March 2006 Volume 2 Issue 3 Blues ● Classical ● Country ● Folk ● Hip Hop ● Jazz ● Rock

pronounced no-mah-so-nah

Inga Magid Teaches

Scissorfight “Keys For Kids”
Michale Graves

Matthew Stubbs
Celebrated by his loving
LowellRocks.com Benefit and very sneaky staff.
 RED MILL
Upcoming Shows
Mar 18 10PM Rox's the Rock House 124 Main St(Rt 12) Oxford, MA
Mar 31 10PM Character's Pub 246 Central St Gardner, MA
Apr 8 10PM KC's Tap/Club Cats 530 Broadway St(Rt 1) Pawtucket, RI
Apr 6 9PM Character's Pub 246 Central St Gardner, MA

GRAPHICS
Apr 15 9PM The Bullpen 1825 Acushnet Ave New Bedford, MA
Apr 22 10PM Dee Dee's Lounge 297 Newport Ave Quincy, MA
Apr 29 10PM Wild Spirits 1843 1st Ave New York, NY
May 13 11PM KC's Tap/Club Cats 530 Broadway St(Rt 1) Pawtucket, RI
July 7 11PM Character's Pub 246 Central St Gardner, MA

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 Table Of Contents
The Buzz ................................ 5
Matt Stubbs ............................ 9
Dipthong ............................... 11
Scissorfight ........................... 12
Michale Graves ..................... 13
Troll ...................................... 15
The LowellRocks.com Benefit 16
Inga Magid: Keys For Kids .... 18
RatPak Records ................... 20
Recording Songwriter ........... 21
Hip Hop - S.E. Entertainment 23
Reviews ................................ 24
Boston Bluegrass Union ....... 28
Classifieds ............................ 29
Upcoming Events .................. 30
3
Publisher: Rig Painter Productions
Editor: Marc Friedman
Copy Editors: Jane B. Curran, Meg Crotty,
Amy Saunders, Jennifer Mottram,
Marc Friedman, Sarah Kollett
Writers: Marc Friedman, Michelle Kellaway,
Deborah L. Blicher, Matthew Robinson,
Jill Locke, Jim Leboeuf, Robert LeBoeuf,
Alyss, Bill Copeland , Jen Faucher ,
Adam Savage, Jennifer Mottram, Keven
Pearce, Shaun O'Brien, Will Briere
Photography: Tom Gallo, Ryan Haskell, Krista
Wallhagen, Allegra Boverman, Liz Linder
Cover Art: Paul Favreau of Red Mill Graphics
Logo: Tony C. Antinoro
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 Strongarm Radio Top 10 List

Strongarm Radio
Hosted by Brian and Josh
Wednesdays 8 - 10PM 104.9FM WRBB
www.wrbbradio.org www.myspace.com/strongarmradio
email mp3s to strongarmradio@yahoo.com
Artist Album Number Of Plays
1. Within Choking Range Most People Just Die 5
2. Screams Of Erida Burn The World 3
3. Burn Me Down The Rough Divide 3
4. And Then There Were None And Then There Were None 3
5. Unearth The Oncoming Storm 2
6. All That Remains This Darkened Heart 2
7. Hepburn The Sleeping Bodies Of Strangers 1
8. Robby Roadsteamer Heart Of The Rhino 1
9. Shadows Fall The Art Of Balance 1
10. Camphora Automated Movement 1

2006 New England Battle of the Bands

50 Bands are getting ready to battle it out every Friday for 4 months beginning on March 10th. Hosted by
Reflections and brought to you by none other than 13ME, this year's battle is anticipated to be one of the
biggest shows in the Northern MA Southern NH area, giving out more than 8,000.00 cash prizes.
To get involved, send any type of audio & your band's contact info to 13music@gmail.com or mail it to:
13 Music Entertainment
Attn: Triana
P.O. Box 1313
Lowell, MA 01853
The battle also seeks both fans and industry insiders to judge.
If you are interested contact Triana at the above email address.

www.13me.com

4
Local Artist & Music News the buzz
To submit news items to be considered for print, please check spelling and grammar.
Poorly written summaries and press releases will be discarded or returned for revision.

Lowellrocks.com Mardi Gras Bash Benefit for six year old Brain Tumor Victim
Lowellrocks.com held a Mardi Gras Bash featuring Parkview, Six year old Justin Bissett has been diagnosed with a rare brain
Theory Shift, and Six Day Slide on February 24th at Scorz com- stem tumor called a diffuse pontine glioma. His tumor is aggres-
plete with Jager girls and prizes for the ladies who collected the sive and is inoperable at this point. He is currently undergoing
most beads, no questions asked. treatment at Brigham and Women's Hospital/Dana Farber Cancer
And seeing as how Mardi Gras and New Orleans go together like Institute. He may need additional treatment at the Burzynski Clinic
rum and coke, donations were being accepted to further help the in Houston, Texas. This clinical trial therapy in not normally cov-
disaster relief effort. Any contribution of $5 or more was rewarded ered by health insurance and will cost tens of thousands of dol-
with a Rockin' 4 Relief t-shirt. lars.
In further LowellRocks.com news, Club 251 in Billerica also Cash donations can be sent to:
hosted a Lowell Rocks Night on February 11th that featured six The Justin Bissett Fund
hours of local music, a band an hour, featuring the Workin’ Stiffs, c/o TD Banknorth
Plastic Cows Don't Moo, Decadence, The End Result, and The 62 Nashua Rd.
Incident, culminating in the Lowell Rocks All-Stars to end the Londonderry, NH 03053
night. For full coverage see page 16.
There will be a benefit held on Saturday, April 1, 2006 at the
Characters Battle of the Bands Begins March 2nd Casa di Fior in Wilmington, MA. It will include a buffet style dinner,
live music, dancing, raffles, and door prizes. The fundraiser will
Characters Battle of the Bands (which is being co-sponsored by help with the costs of Justin's treatments. Tickets are $25 and can
NoMaSoNHa) began March second with Promised Eden, Whis- be bought by calling Jen (978) 988-6322 or Brenda (978) 852-
key Chapel, Lost Tribe, and Involution. Promised Eden, who 5278 or emailing justinfund@aol.com.
played a tight set and brought their own entourage from Worces-
ter, took home the top spot while Whiskey Chapel, who report- Rex Trailer Recuperating After Fall
edly played a loose set of great songs, snagged the wild card.
However, it seems as though it was a tight race with the very Rex Trailer, former host of Boomtown on WBZ TV 4 in Boston,
original Lost Tribe, which is composed of two members featuring MA, Country Hall of Famer, and local legend, recently took a bad
an acoustic guitar and sets of congas, bongos, and a djembe, and fall while working at his studio and sustained a fractured pelvis.
Involution rounding out the bottom two. The winner of each He had been rehabbing at Wingate in Sudbury, but returned home
round receives $100 prize to go with the thrill of victory and moves on February 16th to continue his recovery. Just last year,a DVD
onto the next round. Photographer Dante Parker has also added documentary about Rex and the Boomtown years came out and is
an additional prize to sweeten the pot for those involved. Every available at www.rextrailer.tv.
participating band will be entered into a drawing to receive a free
session with Dante and the winner is totally independent of the
battle finals. The battle will continue every Thursday and there are
still slots open, so email Laura@CharactersPub.com and cc Marc
at Editor@NoMaSoNHa.com to get involved.

New England Battle of the Bands Starts March 10

It's that time of the year, boys and girls. The New England Battle
of the Bands, formerly the Reflections Battle of the Bands,
brought to you by 13 Music Entertainment and Triana, is officially
taking submissions for this year's competition. Budweiser's True
Music, The Lowell Sun, and Guitar Center will be sponsoring
these Friday night shows at Reflections in Chelmsford beginning
March 10 with Chinggis, Mindshot (with former members of
Road to Nowhere), Hand to Hand Combat, Burden of Liberty,
and Seduce the Enemy.
More changes this year include having five bands per night with RPM Challenge: Full Album in 28 Days
tickets costing $7 from the bands and $9 at the door. There will be
only 50 bands, making this a 4 months show. To get involved The RPM (Record Production Month) Challenge had over 190
send any type of audio and your band's contact information to local bands making like TV's MacGyver in order to record a ten
13music@gmail.com or mail it to: song/35 minute album within the 28 days of February. Whether
13 Music Entertainment they are using state of the art recording studios or recording
Attn: Triana tracks on an answering machine from a friends closet, all the par-
P.O. Box 1313 ticipating artists’ music is available on the RPM web site and will
Lowell, MA 01853 be heard at the listening party in Portsmouth, NH on March 9th,
The battle is also seeking both fans and industry insiders to act starting at the Music Hall at 7p.m and continuing on to 4 simulta-
as judges. If you are interested you can contact Triana at the neous listening rooms. www.rpmchallenge.com
above email address. www.13me.com

5
the buzz Local Artist & Music News

Nashua’s Scorz Closed ambassador Henri Smith, who recently relocated to the Cape
after Hurricane Katrina, were all slated to perform amidst tradi-
Due to unforeseen circumstances, Nashua, NH’s well-known tional Mardi Gras activities and soul food.
nightclub, Scorz, has closed its doors. As a result of this all www.bobssouthernbistro.com
shows and events are cancelled until otherwise notified. In the
meantime, Scorz is working on moving most lineups to other Mass Cann/NORML Rock N Roll Stumble, a series of all ages
area venues and sent out thanks to the staff, Mike the sound benefits promoting Mass Cann/NORML and the legalization of
guy, TNT Security, Heathen Entertainment, RatPak Records, marijuana, kicked off on March 4th at O'Brien's in Allston and will
S&D, Onslaught, Spyderbite Radio, and LowellRocks.com. continue every Saturday afternoon in March thereafter. The
www.myspace.com/dieseledproductions. shows will work as a sort of battle of the bands, with the winner
obtaining a spot at the upcoming 17th Annual Mass
Skope Magazine is all geared up for its 2006 concert series with Cann/NORML Boston Freedom Rally on the Boston Common,
dates at the Middle East in Cambridge from April until November. Saturday, September 16th, 2006 at High Noon, and the proceeds
Coming up first is the Skope Magazine Spring Fling on April 4th from the $6 ticket price going to Mass Cann/NORML.
featuring Left Handed Thieves, Jason Smith Band, Cholo, and Of the events mentioned above: Graveyard BBQ, DeadLikeD-
Cement Head. This $10, 18 plus show will be hosted by DJ eath, Scourge, These Nightmares, and DINIJ worked the room
Shyne. www.SkopeMagazine.com on the fourth while Hardtimes, Devoid, Negative Insight, Sacre-
ligion, and StillFro are slated for the 11th; Mouth Sewn Shut,
The worldwide Emergenza Festival, think American Idol without BloodStains, Nowhere USA, 26 Beers, and Lesser Evils will play
the plastic wrap, is underway for 2006 and many of our local fa- the 18th; and The Peasants, Tunnel Drill, Calias, Red State, and
vorites have already made it to the 2nd round, including Saturn Angels of Meth will round out the series on the 25th.
Effect, Inhale, and Skulltoboggan. Shows begin for the new www.masscann.org
round at the end of March. Visit www.emergenza.net or
http://www.mideastclub.com/ for more details. Local loud Irish band the Larkin Brigade will be hosting their
First Annual Evacuation Day Extravaganza at the Milky Way
Dig out that writing Journal and grab a guitar because Keyboard Lounge & Lanes, 403-405 Centre Street in Jamaica Plain, on
Magazine is now accepting entries for its 11th annual songwrit- Friday, March 17, the day in 1776 when George Washington's
ing competition. Prizes include national radio airplay in both the army booted the Brits from Boston. Officially declared a holiday
US and Canada as well as up to $50,000. The first one thousand in 1941, giving city employees and public school students the
entries postmarked before March 31 will get a free year subscrip- day off, it has been remembered and celebrated with jubilance
tion to the mag. Get your entry forms at ever since. (Sure, ‘twas nothin' but happenstance and coinci-
www.songwriting.net/entryform.html and check out "New Music dence if March 17 had any other associations) 230 years later,
Now Volume 3", a compilation of last year’s winners, while you the Larkin Brigade celebrate freedom and Hub tradition by per-
are there. www.songwriting.net forming along with friends the Crumb Sullivans, the Allston Pints,
and DJ Fordy Buxworth, who will be spinning between sets.
The highly anticipated Rockathon II took place on February 18
in the Liberty Hall at the Town Hall in Athol. Originated by Josh The Boston-based indie collective Radar Recordings has an-
LaMarche, the benefit, produced by Osprey Entertainment and nounced the exclusive on-line pre-sale of their first two records of
sponsored in part by WJDF 97.3FM, gave aid to the Memorial 2006: "Blood Is Bright" by Junius and "The Murder of Tom Fitz-
Hall Revitalization Fund. Backwoods, Calibur per Capita, Dakota, gerril" by Constants beginning January 31st on
A Second Life, and legendary Boston rockers, Rattle Battle all www.radarrecordings.com/recordings.php. The first 100 orders of
lent their talents to the show. either CD will include a free limited edition poster, buttons, and
stickers. Retail release will start in April.
Black History is not just a February celebration.
On May 4th, 5th, and 6th The On February 9th Johnny D’s in Somerville and local “chick” sing-
Harlem Renaissance Revis- ers did their best keep music in schools with Chick Singer
ited with a Boston Flavor will Night; Keeping the Arts Alive in Our Schools, hosted by the
hit the stage at the Roxbury Vykki Vox Band. Depth Quartet, Parul Vakani of Red Velvet
Community College Media and Slide, Anna Freitas, Patty Keough, Maeve Hughes, Jennifer
Arts Performance Center for its Truesdale, Vykki Vox, Gary Backstrom of Jiggle, and newcomers
8th annual run, complete with Laura Loewy and the Winchester High School Octet Girls all lent
new dances and songs. On their considerable talents to help this cause.
June 26th from noon until 6pm www.ChickSingerNight.com www.JohnnyDs.com
The Roxbury Action Program
and Amber Communications will Do you daydream about writing the "ultimate" rock opera to jump-
team up to sponsor The Harlem start your career and impress your lifelong idol Andrew Lloyd
Book Fair/Roxbury, which will Webber? If so, your story is being told. Ultrasonic Rock Or-
feature authors, including chestra presents A Night At The Rock Opera, live at the Regent
Haywood Fennell author of Coota and the Magic Quilt and guest Theatre, just off Mass. Ave. in Arlington. Featuring songs by eve-
lecturers and artists. Both events promote literacy and cultural ryone from The Beatles, The Who, and Queen, as well as origi-
education through community o u t r e a c h . nal songs by Ultrasonic Productions, this production promises to
http://oscarmicheauxrep.tripod.com triadveterans@hotmail.com. be tongue in cheek and more entertaining than sitting at home
listening to the Phantom of the Opera cast recording. It will be
In keeping with the spirit of Mardi Gras, Bob’s Southern Bistro running for two weeks in March, from the 9th until the 12th and
hosted a bash, heavily laden with jazz greats, this past February 16th through 19th. To purchase tickets call 781-646-4849 or visit
to celebrate Fat Tuesday. Local saxophone master Nat www.ultrasonicproductions.com and check out some extras, like
Simpkins and his Nawlins-bred bandmates, saxophonist Charles film trailers and mp3s from past performances, while you are
Neville of the legendary Neville Brothers and vocalist / musical there.

