any sense of musicality in strict favor of chaos. And there’s more than enough bands focused on pretty melodies. Sinking Suns manage to walk this tightrope with ease.

Singer Dennis Ponozzo, at the end of his manic, howled lines, occasionally sounds like he’s channeling Gibby Haynes. The guitars are filthy. Gritty and soot covered, they favoring longer, fluid lyrical lines, revealing a poetic side one wouldn’t readily expect. The bass is throbbing and drumming uncluttered, focused always on the songs.

“Death Song” is an anguished whirlwind of sound. Frustration and anger filtered through distortion.

“The Pit”stumbles to life, like some new beast learning how to walk; or a drunk trying to keep his footing, but dogged and determined nonetheless. The bass and drums carry this monster forward.

Post punk, but only barely, this is album is one long tear. The way a great Neil Young album only ever really shifts gear slightly between numbers, this is nine comparable musical musings. They’ve unearthed what came before them, scrawled a Sinking Suns tag on it, called it their own, and it’d be hard to argue it isn’t, exactly.

The disc closes with “The Escape.” The song careens headlong, pushing as if to build enough speed to burst out of some personal torment, if only to be able to breathe freely for the first time in a long time.

This is what new life sounds like. Beautifully chaotic, soiled, covered in muck, terrified and hopeful all at once. Coming into existence by sheer will will alone, and nothing more.

www.sinkingsuns.bandcamp.com

The Electric Pinecones

Southern Culture on the Skids

Kudzu Records. 2016

Southern Culture on the Skids, house band for the perpetual house party, have a secret identity. And if their ego is a boisterous, rabble rousing, perennial good time, then their ID would have to be more pensive and introspective.

Who knew?

Early on SCOTS wrote a bunch of songs which didn’t exactly fit with the regular set, and the band would occasionally perform them as The Electric Pinecones, sometimes even opening for themselves. This latest release re-examines that folkier, sometimes psychedelic sound the band was so fond of.

The albums lead single, “Gray Skies” is austere and starkly beautiful, with vocals courtesy of Mary Huff. Moody and captivating, the songs calls on the memory of The Electric Prunes, and is mesmerizing. “Given to Me” finds Rick Miller and Huff harmonizing and sounding sweetly hopeful. This song would have been at home with their Countrypolitan Favorites CD. Mary Huff’s vocals are once again in fine form on “Dirt Road” Restrained and rock-steady, the swampy reverb-ed amps drip with Spanish moss, the smell of tobacco growing in fields mixing with salt air.

But SCOTS can never quite shake their playful side, nor would anyone want them to. An older song, the uptempo “Swamp Fox – the Original” is a carefree hip shaker. “Rice and Beans” is breezy and fun. “Downward Mobility” is a loose, end of the night jam, and unwinds lazily.

Closing out with “Slowly Losing My Mind” the band quietly simmers, like a great Sunday morning fog lifting number. Miller, Huff, and Dave Hartman continue to be reliably entertaining and manage more than a few unexpected surprises here with stunning results.

www.SCOTS.com

Head Carrier

The Pixies

4AD, 2016

Head Carrier is the seventh and most recent album by the Pixies and it sounds a lot like The Pixies.

L-R: Paz Lenchantin, David Lovering, Joey Santiago, Black Francis

Musically more in keeping with their catalog from the first time around than their grab bag release, Indy Cindy.

This said, Head Carrier isn’t Trompe le Monde. Or any other first time around releases. Opening with the title track, it’s a beefy shout along inspired by the decapitated, but undaunted, St. Denis, of all things. “Baals Back” growls and spits ferociously with chiming guitars in the chorus, and clocks in under 2 minutes.

After three years as a touring bassist Paz Lenchantin is now a full time member of the band. Lenchantin handles lead vocals on “All I Think About Now,” a song written by Francis. “Tenement Song” and “Bel Esprit” both deliver hooks and distorted mid tempo tunes designed for radio.

This is a solid Pixies release. There’s more really strong songs here than not. There’s loud-quiet-loud dynamics. There’s peculiar lyrical imagery over top of aggressive and/or punk-ish musical musings. Whether you think of this album as a grimy piece of pop, or snappy, hooky alternative, is entirely up to you. These worlds collide and produce The Pixies.

