Steel Notes Magazine Fall 2015 Edition

photo by Soupairecat

FALL 2015 p6

Tom’s Rockin’ Facts

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Model of the Month: Carissa

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Brodian’s Banter: NEW Ghostbusters

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Blondie Concert Review by Michael Dorn

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Annual Native American Festival

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Roman’s Rants: Guts...And Balls!

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Interview with Ron ‘Bumblefoot’ Thal

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Ayla Seidel

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QuickChek New Jersey Festival of Ballooning

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Fall Foilage Photo’s by Alexxis Steele

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Lehigh Valley Itzacon

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‘Damage Done’, a poem by Nikki Palomino

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Marlowe B. West interview with Cyndi Dawson

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Marlowe B. West interview with Baroness Kayvon

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Marlowe B. West interview with Fan Tan Jack

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Alexxis Steele interview with Chris Wyse

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The Temptations Concert Review by Noah J. Gambino

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The Doughboys by Jenny Cat

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Matthew Schuler interview by Elena Brokus

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Interview with Keyboardist Eric Ragno by Michael Dorn

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Colicchio’s Corner: Manhattan’s Monday Night Madness

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Wednesday 13 by Stormy Boz

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The Addams Family Musical Review by Kelly Mitch

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Bongo Boy Rock N’ Roll TV Reviews by Dana Saravia

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‘What We Do In The Shadows’ Film Review by Jerry Saravia

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Courtney Barnett Album Review by Dana Saravia

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‘The Cynz’ Music Review by Dana Saravia

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Owl ‘Things You Can’t See’ Album Review by Dana Saravia

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Miriam “Down Today” Music Review by Dana Saravia

p142 ‘A Nightmare on Elm Street’(1984) Film Review by Jerry Saravia p144

Music Review: Groovy Uncle & Suzi Chunk by Dana Saravia

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Music Review: Mora Tau’s Self-Titled EP by Dana Saravia

STAFF

Alexxis Steele - Publisher/Editor in chief Guido Colacci - Assistant Editor Frederick Jerant- Proofreader/Copy Editor Mick Reynolds- Proofreader/Copy Editor Keith Boisvert- Cover Design www.steelnotesmagazine.com

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PHOTOGRAPHERS Sheri Bayne Bob Klein Mike Dorn Gary Preis Brian Smith Brian Matus Bill Des Jardins Gracie Thorpe Derek Mitch Rhonda Van Buskirk Lisa Koza Alan Ottenstein Larry Dell Harriet Kaplan Brian Limage

STAFF WRITERS Marlowe B. West Dana Saravia Jerry Saravia Guido Colacci Rhonda Van Buskirk Sheri Bayne The Gypsy Poet Mick Reynolds Miss Elizabeth Kelly Mitch Tony Angelo Victor Colicchio Mike Dorn Drama D Karma Moonbeam Bob Klein Harriet Kaplan JennyCat Elena Brokus

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VIDEOGRAPHERS Lisa Koza DarkOne Skip Freddy Williams Larry Dell

Steel Notes Magazine

is a monthly magazine featuring what is happening in the art, music, entertainment, and fashion industry. Copyright is reserved. Re posting is whole or in part on other sites and publication without permission is prohibited. All right to photos belong to their respective owners.

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Thomas Richmond

TOM’S ROCKIN’ FACTS

1963 The Beatles made their debut on ITV’s “Sunday Night at The London Palladium,” topping the bill and transmitted live to an audience of 15 million viewers.

They played, “From Me to You,” “She Loves You,” “Twist and Shout” and “I’ll Get You.”

1965 The Who recorded “My Generation” at Pye studios, London. When released as a single, it reached No. 2 on the UK chart.

1973 The Rolling Stones started a four-week run at No. 1 on the US album chart with “Goat’s Head Soup,” the group’s fourth US No. 1.

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1979 “Reggatta De Blanc,” the second album from the Police, started a four-week run at No.1 in the UK. The album, which features the band’s first two No. 1 hits, “Message in a Bottle” and “Walking on the Moon,” cost only £6,000 to record.

1984 U2 scored their second UK No. 1 album with “The Unforgettable Fire.” The album was produced

by Brian Eno and Daniel Lanois, and featured the single “Pride (In The Name Of Love).”

http://www.prolifick.com/

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MODEL OF THE MONTH: CARISSA photos by Brian Limage

Hello, my name is Carissa. I am 20 years old, and from eastern Pennsylvania. I hope to model western wear, horses, wedding and prom dresses, swim wear, as well as eventually fitness modeling. I am very passionate about my life as a country and horse girl and I believe that shines through in pictures of me.

I have wanted to model since around 16, when I become more comfortable with my body. I grew up loving horses and the outdoors, especially the beach. Although my mom attempted to keep me in the poufy, frilly dresses my grandmother sewed especially for me, I always ended up outside and dirty! I guess I never truly gave that up, as I still take every opportunity to wear sundresses possible!

I will be moving to the gulf coast of Florida in 2016 to pursue an education in marine biology. There I hope to model swimwear as I will be on the coast,t making it easier for fun beach, fishing, and ocean shoots. I look forward to the move and the new opportunities it will bring me! I can be contacted at carissa9model@gmail.com ‘Working with Carissa is a real pleasure and an honor. She is a true professional that takes her modeling seriously. She can take directions to achieve a certain look or feel for the job at hand and has the creativity to work her own ideas into any shoot. It benefits any photographer or agency to work with her to achieve a well-rounded theme or look for your projects, products or portfolio.

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As her first photographer, I can say I look forward to every shoot and the chance to work with her on many more projects down the road.’

I hope to model for these magazines in the near future and expand my portfolio by working with lots of photographers and agencies.

Feel free to E-Mail me for rates and availability.

Magazines: • Horse illustrated • Cowboys and Indians • Horse and Rider • American Cowboy • Trail Rider • Spin to Win Rodeo • Town and country • Outdoor Life • Western Horseman • Drysdale western wear • Lonestar western wear • Sheplers western wear • Cattle Kate wear • Back in the Saddle • Rods magazine • Wrangler jean company steelnotesmagazine.com

photos by Brian Limage

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photos by Brian Limage

BRODIAN’S BANTER

GHOSTBUSTERS MOVIE REVIEW

Stewart Brodian There’s an all female version of “Ghostbusters” in the works.

a bathtub scene and/or a scene where somebody is accidentally caught (partially) nude.

I have my doubts about this film.

Now, before anybody calls me sexist let me explain my viewpoint.

Posing nude doesn’t necessarily express sexual freedom.

I have seen some production stills from the film.

There’s other ways to get that across without “baring all”.

When making a joke in a film, sometimes it’s the subtle things that can make it happen.

Let’s look at the car.

In the new film, the car is just an old Cadillac hearse from what looks like the 1970s or 1980s.

It wasn’t that the car was an old piece of junk that made it funny in the first film -- it’s that the car they chose in the first film was a 1959 model -- not a 1958 or, a 1960 but a 1959 model which had the most ridiculous looking tail fins in automotive history.

There’s another subtle thing: cameos.

In the first film, there was a scene where one of the Ghostbusters is on a TV talk show.

There was something that John Belushi said when he was making the original Blues Brothers movie.

“There’s no sex or violence in this film. That’s what makes a great movie”.

There’s not even any violence in the Blues Brothers movie, just pratfalls.

There’s another thing about making good films: “formula”.

Dan Aykroyd and Bill Murray were a good formula for the first film.

Melissa McCarthy and Kristen Wiig? Well, we’ll just have to see how things turn out.

He was being interviewed by the late Joe Franklin.

The film takes place in NYC and Joe Franklin was on TV and radio in NYC for decades.

Now that Joe is gone, “who they gonna call” to represent what some feel was part of the heart of NYC? And, since it’s an all female cast and the old “we have to be modern about this” mentality prevails in the film/television industry, there’s probably going to be

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photo by Mike Dorn

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BLONDIE CONCERT REVIEW SANDS EVENT CENTER JULY 10 2015

BY MICHAEL DORN 1970’s New York City was gritty, and turbulent. The 70’s were a low point in the city’s history, as a fiscal crisis almost pushed it into bankruptcy. Nearly one million people fled the city, searching for safety in the suburbs. But at the same time, music was about to change forever, and New York City would become the birthplace of Punk and New Wave.

Anyone who visited a certain dive bar on the Bowery, whose name everyone knows by now, remembers going to see the bands that played there. One of those bands was a female fronted band called Blondie. It didn’t take long for them to out- grow that dive bar on the Bowery and start touring the world.

The days of risking their lives on the subway, and stepping over homeless people to get to the gig may be long gone, but they still play with the same passion they did 40 years ago. On the night of July 10th 2015, Debby Harry and her band once again performed at The Sands Event Center, in Bethlehem PA. The sound was sharp and the musicianship was tight.

roots. Clem provided a wall of sound, while proving that he’s still a beast on the drums. Chris Stein, as always, stood in the back, letting the spot light shine on Debbie.

There was no mistaking the classic Blondie sound that Chris Stein provided since the beginning. The rest of the band members that make up Blondie, Leigh Fox, Matt Katz-Bohen, and Tommy Kessler were rock solid. As always, Blondie had a little something for everyone. The set list included many of the bands chart-toppers from the 70’s and early 80’s, some brand new stuff, and even a cover of Barry White’s “Never Give You Up”. Blondie had the crowed dancing in the aisles from the first song to the last. No one left disappointed.

Set List: One Way or Another Rave Hanging On The Telephone Mile High Call Me Maria Euphoria A Rose By Any Name Rapture The Tide Is High Atomic Sugar on the Side

Blondie started at 8:10pm, and went straight for the kill, opening with the ultimate female stalker song, One Way or Another, off their 1979 release, Parallel Lines. From there, the night only got better.

Heart of Glass Never Give You Up Dreaming

Not only were Debbie Harry’s vocals dead on, but she proved that 70 can be sexy. Drummer, Clem Burke, was wearing a leather jacket and a “New York City” t-shirt, showing the crowd that he didn’t forget his

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photos by Mike Dorn

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photos by Mike Dorn

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photo by Mike Dorn

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ANNUAL NATIVE AMERICAN FESTIVAL AT THE LEHIGH PARKWAY, ALLENTOWN , PA

by Alexxis Steele

photos by Gary Preis

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ROMAN’S RANTS

GUTS...AND BALLS! Roman

Jimi Hendrix plays wrong notes? That can’t be right.

But I was just listening to some of his last concerts... and yup, that note is odd...in fact, there’s a few odd ones there...hear that? Listen! Another one!

Damn, he’s not even in tune! Am I supposed to play like that if I cover the song? He’s not in tune, and I can tell because I have one of the finest modern tuners you can buy. I even have a SECOND one that attaches to my headstock so I know I’m in. I’m right, and HE’S wrong! Really? How can that be?

But I sure don’t sound as good. How come? I can read music and the transcripts. I looked the songs up on YouTube and saw how they’re played. I have the tablature, or TAB. I have all the modern-special-effect-guitar-gadgets to simulate that sound, and can play along with the recording, note for note. And that’s another thing -- he’s not even doing his songs like on the record. What the...?

Yet, even with all the improvements to tone and tuning that modern 21st century technology has to offer, there’s something missing. He sounds better playing wrong than I do playing it right!

It’s obvious and it’s been said before, over and over.

It’s in the hands. It’s in the soul. And for the most part, that’s what is missing. It’s one thing to play the blues, but it’s another thing to feel them. That’s different, and it comes through in attitude, showmanship, your demeanor. And not just blues. It’s for all music. And any entertainment. Life itself. Even if the style of music you’re playing doesn’t appeal to a live crowd, you will often get the respect or at least some interest that your efforts demand. Well, I like to think so anyway.

People know when you’re sincere, regardless of what you say and do, and whether it’s blues or

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some other style of music. “Getting” a crowd takes heart and soul. You have to have that. I was hired to do a cool festival one time and I asked the band leader what the dress code was. He said “None.

Just bring guts. And balls!” Hey! I have balls! The nerve. But I know what he meant. He meant heart and soul. Take no prisoners. Play it like you MEAN IT. And that’s the only way to be proud of your work in the end.

That attitude had gotten me through many a gig, and of course there’re many times that my band isn’t what the crowd in front of me expects. And you can’t please everyone. But it’s my job to entertain them, and win them over, despite any obstacles, like a bad sound and PA set-up, faulty cables, a broken string. There’s distracting circumstances, like a drunken brawl, backstage crap, a weird manager. You have to deal with all of that and handle it like a pro and still go out there and do it right.

I watched those YouTube videos to learn a Hendrix song. I saw 10 different guys doing it 10 different ways. I saw other guys play it note for note along with the actual recording playing in the background.

It sounded perfect...in their bedroom.

A very respected local guitarist I know decided to add a Hendrix “retrospective” to his repertoire, and this guy is good -- he is a great guitarist and technically superb. I was excited to go to a show and see someone live, and with his ability, covering some of my hero’s works. Well, he did the popular songs for the masses and added some more obscure ones (which really impressed me) but you know what?

Despite the fact that he had many of the subtleties down there was no heart and soul to it. It was just like the record, exactly like what I’ve been hearing

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their parts professionally as well.

And again, plenty of precision and technique, but not so much guts... and balls!

When I play a show I make wrong notes all over the place, so I’m no one to criticize. There’re plenty of legitimate complaints to chime in with about one of my performances. But I keep getting shows, so I’m doing something right. I’ll never be as technically proficient as those guys, but I like to think I still have something to show. I think I can entertain a crowd, but I truly believe that won’t happen until I believe in myself, in what I am doing, and believe that I’m putting in 100% and can’t put in anymore. And even then what can I add?

for 40 years on “classic rock” radio. There were no wrong notes...and there were no guts. No balls!

And consequently no excitement. He stood there, barely moving, and covered all the stuff so ...nicely!

If I had never heard of Jimi Hendrix and that was my introduction to it, I’d probably walk away thinking “Interesting songs. But what’s the big deal?” I probably wouldn’t be in a big hurry to buy any of his music.

The local crowd who loves this guy applauded politely and I’m sure most considered it a good show.

But there was no real showmanship. He kind of just stood there and laid out what he had obviously practiced very hard to master. And he did it very well...better than I could or probably ever will. The bass player and drummer plodded along, playing

I’m looking at the Hendrix concert footage again. Look at that, he’s bending over forwards, backwards, damn! He just did a flip. He’s just making that guitar scream and moan, wrenching out a death cry for God’s sake.

And when the guitar can do no more, when he can’t wring any more tortured soul and pain out of it through sound and amplification, he BURNS it.

Wow. That’s guts and balls! There’s a soul on fire to be seen in front of those lucky people fortunate enough to have witnessed it. Look at that, there’re a few famous musicians staring at that show with their jaws dropping and their mouths wide open in amazement. Awesome.

But Hendrix knew correct notes, and was a perfectionist in the studio. You’re not hearing any wrong notes on those few studio albums. Any wrong note he heard he took great care and meticulous time to correct, doing take after take after take. It made his bass player want to quit. His manager literally

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walked out because of it. I heard that “Gypsy Eyes” required 48 takes until he finally, but reluctantly, settled on one.

What does all my ranting and rambling mean? Get to the point already, Roman! Well, if you are playing live, mistakes can occur that you cannot erase, so you play through them, hide them, or even better, use them. It can easily lead to something new. As long as your heart and soul are in it, it may not even be noticed.

And if you’re recording, well now it’s in the history books, written in stone, to be put under a microscope forever. So if you have a chance to fix any wrong notes I guess you better. Now you have to live with it. (Still, most artists aren’t ever totally satisfied.)

And there’s obviously a difference between a song being performed live and the recorded version. I don’t prefer to hear a song performed just like the record, even the some do I suppose.

I don’t WANT to hear a song played like the recording. And neither did Jimi. Because it has no soul. It has no ...guts. It has no BALLS!

OK, thanks for reading this month’s personal problem. Now it’s time for me to “grow a pair” and get to my gig! See ya out there!

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INTERVIEW WITH RON “BUMBLEFOOT” THAL

BY ALEXXIS STEELE

photo by Soupairecat I had the pleasure of doing an interview with Guns N’ Roses guitarist Ron “Bumblefoot” Thal.

Alexxis Steele: Hi Ron, I was reading up on you, and I must say, you were pretty quite amazingly the child prodigy!

Ron Thal: Yeah, I was a weird kid.

AS: You started playing guitar at a young age; exactly how old were you?

RT: It all started when I was five years old and I heard the “Kiss Alive” album. As soon as I heard it, I knew that’s what I wanted to do.

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I got a guitar from a neighbor; it was a little kid’s guitar. I didn’t know how to play it, so I would lay it on my lap and play it like a drum. I still remember someone showing me, saying ‘No it goes upright like this.’ It felt so awkward. I was like, nah, it makes no sense -- you gotta reach your arm around like this, and from there I was writing songs. So I started taking lessons, and put a band together with an eight-year-old and a nine-year-old in the neighborhood, and we started recording and doing everything that a band would do, and never stopped!

AS: So when you were 13, you started teaching

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others how to play, and made your own guitars?

RT: Yeah, I started teaching since I was already taking lessons for so long, and knew all the academic stuff well, and the music theory. It has always been my philosophy that what you get from others, you share. That is what it is to be a musician. You learn from others and then you share. It is a wonderful thing, and the best part of being a musician.

AS: Absolutely! So did you come from a musical family?

RT: No, not really. My mom would sing around the house, but there were no musical instruments lying around or anything like that, and my dad was not going out doing any gigs, so no.

AS: So when you were a kid, you would sell stuff to make money to buy a black Strat style Ibanez Roadstar with a vibrato bar?

it and gain control of it so it does not gain control of us. People with depression, anxiety, hostility, or whatever it is, by having art it is the thing that keeps you out of trouble.

AS: Yes, it is great therapy.

RT: Absolutely!

AS: You also work as a producer, writer, engineer, arranger and performer, and wrote some TV jingles and theme songs for some stars.

RT: Yes, and video game soundtracks, Indie music films, songs for publishing libraries that ended up on all kinds of TV shows, from Oprah Winfrey to So You Think You Can Dance. I would be watching TV, and hear 10 seconds of something I wrote, and be like ‘Oh my God, where did that come from?’

RT: Yes, I would paint Iron Maiden albums on the back of dungaree jackets for $20 each, and that’s how I would save up money to buy gear.

AS: Very cool! I see that you also do a lot of benefits and charities, like a fundraising concert for diabetes, the Children’s Hospital, and are on the board of directors for the MS Foundation research.

AS: Some of your early influences were the Beatles, Stones, and the Ramones?

RT: Yes. Sadly, that recently had to close its doors because the person running it had MS. We raised a lot of money for the labs, and research, but if we made a difference, every little bit helps.