6
Local Artist & Music News the buzz
Kevin DeSilva-Walsh, singer of Ript, recently participated in a Emotion, raw Form, raw music, real hip hop. Production done by
fundraising event for the Muscular Dystrophy Association. He was none other than T.O.P. productions (Top Dawg), who has a huge
"jailed" until he could "post bail", which was set at $1200, using affiliation with Klik Star Production Projects. The second video is
donations. The fundraiser lasted until March 7th and there was no off Sswytch's upcoming LP, (Dysphoria in Elysium). Track is
word at press time to whether or not Walsh had been sprung. You called "Can't Stop Moving", based totally on how no one can
may obtain a full status report on tinyurl.com/QXW59 break your hustle, if you believe in your dreams. From where
Sswytch has come from, to where he his now. Look for both vid-
Experimental eos soon on www.myspace.com/Sswytch,
www.myspace.com/klikstarproductions, and
Turkish Queen is currently on hiatus, however, they do have two
www.myspace.com/sengboy as well as numerous other places
new tracks on college radio in and around Boston, "Luella Miller"
soon to be announced.
and "Lead Weight" which can be previewed at
myspace.com/turkishqueen. The tracks are also on a split CD with
the band Narcoterror. Radix will be hosting a CD release party at Cinco Nightclub in
Folk Nashua on March 25th to celebrate the release of his new album,
"The Staple". Performances will include Radix, The UNDC,
The Larkin Brigade are a loud and fast Irish folk band from Bos- Ghostown, and Bzowski.
ton. With a unusual piano- and fiddle-driven sound, bizarrely witty
originals and time-honored pub standards, and a socks-off- If your favorite local bands can duke it out, then so can your DJ's.
knocking live show, the four-piece is rapidly making a name The first annual New England DJ Battle took place on February
throughout the Northeast. Just signed to Spit Shine International, 22nd at the Foo Bar in Worcester with DJ Chubby Chub serving
the Larkin Brigade’s full-length album, Paddy Keys for Mayor, hits as host.
stores this spring and promises to be a classic. Jazz
Hip Hop Performer and composer Georgette Labreche takes the stage
again in support of Harvest Homes in partnership with W.A.R.M.
Every Sunday Night from 9pm until 12am DJ Jim Tess & DJ
Shelter to present "A Grand Piano, Five Women, and Song" on
Jimmy Sprinkles of UMass Lowell's 91.5 WUML host the local
rap centered "Ego Trippin'", which is in its eighth year and fea- Sunday March 5 at Dunn's Corner Community Church. Miss
tures live interviews and performances with both national players Labreche will be featured along with four of her colleagues with all
and local favorites, giving a huge boost to the local scene along the admissions, $10 for adults and $5 for children, being donated.
the way. In light of this, www.Jiveturkeyproductions.com recently Jazz, blues, and world vocal-
launched the Sprinkles Corner, a webpage that will feature audio ist Alida Rohr is back with
and written transcripts of all of Jimmy Sprinkles interviews, local her third album in two years
and national album and mixtape reviews, and local hip-hop news. recorded at Mix One Studios
When asked about the collaboration with Jive Turkey Productions, in Boston. Abandoning the
Sprinkles said, "The scene here is growing at a rapid rate and solo route for the time being,
becoming very powerful. My goal is to assist as much as I can in Rohr has released the back
the effort to help develop it. This contribution is the least I can do." to basics jazz, blues, and
www.Jiveturkeyproductions.com www.myspace.com/egotripwuml latin influenced Park Avenues
www.myspace.com/sprinklesint of the Heart under her own
The U-N Delegations Crew is label Weather Outpost 12
set to drop their first LP on April accompanied by the heavily
25th, though the release date is stacked Barrio Norte, com-
still tentative. The crew's debut, prised of drummer David Rozenblatt, pianist Nando Michelin,
entitled Closed Captioned, fea- bassist Esperanza Spalding, percussionist Pedro Ito, and Ivan
tures members of the U-N Dele- "Niento" Sierra. www.zevisgirl.com weatheroutpost12.com.
gations, including Dj Dax, Epic
Visions, Furyus and Wize, with guest appearances by Killah Rock
Priest, Shabazz the Disciple, Amadeus the Stampede, R.H. Bless,
Brix, NLZ, Radix, The Middlemen, Jimmy Sprinkles, and more. A Simple Complex is busy putting the final touches on their de-
The album, which is being produced by Dj Dax and Epic Visions is but full-length album, due to be released this spring. Meanwhile,
intended to be a unique throwback to the pureness of hip hop that they are opening for Nothingface on February 28th and Power-
incorporates raw lyrics & energy with innovative, forceful produc- man 5000 on April 14th. www.asimplecomplex.com
tion and beats.
Also, the UNDC recently provided its fans with a sneak preview Bleu is gearing up to release his album A Watched Pot, recorded
of their upcoming album with the release of their first single, "Join mainly at Ice Station Zebra in Medford, MA with Ducky Carlisle.
Ranks", featuring Shabazz the Disciple. “Rock Rock” featuring The CD is to feature all new tracks as well as guest performances
R.H. Bless is also included as a B-side track to the February 17th from the likes of Andy Sturmer (Jellyfish), Steve Gorman (The
release. www.Jiveturkeyproductions.com Black Crowes), and Jason Scheff (Chicago).
Sswytch, (of Klik Star Productions) is working on his first two www.myspace.com/bleuelope
videos of his career. Both are filmed and produced by S.E. Enter-
tainment. The first one, due out in March 2006, is from the track Bottoms Up, who is now sponsored by Oasis Sunrooms & Spas,
"Path" is a wide variety of imagery, and raw emcee emotion. is beginning a long line of dates for 2006 on March 4th at The
"Path" is a track based on the direction you wish to be going Mammoth Roadhouse in Dracut equipped with 15 new songs and
down. Sswytch, Girth, and D'Nyle, come hard in all aspects. Raw a hankering for a hot tub after-party. www.bottomsupband.net

7
the buzz
Burden of Liberty recently uploaded some brand new songs,
complete with vocals, onto their Myspace page and played their
first in a string of spring shows after a month long hiatus at the
Uptown Tavern in Manchester, NH with good friends Loser's Fight
It and Minus Chad. www.myspace.com/burdenofliberty
After their last vocalist went MIA, Cell Block One has found a
new frontman, Matt Coles, who they headed into the studio with
last month to lay down tracks for their upcoming album. The first
single is due out sometime in March. www.cellblockone.com
Cookie Cutter Girl is at it again, making appearances at The
New York Comic-Con 2006 comic book convention as well as the band will also be doing a series of shows with ex-Misfits frontman
NACA (National Association of Campus Activities) college con-
vention, freeing girls from the conventions of society one power
pop tune at a time. CCG also has the chance to open for the Dave Dizzy Reed's band, Hookers N' Blow, in late March into early
Matthews Band this summer and was part of an internet poll last
month on the band's web-site www.CookieCutterGirl.com.
The Crumb Sullivans will be playing a live online show for EA
Internet Television from the Milky Way in Jamaica Plain on March
17th. Green beer will not be included in the price of admission.
Gene Dante and The Future Starlets are holding a CD release
party at the Middle East Upstairs in Cambridge on March 2nd.
www.myspace.com/genedantestarlets
New Jersey's Michale Graves will be heading back to the New
England area in April on his "Almost Home 2006" tour. Almost
Home is a new book released by Damien Echols, one of the
West Memphis 3 convicted of the brutal murder of three 8 year
olds in 1993, a crime the three claim they were wrongly accused
of, using their love of heavy rock music and black attire as evi-
dence. The tour will hit 55 cities across the country in an attempt On March 16th The Middle East Upstairs plays host to a St. Pa-
to promote Echols' new book, and raise money and awareness for tricks Day weekend celebration featuring local favorites Sad
the cause of the West Memphis 3 and aid them in receiving
proper representation. This all leads up to WM3 World Aware-
ness Day on June 3. For more information on the West Memphis this St. Patty’s kick-off with a live interview and listening party on
3 and related events got to www.wm3.org.
www.michalegraves.net. See the full story on p. 13.
Inhale's run in the Anthem Events Battle of the Bands came to an
end in late January but they recently made it to the second round
of the Emergenza Festival and will be performing at The Middle
East (Downstairs room) on Tuesday April 4th.
They will also be putting their necks on the line on March 4th at
Slaughter House Saturdays at Reflections in Chelmsford an at-
tempt to win a spot at this fall's New England Punk, Goth, Metal
Fest. www.inhaleband.com
After releasing their first full length album Sad Flower Songs, Lu-
cretia's Daggers is in the market for a keyboardist and bassist.
www.lucretiasdaggers.com
Putting the finishing touches on their new single/EP due out this
spring and gearing up to record a full length album are new-
comers The Luxury, a band formed this past summer from rem-
nants of The Halogens and Baby Strange.
www.theluxuryband.com
Mike Mazzotta of Prophets of Eclipse just made his brand new
EPs available for free download at www.prophetsofeclipse.com.
"Lay Down" and "3 Songs for Christine" have been described as
ambient rock reminiscent of Sigur Ros, had they been picked on
in high school and dumped by their first loves. Enjoy!
Mindset X released their new full length, Physics, on February
14th, just in time for Valentine's Day, and began their tour in sup-
port of the album on February 25th. They did an acoustic set live
Local Artist & Music News
on 99.9 The Eagle. You can find the CD online, at various New-
bury Comics locations, Bullmoose Music stores, digital
downloads, and of course, at Mindset X shows. www.mind-set.net
Mongrel recently recorded a 4 song EP, Refuse, at Moontower
Studio in Cambridge. Mike Quinn produced the tracks which in-
clude "West Memphis Hell", the band's song about the West
Memphis 3, "I Refuse", "Shut Up Get Dead", and "Coma Amer-
ica", a cover of the AMEN anthem. The CD is already available at
shows and at MongrelBand.com or myspace.com/Mongrel, where
you can sample "Shut Up Get Dead" and "West Memphis Hell".
They plan to begin recording a full length disc in the spring. The
Michale Graves in support of the West Memphis 3 (see above and
story on p. 13) and a few shows with Guns N' Roses keyboardist
April.
After a quick pop in the studio to
record a demo of their latest tune,
"Sourwood", and participating in the
RPM Challenge (see above), Pondering Judd will be hitting the
road in support of Irish madmen, The Sawdoctors for nine US
tour dates. “PJudd’s Mini One Second Dream Tour ~ 2006” will be
dropping in and around the Boston area. The band has also been
in contact with reporters from the Portsmouth Herald, who will be
running a feature on their recording process, complete with pho-
tos.
Mike Previti recently filmed a spot for Emerson College's
"Musicians Wanted" with his band on February 12th. The air date
is to be determined. www.mikepreviti.com
Marvin, Scamper (invited to play this years WBCN Rock 'n Roll
Rumble), Reverse, and The Luxury. Sad Marvin will be promoting
WBRS 100.1FM Brandeis University Radio on Thursday, March
9th at 11PM. www.sadmarvin.com
Electronic rock duo Thylacine announced the addition of more
man/machine power to their lineup. Steve Robot, who apparently
hails from Mars, formerly of electro-crash rioters Robotzen, joined
the band on bass. Their ten song self-titled CD is now available
online and at live shows. www.thylacinemusic.com
Vegas Temper opened for Stained at The State Theater in Port-
land, ME on February 22nd and no, Fred Dirst did not accompany
anyone on an acoustic set.
NOMASONHA
Needs a Sales Rep
20% Commission
friekman@hotmail.com
8
 “I like the song selections that we do,” Bunszell said. “It’s not just straight forward Chicago or
straight forward West Coast. It’s a little bit of everything.
We make it diverse and fun for everybody. We don’t drag songs too long.
Fortunate Son: Matthew Stubbs
M anaging his own blues band for five years has brought a lot
of success to Matt Stubbs. The 2000 graduate from
Pinkerton Academy won the Boston Blues Challenge with The
Matthew Stubbs Band before placing third out of 90 bands at the
International Blues Challenge in Memphis.
Stubbs joined his father’s group The Coupe De Ville Band as a
guest musician in 1999. Eventually, his father, Dale Stubbs, got
out of the business. Matthew was then in a position to start his
own outfit. He currently works with bass player Mean Johnny Bun-
szell, drummer Chris Rivelli, and foxy veteran blues chanteuse Kit
Holliday. Different saxophonists and trombonists appear at vari-
ous gigs.
“It started out that I was in The Coupe De Ville,” Stubbs said.
“From there it morphed. It went through completely different per-
sonnel and I’m the only one left. The Matthew Stubbs Band is a
completely different project. We had a different bass player then
John came in. From John, Kit came in. After that we just used a
rotating cast of drummers. We didn’t get a full time drummer until
a year ago. Then we started using saxophone players.”
The lineup changed its name to The Matthew Stubbs Band after
Holliday, who had been in the band for a year, and their drummer
at the time came up with it. “We changed it to The Matthew
Stubbs Band because we started doing all new material,” he said.
“We were shooting names around. We couldn’t really come up
with it. I was doing all the business, booking all the clubs.” How-
ever, the group always bills itself as “The Matthew Stubbs Band
featuring Kit Holliday.” “We just call her ‘featured’ to get her name
out there,” Stubbs said. “She does a good job. She fronts it a lot of
times. So we put her name on it.”
9
blues
by Bill Copeland
Photos by Allegra Boverman
And Liz Linder
www.chicksinga.com/msb
Working with his father in the early days was a big help. His fa-
ther got him into clubs where he met up with local blues stars like
Ricky King Russell, Cheryl Arena, and Dave Haley and each be-
came an important mentor to the aspiring guitarist.
Drummer Chris Rivelli, who cut his teeth with The Chris Fitz
Band (featured in NoMaSoNHa issue #4 – Ed.) for three years,
joined up with Stubbs a year ago. Stubbs, Rivelli, and Bunszell
also have a side project called The Stubbies. The trio plays a lot
of originals, late ‘50s/early ‘60s music, rockabilly, and surf.
“There’s a lot of these small clubs opening up where they can’t
really afford to bring in a five piece band with one horn and Kit,”
Stubbs explained. “We do a couple of residencies because of it.
We do every week in Beverly, MA, every Wednesday night at Kitty
O’Sheas. It’s the three of us and each week we have a guest
singer come in. We’ve had Brian Templeton, Racky Thomas, Sax
Gordon, Ricky King Russell, and Scott Shetler.”
Stubbs also hosts a Monday night blues jam at The Holy Ground
in Quincy. Owner Joe Hajjar has The Stubbies play a 30-minute
set then any musician can come up on stage and jam with them.
“With the Stubbies, every week it’s different,” Bunszell said. “We’ll
playing with Brian Templeton one week, Sax Gordon, Racky Tho-
mas. It widens our variety to get to know how to play behind a
harp player better or behind a horn player or behind another guitar
player better. When you play with one of the big guns in town, it
makes you raise your game to the next level.”
But The Matthew Stubbs Band is the guitar boy’s main project. A
saxophonist and often a trombonist fill out their sound, with Scott
Shetler being their most usual sax player. They also use John
Moriconi on trombone. “We have a handful of guys that we use,”
the guitarist said. “Horns are a tough thing to get to commit to
because they can find work all the time.”
Contributing to the sound is Bunszell’s 1963 Harmony bass. “I
think it gives it the warm, almost thumpy tone of an upright,” Bun-
szell explained. “It’s made for the style of music we’ve been play-
ing. It adds to it for that reason. It sounds like an upright bass
without dragging an upright to the gig. It’s got flat, long strings. It’s
so warm it doesn’t feel like you need a sweater.”
Stubbs’ guitar tone is clear and crisp. He prefers not to use ef-
fects pedals but has a collection of vintage amps. “I use an Am-
peg from the ‘60s. It’s called Reverb Rocket II. I use that with a
Gibson GS295.”
Rivelli chimed with his insights into his new bands’ success.
“They’re really experienced,” the drummer said. “We’re into the
same kind of music. We like, in general, older stuff. We’re very
versatile. There’s all kind of different stuff we can play for real
quiet restaurant gigs to more rockin’ stuff. They’re all dedicated to
groovin’ real hard and getting a good sound out of their instru-
ments, so it’s real fun.”
Challenges abound in his new group. “It’s more arranged than
the typical blues band,” Rivelli said. “They were all established
before I hooked up with them. It’s a little tougher to jump in and
catch all the arrangements than the average gig.”
Rivelli’s particular approach just happened to fit
right in with the 1950s to early 1960s sound MSB
shoots for. “I come from a jazz background, so I
was always used to using older sounding drums
and cymbals. That fit right in with those guys.
Matt and John are the same way.”
MSB was quite a switch from when Rivelli
drummed for The Chris Fitz Band. “Chris Fitz
was more hard hitting, high energy from the get
go,” the drummer said. “With Chris we jammed a
little bit more, had more stretched out improvisa-
tions, which this band doesn’t do quite as much.
It was a pretty diverse band too, but I wouldn’t
say as much as this.”
Before the Chris Fitz Band, Rivelli was the
drummer in The Vykki Vox Band. He has a de-
gree in Drums and Performance from the Berklee
College of Music in Boston. He teaches drum
lessons five days a week, two days at his house
in Waltham, two days at DiCenzo’s Drum Shop in
Quincy and one day at The Boston Arts Acad-
emy, a music high school in the Hub.
Rivelli envisions the band doing more tours and recording. “It’s
pretty wide open,” he said. “With Matt and John we back up a lot
of other people. Some of them have expressed an interest in tak-
ing that on the road.”
Bunszell likes to lock into a groove with Rivelli. “I can tell where
he’s going sometimes when he’s playing and I think he can feel
the same way for me,” the bassist said.
Since the victories in Boston and Memphis two years ago, more
people have heard of The Matthew Stubbs Band. “We’ve done
some tours,” Stubbs said. “We go to Florida twice a year. We do
about a two-week tour. We’ve got a good following going on down
there. I’ve been contacted by a couple of labels. Nothing’s hap-
pened, but they know who we are, which is good.”
The band has new original material but isn’t looking to get back
to the studio yet. They just started bringing their guitar and horn
oriented sound to Del Vaudo’s in Nashua. That is the closest
Stubbs gets to his hometown of Derry. Local venues like Whipper-
snappers don’t offer blues. The Strange Brew Tavern in Manches-
ter is a coveted room, but to date Stubbs hasn’t been able to get
his foot in the door. “I’ve called and left a number of messages. I
would love to play Strange Brew,” he exclaimed.
This band‘s set list might help explain their popularity in New
10
England. “I like the song selections that we do,” Bunszell said. “It’s
not just straight forward Chicago or straight forward West Coast.
It’s a little bit of everything. We make it diverse and fun for every-
body. We don’t drag songs too long. If Matt’s soloing or one of our
sax players, we keep it short and sweet and melodic. We do dif-
ferent feels. We won’t just do shuffles all night. We’ll do swings
and rhumbas or a New Orleans feel, old rock and roll, and soul.
The Matthew Stubbs Band would seem tailor made for local
pubs. They play tunes people can dance to. “A lot of it ends up
being stuff from the 50s and early 60s, and some R&B and swing-
based blues,” the guitarist said. “We play this stuff out in a lot of
bar rooms. People might be able to party to it a little more.”
Most people Stubbs’ age prefer heavy metal or hip-hop. Yet,
Stubbs has a unique musical heritage. His father had brought him
to Memphis when he was 13 years old. Visiting all the blues clubs
on legendary Beale Street set his imagination on fire.
As a young player Stubbs started out as a fan of classic rock
greats like Jimi Hendrix and Led Zeppelin. He soon learned, how-
ever, that his guitar heroes were inspired by the original blues
legends.
“That stuff came from the blues,” Stubbs explained. “As I got
deeper into it, I learned that Hendrix really liked Buddy Guy. From
Buddy Guy I went to B.B. King. It just snowballed from there. I
was lucky enough to have my father bring me
out to see it. I think blues -- especially when
you’re into music and you see it live, and you
see the right kind of blues live, it’s really easy
to fall into it.”
Despite dwindling public interest in
blues, as evidenced by plummeting CD sales
and blues club closings, Stubbs will not jump
into other genres. “I’m young. I don’t see it
suffering as much as other people, I guess,”
he said. “When I’m talking about blues, I just
mean around here. I don’t know about the
great scheme of things, record sales. I don’t
know if it’s up or down nationally. I have no
idea. I seem to have plenty of gigs. I have
seen some clubs close, but I’ve seen some
open. I don’t have any urge to change what
I’m doing. This is what I love to do. I do some
different stuff, like this instrumental thing; it’s
not strictly blues.”
The band’s 2003 release Stop Lick-
ing That features a Stubbs penned tune
called “Don’t Lick That.” He uses his Gibson 295 to play melody
one minute before joining the rhythm section at the drop of a hat.
“It was originally a song that was me soloing all the time. I do the
12 bar intro. Then me and Scott Shetler got together on it. We
both arranged it. But he wrote horn lines to a lot of the parts that I
had in my solo.”
Bunszell chalks this band’s success up to hard work. “We play all
the time. Matt is a booking machine,” the bassist said. “He’s as a
good a businessman as he is a player. He knows how to get
things done. People on the scene complain that there’s no gigs or
there’s nothing around. Between The Stubbies and The Matt
Stubbs Band, I’m playing four or five nights a week.”
Stubbs recently played a mini-tour with Northern Blues Record
artist Janiva Magness that bought him around New England.
Backing major blues label artists is one of many things he has on
the table. He’d like to see MSB move to a national touring sched-
ule. He wants to “continue touring in Florida and New York and
get some sort of record deal in the blues world to get our music
out there and make more money.”
www.chicksinga.com www.thestubbies.com
Power and Passion:
Dipthong
I first saw Dipthong at the
2 0 0 5 R ef l e c -
tions’/LowellRocks.com Bat-
tle of the Bands (3rd place
winners) even though I had
talked with Matt Vicenty at
the Salem Daddy’s Junky
Music where he works.
When I saw him load his
gear onstage (all those in-
credible Les Pauls and a
dizzying array of rack ef-
fects) I wondered how he
survived with all of his pay-
check going to musical gear.
But, as you know, gear does not make the musician and the
band impressed the judges every night. I imagine that it was not
just great songwriting, nor Kyle Corsetti’s magnetic stage pres-
ence, but some of it had to do with Ryan’s onstage antics. If there
was comic relief in the group, it was he. Ryan Hopkins has a per-
sona handed down from the likes of such great stage bassists as
Flea and Gene Simmons. He not only supports the low end with
drummer Scott Lynn, but keeps the show energized with his en-
thusiasm and an occasional vocal flare. He is engaging to watch
and adds a touch of eccentricity to Kyle’s riveting front man deliv- How did recording your new CD, State of Emergency, differ
ery and Matt’s rock star mannerisms and flowing mane.
Has Dipthong always had this lineup?
Matt: I joined the band about two years ago and we basically
started over. We consider the older material to be by another
band. My first show with the band was Halloween 2003.
How long has it been Dipthong?
Ryan: We have been using the name Dipthong since we were in
high school. I would say, probably about 4 or 5 years.
How would you describe Dipthong's sound?
Matt: Lots of bands get all bent out of shape by this question be-
cause they don't want to be pigeon-holed. People are always go- Matt: It felt like it went on forever. I had even forgotten we were in
ing to want to be able to define things in very simple ways. We
always simply refer to ourselves as a heavy rock band.
Kyle: Although a review in this magazine called us a mixture of
Bush and Helmet.
Matt: Two kinds of sexual band names, by the way.
What kind of reactions are you getting from the local scene? and had some good times.
Ryan: We get positive reactions, except for when they're negative.
Matt: It seems most people go to local shows just to see the band and stage. As the battle moved on the rounds became closer and
they came there to see, so our challenge is to get the attention of closer together. By the end we played there so much and so often
those people. I think we're doing alright. The reaction from other
bands has been the best part. We've befriended lots of bands and
every show we play bands come up to us and say, "We should
play together again!"
What makes you different from other bands?
Matt: Lots of bands use all their energy trying so hard to be differ- near future.
ent while other bands spend all their time trying to be just like an-
other band. We don't do either. We just do what comes naturally.
How do you write, as a band or individually?
Matt: Recently it has been Kyle who will bring in a riff and a little
vocal melody on top of it. Then we all hammer it out for a few
weeks until it becomes a Dipthong song.
rock
An interview by Jen Faucher & Marc Friedman
Kyle: We've got a white board in
our rehearsal space that we use
to arrange and put it all to-
gether. Sometimes the final
product will sound nothing like it
did when we started.
What does each member
bring stylistically and crea-
tively?
Matt: We all have different
tastes and listen to different
kinds of music. The final product
is something entirely different
than any of us would be capable
of individually.
Has the music changed since the Benzofluoranthene EP?
Kyle: Absolutely. We feel that we are writing better, catchier, and
more interesting songs as time passes.
Scott: The more we write, it seems, the more our songs become
us. I get more and more proud to put my name on our songs as
we move forward.
Ryan: I don't even like playing some of those older songs any-
more!
from Benzofluoranthene?
Matt: With more money to spend this time around we were able to
record more songs and spend more time on each. It took us
months to finish. Still, we could have spent forever exploring the
endless possibilities. We did it at the same studio as we did most
of the last one but with the idea in our heads that we wouldn't stop
until it was perfect. Obviously it isn't perfect, after several delays
and running out of money a bunch of times, we had to stop. We
hope to be able to improve each time we put out a disc and we
definitely learned a lot this time out.
What was your Battle of the Bands experience like?
it for a while. The whole time I wondered what we would do with
the prize money but never once expected to get any. Every battle
I've ever played in left me with a bad taste in my mouth. When we
made it to the finals I was blown away. It didn't even matter what
place we came in just being in the finals felt like winning. In the
end we played a bunch of great shows, met lots of cool people,
Kyle: I liked the club a lot. The room was a great room… sound
the stage was as comfortable as our practice space.
Have you had any airplay?
Scott: We've been played a couple times on Rock 101 during their
old nightly local band showcase. We were also in rotation on Spy-
derbite Radio. We've also have some radio stuff planned for the
Any famous last words?
Ryan: Giggity.
Matt: Wow, worst last words ever.
www.dipthong.net
11
Granite State Destroyer:
An interview with Scissorfight’s Jay
by Marc Friedman
Photos by Ryan Haskell