And if you’re still pissy about this not being as perfect as EVERYTHING else they ever produced, you can add your comments to everyone who hated the latest Sabbath album because they didn’t re-write Paranoid only different. Join the people who resent The Dead Kennedy’s and Sublime for not having built time machine’s back to their heyday. Your bitter disappointment isn’t the bands fault. It’s your own unrealistic expectations of what something you loved in your youth should still be.

The Highwaymen Live American Outlaws

The Highwaymen

Legacy, 2016

If you like Country music, you know the kind chock full of cowboys, whiskey, heartache and real loss, this is about all you’ll need for a spell. Three CD’s and a concert DVD of The Highwaymen captured live in 1990, when all four of these legends in their own right, were at the top of their game.

The Highwaymen, for all ya’ll who are a might too young to recall, were Johnny Cash, Waylon Jennings, Kris Kristofferson, and Willie Nelson. You’ll be hard pressed to find a stand out star or a slouch in the bunch. These four keep each other on their toes and it’s hard to nail down a single stand-out track as the next is as good, or better, than the last.

And the sheer number of hits on this disc is impressive. Time was you’d hear a collection this complete advertised as “not available in any stores!” Each artist gets his turn at bat performing some of their best known material. “Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” “Folsom Prison Blues,” “Sunday Morning Coming Down,” “Me and Bobby McGee,” and on, and on, and on.

On disc Three we’re treated to performances from Farm Aid V, and VI. A version of Bob Dylan’s “One Too Many Mornings,” recorded by Cash and Jennings on the pair’s 1986 duets album,Heroes. Is here performed by Nelson and Kristofferson, sharing lead vocals on the sole studio recording in the collection. Watching the DVD reveals what one already suspects from the discs, they are having a great time on stage.

If contemporary country music leaves you underwhelmed by it’s never ending cycle of mediocrity, and it should, look back. To heroes that were screw-ups, malcontents, and entirely disreputable. Look back and see how well this suits you.

www.highwaymenmusic.com

Legacy Live

The Outlaws

Steamhammer, 2016

The Outlaws are Southern rock royalty. There was a time in the 1970’s when the South,and Florida in particular, was the center of the rock universe. The Outlaws did the exceptional feat of balancing rock, jazz and country, with emotional lyrics and imagery that refrained from being trite or cliche. Songs would contemplatively ask forgiveness, and by turns seek otherworldly retribution to right wrongs. Beer drinkin’ and Hell raisin’ were not their first order of business.

Now reformed with founding members Henry Paul and Monte Yoho leading an invigorated lineup, the band has released an impressive retrospective live CD spanning the bands career. The hits you’d expect and want are here “Knoxville Girl,” “There Goes Another Love Song,” and other 70’s staples all represent. “Cold Harbor” from 1986, is rolled out with a tender and thoughtful rendition.

Newer song, “It’s About Pride” is a carefully considered defense of Dixie. Where some outsiders strictly consider the rebel past as full of hatred, the Tampa natives take this opportunity to address a deeply complicated history as best they can. Instrumental “Waterhole” conveys lighthearted fun as the band struts lively with this Texas two-step. “Freeborn Man” shifts from swampy rock to introspective swing and back again.

Every band from this time who was worth half a damn had their own epic guitar workout number. The Outlaws had two, and they close out the disc. “Green Grass and High Tides,” and their re-working of the country classic, “Ghost Riders in the Sky.” Both are solid, but the performances feel more nuanced and refined than earlier versions which relied more heavily on brawn and grit.

The Outlaws music holds up remarkably well and there’s plenty of gas left in the tank. The strength of the newer songs is proof positive. The vocal harmonies seem sweeter than before. The playing is extraordinary throughout. The Florida guitar army isn’t ready to retire quite just yet.

www.outlawsmusic.com

Citizen of Glass

Agnes Obel

Pias Recordings, 2016

Danish musician Agnes Obel constructs music with the same delicate strength spiders use silk to create webs. Impossibly strong and fragile at once. The thin lines of melody reflect light easily and convey genuine emotion. Under the right conditions, these creations could collapse or last a hundred years.

