Funkin' Fun With The Boston Horns

Sometimes when things are looking down and on the rocks, just the right type of music can lift anyone back up. Boston Horns’ deliverance of unabashed funk is exactly the right anecdote that will certainly lively up the most glum, replacing those blues with a wink and a smile. The funky jazz R&B fusion on their latest album, Shibuya Gumbo, captures that feeling with a confidence that will rub off on the listener in the most positive way possible.

Things get off to a jumping start with “Ask Me Later”, an upbeat number that helps set the tone for the rest of Shibuya Gumbo. Becoming apparent with the first tune and continuing through is the tight musicianship. These aren’t just guys playing a hybrid of jazzy funk with R&B rounding out the edges, these are guys playing. They clearly listen to what each other has to offer and work everyone’s contributions in. Each band member gets their own solo at some point, sometimes more than once, and Jeff Buckridge’s suave guitar solo in “Ask Me Later” is an appetizer of this. Ben Zecker manages to lay down some keyboard flourishes and apply them successfully on top of everything else without them being overbearing, such as on the side-walk strutting groove of “Soho” and “Vaccination” with its out-of-this-world deep space alien love funk.


Don’t be fooled though, this isn’t silly polyester funk. It’s got class and brass to make a watch shine. At the forefront of all this is Garret Savluk’s trumpet, helping to add spice to an already hot dish of jams with Henry Douglas Jr. accompanying him on sax. The driving force comes from the rhythm section of Peter Maclean on drums and Craig Weiman on bass, both of who add a surge of energy to the proceedings. Maclean is a machine in songs like the drum fill galore title track with Weiman and the rest of the band matching his beats in unison as they often do on the whole album, creating a precise and direct impact on the senses.


The cool factor of this album seeps out of the case and is a contagious aura that can’t be ignored. The rascal sax rhythm on “Head Trip” emphasizes the playful and upbeat spirit on Shibuya Gumbo. But as if that wasn’t enough, Barrence Whitfield adds in his vocal contributions and Little Richard yells on songs like the already decked out “It’s A…”and a cover of Muddy Waters‘ “I Just Want To Make Love To You”, adding a more personal connection that helps fill out the songs. The majority of this collection are all instrumentals but, unlike so many other acts in this hybrid of genres that can often alienate the common listener, Shibuya Gumbo has enough catchy grooves to replace any other need for vocals.


Even though the songs are long- every one except for two are over five minutes- it doesn’t take away from the welcomed presence of Boston Horns. These tunes are meant to get you out of your seat, out of the gutter, and enjoy living. If you aren’t shaking your hips and snapping your fingers by the time you hear the first note, you better go see a doctor because Shibuya Gumbo is a guaranteed musical buzz that will lift you up and all over the place.


http://www.bostonhorns.com/

Dirty Mac Blues Band's "Victory Bar"

The Blues has often been a male dominated genre. When this type of music comes to mind, the average listener can’t help but think of a host of different males artists, including B.B. King and Buddy Guy to name a couple from a very long and well-respected list. The topics of blues songs are usually sung from the perspective of a man and these performers are not just blues singers but also accomplished guitarists, another male dominated area of music. Because of these two factors, it is fair to say that most women have not traditionally been able to relate to the Blues or have a dominating part in a blues band. Thanks to the Dirty Mac Blues Band though, that can now change.

With Terry Mackie on vocals, The Dirty Mac Blues Band offers a fresh perspective with their newest CD Victory Bar . Unlike the typical blues band, these songs are song from the point of view of a woman. They are not about how some guy’s lady did him wrong and took off with some one else, but instead describe the frustrations and desires of women, creating an unexpected and unique twist. “BBQ” is filled with sexual innuendos with lines like “I hear you like to have your pork pulled tight/ Yeah, that’s something I get a craving for real late at night” and “ My dipping sauce is sweet/let me drip some on your meat” that are borderline inappropriate, but the point here is to draw attention to themselves and they manage to do so. Perhaps it’s the urge to compete with the male dominating artists in the genre and show that women can be as aggressive too, but by doing so they are narrowing down their listeners to a select few. Of course, this is all tongue-in-cheek humor and isn’t’ meant to be taken seriously, but one can’t help but wonder if there is some sort of underlying “If you can do it than so can I” attitude being used as the catalyst here and, if so, can potentially give this listen a black eye. While this is probably unlikely and a very deep look into a selection of songs that are not meant to garner that much critical attention, it is worth mentioning and taking into consideration when listening to Victory Bar . Mackie delivers these lyrics with conviction, however, due to her deep and impressive voice that can fill the room. .