S cissorfight is probably the

most elusive, low-profiled
band. This interview with the
We always have had major labels in-
terested, calling, coming to shows and
shit, but they all say the same thing,
Granite State Destroyers’ gui- “You’re our favorite band but... " Fuck
it.
tarist, who has been known by
How did the European tour go?
many names but his own (I was
The euro tour was a blast. Ten days of
lucky to get his first name) complete bullshit with our British coun-
started over a year ago with an terparts. It was cool that at every show
email to their manager (I found there were people who had waited
his address on the band’s web- nine years to see the band and they
site). He then sent me Jay’s email and then, well, Jay is a would have all the CDs for us to sign,
man of few words and apparently the other members of the perty cool.
band are, too. This is reflected in the band’s website, Where are you guys from
www.Scissorfight.com. Not only is there virtually no con- (NH or MA)?
tent, except for the show listings, but the name of the new We all started out in NH but over the years some of us have
moved here and there. Jarvis and I live in NH and Ironlung and
CD isn’t on there. These guys are so reclusive that they are
Strongbow live in that filthy state below NH.
on the verge of sliding from legendary to mythological.
Being from small town NH, what clubs did you regularly
The legendary band will be releasing its new CD, Jaggernaut
play?
(we think), on Tortuga Records this month. The dates and loca-
We've played all the usual places, The Rat [A famous Kenmore
tions of the upcoming CD release parties are:
Square club that was demolished recently to build luxury condos –
Ed.], Local 186 [A defunct Brighton club that is now called The
• Friday, March 24th Wonder Bar – Ed.], Bomb Shelter; lots of clubs that are gone now.
Cambridge, MA at Regularly we play The Middle East and in NH it's The Stone
The Middle East, Downstairs Church.
• Saturday, March 25th How did you get your following up here?
Newmarket, NH at Just from playing a lot and wearing our own t-shirts and shit -
The Stone Church stickers, rumors, bizarre tales, folklore; all the usual stuff. Just
• Friday, March 31st playing up the whole NH thing. It got some people stoked on be-
Portland, ME at Big Easy ing from NH. People chant “granite state, granite state" at shows
and wave New Hampshire flags and wear cheesy NH tourist t-
shirts to the shows. It's fuckin' cool.
Sorry to ask these basic questions, but since I was just given
an email address, : What instrument do you play and what is How did you build a following in Boston?
your stage name? We brought it to Boston and some of those folks just got it and
I play the Les Paul guitar and I've had several different names that was it.
thru the years like Fuck You, Geezum H. Crow and others I can't How has the NH press treated you?
remember. It’s funny, why not? The little press we've gotten in NH has been good, there just
What year were you in the ‘BCN rumble? How did you place? doesn’t seem to be much, I'm sure this mag will help .
I think we were in The Rumble in '96, maybe. We won our first How has the Boston press treated you?
round and then got beat by Ramona Silver in the second round. The Boston press treated us very well. They didn’t say anything
It was silly; Joyce Kulhawik [A famous local television entertain- bad as they were most likely afraid of the consequences... haha.
ment reporter and cancer survivor – Ed.] introduced us on stage. It's good, we do our thing exactly the way we want to do it and
WTF! Who ruled the night and who won are two different things. kiss no ass and cool people get it and much rock happens.
Any major label interest? www.Scissorfight.com

12
 At The Graveside: rock

An interview with punk rock legend

Michale Graves by Adam Savage

How do you respond to those who see your involvement in

this case as contradictory to your political conservatism?
My support and involvement in this case has nothing to do with
any sort of political agenda. People think they know who I am, but
they don’t. Their ignorance and blinders fly in the face of reason
and inquisitiveness the minute they hear my name associated
with this. This is about Damien. There are those on the right who
have snubbed their noses at me because I have reached out, too,
and am working with left wing organizations on this. And that is
fine. I care very little, as I always have, about people’s perception
of me and their judgments pertaining to my actions and opin-
ions. However, this is not about me. I am introducing Damien
Echols to those who don’t know him. His story and the plights of
Jason Baldwin and Jesse Misskelley represent a much bigger
range of issues and problems, some of a political nature. All of us
need to stir these things into a national debate, for everyone’s
sake, and for the sake of saving Damien’s life.
I believe that Damien Echols is innocent. I feel that people will/can
get out of this a heightened sense of spirit and awareness through
discovering Damien’s life and all that he is going through.
Damien is sentenced to die by lethal injection. He was found guilty

M ichale Graves has been the front man for The Misfits, of capital murder in a court of law in this country by things like the
a solo artist, a marine, an outspoken politically con- color of his hair; the music he listened to; the books he read.
servative punk rocker, and now is helping to bring attention He has become a very tragic figure that represents and inspires
to the case of the West Memphis 3 (www.wm3.org) with his people like myself to fight and debate things pertaining to issues
upcoming tour which will hit the New England area with that are relevant to this case such as our freedoms, our justice
support from Mongrel on April 3 (Lucky Dog, Worcester, system, spirit, strength, love, will, and character. Most of all, Da-
rd
mien is human. He is not a monster at all and I'm here to fight for
MA), April 4th (El N’ Gee, New London, CT), April 5th (Dover him because he can't right now.
th
Brickhouse, Dover, NH), and April 6 (SkyBar, Somerville, What have been some of your career highlights?
MA). Of course, having the honor to be the lead singer of The Misfits.
Say what you want about me and those years but the fact will
You were with The Misfits from 1996 to 2001, then you
formed Graves and Gotham Rd., the you joined the Marines. "This is not about me. I am introducing
Now you’re touring and recording under your name. For
those who are only familiar with your work in The Misfits or Damien Echols to those who don't know
Gotham Rd., how would you compare the new album/sound
with your prior bands?
him. I believe that Damien Echols is inno-
“Punk rock is dead” will ring more familiar to people who know me cent. Damien is sentenced to die by lethal
from my work with The Misfits. It is a simple, straightforward re-
cord. I wrote a bunch of songs, recorded them, and released
injection."
them. It is a very DIY sound. Vintage, almost, because of the
process and way I approached it. I hope it will also inspire other
bands and musicians that feel they might be behind the eight ball
when it comes to producing a demo or a record. A good song is a
good song regardless of how it is recorded. A genuine quality tune
will reach your heart regardless.
The "Almost Home" tour is, in part, to promote Damien
Echols’, of the West Memphis 3, autobiography. How did you
get involved in the WM3 case?
I, like many others, discovered WM3 from the Paradise Lost mov-
ies years ago. This effort was born out of the discovery again of
those movies and Damien’s newly published book. It has come at
an incredibly coincidental time in my life. There is so much energy
associated within all of this. Please come out to these events and
feel what I'm talking about... It’s weird.

13
always remain that I bore the weight of the resurrection of that
band because of the role I stepped into consistently succeeded in
breathing life, as well as constructing a major body of music, ma-
terial, and imagery, that defines the band of that era. “Dig up Her
Bones”, “Crying on Saturday Night”, “American Psycho”,
“Resurrection”, “Fiend Without a Face”, “Scream”...I wrote those
songs and many others.
Working alongside and performing with Joey Ramone was a gift
that I will always cherish. Meeting Rob Zombie and his wife back
in 1998 as well as the guys from Metallica in San Francisco in
‘97, I think it was. The relationship and time I got to spend with
Dave Mustaine was amazing as well. At the end the tour we did
together he pulled me aside and said some things to me that I still
hold in my heart and use as motivation when things get tough.
Dave was real good to me. I learned a lot from him. All of the rela-
tionships and good times I had with everyone associated with and
in Anthrax when we toured together… so many good times.
Discovering Life of Agony and being able to watch and be in-
spired by them every night. Keith and all those guys really helped
shape the performer that I am that everyone sees today. The po-
litical war of conservative punk vs. punk voter was amazing.
There was a lot of shit slinging, but at the end of the day there
was certainly a point to all of it. Punk Rock is Dead and my sign-
ing with Horror High Records. They have given me the backing
and assistance and support that I needed to arrive where I am at