Airy, flitting melodies rise like wisps of smoke, hard to ignore and drifting away, out of reach. What might initially appear to be a flimsy melody arcs and bends the way saplings in a storm do, twisting, before finding their way back. Citizen of Glass works as a longer piece, to be listened to from start to finish. A starkly intimate window to an artist who sounds and feels achingly vulnerable here.

There is a neo-classical mood running deep here. Obel manages to deftly sculpt sound to her bidding, creating beatifically tender soundscapes which float effortlessly.

www.agnesobel.com

Enjoy the Ride

Float like a Buffalo

Independent Release, 2016

From Denver comes Float Like a Buffalo, a genre blurring, good time sort band perfect for a summer festival or your next backyard shindig. There’s funk, adorned with indie rock and Americana touches. And the band is aptly named. They can lay down solid earthy rock, or lighter, folkier numbers with equal ease.

Title track, “Enjoy the Ride” starts as a smooth shuffle and reminiscent of Colorado legends, Leftover Salmon. “This Moment” has some quirky lyrical imagery in the middle that’ll make you wonder if you really heard what you think you heard.

“Whiskey Dreams” has a great driven, stomping beat to push it deep into the recesses of your mind where earworms make themselves at home. The band plays it close to the vest, focusing on the substantial groove.

“Smile for the Camera” has an ass shaking groove topped with bright guitar leads. The song affords bassist Jason Clukies the chance to reveal some serious funk chops.

It’s hard not to like Float Like a Buffalo. They don’t seem to take themselves too seriously, but seem to be having a really good time as they do it.

www.floatlikeabuffalo.com

Put Me On

One Way Ride

Independent Release, 2016

From Denver, Colorado comes contemporary blues band One Way Ride, with strong harmonies and burning guitar leads.

“Devil’s Eyes” kick starts this disc with a deep groove and a dirty, searing guitar sound. The song is ready made heavy rotation on your permanent playlist.

“1100 Miles” is hard edged boogie, and it paints it’s own picture immediately. From the opening measures it’s not hard to imagine it playing out over a taxed PA in a crowded roadside bar where Harley’s occupy each and every parking spot out front.

“Man I Am” is a slower acoustic number where vocalists Lyle Work and Laura Rose duet. It’s not some slick, overly produced number, but emotionally raw. “Waiting” closes out the disc. A slow burning, intense set closer. Anguished and colored with some fiery guitar leads, the song works through personal loss as best it can.

One Way Ride easily distinguish themselves in a crowded field of similar acts.

www.onewayrideband.com

World Gone Mad

Suicidal Tendencies

Suicidal Records, 2016

Suicidal Tendencies have seen it all. They were skate punks before the term existed. They were hardcore and naturally mutated into a thrash act; blurring the lines where punk and metal meet. These days, they are all this and more.

They kick this disc off with “Clap Like Ozzy,” a warily optimistic blast of speed and attitude. “Death is knocking, don’t answer the door/There’s never a good time, we need so much more/Can’t pick the moment, no time will ever be right/But while we’re breathing, we’ll give it a hell of a fight.” This is one of those songs where everyone gets a chance to shine.

Legendary drummer Dave Lombardo, now a full time member, unleashes his considerable chops every chance he gets. “The New Degeneration” displays some inspired interplay between the frantic lead guitars and Lombardo’s punishing attack.
Title track “World Gone Mad,” is a controlled deeper groove, downshifting to allow for some breathing room after the blasts of speed that start this party. “One Finger Salute” is as subtle as you’d expect it to be. It’s a solid reminder that sometimes all you have is anger, so don’t hold back.

“This World” closes out the collection. A more subdued and reflective number is musically out of step with the rest of the disc, but works just fine. This is a great place to build anticipation for when it starts all over again.

Mike Muir and company have gone the distance and prove they are still cyco after all these years.

www.suicidaltendencies.com

Another Orion

Tim Houlihan

Independent Release, 2016

Tim Houlihan has a soft denim creased voice, accompanied with a crisp acoustic guitar and while there’s a backing band here, this is enough. Houlihan embodies the role of country-folk troubadour remarkably well and true to form. So the rest of the band filling out the rhythm and adding leads, is just icing on the cake. The band as a unit shines brightest on the vaguely Byrds like arrangement of “Beneath the Surface of the Well.”