The band itself is a laid back and sound confident. There aren’t any signs of flash or flair, but they are a solid and dependable band that fall in the pocket smoothly. “Gospel Stomp” is a memorable blues number with dirty slide guitar by “Bashful” Bob Ross and a slow rolling beat to back it up. The perfectly title “Mississippi Twang” gives off a real roots feel straight from the swamps of the south thanks again to Bob Ross’ guitar and "Gentleman" Josh Nathan’s harmonica. The lyrics help convey the mood even more when Mackie menacingly sings dark lyrics like “I watched the vultures pick apart all your bones” and “All those promises you made that you broke/ Now you’re hanging from the end of my rope”. The chugging “Gypsy Train” is a showcase for the strong rhythm section that is Mark "Yo Sam" Bell on drums and Matt Robinson on bass.

This does not sound like a band from the north east at all, but rather an experienced group from the belly of the south. They have a knack to capture a real back-porch blues sound on more than one occasion and this is ultimately their greatest strength. The presence of a female singer songwriter may be an attraction for some while not so for others, but they aren’t demanding much from their listeners and should appeal to most blues enthusiasts.


reverbnation.com/dirtymacbluesband


myspace.com/dirtymacbluesband

Midnight Music: Plumerai's "Without Number"

A lot of times you have some sort of an idea of what you’re getting yourself into when you plan on listening to a particular artist.. However, with Plumerai it is the equivalent to walking in the dark. That is until you here the first song. Apparently it’s true that once you’ve heard one you’ve heard them all. But that isn’t necessarily a bad thing if the artist offers a unique and interesting sound, as Plumerai does. But, it can test your patience and interest.

A dark and brooding album, Plumerai“Without Number” is a slow and numbing trip to the dark recesses of the mind. Many of the songs offer a wide atmospheric touch with linear, guitar delay and tight drums. The prime suspect in of this combination is the unsettling “Blues & Greens”. With its weird accordion break-down and dark sonic dream-scape, “Blues & Greens” is the apex of the Donnie Darko-esque vibe that this album carries with it and that distinguishes Plumerai from today’s other acts. A more catchy number and probably the most memorable track here is the ringing “Iris”. Martin Newman offers a simple melody that the rest of the band ride on and help expand, showing their ability to stretch out something from next to nothing. There aren’t any big hooks on this album and this track is as close as it gets to that. Instead it is a more moody and personal listen. Because of this, many of the songs tend to blend together and sound alike. The instrumental “Sin El Lagarto”, however, is a much welcomed change of pace and is the only real up-beat song here. It has a swirling, tango rock feel and moves at about twice the speed of the rest of the album. Whether it was intentional or not, “Illuminata” is straight from James Bond and there is absolutely no way anyone who listens to it and has ever watched a 007 film could possibly disagree.


Worth noting is the tag on of the two recent singles released by Pulmerai. The first, titled “Empty Graves” is a promising effort that has Plumerai taking their signature sound, minus much of the lurking and gloomy quality, and adding a more pop/rock feel that makes it much more accessible. “Strike” is more like what is heard here on “Without Number” and is another foray into the engulfing abyss of simple and repetitive melodies that build up into a strong finish.