RT: Yes, a lot of classic rock, late ‘70s. Nothing but great music that came out like AC/DC, Queen, the Who, Led Zeppelin, Judas Priest, Sabbath, Floyd.

Then there were the Sex Pistols, Fleetwood Mac, Yes, Jethro Tull. It was the new stuff that was on the radio at the time.

AS: I know that during your life you have had some struggles, and you referred to playing your guitar as your medication. I thought that was a very profound statement.

RT: Definitely, and I think it is like that for most people -- the thing that keeps them centered on the right path, without overthinking themselves into a bad place, is always art in some way. Whether it is drawing, painting, sculpting, playing guitar, or whatever is artistic, we channel it, harness it, focus

AS: Absolutely it does! So tell me a little bit more about the recording studio that you have in New Jersey.

RT: It’s a little old house, a wooded little spot in Princeton. I don’t live there, I just go there to make noise and piss off the neighbors. Actually, the neighbors have been great and very tolerant.

That’s where I do everything, a whole house of it If I am recording a band, they can live there, and stay there, and not have to get a hotel. They can get up at four in the morning and lay down tracks if they want.

AS: I imagine that would be in high demand!

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AS: What other flavors do you have?

RT: Bumblicious, Cherry Bourbon, Chipotle (goes great on barbecue), Normal, which is a tomato-based sweet and mild sauce that even works with Italian and Mexican food. Bumblebabe, where we took out bourbon, and put in cherry chocolate chipotle hot sauce. Some of the proceeds from that one go to women’s health organizations. There is Abnormal, which is a great one for steak and stir-fry. It’s a dark, zesty sauce that has tamarind and Caribbean jerk; it’s a real hot one! There is one called Uncool that is a medium-hot sauce that has curry and cumin; it’s good in Indian food. I have so many flavors I wanna make I just have to convince the manufacturers to let me back in the kitchen, and be willing to put it on the shelves.

RT: It is interesting. It was always in demand but I am usually on tour, so the place would be empty.

There are so many times people wanted to record, and I would say but I won’t be around until next year.

AS: So there are some big time lapses.

RT: Yes, when I am on tour, everything backs up.

And when you get back there is a big to-do list, so there are things you can’t get done until you get off the road. There are months of work before you have to leave again, and then it gets piled up more, and ends up being years of work waiting to get done.

AS: I can imagine it would! So how did you get involved with this award-winning hot sauce? I see that you have six different flavors that are all-natural products for allergen-sensitive people, gluten free, and no preservatives, and some very interesting flavors like the heart-pounding one with ginseng, caffeine, and ginger. You don’t usually find that in hot sauce.

AS: Wow! That’s very interesting! What led you to making these hot sauces?

RT: I like to hurt people! You know, I love hot sauce and spicy food. It’s kind of like music; if you love it, and have a passion for it, you want to share that passion. Everything you get from it, you want to give the same thing with food.

AS: So you like to cook?

RT: Hell yeah! Well, I like to eat!

AS: Okay, so tell me about this supergroup that you are involved with, with Scott Weiland on vocals.

RT: Yes, the Art of Anarchy is something that we started back in 2011. John and Vince wanted to create this supergroup album for a music company they were starting and they wanted to make their dream album, so I brought them into the studio.

They laid everything down, and I laid down my stuff, Moyer laid down his stuff, and Scott joined in and wrote all of his stuff for it with some nice videos looking forward

RT: This one will mess you up in a good way, and it is called Bumblefuck.

AS: So will you be touring with this act, or is it strictly for release only?

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self-aware, and crawl into a ball, afraid to be yourself, -- or the opposite, and strip your clothes off and say, “Here I am”, and just roll with it and say it doesn’t matter. What you see doesn’t define your judgment, and doesn’t define who I am. I gotta be myself.

I’m gonna be imperfect, and I’m going to be human, and enjoy every minute of it, and I don’t care if you are watching, or not! I’m going to be me, so it sort of forces us to face ourselves.

AS: Absolutely! Well, you sure have been busy, and have a lot of great things going on for yourself, so I applaud you for that!

RT:-Well, at this point it looks like it’s going to start off with just the album and the video and everything RT: Thank you so much! being about the music, and the album, but we gotta see if there is a demand to see this thing live and see where it goes.

AS: You are very welcome!

AS: Okay, cool. You also have your own CD called Little Brother is Watching. Do you want to elaborate on that title?

RT: You know the saying, “Big Brother Is Watching You”, from the book 1984? It’s a futuristic glimpse into this omnipresent governing being, watching everything you do. Where we live now is the next generation of that whole thing. It’s the continuing story where we have all the power and we do the watching. We have I Phones, YouTube, we have everything and we watch those who are supposed to be our surveillance. We are watching the police, we are watching the government, we are watching each other, and showing ourselves to the world, whether they want it or not, and that’s the society we live in now. It is just a song that is talking about living in these times, and how there could be pressures that come with that to be perfect, and how we use this to expose and be the one with the breaking story, standing by to dethrone each other.

AS: Very true, and a very interesting concept!

RT: It could work a few ways. It could make you very

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AS: So where can folks buy your hot sauce, and your new CD? RT: If you Google ‘Bumblefoot Hot Sauce,’ there are a lot of distributors out there that sell to different stores. Which ones I don’t know, it’s random, but in the U.S., Australia, Dubai, and Germany. I do have it online at my little merch store at www.bumblefoot. com. There is everything on there from mini guitar replicas, CDs, shirts, hot sauce, etc.

AS: So you pretty much have the gamut on your website!

RT: Yes, and for my CD, I have the first 200 CDs signed.

AS: Thank you so much for taking the time out of your busy schedule to speak with me, and we look forward to hearing and seeing more of you and your work!

RT: Thank you very much!

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AYLA SEIDEL Born on the 12th of July in Anchorage, Alaska , Ayla Seidel relocated to Florida with her family as a child. Mixed with Panamanian and German roots she is definitely a sight to see! We were able to do a photo shoot with Ayla , and for a few moments get a glimpse into her life.

Now 23, Ayla is a Combat/Documentation Specialist in The United States Army. In her free time, she enjoys spending time with her significant other, her friends, and she also enjoys downtime watching movies and enjoying a night out. When she is not partaking in fun activities, she enjoys photography the most, as it is her main hobby. “Capturing life’s moments” is what Ayla is all about! Being successful in life is her biggest goal, along with starting a family and receiving a degree in photography.

We thank you, Ayla, for the service to our country!

To our viewers, please show gratitude by stopping by and taking a look at this beautiful Panamanian piece of eye candy!

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QuickChek New Jersey Festival of Ballooning -PHOTO’S BY GARY PREIS

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-PHOTO BY GARY PREIS

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PHOTOS BY GRACIE THORPE

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-PHOTO’S BY GARY PREIS

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PHOTOS BY GRACIE THORPE

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FALL FOILAGE PHOTO’S

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BY ALEXXIS STEELE

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FALL FOILAGE PHOTO’S

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BY ALEXXIS STEELE

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Lehigh Valley Itzacon I had a chance to stop by Itzacon, a family-friendly steampunk-Renaissance-fictional-sci-fi-comic book-fantasy conglomeration that debuted on Sept 19, 2015 at Coca-Cola Park in Allentown, Pa. This free event generated a buzz in the Lehigh Valley for all genres of convention-goers with panels, workshops, demonstrations, contests, musical entertainment, food, artists, vendors, and performances. It was headed by co-creator/co-owner Eddie Deirolf of Mutated Soulz FX, a makeup, special effects, acting, entertainment and performance company from Reading Pa. While I was there, I saw G.I. Joe mixing with Klingons and pirates, and public dressed in cosplay.

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DAMAGE DONE

by Nikki Palomino A loft...

Upon the newspaper lay my glob of a heart. It still leaks, the valves slightly open, squirting blood from one ventricle to the next, then it flutters like a flock of frightened birds.

Exposed brick, pipe flakes of rust, drifting downward onto Stops... the hardwood floor.

Its sticky viscous red goo Meteorite shower... seeps through an article about the recent closure of I lay newspaper across a section of the floor, bare be- a park that has been around cause I sold the worn couch since the turn of the century. and wool rug left to me by a I shiver as a gust of wind neighbor. rushes through the exposed 56 | Steel Notes Magazine

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cracks along the ridge of a window.

even care.

Does anyone but me even care? Should I, really?

Love stops like the traffic at a light on the street below. For no reason the law of nature ejects us like blood through a heart with purpose.

And I don’t now and I won’t I remember you and how you when the electrical impulse felt inside me and how your to which my heart depends tongue roamed to the back ceases... of my throat. I remember I have survived with brilliant she called me because no one resilience. else would to say you were Light morphs to shadow... dead.

How many years has it been? Dreams exfoliate...

But my eyes are drawn back to my heart now quivering useless in its ability to propel the blood through the artery for, like an umbilical noose, has tightened around my neck.

My glob lay immobile upon the sprawled newspaper.

I may not deserve respect but it doesn’t dispel what I feel for you...

All I hear are tiny gasps, in step with fanatical rim shots I can say, without hesitation, almost making me believe I damage done. hear your sweet hoarse tenor in the corner of the loft...

Nikki Palomino But it’s coming from two stowww.nikkipalomino.com ries down and I can’t make out who it is or why I should

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DAZED: The Film COMING 2016....Based on the ramblings of Kurt Cobain (Nirvana) during my time with him. All they want is love; but with damage done, they choose a needle instead. From author Nikki Palomino The DAZED Novel Series, Coming Cobain Junk, The Underground Diaries, Blackbird New Haven Publishing Ltd UK and a collaboration with the biggest pot smuggler in US history, the True Crime book “The Gentleman Smuggler” by Steven M. Kalish and Nikki Palomino Available:http://www.amazon.com/s/ref=nb_sb_ss_c_0_12… https://www.facebook.com/dazed.novel.series/timeline https://www.facebook.com/DAZEDGrungeRockerAuthor https://www.facebook.com/groups/dazedraioshow/ https://www.facebook.com/dazedradio https://www.facebook.com/groups/506370846059672/ Starring: Matt Mercer,Carlos Ramzey Ramirez, Bergandi Phoenix, 58 | Steel Notes Magazine

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Palmer Davis, Ruben Pla, Dave Johansen, cameos Ginger Coyote, Johnny Ray, Avina Richard, Ashley Evans, Alfred Jiminez and more...

Genre: Based on DAZED Novel Series by Nikki Palomino from the ramblings of 3 junkie musicians, most notably Kurt Cobain and why those most disposable should matter.

Directed By: Director,Cinematographer Jason Herring with CBS’ Mike& Molly, formerly Will&Grace American TV. Editor, Director Cinematographer Ezra Spurrier TV and Film FIlm Assistant & Publicist Ashley Evans Music: Brian Kroll “Don’t Play Dead” Release Date: 2016 http://www.nikkipalomino.com/

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CYNDI DAWSON 60 | Steel Notes Magazine

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Ladies and gentlemen and children of all ages ... My name is Marlowe B. West and I am your ringleader ... In my ongoing mission ... my quest to bring my readers the verry best in entertainment ... as well as sharing all the fun and excitement that crosses my path as I take Manhattan by storm ... I am hereby thrilled to introduce you all to the Cynz.

I have been aware of this rock group for some time and even been friended by Cyndi Dawson, the firecracker blonde singer/songwriter of the band, on Facebook. However, inevitable as it may have been, it was our mutual friend, Anne Husick, who ultimately brought us together ... Along with Ms. Husick’s multi-tasking career with her band Red Gretchen, she is a solo recording star, booking agent at Sidewalk NYC and to top it all off she plays bass in the Cynz.

I was invited to an ass kicking midsummer Sidewalk NYC event on Friday, August 28th ... There, on the star studded roster, amongst a kaleidoscope of other brilliant acts, there came the Cynz ... Today I have the pleasure of sharing with you my interview with Cyndi Dawson:

Marlowe B. West: Fill me in on all the latest hot well but the sexual chemistry is so perfect you put poop ... What’s the scoop on The Cynz right now? ... all pride aside?! That’s the song.

I hear much abuzz about town ... What’s it all about?

The song has had airplay on several college staCyndi Dawson: Thanks, Marlowe! ( AKA Pirate Glitz tions and particularly Angry Nation Radio.

Marlowe) We are excited about signing a deal with I think it’s too hardcore for most radio but I think Bongo Boy Records (who are putting out a new it’s one of our best songs. album for us called ‘Superfan”) and recording new material. We love to play live but aren’t taking as many dates as before to focus on new material.

MBW: I love your beautiful eyes ... You have the brightest, most twinkling eyes ... Like “I Dream Of MBW: You already know I am crazy about your song Jeannie” ... Can you explain how you attain such a high spirit ... and your energy level is explosive ...

“I Want Your Kiss”... Tell us the story behind it ... I What’s with you? am especially interested to hear how much progress, if any, you are having, getting that awesome CD: You are very sweet! ADHD with a lot of sass. song on the air ... The world needs to get smacked Always had it, lol. I come from a family of loud, in the face with it right now. boisterous and ballsy women.

CD: “I Want Your Kiss”.... You know when you want someone so bad that you know has not treated you

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MBW: Let’s hear all about the Cynz ... How you evolved to this level of controlled insanity?

CD: I did poetry with a rock band forever. It was really just a natural progression but I didn’t have the guts to sing until I started working with Henry Seiz and he is an old friend from way back so I was willing to try. It was his suggestion I sing my words instead of speak them.

MBW: Your style is fresh ... I can only describe it as a combo of The Knack’s “My Sharona” and Blondie’s “Call Me” ... It’s a level of rock’n’roll that rarely surfaces ... but ... if and when it does it’s sheer dynamite ... Tell us how you come up with your material.

CD: I have no idea really - a perfect storm of angst.

Love of rock’n’ roll and a need to purge my demons.

MBW: I got your CD “The Original Cynz” ... It is so well arranged and produced ... Would you please share your recording studio experience ... that is probably my favorite area of the bizznizz?

CD: I have to get the EP to you. It’s way better!

Recording, for me, is where the magic happens.

Original Cynz was recorded at Tracks East with Eric Rachel Engineering. Same with “Five Mortal Cynz” (the EP). Then we recorded several singles with Peppy Castro (Blues Magoos) at the helm and some we produced ourselves at Hellhound.

great sex.

MBW: Do you have any favorite gigs that would be fun to hear about?

CD: Every gig is my favorite but I admit our shows with The Magoos are my all time favorites.

MBW: You opened your show with some pretty inspiring poetry ... which is verry cool and an ingenious way to set the pace ... which goes directly in the opposite direction ...ha! ... Actually, from that point, I had no idea what to expect ... but ... you never dropped a beat ... I mean you held my interest in an excited state of almost frenzy all the way through ... You are unexpectedly professional and that’s something strange because you lack any rigid structure ... you simply roll it all fresh off the cuff ...

What’s your background?

CD: I was a performance artist and dancer and worked as a model for the well known artist Rene I.a.t.b.a in Soho through the 80s. I was an actress for twenty years working in TV and film and as a stand in for Madonna but I always was a poet performing anywhere and everywhere, even in London and Dublin.

MBW: Are you heading in any particular direction?

CD: Straight to hell, Marlowe...

The studio is where I learn the most. I wasn’t a musician but I learned to think like one in a studio.

Henry is amazingly intuitive about our sound and gets my ideas as well. We like a garage band sound personally and I love crisp drums and louder bass.

MBW: What or who inspires you?

MBW: How about your shows ... What do you intend to project with your act?

I’m inspired by art, photography and world events.

CD: With as much angst, love, heart and soul as I can give. I want to be charged afterwards and I want the audience to be exhausted. Like they just had

CD: I’m incredibly inspired by the work of Jim Carroll. I’m always listening to new music, particularly from Europe as it hits there way before the States. They tend to be the groundbreakers for new, now.

MBW: What do you think about image?

CD: Great question. It’s very important. I’m from the Bowie school of image where you want to remember that people come out to see a show. Not

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just listen. They want to be transformed for that hour. My image is who I am when I don’t give a f-ck.

MBW: What’s your idea of having a great time in NYC? CD: Being with colorful, creative, mad people talking about intelligent topics or just being silly, dancing.

MBW: What’s your favorite kind of food and do you recommend any place to go out to eat in Manhattan?

CD: I’m a big fan of healthy food. No red meat or pork. I recommend anything that is vegetarian based.

MBW: If you were to put on the show of a lifetime ...

Give us the details?

CD: I would open for Slash, and Myles Kennedy would run away with me afterwards.

No, seriously - I can’t recreate CBGBs but I wish I had been part of that time and scene.

MBW: ... And my favorite question ... If I could grant you three wishes ... What would they be?

CD: 1- World peace/tolerance 2- Climate change resolution 3- A world tour with pay

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Baroness Kayvon

by Marlowe B. West

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marlowebrienwest@aol.com

Ladies and gentlemen and children of all ages ... My name is Marlowe B. West and I am your ring leader ... Amidst the multitude of uptown, downtown, backstreets and avenues from A to Z, I have run o’er numerous thoroughfares and had my eyes open wide upon the countless treasures, whether grandly displayed or deceptively hidden, in our fair Manhattan ... It gives me the utmost pleasure to share these treasures with the world ... from my delighted eyes to the eyes and minds of my adoring fans ... you ... the beautiful people who read the presently trending Steel Notes Magazine ... I would like to take this moment to thank the incomparable Alexxis Steel for discovering me and giving me the opportunity and privilege of becoming her star reporter ... Today I shall shine the spotlight on The Baroness.

Marlowe B. West: It is such an honor to be granted this interview with you, Baroness ... It seems I have been trying to track you down, endlessly ... Now that I have found you, would you care to introduce yourself to our readers?

The Baroness: I am The Baroness ... The Latex Diva & designer of elegant and provocative latex fashions ... I am an educator and mentor ... I’m a Downtown Diva ... Party promoter and performer ...

Owner of slaves ... and ... I am very, very fortunate.

MBW: How about telling us your location and can you describe your boutique?

TB: The Baroness is located at 530 E. 13th Street in the East Village ... My website is Baroness.com ... Besides the wide variety of unique items of clothing, etc. you will find here, The Baroness does “fit for royalty custom couture” ... I might add that amongst the wide variety of unexpected men’s and women’s outrageous designs, you will find bizarre rubber creations ... Beginning in a small studio in 1994, I was a pioneer, selling my latex fashions to private clients by appointment only, and wholesale to select boutiques. In 1995 I launched the world’s first online latex clothing store, at Baroness.com.

I have been instrumental in the emergence of rubber from the darkness of dungeons into the bright lights of the silver screen, high fashion catwalks and red carpet award shows.

MBW: I am sure we would all be interested to hear some of the marvelous stories that helped build your empire.