Title track, “Another Orion,” shakes itself to life quietly before finding it’s groove. “Fair Retreat” is a darker, more urgent number,. The electric piano and guitar solos are troubled and distraught, elusive and convey and apprehensive mind frame.

There’s a warble to Houlihan’s voice when he holds a note, and it’s endearing. It’s like everything he presents on this disc. Smooth from being used over time, not by design. “Somebody Talk to Jesus” is warily hopeful, but not entirely convinced in the promises offered by prayer.

Tim Houlihan is the real deal. His songwriting hearkens back to a time when Americana referred to painting or quilting. Folk and country music were a little more single minded and substantive.

“Going to the Country” indeed. And looking forward to it.

www.timhoulihan.com

The Classic Christmas 80’s Album

The Classic Big Band Christmas Album

Legacy, 2016

Look here, everyone knows the whole emotional point of the Christmas holidays is to wring every bit of nostalgia from your already fraught and seriously taxed soul. Legacy has released several holiday themed albums to soothe your eggnog soaked emotions.

First up is the 1980’s, with big hair, neon and parachute pants, ready to strut like it’s Friday night at the mall. There’s slick, soothing pop for your psyche with “Last Christmas,” by Wham! The big sound of Whitney Houston “Do you Hear what I Hear,” and the Pointer Sisters “Santa Clause is Coming to Town.” Carefree 50’s rock is represented by Dave Edmunds cover of “Run Rudolph Run” and Hall and Oates spry reading of “Jingle Bell Rock.”

There are those of you out there, and you know who you are, who prefer a slyly subversive take on the holidays and who can blame you? The sugar coated everything this time of year can be overwhelming. Several numbers have been included here for you and your ilk. The upbeat seasonal favorite, Christmas in Hollis,” by the seminal RUN-DMC is still irresistible. “Zat you Santa Clause” by David Johansen’s alter ego, Buster Poindexter struts with style and humor. Fishbone entertain the darkest sense of humor with “Slick Nick, You Devil You,” about a Santa who’s memorable for all the wrong reasons.

Digging deeper in time is the collection of big band numbers for those old enough to remember, or a chance to remember those family members who lived through it. With the first sounds of Peggy Lee’s bright eyed vocal delivery on “Winter Weather” it immediately calls a simpler time, when there were fewer distractions.

“I Want you For Christmas,” from Russ Morgan and his Orchestra is upbeat and cheerful. “(Don’t Wait Till) the Night Before Christmas performed here by Eddy Duchin, is light and airy. The Woody Herman Orchestra version of “Let it Snow! Let it Snow! Let it Snow!” positively glows with buoyant horn blasts and a swinging beat.

Probably the most fun part of the big band music is how much the music itself is used to convey humor or paint images of winter. The lyrics and vocal are just icing on this sugar cookie. The sound has been cleaned up wonderfully here.

Because you’re stressed and not thinking clearly, I’m going to lay out your game plan here. You will alternate these two records (yes, vinyl, just enjoy it), one after another, then again from the moment the first guest arrives, till the last one leaves so you can enjoy the music and ignore that one uncle/cousin/brother-in- law who can’t stop talking about the election/game his side should have won.

Happy Holidays!!

Anything Can Happen

Bash & Pop

Fat Possum, 2017

Bash & Pop was Tommy Stinson’s post Replacements project from 1991. They released one exceptional album, (Friday Night is Killing Me), and there was great anticipation Stinson would carry on in the best distorted, anarchic pop traditions of The ‘Mats. Then he did the unexpected. Stinson joined the Axl only era Guns ‘n Roses line-up.

Fast forward to now, and Bash & Pop is reformed with a new line-up and new release. Anything Can Happen handily picks up where he left off as if 24 years was just a couple of months. There’s an offhanded looseness running throughout much of the album. There’s the opening track, “Not This Time,” which rollicks like a Stones LP on 45 rpm. “On the Rocks,” “Bad News,” and “Jesus Loves You.” sound as if the could have come from the Pleased to Meet Me era Replacements catalog. “Anytime Soon,” and “Shortcut” are quietly tender and attest to Stinson’s skillful dexterity. Bash & Pop are provocative at either end of the dynamic spectrum. This is a great start to the musical New Year.

www.bashandpop.com

When the Earth Was Still Flat

Brother Spellbinder

Independent Release, 2016

Acoustic and arty, San Fransisco’s Alzara and Brother Spellbinder are an singularly unique act. Graceful and offering a light touch, their songs by turns feel folky, with shades of gypsy jazz, dance hall, and cabaret camp.