A good song is a good song

regardless of how it’s recorded.
the present time. “Finding" Damien Echols and everyone that I
have "found" through all of the current events. I don’t know how
many of the readers believe in synchronicity but there seems to
be a lot of it surrounding me and happening to me and everyone
else involved in this.
What are your three favorite Misfits tunes (from any era)?
“Horror Business”, “Fiend Without a Face”, and “Cough Cool” with each other. If you are a promoter booking bands... PRO-
What's your favorite song from Punk Rock is Dead (available MOTE! Call up radio stations and magazines and newspapers.
at HorrorHigh.com)? And what is the significance of "1119"? Stoke your scene. Create a scene. If you want to make it in this
business you have to devote yourself to it and work hard every
“Dawn of The Dead”
moment. Give Octopod Productions a call if you need help!
1119 is the hotel room number at The Hyatt on Sunset Blvd. that
What's next after this tour?
I stayed in back on the WOD tour. It represents the total sum of
I am working on turning this national tour into a world tour effort.
that time and the transformation that was happening inside me as
So I might be pretty busy the next couple of months. But after this
well as all around me.
tour I plan on completing a new record for Halloween with at least
I have just recently discovered a bizarre connection with 1119
three videos. I am working on a DVD to release around the same
and the WM3... it revealed itself to me out of the blue with very
time. I am working, producing and advising bands through and in
little thought. It is kind of strange. I am not gonna reveal it yet to
conjunction with Octopod Media Productions. I continue to write
everyone but I believe it is another "sign" of sorts.
as well as have been invited to do some speaking engagements
What bands are you listening to lately and who inspires you? throughout the country. I have been invited to work with a world
I have not been listening to much music other than the bands I am class producer to lay down some tracks on a song... details com-
working with at Octopod Studios or my own music that I am creat- ing. I am working on a few independent films I am developing as
ing for the new album. Brace yourself for this now... wide variety well.
coming up. What got me to some of the music I'm creating cur- For more Michale Graves info: www.MichaleGraves.net or
rently are bands like Lamb of God, Killswitch Engage, Melvins, www.HorrorHigh.com. To learn more about Damien Echols and
CKY. At the same time U2, Ramones, Bob Dylan, Nirvana. I listen the West Memphis 3 go to www.wm3.org.
to a lot of classical music and oldies as well as gospel music....
well, the energy is unmatched to anything.
What advice do you have for up and coming or new bands?
The business of music has much changed in the years I have Marc’s 40th B-Day!
been in the industry. You can no longer survive and/or make it
most of the time on raw talent alone. You must educate yourself Send your congratulations!
as to how this machine works. Use your brains. Use the huge
array of opportunity that the internet provides. That is where the
friekman@hotmail.com
revolution has been born... the internet. It is teeming with inde-
pendent and underground music. Hook up with each other. Work
[This ad placed by his nefarious staff.]
14
Three Guitar Attack From Mordor:
An interview with Tom Mayo of Troll
by Marc Friedman

R andy, full of adrenaline, at the LowellRock.com’s Katrina

Benefit yelled into my ear as we walked to the back of the
club, “These guys are fuckin’ awesome. Their drummer has two
story short, the engineer hired a girl to be a secretary for the label
and she stole the masters and mailed them to me.
Still musically hungry, Fred and I auditioned for a cover/original
kick drums and tons of cymbals. I had to go out to find more mics band which turned out to be Phantom River, which was where I
and we’ve maxed out the mixing board.” He stopped me and con- met Steve Kenney. After three years we broke up, but not before
tinued, “Do you like classic hard rock?” I said I loved it. He recording a double disc. That had one, and sometimes two, guitar
gushed, “These guys play all that shit, but it’s original. You will players and I was itching to get back to the three guitar sound so I
love them.” I asked what their name was. He smiled and said, called Mike and then Yukiko, who was also in Dead End for a
“Troll.” short period, and it became what is now known as Troll.
Who came up with the name for the band?
Three guitars! How did that happen? After seeing a cave troll action figure from Lord of the Rings, I
Ok, some time ago I was in a three guitar band and the fullness of thought it would be a good idea, not knowing there are 930,000
the sound attracted me. But the story behind this band is this: The troll things out there!
rhythm player, Fred Dupont, and I were in this band called Dead
End in the Lowell, Ma area, which is also where I met Mike De-
mogenes who suggested I hook up with this drummer he knew,
“So we waited a year for him to come
when I started the band. The name came out of frustration of go- out of a coma, another for him to stop
ing thru so many members that I’d assumed this too would be a
dead end, but instead we got offered an independent label con-
having seizures…”
tract from California and three of us went out to record. Now the
deal was I go first and check it out for a week and then they would Who played on the CD?
show up. I was supposed to be picked up by a limo and driven to Mostly Steve Kenney (drummer) and I with Yukiko Fujii (bass) and
a beach house we all were going to stay in until we’d finished but a guest appearance by Danny Klein from The J.Geils Band on
alas, no limo; no beach house. So I called the so-called “label” two tracks. I put down the acting members of Troll on the CD but
and they picked me up and booked me at a seedy motel for a the two other guitar players are on the new CD and this one I
week, complete with hookers and lowlifes of all kinds. Then the played all the guitar. Danny Klein turned out to be an awesome
band showed and we took some photos and recorded, which was guy who has a lot of great memories from being a part of Ameri-
a nice experience, but then we flew home only to hear the engi- can rock history, like opening for The Rolling Stones at Wembly
neer that recorded us got hit by a bus! So we waited a year for Stadium to 100,000 people.
him to come out of a coma, another for him to stop having sei- Are there tunes that didn't make it onto the CD?
zures, and somewhere during year three I decided I wanted out of There usually is something that isn’t quite finished or doesn’t
the contract and for the label to just send me the masters and I seem right at the time but “Trigger Man” was spur of the moment,
would get them mastered myself. They refused. To make a long
(Continued on page 20)

15
 7:00 Joe’s Attic 10:00 PCDM
8:00 Workin’ Stiffs 11:00 Decadence
9:00 The End Result Midnight: LowellRocks.com All-Stars

A Cause That’s Close To Our Hearts:

The LowellRocks.com Benefit
by Jennifer Mottram photos by Tom Gallo

I f you’re playing in the local music scene, then you know

about LowellRocks.com. If you enjoy original music and
want to keep up with what’s going on, then you know about
have preferred that Marc were with me, but NoMaSoNHa's be-
loved editor was home sick and there in spirit. When I arrived, the
floor was a sea of black leather jackets and the air was filled with
LowellRocks.com. If you’re new and don’t know about it, loud conversation. The bar lit the liquor bottles from underneath
with a rotating color spread, from blue to green to yellow to red.
you’re denying yourself access to an incredible resource for Mardi Gras beads adorned the place and ads for their upcoming
information and a tightly knit, very welcoming, open com- party were scattered around the bar. The TVs above the bar
munity of musicians and music lovers. Their tagline is “for showed The Green Mile, the Olympics, and a horse race. No one
those that like it live.” was paying the slightest attention to them; all eyes were on the
LowellRocks.com has supported and encouraged people to suc- bands.
ceed at what they love most. It started in 2002 with 10 bands and First up was Joe’s Attic. They started strong with Talking
three shows a weekend and is now covering over 500 bands and Heads, Doobie Brothers, and Creedence. Throughout their act
100 shows per weekend. The people who participate on the site they traded off lead vocals and built up from each others’ energy
are the lifeblood of the entertainment that so many enjoy. And, levels. The solos, particularly during the blues songs, grabbed the
unbeknownst to Randy Breton, who is the heart of Lowell- full attention of the listeners.
Rocks.com, the community agreed it was time to give back. Lloyd Encouraging the crowd, Dot held up an arm-long chain of tickets
“Ronin” Corricelli, of NoMaSoNHa’s Ask Ronin fame, orchestrated that people could buy for $20 to have plenty of chances to win
a benefit show to help defray the costs of running such a large such raffle prizes as a leather jacket donated by Wayne Morgan,
and important virtual town center. Dunkin’ Donuts gift certificates for enough coffee to keep you
On February 11, Club 251 in Billerica held the LowellRocks.com awake for a week straight, very cool LowellRocks.com coolers
Benefit, despite the fact that newscasters across the state were with coke inside, and free ad space from our very own Noma-
warning that a monster snowstorm was going to pound us with up sonha.
to two feet of snow. But, due to prayers, animal sacrifices, or At 7:30 p.m there were 40 people laughing, drinking and enjoy-
Randy’s magical abilities, the snow didn’t start until long after the ing all the music. 40 people that early? There was definitely some
last people closed the place down. I was glad to be there. I would
16
Randy Magic going on. People who showed up were thrilled to be part of the night. The
crowd was loose and easy with the hugs. The place filled with a mix of true friends of
LowellRocks.com and people who were eager to see the great bands.
At 8:10, the Workin’ Stiffs took the stage. The songs hit 11 on a 1 to 10 scale. A ran-
dom sampling: “I’m a Bitch”, “I’m Trouble”, “Hit Me with Your Best Shot”, and “Kiss Me
Deadly”. Near the end of their set, they took on Bad Company’s “Feel Like Making Love”
and turned it from a tender love song into a hot rush of lust that Tom Jones would be
proud of. All the roughness was pure and direct with no pussyfooting around.
In between ses the fill music played generic rock at a volume where you could take the
moment to buy tickets, order another beer, or smoke (outside) and relax. You got a
chance to catch your breath before the next ride.
9 O’clock and The End Result kept the music flowing. Their blues rocked straight
through Santana and Stevie Ray Vaughn. The only slow song was one requested by
Randy and that had couples dancing in each others’ arms. They then played some
swamp music for Dot that lead into more Creedence and ended with The Allman Broth-
ers’ Whipping Post – a flood of sound that Wayne Morgan shouted out like one who
knows the pain of the lash.
(Continued on page 22)

17
 From Russia (Ukraine, really) with Love:
Inga Magid Teaches “Keys For Kids”
by Deborah L. Blicher
photos from www.Keys-For-Kids.com
Right now I have a seven-year-old who is playing
Beethoven sonatas, playing [at a] pretty decent level.
I n a room decorated with music mobiles, a trim, auburn-haired
woman sits down at a keyboard and begins to sing, accompa-
nying herself with pleasant, casual harmonies. She wears a white
sweater, a gray knit skirt, and a huge grin. Her students, only
three or four years old, leap out from behind their own keyboards
and press as close to her as they can. Their parents stand back,
smiling. The woman plays intervals: major third; perfect fifth; ma-
jor seventh. She asks for the solfège names of the notes, and the
students get them right: “Do, Mi!” “Do, Sol!” “Do, Re!” She plays
short phrases, and they sing the names back to her, clamoring for
more. Then she quizzes the parents.
They can’t do it.
Welcome to the Keys For Kids studio of Inga Y. Magid, “Ms.
Inga” to her students. Magid is a Ukrainian-born educator and
former concert pianist who holds degrees in music education and
piano pedagogy. She developed Keys for Kids to teach musical
skills to children much younger than previously thought able to
master them, beginning at age 3. Since her first classes in 1994,
over 3000 children have participated, several of whom have since
become competition-level pianists.
Parents attend Magid’s classes to help their children concentrate
and to maintain the idea that music is a social activity where chal-
lenges are opportunities for approval. James O’Dell, assistant
dean of the Boston Conservatory of Music, is married to Magid’s
earliest apprentice teacher, Lilia Gouarian. His opinion: “Inga has
taken this idea of, ‘What would be a nice, fresh way to teach chil-
dren music but in a group setting, and keep them engaged?’ It’s
not ‘Find middle C; OK, let’s play middle C five times’….[The
method] seems to engage children and parents on a number of
different levels.” David Kilroy, a former Ivy League music profes-
sor, accompanied his two children to Keys For Kids. He recalls, “I
was bowled over by Inga’s teaching skill and facility with
kids….They really get to understand what music is about, which is
not just note coming after note, but that it’s part of a syntax, a
harmonic structure….As one who abhorred class piano, class
anything, I went kicking and screaming to this, and I never left.”
When I asked the kids themselves, “What makes you most ex-
cited about this class?” they unanimously told me, “Finding out
what song we’re going to learn next!” There is no stronger en-
dorsement than that.
18
In your classes, it looks like it’s important that not only stu-
dents master material but also feel good about what they do.
Definitely. They’re not going to feel good unless they master the
material. My own [five-year-old] son is in Kinder-Keys 3 now, and I
don’t have time to practice with him, and I notice it now in the
class, because he is not ready. He is trying to withdraw from ac-
tivities… If they’re not comfortable, they cannot join the activities
in the class, and they start feeling bad. And [then] they are going
to say either, “I’m bad” or “I don’t like music.” Because nobody is
going to believe “I’m bad,” then “I don’t like music” is the normal,
natural path.
How were you were taught music as a child in the Ukraine?
In the Russian style, with the ruler in the hand. I remember when I
was maybe six, seven years old, my teacher would say, “I need to
go somewhere for a few minutes. I am going to lock you in the
room, and I will be back.” And she would be back in three, four,
five hours. Later, I figured out that she wanted me to practice…
When I played concerts, we had to practice in the concert halls,
and there would be concerts until 11 o’clock at night. About mid-
night, she would be calling my parents; “Wake Inga up. The con-
cert hall is free.” So they would wake me up… One time there was
a bat, living behind a portrait. Nobody knew about it. Nobody else
was crazy enough to be there at that time. But obviously [my
teacher] was. I was playing my concerto, and the bat started flying
During the recital, when he was playing his
piece on the piano, some of my recent gradu-
ates came up and said, “Are you [the student]
who wrote the song? Can I have your auto-
graph?” He was a celebrity! It’s fun for kids to
see kids who wrote [songs]. It’s inspiring.
around. I was scared to death, ready to jump under the piano, and
she said, “Keep playing!” She’s running up on the stage, and
she’s taking her jacket off and throwing it over my head so I don’t
see anything, and she’s saying, “Keep playing!” That’s the Rus-
sian style.
[As far as musical competence goes], I try to achieve similar
results. I have students who win competitions. Right now I have a
seven-year-old who is playing Beethoven sonatas, playing [at a]
pretty decent level. She was doing Keys For Kids before, and now
she’s doing private lessons. So when they start young, they can
achieve something... [The] problem is that teachers don’t do it
very often because it’s extremely difficult to teach this age.
What’s difficult about it?
First of all, attention span. Keeping their attention is very difficult.
You can do 5 minutes, 10 minutes, and then you have to change
[the] activity. You have to be constantly on the stage, constantly
vibrant, vivacious, because otherwise they are going to start fal-
ling asleep and getting bored. You constantly need to keep them
occupied. Keyboard and note-reading and singing and listening,
then written activities and then notes on the keyboard, keyboard
geography and learning a new piece but [getting a change of
scene by doing it] on the floor keyboard. So lots of things [are]
happening in one class.
Another [problem is that you have to] eliminate all the “shushy-
mushy” stuff. “Oh, it’s just kids, we don’t [need to] talk about real
stuff. We’ll give them not-real theory and not-real terminology, just

kind of make it up in baby style.” It’s a challenge not to do that.
Because you have these little kids—you can’t see them over the
keyboard sometimes!—you look at them and you think, “They
can’t get it. They won’t understand.” The challenge is to present
real musical concepts in a language that they can understand but ties more often. I’ve had a few kids who were taking physical ther-
without simplification.
So the challenge is not to underestimate them?
Definitely. I constantly [read books that say things like]—“Up to
age seven, kids cannot read music and play without looking [at
their] fingers. They have to stare at their fingers.” No, they don’t. It each child, maybe not in the same age group, but it’s not really
depends [on] how you present it. There are some kids who really important in that case. Kids don’t [often] need to repeat classes
cannot, but they are more [the] exception than the rule. Teaching [because there are] so many overlaps [in the curriculum].
them by [imitation]—it’s the wrong thing….[When] they [imitate],
they do great. But—for how long you can do it? You can’t do big-
ger pieces.…You have to be comfortable reading.
How is your presentation different in an older class from in a level too fast or too slow, next semester I always regroup them,
younger class?
They have [a] better attention span, [so] we spend much more
time at the piano because they can. We do much more serious
theory, much more in-depth. From Kinder Keys to Super Keys
[intermediate to advanced levels], [kids] feel the differ-
ence…because pretty soon we start moving from one position to competing. We do have class competitions, like flashcard compe-
another, learning so much more theory; we start learning tonic
and dominant chords, subdominant chords, and all those ca-
dences in all the keys, so [it’s] lots more like college classes. But
still fun. We still do ear-training, we still do rhythm ensembles, we and so little, but you can do so much. You’re also smart, and
still do compositions.
Composing? At this age?
They compose. [Opens workbook for Kinder Keys 3.] Here is a
song, and [for] the middle part, they’re composing the D.C. al fine,
in A-B-A format. Here’s one composition of a student of mine. He
wrote it 2 years ago [at age 6]. It’s a pretty piece, and he initiated
it himself: his parents [were] completely illiterate in music. They
learned everything that he learned in the class along with him….
During the recital, when he was playing his piece on the piano,
some of my recent graduates came up and said, “Are you [the
student] who wrote the song? Can I have your autograph?” He
was a celebrity! It’s fun for kids to see kids who wrote [songs]. It’s
inspiring.
What concepts do your students know when they graduate?
By Super Keys 4 [about 10 years old], they know theory one
learns in the first year of college. They harmonize with primary,
secondary chords; they know all keys, they can transpose to C#
or B-flat, can transpose with primary and secondary chords, with
seventh chords; they know what a chromatic scale is, they know
major, minor, diminished, augmented, and triads and chords and
scales; they know harmonic minor versus melodic minor versus
natural minor, and know it not just by theory: they know by doing
it. … I just had a graduation of my Super Keys 4 class, and they
were playing harmonizations that I think some of my second year
college students would not be able to do.
When [my students] come to private [piano] lessons, they are at
an intermediate level. They do need to work on technique, as any-
body would. The class provides basic technique, but, obviously,
piano touch and phrasing and all those wonderful things, it’s indi-
vidual work, and that’s what they focus on when they graduate.
They play like musicians and memorize as musicians; they sight-
read as musicians.
What happens when a parent isn’t progressing as quickly as
his or her child?
It happens all the time! By Super Keys 2 [about age 5] I lose most
parents.… At the [earlier] levels, I have mostly parents leading
kids. They help them out, they’re pointing, they direct the attention
to the board; they help them at home to practice. But parents get
behind because parents don’t practice every day. They stop prac-
ticing with their kids when they get older because the kids become
more independent, and what happens is, kids progress and par-
ents don’t.
What kinds of special needs can you accommodate?
I have had, and I still have, some kids with disabilities. For ADD, I
put the kids in a little bit younger class, where we change activi-
apy for finger movement [or other issues], and it helps a lot.
Again, we put them in a younger class, but they progress well. I
have kids who have problems reading—not just music but reading
language. I communicate with parents a lot; it’s a working-
together with the parent. I always can find a way to accommodate
So students get a lot of chances to succeed?
A lot. [The class levels overlap so much] that is almost impossible
not to find a level that will be appropriate. If I see [a child is at] a
according to the level [for which they’re] ready.
Are the children competitive?
Parents are competitive, not kids. But there are ways of dealing
with that. I am trying to encourage working together rather than
titions, but it’s a friendly competition. I want them to have fun and I
want them to learn a lot. I’m pretty strict: I demand a lot from
them. I do keep it fun, but I do ask for results. “Yes, you’re so cute
you’re capable.”
Magid teaches at the Powers Music School in Belmont,
www.powersmusic.org/programs/keys_for_kids.html, at U. Mass.
Lowell, and in her private studio. For further information, visit the
Keys for Kids website, www.keys-for-kids.com.
19
Scenemaker:

by Adam Savage

Name: Joe

Role in the local music scene: To pimp the shit out of everything I touch and never have a failed effort.