On vocal duties is Elizabeth Ezell, and thanks to her shadowy presence she is the perfect match for the music itself and has a lot to do with the haunting quality of “Without Number”. Her aching and sensitive voice sounds as though it is ready to break, helping add real frail emotion. If Plumerai is trying to alienate and unsettle their listeners though, they achieve that on the disturbing “Kill My Way Outta Here”. The repeated line of “I’m going to kill” matched with Ezell’s innocent yet creeping voice is the darkest and strangest that “Without Number” gets. Because of this and because the lyrics can be hard to distinguish from one another, it can be hard to relate to much of the songwriting. This is one of the causes of the songs sounding too much like more times than not. There aren’t many outstanding vocal melodies that stop this from happening and it can be costly.


“Without Number” isn’t the type of album you’ll really want to blast or make known that you’re listening to it. While that might sound like the ultimate seal of a negative review, it speaks to the extremely private and intimate attention that it demands from its listeners. This album is meant to be a personal listen and it is clear that Plumerai achieves that. Perhaps Plumerai intends on having “Without Number” to be listened to with the lights out, with nothing more than their sonic presence and your deepest thoughts.

McAlister Drive

Often, bands will label themselves with an incorrect title, wanting and trying to be what they’re not. Fortunately for McAlister Drive they know exactly who they are and in so many words they come just as advertised: a pop band, nothing more and nothing less. While at times this modesty is overly humble, most of the time it is fitting. The word pop in many cases can be a double edged sword and so it is for McAlister Drive on their first LP “Something To Sleep With” . They successfully capture the typical characteristics of a pop band but at the same time cannot avoid some of the pit falls that come with the territory.

McAlister Drive has a lot going for them on this record in the way of their overall instrumental sound. It is very difficult to create your own unique sound that lasts and that can become your trademark but they manage to pull it off. There is a perfect blend of bright acoustic guitars and sultry electric leads on songs like “Why” and the catchy opener “Got It Right” that becomes their calling card. There’s no doubt that McAlister Drive has the knack and creativity to create catchy pop hooks that get stuck in your head after a couple listens. They are spread throughout the album, from more sensitive piano melodies to a meaty edge in “Drowning” and the looping riff in “Scarred For Life” thanks to the electric guitar of Brock Bouchard , expanding their sound from the lofty ideals of pop to a more rock oriented approach. They really put on their boots and break out of the cutesy pop in the ambitious “So Close But So Far”. With their best “November Rain” foot put forward , check out the dramatic piano and guitar arrangements, as well as the driving attack in the last minute and a half, and you’ll know these guys definitely have a pulse and can kick it up a notch when they want to.


Because McAlister Drive is a pop band at heart they sing about what pop songs sing about: the trials and tribulations of relationships and love. And, as always, this is a very thin rope to walk across. Much of the album consists of Christoph Krey singing about such topics at a never-ending rate. It comes dangerously close to cliché range and pop cheese more times than not with lines like “Rats crawl across my feet/I have no food to eat” in “Left (I Can Honestly Say)”. At one point it begins to become a bit of a drag and you just want to go out and get these guys a happy meal to cheer them up. The only real sincere sounding one out of the bunch is the very last tune, the moving “From My Dream”. It is here that Krey’s personal lyrics finally match up in perfect pairing with a sweet melody that resonates compared to some of the others that sound not as real or deep but more like work


This is a band that has radio potential. Many of the songs sound ready to hit the airwaves and it seems that they already know this. This can be both good and bad for McAlister Drive. Goon in the regard that they know they have the ability and can take that confidence forward. Bad in the fact that they could simply become satisfied with how they are now and not continue to grow and expand on the bright spots that “Something To Sleep With” contains. Its totally up to them, but they need to make sure they steer clear of the traps so many other pop groups fall into and that they are already showing signs of.


MCALISTERDRIVE.COM

Adam Hofmann Revival

Nothing can be more compelling than when a musician can come clean with them self and let it all out in song. Sometimes such honesty can be hard to communicate but with an instrument, particularly an intimate one such as a guitar or piano, that conversation can come much easier. The instrument becomes an extension of the musician’s own self. It is very true that music allows the musician to honestly express themselves when they otherwise couldn’t, and the same can be said for Adam Hofmann Revival. Led by Adam Hofmann on piano, this self-titled album, recorded in just three days in NYC, is a perfect example of the special relationship between an artist and their instrument of choice.

