Rocktober 2005 Volume 1 Issue 10 Blues ● Country ● Folk ● Hip Hop ● Rock

pronounced no-mah-so-nah
2
 Table Of Contents
Editor’s Note .........................................................................................4
Strongarm Radio .................................................................................4
Ask Ronin ............................................................................................4
The Buzz .............................................................................................5
Will Minior ..........................................................................................10
Jeremy Lyons ....................................................................................11 Publisher: Rig Painter Productions
Lloyd Thayer ......................................................................................12
Hip Hop on WUML ............................................................................13 Editor: Marc Friedman
Disorder By Design ...........................................................................14
Electric Donkey .................................................................................15 Copy Editors: Rachel L. Cadran, Jenn Mottram,
Bottoms Up ........................................................................................18 and Sarah Kellaway
The Notebook ...................................................................................19 Writers: Jennifer Mottram, Ronin, Marc Friedman, James LeBoeuf,
Home Recording ...............................................................................20 Shaun O’Brien, Jennifer K. Faucher, Jillian Locke, Suadiggitti, Steve
Recording Songwriter ........................................................................21 Friedman, Keven Pearce, Rachel L. Cadran, Matthew S. Robinson,
Plectrum Paradise .............................................................................22 Michelle Kellaway, Darcie-Nicole Wicknick, Strongarm Radio
Reviews ............................................................................................26 Graphic Arts/Layout: Don Mousseau
Classifieds ..........................................................................................28
Phtotography: Dante Parker, Jennifer Mottram, Marc Friedman
Cover Photography: Royalty Free NASA Images
Logo: Tony C. Antinoro
AD RATES (Subject To Change):
$300, $175, $100, $65 for biz
$150, $100, and $65 (no 8th of page) for bands/musicians
Dimensions
7.5" x 10" - Full pg. $300 biz, $150 bands/musicians
7.5" x 5" - Half pg. $175 biz, $100 bands/musicians
3 5/8" x 5" - 1/4 pg. $100 biz, $65 bands/musicians
3 5/8" x 2.5" - 1/8 pg. $65 biz, not available for bands/musicians
For ads you can send a biz card, PDF or image
(preferably 300 dpi TIFF).
If we create your ad:
$25 if it's just words - 2 fonts Arial and Palatino
$35 for words and image
Graphic art work prices available upon request
NoMaSoNHa
c/o Continental Cobbler
www.organiz-er.com 6 W. Broadway
Derry, NH 03038
978-258-2606 friekman@hotmail.com

www.NoMaSoNHa.com

To a cow, tanning has a whole

different meaning.

Continental Cobbler
6 W. Broadway
Derry, NH 03038
603-434-1670

Repair: guitar/bass cases, leather jackets, boots and shoes

Custom: guitars straps, gig bags, leather pants, vests, etc.

3
 Editor’s Note
NoMaSoNHa Welcomes First Intern, Meg Crotty
Meg has the honor of being our first college intern. She is currently studying journalism at Middle-
sex Community College and will be earning college credit for her work. Meg is also a writer and has
penned numerous articles over the past year.
Starting in November, we will be welcoming our second intern, Stephanie Canelas. Stephanie first
interned with The Lowell Sun when she interviewed me for a story on NoMaSoNHa. I was sur-
prised to get an email asking if she could write for the magazine, and now she will be helping out.
Stephanie is currently singing for Coven of 13 and attends UMass Lowell.
Both Meg and Stephanie will be assisting in a variety of tasks including, but not limitied to, building
an advertsing database, story editing, assigning stories to writers, sending out general mailings,
etc. Both will be also be getting the managerial experience which, we hope, will help fill out their
resumes.
Many more internships are available. If you are interested in getting college credit and/or building
your resume, please send an email to me at friekman@hotmail.com or call (978) 258-2606.

Strongarm Radio
Artist Album Number Of Plays
Strongarm Radio
1. Burn Me Down The Rough Divide 4
2. Killswitch Engage The End Of Heartache 3
is hosted by
3. Unearth The Oncoming Storm 3 Brian and Josh
4. Robby Roadsteamer Heart Of The Rhino 3 Wednesdays 8PM – 10PM
5. Shadows Fall The War Within 2 104.9FM WRBB
6. Burn In Silence Pure as Your First Day 1 www.wrbbradio.org
7. Pillory No Lifeguard At The Gene Pool 1 www.myspace.com/strongarmradio
8. Beyond The Embrace Insect Song 1 Email mp3s to
9. Milo's Syndicate Russians At The Village 1
10. Screams Of Erida Burn The World 1
strongarmradio@yahoo.com

Ask Ronin - Volume IX

Hey Ronin, Well, in personal opinion, it really depends on the coaxial range of
the temperate formicate. The perennial inflammation of the de-
What is the name of that percussion instrument rogatory defamation is conversely related to the position of the
I saw Nora Jones' drummer playing on a rerun longitudal asphyxiation. While most composers opine that conge-
of Saturday Night Live last night (the song may nial delineation of the corporal side-lobes is mandatory, few actu-
have been "Sunrise")? It's like a wooden box ally bother to maintain the sphincter-line of the sub-orbital linear
played with mallets and it does have tone. magnitude. In other words, dude, it’s just you!
- Submitted by Carl via LowellRocks.com
Dear Ronin,
I believe it's called a "Glochenhammer" after the famed German
Glochen family known for both making chocolates and harmoniz- Why do you guys make funny faces when you play your guitar
ing on wooden instruments. I read recently that Variax is making solos? Is this something you do on purpose or can’t you control.
an electronic version of the “Glochenhammer” with varying tones - Submitted by Sue at AskRonin@yahoo.com
already programmed in.
Now that I’ve amused myself with that foolish answer, the truth is As my little buddy Erin says, it’s nothing but “Funk Face” a close
the box is called a “Slit Drum.” Now before any of you women relative of ah… well, next time you watch an adult movie, look at
accuse me of being a pig and making that up, it is an actual per- the guy’s face (yeah, I know, who looks at the face in a porn). It’s
cussion instrument. Made from wood, the distinct tone is made the same feeling some guitar players get when they’re ripping it
from parallel slits in one side and a slit down the middle at varying up for an appreciative crowd.
points. When you strike it, the slit drum reverberates much like an
acoustic guitar, creating the unique sound. According to some Have a question about life, the universe and everything? No?
sources, the slit drum is a close cousin of the “gash drum” which Okay, how about music? Email Ronin at AskRonin@yahoo.com
makes a bitching sound when you take away its credit card. or go to LowellRocks.com and look for the “Ask Ronin” thread. If
he selects your question, you might get a smart ass answer in a
Hey Ronin, future issue of NoMaSoNHa. On occasion, you might even get a
straight response if Ronin isn’t busy out pretending he’s a famous
Do you find, that when you are orchestrating a score, that writing actor from the eighties.
for a 2nd oboe is so cumbersome when you already have the
English horns in A playing fifths above the clarinets? Is just me? Get Press
Help! - Submitted by JZ via LowellRocks.com Send your music news to NoMaSoNHa
friekman@hotmail.com

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

Lowell Rocks For The Red Cross: Rockin' 4 Relief Aids In Katrina Relief
LowellRocks.com held Rockin’ for Relief, a two day concert event at Reflections
Lounge in Chelmsford, MA, on Saturday, September 24 and Sunday, September 25
to benefit the victims of Hurricane Katrina. Overwhelmed by the devastation caused
by Katrina, the LowellRocks.com community of musicians felt the need to reach out
to those affected by this disaster. In doing so, a relief benefit for the American Red
Cross was put into motion.
Spearheaded by LowellRocks.com co-founder, Randy Breton, the event featured
twenty-four of the area’s finest original artists as well as seven inspiring cover bands
from all over the Merrimack Valley and Southern New Hampshire, bringing the total
number of participating bands to thirty-one, including a onetime reunion of The Shine
and various all-star jams.
“(The local music community) felt as helpless as the rest of America,” said Breton.
“We wanted to help however we could. Playing music is what we do best, so to us,
this was the best way to lend a helping hand.” Organizing the concerts, Breton admitted, was difficult, but “everyone in the scene has
really pulled together to make this show work. The outpouring of support has been staggering - I couldn’t have done this alone.”
Rockin’ 4 Relief featured thirty-one greater Lowell bands from the over 100 that eagerly volunteered, including Dipthong and This
Side Up, both top placers in the recent Reflections’ Battle of the Bands. Each act was given forty-five minutes to play their sets; each
day’s show went far into the night. Copies of the artists’ albums were raffled
off, as well. Breton was grateful for all of the effort put forth to aid those in
need.
The host, LowellRocks.com, is a local music website, connecting the bands,
their fans, and the venues that host them. Started in March of 2002, Lowell-
Rocks.com has become the primary web source for the local music scene in
Northern Massachusetts/Southern New Hampshire, boasting more than 1.5
millions hits a month from more than 5,000 individual users.
FOLLOW-UP: Big Daddy, from LowellRocks.com informed us that donations
will be continue to be accepted through the LowellRocks.com website's Pay-
Pal link.