How did you get involved in the local music scene?

While booking Scorz in Nashua I was abducted by aliens and force fed multiple 30 packs of beer while being
subliminally programed to start a label and do big shows.

What about RatPak is different than the other labels and promotion companies in the area:
We have serious emotional issues.

Favorite part of the local music scene: Beer?

Website: www.ratpakrecords.com

Best way to contact you: promo44@att.net

(ontinued from page 15) But mostly, it’s just trying to get out what’s pushing to come out,
collectively as a band and as individuals. We also attempt to not
the drummer never even heard it before he played. Turned out to be similar in every song.
be quite the statement about terrorism and hatred. How do you prepare for your blistering live shows. ?
Where did you record it? If there’s a crowd, then we must feed! We try to write songs that
Newbury Sound in Boston, which is now Newbury Media in Wil- can be danced to, which comes from playing covers but it doesn’t
mington, and we’re also recording our new CD there: one engi- always come out that way because the drummer’s a metal playing
neer, very easy to get along with; creative environment. His name madman. But we all agree that the finer parts of covers are crowd
is Ken Kanavos and he’s worked with a lot of great bands such as familiarity and women dancing. However, originals are what they
Dave Matthews, Queens of the Stone Age, and now he’s doing are and we’ve had people dance to them and even sing the lyrics
something with the producer of the Stones’ album Sticky Fingers. after only hearing them once.
His gear is state of the art and his knowledge is constantly updat- What are your plans for the future?
ing to the technology evolution! I’m really enjoying the attention the Troll CD is getting here and
Who does the songwriting? overseas and I’m looking forward to the new CD, Army of Lost
I do all the writing but I take suggestions and comments seriously Souls, by Troll U.S. Also check out new song, “Eyes on You”, on
every time the band makes one musically. Usually I reflect on www.myspace.com/trollrockcom and request it on WAAF,
current events, relationship trauma, and overall something every- Rock101, WBCN, WJUL and more to come. Plus check your local
one relates to like love and pain… also a little history, a little fan- club jukeboxes cuz we will be in there, and I’m hoping to do more
tasy, anger, depression, oppression, indigestion, suggestion, shows for NEPGM, Locobazooka, and all the clubs we play at.
y`know?
Has your writing evolved since the band was started? www.TrollRock.com
Wow! Has it ever! There is a great release of creativity when you
get along with people and everyone can freely express them-
selves musically without fear. Sometimes while playing during the
writing stages the music takes the wheel and directs you where it
Expose Your Band
wants to go and it’s like an out of instrument experience.
Has your sound has changed over the years?
To 6000 People A Month
It’s a constant change, music in general, bands evolve with 1/4 page ad space Only $65
changing times, relationships, current conditions of musical ability,
and the audience’s response plays a big role in sound changes.
That’s about $10 per member!

20
 The Recording Songwriter
Nexus, Plexus, Kudzu and Carolina:
If Zombies Were Plants and Are Audio Cable Attack Dogs Really Necessary?
by Keven Pearce
M ost recordist’s studios are undergoing a slow but steady evo-
lution toward higher sound quality. If an additional mic, for
instance, is required, we say, “Can I get a better or different mic
this time?” After a new component is acquired we may look at
another piece in our system and decide that it is no longer up to
our new higher standard. After our ears are better trained, or after
a crucial element, such as monitor speakers, are upgraded, we
may hear the limitations of equipment that satisfied us last year,
but now falls short of our expectations. Through it all, one not-too-
exciting constant remains. Every piece of gear must talk to every
other piece by means of various jacks and cabling – the nexus
and plexus of recording. Cables are, to a studio – and be afraid
here, be very afraid – as kudzu is to Carolina. For those not famil-
iar, kudzu, a.k.a. “the vine that ate the South,” it is a non-native
“trailer,” a relentless creeping plant that is reported to grow faster
than many older people can walk. In fact, if zombies were plants, I
believe they would be kudzu. More on fighting these twin men-
aces – kudzu and cabling – later.
Recordists at any beginning-to-intermediate level can note the
following: As you move from basic equipment to higher level re-
cording gear, the type of connectors you use and the signals they
carry will change. Inexpensive entry-level gear is often associated
with RCA jacks (a.k.a. phono plugs) like those that connect your
consumer stereo gear while better quality gear uses ¼-inch phone
plugs (identical to guitar cables). The mic inputs on the cheapest
gear sometimes use the same ¼-inch (unbalanced, high imped-
ance or hi-Z) phone jacks. (Note that “phone” and “phono” plugs
are not the same.) Mid-level-and-up “pro” gear uses (balanced,
low impedance or lo-Z) three-prong XLR jacks for all mic inputs.
Note that these are not just different connector formats, but differ-
ent quality signals. This gets confusing as we move to even more
expensive high-end gear because at that point the familiar RCA
and ¼-inch jacks are often replaced with XLR inputs that look like
the mic inputs.
Just to confuse things further, ¼-inch phone jacks begin to come
in two varieties: the two-element TS (tip, sleeve) , these are regu-
lar guitar cables, and the three-element TRS (tip, ring, sleeve)
type. (The TRS phone jack is the common connector for stereo
headphones.) The TS variety carries “unbalanced” signal compo-
nents (positive, hot or +; and negative, ground or -). The TRS is
often carries a “balanced” signal through its three (positive, + or
hot; negative, - or cold; and ground) wires, but it can also serve as
a stereo cable (left, right and ground), as in a stereo headphone
jack, or as an effects loop cable (send, return, ground).
To further confuse things, the unbalanced lines of consumer
stereo and “semi-pro” audio operate at a -10dBV level standard.
The balanced line usually operates at the “pro” level standard of
+4dBu. Note that these are different standards: -10 is in decibel
volts, and +4 is in decibel units. While it is not necessary to under-
stand the technical differences between these two standards, it is
necessary to know which of the two is being used so that each
piece in your signal chain is compatible. As your studio pro-
gresses, new “+4” gear often causes problems for the existing “-
10” gear.
At this higher level, the RCA jacks will disappear altogether as
analog connectors replace them, but they will still be found as
S/PDIF (Sony/Phillips Digital Interface Format) digital connectors.
However, there is one additional mutation taking place: Lots of
high-end gear also uses XLR plugs for not only for balanced line
level signals and mic inputs, but also to carry digital signals in the
21
AES/EBU (Audio Engineering Society/European Broadcasting
Union) format, a digital standard that uses three wires instead of
S/PDIF’s two.
What does this mean for you? First, it means that all of those
RCA-to-¼-inch adapters and phono cables you bought at Radio
Shack are going to wind up in a drawer somewhere as you buy
better gear. They will be gradually displaced by a sometimes mas-
sive collection of ¼-inch TRS and XLR cables that cost (and
weigh) more than you first mixer board.
Secondly, it means you’re going to have to take more care in
seeing that you plug the right wires in the right place. To state the
obvious, just because a jack will fit into a plug it doesn’t mean it’s
okay to plug it in. It means, for example, that the familiar XLR in-
puts can no longer be relied upon to be mic inputs. In my studio
they might not even be analog. I honestly don’t know what would
happen if you plugged my Neumann M-147 condenser mic into an
AES/EBU digital jack, but I do know that I don’t want to find out --
and neither do you. Trust me on this. It also means that with every
new piece of gear you buy you’ll always have to ask yourself,
“Can I really plug this, this, and that into that, that and the other
thing? Am I sure?” Just to be sure, check the specification sheet
that can usually be found at company websites.
It also means that even though this box can talk to that box, you
might have to get a special cable to make it happen: Connections
requiring cables that are TRS on one end and XLR-male or -
female on the other are common. Furthermore, be warned that
certain pieces of vintage gear can require a non-standard XLR to
TRS cable with an alternate-wiring scheme. This is a rare but real
possibility.
An additional ramification here is that as your gear gets better
you will need high-quality cabling for it to sound its best. If you are
using highest-quality components you will hear differences be-
tween high- and low-quality cables.
Ryan Hastings, manager of Guitar Center, Nashua, and formerly
of North Carolina, claims to have trained his pit bull, Fujiyama, to
attack kudzu. Ryan says the dog was effective, but let’s just say
I’m skeptical. So, before you train a dog to attack the cables in
your studio, try my Requisite Cable Taming Procedure. Requisite,
in this case, means “do it now, don’t argue, you’ll thank me as
soon as it’s done.” If you are just starting out it will be easy. Just
apply the steps as you buy cables. If you already have a zillion
cables, then this will be a minor pain that will save hours and
hours of grief over the rest of your recording life. Besides, you do
not want your family to have to go down to the morgue and iden-
tify what is left of your body after undead cables get to you.
Keven’s Requisite Cable Taming Procedure
Step one: You will need: Several rolls of ¾-inch electrical tape in
various colors other than black and a bold, black Sharpie-type
permanent marker. Although electrical tape is famous for being
black, you can get multi-packs of it in assorted colors. I have rolls
of it in white, yellow, green, red and blue. The lightest colors work
best. Mark each cable you own like this: Cut a six-inch piece of
tape and a lay the cable, up near the connector, perpendicular
across the middle of it onto the sticky side. Then fold the tape
onto itself sticky sides together. You will create a three-inch “flag”
near the end of the cable. Then, using the same color tape, make
a similar tab for the other end. Now take the marker and write a
(Continued on page 28)
(Benefit continued from page 17) Stars. At times there were upwards of 10 people on stage all
mixed from the different bands that were there to support Lowell-
By the time PCDM came on at 10pm people were fighting for Rocks.com. Lloyd, on harmonica, led off with “Boot Scoot
chairs and jockeying for a position at the bar. The band just loved Boogie”. Simone, also from North County Line, sang with a kind
what they were doing. Their choices were decidedly mixed, from of emotion and passion that eclipsed just about anyone I’ve ever
“Magical Mystery Tour” (with great harmonies and rhythm) to Chi- heard in my life. Every song took off like a rocket. This was not
cago (the band) to “Blue Collar Man” to “Fox on the Run.” The your typical set where the songs are good, the beat is fun, and the
crowd loved it. Girls were dancing raucously and, in one corner, a band goes home tired but happy. This group gave 100% for each
woman was dancing as if she were at home with the living room and every note and it didn’t matter to them if they couldn’t move in
curtains closed. morning. It was all about playing their hearts out for Lowell-
The crowd also included band members from groups that didn’t Rocks.com.
play that night. Jim from Good Question was there to not only Perhaps I’m biased, but my favorite song of the night was sung
support a great cause but also have a good time. Good Question by Randy “Big Daddy” Breton himself. It the Georgia Satellites’s
is playing on April 1 at Reflections in Chelmsford and their set list bit hit. You know which one. He had people up and dancing to
is similar to The End Result’s... Allman Brothers, Warren Zevon, lyrics like, “Don’t hand me no lines and fuck let’s do it!”
Bonnie Raitt, Joe Cocker, etc. For those interested, they’ll be hav- The raffle for the leather coat was another of the evening’s high-
ing the Miller Lite Girls milling through the audience, which will lights. And, appropriately, a long-time member of Lowell-
definitely be a reason to go. He and a friend bought their share of Rocks.com who has been in the music scene for years won the
raffle tickets to support LowellRocks.com and Jim was startled coat. He was very surprised to find himself holding the golden
and surprised when they called out his number to pick up one of ticket. Everyone in the crowd shouted out to see him try it on be-
the LowellRocks.com coolers. cause it looked so appropriate for such a music lover to be on
Decadence was the last scheduled band. This hair metal group stage with the musicians he has enjoyed for so long. He went on
took the floor with songs that brought back a whole lot of high to prove his worth by taking lead on “Sweet Home Alabama”,
school memories. “Rock You Like a Hurricane” swung nicely with bringing the night to an awesome and powerful close.
solos through the chorus and verse. The bass guitar careened As I drove home, I thought about how LowellRocks.com has
into the walls and Wendy’s vocals poured loudly over us. The impacted the local scene. It is a site where the news, events, and
power kept flowing with “Bang Bang” and Billy Idol. The audience, happenings are up-to-the-minute, providing instant access to all
already hyped, really got into it when Wendy, with her tassels and you’d want to know about local music and where to get it. Clearly
leather motorcycle gloves, jumped into the crowd and encouraged it takes a lot of time and effort to keep up something so incredible.
them to sing with her, usually with her arm around their shoulder. The bands tonight gladly offered their time and effort to let Randy
She even got Randy to come up on stage for Quiet Riot’s “Metal know that it is worth it. Over $500 was raised to help keep it going
Health”. strong. LowellRocks.com, for those that like it live, truly brings the
Midnight and there were still 50 people in the club. People were local music scene to life.
winding down and leaving to beat the storm but, even still, more
people came in for the final act; The LowellRocks.com All-

$3000 Grand Prize

2nd place $1000
3rd place $500
Live radio broadcast for the finals.
No need to sell tickets. $20 entry fee only!

The winner of each round receives $100 prize to go with the thrill of victory and moves on to the next round.

Photographer Dante Parker has also added an additional prize. Every participating band will be entered into a
drawing to receive a free session with Dante and the winner is totally independent of the battle finals.

The Battle is on Thursday and there are still slots open,

so email Laura@CharactersPub.com and cc Marc at Editor@NoMaSoNHa.com to get involved.