TB: It is a force for change ... The Baroness drives latex from fetish to fashion ... I am an authority on human sexuality and lifestyle choices and an international celebrity spokesperson ... My expertise includes the dynamics of women and power, ritual and dress, and lifestyle options including fetish and S&M ... I’ve been an expert on alternative lifestyle choices since 1994.

As a featured lecturer and celebrity spokesperson, I have appeared on a variety of national programs including HBO’s Real Sex, ABC’s Television Special What Makes America Great, the Playboy Channel, A&E, E Entertainment, and Gay Cable TV. I have an impact which extends into the international market with programs in Great Britain, Germany, Denmark, Japan, Central America and Canada. In addition, I have lectured around the U.S. for various organizations including The Learning Annex, The Eulenspiegel Society, Dressing for Pleasure, and Tower Books and Video.

My work and designs can be found in 400 Years of Sex in New York, and The Sex Handbook. I have a column on the fashions and news of the East Coast fetish scene, A View from the Castle was a regular feature in Black & Blue, The Vault, and Marquis magazines, and I have contributed to PenthouseFetish. com.

My style, intellect, and humorous delivery make me a compelling spokesperson and MC for fetish and fashion events, including the notorious 3-day Erotica expo, New York’s Exotic Erotic Ball, and the annual Miss Rubberworld Contest.

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MBW: What age were you when you first heard fashion calling your name?

TB: Very young ... the womb

MBW: What makes your sense of style so unique? ...

What are your specialties?

TB: My philosophy, “Any occasion to dress is an occasion to overdress!” is obvious to all who’ve seen my imaginative and entertaining fashion shows ... My trademark professionalism, intellect, and playfulness are revealed in my colorful latex creations ... During my 20 years of exploring the unique properties of latex and its construction, I have influenced the fashion industry through collaborations with Lacoste, NYC menswear designer Patrik Ervell, womenswear designer Nourish Ferrari, and Opening Ceremony ... My inflatable straitjacket was exhibited in the Fashion Institute of Technology museum ...

MBW: How about describing one of your most interesting ensembles?

TB: I would have to say “My last one!” ... however ... I take each one as a challenge ... and compared to most I’d say that my rubber inflatables, the bondage lines and art pieces make all others stand in the dark ... for example my MAW rubber creations are indescribable ... having to be seen to be believed ... photographs are available on my website.

MBW: I love fashion shows and would be very interested to hear about some of yours.

TB: Standouts from some of my past fashion shows include my latex angel complete with surgical-glove wings created for the Goddess Ball and called “a highlight of the show” by the Village Voice. A latex western wear ho down, Valentine’s Day heartbreakers in sexy latex dresses adorned with pink and red hearts, and Santa’s helpers decked in red and green latex trimmed with feathers and fur.

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At Jamaica’s Hedonism II, the exotic finale of my tropical fashion show I was resplendent in a glistening latex mermaid ensemble complete with fish tail and seaweed corset ... I was carried about the stage by a procession of tanned models in latex cabana suits and hibiscus appliquéd sundresses.

Most recently the 11th Montreal Fetish Weekend is featured in a Huffington Post article with a lengthy slideshow. My black-and-white themed portion appears on the cover and in photos 89-99: (dated Oct 2, 2015)

MBW: Who would you consider today’s top designers?

TB: Definitely and foremost, John Galliano! I also marvel over Alexander McQueen and Mugler.

MBW: Do you have any fun and interesting stories to tell of your encounters with other designers?

TB: I would have to say Nicola Formichetti ... known for blurring the lines of fashion ... Long before his work with Lady Gaga, the fashion guru was well known in the world of fashion and design ... Formichetti is renowned as fashion director of Vogue Hommes Japan, the magazine that featured Gaga dressed with only raw meat ... He also works as creative director for one of my favorites, Mugler, a prominent French fashion line.

MBW: What do you think about fashion in general these days?

TB: Boring! ... It’s very rare that I see anything that strikes any interest in me!

MBW: What era do you consider the highest in fashion history?

TB: The ‘30s & ‘40s, although they were mostly influenced by the film industry ... People would have to have certain outfits worn by their favorite stars playing their favorite roles ... and the ‘50s

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began getting more creative with the imagery ... like the Bombshell look ... sexy came into style and the undergarment came into focus.

Avenue... Marseille is a casual Southern French restaurant with Mediterranean influences ... I love the art deco décor ... My dear friend Oscar Lorenzi is the chef there and he is brilliant ... Oscar creates pure wonder and magic every time!

MBW: How about your social life here in Manhattan?

TB: I became very occupied with my fetish parties ... I delivered glamour and pain monthly at my fetish retinue party for 12 years, making it New York’s longest-running monthly fetish party ... Being a Latex Evangelist, I became committed to showcasing the talents of New York’s fetish elite, educating the masses to the exotic ways of rubber, and spreading the gospel of latex ... You’ll never know what to expect, but it’s always exciting!

It could be a provocative latex fashion show, or my bizarre sucky bed, or perhaps the incredible blow- up man, or even a celebration of balloons ... My goal to provide a safe space to do dangerous things, inhibitions are lost in the intimate atmosphere ... I might even charm you or persuade you into the act!

Using my background in film, my progression to fetish/S&M performer was inevitable ... Always creative and visually exciting, each show is different and unique ... Performances have included human candelabras, mummified liquid sculpture, bizarre inflatable bodies, rubber nurses, and my “Taming the Tiger” piece in the Cyber Fetish Circus seen in New York, Pittsburgh, and Philadelphia.

With latex in the mainstream, I have been called upon for help with latex fashions (as well as casting and performances) for music videos including Jared Leto’s controversial “Hurricane”; appearances on Jerry Springer; Oribe Hair Salons’ 2 day Las Vegas expo, and numerous short films.

MBW: I sometimes find the time to inquire about dining in NYC ... Do you have any favorite places?

TB: Yes I do ... It is most certainly David Truscello’s Marseille in the theater district at 630 Ninth

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MBW: Do you care to divulge any of your famous custom work?

TB: Over the past 20 years I have come to be known as “The Grand Dame of Latex” ... I tend to take inspiration from a theme or mood and each presentation combines wearable designs with distinctive pieces created for the occasion.

For Dorian’s parlor, I presented “Latex Time Travel,” a neo-Victorian, steampunk fashion show with long gowns and bustles for the women, while dandies strutted in latex frockcoats and top hats.

I launched my couture “Fit for Royalty” line at New York’s Black and Blue Ball ... Inspired by the belle époque, the decadent court of The Sun King, and the mysterious Orient, this extravaganza was created for the serious dressing enthusiast ... It was theatrically staged in the romantic setting of a bygone era’s grand ballroom ... The men, dressed in voluminous poets’ shirts, bejeweled court coats and elaborate formal wear, posed and preened like peacocks, as the ladies, in their stunning and opulent latex gowns, fanned themselves and sipped champagne.

I had a lifelong fantasy to dress up a roomful of people and just look at them so I created my own series of parties, starting with The Royal Amusements ... An annual gala event with a strict dress code of fetish finery or formal wear drawing attendees from around the globe ... This was very successful and followed by “The Kinky Costume Ball”, a wild and triumphant Halloween celebration ... For 3 years I have organized and booked talent for the Sound Factory’s huge annual S&M Ball, where I also performed before a packed house of 15,000 revelers.

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MBW: What is the span of variety in the items found in your boutique?

TB: All latex ... from men’s underwear to tuxedos and women’s lingerie, stockings, etc., to the most elaborate creations imaginable.

MBW: Do you have any notable customers?

TB: The most beautiful and interesting people in the world walk through my doors at any given time ... I love and cherish each and every one of my customers ... We always have the most enjoyable times ... Among the endless list of celebrities are Lady Gaga, Rihanna, Janet Jackson, Katy Perry, Madonna, Nikki Minaj, and Beyonce; Victoria’s Secret models Naomi Campbell and Giselle; actress Chloe Sevigny;

downtown diva Amanda Lepore; and burlesque dancer Dita von Teese; plus many celebrities whose affection for latex remains private.

MBW: What would you say was the grandest fashion experience you have ever encountered so far?

TB: ... as in my favorite ensemble ... it is always the last one I did ... I put everything into the moment and continually do all in my power to top myself each and every time.

MBW: ... and finally ... the cherry on top ... I love to ask my guests this magical question ... If I could grant you three wishes ... What would they be?

TB: I do not generally wish for things ... If I want something I go and get it ... but let me see... a) I would love to conquer and dominate the entire Latex World through my latex designs... b) World Peace ... I wish everyone health and true happiness…c) A successful life full of good friends, good visuals (we all need beautiful things to look at) and good times.

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Baroness Kayvon by Marlowe B. West

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Baroness Kayvon by Marlowe B. West

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http://www.attractionsmodels.com/

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K C A J N

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Ladies and gentlemen and children of all ages...

You should all know me by now... but for those who don’t... I am Marlowe B West and I am your ringleader...

I have a few platforms from which I conduct numerous tasks... As star reporter for Steel Notes magazine, Marlowe B West Takez Manhattan is local & The Whirling Worlds of Marlowe B West Presentz is everywhere other than New York City... I also really enjoy representing Steel Notes on my monthly co-hosting gig on the Rew & Who Show... on which Rew Starr and I air live stream from Otto’s Shrunken Head downtown... These shows can be found on YouTube by typing in Rew & Who Marlowe... It’s a terrific show every Wednesday... even when I’m not there... I seek the most entertaining and intriguingly diversified personalities to interview for your listening and reading pleasure.

I find there are countless squares who diss Facebook and that’s just the natural process of elimination... nerds have the prerogative to be nerds... adios... but I stand in defense of my beloved Facebook because I appreciate the opportunity it renders, immensely, to meet and single out all the beautiful people out there... within, & beyond, my present realm of New York City.

Along my way... in search for the glimmeringness...

I love to spotlight, in my interviews, whether live on the Rew & Who Show or here in Steel Notes... My life is constantly enriched by the people I encounter... I find the world is a magnificent bouquet of beautiful life.

superstar... Although his performing personality comes across as so cool and laid back that the word “superstar” is probably not even in his turbulent pirate vocabulary.

Today I am reaching out to find the ultra-mysterious Fan Tan Jack... To try and bring him closer into view...

Marlowe B, West: Fan Tan... Do you have an opening word for your future fans?

Fan Tan Jack: Dissonance.

MBW: Where do you live?

FTJ: The Midlands, England. An epicenter for waifs and strays in the warehouse of industrial Britain.

Stick a needle in the heart of G. B. and you’d probably hit me. It’s the cloying armpit of the British Isles.

I’d like to go and live at sea... or with the tree folk.

One day... not verry long ago... I came across a friend of a friend who stopped me in my tracks...

His name is Fan Tan Jack... We have 26 mutual Facebook friends... other than that... I know nothing about the man... except for some YouTube videos... MBW: Can you tell us about your current activity as Fan Tan Jack’s music and presence hits the nail right a performer and recording artist? on the head... His trembling voice, strumming guitar and gripping lyrix so embody my idea of the perfect FTJ: We play rather haphazardly (both in frequency

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and fundamentally). Our last performance was at the Pig and Applestock festival, near Naseby, where a decisive battle was fought during the first English Civil War, 1645. You could feel the ghosts clamoring for back stage access. I say they deserved the same treatment as the performers.

FTJ recording has become a rather moot point.

We’re a three piece band currently, and it’s a tricky business fusing the lifestyles of three very different entities. It needs to be grasped by the horns violently, before any rot sets in. There will be further exploits. The next recordings will make any existing tracks pale into insignificance, like a pasty poet dying of consumption. I’ve been guesting/ recording with The Incredible Flight of Birdman, a monumental band of orphans from around the country. Hopefully more of that later...

MBW: Your style is beyond intriguing and your lyrix profoundly familiar... yet seldom readily spoken...

How long ago was it when your spirit found its way out into song?

FTJ: Thank you, that is very kind of you to say so.

My father had an old classical guitar when I was a wee sprat. I probably started strumming (guitar) at around ten years old. We could always tell when Dad was pissed whenever we heard that classical.

I formed a band at school, pretty much pretending to be The Cramps. My first gig was at The Blitz nightclub at age thirteen. I drank four cans of ‘blue death’, puked under a Ford Sierra and went on to sing my spine out through my throat. Various incarnations were culled like cute seals, until we birthed Trash Babies, a punk/rockabilly outfit that mainly involved fighting my best friend on stage.

There were no snooker balls in socks, just fists, microphones causing black eyes and the occasional strangling. It was a lot of fun. I think that ended when a bouncer broke my wrist. However, all that aside, Fan Tan Jack subsequently became the outlet for my faltering ego.

MBW: You seem to be a man of the whirled... The places you take us in your songs are so fresh while reeking with a smell so vintage... dank and musky

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like the bilge of a ship... Got any stories for us?

FTJ: I can disassemble all my travels, inside and out, into one non-geographical landscape. The bartender at the saloon there says, “Take this home and deal with it”. We’ve all got our heartbreak tales.

You can be a pinball, or stuck solid in bumper-tobumper carnage on the M1. Incidentally, I wrote “Wing of a Blue Roller” in one such tail-back coming back from Italy. Bereavement has been a profound and constant zeppelin. Not going into it too much, I suppose one has to try to kick the stick from underneath the blind darkness. All my songs come from that bilge you mention.

MBW: Do you believe in reincarnation?

FTJ: Not in the definitive sense. It’s a wonderful yet terrifying prospect though, in my imagination.

MBW: How about fate?

FTJ: I think it’s foolhardy to believe in fate. You’ve already shot yourself in the foot. Possibly thigh, severing an artery.

MBW: Do you plan to come to New York City sometime soon?

FTJ: New York City has always had a tremendous magnetic pull. I’ll admit I can only go on preconceptions as anyone can who hasn’t visited. It will be a pilgrimage in many ways. Yes, I hope to collide with NYC in the not-too-distant future. Everyone I’ve had contact with from that particular beating heart has been wonderfully receptive and spiritually generous.

MBW: I always ask about a person’s inspiration and influences... although you don’t really seem to fit into any category... What do you say of this?

FTJ: It’s a tremendous compliment, not being categorized. I’ve heard that over here quite a lot too.

It may preclude certain factions from accessing the music, as a good deal of people can’t get along with things that don’t have a label, but it can only be a

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good thing. I’m imbued with a sense of Johnny Thunders playing Schubert’s piano trio in E flat, op.

100 (second movement).

MBW: The videos I’ve found of you on YouTube are ‘perfecto’... Tell us some recording studio stories.

FTJ: Most recently I had the pleasure of putting

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some vocals down for The Incredible Flight of Birdman. We were in a little Oxfordshire village, the studio having been previously used by the likes of Radiohead. Peacocks swaggered and strutted above us, on the studio roof. Aping their demeanor we (myself and Nicholas Osbourne) tried to lure them into our bunker, also utilizing treats and the ‘peacock jig’. They were quite pretty, but not particularly receptive to our advances. Perhaps this

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puddle of modernity.

MBW: How about today’s music?

FTJ: Not hugely enamored with it in the main. That’s not to say there isn’t corpulent talent out there. The most talented writers and musicians will never be heard. An unfortunate paradigm. could be used as a ham-fisted metaphor. Never pin your hopes on a peacock, that’s one of the things I shall impart to my grandchildren.

MBW: Do you have any favorites?

MBW: How do you come up with your songs?

FTJ: I flirt with new music but will always be betrothed to something long gone, or perhaps it never even existed.

FTJ: Nothing is targeted in the first instance. There’s just a nugget of self-delusion and away it goes, frail, hand-in-hand, skipping into the darkness.

MBW: Of all the places, where do you like the most... and why?

FTJ: Riding a motorcycle through that color you get in Fellini’s films. With a view to anything happening.

MBW: Where do you come from?

FTJ: I come from hardy, Tasmanian convict stock.

MBW: What do you think about all the modern technology?

FTJ: I’m a bit of a buffoon around anything technical. The village idiot falling off a farm gate, into a

MBW: Through all history... What period do you find most interesting?

FTJ: Good questions, Marlowe, my friend. John Dowland put out his first batch of songs around 1600, publishing his last around 1612. Within are some hauntingly beautiful creations. Although a time when religious machinations put everyone a gnat’s cock away from the death penalty, it was a pivotal and intriguing era. And of course it leads us to the Golden Age of Piracy.

MBW: You appear to be naturally stylish... What is your choice of look?

FTJ: All I can say is thank you Mr. B, and I’ve no idea... It often looks like I’ve got dressed in a pitch black charity shop. Maybe that’s my look?

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MBW: How long ago was it you made the videos available on YouTube... Can you tell us any awesome responses you may have received?

FTJ: Christ, it’s been a while now. Thankfully no one has reacted negatively, and some very boosting messages have been received. I think it’s a pertinent time to thank you for your support, interest and encouragement, Marlowe. You’re a diamond.

MBW: What is your greatest ambition?

FTJ: At the very end, if I get the chance, I’d like to be able to just honestly say that I did my best, whether arm wrestling or being a father. I’m lucky enough not to have had to fight in a war. Life is hard enough without that combative element.

Does that sound too hackneyed?

MBW: Do you tour or have you any upcoming gigs you would like to talk about?

FTJ: A handful of gigs. Maybe some kind souls out there can nudge things around for a tour of the U.S.? We’ll behave, honestly.

MBW: Do you have a website? How can we find your music and share correspondence?

things a little for easy access. Once my new songs have been recorded it’ll make more of an impact, through the medium of an actual ‘website’. Like I said, I’m a Luddite.

MBW: Do you mind telling us about “The Tunnel Sessions”?

FTJ: The brainchild of local comrades, a series of stints in the tunnel. What you probably couldn’t see from the video was the river Euphrates I was bridging with my legs.

MBW: Is there anything you would like to say to the world out there?

FTJ: I can’t think of any message that doesn’t sound trite.

MBW: I usually top off my interviews with my favorite question... If I could grant you three wishes... What would they be?

FTJ: My 3 wishes? Revolution. A humane, caring and peaceful era for generations to come. A 1969 Dodge Charger for me (in matte black).

MBW: Over and out for now my friend.

FTJ: It’s out there, but I’m hoping to streamline

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INTERVIEW WITH CHRIS WYSE , BASS PLAYER AND HIS BAND “OWL”

BY ALEXXIS STEELE On Thursday August 14th 2014, I attended The Cult show at The Sands Event Center, Bethlehem, Pa. It was there that I first discovered their long time bassist Chris Wyse , whose bass playing skills I was very impressed with . I felt that he was the driving force in the band, and was very pleased to meet him at the Vision Bar after the show. I had the opportunity to speak with him a bit, a very cordial laid back guy, so I spoke with him about doing an interview for the magazine.. He went on to tell me about his own band, “Owl’, and I got his contact information for future use. I contacted Chris by phone and Facebook a few months after the show, but his schedule was too busy , and he was on tour, so our interview was postponed until this year.