Character's Pub News: Katrina Benefit,

Battle of the Bands Co-Sponsored by NoMaSoNHa, and NoMaSoNHa Benefit Show
On Friday, September 23rd Seconds Prior, Floss, End Count, Only Way Out, Verfallen, Skulltoboggan,
Forever’s Fallen Grace, Wretched Asylum, Mindset X and New Form of Torture played a marathon
benefit called the Rockfest to help the victims of Hurricane Katrina. The fund-raiser started at 7PM and
was a 21 plus.
“These guys may have long hair, no hair, nose rings, and tattoos, but really big hears,” said Laura
Beauregard, the club’s manager.
The Eagle 99.9, Speedee Oil Change, and Gardner Cinemas provided promotional assistance.
On September 15th SoL PropheT, Sever The Time, and Forever's Fallen Grace duked it out at the
Characters Pub/NoMaSoNHa Battle of the Bands. Sever the Time won the evening while SoL PropheT
grabbing the runner up spot.
The next scheduled night of the battle is Thurs. November 3rd and will feature Cell Block One, Skullto-
bogan, and Driven. There is still time for bands to enter. Email Laura at Laura@CharactersPub.com to
make a run for the $4000 grand prize. The contest is open to original bands only. All styles of music are
welcome. The winner of each regular round wins $500. Bands are invited to sell merchandise and have signup lists.
Laura from Characters, photographer Dante Parker, and contributor and guitarist for Mongrel, Adam Savage-Adalman, are helping to
organize a benefit to help keep NoMaSoNHa in print. The line up as of this printing are:
Thursday, October 6th:
Chinggis, 12 Step program, A'tris, Evenspeak, Imagination Station, Dipthong, Burden of Liberty, and Cell Block One
Friday, October 7th:
Mongrel, Full Tilt, Skulltoboggan, Ill Conceived, Last Breath, Capothing, Midnight 30 Project, Gain 211, SoL PropheT, and
Road To Nowhere.
If you’d like to help keep NoMaSoNHa in print, please consider taking out an advertisement. Our rates are dirt cheap and we only
need to sell three and a half-pages of ads to break even each issue. If you help us get advertising, we’ll give you a 20% commission
for each time the ad runs. For more info, call 978-258-2606 or email friekman@hotmail.com.

5
The Buzz Local Artist & Music News

More Katrina News:

In the wake of Hurricane Katrina, www.neworleansmusicians.org has been set up to offer a place to donate money to the Local 174-
496 American Federation of Musicians for the relief of devastated Louisiana artists. Donations will be placed in the Local’s Altruist
Fund, which is dedicated to providing assistance to local members who are injured, ill or displaced. Also, New Orleans musicians
have been asked to let the world know they are safe by visiting http://stoffaproductions.com/community and leaving their name and
contact information.
DeadAnt Productions hosted an all-ages show for Hurricane Katrina Relief on Friday, September 16. The American Red Cross
teamed up with local musicians Demiurge, Buried, Jonny Stonez, Goodnight Flyte, and others to host the benefit concert at the Radis-
son Hotel in Manchester, NH. For More info contact Adra Darling of the American Red Cross at (603) 624-4307 ext#215 or DeadAnt
Productions at (603) 626-7970 www.myspace.com/demiurge666 www.myspace.com/evilquinn666 www.angelfire.com/indie/stonez
Independent music store CD Baby announced that over 5,000 musicians have chosen to donate all the profits from their records
sales directly to the American Red Cross Disaster Relief Fund. The artists’ differ from Rock to Jazz to Country, but all are resolute in
offering help to hurricane victims. Clips and albums are available at http://cdbaby.com/group/redcross. Not only is this a great way to
contribute to Louisiana and the other states hit, but it also an excuse to discover some great music with the knowledge that the money
is going to a good cause.
NEPGM Fest Open Call
Over 70 bands and 5,000 fans plan to rock out at the upcoming New England Punk, Goth and Metal Festival, scheduled for October
1st and October 2nd. Unfortunately, the event, which was anticipated to be held at LeLacheur Park , has been forced to move to other
venues by Lowell City Hall. Concert promoters suspect that that they are being met with discrimination toward their alternative style
and music. Supporters of the NE PGM Fest are, at the moment, fighting online with a petition at
www.PetitionOnline.com/pgmf2005/petition.html.
Besides the musicians and those intending to be at the event, the refusal of NEPGM Fest will effect local businesses who expect
increased profits while the concert goes on. While the people of Lowell fear that the concert might attract “a different sort of demo-
graphic,” promoter Matthew Marchesi has vowed to prove them wrong and make sure his months of organizing lead to the best show
possible.
While the struggle for the park continues, other venues have been set up for the event: Club 125 in Haverhill/Bradford for the first day
and The Palladium in Worcester for the second. Tickets cost $25 at the door, but one can purchase 15 tickets, which retail for $20,
and are good for any and all clubs involved for both days. Set times are likely to run 25 to 30 minutes. For more information on the
NEPGM Fest, visit www.nepgmfest.com.
THIS JUST IN: Notorious New England Punk, Goth, and Metal Festival Finds Home in Bi-Locational Venues
New England Punk, Goth, and Metal Festival organizers Anderson Mar (Dark Sky Productions) and Matthew Marchesi (Spaz-Tik Ltd.)
are pleased to announce that Club 125 in Haverhill/Bradford and The Palladium in Worcester are the designated venues for the most
genre-diverse concert event of 2005.
After experiencing fierce opposition from the City of Lowell’s governing body, the NEPGM Festival was forced to relocate from its
previously-contracted site of Lowell’s LaLecheur Park on inconveniently short notice. Promoters Mar and Marchesi resolved to ensure
continuance of their vision for unification of the New England underground regardless of political obstacles, embracing the true spirit of
punk rock ethos.
The weekend-long all-ages extravaganza featuring goth-rock legends Bella Morte, trashy punk rock’n roll icons Trashlight
Vision (featuring Acey Slade of DOPE/The Murderdolls fame),Sardonica and former Misfit drummer Dr. Chud's X-Ward, in conjuction
with 43 Northeast-based independent bands, will pack the Club 125 on Saturday, October 1st, then take the show on the road to The
Palladium the following day. Tickets are $20 in advance (valid for both days/venues) if purchased in advance from the bands; $25 day
of show.
The New England Punk, Goth, and Metal Festival takes place at Club 125, 725 S Main Street in Haverhill, Massachusetts on Satur-
day, October 1st, and The Palladium, 261 Main St. in Worcester on Sunday, October 2nd. Shows run all day and evening.
For more information or to purchase tickets, please visit the official website at http://www.nepgmfest.com
No New Record For Individual Drumming Marathon
Steven Kramer’s attempt to drum for 100 continuous hours to raise money for cancer research ended after 28 hours. Arulanantham
Suresh Joachim of Australia still holds the world record as the “longest drummer.” The style of music Kramer attempted to perform
was a mixture of contemporary rock, progressive rock, and classical standards. He played ballads and jazz standards as well. All
songs were played in order of length, with the longest songs saved for the last positions on the song list. After several hours of play-
ing, Kramer became extremely fatigued, suffering from sleep deprivation and overall exhaustion. Although Kramer could not reach his
goal this year, he plans to participate in another Drumathon in 2006.
North East Sticks Together
The North East Sticks Together Festival took over Boston from September 18th to the 24th. N.E.S.T. offered Bostonians a week of
shows ranging from national touring indie acts to local artists to metal bands to DJs, all of which were celebrating the diversity of the
city’s music scene together. Events varied from all ages to 21 plus.
N.E.S.T. is more about having an open structure than about specific bands playing shows. It is as inclusive as possible and intends
to represent a diverse cross-section of local talent. Anyone is invited to suggest ideas, or to offer help for next year's N.E.S.T.
www.nest2005.com