The song writing and piano work is front and center throughout the whole record and rightfully so because, like any good songwriter, the honesty in Hofmann’s lyrics are what drive the songs. You can hear it in his lyrics through his somber singing in “Here I Stand”: “I can’t take another minute/not another fleeting chance/the time has come to make it/and I don’t know if I can”. His piano rides along constantly with his voice and is the perfect partner to it, accurately expressing every emotion with ease. The Adam Hofmann Revival could get by with just their strong song writing alone but what makes them even more of a well rounded band is the strength of Adam Hofmann’s voice. It sounds seasoned like that of Joe Cocker in “Shine” and delivers an urgency in songs such as “Then Who Am I” that helps lend an even greater amount of reality to what he‘s trying to say.


The band, including Billy Thompson on guitar, Mike Skillings on bass, and Kevin Fortunato hitting the skins is solid and their contributions fit Hofmann’s lyrics nicely, allowing the music to match his lyrical tone. They don’t seem to have any problem either with switching from slow ballad concentrated songs to more up-beat pop tunes. The cool neuroticism of “Anxiety” captures the overall essence of this band with it’s self- conscious lyrics, musicianship, and catchy guitar-escalating chorus; it all fits together perfectly with a memorable melody break-down for good measure. Not only does “Anxiety” manage to reflect the bands strengths, it also has a memorable warping synth intro that makes it fittingly sound unlike any other song here and a stand out track.


It comes as no surprise that Adam Hofmann has cited The Beatles and Allman Brothers Band, among others, as influences in his music. You can easily hear their presence in many of the songs, but not to the over-bearing point where it seems like he’s just ripping them off. He successfully channels their timeless presence but adds his own modern feel. Could the likes of other piano men such as Elton John and Billy Joel be brought to mind when listening to Adam Hofmann as well? It wouldn’t be a far stretch to say so. All in all, listener will be given a healthy dose of Rock ‘N’Roll, that means everything from piano ballads to funky nerves. It’s an emotional up and down ride but one that Adam Hofmann seems to be in control of, even if he might not sound so sure of it himself from time to time. 

Check out Adam Hofmann Revival at:
http://www.reverbnation.com/adamhofmannrevival

Mountain Mirrors' "The Immortal Deadbeats" Is Just That

Self described as starting in a “voodoo-riddled mountainside catacomb”, Mountain Mirrors’ new four-song EP entitled The Immortal Deadbeats conjures up the image of an army of angry trolls marching out of the woods of Massachusetts strapped with their acoustic guitars and ready to take over. But have no fear, these guys don’t pose too much of a threat- they only want to rock out. Part of their problem though, and they might not even know it since they’ve been holed up in the woods for so long, is that they’re tunes have already been done before. But if you are vertically challenged or are a troll yourself then you won’t have any problem getting your little groove on.

The brain child of Jeff “The Sandman” Sanders, Mountain Mirrors is a blending concoction of murky acoustics and dark psychedelia. They display hard rock roots at times with a subdued mellow contrast that allows them to stretch their songs out. They seemingly put themselves in a hole from the start with three out of the four songs being over five minutes, leading the listener to wonder how they are going to fill in the time, but they manage to get themselves out with enough break-downs and drawn out solos. The whole EP moves at a relatively slow pace however, which can put a strain on the listener‘s patience.


Originality is a hurdle on this collection of songs, too. Mountain Mirrors can’t avoid showcasing its love for Pink Floyd and every hard rock band that has ever took themselves too seriously and decided to “conquer” the world with introspective acoustic pieces. By not defiantly separating itself from its influences, Mountain Mirrors‘ The Immortal Deadbeats unfortunately becomes a copy of what’s already been done before.