Here is our interview for your enjoyment!

AS: Hi Chris, How are you? It’s great that we finally found the time for our interview!

CW: Thanks I am doing great.

AS: Chris Where are you originally from? You are from here on the East Coast right?

CW: I was actually born in Queens, NY then I came to upstate NY in the Saratoga , Capital district area, and that is where I met Dan Dinsmore of Owl, when we were in our teens.

CW: I had a good strong run in NY for about 10 years, had a couple of bands then went to L.A., that’s where I guess you can say that I started playing with big labels and rockstars, so that’s kind

of my story, I took that big leap.

CW: I come from Irish parents that were born in Ireland, so i am first generation. There are a lot of things along my path that brought me to music, like Kiss, which is interesting, because I play bass with Ace now, and that has become my priority gig.

The things that have shaped me are still what I do, and I think my Celtic roots were very influential. My father sang around the house and still does now.

AS: Is your dad a musician too?

CW: He is a singer, and has a great tone, but he never pursued it professionally. He was a store manager for a big retail clothing store. I think that real man voice was the initial influence. I like Jim Morrison, and Neil Diamond’s voices, that manly sounding voice.. I am a baritone, so I am really impressed with the singers in my range, and I pay attention to them a lot.

AS: So how old were you when you got started in music?

CW: When I was 8, I was marveling at the Kiss Live 2 record, and Ace with the explosions, and the 4 iconic pictures of them on the back. That really blew my mind! It was basically like the super-hero rock-star thing which made a big impression on a young boy. At about 14 years old I jumped to bass ,

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because of Steve Harris of Iron Maiden because he left a big impression on me and helped me find my instrument.

AS: Okay so that is what influenced you on becoming a bass player?

CW: Yea, and then I had a million other influences . Everything, from jazz to classical. I payed attention to Flea, Les Claypool, Billy Sheehan, and all the jazz guys that did any kind of extensive bass work. Then there is Victor Wooton, and Stanley Clark. I am an upright bassist as well, which came in through college. I figured music was a smart thing. Upstate at the time there was no bass- guitar, and a lot of the schools were classical. I had a band, taught 40 students a week, had a girlfriend, and was going to college, and I wasn’t going to move to NY or Boston at that time to play, since I was already kind of set up. I stayed in NY, and that’s where I did my music education, and majored in upright bass.

AS: So tell me about the big rock acts that you performed with.

CW: I had been with The Cult a long time, it was my longest stint with a band, a solid decade.

CW: When I was 17, and 21 I would send in my bass solos into these guitar magazines for their spotlight discoveries and got written up. It gave me a lot of exposure, so I was a big fish in a small pond, but out there it was in upstate NY, not Manhattan. So after a couple of run of bands, I went to L.A. to try something new.

Then I was with them again 15 years ago , for their comeback album, up until recently, and I toured the world with those guys. They were like my big brothers in Rock N Roll.

AS: Do you have a favorite brand of bass that you prefer to play?

CW: I think the longevity with them, and being known as Chris from The Cult that people recognized. Still what a lot of them do not understand is that I am not able to do it right now because I chose to do the Ace thing. I was really branded into The Cult for over a decade, but I had all of these things that I wanted to express. There is no mistaking an upright bass, and it was not like it is now, there was no bow or bass solos, and me being the primary singer. I have that other side of me to express, and that is where Owl came from.

CW: Well, I am an old school Fender Precision guy, so I don’t really mess around with more than the classic stuff. My main thing is I have an AMPEG endorsement, so I have an amazing wall of sound, especially when I am with Ace, my rig is actually taller than me! On the east coast I use a Steinberger electric upright, and on the west coast I use a Messenger. Setting up an electric upright is like setting up a drum kit. You have the bow, you have to make sure that the tension is right, the posts, lean bar, and all of the measurements have to be right, because the technique is based on a fretless board. There are a lot of details to take care of before you get to note one.

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AS: Was being with The Cult the thing that really helped to catapult your career?

CW: My first stint when I moved to L.A., was with Chris Pitman of Guns N Roses. He had the guys from the band Tool come over because he was doing sound for them. They would always hear me playing upright bass, shredding on it, and I got invited into a band they were doing with Chris, Paul D’Amour

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of Tool, and myself. They did this record that had an acidy Beatles vibe, not like Tool at all. It was Paul that bought me my first electric upright bass. That enabled me to take my sound factor with the bow, and I could be like a guitar player with the upright. I was using wah -wah, echo, reverb, flange and I was always using overdrive, that is a signature thing, and one of the reasons I ended up auditioning for Metallica.

AS: So there is a big difference now, when you are playing with Owl, than there was when you were playing in The Cult?

CW: What I am doing now is a distinct difference. I am up on the stage with an upright bass and a bow, and I’ve got to admit that I feel like some weird Rock N Roll Sorcerer! I’m the lead singer. dealing

with the crowd and the vibes, letting that lead me, so it’s such an extreme difference than when I was in The Cult.

CW: I didn’t leave on any negative or strange terms.

I had the offer from Ace who is one of my childhood heroes, and one of my favorite guitar players. I really got to know him, and I had trust and faith that going with him was going to be a cool move.

The Cult was going to be off for a while, working on a new record, so when I saw the Ace opportunity, I told them the truth. It was a little sad of course, after spending so much time with them s a band.

AS: I can imagine it was difficult CW: There was not one argument or disagreement during that whole time, and it taught me a lot.

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AS: So tell me about your own project- “Owl”, and how that came together.

CW: Well, like I said, many years ago, after coming to Hollywood, it was always a plan of mine to start a band, and not join one. I taught, had students, and started picking up gigs like people wanting me to play on their demo, and all of a sudden I was making money, teaching, playing gigs out here, but at the same time, it also distracted me from starting my own thing. I am a singer-songwriter, and I write with the bass in hand. There is no other band for me to join to do this kind of music. I try to sing about real emotional stuff, the lyrics can be deep, sort of meta-physical, and this is kind of my baby that I developed.

AS: How did the band’s name came about and is there a particular significance to it?

CW: Yea it is something that has always followed me- Chris Wyse, The Wyse Owl. The usage of the “y”, is simply Old English spelling.

Kids in school in NY would pull out a bag of Wise potato chips with the owl winking his eye on it. It just came to me over the years that the owl was part of the family, with owl trinkets, and owl statuettes. So it seemed like a pretty cool choice and it has a cool edge to it still.

AS: So who is in your current band lineup?

CW: It is the same lineup since we started recording in 2007. Dan, Jason and I have been together for quite some time. Dan Dinsmore is the drummer. He owns Overit Media in NY. We did the recording in his big( Roman Catholic church converted) studio.

The altar looks over the library and control room, so it was a great spot. he has been my buddy since we have been in our teens in NY. Jason Achilles Mezilis is one of my longtime friends here in Hollywood.

He saw me do my start up Owl experiments over the years. He worked in clubs doing sound, and we just got to know each other over time and became friends. I wanted him to record the new Owl stuff, which he was already coming out to see. He was keeping up with what I was doing with this, so it all came together in a really nice way. The guys have

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always done other projects, but this has been the same lineup, so when people ask me I say it is really more of a band because of our longtime friendships.

AS: Makes sense!

CW: The seed I planted really has a vision to it. The first record had a stamp. The 2nd record, we really loosened up a little bit, and this one , we really nailed our sound to the wall. It’s a very special sound. We are a unique kind of trio that is quite musical and fun!

AS: Awesome! So this is actually your third album that came out.

CW: Yes it is so maybe a lot of people are just hearing about us now for the first time, but there is a lot of music for them to check out. “Things You Can’t See”, is a great way for them to get started out, and there are two other full albums as well.

AS: AS far as your songwriting goes, is it a full band collaboration, or do you work with maybe just one other guy in the band? How do you handle it?

CW: Well, we are all involved with the process. I plant the seeds for everything, then we jam it. This time as compared to the first one, I had completely written. Some things were also developed in the studio with the first one, but I had much of it in my head, so all the guys had all of it ahead of time, before they came into the studio. The second record was more experimental. We did an Irish themed song with bag pipes, and played around a little bit more with our personalities. This new release I came to the guys with different riffs and then we just starting working and trusted it would come out because people wanted it .

CW: You have to stay out there and be visible, so we decided to do an EP in between all of the stuff I had done with The Cult and joining Ace’s band, and that seemed pretty cool to keep us the pace in the public eye and not disappear and lose momentum.

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AS: I totally agree!

CW: These songs all have a production value and I think we just got better.

AS: I think it was a smart move. So how many tracks did you decide on for the EP? CW: Well, this one has six tracks, with five brand new songs and one is an acoustic version of a song called “Alive”, which was on our first record. We kind of put that as a bonus track, and just wanted to give something a little different, since the band is so versatile. It’s like when Nirvana would do MTV Unplugged back in the day.

That was so cool because people like those versions as well, so track #6 is unusual and different compared to the other five.

AS: So have you been touring in support of your new cd?

CW: Yes, we just had a great run, and played at BB Kings in Manhattan, and upstate in Saratoga Springs. We also played Putnam Den, which was our old high school stomping grounds, and that was especially cool for me and Dan. We also played Rhode Island, and saw a lot of friends and family which was great. People were really enjoying the new material, and eating it up. It was fantastic to feel that energy! To make it easier I have two electric upright basses. One on the east- coast, and one on the west, and that made my life easier.

CW: I’m juggling a little bit more right now, with Ace’s new covers record coming out. I’m playing bass, Scotty Coogan on drums, and Richie Scarlet on guitar. It’s a one of a kind band, and such an opportunity to go out with Ace and have that experience,

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and also be on his record. It developed into- Hey there will be a lot of work coming up. That band won me over.

CW: Thank You. It was my pleasure!

I love Ace, he has great material, and his own style, so I always feel energized when I come off the road. My chops have to be pretty strong with my bass stuff, because I need to get out there with my upright and do a bass solo in front of 50,000 people, so that keeps me on my toes!

AS: We look forward to hearing more from Chris Wyse and The Band “Owl” Check out their new cd- “Things You Can’t See”, and catch Chris out at a live performance or on the road with Ace Frehley…or with his new band “Owl”!

AS: Do you have any long range plans at this point for the future?

CW: My main thing is that we are just going to keep ramping up the OWL profile as far as our touring.

We have so much material and realize that the fans are just catching up with us now in the rock world, and saying “I remember these guys!”

AS: So is there anything that you would like to do that you have not done yet, or anyone that you would like to perform with that you have not had the opportunity to work with already?

CW: You know that is an interesting question. I think it would be really interesting to do something out in the field, like playing the upright bass with Brian Setzer , in a Rockabilly format.. That would really be fun for me. I also think jamming over to the Hip Hop world with really big fat -ass tones would be cool, and the Hip Hop community would really enjoy it. You know since I am Irish I have the Celtic thing wired in me , heavy & strong. Every time I work with Hip Hop artists, they love all the bass things I can do.

AS: Where can fans find you and your music?

CW: They can check us out at: www.owltheband.net On Facebook at: www.facebook.com/thebandowl On Twitter: www.twitter.com/owltheband

AS: Thank you Chris for taking the time out of your busy schedule to talk with me!

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THE TEMPTATIONS REVIEW CONCERT SANDS EVENT CENTER SUNDAY SEPTEMBER 20TH 2015

BY NOAH J. GAMBINO pictures by Bob Klein Media Another Sunday night, in which I had no plans, but fate would have it I was invited to see a show at Sands Event Center, Bethlehem, Pa on September 20th, 2015.

Being primarily a rock n roll fan, I had no idea what a Motown show would be all about.

But then, as the curtain rose, and the frenzy in the hall was at a peak, I witnessed five wonerfully clad genteleman, in white silver suits. Without singing a note, they looked like royalty.

Then the music began, the crowd rose to it’s feet, I myself, just taking it all in, and after two songs, I was on my feet, screaming and cheering. By the fourth song I was dancing in the aisle.

I was totally blown away by the band and the Temptations themselves. I then realized why the Temps were the Kings Of Motown, as the Beatles were the Kings Of EMI. Their performance and music had the power to move me.

That’s what it’s all about. That’s what great entertainers do. They have the power to uplift our spirit, and take us to another place. One of the gentlemen was in the original Temptations, but the lineup he acquired was pure genius. They captured the time, the moment, and the vibe of that era.

All I can say is that I had a great time, and they did a fabulous show. I would say The Kings of Motown, that’s a great job!

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The Doughboys: New Jersey’s Unsung Heroes of Rock

By Jenny Cat (NJ Correspondent), Long Branch, NJ

Back on July 30th, the moody New Jersey weather threatened the Doughboys outdoor concert at Pier Village in Long Branch, NJ. Dark skies, monsoon rains and crackling lightning was enough to move the concert indoors to the Long Branch Middle School.

At first, it was uncertain if a good number of fans would cut their way through the treacherous Jersey shore weather to see the show at its new last-minute location. But the strong spirit of Jersey prevailed, and the Doughboys rewarded the diehard fans who braved the storm by delivering one hell of a rock-and-roll show.

The boys, who looked distinctly amused to be playing in a school auditorium, ripped into their set with wild abandon, intending to show the audience a good time as well as promoting their newest release, “Hot Beat Stew” which has garnered rave reviews as well as airplay on Little Steven’s Underground Garage on Sirius XM radio.

For an older, established group of gentlemen, they spared no energy and gave everything they have to their music and the audience returned in kind by dancing. And yes, despite the weather, the Doughboys had an impressive turn out of both young and old fans and it was pure magic to see a band with such stage presence and chemistry.

Each band member has his own unique energy.

Mike Caruso on bass played with a cool aggression without overplaying. He was right in the pocket set for him by Richard X. Heyman, a master drummer, percussionist, and songwriter of his own right who

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would make the ghost of Keith Moon take note.

Gar Francis is the godfather of cool, playing steady rhythm and masterful lead guitar while making it all look so damn easy. Their front man, Myke Scavone leads the aural assault with his powerful melodic voice and spirited harmonica playing.

These men are the hardest working in Jersey showbiz and they spared no energy in delighting their fans and making converts and believers out of strangers. They closed the show with a heart- and drum-pounding rendition of “Bo Diddley.” The boys made the song their own by featuring drummer Richard and lead man Myke on dueling floor-tom drums. The men rhythmically beat the famous Bo Diddley beat with huge red novelty maracas (probably from that famous Southern roadside attraction “South Of The Border” in South Carolina) while performing various tricks as they circled around the stage with both Mr. Caruso and Mr. Francis. During the last chorus, Richard took his drum and jumped off the stage and onto the floor where he straddled the drum like Major Kong straddled the nuclear bomb in Dr. Strangelove, all while still keeping time and deeply instilling the spirit of rock and roll into every ear hole in the joint.

My advice: If you desire high energy, good old-fashioned, handcrafted rock and roll , then get your tail to a Doughboys show!

You can read more about them and where/when to catch their next show here: http://www.thedoughboysnj.com AND don’t forget to check out their new album, “Hot Beat Stew.”

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MATTHEW SCHULER INTERVIEW

BY ELENA BROKUS

For those of you who don’t know Matthew Schuler, he was the artist auditioning for NBC’s Emmy award-winning competition reality series The Voice Season 5. During Matthew’s blind audition, he broke the record for the fastest 4-chair turn in The Voice’s history, which led Matthew to joining team Christina Aguilera.

Matthew’s rendition of Hallelujah hit number one

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on the iTunes charts and #40 on the Billboard charts. Matthew is currently pursuing a career in music and acting.

You can find Matthew’s new single release “Invincible” for purchase on iTunes, Amazon, Spotify, and Google play outlets. Matthew is one of Philadelphia’s own. Look for Matthew performing live again in Philly soon.

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I recently had the pleasure to ask Matthew a few questions about his experiences on The Voice and his future plans in music.

Elena Brokus: You have a new single released on iTunes called “Invincible”. Are you planning on releasing an EP or a CD in the near future?

Matthew Schuler: Yes, I am and I’m super excited about it! We’re planning on releasing an EP and we’re in discussions right now as to when the release will be. We’ve got something for everybody on the EP so I’m excited for the response we get back from the fans!

EB: Are you signed on either a major or indie label?

MS: I was signed to After Eden Records this past March, an independent label with distribution through Universal Music Group. So I get the intimacy and closeness of an indie label with the backing of one of the biggest labels out there. I couldn’t be happier.

EB: What advice would you give other performers trying to succeed in the music business?

MS: Be yourself! I know it sounds clichéd, but it’s SO TRUE. Be who you are, make the music you love, and always be as transparent and honest as you can. You don’t want people to just listen to your music, you want to make them FEEL something.

EB: You are an amazing singer, Matthew, and you have fans around the world. Are you planning on touring overseas?

my art. It’s my dream to reach the entire world with my music, so the answer to your question is an emphatic YES. I actually had the opportunity last spring to do a series of performances in South Africa raising awareness about the horrors of human sex trafficking with a movie called “8 Days” that featured my new single “Invincible”. So now that I’ve got a little taste of what it’s like to perform overseas, all I want is more!

EB: What was it like being coached by Christine Aguilera? She seems so serious and focused with her craft. Was she the same way working with you?

MS: Working with Christina Aguilera was an absolutely amazing experience. She is so incredibly talented. It was so cool having her as a coach because, even though she is very focused and takes her craft very seriously, I was able to see a very warm, mothering side of her that many people are not privileged enough to see. She’s such a blessing.

EB: How would you describe standing in front of millions of people on national TV? And then the most famous and successful performers in the music business all turn their chairs in record-breaking speed. And then they proceed to try and lure you on their team. How can you possibly process this experience and continue to stay grounded?

MS: To be honest, there’s nothing like it and there’s nothing that can prepare you for it. It’s absolutely amazing! In the end you replace all the nervousness with the attitude of just having fun. When I saw the coaches turn around so fast I knew that the hard part was done. My family is amazing. They help me to stay grounded and remind me of who I am and why I do this. It’s for the people. It’s to bring love and joy to everyone I meet. For me life is about God and people and the less I think about myself the better. I want to help people.

MS: It’s an honor to be able to reach people with

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Interview with Rock Keyboardist Eric Ragno

by Michael Dorn Eric Ragno is a keyboard player, currently living in LA, who’s appeared on dozens of albums. If you listen to Paul Stanley, Graham Bonnet, or Alice Cooper (among others) then you’ve heard Eric’s work. When Eric was New York City to play a show with Tony Harnell, I jumped on the opportunity to sit down with him for an interview. Eric and I grew up in the same neighborhood and have the same circle of friends, so a lot of our time was spent talking about the old neighborhood, and catching up on what old friends are doing. But I did manage to ask a few questions.

Mike: The reason you’re here is for the Tony Harnell gig. How did that go?