6
Local Artist & Music News
Mass. Art Hosts An Atmospheric Night
The Massachusetts College of Art hosted a show of atmospheric
music artists on September 22nd. Performing along with Donna
Parker and Kate Village were Michigan musician Hive Mind,
Puerto Rican solo artist Cornucopia, and the Mexican performer
Luasa Raelson. Hive Mind, the man behind the Chondritic Sound
label, creates music from droning waves of layered and heavily
processed synthesizers. Cornucopia, also known as Jorge Castro,
has done many drone/clatter/atmospheric and field recordings
over the past few years. Luasa Raelson is David Reed, head of
the Snip-Snip label. Reed is involved in many projects including
Envenomist and Brittle Foundries. His two latest releases are the
split/collaboration Night Maintenance with Hive Mind and the full-
length album The Poison City on Italy’s Eibon Records.
Third Annual Mill City Festival:
Manchester, NH’s Live Music Event
During the weekend of September 10th and 11th, the third annual
Mill City Festival took place at Arms Park on the Merrimack River
in Manchester, NH. In addition to food, fun, and culture, the non-
profit festival had two stages on which twenty-two local musicals
acts performed 20 hours of live music. www.millcityfestival.com
A Successful Second Annual Culture Fest
According to event organizers, Alpha and Valerie Diallo, besides
outstanding musical performances there was delicious food,
beautiful art lining Middle Street, a multi camera video shoot, a top
of the line sound system, arts and crafts from around the region
and the world and while incense burned, there was henna artistry,
live painting, healing and much more. The further say that, "The
Enterprise parking lot was the perfect venue for Culture Fest and
we thank George Duncan and everyone involved for hosting the
festival."
They have already begun "working hard to improve for next
year’s Culture Fest" and notification of planning meetings will be-
gin. You can find updates at www.second-world.com.
Don't Call It The "Hemp Fest". The 16th Annual MASS
CANN/NORML Boston Freedom Rally
Free people all over Boston rejoiced in the 17th annual Mass
Can/NORML Freedom Rally on Saturday September 16th. Aided
and abetted by the likes of NORML, High Times, WBCN 104.1FM,
The Hempest, Tripatourium and Salvia Zone and under the theme
"Secure the Blessings of Liberty", the festival kicked off on the
common with speakers and musicians adressing the issue of
marijuana legalization in the united states.
"The Freedom Rally and events like it around the nation are evi-
dence of a strong social movement against marijuana prohibition,"
said Dr. Keith Saunders, a sociologist and the President of Mass
Cann, "The majority of American adults believe we need alterna-
tives to arresting and jailing people who choose to use marijuana,
denying students financial aid, and intimidating patients who use
state-legal medicinal marijuana."
On site to lend a hand were local acts Waltham, Beyond the Em-
brace, Robby Roadsteamer, and Three Day Threshold and the
2005 WBCN Rock and Roll Rumble winner, Reverend Glasseye.
Attendees browsed through the "vendors' village" while taking in
the sights and sounds, supporting the cause, and rumor has it,
filling the area with a haze of smoke around 4:20. An after party
was also held this year featuring D-Tension and Haloburn at
Goodtimes in Somerville with free admission to all those 21 and
over that were wearing a 2005 freedom festival t-shirts. If you
missed the event this year, fret not, you can get more info on this
event and others at www.Masscann.org.
7
The Buzz
2,894 Happy Musicians and Counting...
According To Emergenza
This is their press release: New York, September, 2005 – 2,894
young musicians across the US have already joined nearly 2,000
of their European counterparts to participate in the event that has
reshaped the way bands promote and showcase themselves and
most importantly, what events for up & coming bands actually
mean. Emergenza festival is accepting enrollments in 39 US cities
this season – up from 17 last year and only 5 in 2004, translating
into 3,544 bands and 15,000 musicians.
Registration for the festival in all US cities is now open. Bands
can register on our website www.933band.com or by phone 1-
888-923-BAND.
The industry’s finest – Remo, Ernie Ball, St. Louis Music, Senn-
heiser, Mapex and many others provide all the necessary gear for
each show. At the finals, drums, cymbals, amps, a wireless micro-
phone system and custom made Music Man guitars are awarded
– for a total of $600,000 in prizes!
What else is in it for musicians? The International Music festival
for up & coming bands, which started out as an informal event in
Italy in 1992 has exploded in both popularity and size in North
America in just a few seasons – as evidenced by the event’s pres-
ence in the US. Aside from being able to offer bands access to
some of the best and most renowned venues in each city, Emer-
genza offers a great showcasing & networking opportunity. An
Emergenza eliminatory round show has an average audience of
about 190 people. That’s a lot of potential new fans for a band
looking for exposure and a great experience for one that may just
be looking to fine tune their on stage performance. There is also
plenty of opportunity for bands to network with each other – there
are 9,000 bands in the database & participating musicians can
offer shows in their city in exchange for a show in another city, or
chose to contact musicians with other propositions. There is also
the ever important opportunity make connections with the venues
– so take note!
Emergenza is a particularly worry-free experience for participat-
ing bands, we book the venue, we provide the backline, all you
have to do is play – and impress the audience! For those who
succeed, a second show awaits along with the possibility to play
at a larger and higher quality venue during the semi finals. 12 - 14
bands will play at their city’s final in June and July 2006. And in
August – what every Emergenza participant lusts after - a show at
the International Final, the three day open air festival in Rothen-
berg Germany. The grand prize awaits winners of Regional Finals
in Chicago, Dallas, New York & San Francisco. This August, De-
troit’s NATIVES OF A NEW DAWN, Chicago’s BAND CALLED
PHARISSE and Atlanta’s ECHOVALVE won the finals and took
an all expense paid trip to Germany.
For additional information contact:
Francesca Carpita
North America Resources Director
Emergenza USA Entertainment Inc.
666 Fifth Avenue #342
New York 10103
Office: 1 888 923 2263
Fax: 514 376 3567
Chris The Intern Heads Back To School
Chris Shaboo's summer internship at The Sad Cafe has come to
a close and he writes, "Now that I am going back to school, all
emails can be sent to play4thesadcafe@aol.com. If you would
like to contact us by phone, the number is (603) 382-8893. Any
questions, comments and whatever else can be directed to Linda
Ard." He goes on to say that any promotional materials can be
sent to The Sad Cafe, P.O. Box 1050, Plaistow, NH 03865.
The Buzz Local Artist & Music News

Lawtown Launched Classical

The new website www.LawTownMusic.8k.com will have its official On December 10th The Nashua Symphony Choral Society,
site Launch date on October 3rd, 2005. Then site will feature accompanied by organ and the symphony’s brass quintet, will
interviews, prizes, and live chats with local and international pop celebrate the holiday season with “O Magnum Mysterium” includ-
and dance celebrities. A new section planned and it's called ing works by Stanford, Gabrieli and Britten. This concert also
LawTown Live and it will feature live performance pics from shows features a traditional Christmas carol-sing. Tickets to the 8 p.m.
being held in the Lawrence area (LawTown, MA). concert in Immaculate Conception Church, 216 East Dunstable
LawTown Music is also on www.MySpace.com/LawTownMusic Road, are $20 for adults, $15 for seniors over 62 and $10 for stu-
dents with ID and children under 18. To order phone 603-595-
SkopeMagazine.com Gets A New Look 9156 or visit online at www.NashuaSymphony.org.
Skope Magazine launched their brand-new website
www.skopemagazine.com. Skopemagazine.com features up to Dance
the minute news, contests, events, etc.
Bylli Crayone's upcoming single "Dizzy Boi" has already been
Stolen Gear added into rotation on Miami's MiamiMixx.com and other various
online radio stations. The single is set to be released in early
Faithful reader Greg Luttrell's (gregluttrell03@yahoo.com) car was
2006. "Dizzy Boi" is about a straight man's confusion about his
robbed. It wasparked on Beacon St. near the old WERS studios in
sexual orientation. Bylli's new album, Sexual Freak, is also in the
Boston. Any help you can give or just keeping your eye out in the
works. No release date as of yet. www.CDBaby.com/Bylli
music stores would be greatly appreciated. The items are already
listed with various Metro Boston Police Stations, so they can be Domenic Marte's show at Vivivd Nightclub in Lawrence, MA was
called if anything is found. You can also call Greg at (617) 254- so hot, that Domenic performed his mega-hit "Ven Tu" twice.
3717. HS2 recordings artist Datafox has started working on his album
The gear I'm looking for is: and labelmate Mike Mazzotta just finished a new EP. HS2 has
• 2004 Gibson Custom Shop '57 Reissue Gold Top Les Paul w/ several other releases lined up for this year. www.transceover.org
dark back ( the dark back is it's truly distinguishing feature aside www.hs2.cjb.net
from being beautiful & pretty flawless) SN LPR7-4309
• 1973 Fender Telecaster Custom Brown with darker brown sides Folk/Singer-Songwriter
& Black pickguard very worn & the toggle switch was replaced
Erinn Brown's 1999 album, Road Signs To The Sun, can be pur-
from black to cream which is a moderately distinguishing fea- chased at www.CDBaby.com/ErinnBrown with all proceeds going
ture if you know this model. serial number 418394 to the Red Cross Disaster Relief Fund.
• Mackie 808 Power amp (I'm still digging for the receipt with the
SN) but on the EQ's for the main power the two faders 2nd and In further Erinn Brown news, her band, Move Over, played its last
3rd from the left are broken & the knob which indicates which gig on Thursday, September 15th at The Dodge Street Bar and
effect is in use are missing. Grill in Salem, MA.
• Fender Deluxe Hot Rod Guitar Amp SN B168602
Hip Hop
• 2 JBL 12" speakers (digging for this receipt too for model # and
Serial number) On September 19, Boston rapper Lyrical released his much-
• A Hohner Harmonica hardshell briefcase with a chrominium 720 anticipated debut, iNFiNiTi. Lyrical, of the rap groups X-Caliber
Chromatic harp and three regular diatonic harmonicas and Invasion, is best known as a promoter, hip hop mogul, and
talented battle emcee. Already, his first album is receiving buzz in
• A furhman controller board with Ibanez TS-9 Tube Screamer, local circles as having potential to be one of the most critically
Dunlop Cry baby wah ,Line 6 Delay modeler, Boss octave pedal
acclaimed in Mass. for the genre. iNFiNiTi’s featured single, “The
& my doggone sunglasses
Focus is Back” serves as a theme for the record; the song “I” is
• Silver generic tool case ( you know the ones at Home depot for being worked onto the radio by Papa D and will also be available
$20 bucks, actually pretty good cases (although not heavily on video.
reinforced) & they are making them a bit better (rounded edges As a co-owner of Invasion Entertainment/Dotted i Music & Enter-
& a stronger handle) if you're looking for a new "stuff" box) with tainment (D.i.M.E. Records), Lyrical is central to many of his own
2 Shure SM57's ( one has on off/on switch) several cables & a promotions and performances. More information about the album
Boss Chorus pedal is available at www.blazetheworldrecords.com, the label which
International Songwriting Competition Deadline: signed D.i.M.E. and is distributing the project around the world.
Lyrical can be seen (with The Tempting Fate Revue and One
October 14, 2005
Love) by the 21+ crowd on Oct. 27 at the Milky Way Lounge in
Gain exposure in the music industry and have your songs heard Jamaica Plains for a live version of the record, called “iNFiNiTi
by top professionals and recording artists. One of the largest Unplugged.” www.myspace.com/Lyrical
songwriting competitions in the world, ISC offers entrants a Klik Star Productions and Venom En-
chance to compete for over $100,000 in cash and prizes, includ- tertainment presents 6ixty 6ix Mark of
ing an Overall Grand Prize package of $10,000 (US) in cash and the Beast Mixtape Volume One: Birth
$20,000 in merchandise. of the Beast. The album is slated to be
ISC presents a unique opportunity for artists to get their songs released in October and can be pre-
heard by some of the most influential members of the music in- ordered through klikstarproduc-
dustry, helping up-and-coming artists get a head-start in this tions@gmail.com, Evanka-
highly competitive market. "We've always been impressed with sabian@yahoo.com, www.6ixty6ix.tk.
the talented songwriters who participate in the ISC. This is a great www.myspace.com/klikstarproductions
A&R source to find new artists." - Monte Lipman (President, Uni- www.myspace.com/6ixty6ix
versal Records). www.songwritingcompetition.com