But trolls always have a few tricks up their sleeves and can never be counted out. The best parts of the EP are the break-downs and solos. The verses and choruses often get lost and sound alike, but the instrumental sections are what manage to catch your ear. Examples include the hop-scotch jump in “Ascension Vibes” and the zapping synth solo that saves the otherwise drab title track. The Tool-ish sounding “Wash Me Away” is also memorable for it’s lush and hypnotic outro. If Mountain Mirrors just focused on instrumental pieces and expanded that area of their sound further, abandoning their weak verses and choruses, they have the potential to put together a good record.

The Wandas "New Wave Blues"

The music genre known as “pop/rock” is often times linked to poorly made radio music that is here today and gone tomorrow. Most of the artists grouped together in this category are a flash in the pan and have a limit to what they have to offer. Hiding in this group of misfit acts is usually one or two bands that really have something to say and that stick around. Walking this very delicate line of “here today and gone tomorrow” is The Wandas, a pop/rock outfit that sounds unlike any of the other recent contributions the Bay State has made to the music scene. With their infectious melodies and catchy choruses, it is hard not to enjoy listening to them. On their album, the appropriately titled New Wave Blues, The Wandas manage to create their own sound that successfully steers clear of becoming just another pop pick in what seems like an ever-growing landscape of cloned music.

With the opener “New Wave Blues”, The Wandas establish their hypnotic dream pop sound thanks to the mixture of Keith McEachern’s fragile vocals and tranquil acoustic guitar. They have such a large sound, thanks in part to drummer Will Bierce’s use of the sequencer, in which they are able to control and neatly construct lean songs that the listener can’t help but be impressed and positively overwhelmed. The gradually growing textures that surround the core on songs like the opener and “Lose You” are perfect examples of this achievement.

Without sinking too far in the past, The Wandas New Wave Blues at times evokes a welcome return to 90’s alternative melancholy innocence with songs like “Fighting A War”, “Trepidation”, and “Bending Over Backwards”. These are songs that would sound right at home on the radio in the mid 90’s while at the same time still sounding new today. In this respect, their songs are not overly processed, becoming a victim to studio trickery like many other recent pop/rock acts, and instead have a feeling of soul and human nature to them. This familiarity adds to the nostalgic feel that New Wave Blues often times delivers. Taking the title New Wave Blues in context, it is clear why this familiarity takes place. It is because The Wandas successfully take the positive elements of 90’s alternative pop/rock, such as that addicting melancholy tinge and charming up-beat pop, and applies them to today, introducing them to a new generation.

The lyrics in The Wandas music is straightforward and to the point but manage to work well with their sound: tight and concise where it needs to be and flowing where they allow themselves to stretch. Keith McEachern’s lyrics of the internal struggles of dealing with relationships and having to face the blemishes of everyday life combined with their pop hooks is a perfect match for a memorable and relatable record. “Thank You Note” sounds as though McEachern is simply reading a letter he wrote to someone and putting it to song , “Thanks for making me laugh when I didn’t feel like smiling/Thanks for taking the time to get to know me.” These terse lyrics are neatly put in front of a background vocal harmony that fill them out and that will easily get stuck in your head. The chiming piano combined with the slide guitar of Brent Battey and echoing vocals on “Everyday (is as bad as Monday)” create a haunting atmosphere that when juxtaposed with their upbeat pop sensibilities lends itself to a unique albeit sometimes down trodden listening experience that characterizes much of the album.

This is not a band resting on its laurels and that is satisfied with getting by with simple pop. The Wandas take the risk of falling under their own weight on “Lose You” with its dramatic outro that pushes their sound to its max that if done incorrectly could have sounded like they were trying too hard, but it manages to work thanks to their laid back demeanor. This is what separates The Wandas from other pop/rock groups today and is an encouraging sign for future development.They are not in your face and pushing themselves on you as many of today’s other acts do. Instead, they have a subtle yet strong reach that lasts. Only time will tell what is in store for The Wandas and where their sound will take them, but for the time being it is a safe bet that they’re here to stay.

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