Eric: It was great! It was a theater in the East Village.

It was sold out. The Jersey Journal, [nj.com] put it on their list of the top 15 things to do in New York this week. It sold out pretty quickly after that.

The Aquarian promoted it a bit, which was nice. It was an acoustic show, half TNT material, and half covers. I actually played a baby grand piano, which was nice. I had to practice a lot. When you play a baby grand, that’s the truth right there. You’re laying down the truth. There’s no hiding from your mistakes.

Mike: Are there any more gigs booked with Tony?

Eric: He does these solo things from time to time.

He talked to me about some other things he’s got brewing, but we’ll see what happens. A guy like Tony is always in demand, and he’s always getting calls for something. And when he needs a keyboard player he thinks of me. Thank God! He’s talking about more stuff on the east coast, so that’ll be fun

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if it happens.

Mike: You grew up here in Jersey City, and you ended up a professional keyboard player in California.

How did you make that happen?

Eric: I was in the music program in grammar school.

I played the clarinet and snare drum in the school band and I played through high school. My parents were musicians here in Jersey City. They were in the local band Equinox in the 70’s. They did really well. My mom was the keyboard player, so I learned a lot. I quit playing the drums and started playing keyboards. There really wasn’t a lot for keyboard players in Jersey City.

The music scene was changing, so I moved out to LA in ’91, and I said to myself; “This is it. I’m gonna do this.” Then the music scene disappeared! It was just gone! But I stuck it out and stayed in LA. I played the local clubs, then one night the guys from Jeff Scott Soto’s band saw me in a dive club. I ended up doing a couple records with them. Then the Internet came along, so I learned how to use it to network. All my friends in Jersey City were falling in love, getting married, and doing other things, and I wanted to play music. So I moved to LA.

(At this point in our conversation, Eric told me about the last gig he played in Jersey City, which was with mutual friends, so our conversation veered off for a while. I decided to leave that part out because it would be of no interest to anyone who didn’t know the same circle of local musicians.

But we did eventually get back on track.)

Mike: Is there anybody you haven’t worked with that you would like to?

Eric: Steve Perry. Who wouldn’t want to work with him? But there’s always someone new. I worked with most of the members of Journey, and a couple of the guys from Toto. I worked with a lot of the people I was a fan of. I basically want to work with whoever’s not a douche.

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Mike: And speaking of douche; another mutual friend, Jack Frost (Seven Witches).

Eric: (Laughing) You’re not gonna put that in there?!

Mike: No, no I’m not. [Ok, I lied].. I know you worked with Seven Witches. Are there any plans to work with them again?

Eric: I did the “Years of the Witch” DVD, the live thing. He had asked me months in advance to do this, and when the time came, he stopped returning my calls. Then four days before I got married, he finally called me back! So I did the gig, then I did the record, and I said; “I don’t think your fans are gonna like this.” Jack is great at what he does. He’s a kid from our hometown who went out and did it. We all picked on each other as kids, but I got nothing bad to say about the guy. I love the guy. I love working with him, but I think I pissed off some of his fans by bringing keyboards into the band. But it’s always great seeing him.

I will tell you this -- a month before it was released, someone sent me the new Taylor Swift album, so I listened to it and I thought; “This album is gonna be huge for the next year and a half.” Somebody put money into all the right places. The song writing, the production, it’s all great.

(Eric told me that he might be coming back to New Jersey soon. Hopefully we can sit down again and talk more about the music scene, and less about mutual friends. Listening to the tape after the interview, I realized we got off track a lot.

(Since this interview, Eric has joined the legendary British rock band, The Baby’s. The Baby’s will be hitting the road this summer, starting June 24th in Bethesda Maryland. For more on the Baby’s, including their tour schedule, you get visit them online at; http://thebabysofficial.com.

(If you’d like to learn more about Eric, you can visit his website; http://www.keyboardplayer.net, or you can follow him on Facebook; https://www.facebook. com/rockkeyboards)

Mike: Do you listen to any of the new bands today?

Eric: I listen to XM Radio in my car and I think to myself, “Who the hell are these people?” I’m sure they’re great and popular, but I don’t know who they are.

I work with mainly 80s artists. I really don’t get the chance to listen to anything new. But

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COLICCHIO’S CORNER Manhattan’s Monday Night Madness Victor Colicchio Hi, Readers!

preparing for another day of work or school.

It’s nice to be back with you. I’ve been enjoying this beautiful extended perfect summer. I’m sorry to say goodbye to Long Beach, Orchid Beach, Atlantic City, Rockaway Beach, The Hamptons, Montauk, City Island, and of course my personal favorite, Coney Island. My summer ended with perfect weather at a vintage car show in Coney Island.

But Monday night in Manhattan is full of madcap adventures; they will send you on a Magical Mystery Tour.

But now that summer is over, kids are back in school, employees are back from vacation, and Manhattan (with the exception of tourists) is once again a place to work and attend school. Bars, nightclubs, and city streets quiet down shortly after midnight.

Monday nights are especially quiet. Many resident Manhattanites are home watching Monday night football. Others try to recover from their weekend wilding, nursing their weekend hangovers and

MONDAYS with MARTLING My first stop on my Magical Manhattan Tour was the Broadway Comedy Club, located on West 54th street. Jackie (The Jokeman) Martling host comedy nights there every Monday night. Audience members are invited on stage to tell one of their best jokes.

Jackie is best known for being the head-writer and on-air personality on The Howard Stern Show from 1983 to 2001. His nightclub act is hilarious. But if you can’t get to Manhattan on a Monday night, check out Jackie’s web-site www.jokeland.com. The Jokeman will be coming to a town near you.

Jammin’ with JON My second stop -- B. B. King’s Blues Club & Grill, 237 West 42nd Street, in the heart of Times Square.

I arrived at the club and headed downstairs to Lucille Café to catch an open mic night hosted by none other than Manhattan’s own Jon Paris.

For those of you unfamiliar with Jon Paris and his body of work as a singer and guitarist, allow me to introduce to you an act I’ve known for all these years. Jon’s guitar work can be heard on 28 albums including a re-mastered album by Elvis Presley titled. “Roots Revolution”.

This disc features the first ever “live” recorded

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performances of Elvis Presley taken from the famous radio show “The Louisiana Hayride.” Only 19 years old at the time of the first performance, Elvis simply shattered the status quo. The energy, the power, the excitement he delivered was like no one before or after. The CD, “Roots Revolution”, brings it all home. Slamming together blues, gospel, country and swing, Elvis took tunes like “That’s All Right, Mama,” “Maybelline,” and “Baby Let’s Play House,” to new heights. Before long, Elvis would be bigger than life, adored by millions -- but at the time of the Hayride recordings, it was still unadulterated, raw and real.

Jon’s guitar, bass and harmonica can be heard on Johnny Winter’s album “Raisin’ Caine”. Mr. Paris has performed with many of the world’s guitarists including Chuck Berry, Bo Diddley, John Lee Hooker and Les Paul.

On this particular night, Jimmy Rip joined Jon on stage. Rip is an American guitarist, songwriter and record producer, known for his work with Jerry Lee Lewis, Mick Jagger, and Debbie Harry. He worked with Jagger on his solo album Wandering Spirit and released his first solo album in 1997, called Way Past Blue.

That’s the magic of Jon’s shows. You never know who will show up to jam with him. I got up with my Gretsch guitar, and knocked out a bluesy version of “Kansas City”. Fellow New York actor Anthony

Aveni -- who brought the house down with his version of Stevie Ray Vaughn’s “Pride and Joy” -- followed me. Jon’s bass player, the phenomenal Amy Madden, kept the groove going for every artist who jumped up on stage to jam with Jon.

Jon’s website is jonparis.com

A BITTER sweet end to the Madness Last but not least on my Manhattan Monday Night adventure is a stop at New York City’s oldest rock club. Paul Colby’s THE BITTER END for their Monday Midnight Jam Session

Established in 1961, The Bitter End is the oldest rock and roll club in New York City. The classic red brick stage backdrop and intimate vibe make this historic venue almost as iconic as its headliners.

For over 50 years, audiences have been blown away by legendary artists like Stevie Wonder, Bob Dylan, Lady Gaga, Jackson Browne, Neil Diamond, Gavin DeGraw, Woody Allen, Jon Stewart, Randy Newman, Billy Crystal, Tommy James, Norah Jones, Donny Hathaway, Curtis Mayfield, and thousands more. I’m sure that future shows will continue to build on that legacy.

I popped in around 1AM with my guitar in hand.

I was ready to jump on stage and wail, but after listening to the other musicians perform, I had second thoughts. Guitarists, pianists, bass players,

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singers and outrageous horn players, rocked the house, with every style of music from blues, to funk-a-delic. After some coaxing, I hit the stage and went old-school with the Elvis song “Hard Headed Woman.” It’s hard not to rock with that song, and the horn players took the song to a whole new level.

So if you live in Manhattan, or if you are just visiting, take a trip on Manhattan’s Monday Night Magical mystery tour.

See you next month, Vic

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WEDNESDAY 13 THE DUKE OF SPOOK

by STORMY BOZ Wednesday 13 may not be a household name for most, but he should be. Born and raised in North Carolina, the self proclaimed Duke of Spook was breaking molds long before Wednesday 13 unleashed hell on the world. Fronting bands like the Frankenstein Drag Queens, Gunfire 76, Bourbon Crow, Wednesday 13 and most notable the Murderdolls, Wednesday or Mr. Motherfucker as his fans call him, has pinned down the art of putting on a theatrical show. Reminiscent of bands from the 70’s, like KISS and Alice Cooper, the production value of the show is spot on even in a small venue; the production though is only one reason there is a rabid cult following of Wednesday 13. Wednesday 13’s fan base is so close, that the majority are friends on Facebook and hang out together at shows as well as doing amazing things for each other.

In a world where some musicians dread meet and greets and refuse to sign items for fans who have spent their hard earned money on merchandise, Wednesday 13 is a breath of fresh air. Always willing to sign anything for a fan, snap a picture or even go as far as signing a new fan’s tattoo she had just gotten with lyrics to a Murderdoll’s song, Wednesday is truly fan focused; however, it is not just Wednesday 13 that is so obliging, but the entire band. Roman Surman, lead guitarist, Troy Doebbler, bass, Jack Tanskersley, guitarist and the newest member, Kyle Castronovo, drummer all are approachable to their fans. From goofy pictures, to listening to how their lyrics and music has saved someone’s life or pulled them from a dark time, this band is a class act from beginning to end.

Lyrics that include, “I want bad things to happen

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to you”, “You’re my home sweet homicide”, “Hail Ming”, “I wanna be cremated” to name a few, this band may sound campy, but what they do is serious, includes many hours of hard work and is all done without the backing of a major label. Their dedication to the art shined at the Chop Shop in Charlotte, NC on October 21.

Essentially Wednesday 13’s home town, the boys came ready to annihilate everyone and anything in their path and they succeeded. However, Wednesday 13 was not the only band on hand to share their amazing talents. Local acts Black Feet and Green Fiend started off the night strong and got the fans grooving early. Even without their bassist, Black Feet had a killer groove at the beginning of the night. Followed by Green Fiend, who had a small technical issue with a microphone that shocked the lead guitarist every time he went to sing, they killed their set and there wasn’t a single head that was not banging by the end of the set.

Next up was West Virginia natives, Byzantine. I am sad to say that I had never heard of this band until that night and I have been trying to get caught up on them. Hard rocking vocals by Chris “OJ” Ojeda that was eerily reminiscent of Ronnie James Dio, to heavy guitars by Ojeda and Brian Henderson, finger picking and slapping of the bass by Sean Sydnor and drums that where hard but precise by Matt Wolfe, Byzantine is one of those gems that goes unnoticed by the mainstream. They did have some success earlier this summer on Sirius Liquid Metal when they knocked Slayer and Lamb of God off the charts for several weeks with “The Agonies”. Well put together with a mixture of melodies and harmonies,

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Byzantine is junk food as well as substance for the ears and brain in a good way. With 5 albums under their belt, it is evident that Byzantine is here to stay and is set to dominate the metal world. I look forward to hearing and seeing more by them.

The night ended with Wednesday 13 taking the stage and putting on one of the best shows I have seen in a while by any band. With a mixture of new and old songs, Wednesday and the guys worked the fans into a frenzied mass. With theatrics, lighting effects and smoke machines, there was no question as to what they had come to do; Spook and Destroy! It was nice to see Wednesday and company on a true stage that complimented their show and theatrics.

The Chop Shop was great to the fans and treated us all with respect and kindness. This to me is the draw of the small venues. Not only do you have better access to the performers, but the experience is more personal, which makes it that much more memorable. Not only did the Chop Shop make that possible but so did Wednesday 13 and the rest of the band. They took time out of loading up to snap pictures with fans and sign photos, posters, body parts, whatever they were asked to do without one begrudging word to anyone. This is true artistry.

There is security but you aren’t stopped at arms length; in short, when you go see Wednesday 13

your going to see a friend, a family member, not an egotistical rock star. Always gracious and Southern to the core, Wednesday 13 is what musicians should be; a class act.

Starting in December, Wednesday will be touring to promote Bourbon Crow’s new album “Off the Wagon and on the Rocks”. For a list of tour dates for Bourbon Crow, you can go to their website http://www.bourboncrow.com. The Blood, Guts and Gore Tour will be ending up this week stateside and they will take the show overseas that includes a killer Halloween show in London.

Simply put, if you want to see an amazing show and enjoy great music and make new friends, Wednesday 13 is the band for you. I would strongly suggest you check out Byzantine, Black Feet and Green Fiend as well. All very talented acts.

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The Addams Family: a Musical Comedy: A Review By Kelly Mitch, Also Known as the Goddess Pandora A romance that could wake the dead… That’s a dream that I had, and one that came true while I sat in the audience at The Addams Family: A Musical Comedy, which was at the Civic Theatre of Allentown, PA. Wednesday Addams, the cute, derangedly morbid girl we have all grown up with, is an adult at the ripe age of 18, and in love with a “normal” boy. Define normal – which would not include the role of Lucas Beineke… However, to the Addams clan, it’s weird to see the insanity known as Wednesday fall madly in love, and Wednesday tries to make her family appear normal to this young man’s family.

Gomez and Morticia, which kind of put a knot in my stomach… Remember that kind of love? I don’t think I would ever forget.

Cast included Jarrod Yuskauskas and Mariah Dalton as Gomez and Morticia. Emilie Leyes was phenomenal as Wednesday. Andrea Cartagena and Christian Clausnitzer portrayed Fester and Pugsley – both stars of the show. Marie Ann Sutera played the wacky Grandmama, and Logan McCabe was the devishly zombie-rific Lurch, who even belts outs an amazing musical number in deep bassy tones. Of course, we can’t forget Jordan King as Cousin Itt.

On the flip side, Thomas Riley played Wednesday’s

The cast definitely had the crowd laughing at the right moments, with the lustful romance between

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love interest Lucas. Robert Clausnitzer and Alyssa Haning were Lucas’ parents, Mal and Alice. Just how normal are they? We find out after dinner with the insane rendition of the Addams Family’s game of “Full Enclosure.” I loved Lurch copping a feel of Alice’s breasts while she becomes the real her – thanks with a little help of Pugsley’s truth serum.

Throughout the musical, I laughed, I cried from laughing so much. It was definitely a night to remember – and one I won’t forget. The story was breathtaking, as was the performance by all the cast, as well as the entire production staff. I hope this show is a regular yearly occurrence at the Civic Theatre. I would see it again.

Astonishing performances were also performed by the Ancestors to the Addams Family, who helped make the night unforgettable to both the Addams and Beineke families.

Now it’s time to waltz or tango into the dark night… After all, every day is Halloween to me…

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Bongo Boy Rock N’ Roll TV Show Episode 1058 “I’m Not Sorry” Synopsis by: Dana Saravia--Life long rock & roller, music critic and Girl From Baltimore The Bongo Boy Rock N’ Roll TV Show presents Indie Music Videos from Around the World, Episode 1058 “I’m Not Sorry”, which will premiere 1st September, 2015 in Manhattan, followed by rotation in NYC and all its boroughs. This show will also be made public on the weekend of the 29th August, 2015 and, as always, is available 24/7 online at https://vimeo.com/ channels/bongoboytv and on Bongo Boy TV’s website.

ing a pop/reggae jam that’s perfect for the summer or any time when you want to feel that vibe. The song’s powerful message is further illustrated with a video that features several different people finding their voice and inner strength and perfectly illustrates the lyrics.

Video Director: Chase Fridman https://daprofessor.bandcamp.com/ https://facebook. com/beatzforthesoul/

From San Jose, CA is Xavier Toscano and his latest song “Apologies Wasted”. With a dance groove that gives Xavier’s modern R&B vocals room to breathe and be at the forefront, this is a song that works both on the dance floor and the headphones.

A strong, lyrically driven narrative about breaking through negative feelings left over after a breakup with a video that subtlely yet powerfully brings the words to life, especially with the underwater effects used during the chorus.

Video Director: Benjamin Jones Nalani & Sarina are a female duo from Flemington, NJ. Their latest “Get Away” gives us modern hip hop built on a base of warm, classic guitar playing along with vocal harmonies reminscent of girl groups past. The B&W video is expertly used to highlight the contrasts in their sound, striking audio and visuals really set Nalani & Sarina apart from the musical crowd.

Video Director: Sandrine Lee https://www.facebook.com/nalanisarinamusic

Jamiacian born musician Da Professor gives us “I Love Myself”, a song that follows through on the power of the title. Inspirational and positive vocals are paired with a memorable bouncy melody, creat-

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http://www.xaviertoscano.com https://www.facebook. com/Official.Xavier.Toscano

Switzerland’s Michael Resin returns with “Emotion Sickness”. He fills in the great play on words of the title with minor key, slower tempo melody under mournful lyrics recalling a lost love and a painful broken heart. The striking B&W video features a roller coaster as well as a couple walking along train tracks that help bring home the stark sadness of the song.

Video Director: Michael Resin https://www.facebook.com/MichaelResinArtiste/ http://www.michaelresin.com

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Lunden Reign, band from Beverly Hills, CA brings us “Love In Free Fall”. Music comprised of a well constructed blend of 90’s alternative and 80’s metal done with a modern edge that catches the ear, the raspy vocals reminiscent of Lita Ford further draw the listener into the song and story being told.

Lyrics that describe the uncertainty and pain of a lover with unclear intentions that leave the singer hurt and confused are universal themes that are perfectly expressed in the song. The video is layered and bold, very eye-catching, like something from the glory days of MTV, is absolutely perfect for the feel of the song and features a clever narrative twist at the end.

Video Director: Jonathan Lawrence https://facebook.com/LundenReign http://www.