8
Local Artist & Music News
Klik Star Productions’ very own
Top Dawg is releasing his first
aolo LP consisting and it will be
self-produced. Various artists
are contributing their time and
talents.
Top Dawg is still looking for
artists who are interested in
checking out the beats and jumping on the album. He can be con-
tacted at Crackerwithsoul@aol.com or
www.myspace.com/topdawg (where some of his beats can be
heard). The release is slated for the summer of 2006.
Rock
On Tuesday, November 29th, The Glass Set will be having their
CD release part at the Abbey Lounge, Inman Square.
Boston noise-mongers Neptune report that they are back from
Europe, for a little while anyway. www.neptuneband.com
One Love & The Tempting Fate Revue are working on material
for their next single to be released in late October on All City Re-
cords.
Amun Ra's A Thousand Ticking Clocks is out.
www.amunramusic.com
Betterman's Rule plans to have a CD release party on October
15th. No location was available at press time.
Bubingah now plays at Evos on the last Friday of every month.
www.bubingah.com
Common Thrill, the editor's former band, is being featured on
Clear Channel's Discover New Music promotion on major radio-
station websites including KISS 108 in Boston. Clear Channel is
the largest owner of radio stations in the U.S., with over one hun-
dred and forty-four stations owned in every major U.S. city, and
they have teamed up with Garageband.com to showcase the
highest rated unsigned bands from Garageband.com on their ra-
The Buzz
expected release date for the EP is early October 2005. The hard-
working band has gotten airplay on radio stations such as WAAF.
The tentative name of the EP is Atmosphere and it's not concep-
tual like StateCraft was but does carry a theme. The band plans
on releasing two EPs, Atmosphere I and II.
On another note, MindsetX played the LowellRocks.com's
Rockin' 4 Relief, a Hurricane Katrina benefit show, on September
24th.
Pondering Judd's new album, Lonesome Heart Strangers, was
released online on September 19th and is currently available at all
Bull Moose Music locations and other local retail locations some-
time soon. Lonesome Heart Strangers is Pondering Judd’s fifth
release and features eleven tracks. The band scheduled three CD
release parties in one weekend to celebrate.
www.PonderingJudd.com
On Monday, September 26th, Harper's Ferry of Allston, MA ush-
ered in Sad Marvin for their debut performance.
Shadows Fall is almost finished with their new CD.
The Ethan Stone Band kicked off their Fall Mini-Tour with a spe-
cial concert at the Royalston Town Hall on Wednesday, Septem-
ber 14th. Stones’ debut major CD release is due out early this
winter and, following the release of the record, the band will tour
the United States and Europe. www.ethanstonemusic.com
Under Falling Skies' debut full length CD, Stories Untold, has
been sent out for duplication and it should be available in about a
month. Some new tracks will be posted on
www.myspace.com/underfallingskies.
Whiskey Thursday cancelled all of their September shows due to
a line-up change. www.whiskeythursday.com

RED MILL
dio station websites. Thrill is one of sixteen bands that will be in
the spotlight for the next three months. They have just wrapped up
tracking a new project with area producer Anthony J. Resta (Elton
John, Duran Duran, Collective Soul, Shawn Mullins).
www.commonthrill.net
Rumor has it that Lowell rockers Dogfight have broken up, how-

GRAPHICS
ever this is unsubstantiated and fans are cautioned to contact
the band. www.dogfightband.com
Eddy Dyer writes, "Wanted to let y'all know that I have worked it
out with one of my online retailers, CDBaby, so that 100% of roy-
alties from my sales will be donated to the American Red Cross."
www.cdbaby.com/cd/eddydyer

AD
Fear Of Flying have posted the two new songs, "Catch My
Breath" and "Me Against The World" on
www.myspace.com/fearofflying603.
Fooled By April says that they are "currently embroiled in some
furious legal proceedings against a major US corporation (no
hints, but imagine the first three letters of the alphabet standing in
front of a frozen guy who likes mice)." [Maybe I'm wrong, but I

HERE
think that was a hint - Ed.]
Aside from asserting their underdog position and it's validity, they
also state that "we're broke from the legal fees." They claim that
they are just as guilty as the company because the "spent a year
making this great record and then let it just wither on the vine like
some ugly grape" and ask that fans purchase it to help raise
funds. It can be found at www.cdbaby.com/cd/fooledbyapril2
MindsetX, hailing from southern NH, has again entered into their
unnamed studio to record a follow up EP to StateCraft and the

9
 Leaving for College and Returning a Hero: The Will Minior Story
Story and Photo by Jennifer Mottram

W illiam Minior, 18, pre-law, was attend-

ing orientation at Loyola University
when the warnings started. The students from
the southern states immediately returned to
the safety of their families and homes.
Around 300 students, who could not then
appreciate the severity of what they would be
facing, remained. They were mostly from
other parts of the country/
When the evacuation orders were given,
Loyola gathered school vans, chartered bus-
ses, and people's personal cars to remove
the 300 students, faculty, and staff to safer
ground. Each student brought one bag of clothing and essentials.
The trip to Baton Rouge, normally a 1.5 hour trip, took over 11
hours to complete. Wind gusts of up to 90 mph rocked the vans
and given the lack of communications, no one knew if the storm
was on them and if they would survive it.
They arrived at and remained in Baton Rouge through the worst
of the storm. The Red Cross asked for volunteers for the overflow-
ing shelters. Will immediately offered to help. He and fellow stu-
dents traveled to Denham Springs, about half an hour southeast
of Baton Rouge, closer to the devestation. On Wednesday, they
arrived to relieve the shelter's manager who had been up for close
to two days straight.
Will pinned on a paper badge saying “Manager”. He was now
responsible for the safety and well-being of the 150 people in the
building.
He and the other four volunteers scrubbed and cleaned the
building and supported the people who had lost everything they'd
known. The following day, that number burgeoned to 270 in a
place with a 250 maximum. 150 additional people, sent from the
overloaded Superdome, lined up outside hoping for help. News
was scattered and scarce. No one seemed to have a clear idea of
what had happened or what would happen from this point on.
Everyone had a story of tragedy and loss. The children clung with
wide eyes that had seen too much already.
the impact of the devestation on the families of New Orleans, they
would do the same.
Five days after the hurricane, the government started to re-
spond. Will's parents again begged for him to return. His univer-
sity reached him. After his long ordeal, he got on a plane home.
Will brought with him his duffle bag and a small pomeranian
nicknamed “Hurricane” rescued from an animal shelter, where he
would otherwise have to be put down. Ironically, while the flight
attendants from Baton Rouge to Houston offered ways that he
could bring the dog onto the plane, the flight attendant from Hous-
ton to Boston was not as helpful. “I got written up as Yellow Alert
Terrorist for not putting the dog in the overhead compartment,”
Will said, laughing.
The worst was over but still the universities of New Orleans
would not be opening until January, if then. The response from
other schools was instant and generous beyond expectations.
The Jesuit universities, who had strong ties to Loyola, called the
students at their homes with an open door for them. Will's father
had been contacting local colleges to find what was possible. Will
was given his choice of schools. Stonehill, located in North
Easton, MA, invited him in, no money necessary, no forms or pa-
pers or documentation. All that mattered now was to get him into
school and get him his life back. Stonehill turned study halls into
quads so that the 13 New Orleans evacuees accepting their offer
would have room and board and a place to stay and a place to
recover.
What sticks most with Will was what a stranger said in the midst
of their work in the darkest of times. “It's not whether you win or
lose, it's the fight that matters.”
Will can't wait to get back to Loyola to help New Orleans.

“It's not whether you win or lose, it's the fight that
matters.”
- Anonymous Katrina victim
Will could not take more into the shelter, but he couldn't stand
by either. He took on 17 families, his friend Ryan took 10 families
and they went to McDonald's. Even after McDonald's volume dis-
count, the two spent $740 of their own money so the families
could eat their first meal in days.
The Red Cross arrived with some more volunteers and food –
military MREs and “just add water” tuna fish. But there was no
clean water to be had, no electricity to boil water. Will split the
volunteers in groups and sent one group to take the additional
evacuees to the North Park gymnasium for shelter.
Throughout, the phone lines and cell towers that weren't down
were overloaded with people trying to contact loved ones. When
Will's parents got through to him, they begged for him to come
home. He refused.
No government entity seemed to be in control. Official informa-
tion was scant and scattered. During this time of chaos, everyone
was doing their best with what they had. People showed a
strength of purpose and of character. The local residents, white
baptists in the deep south where the KKK still openly meets,
reached out to the inner city's now destitute black families by of-
fering food and clothing, help and assistance.
I asked why he jumped in as he had. He replied that anyone who
had experienced the hurricane, had seen what he had, had felt