22
 A Dream In Progress
Business Profile: S.E. Entertainment
An interview with Seng
by Shaun O'Brien
S .E.Entertainment is a
small, yet widely grow-
ing film production com-
pany, based out of Lowell,
MA. It started about a year
ago from a big dream, a
camcorder and a computer.
S.E. Entertainment ranges
from Indie films to music
videos to a wide plethora of
film recordings. Here I went
in-depth with Seng, Owner and founder of S.E. Entertainment.
www.myspace.com/sengboy
What was it like growing up in Lowell? Tell us about that.
Growing up in the streets of Lowell has always been hard. Very
few have ever made it out of the hood and most only grow up to
work 9 to 5 jobs for low wage; just barely enough to pay the bills
and feed the family. The one thing that has always remained true
though is all of them have a dream. The only problem is most of
them give up their dream because one day they convince them-
selves that it’s never going to come true. Since the day I was born
I’ve learned to be the best that I could be. I’ve failed many times
but instead of putting my head down, I’ve always held it high and
learned from my mistakes. People say that the chances of anyone
making it big around here is slim to none but, you know what? I
like those odds because at least there is a chance and something
amazing is always worth fighting for. Even til’ the very end.
23
What is S.E.Entertainment?
It’s where my dreams collide with reality. Within this label I do
what I’ve always wanted to do and that is making videos. Every-
thing from movies to documentaries to music videos and even
website videos (MySpace especially.)
How did S.E. come to be?
Some people say that I came out of nowhere. They didn’t see the
years of hard work I put into it before my first video ever came out.
I spent years saving enough money to buy a decent camcorder
and a quality computer. Than I spent another year learning how to
edit videos, plan a production, and shoot anything and turn it into
something.
How long have you been around? Tell us about some of the
projects you’ve done.
S.E. Entertainment has only been around for one year but I feel
as if I’ve accomplished so much within it. I can’t wait to start work-
ing on [pro-level] projects… the kind you rent at a video store or
see on T.V. But, I know I’m so far away from that right now. In the
meantime I am going to continue making videos and perfect my
craft. This year I will be working on music videos so any aspiring
artists looking for low cost video productions, just hit me up. I’d
love to work with as much talent as I possibly can.
Any advice for young people interested in an arts career?
Following your heart and chasing after your dreams is one of the
greatest things a human being can do. When your dream is finally
achieved; you inspire the next person to change everything for
one chance to follow their dreams. Peace out y’all.
reviews
CD Reviews
Rick Berlin Me & Van Gogh
Hi-N-Dry
Having left the rat race crud of major labeldom behind, the man
who created the Berlin Airlift (the band) and The Shelley Winters
Project, strips it all down on his latest solo set and, with the help
of fellow local legends Billy Conway and Tom Dube, plays and
sings just for the love. And that love can be heard in nearly every
twisting, yearning note on this minimally-produced, maximally-
emotive album. Mixing sibilant whispers of Byrne, Waits, and
Brak; Berlin drops his hands on the keys in simple patterns that
support and set various moods for his off-center stories. From the
Kerouac poetry of “The Ride”, to the bouncing defiance of “Beer
Belly”, and the harsher incarcerated epistle simply entitled “A Let-
ter,” Berlin looks on bar stools, in cars, and under the pain of life
to find heroes and anti-heroes (though the difference is often hard Dave Crossland Pearl
to discern). Not only is the title track appropriately painterly but it, Road Monkey
like the entire album, reveals more shades of color and feeling
with each repeated listen. - Matt Robinson
BlackOut Frenzy, 4 Song EP
www.blackoutfrenzy.com
This is a sampler for metal and hardcore listeners. It is a lot of
noise even though all the instruments can be heard in the mix. It’s
definitely not a disc that I would listen to
repeatedly, but someone into heavier
music may love it. Of the four songs, I If you would like to
found “Bite the Hand” to be the best. It
was a little more melodic than the other
review CDs
tunes and had more interesting licks. As
a musician, I find that your average lis-
Please send an
teners catch on to songs that they can email to me at
tap their feet along to or bob their head
to. These songs have so many musical papa@hotdayatthezoo.com
parts and tempo changes that the aver-
age listener would probably lose atten-
or call Marc at
tion pretty quick. There is a lot of room to
make these songs better. There are
(978) 258-2606
good parts mixed in all the songs. With (you get to keep them, too)
an outsider to help with pre-production, I
think the songs could be worked on to
flow more smoothly. - Alyss
Don Brewer Blues Project Voodoo Soul Blues
8 Song CD
www.donbrewerbluesproject.com
Performance-3 Production-3 Songwriting 4 Recommend YES
The Don Brewer Blues Project is a band from the hidden blues
capitol of Maine. In my interview with another Maine based band,
Roundhouse, I learned that the blues are alive and well in the
state of Maine. This CD is proof of that.
Voodoo Soul Blues is a collection of eight original numbers all
written by Don Brewer himself. All of the ingredients are here.
With swinging horns, juke joint harmonicas, tasty sax lines,
smooth Hammond organ, and Don’s ever present Fender tones,
this CD stays in the very traditional. The songs run the gamut
from the humor injected swinger “Out Last Night”, to the Elmore
James influenced “New York Blues”, in which Don lays out some
thick slide ala Mr. James. The band has the full compliment of
Don on guitar, Tommy O’Connell on harp, Marc Perez on drums,
Ronny Arsenault on bass, Pat Pepin on sax, and Bob Colwell on
Hammond organ and piano. The band is solid throughout the disc
giving perfect backing for Don to tell us his tales and lay out some
24
CDs Rated 1 to 5
sweet guitar on songs such as “Downtown Woman” and
“Hurricane, Hurricane”. “Foolin' the Blues” is a sure fire “get ‘em
up and dancing” number. Tommy O’Connell takes over on the
final cut called “Dance” whipping out some real gravely harp lines.
This disc likes to stay in the world of swinging tempos and shuf-
fling feet. It works, so why not?
The recording is clean and clear with enough space to let us hear
the group. Don has some vintage sounding Fender tones and that
is where he stays. My only small complaint is that Don’s vocal
delivery is more spoken than sung but again he makes it work.
Diversity in the world keeps it round.
This is a solid effort by a group of musicians who have done their
homework. It makes me glad to know that there is still an area in
the Northeast such as Maine that is keeping the blues alive.
- James LeBoeuf
Find a quiet and self-protective creature, put in some abrasive,
and wait. The result is one of the most beautiful creations in na-
ture. No wonder, then, that devoted troubadour Dave Crossland
has named his new album Pearl, for after years of hard work and
quiet introspection, he has created a glimmering collection of
natural beauty.
Produced by fellow music man Jim Infantino (Jim’s Big Ego),
Pearl includes some of
Crossland’s biggest fan
faves and some newer
offerings as
well. Opening with the
syncopated jangle “Easy
Money,” Crossland
scratches into the per-
cussive island poetry of
the title track before sing-
ing the tropical praises of
“Cheap Red Wine”
(during which he makes
the appealing pledge, “I
will sing every song I
know to you”). “Pretty
Little Feet” is a cute Jude-ian toe-tapper, “Hard to Say” is an ap-
propriately achy mix tape-ready love song, and “Home” trundles
its way along in short shots of Virginian verse. After getting caught
in the trap of the his classic “Jennifer,” Crossland plods through
the low-end lilt of “I Wonder” before winding up with the chorus-
loving ditty “Madison Rose” and the poetic profile of “Sleepy
Chloe.” Overall, the album is revealing and rewarding, opening
like an oyster to reveal the prizes inside.
Dave Crossland will release "Pearl" at The Lizard Lounge in
Cambridge March 23. - Matthew S. Robinson
Downbeat 5 Victory Motel
(Hi-N-Dry / Abbey Lounge)
In just under half an hour, Boston’s best and most misnomered
quartet throws it from bobbysock sway to mosh pit roar…and
back! On the pounding opener “Make Your Mark” and the Animal-
istic soulful screamer “Outcast,” fronter Jennifer D’Angora rips her
throat out on nearly every note, leaving absolutely nothing behind
except her talented trio of supporting men: bassist Mike Yocco,
drummer Eric Almquist, and local guit legend JJ Rassler. The two-
toned cover of “Out in the Street” calls for well-arranged attention
while “Dum Dum Ditty" (another Barry/Greenwich gem) is a fist-
CDs Rated 1 to 5
pumping soda shop punk love song. “Army of One” crashes
through like a tank, and “Laughin’ Out Loud” is a layered driver
that balances between grunge and tech rock (with no tech!). After
a mellow lung-resting duet through “Lonesome Town,” the band
cranks it up again for the country-fried rager “Climbin’ the Walls”
before closing with the sneering send-off “Lie Again.”
From start to finish, this is a pleasantly punishing album that
brings the rock spark back to town.
So what’s the new count-off for rock in Boston? 1-2-3-4…5! - Mat-
thew S. Robinson
Etta James, Love Songs
RCA Victor/Legacy
At Laaaaaaaast, a collection of standards and romantic hits per-
formed by HRH Etta James. From the sweeping introduction of
the afore-referenced classic to the Stax-y ache of “I’ve Been Lov-
ing You Too Long” and the powerful proclamation “There is No
Greater Love”, this compilation covers all the bases that Ms.
James has ever crossed, and more! And though some of the
Great American Songbook selections are tempted to fall into the
contemporary morass of band-wagoners, Etta is most often able
to add her signature touch to well-loved tunes like the always ap-
propriate “Come Rain or Come Shine,” and instructional “Teach
Me Tonight,” and a time passing “Night and Day.” Not content to
sing the blues, James demonstrates an understanding and com-
mand of an array of styles, making each one her own, at least in
part. - Matt Robinson
Mile 23 The Rebirth EP
Independent Release 2005
7 Song CD www.mile23.net Rachael Sage Blistering Sun
Performance: 3 Production: 3 Songwriting: 2 Recommended: NO MPress
Though flawed, Mile 23's debut, The Rebirth EP, shows promise.
As players of pop-punk, a genre well-popularized and overdone in
today's music scene, it is essential that they have something that
sets them apart. As of yet, they have not found it, but are well on
their way if they continue to put in the effort. Their EP suffers not
so much from a lack of skill or decent ideas, but from a lack of
maturity and cohesiveness in songwriting. Several songs fall flat,
due mainly to a sense of misdirection: though they have an abun-
dance of energy, its rightful expression is obscured by overly sim-
plistic lyrics, awkward transitions, a disappointing lack of versatility
and vocal range, and a generally superficial emotional grasp.
Their seven songs are not those of battle-scarred survivors of life
and love as they would have you believe, but those of a school-
boy - at times weak-kneed and lovesick, at others righteously out-
raged - reaching for a depth nonexistent in his mundane days.
However, the potential is there. "Where You Go" introduces an
element conspicuously absent from most of the EP: a rhythmic
bass line. Coupled with engaging back-up vocals, the bass pro-
vides much-needed texture and feeling. The recording's final
song, "Faulty Foundation", utilizes this especially well; its full,
powerful sound gives an indication to what this young band could
produce if they continue growing as musicians and defining them-
selves within the genre. They are, however, great live and the
songs sounded much better. - Michelle Kellaway
Send your CDs to:
NoMaSoNHa
c/o Marc Friedman
30 Royal Crest Dr. Apt. 6
N. Andover, MA 01845
25
reviews
MindsetX Statecraft
Tags Loft Cedar House Sound North Sutton, NH
Production Mindset x & Andy Stathura
Performance: 3 Production: 3 Songwriting: 3 Recommend: No
It is interesting how time changes you, when I was in college I
probably would have been pounding my fist to Mindset/Statecraft.
Today I am not feeling so amped up about them. There is a great
deal of overdriven guitars and a vocal style I find hard to listen to.
Adam Cote at times plays some interesting drum fills through this
conceptual driven work which stands for self realization and fight-
ing against government forces.
The major problem I have with this release is that it sounds dry
and somewhat dated. All ears are different so someone out there
might want to take a listen. My ears were not so impressed.
- Will Briere
The Retcons Live from the Panic Room
The Retcons serve up what I would call “High Energy Nerd Punk”.
These guys literally sound like they crawled out from underneath
a heaping stack of comic books to cut their debut disc.
I’m not much of a comic book reader but I know Cable was re-
sponsible for everything, oh yeah that punchy little bass with a
crash thunderous cymbal hits. I mean seriously my ears are now
open to the cons. It sounds like they taped a mic up and 4-tracked
it. I’ll give these punks two and a half stars for musicality and a
five for comic book knowledge.
Fast, loud, hard, and just out of the pond. Good luck guys you’ll
need your super powers to survive. - Will Briere
Though still firmly ensconced in the Lilith Fair realm, award-
winning songstress Rachael Sage continues to show that she has
much to say and many ways to say it. On her latest CD, The Blis-
tering Sun, she takes the heat thrown at independent female per-
formers and reflects it back with a magnifying glass. After opening
with the “Cornflake Girl” bounce of “Alright OK,” Sage continues
with the appropriately floating sweeps of “Featherwoman, ” then
digs into the liturgical groove of “93 Maidens” – a musical kaddish
for the martyrs of Warsaw and their historic siblings. Quickly
changing tones, Sage jazzes into the brassy rhythms of
“Wildflower” before bringing in the strings for the sad and soulful
shades of “Violet or Blue.” Slithering and snapping through the
noir-y “Lonely Streets,” she continues to amaze with her diverse
stylistic command. Among the other notable tunes are the Hillel-
inspired “Older” and the lively scratch through the cleverly (and
perhaps appropriately) entitled beat poem “Hit Song”. Unfortu-
nately, such a wide array of styles is hard to pigeonhole in today’s
over-categorized music market. However, Sage seems to be
above categorization... fortunately! - Matthew S. Robinson
The Sun Drops, 4 Song Sampler
www.thesundrops.com
I prefer listening to a full disc rather than a sampler because it
definitely helps to clarify what a band is capable of. This way you
can tell if all the songs sound the same or if they all have their
own identity. I don’t know how to classify the Sun Drops. I hear a
little bit of rock, pop, country and acoustic. Song Structures, pro-
duction, harmonies and arrangement were good and most of the
songs kept my interest. As far as originality, the singer sounds like
someone, but I can’t think of who. You’ll have to listen for yourself.
“Undone” was my favorite and I think it was a good choice to put it
first. If any of the songs will catch someone’s attention, it is that
one. - Alyss
CDs Rated 1 to 5
Tilted Back, 10 Song Disc
Powerhouse Studio Lunenburg, Ma
Performance: 4 Production 4 Songwriting: 4.5 Recommend: YES
This group rips it up with a good n’ heavy blues rock feel through- rus-backed concluder “In the Name of Love”. When it was all over,
out. If you are looking for something a bit gritty with servings of
meaty bass grooves and a crunchy rhythm section you may want cally. They showed their reciprocated appreciation with an ex-
to dig your claws into this disc. “Working Class Blues” is a fitting
example. Vocalist Cincotta sounds a bit dry at times but holds with son
the group. “Fool For You” is an instance of the dry sound, but the
disc picks back up again with “Smile On Her Face”. I’m not such a Hell Within, Sinaria, Blackout Frenzy, Within Choking Range
fan of the slower tempo songs but I dig the rompers! There is a
strong blues feel that runs in the blood of this offering. - Will Briere Chelmsford, MA
Various Artists/Klik Star Productions - Beast With'N Mixtape
Klik Star Productions - 2005/2006
22 Tracks
Featuring: Sswytch Hope, Coma, Girth, D'Nyle, Tempa, Top
Dawg, 6ixty 6ix , Free, KonSpira-C, Reckles and more.
Beast With'N is one of the most well rounded, half original, mix-
tapes I have heard in a long time. This is a take-along disc, in the
car, when your heading to a friend’s gathering, or just to chill and
bump at home. With so many good tracks, Sswytch, takes it to a
new level of understanding like on "Within", where he breaks
down how life takes turns, you just to need move with it. On "F*ck
wit me", and "Coma's 24", Coma lets the listeners know he’s not
in this game to take shit. Girth’s "Rest In Piece From a Broken
Heart", really lets go on an emotional trip, about a past girlfriend
who passed away in a tragic accident, something real. Track after
track, of just pure fire, emotion, and elevation. I suggest picking
this CD up, and checking it out for yourself.
The mix CD was released January 15th, 2006 and was the first
Klik Star release this year. It is five dollars a copy and easily ac-
cessible through e-mail at Klikstarproductions@gmail.com, or on
Hiphopmerch.com (site hosted by TD3, from TD3produc-
tions.com), and can also be purchased at Bananas Music shop on
Central St. in Lowell, Ma. Each track has the radio play potential
of any mainstream song out there. The artists on this CD take
industry tracks to whole new level. Listen to know, nod your head,
and tap your foot. A small price to pay for real hip hop.
-Shaun O'Brien
Live
Greg Greenway with Dave Crossland February 4, 2006
Circle of Friends Coffeehouse, Franklin, MA
Bounding on stage with his vintage six-string in hand, recently
returned adopted son Dave Crossland rippled into the bright
rhythms of “Easy Money”, offering a sweet taste of his honeyed
voice before chugging into the harmonica-ed hush of “London
Town”. Crossland appreciatively commented on the audience’s
politeness, then continued with his poignant and powerful tribute
“Matthew Shepard”. After the shimmering whisper of “Sleepy
Chloe”, he closed with the passionately amorous admission
“Sweet Jennifer”, ending his all-too-brief set on a rousing up note.
Moments later, the singer/songwriter scene’s own “Man in Black”
took the stage. “We’re gonna’ have such a good time!”, Greg
Greenway pledged before launching into a snap-along take of the
honky-tonk rhythmed “Every Little Thing”. The audience caught on
and stayed with his intrigue and intelligence. From the instructive
and humorous retrospective “My Good Name” to the shivery pick-
ings of “Where It Leads”--which featured the lush, spectral sup-
ports of vocalist Patty Barkas--to the chugging “Runaway Train”,
Greenway offered an active, engaged and engaging performance
that combined traditional folk ideas with remnants of his own rock
past. After debuting the ego-quashing bluesy “Somebody”, he
26
reviews
dared to go key to key with piano man Duncan Watt. His piano
“learner’s permit” is still in the works, but Greenway was able to
share many grand ideas on the small keyboard. He then offered
the pulsing “Goodbye Rosa" and kept on the march with the cho-
the converted church crowd had been lifted spiritually and physi-
tended standing ovation. www.circlefolk.org - Matthew S. Robin-
Reflections January 7, 2006
Within Choking Range, a five-piece outfit from Fitchburg was
first to take the stage and kick off a night of metal mayhem. They
started the show off with “Chainsaw Anthem”, a grinding blur of
kick drums and furious riffs accompanied by guttural vocals and
fist pounding break downs, which brought more people to the floor
than any opening band I’ve seen at Reflections thus far. Singer
Mark Shapiro convulsed and flipped across the stage, spitting
vocals that ranged from throat-shredding growls to melodic sere-
nades. “Sea of Razors” showcased raw hardcore roots, tinged
with Unearth-esque break downs (perhaps something to do with
Ken Susi producing their album Most People Just Die) and me-
lodic overtures that were immediately blown apart by rugged per-
cussion, dirty guitar work and bludgeoning vocals.
Up next was Blackout Frenzy, the thrash-core/metal Westford
five-piece, who are no strangers to Reflections. They exploded
with “Styptic”, erupting straight from the bowels of thrash-core
hell, with torrents of lightening-speed guitar and drum work, creat-
ing the feel of a thousand bees swarming in for the kill. Clean and
clear sky-rocketing vocals provided a drastic contrast with the
doomy, army of hell smashing-your brains-in feel. “Vicious Cycle”
shared the same pummeling effect, as windmills and fists flew
across the floor to the whirlwind of maniacal chords, stick-splitting
percussion and ascending vocals that take you all the way to the
top and back again. BOF ended the set with the new track
“Fulcrum”, igniting the crowd for one final throw-down as the band
annihilated the stage while the crowd annihilated the floor.
New York four-piece metal outfit Sinaria was next to take the
stage, picking up where BOF left off, energizing the crowd with a
more Pantera-influenced sound. “20/Twenty” opened up on a me-
lodic note, switching quickly to a heavier, gnarled-chugging ap-
proach. With elements of both American and euro-metal, Sinaria
led the crowd down a murky metal path of jackhammer drums and
soaring guitar licks. After warming up with a slower paced song,
they jumped into “Abandonment”, in which drummer Tom Rizzo
lured the crowd in with a quick intro, which was immediately met
by the doomier-than-doomy chords of guitarist Erin Ludewig.
Swinging her cascade of metaler-than-metal hair, Ludewig led the
room in a cover of Pantera’s “Fuckin’ Hostile”, and needless to
say, the floor became as much a blur as her hair, as the bar be-
came one huge sing along...”To see, to bleed, cannot be taught.
In turn you’re making us fucking hostile!”
Last but not least, local metal heroes Hell Within took the stage
in support of their debut release Asylum of the Human Predator.
Opening with a tear-your-face-off blood-and-guts growl from front
man Matt McChesney, “Godspeed to Your Deathbed” sent the
crowd flipping into torrents of flying body parts and black t-shirts.
Full-bodied and layered with full metal texture, this song covered
a full spectrum of screaming metal influences while not forgetting
to include the essential hardcore breakdowns, a combination that
makes for a winning thrash-worthy concoction. The performance
left little space for breathing room as they launched into
“Redemption is a Cold Body”, which started with more of a fast-
paced, nearly punk beat, but was instantly converted to the con-
 reviews
trolled chaos of trademark double bass kick drums of doom. More
guttural screaming ensued, turning the dance floor into a de-
bauchery of mayhem as beer was spilled and girls were ushered
off the floor to safety by their boyfriends. Title track off Asylum of
the Human Predator sent the already exploding crowd into a furi-
ous frenzy as I was instantly asked by one of the bouncers to step
off the floor because I had a glass bottle in my hand. Mixing more
melodic vocals in with his throat-shredding growl, McChesney
dominated the stage as he soared between crisp and clear vocals
to a full, raspy growl, leading the band and the crowd together
through a masterfully mixed cacophony of the most extreme ele-
ments of both heaven and hell.
By the end of the show, the bands were exhausted, the fans
were buzzed and dazed, and everyone departed with ringing in
their ears and a heart full of metal. Perfect night if you ask me!
- Jillian Locke
The Syn January 19, 2006
Somerville Theater Somerville, MA 02144
When is a great show a disappointment? Well, that depends on
your point of view. If you went to The Syn concert expecting to
hear psychedelic jewels from English contemporaries of Syd Bar- album covers and tattered posters appeared in the hands of the
rett era Pink Floyd dating from the Summer of Love, then you
would have been crushed. However, if you are a Yes fanatic (after fans while signing virtually anything presented to them. White
all a mere fan wouldn't shell out $30 to see Chris Squier's (their
bassist) pre-Yes band re-united after 40 years) this show would
have been a bargain at any price. Not only was Chris up front and appointment. - Marc Friedman
personal in the intimate setting of the Somerville Theater, but
Alan White (Yes’ drummer since Bill Bruford's departure in 1972)
had just joined the tour. The band, whose only other original
member was singer Steve Nardelli, masterfully ran through most
of their latest album, Syndestructible, a few unreleased tunes, and
a medley of their classic material from the '60s.
27
CDs Rated 1 to 5
Expose Your Band
To 6000 People
A Month
1/4 page ad $65
That’s roughly
$10 per member
Another treat for Yes fans, besides Squire’s telling of his first
meeting with Jimi Hendrix, is that the latest material sounds as if
Yes had continued on the path they were headed in the late '70s
on such albums as Going for the One and Drama. The only real
difference between the aforementioned Yes music and The Syn's
is Nardelli's baritone spoken singing. He can't hold a note longer
than it takes to get out the lyrics that are just as pollyanna as
Anderson's became once the Golden Age of Yes had ended. In a
sense, the surprisingly naive lyrics about utopian societies and
love as the answer were probably the only remnants of psychede-
lia that are to be found in the modern Syn.
While the newly added White stumbled a few times (This was his
first show with the band. He had only joined a few days prior.),
Squier's bass playing was as immaculate and creative as ever. Its
power was supported by hired guns Gerard Johnson (on keys)
and guitarist Shane Theriot (Lee Ann Rimes, Neville Brothers)
and the entire show was filmed for a DVD to be released later this
year.
The show, however, didn't end with the musical performance. To
the delight of the devoted audience, the band appeared shortly
thereafter in the lobby to sign autographs. As if by magic, worn
faithful. Nardelli and Squire were very cheerful and chatted with
(once drummer for John Lennon's Plastic Ono Band) was rather
aloof in his obligatory duties. That, I would say, was the real dis-
(Recording Songwriter continued from page 21)
description of the cable IN LARGE LETTERS on the tape at
each end of the cable. Include the length, format and sex, if ap-
plicable. For instance: “20’ TRS to XLR male,” “15’ TRS to
TRS.” If you have eight mic cables, mark two each with four
different colors for maximum contrast. This way you’ll not only
know what’s on the other end of the cable you are holding, you’ll
be able to see from across the room that the other end must be
the two yellow flags in that patch bay.
Step Two: You will need: a big piece of pegboard, an assort-
ment of pegboard hooks and a spool of heavy-duty twist-tie from
a home improvement store. Hang the biggest piece of pegboard
that will fit in your studio space. (Keep in mind that you’ll use it
for lots more than cables.) Then cut a bundle of six-inch pieces
of the twist-tie. Coil all cables not currently in use into a conven-
ient hank and tie them with a twist-tie before they can attack,
then hang them on a hook on the pegboard before they get
away.
That’s it. That’s the whole two-easy-steps thing. Do it now be-
fore the cat goes missing.
In addition to his writing and recording work, Keven is a coach
and consultant to songwriters and developing recording engi-
neers. You may find him at TheSingerSongwriterStudio.com.
NOMASONHA Needs a Sales Rep
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Only 1 Issue Left!
Unless You Advertise
Bands get the word out
about your new CD
or gigs for only $65
Recording Studios, CD Du-
plicators, T-Shirt Makers,
Tattoo Studios, etc.
Lets Talk!
Editor@NoMaSoNHa.com
or
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28
Greetings from the
Boston Bluegrass Union
Presenting: The Seldom Scene
Saturday, March 11, 2006
National Heritage Museum, Lexington, MA
The Boston Bluegrass Union presents The Seldom Scene in con-
cert at the National Heritage Museum in Lexington on Saturday,
March 11th. The Seldom Scene has long been regarded as one of
the most progressive bands in bluegrass and as one of the finest
acts in the whole genre. The Washington, D.C. based quintet re-
turns to the Boston area for their first visit in a number of years.
The Seldom Scene formed in 1971 in Washington, D.C., with
mandolinist John Duffey, banjo player Ben Eldridge, guitarist John
Starling, dobro player Mike Auldridge, and bassist Tom Gray. Duf-
fey, a musical instrument repairman, was the driving force behind
the band's creation, as he had grown weary of long road tours
during his ten years with the Country Gentlemen. He chose only
other musicians with demanding day jobs that would prevent
them from traveling beyond the Washington area on tour; Starling
was a surgeon, Eldridge a mathematician, Auldridge a graphic
artist, and Gray a cartographer with the National Geographic. The
group's name was intended as a joke on the idea that they would-
n't be seen much on stage, initially playing only once a week at
Bethesda, Maryland or Alexandria, Virginia. This didn't last long.
For 25 years the Seldom Scene remained extremely popular in
bluegrass circles even with the near-constant personnel changes.
But the band was dealt what seemed a crushing blow in late
1996, when founder and leader John Duffey suffered a fatal heart
attack. The band again stopped recording and made no live ap-
pearances for some time. Duffey had been widely regarded as
one of the most powerful and entertaining stage performers in
bluegrass, and it seemed that there was no one who could re-
place him.
Nonetheless, the band was simply too popular to disappear for
good. Banjoist Ben Eldridge, the sole remaining original member
and a significant force in banjo music in his own right, assumed
leadership of the band. Former guitarist Lou Reid rejoined the
band on mandolin. Initially the new Scene concentrated on live
performances, but in 2000 the group recorded a new album,
"Scene it All." The Seldom Scene continues to tour and record for
the Sugar Hill label. Their latest recording is “Dream Scene.” The
current line-up consists of banjoist Ben Eldridge, guitarist Dudley
Connell, bassist Ronnie Simpkins, dobroist Fred Travers, and
mandolinist Lou Reid.
Since 1976, the BBU has been the premier source for bluegrass
in the Northeast. We continue to present exciting concerts, host
the annual Joe Val Bluegrass Festival, present education pro-
grams for children and adults, and host picking parties throughout
the region.
Tickets can be purchased online
at www.bbu.org, via mail with check
and SASE to BBU, PO Box 650061,
W. Newton, MA 02465. For interview
requests, photos, slides or additional
press materials on The Seldom Scene,
contact Gerry Katz at 617-515-8383.