LundenReign.com

From France, Yona Pax brings us “Pretre Rosso”.

Starting with an eerie instrumental, the song then adds haunting vocals over music with a classical vibe. As the song continues, the music alternates between the classical piece and a modern electronic dance track, with Yona’s vocals creating a dramatic intensity that brings both pieces together into a unique track. The video combines visual elements that highlight the contrast perfectly with intense colour and emotion.

Video Director: Roger Loubet https://www.facebook.com/yonapaxmusic http://www. yonapax.fr/

Answer”. Modern pop for grown-ups, this Carribean influenced track features some excellent steel drum with a laid back island rhythm and melodic pop vocals. With lyrics about longing for both an answer and dreams of a lost relationship and a video that features both seaside amusement park and breakup scenes, the added tinge of sadness makes this a great song to soundtrack the end of the summer.

Video Director: Susan Davis http://www.aprilkellymusic.com

Each episode of Bongo Boy TV brings exposure and a bigger audience for each of these very talented independent artists.

The Bongo Boy Rock N’ Roll TV Show is produced by Grammy members Gar Francis and Monique Grimme and is fully funded by sponsorships from all the indie musicians and their affiliations in each episode and Bongo Boy Records. Bongo Boy TV produces and distributes The Bongo Boy Rock N’ Roll TV Show which puts the spotlight on indie videos worldwide. All TV episodes are available on their website: www.bongoboytv.com

Bongo Boy TV is also on Vimeo: https://vimeo.com/ bongoboy

Bongo Boy TV is Real Television on 33 TV Channels.

BONGO BOY ROCK N’ ROLL TV SHOW SERIES Web Site http://www.bongoboytv.com Email: bongoboytv@aol.com

Little Egg Harbor, NJ’s own Davis & Sabini featuring vocals from April Kelly, give us “Can I Get An

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Bongo Boy Rock N’ Roll TV Show Episode 1059 “Love Sick” Synopsis/Review by: Dana Saravia-Life long rock & roller, music critic and Girl From Baltimore

The Bongo Boy Rock N’ Roll TV Show presents “Indie Music Videos from Around the World”.

Episode 1059, “Love Sick”, will premiere in the Portland, OR market on Tuesday, August 18, 2015 at 10:30pm on Channel 29.

A replay will follow on Thursday, 8/20/15 at 10:30pm and Saturday, 8/29/15 at 5pm. During the week of August 24th, the show will be released for national/regional rotation on all affiliate stations.

This episode will also be available on the GO INDIE ROKU Channel later this summer and, as always, is available 24/7 online at https://vimeo.com/channels/ bongoboytv and on Bongo Boy TV’s website.

The Cynz, a band from East Brunswick, NJ USA play gritty, REAL rock & roll. Cyndi Dawson brings raw, honest vocals over music that grabs attention and beautifully fills out the deep emotion of the song.

With a sound reminscent of Suzi Quatro and a video featuring performance from the band interspersed with cuts of Cyndi singing in a graveyard, “Right To Your Grave” is a song and video will stay with you long after it ends.

Video Director: Kyle Schickner http://www.reverbnation.com/thecynz , http://www. facebook.com/pages/The-Cynz/

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The gentle music that begins “Lilith Is My Name” belies the epic power that soon follows. Based in France, Lydia Virgona aka Lilith, adds her operatic vocals to an electronic, danceable groove that creates a rich Gothic sound. The clip’s B&W visuals and a storyline that draws you in make for a hypnotizing piece and an introduction to an intriguing artist.

Video Director: Olivier Goetschel https://www.facebook.com/lilith37

Jamiacian born musician Da Professor gives us “I Love Myself”, a song that follows though on the power of the title. Inspirational and positive vocals are paired with a memorable bouncy melody, creating a pop/reggae jam that’s perfect for the summer or any time when you want to feel that vibe. The song’s powerful message is further illustrated with a video that features several different people finding their voice and inner strength and perfectly illustrates the lyrics.

https://daprofessor.bandcamp.com/ https://facebook. com/beatzforthesoul/

Switzerland’s Michael Resin returns with “Emotion Sickness”. He fills in the great play on words of the title with minor key, slower tempo melody under mournful lyrics recalling a lost love and a painful broken heart. The striking B&W video features a roller coaster ride as well as a couple walking along train tracks that help bring home the stark sadness of the song.

Video Director: Michael Resin https://www.facebook.com/MichaelResinArtiste/ http://www.michaelresin.com

Zombie Garden Club--Toronto, Canada natives now based in Nashville, TN--are a neo Mod band playing real raw, real fab garage rock. “Burn”’s driving beat builds into a high energy rocker. The excellent bass line and fuzzed up guitar propel this song and help

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make it, and the group, memorable and addictive.

The psychedelic feel of the video is a perfect fit for this track and this band.

Video Director: Jonathan Mills https://www.facebook.com/zombiegardenclub http:// www.zombiegardenclub.com

Bongo Boy TV is also on Vimeo: https://vimeo.com/ bongoboy Bongo Boy TV is Real Television on 33 TV channels.

BONGO BOY ROCK N’ ROLL TV SHOW SERIES Web Site http://www.bongoboytv.com Email: bongoboytv@aol.com

Little Egg Harbor, NJ’s own Davis & Sabini featuring vocals from April Kelly, give us “Can I Get An Answer”. Modern pop for grown-ups, this Carribean influenced track features some excellent steel drum with a laid back island rhythm and melodic pop vocals. With lyrics about longing for both an answer and dreams of a lost relationship and a video that features both seaside amusement park and breakup scenes, the added tinge of sadness makes this a great song to soundtrack the end of the summer.

Video Director: Susan Davis http://www.aprilkellymusic.com

Each episode of Bongo Boy TV brings exposure and a bigger audience for each of these very talented independent artists. This episode’s promo is John Mullane’s video “Body Rock”, which will soon be available in Asia on the Bongo Boy Records Compilation CD!!

This episode has been brought to you by True Tea Magazine www.trueteamagazine.com

The Bongo Boy Rock N’ Roll TV Show is produced by Grammy members Gar Francis and Monique Grimme and is fully funded by sponsorships from all the indie musicians and their affiliations in each episode and Bongo Boy Records. Bongo Boy TV produces and distributes The Bongo Boy Rock N’ Roll TV Show which puts the spotlight on indie videos worldwide. All TV episodes are available on their website: www.bongoboytv.com

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Bongo Boy Rock N’ Roll TV Show Episode 1060 “Going to the 58th Grammys” Synopsis by: Dana Saravia-Lifelong rock & roller, current music critic and Girl from Baltimore The Bongo Boy Rock N’ Roll TV Show presents “Indie Music Videos from Around the World”, Episode 1060, “Going to the 58th Grammys”, premiering nationally on Tuesday, September 15th, 2015. This episode will also, as always, be available 24/7 online at https://vimeo.com/channels/bongoboytv and on Bongo Boy TV’s website.

dramatic flair even before the music begins. The visual imagery of current world events and religious symbols, as well as a stark bedroom scene between Veronika and her lover, highlight the song’s tensions and pull toward resolution in both. Quick staccato bursts of both music and visuals work together to make a striking impact.

Video Director: Yavoeniv Timikhin https://www.facebook.com/VERONIKAWORLD , https:// www.veronika.us/

Nalani and Sarina are a female duo from Flemington, NJ. Their latest, “Get Away,” gives us modern hip-hop built on a base of warm, classic guitar playing along with vocal harmonies reminiscent of girl groups past. The B&W video is expertly used to highlight the contrasts in their sound; striking audio and visuals really set Nalani & Sarina apart from the musical crowd.

Video Director: Sandrine Lee The Doughboys, the legendary band from Plainfield, NJ, bring “She Comes in Colors”, a live performance clip from their aptly titled full-length movie, “Rock n Raw LIVE”. Smart, clever lyrics that use the title’s theme of color to provide a vivid description are paired with a catchy, danceable rock groove to create a song that not only stands out on its own, but leaves the viewer wanting to see the film to hear more. The video’s direction allows the band’s accomplished songs and playing to be front and center. A great choice to showcase this excellent group.

Video Director: Rob Adams https://www.facebook.com/The-Doughboys , https:// www.thedoughboysnj.com

Veronika brings her EDM track “CameRA” from Marina Del Ray, CA. The visual images of several surveillance cameras grab attention and add

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https://www.facebook.com/nalanisarinamusic

Based in Nashville, TN, Zombie Garden Club returns with their latest, “Ache of Love”. The flickering black-and- white images of the band playing in an old farmhouse work well with the menacing bass and drums that start this track. The classic horror movie atmosphere perfectly highlights the husky, half-spoken vocals (with lyrics like “Wash away, wash away/My last sin”) and brings dramatic depth as the song moves into a swaggering rhythm that mixes both the sounds of classic and modern rock.

Makes an excellent introduction to the band for those who haven’t heard them before and serves as an additional reason to buy the album for those who have.

Video Director: Zack Eagle https://www.facebook.com/zombiegardenclub , https://www.zombiegardenclub.com

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Plainfield, NJ’s own The Doughboys bring another stellar clip, “Wishful Thinking”, taken from their feature-length film “Rock n Raw LIVE”. The bass-heavy slow groove that begins the song sets the stage for the relationship breakup story that follows. Lyrics like “One day you’ll see/Things weren’t as bad/As you made them out to be” and the chorus of “Don’t tell me that it’s wishful thinking/When it’s all I got/ To keep from sinking down” are paired with beautiful, bittersweet backing music that illustrates the song and its many emotional shades. Gorgeous and memorable and will make any fan of true rock’n’ roll want to see and hear the entire film ASAP.

Video Director: Rob Adams https://www.facebook.com/The-Doughboys , https:// www.thedoughboysnj.com

Each episode of Bongo Boy TV brings exposure and a bigger audience for each of these very talented independent artists.

This episode’s promo includes teasers for the hiphop group Conceptz and their music video “Funky 5” featuring Melodiq, Veronika’s dramatic EDM track “CameRA”, The Doughboy’s feature-length

film “Rock n Raw LIVE”, folk rock band Hizreturn’s song “Forever More” from their upcoming album “Deliverer”, and a preview for NJ’s The Satisfactors’ first full length album of gritty, raw, real rock’n’roll.

This episode has been brought to you by Gypsy Poet Radio https://blogtalkradio.com/GypsyPoet

The Bongo Boy Rock N’ Roll TV Show is produced by Grammy members Gar Francis and Moique Grimme and is fully funded by sponsorships from all the indie musicians and their affiliations in each episode and Bongo Boy Records. Bongo Boy TV produces and distributes The Bongo Boy TV Rock N’ Roll TV Show which puts the spotlight on indie videos worldwide. All TV episodes are available on their website: www.bongoboytv.com

Bongo Boy TV is also on Vimeo: https://vimeo.com/ bongoboy

Bongo Boy TV is Real Television on 33 TV channels.

BONGO BOY ROCK N’ ROLL TV SHOW SERIES Web Site: https://www.bongoboytv.com Email: bongoboytv@aol.com

www.veroconcepts.com

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Bongo Boy Rock N’ Roll TV Show Episode 1061 “There Is More Out There” Synopsis by: Dana Saravia—Life long rock & roller, current music-

the lead vocals of original member Chris Pope, The Chords UK’s raw, edgy sound commands attention from the start. A rough punk rock track with smart lyrics, including the chorus “Shout, scream/Live my dream/Baby are you friend or foe/I try, Lord I try/ But I can’t let you go,” can be read as a love song to performing and living for rock’n’roll itself, as a traditional love song or both. It’s an excellent standout track all around. The video is a straightforward performance clip that allows the heat and energy of the band and their music to be front and center and makes a great re-introduction or first impression.

Video Director: Johnathan Sequeira @chrispope99 www.facebook.com/popemusic

critic and Girl From Baltimore

Long Island, NY, brings us Wake The Sun performing their latest song “Grace and Faith”. A fast-paced, emotional hard rock song that includes lyrics such Bongo Boy TV has produced another exciting episode of The Bongo Boy Rock N’ Roll TV Show, “Indie as “I got the fire/I know I’ll use it” and the chorus “Grace and faith/Don’t come easy/Without an Music Videos from Around the World”, Episode embrace”. The video’s imagery of both kids and 1061, “There Is More Out There”, which premiered adults overcoming authority figures and bullies with national rotation in the USA the week of who attempt to hold them down and try to hold September 28th, 2015. them back powerfully enhance the song’s theme of overcoming hardships to become a stronger person who can make it on their own. Video Director: The Bongo Boy Rock N’ Roll TV Show has also Anthony Cupo www.facebook.com/wakethesunofficial been proudly added to the Philadelphia TV https://wakethesun.com market. Starting in October, Episode 1052 will air on Wednesday at 10:00 pm on Comcast Cable 66/966HD/967 or Verizon FIOS 29/30 which is made George Aleman from Austin, TX brings us “I Will possible via the sponsorship of Elena Brokus. This Follow You”. The gentle strumming of an acoustic latest add is fantastic news for all involved. Bongo guitar starts this track, building into a mid-tempo Boy TV is now available on 40 TV channels and well alt-country number. The visuals of a couple running on the way to reaching our goal of 50 TV channels and then on a train are perfectly used to highlight in 2015. This episode will also be available on the GO INDIE ROKU Channel and, as always, is available the story within this song. The chorus’ lyrics “I will 24/7 online at https://vimeo.com/channels/bongoboytv follow you/When you go” are sung over instrumentation that thunders in, sounding very much like and on Bongo Boy TV’s website. a train rolling down the tracks. It contrasts nicely with the gentle music and storytelling of the verses.

Video Director: Michael Colburn The legendary mod punk band The Chords UK from London make a spectacular return with their latest www.facebook.com/GeorgeAleman www.reverbnation. single “I Can’t Let Go”, which became available this com/georgealeman October on Bongo Boy Records and will also be included on Bongo Boy’s latest exciting garage rock compilation, “Out of the Garage”, headed to Asia JJ Savina, also from London, UK, is next with her and others with Mark Lindsay this fall. Featuring EDM track “7:00 AM”. This beat-heavy instrumental

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dance song uses a video well-edited to the electronic beat, creating a journey through music and visuals of a Cinderella tale that also reminds us that everyone’s equal on the dance floor. This song has a groove that’s easily danceable and a video that’s memorable, a very good combination to help introduce this artist to American audiences. Video Director: Igor Fain www.facebook.com/Julia.Savina.

EDM https://soundcloud.com/julia-savina-1

the verses. A very unusual song, but one that’s an instant stand-out, created by a band that’s boldly blazing their own path. The use of shots of masked men underwater and the band on the beach interspersed with urban street corners make for a video that’s as noticeably distinct as the music. Video Director: Salvatore Serbergandio @onplanetzu www. facebook.com/OnPlanetZu https://www.onplanetzu. com

NYC’s own Bob Pressner is up next with “Be Yourself”. From the excellent opening lyric “Money ain’t gonna make you happy/Misery makes you think it will”, this song continues to build a very relatable portrait of modern American life. “Everybody wants to be somebody/Everybody wants to be somebody else” rings true and, when paired with the Americana folk music and the green fields and trees of the video setting, create an intimate and natural setting that is perfect for this song. Video Director: Kurt J. Zendzian @bobpressner www.facebook.com/ bobpressner https://www.bobpressner.com

Each episode of Bongo Boy TV brings exposure and a bigger audience for each of these very talented independent artists. This episode has been brought to you by Web N Retail Music Marketing in CA, MusicMarketingByWebNRetail.com

Francesca Blanchard, a French native who now makes her home in Burlington ,VT, brings us her latest “Rame”. Though the lyrics are in French, the song’s delicate, mournful melody will hit you in the heart with its emotions even if you don’t speak the language. With a video featuring a barefoot walk among fallen leaves and standing water, followed by shots of Francesca rowing blindfolded down a river, these images highlight the desolate sadness of the song perfectly. Very artistically done and a very fitting song to start the autumn season.

Video Director: Cal Hapwood @cheskablanch www. facebook.com/francescablanchardmusic https:// francescablanchard.com

The Bongo Boy Rock N’ Roll TV Show is produced by Grammy members Gar Francis and Monique Grimme and is fully funded by sponsorships from all the indie musicians and their affiliations in each episode and Bongo Boy Records. Bongo Boy TV produces and distributes The Bongo Boy Rock N’ Roll TV Show which puts the spotlight on indie videos worldwide. All TV episodes are available on their website: www.bongoboytv.com Bongo Boy TV is also on Vimeo: https://vimeo.com/bongoboy Bongo Boy TV is Real Television on 33 TV channels. BONGO BOY ROCK N’ ROLL TV SHOW SERIES Web Site: https:// www.bongoboytv.com Email: bongoboytv@aol.com

On Planet Zu, from Los Angeles, CA, close out this episode with their song “Stop Whatcha Doin’”. An easily danceable and exotic blend of dubstep, hip hop and reggae, On Planet Zu has a truly unique sound. The repeated opening line “Stop whatcha doin’ when my song come on” makes an immediate impact and leads into the reggae beat that backs

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Bongo Boy Rock N’ Roll TV Show Episode 1062 “We Bring Your Music” Synopsis by: Dana Saravia—Life long rock & roller, current music critic and Girl From Baltimore The Bongo Boy TV Rock N’ Roll TV Show presents “Indie Music Videos from Around the World”, Episode 1062, “We Bring Your Music”, featuring videos from Indie Music Artists on the cutting edge of greatness. These videos will be featured in New York City starting this first weekend of October.

They will also be available on the GO INDIE ROKU Channel later this winter and today 24/7 online at www.vimeo.com/channels/bongoboytv and on Bongo Boy TV’s website www.bongoboytv.com

Swiss recording artist Michael Resin starts this episode with his latest song “Believe In Love” off his album “Emotion Sickness” on Bongo Boy Records Asia. The video’s bleak black-and-white images are well matched to the song’s stark instrumentation, and provide a visual that illuminates the feelings of drained emotions and despair. The image of a candle being blown out before hearing the lyrics “Keep me warm in your love tonight” provides an excellent contrast to the hopeful light in the darkness “I believe in love” of the chorus and represents the pull toward hopefulness in spite of heaviness present throughout the song.

Video Director: Michael Resin https://www.michaelresin.com www.facebook.com/michaelresin @ michaelresin

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London, England’s The Chords UK, featuring original member Chris Pope, make a spectacular return with “I Can’t Let Go”, soon available as a single from Bongo Boy Records and will also be included on their much anticipated EP “Get Famous”. Their mod/punk attitude is on full display here, both with the immediate honesty of the music and the inyour-face video clip which shows the band playing in a garage. Smart lyrics such as “Shout, scream/ Live my dream/Baby are you friend or you foe/I try, Lord I try/But I can’t let you go” are paired with the music’s raw edginess to create a song that hits the gut and sticks in your mind.