10
 Couldn’t Stand The Weather:
New Orleans Bluesman Jeremy Lyons Plays Rockin’ 4 Relief
Story by Jennifer Mottram Photo by Marc Friedman
G rew up in Ithaca and left at 18
to Hampshire College for musi-
cology and social studies - the an-
thopology of music. Still unsure of
life's direction at that point. He
landed in New Orleans and stayed
for 13 years. Jeremy met his wife in
New Orleans. Fate: she was also
from Ithaca.
The storm approached. They
heeded the warnings. The Saturday before the storm, they
packed their computers and instruments and a week's worth of
clothes and headed up to baton rouge. The storm passed. When
they heard of the extensive damage, they knew that even if they
could get back to their house, which most likely had 3' of water
through the living room, the schools would be closed for weeks.
They started to realize the magnitude of what they were facing.
They started missing the things they wished they'd taken. Family
video tapes, various stuffed animals, sentimental and unreplace-
able items. And they considered themselves lucky for what they
did have. Jeremy's Ithaca family had moved to the Boston area
about 10 yrs ago and so Jeremy had a safety net waiting with
offers and open doors far from the devestation. He remarked on
how many other evacuees had joined families in houston, only to
be evacuated again the following week. So many of those in the
New Orleans area have been there for generations. This is where
their roots are, and leaving is not something they'd do willingly. So
many families' safety nets had all drowned that day.
Jeremy, his wife Valerey, and their 6 year old daughter, Luciana,
headed to Boston.
Their family here welcomed them, as did the Boston community.
Within a week, his wife, a schoolteacher, had a job. Jeremy,
though, was at a crossroad. Was this when he should settle down
and get a "real job" ? He'd been getting comfortable with the work
he was producing in New Orleans, but felt it was getting a little
predictable as well. Here in Boston, he would have to start over
and recreate himself. Record again. This challenge energized
him. He got a busker's licence in Cambridge and found a certain
solace in playing on the streets again. This is what he loved to do
and what he was good at doing.
Jeremy has five records out and one that's mixed but not mas-
tered. He will be leaving them behind right now and will focus his
efforts on a solo album. There are many experiences that he has
to put to music. The offers for gigs started coming.
Boston, Jeremy says, is rich with well-schooled musicians. But
what Jeremy has to offer can't be learned in class. He learned the
rhythms of the delta blues from the people themselves,
Expose Yourself to
2000 People A Month
Businesses:
You can have this 1/8 page
ad space for only $65
11
people who learned from their community. The community that
created it. His band members are scattered but Jeremy hopes
that they can reform in the Boston area and bring the sound to life
up here.
At this point, we were interrupted by a music professor at UMass
Lowell.
"I just want to say that I am humbled, inspired, and pissed off by
how far I have to go to play like you do."
The discussion turned more practical. How can we help? The
Rockin' 4 Relief concert raised $5,000 for the Red Cross. Where
would Jeremy want to see the money spent?
First and foremost, he said, the musicians of the south are facing
hard times. They are self-employed, usually with no insurance. It
will be difficult to get unemployment benefits. They don't have
corporations behind them to give relocation expenses. They
could very easily fall through the cracks of the system. The poor-
est will get assistance. The well-off can take care of themselves.
But those inbetween, the buskers, the street performers, those
who aren't on anyone's radar screen, they're in danger of losing
their livelihood and then New Orleans is in danger of losing its
musical culture.
Another consideration, he pointed out, is the fact that the smaller
surrounding cities have absorbed the evacuees, doubling their
size overnight. These communities are doing whatever it takes to
help but it is a strain on their systems and an unexpected financial
burden. This ripple effect of need is one that the government is
not likely to recognize. Jeremy applauds the communities and
towns here in the Northeast that are sponsoring towns in the
south, donating supplies and assistance, sharing the burden with
them.
New Orleans, with its rapid cycle of decay and renewal, is a city
of death and life, and both are honored. Jeremy is hopeful that the
musicians will return and will once again raise generations with
the sounds of music in the streets. In the meantime, he will give
the city of Boston the much welcomed cajun rhythms, rockabilly,
and delta blues that are the heart of New Orleans.
www.deltabilly.com
Sidebar: Websites That Help
www.preservationhall.com: New Orleans Musicians Hurricane
Relief Fund
www.tipitinas.com: "Currently finding musicians housing, gigs
and instruments while we raise funds through donations and
nationwide benefit concerts to meet the challenges facing us in
the coming weeks and months."
www.musicares.com: "MusiCares and The Recording Acad-
emy have established the MusiCares Hurricane Relief Fund, a
$1 Million dollar commitment of charitable funds to be distributed
to musicians and other music industry people directly affected
by this disaster."
www.jazzatlincolncenter.org/jalc/news/050902-news.html
Higher Ground Relief Fund established by Jazz at Lincoln Cen-
ter and administered through the Baton Rouge Area Foundation
to benefit the musicians, music industry related enterprises and
other individuals and entities from the areas in Greater New
Orleans.
“New Orleans is the birthplace of jazz. The city's diverse popu-
lation of Spanish, French, British, West Africans and Americans
created an original music that embodies the fundamental princi-
pals of democracy. Jazz at Lincoln Center was established to
celebrate jazz and so we are particularly moved to action by the
destruction visited on the Crescent City by Katrina.” said Artistic
Director of Jazz at Lincoln Center, Wynton Marsalis.
 Blues Raw and Raunchy: An Interview with Lloyd Thayer
By James LeBoeuf