“Speed of Sound” has a full bodied sound with only acoustic instrument. This alone let’s you know how in tune the musicians are to one another. Vocalist Alzara brings a profound pathos to each and every number, while the instrumentation weaves back and forth between playfully delicate melodies, and solid rhythms. “Madame” is heavy on the theatrics. It’s easy to imagine this as part of a stage show.

“Josephine,” reveals itself like an old friend confiding in you. Dramatic, vulnerable, and hopeful all at once, this music is intimate and easily intriguing.

www.brotherspellbinder.com

For many creatures great and small, a trip to Florida during Winter months can be just the thing that’s needed to brighten moods. This February, Orlando will host it’s first two day Garage band festival, at Will’s Pub, naturally. With a great sense of anticipation, Indie Music(.co) sat down with one of the organizers, the always delightful Carol Benanti to discuss The Field Trip South, scheduled for February 24^th and 25^th.

Indie Music: What is Field trip South?

Carol Benanti: Field Trip South is Orlando’s first true, 2-day “garage” band festival, hosted by ex-Hate Bombs bassist Scott Sugiuchi, who now lives in Baltimore, and his label, Hidden Volume Records. It’s an homage to all the great fests that invited the Hate Bombs to play over a 20-year period: Sleazefest (Chapel Hill), Fuzzfest, Cavestomp, Las Vegas Grind, Garage Rage, Garage Shock, Gutterfest, etc.) Bands on Scott’s Hidden Volume label will play the bill, as well as classic garage giants, SCOTS! We invited them last — most of the bands toured with them over the years. So they said yes, and we’re thrilled. SCOTS has been dear friends to so many bands over the years and have helped them get the recognition they deserve. Rick Miller has even recorded some of them at his “Kudzu Ranch” in NC.

IM:How did you get involved in Field Trip South?

CB: Scott Sugiuchi was in the Hate Bombs with my ex-husband Ken. We also worked together and he’s like my brother. I’ve always supported the garage scene, so Scott asked me to help organize the Hidden Volume fest with him from down here. Go Team HiVo! I’m also close with many of the bands who stayed at my house over the years of touring with the Hate Bombs, like The Subsonics, The Woggles, etc.

IM:That’s a lot of bands. Do you know for how many of these acts this will be their first time in Florida?

CB:I think quite a few of them haven’t played Florida yet, for example, The Ar-Kaics, The Schizophonics, The Stents (Scott Sugiuchi’s band in Baltimore), The Midnight Larks, and The Little Richards.

IM:What makes a truly great garage band?

CB: “Garage bands” formed after the British Invasion, when kids all over the world who were inspired by it, formed bands in their garages. They may not have been the most technically meticulous bands, but they made up for it in heart and soul. Some were more garage punk, some were more garage pop or psychedelic or r&b, but the one thing they all had in common was passion. Many garage bands don’t make any money playing their music. They’re in it for the sheer joy of honest, raw, danceable rawk. I danced for 11 years to The Hate Bombs all over the country and plan to dance the entire Hidden Volume Field Trip South weekend!

IM:What is it about Garage music that has afforded it such a long lifespan?

CB: Because it’s “roots rock” it will never go away. Bands like Orlando’s junior killers, The Woolly Bushmen, will always be there to step up and keep it going. SCOTS has asked the Woollys to tour with them many times and I couldn’t be more proud. That’s another big difference. The bands in the  Garage Band Universe are very supportive of each other. For decades, if one band got a gig, they’d ask if their buddie’s bands could also play. This happened with “brother bands” The Woggles and The Hate Bombs for years, and with too many other bands to count. Field Trip South is evidence of that. The bands in the garage scene are devoted to each other, unlike many mainstream artists who are only in it for themselves. Everybody in the garage scene helps each other — for example, during the fest I’m putting up at my house The Woggles, The Subsonics, and anyone else who wants to crash on my living room floor. Team HiVo!