Video Director: Johnathan Sequeira www.facebook. com/popemusic @chrispope99

East Brunswick, NJ USA brings us The Cynz with their latest “Right To Your Grave” from their album “Superfan”. Featuring Cyndi Dawson’s intimately raspy vocals and the expressive guitar work of Henry Seiz, the song’s raw honesty and gritty rock sound grab attention immediately and continue to take the listener on an intense emotional journey throughout the song. With a musical sound and approach reminiscent of Suzi Quatro, and a video that features performance from the band interspersed with scenes of Cyndi singing in a graveyard, this is a song and a video that stand out for long-time fans and serve as a great introduction for listeners who haven’t yet had the pleasure.

Video Director: Kyle Schickner https://reverbnation. com/thecynz www.facebook.com/The-Cynz

Next up is Marina Del Ray, CA’s Veronika with “CameRA”. The video’s images of multiple surveillance cameras perfectly set the stage and tone for the song and video that follow. The video splices together scenes from both the bedroom and the outside world, helping to create a unique and jarring scene that highlights the fear of

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exploitation by those in power in both. The song’s electronic dance groove calls to mind Lady Gaga and features lyrics like “I wanna be your star” that work powerfully with the video to drive home a powerful statement on modern life.

Video Director: Yavgeniy Timokhin https://www.veronika.us www.facebook.com/ VERONIKAWORLD

high-energy blend of dubstep, hip-hop and reggae, this song gets attention from the opening lines of “Stop whatcha doin’ when my song comes on” and keeps it with their powerful, unique and danceable groove. The visuals that combine both urban streetscapes along with shots of the band playing on the beach, the video captures and enhances the elements that make this band stand-outs blazing their own trail and memorable from the first listen.

Video Director: Salvatore Sebergandio

JJ Savina, also from London, England, gives us “7:00 AM”. An instrumental EDM track, the video is a relatable Cinderella story featuring a young working girl serving some rich snobby women who then turns the tables, showing all of them how to cut loose and have fun. Reminding everyone that we’re all equal on the dance floor, this makes for a great club song and video.

Video Director: Igor Fain https://www.reverbnation. com/juliasavina www.facebook.com/Julia.Savina

From Austin, TX we have George Aleman, featuring Tufstrings, with his song “I Will Follow You”.

Starting with acoustic strumming that immediately draws the listener in, the song then builds into a slow/mid-tempo number with an alt-country flavor.

The visuals of a couple holding hands with images of them both running on the tracks and later riding on a train are well-matched with the song’s plaintive emotional expression, especially on the chorus which thunders in like a train, and contrasts nicely with the more gentle storytelling of the verses.

https://www.onplanetzu.com www.facebook.com/ OnPlanetZu @onplanetzu

The Bongo Boy Rock N’ Roll TV Show is produced by Grammy members Gar Francis and Monique Grimme and is fully funded by sponsorships from all the indie musicians and their affiliations in each episode and Bongo Boy Records. Bongo Boy TV produces and distributes The Bongo Boy Rock N’ Roll TV Show which puts the spotlight on indie videos worldwide on 40 TV channels. All TV episodes are available on their website: www.bongoboytv.com

Bongo Boy TV is also on Vimeo: https://vimeo.com/ bongoboy

Bongo Boy TV is Real Television on 40 TV channels.

BONGO BOY ROCK N’ ROLL TV SHOW SERIES…MTV for the new Millenium!

Web Site: https://www.bongoboytv.com Email: bongoboy@aol.com

Video Director: Michael Colburn https://www.reverbnation.com/georgealeman www. facebook.com/GeorgeAleman

This episode closes with a bang from Los Angeles, CA’s OnPlanetZu with “Stop Whatcha Doin’”. A

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Bongo Boy Rock N’ Roll TV Show Episode 1063 “Never Too Late” Synopsis By: Dana Saravia—Lifelong rock & roller, current music critic and Girl From Baltimore

From Baltimore, MD is Septimius The Great with “I Am Fashion”. Insistent EDM beats start this club track that will get people dancing. The visuals of models walking the runway in cutting-edge constructed couture nicely complement the song, and combine with it to create a bold fashion statement that is uniquely Septimius The Great’s.

Video Director: Alvin Gray https://www.facebook.com/septimiusthegreat, https:// www.septimiusthegreat.com, @septimiusmusic

https://vimeo.com/142754609

The Bongo Boy Rock N’ Roll TV Show presents Indie Music Videos From Around The World. Episode 1063, “Never Too Late”, premiered on October 20th at 10:30pm on Channel 20 in Portland, OR followed by rotation on national TV channels on 10 major cable providers including NBCUniversal, Comcast and Time Warner Cable. All episodes in the series are available online 24/7 at https://vimeo.com/ channels/bongoboytv , on the Bongo Boy TV web site and are available on GO INDIE TV ROKU for free streaming.

Starting this episode is a band from Portugal, Secret Lie, with “Beautiful Wild Rose”. Dramatic strings begin this track as Sara Madeira’s strong vocals carry throughout this love ballad. This song has a gently flowing vibe that is enhanced by the church interior and the natural imagery of the video. The track is an excellent introduction to Secret Lie and will be available on their upcoming self-titled album release on Bongo Boy Records Asia.

Video Director: Ricardo Magalhaes https://www.facebook.com/1.secret.lie, https://www. reverbnation.com/secretlie, @1secretlie

Making their national television debut are Teaneck, NJ’s own Ant Live with “Figure Me Out”. The strong beat, melodic hook and vibrant lyrics get and keep attention throughout this hip-hop track. The video shows the group performing, and smartly allows the song’s powerful visual narrative to take center stage. Though this is the first time that national TV audiences are hearing from this band, it won’t be the last.

Video Director: Benji Filmz https://www.soundcloud.com/antlive_figuremeout/ figure-me-out, @Antliveproject

Switzerland’s Michael Resin is next with “Believe in Love”. The stark music and melancholy lyrics are well-paired with the bleak black and white images of the video. A feeling of drained emotional desperation pervades this track, though the chorus’ lyrics “I believe in love” show a continued pull toward hopefulness in the face of despair.

Video Director: Michael Resin https://www.facebook.com/resin.michael https://www. michaelresin.com, @michaelresin

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https://facebook.com/The-Cynz @CyndiCynz Garage rock legends the Doughboys from Plainfield, NJ follow with “Too Little Too Late”, an electrifying live clip taken from their full length movie “Rock ‘N’ Raw Live”, which has been accepted on this year’s ballot for the 58th Grammys nomination by the Recording Academy. This song is a memorable, upbeat rocker with a great groove that’s impossible to resist. With a fun vibe and catchy hook, it’s a good thing there’s a full movie of songs and performance; listeners will definitely want more.

Video Director: Rob Adams https://www.facebook.com/thedoughboysnj, https:// www.thedoughboysnj.com, @thedoughboys

Closing out this episode are Zombie Garden Club with “Burn”. Originally from Toronto, Canada, the band now make its home in Nashville, TN and their self-titled full-length album has been accepted on this year’s ballot for the 58th Grammys nomination by the Recording Academy. “Burn” is a fantastic track from this psych/garage rock band. The solid groove of the bass and the fabulous fuzzed-up guitar help make this spirited song powerful fun.

The psychedelic elements present in the performance video compliment both the song and band perfectly.

Steel Notes Magazine – https://www.steelnotesmagazine.com Hip Video Promotions – https://www.hipvideopromo. com, Bongo Boy TV - Giving every independent artist a chance at being on TV https://www.bongoboytv.com, @bongoboytv

The Bongo Boy Rock N’ Roll TV Show is produced by Grammy members Gar Francis and Monique Grimme and is fully funded by sponsorships from all the indie musicians and their affiliations in each episode and Bongo Boy Records. Bongo Boy TV produces and distributes The Bongo Boy Rock N’ Roll TV Show which puts the spotlight on indie videos worldwide on 40 TV channels. All TV episodes are available on their website: https://www.bongoboytv. com

Bongo Boy TV is also on Vimeo: https://vimeo.com/ bongoboy

Bongo Boy TV is Real Television on 40 TV channels.

BONGO BOY ROCK N’ ROLL TV SHOW SERIES…MTV for the New Millennium!

Web Site: https://www.bongoboytv.com Video Director: Johnathan Mills

Email: bongoboy@aol.com

https://facebook.com/zombiegardenclub, https://www. zombiegardenclub.com, @zombie_garden

This episode has been sponsored by: the Cynz and their latest release “Superfan” on Bongo Boy Records Asia https://www.reverbnation.com/thecynz

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Film Review What We Do in the Shadows (2015)

Right from the start, the film made me smile. The 17th century fop, Viago (Taika Waititi), rises from his coffin after his alarm clock goes off, and we hear him narrate his nocturnal activities.

Jerry Saravia - Pseudo Film Critic

First question: why does a vampire need an alarm clock? Oh, never mind. Meanwhile, the vampires have flat meetings over undone chores, such as sweeping floors full of dead carcasses and cleaning “Vampires don’t do dishes” – Deacon, old vampire blood-stained dishes. The occasionally tempered Vladislav (Jemaine Clement, best remembered for the HBO series “Flight of the Conchords”) is Imagine a mockumentary about vampires in a former medieval warlord who tries to pull his Wellington, New Zealand. It is a brilliant idea in a weight around the house they all share -- he could technology/Youtube-based world where everyone hypnotize crowds of people once upon a time but wants their 15 minutes of fame, even if they have has problems shape-shifting into other creatures done nothing. The vampires depicted in “What We because, according to Viago, “He could never get Do in the Shadows” are not lazy creatures (save for the faces right.” A former European peasant and the 8,000-year-old Count Orlok-type who can’t bring Nazi vampire, Deacon (Jonathan Brugh) is more rehimself to have a flat meeting with his younger bellious, vociferous and refuses to do chores. Then compatriots); they, in fact, roam the Wellington there is Petyr (Ben Fransham), the ancient vampire bars and clubs for fresh necks to bite. The conceit of who resembles Orlok from “Nosferatu” and almost a documentary crew following them around makes never leaves the basement. Naturally, it is important for partly hysterical, partly horrifying fun. for the curtains to be drawn nightly and there is the

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problem of dressing up for a bloody evening since vampires can’t see themselves in mirrors.

The vampires live in a flat that looks ominous both indoors and outdoors. They need someone to sweep the leaves, clean up their bloody messes and procure human virgins as potential victims during their dinner parties. Their unlikely servant would be the very human Jackie (Jackie van Beek), who longs to become one of them.

As swiftly written and directed by Jemaine Clement and Taika Waititi (who will helm the next “Thor” sequel), “What We Do in the Shadows” could have settled down as a solid black comedy with plenty of wicked one-liners and bloody gags left and right.

The filmmakers have also infused some bloody humanity into this as well, particularly Viago’s fondness for the woman from half-a-century ago he had hoped to be with. There is also a young lad who was presumed to be a virgin, Nick (Cori Gonzalez-Macuer), who becomes a vampire and shows the suffering one goes through in the preliminary stages, as if he was a heroin addict trying to

kick the habit. It is these touches of human frailty that shows these vampires are not comic creations intended for us to laugh at them; they are no different from the rest of us, despite their supernatural abilities. Occasionally, the vampires run into werewolves (prior to the hairy beasts’ transformation) -- the vampires believe these creatures to be smelly with a knack of urinating on everything.

With nods to Francis Ford Coppola’s operatic “Dracula,” “The Lost Boys” and the “Twilight” series (Nick boasts about “Twilight” at the local clubs), “What We Do in the Shadows” is deliciously wicked, often terrifying and bitingly funny. Every sequence leads to another smoothly with priceless invention and delectable wit -- there is no shortage of wild ideas here that pay respect to vampire and werewolf mythology. It is a perfect antidote to the sparkling “Twilight” series.

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Album Review

Courtney Barnett “Sometimes I Sit and Think, and Sometimes I Just Sit”

By Dana Saravia--Lifelong rock & roller, current music critic and Girl From Baltimore

I knew from the second I saw Courtney Barnett’s first full-length album, titled “Sometimes I Sit And Think, And Sometimes I Just Sit,” that I would either love it or hate it. Thankfully it’s the former.

The honesty and wit shown in the title are present throughout the album.

From the beginning of “Elevator Operator”, the song that opens the LP, there’s an intimacy and immediacy that draws in the listener. The sharp storytelling of the lyrics is carried along by a driving rhythm that is perfect for the emotional build of the song. Lyrics like “hair pulled so tight that you can

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see her skeleton” are a good example of the sharp eye for detail and an illustration of the vivid characters here. The chorus “Don’t jump little boy/Don’t jump off that roof” with the subject’s response of “I come up here for perception and clarity” bring the song’s theme of others’ assumptions about a person and their motivation vs. the reality of the person being observed smartly into focus.

It’s followed by “Pedestrian At Best”, which is a bravely honest song about being afraid to commit fully to a relationship and the fear of destroying it before it can mature. Pairing sharp lyrics, such as “I love you/I hate you/I’m on the fence”, “I’m having an existential time crisis”, and “I suppose we all outgrow ourselves” with an at-times-chaotic musical swirl as a backdrop creates a powerful statement.

“An Illustration of Loneliness (Sleepless in New York)” is next.

An excellent depiction of the meandering thoughts of insomnia, the lilting chorus “I’m thinking of you too” is the only line sung with clarity here, not only brilliantly giving the song its hook, but highlighting Courtney’s layered songwriting skills also.

The fourth song, “Small Poppies,” is perfectly sequenced. The bluesy guitar sound on this track is evocative of a smoke-filled bar late at night, adding an additional mournful quality to lyrical contemplations such as “I don’t know quite who I am/But I’m trying/I’ll make mistakes/Until I get it right” and “I used to hate myself/But now I think I’m alright”, bravely honest sentiments which are rarely this expertly expressed. “Depreston”, a song about settling into settling down and making peace with putting down roots and growing up, is well-chosen

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to close out the first album side.

“Aqua Profunda!”, a fun, upbeat song recalling a chance meeting at a swimming pool is much like a short story set to music, and is well-chosen as the first song to start the second side.

“Dead Fox”, a deeply profound and beautifully constructed song, uses the details of daily life to describe how little things add up to a far greater whole in regard to the destruction of the environment, then returning to its effect on daily life.

“Nobody Really Cares If You Don’t Go to the Party”, a faster-paced song with the very catchy “I wanna go out/But I wanna stay home” chorus, it uses the framework of two lovers arguing about whether or not to head out for the evening to reveal the singer’s inner conflict about social situations as well.

Lyrics like “Why are you so eager to please/I wear my heart on my sleeve” and “Yes, I like hearing your stories/But I’ve heard them all before” help to create a smartly detailed snapshot that will be instantly recognizable to many listeners.

The organ at the beginning of the next song, “Debbie Downer,” is an immediate attention-grabber. It continues with a sunny, swinging groove that contrasts with the title. “Growing older every time I blink my eyes/Boring, neurotic, all the things that I despise” and the chorus “Don’t stop listening, I’m not finished yet/I’m not fishing for your compliments” paired with the upbeat melody create a memorable song about working though angst and hesitation with a sense of hope.

“Don’t ask me what I really mean/I am just a reflection/Of what you really wanna see/So take what you want from me” and “Thankful for this view”, which, especially when coupled with the music, are moving and profound.

“Boxing Day Blues” is the album’s closing track. A short, haunting rumination about the fundamental differences of two lovers in a relationship, the lyrics “I love all of your ideas/You love the idea of me/ Lover, I’ve got no idea” pack an incredible amount of description and emotion in just a few words. It’s a stunning way to close out a superb LP.

“Sometimes I Sit and Think, and Sometimes I Just Sit” may be Courtney Barnett’s first full-length LP, but her songwriting skills would lead any listener to think otherwise. The album beautifully showcases Courtney’s excellent eye and ear for detail and craft for weaving all her sharp observations into memorable songs. Though this may be Courtney’s first full-length album, I’m sure it won’t be her last.

Though “Sometimes I Sit...” will be very hard to top, I look forward to hearing her succeed.

*******Available on vinyl, CD & digital download via Amazon.com and iTunes*******

“Kim’s Caravan”, a slow-paced and deeply contemplative song, follows. Sparse, spare instrumentation builds into a musically heavy slow grind while the lyrics relate deep thoughts on troubling subjects ranging from pollution to death to the meaning of life. While the music provides most of the emotional tone, this song also includes some of the most personally revealing lyrics on the album including

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Music Review

The Cynz “Superfan”

By Dana Saravia--Lifelong rock & roller, current music critic and Girl From Baltimore Being a huge fan of hard rock bands fronted by a strong female vocalist, I’m always hoping to hear a current band that furthers the sound. The Cynz build on the foundation of Suzi Quatro and Joan Jett while adding grit and glitter all their own with their superb full-length album “Superfan”.

The first track, “Mean Girls,” has a melodic crunch that not only makes this a standout track, but a perfect introduction to the streetwise sound and razor-sharp intelligent lyrics found throughout the rest of the LP. Using lines like “I don’t need your damn approval/You seem to need it more than I do” to go after the shallow, self-obsessed phonies glamorized by modern society paired with Henry Seiz’ scorching guitar, it’s a powerful opener.

It’s followed by the title track “Superfan”. The opening lyric “Everybody’s for sale” grabs attention immediately and the rest of the song keeps it, combining a danceable groove along with the excellent melody and harmonizing vocals of the chorus.

“Evolution” is the third song here and it’s a knockout. Utilizing a countdown as a framework, it creates a tension to help drive home the theme of overcoming, moving on and channeling anger into a constructive energy for becoming someone better. The repeated intonation “This is my evolution” near the end of the track feels cathartic and empowering.

“Learn to Feel Alive” slows the pace to detail a relationship’s deterioration and the changes it

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brings. Cyndi sings the line “Can’t get back the girl you lost” in a way that it could be addressing the partner in the relationship as well as herself, illustrating the deep and masterful songwriting and performing present on this album.

“Quick Fix Man” starts out with only drums, adds bass, and then the rest of the instruments, before building into a sexy, straight-up hard rock gem.

With a naughty groove and lyrics, this song is good dirty fun.

An ear-catching guitar intro starts “Miles Between”, a truly well-written song that describes the singer’s inner thoughts as night turns into day and her feelings become clearer also. The chorus “Didn’t you know/All along/Didn’t you/All along/ It’s always been you” has a memorable bittersweet power pop melody and the poetic spoken word piece heard near the end fills out the drama of the song beautifully.

The seventh track, “Weight of the World”, features raucous rock backing up smart motivating lyrics like the opening lines “Fifteen years just standing in line/Waiting on a ticket to your own prime time” and “Can’t count on your money/ Can’t count on your friends”, it’s a fiery song about getting off your ass and making your own life happen.