L loyd Thayer is a hid-

den jewel in the sea of
the Boston area music
Yes! With a dobro I feel that so much of the instrument comes out
of that cone. Plugging it in takes away from the sound.
I usually bring two guitars with me. One I tune to open D and the
scene. He plays dobro other I tune to open G. It’s the dobro G, which is from the bass
with the passion of a Delta string G, B, D, G, B, D. I also have a twelve string that I raised the
bluesman. Lloyd met up nut up on. I change between guitars to give people a little variety.
with me before he played How do feel about the state of the blues today?
for a pre- folk festival Well it’s tough. I can always play relatively straight blues, my inter-
crowd at the Courtyard pretation of them anyway, and do shows that way. But shows like
Pub in Lowell that are tough to get. Most stuff these days, at least from my per-
spective, is that these days there are a lot of bands, and they play
Have you always been
pretty loud. They don’t leave a lot of room for solo acoustic per-
into the blues? What kind of music did you grow up on?
I listened to all kinds of music; folk, blues, and rock. A little bit of former like me. So as an acoustic performer it is tough to get it
everything. I got into the Beatles and all of that 60s’ type of stuff going.
but I would have to say that it was Hendrix that got me into the On the other hand I played a festival a couple of weeks ago down
blues. When I was like six or seven years old I got into Hendrix in New York and it was great but I had people getting uptight be-
really heavy, and not the more popular songs but the obscure cause I vary (the blues) a lot. They were coming up giving shit
outtake stuff that I got my hands on. I found that Jimi did a lot of like, “You played an Indian scale in the middle of that. What is that
Muddy Waters. That got me into Muddy and in particular that shit?” By the same token when I go toward the folky stuff people
acoustic album he did… complain again.
The “folk singer” album? Yeah and then all of a sudden you’re not “folky” enough.
Yes that one. I think that that album came out in ‘63 and I believe Yes, I just try to go with my heart. Hopefully people will like it.
that Muddy was about forty eight at the time. I liked the stripped Overall I’d say the blues is pretty healthy in a lot of ways. It’s too
down sound of it. I could get my head around it and that led me a easy to get all down and say that things are worse than before but
long a bit. I think there are a lot of opportunities also. Like for me I’ve done
pretty well selling on the internet selling CD’s through
The funny thing about that album is that it
www.cdbaby.com. I have been selling a lot of
was an attempt to re-market Muddy to the “With a dobro I feel that so
CDs overseas. Five years ago I never would
folk crowd.
Yeah, there are a lot of stories about that much of the instrument comes have had that chance. Now people can order
how he went to Europe and he played elec- out of that cone. Plugging it in my CD online.
tric but the crowd wanted to hear him on takes away from the sound.” I bet if I asked the bluesmen of the past
acoustic and then he went back playing that same question they’d think I was
acoustic and they wanted the electric. - Lloyd Thayer crazy. I mean, the blues is what it is
Playing games with him! It’s funny you whether it is “popular” or not. It was
mention that you were weaned on obscure Hendrix. I notice never really at the forefront anyway.
[Laughs] I’ll tell you this, I don’t think it’s a bad thing that it is on
that on your Live in Harvard Square CD you play Hendrix’
the backburner. Stuff that gets put to far out in the mainstream, it’s
“Bleeding Heart”. That is a great song and you take it and
not good. It really ruins it. I was just reading a Ry Cooder inter-
make yours.
Yeah, but all those guys did that. Jimi plays Muddy’s “Catfish view. He was saying that nowadays you have things like “Robert
Blues” and it starts off sounding like John Lee Hooker. I mean all Johnson After Shave!” All of this other phoniness, it is just wrong.
of those old guys shared lyrics and themes all the time. They just What did Robert Johnson record like twenty nine songs? [roughly
sort of worked off what the other guys were doing. fifty – Ed.]People have turned him into this other thing. The hype
and all, they use people and their image to sell shit. I mean don’t
Definitely. I mean, think of how many different versions there
get me wrong, I like Robert Johnson. I just think that especially
are of “Good Morning Little Schoolgirl”. You might start at
the way things are now, beer commercials and such that we have
lets say Ten Years After and then go to Johnny Winters ver-
to be careful with the blues. We don’t want to let it get that way. In
sion, then you may move to Muddy Waters version thinking
a lot of ways we are all better off that it doesn’t get to big, that it
that you’ve gotten to the root…
…only to find that it goes back further. stays a little underground.
How long have you been playing? I agree. The hype machine with way it is now will burn any-
I would say around eighteen years now. thing right to the ground and you in the end will not want to
Who are some of your influences? know anything about it.
I really like Son House. I try to study his stuff when I can. I really I think that you made a great point, that the blues was never that
dig Muddy Waters. I have tons of dobro CDs that I try to learn wildly popular to begin with. Maybe it is meant to be where it is.
from. There were a lot more people playing acoustic stuff back Right. I am a big fan of Stevie Ray Vaughn’s but for a while
then. Frank Hutchinson and Buddy Woods are a couple. after him everybody who played blues started to sound ex-
Do you have any new CDs coming out? actly like him.
Hopefully soon. For a long time I’ve said I am going to do a CD of I think too that nowadays that is where a lot of kids plug into.
all blues, like ten songs all straight blues. I also have quite a back- There is nothing wrong with that, but there is so much more to the
log of songs, a few CDs in me. I guess it’s not a bad problem to blues than Stevie Ray Vaughn and I am sure he would agree. He
have. is a great starting point. From there people need to dig into where
he came from.
Tell me about your gear, I notice that for the most part you
plug your guitar into the P.A. Do you ever use any amplifier? I understand you conducted dobro classes at Club Passim in
I try not to. I usually try to get two mics if I can help it. Cambridge,MA. Do you still do that?
Yes you can check out the website to find the schedule at
I can understand that. The P.A. would flavor the dobro’s
(Continued on page 29)
sound.
12
 (Not) Old Skool: Hip Hop on WUML
by Shaun O’Brien
W UML's hip hop program has been going strong since the
days hip hop first originated. This programing has served
up the careers of underground and local artists who don't make
mainstream radio, thus meaning it keeps it real to the street. With
that in mind, here is how the history started.
Back in the late '90s alumni students such as D-Tension, Mic
Stylz, Lyrical, Vallentino, and non-alumni high school student
Manuel Duarte (a.k.a. Chuco) brought this new format to the ra-
diowaves. In this format they would play hip hop through most of
the show and fifteen minutes before the show ended they would
bust into a freestyle cipha. Since those students graduated the
format fell off, until late 1999 when Jim Tess had a hip hop show
on Sunday nights from 10PM-12AM called Ego Trippin Pt.2.
So, one Sunday a local CEO Raymon R. Burns of Fly Records
called and asked to come promote his company on the air that
night. Jim Tess said, "Sure come on down." During that night Ray-
mond promoted his company on air and as the last fifteen minutes
of the show approached Raymond busted out in a freestyle. While
freestyling Raymond passed the mic to Jim Tess, where he free-
styled as well. As the show ended Raymond asked, "Can I hang
with you as a co-host?" and Jim said sure. Immediately they
clicked and decided to revive the old format of the show, a fifteen
minute freestyle. So the next week rolled around and Raymond
came up with the DJ name “Jimmy Sprinkles”, thus history was
made. Both of them got more involved with the local hip hop
scene and scouted local MCs to come on the show to promote
their music and to freestyle at the end of the show, as well. The
show's reputation grew over the years. Jimmy wanted to help step
up the show a little and bring down a guest that everybody knew.
He eventually got Hot 97 personality and Mixtape award winner
Clinton Sparks. During that show Jim Tess and Jimmy Sprinkles
brought local MCs down to meet, greet, and make connections
13
Hip Hop
with this mixtape king. It was a day to remember, make that two
days because he came back for a second show a month later.
From then on the show has had such big artist as REKS, D-
Tension, Mic Stylz, Invasion, TN, Jump Squad, and Omega Red
come through. The show has also included another co-host GYM
SOCKS, an artist who was inspired by the show Ego Trippin to
attend Umass Lowell to pursue a career in college radio.
It don't stop and it won't quit. Ego Trippin is now a hit. The show
can be heard every Sunday on 91.5 Lowell/Merrimack Valley
9PM-12AM. Out-of-state listeners can listen online at
www.wuml.org. Jimmy Sprinkles' home on the internet is
www.jimmymixtapes.com. To be a guest call (978) 934-4969 on
Sunday between 9PM-12AM or, for a quicker response during the
week, call Jimmy Sprinkles at (978) 902-5238.
Scene Makers: David Cleaves of The Court Yard
by Marc Friedman
Summary of Asset: A bar with food, great music, and
a good size court yard to hang out and drink with your
buddies.
Role: Court Yard booking for original acts
Scene Asset: This is my favorite bar to hang out at.
When you get to this bar and the first thing you notice is
the crowd outside, beers in hand and smiles on the
faces. When inside you might feel a little cramped but
all the memorabilia will ease you. Every night the bar is
open there is live music. On Tuesday there is an open
mic, Wednesday is original acts, ranging from bluegrass to jam bands.
Every Thursday night is McKinnley’s Mood. Friday through Sunday in-
side there are cover bands and outside there are live original acts.
How you got involved: I was not working or living anywhere and one of
the venues my band played at needed some help but had no money so I
offered to help for food. I started running sound at Capos then. I had
never done sound before, I just guessed and through nothing more then
common sense and time I learned how to run sound. I guess I got lucky.
After working there for a while I noticed that when our folk act ended at
10PM on Friday nights the bar would empty out. I am always looking for
ways to make a scene work. I thought of putting in jam bands on after
the folk act for free. It was a great room and bands liked to play there,
so I had no problem getting them. Also, being in a band, I met a lot of
other bands and made friends with them, so I had connections to some
of the bands that played there.
When Capos closed, Evos took over the room. They saw how suc-
cessful I was and asked me to exclusively book that room.
One day I went into the Court Yard, loved the place but it was empty. I
met the owner that night and offered my help. Nothing came of that but
they started coming down to Evos and seeing what I was doing. I guess
they know talent and now here I am working at the Court Yard, too.
Best Experience:
Playing music - Playing "Puff the magic Dragon" on stage with one of
the guys who wrote it, Peter Yarrow (from Peter, Paul, and Mary) and 20
little kids on stage singing along with us. Kids are magical.
Booking - Working with bands that really appreciate what I do... and
almost all of them do. All of the bands I work with are great people, too,
not just great musicians.
Not musically - the birth of my son. Never ever had anything compare to
me catching my son when he was born... first hands to ever touch his
soul. BEAUTIFUL. Love you Cedar.
Favorite scene asset(s): Working with really honest owners. They run
a business like they want everyone there to be there friends.
Advice for anyone who wants to play and what genres you are
looking for: Keep practicing and let go of your preconceived ideas on
what makes it all work. Step out of yourself and see what others see.
DO NOT BE AN ASSHOLE or I'll never work with you.
Genres I look for: Anything, but I use bands that are rock (not heavy or
thrash), jam bands, bluegrass oriented, acoustic bands, jazz, more
regularly then those that are not. I get all sort of requests that do not fit
these genres, so if you do not fit in with my usuals it still doesn’t hurt to
contact with me. All the acts I work with are original, not cover bands.
Best way to contact you: papa@hotdayatthezoo.com
 Rock Don't Panic: Disorder By Design
An Interview by Jennifer K. Faucher Photo by Marc Friedman

D isorder By Design has been

bringing their brand of metal to
the Northern Mass./Southern N.H.
before that, the 8th, will be the retail release date and the radio
release date.
Your last CD came out in 2003. How does the experience of
region for over two years now. Their recording the new CD differ from the 2003 release?
blistering live performances and theat- Steve: That one we kind of did live, though. We kind of recorded it
rical bent have made them one of my in a room all at one time and did vocals later. Maybe touched up a
favorite local bands. I got a chance to couple tracks.
catch up with the band (Nick on vo- Nick: It started out as just something to send to clubs to let them
cals, Derek the bassist, Steve the know what to expect a little bit.
drummer, and their guitarist Mike) Derek: This one, I think, we did. We spent more time on it. The
right before their set at the Reflec- more professional route where we did everything the right way
tions"/LowellRocks.com Battle of the instead of just getting a CD done.
Bands" final rounds. Mike: We've listened to people.
Nick: We didn't settle for anything this time. That was just practice.
Has it always been this lineup? We hadn't known each other for two months when we decided to
Derek: As long as It's been Disorder By Design. cut a quick demo.
How long has it been Disorder By Design? Do you feel the music has changed since then and how so?
Steve: Two or three years now. Nick: Yeah, It's changed. I think It's gone a little heavier. I think
Mike: It"ll be three this Fall. we're leaning more to the heavier side, I think.
Nick: So the official answer to that is we don't know. Steve: To me, with like "She Only" and the acoustic songs.
Who came up with the name and how? Derek: Probably the best way to put it would be: expanded our
Nick: It was all this guy (points to Derek) "cause he's the only horizons. Where before we were straight metal. We've got a little
creative one in the band. more hardcore now and we've also lightened up a little more to-
Derek: Yeah, I just thought of it one day. wards the rock side. We've kind of broadened what we do a little
Did you mean for it to be a contradiction? bit.
Derek: Yes. Mike: We've gotten to know each other's strong points a lot better,
Mike: Organized Chaos. too, and have been able to work off what each other can do the
How would you describe Disorder By Design to someone best. More or less gotten to know each other better and that's
who's never heard you? changed the music style, right there.
Nick: Man, a fuckin’ mess. Your shows are extremely intense and high energy. Do you
Steve: I'm like a fuckin’ mess times two. Yeah, yeah, no. I don't do anything to prepare before going on?
know. That's always been a hard question for Nick: Nothing incriminating. I just lose my
me to answer. People are like, "Who do you “I'm like a fuckin’ mess times fucking mind.
sound like?" and I'm, "I don't know". I'm like, two. Yeah, yeah, no. I don't Derek: You just get into the right mind state.
"Were just like heavy metal, heavy metal for know.” Get ready to do a show.
starters". Yeah, people are going to read like Mike: That's when you go from general public
four minutes into the article and be like, 'so - Steve the Drummer to performer. You flick a little switch in your
do they play folk?" Yeah, It's definitely heavy head somewhere and be what you really
metal. want to be for like forty-five minutes.
Mike: Our producer calls it "Theatrical Metal." Steve: These people all paid to be in here and no one's going to
Nick: Our producer can lick balls. [lots of laughing] stop me if I do it this way.
Can I put that in the interview? Last time I saw you play you had tape all over your body.
Mike: Sure. He"ll love that. How bad does that hurt to take it off?
Nick: Yeah, he will. Nick: Bad enough to make it fun.
What do feel differentiates you from other bands in the area? Do you have any gig horror stories or nightmare shows?
Mike: Lots of hard work. Steve: Three out of five shows are nightmares. Lately we're al-
Steve: Yeah, right. Always trying to surprise people, always trying ways on last or headlining a show. It's not a horrible thing but, for
to bring something different to the table. Either A: That band someone like me, on a Friday we go in and they're like, "You guys
rocked because of what they did or B: That band's fucked up and are on last". It's kind of hard because I've already been up since
I don't know if I want to go back. 5:30 and midnight comes around and I have to go be an animal.
Nick: We leave a mark. Mike's like, "Splash some water on the kid, he's gonna die."
Do you write as a band or individually? Mike: It also gives you a little bit too much time to drink when you
Mike: As a band, for the most part. go on last. Probably, I think, the worst show we've had lately is
Steve: Like one of us will come up with and idea and we"ll work when you guys forgot my pedal and I had to operate manually.
with it somehow. Like Mike will put a guitar line to this and Derek Derek: That's right. And you had to switch your amp from clean to
will put a bass line to this. Nick will have these lyrics and be like, distortion by flicking the switch.
"Mike this is what I'm hearing for guitar." Mike: I couldn't use my feet. That wasn't that good of a show
Mike: We all kind of help write each other's parts. really.
You're in the midst of recording a new CD. How's that going? Nick: My mom comes to all of the shows. We're playing a show up
Mike: Slow, slow. in Manchester in a club we hadn't played before. Wherever I am,
Steve: Agonizingly slow. losing my shit and just doing what I do when I'm up there, I come
Mike: Slow, but good. It's coming out very good. It's taking longer out of it for a second and I see my mom standing on the side of
than what we want, but we think it will be worth it in the end. the stage. She's holding up my cell phone and mouthing some-
When can we expect it? thing. When I got close enough to read her lips she like, "Your
Mike: October 15th is the official release party. And the Tuesday (Continued on page 29)