IM:How do you remain so darn cute?

CB:Aw, shucks, Alberto, you slay me. I jog. I dance. And I try to laugh every day. It’s all attitude

http://hiddenvolume.com

-IM-

Swift Knuckle Solution

Swift Knuckle Solution

Violent Breed Records, 2016

From Orlando,comes Swift Knuckle Solution, a no frills, kick in the pants band. Theirs is a simple formula; a thunderous bass, serrated guitars tones and incessant rhythm, dressed with vitriolic vocal delivery. With a deep understanding of melody,and the entire Motorhead catalog, SKS come out of the gate cracking heads, and with none of the songs topping 2:29, ready to be played again.

There’s six songs here. “Loss of Control,” “Honestly,” and “Spinning Sides,” are stand out tracks on a disc full of hard bitten, brawny numbers.

Like the crack in the head you took from a combination lock in a tube sock during your first and only three days stint in juvenile detention, you’ll remember this for some time to come.

www.facebook.com/pg/swiftknucklesolution

Scott Sugiuchi is a busy, busy man. He plays in several bands (The Stents, the Hatebombs), he has a wonderful garage label, Hidden Volume Records, and has co-organized Orlando’s first two day Garage Festival, Field Trip South. Scott won’t come out and say that this trip is about taking a break from the chill that is Winter in Baltimore. Nor should he,because he has a great cover story and he put effort into his escape. While packing his sunscreen and mosquito spray, Scott found time to answer some questions with Indie Music (.CO) about The Field Trip South, scheduled for February 24^th and 25^th.

IndieMusic: Who’s idea was Field Trip South?

Scott Sugiuchi: Field Trip South was my brainchild. In 2015 I did 3 other shows in Baltimore, Philly and Brooklyn with a bunch of bands, DJs and merch called The Field Trips so it’s an extension of that idea. I wanna do Field Trip West in 2018, maybe L.A., San Diego or Portland.

IM: How did you go about assembling (selecting acts) the line-up?

Scott S: I wanted to have bands that I have either done releases with (Stents, BellTowers, Ar-Kaics, etc) or have future releases scheduled (Woolly Bushmen, Subsonics). Then other acts that are “friends of the label” like The Woggles and SCOTS. Mostly I wanted it to reflect the kind of music I dig (60s garage rock in part or whole). And also wanted to assemble bands that just kill live. And I’m pretty sure that’s the case here.

IM: What was the song (or band) that first piqued your interest in garage rock?

Scott S:Oh man, good question. I didn’t really know what ‘garage rock’ was until I was in college and I started hanging out with my future bandmates (in The Hate Bombs), Dave Ewing and Ken Chiodini. I think it was Ken who introduced me to legendary Pittsburgh garage band The Cynics and I fell in love with a songs like “Basket of Flowers” and “Abba” —I still love those songs!

IM: You are/were in the Hatebombs. If I only had time to listen to one song, what would you call the essential track from The Hatebombs?

Scott S: I think most people would say “Like It That Way” but for my money “She’s The Girl” sums up the Hate Bomb experience. Dave wrote it and I loved it from the nanosecond he demo’d it for us. It’s got a killer riff, fun back up vocals, a harmonica solo and caveman lyrics about girls. It’s pure garage!

IM: What makes a truly great garage band?

Scott S: I believe what makes a great garage band is simplicity. Just playing music that doesn’t involve huge statements or overthinking things. It’s not dumb, it’s just not trying too hard. Nobody likes a try-hard.

IM: What does Hidden Volume Records look for when they add a band to it’s roster?

Scott S: We always try to find a band that has great songs first and then a great sound (live and/or recorded) and a distinct approach/look/feel. The Woolly Bushmen are a perfect example if I can use an Orlando reference. They have super catchy songs, they look great and their recordings capture the spirit of garage rock to a T.

http://hiddenvolume.com

-IM-

Down to Memphis

Scott Smith

Independent Release, 2016

Reviewed by Cathal Cart

Scott Smith dives deep into his Americana roots rock and pays tribute to the artists who inspired him. Title track “Down to Memphis” is an upbeat shuffle sure to put a spring in your step. The whammy bar gets a work out on these sweetly tasteful leads. The organ player on “Just Another Saturday Night” owns the song and brings a joyously hopeful feel to it all.