FREE Musicians’ Classifieds
Nomasonha
c/o Continental Cobbler
6 W. Broadway
Derry, NH 03038
friekman@hotmail.com
Your ad here. Don’t forget area codes with phone #s.
Bassist Wanted
Bassist wanted for John Hex's Creepshow. A horror
rock/metal band in the vein of Misfits, Alice Cooper, nightmare of the utmost blackest proportions. new
Motley Crue, Motorhead, W.A.S.P. Looking to fill the england style black metal is long overdo. who wants to
spot ASAP. Good things in the works. New CD soon. All get on the map? i drum, sing, & write. also a sick illus-
originals. Get on the horn bass man! raynardste-
vens88@hotmail.com
Veincage is currently seeking bassist & drummer. In-
dustrial metal crew. Evil with groove. Hard hitting tribal
impact. Machine like accuracy w/ sense of humor.
Album written. Shows available but we need you. Must
have professional gear, attitude, and chops.
www.veincage.com pt@veincage.com or contact
Stoneface 413-219-5478
Bassist & Keyboardist Wanted
Lucretia's Daggers (female vox, guitar, sequencer)
seeks serious keyboardist and bassist. Original dark
lyrical art rock blending new wave, punk, electronica.
Think Fiona Apple/Sisters of Mercy/NIN/Dresden Dolls.
Backup female vocals preferred, but not essential.
Weekly practices in Watertown, MA, monthly gigs. CD
forthcoming. www.lucretiasdaggers.com, lucretiasdag-
gers@rcn.com, 617-924-8959.
Drummer Wanted
Veincage is currently seeking bassist & drummer. In-
dustrial metal crew. Evil with groove. Hard hitting tribal
impact. Machine like accuracy w/ sence of humor.
Album written. Shows available but we need you. Must
have professional gear, attitude, and chops.
www.veincage.com pt@veincage.com or contact
Stoneface 413-219-5478
Guitarist Wanted
Looking for a guitarist to start a band similar to New
Found Glory, Fall Out Boy, and The Starting Line, etc.
Already have drums, bass & rehearsal space near
Concord/Manchester. Kyle unhpride101@hotmail.com
Repulsive Disfigurement seeks guitarist. Have a jam
space in Haverhill, MA. We are serious & hope you are
serious, too. We don't want guitarist saying to us they
can play Cradle of Filth, Slipknot, Mudvyne, etc. We are
brutal death metal & will keep it that way. Serious in-
quires only 603-474-5124. Ask for Rick.
Vocalist Available
Ld Vox of "Whiskey Station" - hard
rock/blues/metalesque cover/originals band - seekS
other musicians to fill out a new line up, HAVE FUN,
rock the crowd with Obscure material not heard on
radio as of late - NOT Top 40 limp wristed crap, either.
In vein of: Badlands, Y&T, L.Zep, KISS, Dio - era Sab-
bath, vintage VH,ZZ-Top, Pink Floyd,etc. I play some
gtr but am chiefly Vox & have contacts for a space, gigs
& have a P.A. along with a few gtrs, lyrics & some stuff
on tape - yeah,Tape - along with a boat load of experi-
ence. Looking to gig out in the Spring/Summer. Phan-
tomRocker007@yahoo.com.
Vocalist Wanted
i am searching for members To bring together a horrid
trator. lets form. www.MaggotsDelight.com raynardste-
vens88@hotmail.com
Wanted: Lead Vocalist/Frontman with wide range for
Rage 'N' Age. Playing an instrument a plus, but not
required. Many gigs in the books. Contact Jim Riordan
days: 603-642-7726 - nights: at 603-895-4642 or
ragenage@hotmail.com. http://ragenage.netfirms.com
PRODUCTS & SERVICES
Honor System: List your products and services for free,
just send us $10 for any money you get $100 and under
and 10% of any sales over $100. Send checks to Marc
Friedman d.b.a. NoMaSoNHa. Address on p. 3 of this
issue.
For Sale
Tele for sale. 2005, brand new, unplayed, stickers on
the pickguard, American Telecaster. It's 2 tone brown
sunburst, swamp ash body, maple neck, with a molded
hard shell case. $900 firm. Most places sell this guitar
for $1059. I'm located in Berwick, Maine. 207-450-5206
or bahilton@comcast.net.
Musician classifieds
are FREE!
(subject to editing for space)
29
NOMASONHA
NEEDS YOU!
We are looking for:
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(978) 258-2606
1 year old Dean Performer E Acoustic/Electric Guitar
with Natural Finish, Cutaway design, Die-cast Tuners,
Custom Dean Preamp with Volume and EQ., Dean
Bridge Pickup. Includes gig bag. $325 firm. Vito B flat
Clarinet, Excellent condition, great sound, perfect for
student; includes case, extra mouth piece, reeds, and
Rubank Elementary Method and Advanced Method
Clarinet books. $125 firm. Purchase both instruments
together for $375. Danielle @ 978-632-1255 or god-
dessmoonchant@yahoo.com
Custom Guitars
Choose the body, color, neck style and all the hardware
to make it run, and we hand assemble it to your specs.
Starting from $700. sales@waveguitars.com
Did you find that gig, buy that gear, or
earn some cash?
Please tell us!
editor@nomasonha.com
Services
R&B/Hip Hop/Soul Singer-Songwriter-Producer Avail-
able for booking & available to write & sing hooks.
shaymuse@solitaryrecords.com
www.myspace.com/shaymuse
Mandolin Lessons: Have you ever wanted to learn a
new instrument or even maybe a first instrument? Well
how about the mandolin? I am an established musician
in the Lowell area and I have a few slots availabe for
mandolin lessons. Call for rates. email me at
papa@hotdayatthezoo.com
Need a replacement musician?
.. or someone to record some parts? Advice? Stunt
Music has performers & consultants that can help. We
are building a database of musicians with experience &
chops for one night fill-ins. No worries, we have
screened them. info@stuntmusic.com
www.stuntmusic.com
 Upcoming Events for February/March 2006
If you would like information on how to get your shows listed in NoMaSoNHa
or if you would like to sign up for the upcoming events weekly email mailing,
please contact Danielle Martino, Editor Of Upcoming Events, at Goddessmoonchant@yahoo.com or call Marc at (978) 258-2606.
3/01/06 Wednesday 3/07/06 Tuesday Slaughter House Saturday with Eye of the Sun, Rusty Cadillacs
Forever's Fallen Grace, Arrogant Bastard, Pub 30 Something
Open Mic Night (Open Stage) Acoustic Tuesday's (Open Stage) Deep 6, Never Surrender & Dark Minions 147 Frost Rd. Tyngsboro, MA
Hosted by: Bernie Frenette Hosted by: Bernie Frenette Hosted by: The NE Punk/Goth/Metal Festival 9PM, 21+ Cover
Williams Restaurant Character's Pub Reflections Lounge
184 Pearson Blvd. Gardner, MA 246 Central St. Gardner, MA 67 Parkhurst Rd. Chelmsford, MA Slaughter House Saturday with
9PM, 21+ No Cover 9PM, 21+ No Cover 1PM-6PM, All Ages, $10, $8 Adv. TIX Ashes of the lost, Moonshine, Dreaded Silence
& 3 Headed Monster
3/02/06 Thursday 3/08/06 Wednesday 3/14/06 Tuesday Hosted by: NE Punk/Goth/Metal Festival
Reflections Lounge
DJ Hype Dirtnap Entertainment Presents: Acoustic Tuesday's (Open Stage) 67 Parkhurst Rd. Chelmsford, MA
The Drop Zone Skulltoboggan, Hosted by: Bernie Frenette 1PM-6PM, All Ages, $10, $8 Adv. TIX
10 Fisk Ave. Greenfield, MA Whiskey Chapel, More Bands T.B.A. Character's Pub
246 Central St. Gardner, MA 3/19/06 Sunday
9PM, 18+ Cover The Lucky Dog Music Hall
89 Green St. Worcester, MA 9PM, 21+ No Cover
Imagine Studios Performing Arts Series 8:30PM, 21+ No Cover
Presents: 3/15/06 Wednesday
The Dresden Dolls, Opening Band T.B.A Open Mic Night (Open Stage) 3/21/06 Tuesday
Ioka Theater Hosted by: Bernie Frenette Open Mic Night (Open Stage)
55 Water St. Exeter, NH Williams Restaurant Hosted by: Bernie Frenette Acoustic Tuesday's (Open Stage)
6:30PM, All Ages, $25, $22 Adv. TIX 184 Pearson Blvd. Gardner, MA Williams Restaurant Hosted by: Bernie Frenette
603-781-8922 / 978-834-0500 9PM, 21+ No Cover 184 Pearson Blvd. Gardner, MA Character's Pub
9PM, 21+ No Cover 246 Central St. Gardner, MA
Singer/Songwriter Showcase 3/09/06 Thursday 9PM, 21+ No Cover
Hosted by: Heidi-Jo Hanson 3/16/06 Thursday
Featured Artist: DJ Hype AfroDZak Presents:
Marjorie Thompson & Mo Suager The Drop Zone DJ Hype Hip-Hop Anonymous with AfroDZak, One Love,
The Drop Zone Melodisiac, Velvet Stylus, & DJ Shame
McNally's Grill and Pub 10 Fisk Ave. Greenfield, MA
10 Fisk Ave. Greenfield, MA HHA First Anniversary & Darcie's Birthday
88 Sergeant Rd. Westminster, MA 9PM, 18+ Cover
9PM, 18+ Cover Harpers Ferry
8PM, 21+ No Cover
156 Brighton Ave. Allston, MA
Mindset X
Freighttrain (Psychedelic Rock) 8PM, 21+ $5, 18+ $5
3/03/06 Friday The Uptown Tavern
Elm St. Manchester, NH The Blackburn Tavern
3/22/06 Wednesday
Dirtnap Entertainment Presents: 8PM, 21+ No Cover 2 Main St. Gloucester, MA
G*Spawt Birthday Bash with 9PM, 21+ No Cover 978-282-1919 Mindset X
Skulltoboggan, Singer/Songwriter Showcase The Dover Brick House Dover, NH
Southern Bastard Church, More Bands T.B.A. Hosted by: Heidi-Jo Hanson Sad Marvin with Reverse, Scamper, &
9PM, 21+ $5
Ralph's Chadwick Square Diner Featured Artist: Mark Fisher The Luxury
148 Grove St. Worcester, MA McNally's Grill and Pub The Middle East Upstairs Open Mic Night (Open Stage)
8:30PM, 21+ $5 88 Sergeant Rd. Westminster, MA 472 Mass Ave, Cambridge, MA Hosted by: Bernie Frenette
8PM, 21+ No Cover 8PM, 18+ $9 Williams Restaurant
DJ Hype 184 Pearson Blvd. Gardner, MA
Singer/Songwriter Showcase
The Drop Zone 3/10/06 Friday 9PM, 21+ No Cover
Hosted by: Heidi-Jo Hanson
10 Fisk Ave. Greenfield, MA
Featured Artist: Judd Caswell
9PM, 18+ Cover Bottoms Up with 3/23/06 Thursday
McNally's Grill and Pub
Balance (Van Halen Tribute)
88 Sergeant Rd. Westminster, MA DJ Hype
Rusty Cadillacs The Spyder Room
8PM, 21+ No Cover The Drop Zone
Spyder Room Lincoln St. Manchester NH
342 Lincoln St. Manchester, NH 8:30PM, 21+ Cover 10 Fisk Ave. Greenfield, MA
3/17/06 Friday 9PM, 18+ Cover
8PM, 21+ No Cover 603-627-1341
DJ Hype Singer/Songwriter Showcase
3/04/06 Saturday DJ Hype
The Drop Zone Hosted by: Heidi-Jo Hanson
The Drop Zone
10 Fisk Ave. Greenfield, MA Featured Artist: Dave Gaudet
Bottoms Up 10 Fisk Ave. Greenfield, MA
9PM, 18+ Cover McNally's Grill and Pub
Mammoth Roadhouse 9PM, 18+ Cover
88 Sergeant Rd. Westminster, MA
1486 Mammoth Rd. Dracut, MA Heidi-Jo Hanson (Acoustic/Rock) 8PM, 21+ No Cover
8:45PM, 21+ Cover 978-957-3224 Heidi-Jo Hanson (Acoustic/Rock)
P.A.C.C/Polish American Country Club
Southside Grill Margarita Factory
Gardner, MA 3/24/06 Friday
DJ Hype West Broadway Gardner, MA
8PM, 21+ Cover
The Drop Zone 9:30PM, 21+ No Cover DJ Hype
10 Fisk Ave. Greenfield, MA Mindset X with Valve Job The Drop Zone
Rusty Cadillacs 10 Fisk Ave. Greenfield, MA
9PM, 18+ Cover The Compound
Slammers 9PM, 18+ Cover
Lunenburg St. Fitchburg, MA.
547 Donald St. Bedford, NH
NEPGM Fest Slaughter House Saturday with 9PM, 21+ $5
9PM, 21+ No Cover Pete Rock Enterprises Presents:
Skulltoboggan, Inhale, Thru The Walls,
More Bands T.B.A. Skulltoboggan & More Bands T.B.A.
3/11/06 Saturday Rusty Cadillacs
Reflections Lounge Cats/KC's Tap
Shenanigans
67 Parkhurst Rd. Chelmsford, MA 530 Broadway Pawtucket, RI
DJ Hype 586 Nashua St. Milford, NH
1PM, All Ages, $8 Adv. TIX, $10 Door 8:30PM, 21+ $5 401-722-0150
The Drop Zone 8PM, 21+ Cover
10 Fisk Ave. Greenfield, MA Rusty Cadillacs
3/05/06 Monday 9PM, 18+ Cover 3/18/06 Saturday
Chen Yang Li
DJ Hype 520 South St. Bow, NH
Georgette Labreche & Friends with Vykii Vox Mindset X
Band (Jazz/Pop) The Drop Zone 9PM, 21+ No Cover
The Spyder Room
Benefit for Harvest Homes/W.A.R.M. Shelter Lincoln St. Manchester, NH 10 Fisk Ave. Greenfield, MA
9PM, 18+ Cover 3/25/06 Saturday
Dunn's Corners Community Church 9PM, 21+ $5
221 Post Rd. Westerly, RI.
DJ Hype
$10 Adults, $5 children under 14. Rusty Cadillacs Moonstruck (Acoustic)
The Drop Zone
For ticket information 401-322-0655 Slammers McNally's Grill & Pub
10 Fisk Ave. Greenfield, MA
547 Donald St. Bedford, NH 88 Sergeant Rd. Westminster, MA
9PM, 18+ Cover
9PM, 21+ No Cover 8PM, 21+ Cover