14
 Kicking Back: A Night with Electric Donkey
by Jillian Locke
Photos from band’s website
J ay and Soop met me out-
side the jam space at
Rock Street. Soop instantly
commented on the eighteen
pack I was carrying. “That's
good. You brought beer.”
They led me into the room
and directed me to the fridge.
I sat on the couch under the nudie posters that covered the wall.
Jay sat across from me.
“Hey Jill, you know that band you have listed on your website?”
“Yeah.”
“They're a huge pile of faggotry.”
And thus began my night with Electric Donkey.
Electric Donkey has been entertaining countless bar hoppers
since 2001, just a stone's throw away from the electric-neon don-
key sign at a local gas station, flashing “It Kicks!”. Formed in the
now-demolished jam space of Mt. Vernon Street, the Donkey
started off as a joke. Little did they know where their drunken ex-
ploits would get them.
Equipped with everything from spoons to a Frost Wave Space
Beam, the Donkey cannot be easily described by one genre. Lee
intensely croons – think Stevie B. and Neil Diamond – while
hunched over his keyboards and synthesizer. Jeff, master of fin-
ger drums and analog synthesizer, adds the hip-hop element. Jay,
the metal kid waiting to explode, adds classic rock and harder
guitar riffs. And last but not least, Soop on bongos: a blur of
hands. The double effort of bongos and synthesizers have the
Donkey producing wild, off-the-wall
chaos during live performances.
The lights were turned low, and the
soft glow of Christmas-in-July lights
illuminated the jam room. Adorned
with an N.W.A. mini-poster, a framed
picture of “The Irish Mickey Ward,”
and a Jack Daniels' mirror, the jam
room reflected the diversity of the
band. The first few notes of the Don-
key's t radem ar k song,
“Ridonkulous”, rang through the air
followed by the classic line, “We are
ridonkulous. Everyone should listen
to us.” Lee's hovering hand moves
over the Frost Wave Space Beam, changing its frequencies. “He
got that from Australia,” Jay adds as he puts on his castanets for
“Dance”. “Let's go man, the sticky shit wears off,” shouts Jay.
“They're cheap little plastic things.” Castanets, for those wonder-
ing, are those little cymbals attached to your fingers and clapped
together.
“Where’d you pick up all those random instruments?” I ask. Jay
laughs and does a quick impersonation of drinking a beer and
smoking, summing up his eclectic musical ability. Actually, I think
that sums up all of the Donkey’s eclectic musical abilities… at the
center a core of beer and smoke surrounded by a typhoon of
party music that slides from old-school freestyle, synths, accordi-
ons, xylophones, and straight-up Muzak. There’s a little some-
thing for everyone in Donkeyland.
Leaning back in his chair, Lee takes a gulp and sings in his
swooning lounge-singer voice, which sounds a lot like Gary New-
man in this particular song. “Dance. Can you feel the commotion?
Dance.” The members of the herd all occupy their own spaces
while rocking out: Lee completely in role; Jay looking like a bob-
ble-head; Soop lost in his own little blurry world in the corner be-
hind his two tom-toms and a third stand-up bongo; Jeff, concen-
trating on the beat and looking like a high class DJ. Once a fluke,
15
Rock
the Donkey has transformed into a beautiful party disaster, touch-
ing on a myriad of influences that have morphed Electric Donkey
into the most popular party band in Lowell.
Numerous breaks are taken during practice, and numerous
brews consumed. Talk turns to the old days and former bands.
“Everyone drops the soap sometime,” adds Jeff. Lee returns with,
“Jeff's a club kid. Put that in the article.” Ah, the constant comic
bantering among the herd. I mean, how can you take yourself
seriously when your practices consist of “No man, there’s four
kazoos, four ‘dance parties, and four ‘whoop-whoops.’”?
“But I thought it went like…” begins Jeff. “Naw, it’s four-four-four,”
Lee confirms and they stumble over the beginning of “Dance
Party U.S.A.”
The herd has an amazing synergy–they start and stop together,
calling each other out on their technical difficulties. That was en-
tirely wrong!” Jay announces after stopping a song. “Tobin, don't
do that shit. Don't stop!” Lee yells at Jay.
A voice calls from the corner. “Hey guys, let's take a break. I'm
getting tired.” Soop leans over his set. With the most physical
instrument of the group, the man with the organic beats requires
time to recover. Soop makes his way over to Jeff’s set-up that
consists of more synths, a drum machine, and lots of buttons and
knobs. Soop turns some knobs and pushes some buttons to try to
make a beat, but something much different comes out. “See, you
gotta take that thing home once in a while. Sleep with it,” Lee in-
structs.
The guys yelling over kazoos and xylophones is a pretty com-
mon sight at an Electric Donkey practice. Aside from Jay's con-
tinually shouting, “this guitar sucks for
this song,” the constant comical ban-
ter and never-ending shit-giving show
the softer, more personal side of the
Donkey. The herd roams the wild and
unpredictable plains of Lowell, paus-
ing here and there to entertain the
groups of countless twenty-
something bar-goers all swarming to
see the Donkey in all their drunken
glory.
“Our first show was on Lee’s
birthday, at the Gaelic. We just got
hammered and played,” Soop proudly
states. To the band, it’s called
“Birthday Blackout”. That was 2001, a year before Electric Donkey
released their self-titled debut. 2003 harkened the release of Ri-
donkulous, featuring the band’s most popular party song, also
titled “Ridonkulous”. This year the Donkey graced audiences with
Donkey Manchild. “Our finest effort to date,” Jay says, smiling
proudly. This latest release drags the listener down a spiral of
early '90s freestyle-synthesized raggedness, creating a time warp
between Love Boat and early '90s Stevie B. freestyle hell. Touch-
ing on everything from caribbean to reggae, hip hop to electro,
some cheesiest-of-the-cheesy '70s soft porn and topped off with a
bit of classic rock and grinding metal, Electric Donkey is about as
hard to categorize as the metal section at Newbury Comics. It is
this element specifically that makes the band so appealing, so
intriguing, and so ridonkulous.
“So how do you think your first interview went?” Soop asked me.
Funny enough, this interview broke both my own and the band’s
interview cherry. “Well, I guess we’ll just have to see what the
tapes say,” pointing to my rolling voice recorder. In summary, the
night was a blur of bongos, beats, and beer. In essence, the daily
fuel and inspiration that drives Electric Donkey. They kick!
www.myspace.com/electricdonkey
16
17
 Rock The Ultimate Triple Threat: Bottoms Up
by Suadiggitti
youre playing in a bigger room, but when youre doing your stuff
and the audience reacts you feel like& you actually feel like youre
part of whats going on as apposed to just spinning a record.
Cover material, after playing it for such a long time, it gets old. Its
like spinning a disk and we are the turntables.
JG: Its pretty cool when we hear someone say they like our new
disk. A bunch of different people have different favorite songs on
this CD, which is cool.
What is the Name of the New CD?
JG: Whisky Down.
How do you handle the guitar dubbing when you play live?
JG: you mean because of the over dubbing and stuff like that?
EJ: We strip it down pretty much bare bones but we try to do all
the key parts of the song. The thing is& we didnt over produce it.
Evan: Jéan recorded the whole CD.
JG: We could have done so many different things during the mix-
ing of this CD, but we didnt. We did a couple two, three part har-