“Skeleton and Roses” celebrates everything wonderful about the Grateful Dead. With bright and limber

mandolin leads running throughout to color the song, there’s a genuine exuberance that’ll make you seriously consider that new model VW bus everyone’s talking about. Scott Smith takes us on a musical road trip through his vinyl collection and pays his respects to those who made him want to pick up a guitar to begin with.

Dead Kennedy’s

W/Reagan Youth and Room Full of Strangers

January 24, Milliken’s Reef, Port Canaveral, FL

Like I have to tell small children and some preternaturally cheap homeowners, “Somethings, once they are broken, can’t be fixed.” Such seems to be the rift between the Dead Kennedy’s and Jello Biafra. Right off the bat, I’ll tell you, if you can’t get over this detail, don’t bother coming out. It’s a tired and exhausted argument. And if you want to see ¾ of a legendary line-up do justice to their back catalog, and have a good time doing it, then show up, sing along, and take a turn in the pit. And just because something is broken, doesn’t mean a solution isn’t available.

DK performed, quite possibly for the first time, at a tiki bar complete with white sand and torches. With new singer Skip Greer (whose been filling the role since 2008), is more than capable and brings his own voice to the material. Filling the vacancy of any highly visible frontman is daunting. Greer handles the role with command and style. D.H. Peligro, Klaus Flouride, and East Bay Ray all sound sharp and on top of their game. They played through their best known numbers, and didn’t let idiots throwing debris at the stage stop the show. “Moon over Marin” and “Kill the Poor” were highlights.

Interestingly enough you hear almost none of the aforementioned quibbling when it came to Reagan Youth. With only guitarist Paul Cripple left from the original line-up, the band soldiered on with intensity and a sense of purpose. The new line-up brought the proper indignation to the material which is sadly relevant once more.

Opening act Room full of Strangers from Orlando were an unexpected surprise. Agitated and muscular they served up wonderful racket of dark garage rock with psychedelic touches. The band veered into frantic punk before easily making their way back. “Guest Bath” and “You’re PC” are stand out tracks. This is a band worth watching.

Six String Soldier

Joey Stuckey

Senate Records, 2016

White boys playin’ the blues can be a well trod, cliché filled, music genre. Blind blues musicians, while a less crowded a field, is also a thing. So it’s good that Joey Stuckey happens to be good enough to stand apart on the opening number here. With a rich, full voice and fiery and fluid attack on the strings, Stuckey is a welcome sound.

He gets the party started with a rollicking mid-tempo number, “Blind Man Driving.” There’s Chicago style horns and an extended guitar workout that vacillates between reflection and over the top guitar hero histrionics. “All Roads Lead to a Broken Heart” sounds like a song a contemporary country act could overproduce into a radio hit. As is, it’s a wonderful, ballad that sidesteps trite emotions.

“Runnin’” is a slow burn blues number where Stuckey once again alternates space with flurries of notes into interesting guitar solos. “Lover’s Ride” is a churning, unsettled song, full of punchy, tacit anger. Trying to keep his emotion in check, his fingers get the best of him, and Stuckey’s reveals a torment he doesn’t have the right words for.

This is a fun disc that sidesteps a lot of obvious moves and ups the ante for the blues men currently honing their trade.

Exodus

KP Wolfe

Independent Release, 2016

Reviewed by Cathal Cart

KP Wolfe isn’t approaching this album with a gentle hand or any notions of subtlety. She’s has big plans , a lot to say and is aiming to be heard. Getting things rolling with “Exodus” she proclaims she’s “Not just somebody’s daughter.” And then later, Wolfe is adamant about how “I’m walking away from you.” She relates her own doomed flight of fancy with “Icarus.”

“Puppeteer” is incessant and propulsive. And remember how I said big? You’d be hard pressed to find a bigger vocal performance than the one on “Take Back the Ring.” She’s not wearing her heart onher sleeve. She pulled them suckers off and tattooed the heart for all to see.“Other Woman” is a quieter, more restrained and contemplative number. Here the pain isn’t channeled through anger. Just sorrow and loss.

KP Wolfe has her sights set on more than you or me. And more than fame. She sounds as though she’s reaching for catharsis and finding it.