30
 508-756-2485 / 617-864-3278 184 Pearson Blvd. Gardner, MA Mindset X with Under Falling Skies
Heidi-Jo Hanson (Acoustic/Rock) 9PM, 21+ No Cover Characters Pub Gardner, MA
The Upper Deck (Pine Ridge Snow Park) Mindset X with The Big Coffin Hunters 9PM, 21+ $5
377 Stetson Rd. Barre, MA Geno's Bar Portland, ME
9PM, 21+ Cover 9PM, 21+ $5
Mindset X Rusty Cadillacs 4/13/06 Thursday Rusty Cadillacs
Blackstone's Lounge Slammers Slammers
The Margate Resort Laconia, NH. 547 Donald St. Bedford, NH DJ Hype 547 Donald St. Bedford, NH
8PM, 21+ $5 9PM, 21+ No Cover The Drop Zone 9PM, 21+ No Cover
10 Fisk Ave. Greenfield, MA
Skulltoboggan & More Bands T.B.A. 4/3/06 Monday 9PM, 18+ Cover 4/22/06 Saturday
Rox's Country Club
124 Main St. Oxford, MA Skulltoboggan with Ghouls Night Out, Singer/Songwriter Showcase Bottoms Up
8PM, 21+ $5 508-987-2101 Automatons, Mongrel, & Michale Graves Hosted by: Heidi-Jo Hanson Rusty Gs'
The Lucky Dog Music Hall Featured Artist: The Baysics with Sean & Adam 731 Lakeview Ave. Lowell MA
Slaughter House Saturday with AbSynthe, 89 Green St. Worcester, MA Fullerton 8:45PM, 21+ Cover 978-453-7337
Broken Schematic, Dour & The Art of All 8:30PM, 21+ $10 508-363-1888 McNally's Grill and Pub
Hosted by: NE Goth/Punk/Metal Festival 88 Sergeant Rd. Westminster, MA DJ Hype
Reflections Lounge 4/4/06 Tuesday 8PM, 21+ No Cover The Drop Zone
67 Parkhurst Rd. Chelmsford, MA 10 Fisk Ave. Greenfield, MA
1PM-5PM, All Ages, $10; $8 Adv. TIX Acoustic Tuesday's (Open Stage) 4/14/06 Friday 9PM, 18+ Cover
Hosted by: Bernie Frenette
3/28/06 Tuesday Character's Pub A Simple Complex with Powerman 5000 Rusty Cadillacs
246 Central St. Gardner, MA Mark's Showplace Slammers
Acoustic Tuesday's (Open Stage) 9PM, 21+ No Cover 390 South River Rd. Bedford, NH 547 Donald St. Bedford, NH
Hosted by: Bernie Frenette 6PM, 18+ $20 603-731-5251 9PM, 21+ No Cover
Character's Pub 4/5/06 Wednesday
246 Central St. Gardner, MA DJ Hype Skulltoboggan with Change of System,
9PM, 21+ No Cover Open Mic Night (Open Stage) The Drop Zone Inner Self Lost, Wretched Asylum,
Hosted by: Bernie Frenette 10 Fisk Ave. Greenfield, MA & Mastamindz
3/29/06 Wednesday Williams Restaurant 9PM, 18+ Cover KC's Tap
184 Pearson Blvd. Gardner, MA 530 Broadway Pawtucket, RI
Open Mic Night (Open Stage) 9PM, 21+ No Cover 4/15/06 Saturday 8:30PM, 21+ $7 401-722-0150
Hosted by: Bernie Frenette
Williams Restaurant 4/6/06 Thursday DJ Hype 4/25/06 Tuesday
184 Pearson Blvd. Gardner, MA The Drop Zone
9PM, 21+ No Cover DJ Hype 10 Fisk Ave. Greenfield, MA Acoustic Tuesday's (Open Stage)
The Drop Zone 9PM, 18+ Cover Hosted by: Bernie Frenette
3/30/06 Thursday 10 Fisk Ave. Greenfield, MA Character's Pub
9PM, 18+ Cover Skulltoboggan 246 Central St. Gardner, MA
DJ Hype The Gloucester YMCA Recreation Center 9PM, 21+ No Cover
The Drop Zone Singer/Songwriter Showcase 5 Center St. Gloucester, MA
10 Fisk Ave. Greenfield, MA Hosted by: Heidi-Jo Hanson 6:30PM, All Ages, $5 978-283-5432 4/26/06 Wednesday
9PM, 18+ Cover Featured Artist: Karl Sharicz
McNally's Grill and Pub 4/18/06 Tuesday Open Mic Night (Open Stage)
Singer/Songwriter Showcase 88 Sergeant Rd. Westminster, MA Hosted by: Bernie Frenette
Hosted by: Heidi-Jo Hanson 8PM, 21+ No Cover Acoustic Tuesday's (Open Stage) Williams Restaurant
Featured Artist: Lucy Martinez Hosted by: Bernie Frenette 184 Pearson Blvd. Gardner, MA
McNally's Grill and Pub 4/7/06 Friday Character's Pub 9PM, 21+ No Cover
88 Sergeant Rd. Westminster, MA 246 Central St. Gardner, MA
8PM, 21+ No Cover Bottoms Up 9PM, 21+ No Cover 4/27/06 Thursday
Mr. Goodbars
3/31/06 Friday Old Orchard Beach, ME. (Right in the center) 4/19/06 Wednesday DJ Hype
8:45PM, 21+ Cover 207-934-9100 The Drop Zone
Bottoms Up Mindset X 10 Fisk Ave. Greenfield, MA
Wally's DJ Hype The Skybar Somerville, MA 9PM, 18+ Cover
144 Ashworth Ave. Hampton Beach, NH The Drop Zone 9PM, 21+ $5
8:45PM, 21+ Cover 603-926-6954 10 Fisk Ave. Greenfield, MA Singer/Songwriter Showcase
9PM, 18+ Cover Open Mic Night (Open Stage) Hosted by: Heidi-Jo Hanson
Dirtnap Entertainment Presents: Hosted by: Bernie Frenette Featured Artist: Phil Bruno & Eric Doucette
Skulltoboggan Whiskey Chapel, Rusty Cadillacs Williams Restaurant McNally's Grill and Pub
Bottlefight, & Distraught Chen Yang Li 184 Pearson Blvd. Gardner, MA 88 Sergeant Rd. Westminster, MA
Characters Pub 520 South St. Bow, NH 9PM, 21+ No Cover 8PM, 21+ No Cover
246 Central St. Gardner, MA 9PM, 21+ No Cover
8:30PM, 21+ $5 978-632-6623 4/20/06 Thursday 4/28/06 Friday
4/8/06 Saturday
DJ Hype DJ Hype Bottoms Up
The Drop Zone Bottoms Up The Drop Zone Johnny's
10 Fisk Ave. Greenfield, MA Breakaway Billiards 10 Fisk Ave. Greenfield, MA Lowell Rd. Hudson, NH
9PM, 18+ Cover 272 High St. Clinton MA. 9PM, 18+ Cover 8:45PM, 21+ No Cover 603-880-7087
9PM, 21+ Cover 978-365-6105
Rusty Cadillacs Singer/Songwriter Showcase DJ Hype
Slammers DJ Hype Hosted by: Heidi-Jo Hanson The Drop Zone
547 Donald St. Bedford, NH The Drop Zone Featured Artist: Gayle Picard 10 Fisk Ave. Greenfield, MA
9PM, 21+ No Cover 10 Fisk Ave. Greenfield, MA McNally's Grill and Pub 9PM, 18+ Cover
9PM, 18+ Cover 88 Sergeant Rd. Westminster, MA
4/1/06 Saturday 8PM, 21+ No Cover Mindset X
4/11/06 Tuesday Milly's Tavern
DJ Hype 4/21/06 Friday Commercial St. Manchester, NH
The Drop Zone Acoustic Tuesday's (Open Stage) 9PM, 21+ $5, 18+ $10
10 Fisk Ave. Greenfield, MA Hosted by: Bernie Frenette Bottoms Up, Opening Band T.B.A.
9PM, 18+ Cover Character's Pub The Spyder Room 4/29/06 Saturday
246 Central St. Gardner, MA Lincoln St. Manchester NH
Emergenza International Music Festival with
9PM, 21+ No Cover 10:30PM, 21+ Cover 603-627-1341 DJ Hype
Skulltoboggan, Hiss of Atrocities, Kage,
The Drop Zone
Media, Protean Collective, Propergander, These
4/12/06 Wednesday DJ Hype 10 Fisk Ave. Greenfield, MA
Mad Dogs of Glory,
The Drop Zone 9PM, 18+ Cover
Fictive Kin, & Garagedogs
Open Mic Night (Open Stage) 10 Fisk Ave. Greenfield, MA
The Middle East Club
Hosted by: Bernie Frenette 9PM, 18+ Cover
472 Ma Ave. Cambridge, MA
Williams Restaurant
8PM, 18+ $15, $10 Adv. TIX $10

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march listings
thursdays—battle of the bands
friday 3rd ridden (both covers and originals)
friday 10th kisstory - the ultimate kiss cover band
friday 17th full tilt opens for crazy train - black sabbath tribute band
friday 24th evenspeak (both covers and originals)
friday 31st whiskey chapel bottlefight skulltoboggan and distraught

tuesdays: acoustic open mic with bernie fredette.

saturdays: the area’s hottest DJ
sundays: the best karaoke show where everyone is a rock star.

THE END IS NEAR!

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Bands get the word out about

your new CD or gigs for only $65
Recording Studios, CD Duplicators, T-Shirt Makers,
Tattoo Studios, etc. Lets Talk!
Editor@NoMaSoNHa.com or (978) 258-2606

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