“Live Like We’re Dead”, a song that angrily shouts out the frustration at a stalled life and a stale relationship, follows.

One of the album’s strongest songs, “I’d Rather Be Me” is next. Including the lyrics “I could have been Angelina/I didn’t want to” and the gorgeously harmonized chorus “All these things that I could be/There’s one thing I’d rather be/I’d rather be me...than you” together with snarling guitar and a driving beat, it’s a bold, confident attitude anthem.

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Instantly memorable, fun and powerful, it’s one of my favorite songs, not only from this album, but from this year.

“Leave Me Alone” is the celebratory break up song that follows. Featuring relatable fuck-off lyrics that are fun to sing along with, this song must scorch live.

“Right to Your Grave”, a haunting song of unrequited love,is next. The melancholy instrumentation, paired with Cyndi’s gorgeous vocals, make this song’s emotion ring true and sting deep.

Lightening the mood is the next track, “Blame It on the Kiss”. One of the poppier tracks included here, it’s fast-paced with a very strong melody and some excellent guitar work on the bridge.

“Something To Steal” is the final song here. With its memorable guitar riff and husky vocals including lyrics detailing the hurt of a relationship falling apart because other people and priorities are getting in the way, it’s a song well-chosen to close the album.

The Cynz create a fantastic hard rock atmosphere on “Superfan”. Very reminiscent of the real NYC of days past, they have a rawness and honesty in their music and a vivid, poetic way with lyrics and storytelling that at times call to mind of one of my long-time favorites, the Jim Carroll Band, while bringing an truthful originality and vibe that’s all their own. The Cynz “Superfan” is an emotional journey with each song and an excellent album from start to finish. Absolutely great and very highly recommended.

****Available on CD and digital download at www. cdbaby.com ****

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Album Review Owl “Things You Can’t See”

By Dana Saravia--Lifelong rock & roller, current music critic and Girl From Baltimore

Owl’s CD titled “Things You Can’t See” is the latest from Chris Wyse, a multi-talented musician whom many may know from either his recent gig playing bass for Ace Frehley, or from the 10 years he spent in The Cult. With his own band, Owl, Chris shows his skills as a singer as well as his style as a songwriter.

This 6-song set brings together the influences of the hard rock acts he’s worked while adding his own musical expression.

The title track starts off on a slow-burning, bassheavy groove that builds with lyrics describing the loneliness in the aftermath of a doomed love affair. Then the guitar brings the song onto solid hard rock ground as the lyrics declare “Gonna light the sky/Like the 4th of July”, with the drums very effectively sounding like fireworks in the chorus. The instrumental part that winds the song down brings an additional emotional depth and makes a nice lead in for the next song, “Lake Ego”. A song about a relationship that left some emotional scars and bruises -- and coming out stronger on the other side and rising above the damage -- includes a quiet and dramatic lone instrument break toward the middle and features the lyrics “You’re going down/Your ego/Making me drown/Empty hell/You left me for dead/Not yet”. These elements all work together to create a fully realized song with emotional impact.

“Who Is Gonna Save You” is next. From the drums that open this snarling rocker to the strong bass line that drives the song forward, it’s very much a fuckoff song to those who have unfairly held power over

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another, with lyrics that can be read as telling off those in authority, or one who had the upper hand in a more personal relationship.

The fourth song here, “Star Up,” starts out with the powerfully descriptive lyrics “Render yourself/ Just give yourself away/Drawn to the one/You cast away” and continues with both words and music that accurately describe the feelings of continuing to return to a destructive relationship because it feels so good in the moment. A bit of a sing-song quality as well as the lyrics “Run away/Run away” in the chorus add an eerie, horror movie quality as well as a clever additional layer of emotion.

It’s immediately followed by “Witch’s Familiar”, one of the strongest songs here. Vivid imagery, a great groove and the strong melodic hook in the chorus followed by an instrumental & vocal freak-out create a standout hard rock track, as well as carve out a memorable impression of this band.

“Alive” is the song smartly chosen to end this album. The best and most richly complex song here is epically beautiful. Opening with philosophical lyrics including “If you had what you wanted/Would you be who you are...It’s like all of us in this together/We could do much better/Why not right now” that build into the chorus “No one here/Gets out alive/Trying to survive/The unknown”, it’s a moving and intelligent piece. The acoustic instrumentation is lush, but not overdone and allows the lyrics to take center stage. Strong thoughts simply stated, and a powerful way to close out this EP.

“Things You Can’t See” is an excellent addition to Owl’s catalogue and a gem of a modern hard rock EP. The songwriting builds on a classic hard rock/ metal sound while the lyrics bring a depth of observation that is uniquely the band’s own. Hard rock radio could use a vibrant standout band like Owl and so can the record collection of anyone who enjoys metal sharp enough to cut through the clutter.

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******* Available as a CD and digital download through www.owltheband.net and Amazon. com*******

Music Review Miriam “Down Today”

By Dana Saravia—Life-long rock & roller, current music critic and Girl From Baltimore Since Miriam released her debut solo LP, “Nobody’s Baby”, last year, I’ve been hoping she’d make another. “Down Today” continues with a mix of superb ‘60s covers and two stand-out original tunes.

The LP starts with a cover of “The Hand Don’t Fit the Glove”, a song about breaking up after a relationship has become one-sided, is torn into with passionate vocals and makes an excellent album opener.

“I Keep Falling in Love”, the first of the two original compositions by producer and guitarist Sam Elwitt, is a gem. Pairing a bouncy, classic girl-group style melody with lyrics like “I thought love would hit me only one time in my life/That in all the world, there’s just one guy for me/But every time I meet someone, my heart just lets him in” make this song about continuing to find love and hope in spite of painful endings charming and memorable.

Next is “Take Me for A Little While” which begins with delicate, pleading vocals and music that suddenly shift in key and emotion after the first verse, giving this song unexpected bite. That change from vulnerable to tough, along with the attitude present throughout the song, brings a rawness and edge to this cover that isn’t present in the original.

It’s outstanding and my favorite cover of this set.

“Cheryl’s Going Home”, a song about weathering storms both literal and figurative is next, followed

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by “Get Away”, a fast-paced rocker with a brittle feel detailing the angry feelings after an argument.

A faithful cover of the Beau Brummels’ classic “Don’t Talk to Strangers” is the sixth song, followed by the side one closer, the incredible title track. “Down Today”, the second Sam Elwitt original on the album, is a song that perfectly describes coping with a bad time one day at a time, without totally giving into the depression or thinking it’s forever. Miriam’s emotional vocals on this song are heartbreakingly real, as lyrics like “Hope you’ll understand/I’ll call you when I can,” show a genuine understanding as the music adds exactly the right shade and texture for this song.

It’s gorgeous in every way and is not only my fave song on the album, it’s one of my favorite songs of the year.

Side Two starts strong with “Love To Love”, a catchy Neil Diamond pop song probably best known for having been performed by the Monkees. Miriam’s version has a less mannered, rougher and more organic feel to it that I prefer.

A cover of one of my favorite songs, the Small Faces classic “Afterglow”, follows and it’s a joy to hear Miriam sing it.

Next is “One More Rainy Day”, a cover from Deep Purple’s debut album. Contrasting lyrics such as “One more rainy day/Once again my mind is grey/ This is what a rainy day can do” with the music that’s changed here to a more upbeat tempo with bright, basic instrumentation gives this song a hopeful vibe not present in the original.

A cover of the Dave Clark Five’s “Don’t Be Taken In” follows. A great song, it’s interesting how the tone of this familiar fave changes with a female singing lead -- Miriam’s version brings a more intimate feel to the song, very much the sound of a late-night conversation of one girl giving advice to another.

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The slow-paced, heartfelt “Our Love Can Still Be Saved” is next, followed by the playful “Which End Is Up”. The easily danceable track features some boss guitar, particularly in the bridge, and with the great vocal harmonies on lyrics like “When you’re down/And you don’t know/Which end is up”, it’s fun to hear and to sing along with.

“You’ve Got a Habit of Leaving”, an early David Bowie song, is the final song here. The attitude and swagger of this tune make it an excellent wrap-up to an album that brings a lot of each.

all. Miriam brings smart style and genuine warmth with this album. The feeling of taking a journey and weathering storms, physical and emotional, with a sense of hope and a solid confidence in getting through it all is present throughout. It’s an LP that reminds me that even when it’s darkest, it’s temporary and great music will see me through it.

Very highly recommended in every way, this album is already a new old friend.

****Available on vinyl, CD & digital download from www.nortonrecords.com and Amazon.com ****

“Down Today” is a true work of art—a fully realized album that skillfully expresses many emotions and musical styles. The original songs are fantastic and the covers are well chosen and performed in a way that brings something personal and heartfelt to each one, creating a genuine and original feel to

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Film Review

A Nightmare on Elm Street (1984) Remembering Wes Craven’s definitive Nightmare Jerry Saravia at the Movies -Pseudo Film Critic “What is seen, is not always what is real.”

That singular line defines the Elm Street series in general. It also defines the original “A Nightmare on Elm Street,” a 1984 horror film that plays with audiences’ expectations of fear and dread and of not waking up from a nightmare. 1974’s “Texas Chainsaw Massacre” was a living nightmare of real horror perpetrated by sick, degenerate killers. “A Nightmare on Elm Street” is about the fear that what happens in a dreamed nightmare is not just being dreamt -- it is evocative of real fears we keep silent in our everyday existence.

Ostensibly marketed as the latest in a series of cumbersome slasher flicks during the mid-1980s, New Line Cinema’s first major film, “A Nightmare on Elm Street,” blew away all the slashing competition.

Here we had teenage characters that possessed more than one dimension. The underrated performance by Heather Langenkamp as Nancy evokes a girl who slowly gains control. At first, she is the innocent girl-next-door type who can’t bring herself to sleep with her boyfriend (Johnny Depp), who lives across the street from her. Her parents, workaholic Lt. Thompson (John Saxon) and hardcore alcoholic Marge (Ronee Blakely) have Heather in their best interests yet they remain emotionally guarded. Tina (Amanda Wyss) is one of Heather’s best friends, yet she is having a little problem

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sleeping, having nightmares of some burn victim with razors for fingers. Amazingly Heather has the same nightmares, and so does Tina’s troublemaking boyfriend Rod (Jsu Garcia). Who is that burn victim with a red-and-green sweater who haunts their dreams? Anyone versed in the Nightmare on Elm Street mythology will know the answer to that.

“A Nightmare on Elm Street” has been described

by Robert Shaye (New Line Cinema’s own founder) as a dream-within-a-dream-within-a-dream. That begs the question: at which point is the film part of any given reality? That I cannot say, but I would not call it a Dream Film, like any of David Lynch’s more preternatural excursions beyond “Blue Velvet.”

Obviously when a slimy tongue extends from a phone’s receiver or when Nancy somehow pulls the creature’s old battered hat from her nightmare, one can understandably view such moments as nightmares (keep in mind that Nancy stays awake for seven days while consuming copious amounts of coffee). I would say the whole film is a nightmare.

The first clue may be the first daylight scene in the film where we see some kids playing jump rope and singing “One, two, Freddy’s coming for you” while in the same sustained foggy shot, we track into the teenagers arriving at school. Nancy never quite wakes up -- she is fighting to stay awake but that is all a dream.

Horrormeister Wes Craven, who wrote and directed “Nightmare on Elm Street,” has crafted an elegant film of uniform tension and extreme dread. There is no let-up from what occurs from scene-to-scene.

Just when Tina is trying to wake up from her nightmare, the horror continues with blood splattered across the walls and on the bed while lying next to Rod who tries to wake her up (a scene you would never find in any of the teen sex comedies of the 80s). When Nancy wakes up screaming after falling asleep in class during a reading of Hamlet, she hastily leaves realizing she has an actual burn on her arm that she acquired during her nightmare.

Night or day, or whether she is at a sleep study or someone else’s house or at school, the nightmare never ends -- it intensifies.

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Another factor that was lost during the progression of “Elm Street” sequels (though none are as scary, they are all ultimately disturbing) was the depiction of Robert Englund’s iconic monster Freddy Krueger.

Unlike other installments, Freddy is hardly visible on screen -- he is shrouded in darkness and has mostly an extended cameo. He is a despicable creature who couldn’t care less about himself, especially when slicing his body open or cutting off his own fingers. “This...is God,” as Freddy holds his talon glove over his face. It is this depiction that

helps make the teen characters empathetic to the audience -- we are in their shoes and want them to stay caffeinated and alert, or else. You get killed in the dream, you die in reality. When Nancy wishes Freddy away by sucking all his energy, we want to believe her strength in allowing herself to literally turn her back on this monster. By the end of the film, we believe the real nightmare has begun -- waking up to reality.

Heather Langenkamp as Nancy Thompson

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Music Review Groovy Uncle & Suzi Chunk “Life’s A Gift”

By Dana Saravia—Life-long rock & roller, current music critic and Girl From Baltimore

Ever since I heard that Groovy Uncle would be releasing a new album this year, I’ve been looking forward to hearing it. Last year’s “Persuaded!” was one of 2014’s best albums and I wondered how they would follow up an album that was a complete gem from start to finish. “Life’s A Gift”, Groovy Uncle’s latest LP, not only builds on the promise of their past albums, it is also one of the best albums of 2015.

“Your Tiny Mind” starts the album off with a blast of upbeat, melodic pop. The lead vocal duet harmonizing and fabulous brass recall the AM hits of the mid 60s while lyrics such as “If you think I’ll be back/ You must/Be out of your tiny mind” and the brilliant line “I’m a happy northern soul” bring modern flair and attitude. The second song,“My Destination”, opens with strong harmonica and builds into a song with the feel of a train ride and lyrics like “If I reach my destination/I won’t even know my name” that detail leaving behind a life that’s become irritatingly predictable for a future completely unknown.

“Waiting For You” is a bittersweet mid-tempo song coloured by a feeling of longing in both music and lyrics. Next is “Life’s A Gift”, one of the most textured and joyful songs on the album. From the psychedelic opening to the imagery of the lyrics and layered, swirling instrumentation, it’s strongly reminiscent of The Beatles at their Sgt. Pepper’s era best and very well-chosen as the title track on an album that expertly carries that influence throughout. The fifth song, “My Precious Time”, is one of

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the best on the album. A gorgeous, fully realized pop song with a gentle melody and rich vocals with striking harmonies, it’s an absolutely stunning song from the first listen and is more deeply appreciated the more it’s heard. Next is “Married To The Captain Of The Team” with its unique combination of music that sounds like classic American country paired with Ray Davies inspired witty, incisive lyrics. Using lines like “Less is more/I’m pretty sure/She doesn’t understand/So just mind your hips/And then flash your tits/’Cause they’re both worth fifty grand” to tell the story of a plastic princess living her life in and for the tabloids, I laughed out loud a few times listening to this smart criticism of a character all too familiar in modern pop culture. The sweet, acoustic number “Joni’s Birthday” follows, providing a perfect contrast for the eighth song on the album, the fuzzed out “You Fell for It”. A fast paced rocker, the shredded vocals give lines like “Ignorance is bliss/And I fell for it” a rough emotional depth on this song about falling for the wrong person in spite of knowing better. The mid-tempo pop groove of “Back To Me” provides the perfect musical backdrop for Suzi’s emotional vocals on this song about allowing a love from the past bring joy into the present. “This I Can’t Get Away With”, a song featuring lush, layered instrumentation paired with lyrically dense, descriptive storytelling detailing relationship issues follows. The musical shot of happiness “It’s What You Do” is next. A lovely pop gem in every way from the bouncy melody to the joyful backing vocals and the upbeat lyrics such as “You beat the others by a country mile/You pick me up and you make me smile”, it’s sunshine in song form.

“Tea And Cake” opens with a bit of funny dialogue between Glenn Prangnell and bandmate/producer Jim Riley that leads into the boogie woogie style piano that starts off the album’s closing song. The pub atmosphere and sing along feel, given additional character with the kazoos and background chatter in the bridge, bring a warm friendly vibe to the song. The repeated “Nice one, no sugar” fading into the psychedelic swirl of noise that ends the song is the perfect way to wrap up the album proper as well. The bonus track of Glenn’s lead vocals on “Waiting For You” provides an excellent comparison of the nuances he and Suzi each bring to this song and can also be seen as the difference between how a woman and man have a slightly different emotional take on the same situation. A

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thought-provoking bookend to this deep, intelligent album.

From the colourful, animated cover art to the music inside that more than matches it, Groovy Uncle’s “Life’s A Gift” is truly a gift of an album. This is an album that expertly reflects a wide range of life’s experiences and emotions with elegant English pop created by musicians and vocalists that perform it with skill and brilliance. One of this year’s best albums and one that deserves a place in every smart record collection.

**** Available on CD and as a digital download on Amazon and iTunes

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Music Review Mora Tau self-titled EP By: Dana Saravia—Life-long rock & roller, current music critic and Girl From Baltimore

Though it’s uncommon, there are times when an EP can be a powerful introduction to a band and take the listener on a journey as much as a full-length LP. Hearing Mora Tau’s self-titled 4 song debut EP is one of those rare occasions.

A fine fuzzed out guitar riff kicks off the first track “On Down Below” which builds into a grinding,

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heavy sound. The opening lyrics “Let me tell you a little story/About myself” help draw the listener into the slow rolling grunge metal song that musically expresses wanting more, exactly the lyrics describe.

Next is “Without Permission”, a song with a fantastic groove, hard driving beat and unique spoken word lyrics—the sarcastic humour present when detailing “advice” here is a particular favourite and one element that truly makes this band stand out.

“Spoon”, the third song on the set, begins with a delicate, exotic sounding guitar part and builds into a powerful song about heroin addiction. The quiet tension of the instrumentation, the sound effect of the lighter and poetically descriptive lyrics such as the opening lines “There is a light/At the end of the candle/Underneath the spoon” create a very potent composition that musically brings to life both the anticipation and resignation present as an addict gets high. A deeply moving and impactful 3 minutes of music. “Anarchy 99” closes out the EP. With its crunchy, grungy rhythm reminiscent of early Soundgarden and lyrics that depict the desolate, deserted feelings left after a broken relationship, it touches on timeless universal themes while continuing to carve out a place that is uniquely Mora Tau’s.

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With the 4 songs that comprise Mora Tau’s debut EP, songwriter Ronnie Wheeler has made a memorable, impressive statement. The intelligence and unique expression in both music and lyrics throughout the songs on this set are not only excellent in their own right, but will leave fans eagerly wanting to hear more. Solid, smart hard rock from a band that brings a fresh energy and a bold musical presence to modern rock, Mora Tau is definitely a band to hear now and keep watching.

**Digital download available https://moratau.bandcamp.com/releases & www.facebook.com/moratauband **

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