E ighties Rock is dead or is it? Or is this even eighties rock for

that matter? I sat down with the boys of Bottoms Up and got
right down to the bottom of this question. Bottoms Up consists of:
monies, but when we play out live the essentials are there. We
dont use any click tracks or any of that stuff.
I read on your website, This band is what the music scene is
Eddie Jean on guitar and vocals, Jéan Grenier on drums and vo- starving for on all levels, talent, high energy music and a
cals, and Evan on bass and vocals We spoke about what the whole lotta fun. I assume this is the Triple Threat that is used
band has been up to and about Whisky Down, a nine track CD to refer to the band and your music. Care to elaborate?
loaded with nothing but rock. You call it what you want. I say it Evan: The Triple threat is: we are talented, we have experience
rocks. and were good looking. (laughs)
JG: And theres three of us. Can you dig it? (laughs)
How did the band come about?
Eddie Jean [EJ]: it was really just a process of older bands and Is your music an answer to what's missing in music today?
EJ: Wow, thats a heavy one&
them coming together over the years. I was in an original band
Evan: Yeah, without sounding conceited&
with Evan some time ago. Later on we did some covers. I did an
JG: Lately Ive seen a bunch of original bands and they are all
original band with Jéan. I guess we just all seem to be out of a
great. You know, some are better then others, but they all seem to
band at the same time.
sound the same. I mean some of them are great and all, but there
Jéan Grenier [JG]: Actually, we were all drunk at your kids
are a lot of bands sounding the same. Dont get me wrong, they
graduation party.
are good musicians and they do their thing great, but when theyre
EJ: Yeah, thats right it was a pool party. We just were there and
done playing a tune& I mean this CD, Whisky Down, there are a
we started talking about getting something together.
ton of different flavors in there, so many different styles of music.
JG: Yeah, we just said, Let's do something and see what hap-
So its like theres something for everybody.
pens.
EJ: No hooks. They have no hooks in the music. Well, Its totally
EJ: We got together and did 'bout five songs and the next thing
debatable. Some people dont like repetitions hooks in their mate-
we decided that we were gonna do it.
rial but we where shooting for that. We wanted to do some music
Evan: It s not the best of the best its just the best of whats left
that would set inside your memory. Its a preference thing.
over. (laughs)
JG: We could be playing some night with four other bands. The
Bottoms Up. Is there a story behind the name or did it just
four other bands go out and do the same thing and then we come
sound good for the band?
on. We might not be the flavor of the month in terms of whats go-
JG: Its a hat trick. Bottoms Up is a Van Halen tune and we all love
ing on, but were gonna stand out. Now whether its standing out
Van Halen. We figured it was a good name for the clubs, you
'cause they liked us, or because they did not, were gonna stand
know, people drink in clubs and the obvious, girls bums& (laughs).
out.
You guys have been in so many different bands, doing the
Evan: When we where in the beginning stage of this thing Jean
cover and original circuit for twenty years now. Are there any
was saying he wanted to do material that was catchy.
plans on making Bottoms Up an all-original band?
How do you write? Is it a collaboration?
JG: I guess if the money ever poured into it. If there was ever an
EJ: We collaborate. Some times we will throw a lot of parts
offer, you know something to do with us making money, but I dont
around, reform tunes. Some of our songs are whole songs that
see that ever happening.
went through a full transformation and rearrangement. Like Call
Evan: We’ve all done original stuff anyways in the past and we
My Name (track 7 on Whisky Down). We did that tune verse, cho-
never got paid for it. You know it’s just fun to do your own thing
rus, verse chorus, one at a time. Its like well be playing and some
and it’s fun to say hey I got a CD. You do it 'cause you love it,
one says try this chord and it opens up a whole new thing and we
then you go out to play your songs and no one shows up.
run with it from there. Also we tried not to make the songs too
JG: You play for the other bands and their girlfriends ( laughs)
long. Yeah, its definitey a collaboration effort.
Evan: Yup. And a bartender if your lucky. (laughs)
JG: But its still worth doing 'cause its your own thing. You play to How would you categorize you material?
JG: I think that the core of our sound is basically rock but there
five people and still get off on what youre doing just as well as if
are some metal flavors in there and some bluesy type flavors.
you were playing to two hundred.
Someone once asked me what my band sounded like. I told them
Whats it like when you get the chance to play originals as
that its like Godsmack meets old Aerosmith meets Extreme meets
apposed to covers?
musicians of Ratt with the vocal harmonies of the eighties bands
EJ: Its much more gratifying, yeah. Its two different animals. The
(Continued on page 23)
cover stuff is great and all that. The audience reacts to the tunes;

18
 From The Notebook Of One Tired Attendee
A Field Report From The Rockin’ 4 Relief Benefit by Jennifer Mottram
Photos by Marc Friedman
NoMasSoNHa’s publishing deadline was Sunday night at mid-
night. The LowellRocks.com Rockin’ 4 Relief benefit took place all
day Saturday and Sunday. We barely had time to edit finished
stories, but wanted to get you the most up-to-date news. This
event was important. Hurricane Katrina hit Louisiana in the worst
way. We were lucky enough to see it bring out the best in people.
What follows is a raw, unedited account of Jennifer Mottram’s
experience over 31 bands and two days.
Day 1 – 12pm to 12am. Actually, 1:30am and later…
1pm Hollow www.hollowfolk.com
Album: Merry-Go-Round
What an incredible start.
A strong female voice like Bonnie Raitt’s with confidence and to-
the-core honesty.
All lyrics are meaningful -- no fluff at all. What a great thing!
Tight, well constructed lines
A high-ranking scenemaker said, “They f’n rock! They are just
awesome!”
People singing along.
1:45 Mindset-X www.mind-set.net
Baby Mosh Pit!
“Glory Days”
Nice soloing. Strightforward in your face rock, but you can still
understand the powerful lyrics. What got me was where all three
of them joined in on drums and solidly solo'd for five minutes with-
out a hit out of time.
The end song, their most requested,
Pretty Flowers edges into metal with heavy
slamming and a yelling rap shout with
drums and guitar. Heavy double-kick on
drums. Steven says the meaning is under-
stood by those who think about it. It rests
on the idea that pretty flowers and puppies
are for those who refuse to look at the ug-
lier side, the reality of life.
Quote: “Playing music while it's still
daytime is a little rough.”
Why did they do this? To help in any way
they can.
Thing to note: They chose to not sing the
swears in their songs because of the nu-
merous children in the audience.
“Rock on.”
---------------------
The shades were drawn and the air conditioning kicked in. The
stage had just spotlights on the band, but they had no need for
colored lights and flashy anything. Their stage presence capti-
vated those listening.
---------------------
2:30 The Stirr www.thestirr.com
Played competently and hit the 70s favorites – Bad Case of Lov-
ing You / Hard to Handle and then the guitarist's low E string
snapped.
I Drink Alone / Been a Long Time / Roadhouse / ZZTop / Hit Me
With Your Best Shot.
---------------------
Randy pitches for the raffle and lists the fantastic giveaways do-
nated by local businesses. All proceeds from this and the two
days will go to the Red Cross's help for Katrina
---------------------
Agent Starling www.agentstarling.com
19
A 5 guy band
“One Way or Another” -- always the stalker's rhapsody.
Two guitars, bass, drums, vocal who picked up guitar as well
used well and all added to the whole instead of adding unneces-
sary noise.
“Turning Japanese” high energy, these rock harder heavier bass
People were watching the stage. 3 yr old kids running circles on
the floor.
One song barely done and the next hits in full stride
“Wanna put my tender heart in a blender”
U2’s ipod song / What I Like About You / My Own Worst Enemy /
American Idiot
4pm – Runaround Sue
Sundrops www.thesundrops.com
Acoustic on the 2nd stage
The more enjoyable 90s pop rock
Champagne / The Runner / Loser
Talked about Kim Possible which endeared the young girls to
them
Working Stiffs www.workinstiffs.net
donated $30 Marshall's gift cert for raffle
Loud Whine Guitars
Van Halen / You Really Got Me / Middle of the Road in a janis
joplin vocal style
lots of people with beers
ROCK in the USA / Kryptonite / One Way or Another played with
the right sharpness and spot on for guitar
and vocal / I'm the Only One (M Etheridge)
– too much Stevie Nick’s vibrato / Been a
Long Time
5:05pm and I notice their nice background
banner
Sundrops (again! yes!)
2nd stage -- most tables full, I've seen
fewer people at 10pm during Battle of the
Bands
“I'm sorry for the things I do” …solid, accu-
rate
5:30pm People are running out of room to
sit and are standing with their beers
SpitFire www.spitfireband.com
4 people from great bands. “I'm just a girl” - just like original. Hard
to make out lyrics but the sharp voice is perfect. Endings a bit
long for effect
U2 Hello / country music: I Feel Like a Woman / Hey Mickey
laptop is playing keyboard - triggered by drummer?
Loud instrumental sappy love song thing “The Loner” Gary Moore
/ It's My Life
The Dots www.thedotsrock.com
Hey! The Dots are Sundrops under a new name!
American Girl – Tom Petty with a country swing / Me & Julio –
right tone, right vocals. / Hey Hey What Can I Do - Decent job.
Acoustic is good here. Falsetto a little weak.
----------------------
audience started with parents, rockers and their kids. Place is
about half full for dinnertime. 20+ crowd comes in for beers and
good tunes
-----------------------
(Continued on page 24)
 What You Should Know About Home Recording Before You Start
By Steve Friedman of Melville Park Studio, Boston

O ne of my “Ten Commandments of Recording” in last month’s Nomasonha was “Thou Shalt Not Be Thine Own Engineer”. Since
those commandments were originally handed down (er, written) home recording gear has become so much better and so inex-
pensive, that it’s not only possible for low budget home recordings to rival those made in studios, they in fact ought to if the artist
knows what they’re doing, and works at it diligently. Unfortunately, knowing what you’re doing and working at it diligently involves a lot
more than connecting a few wires, plugging in a microphone and hitting record! You have to be seriously into engineering.
Now, I know what you're thinking. As a studio owner, don't I have a major conflict of interest here? Well, just to prove my heart is in the
right place, not only do I recommend every musician record at home, I recently accompanied some clients of mine to a store and
helped them pick out a system. Home recording is a great way to try out ideas, work out arrangements, make rough demos, and pre-
pare for the studio. But it can be a very bad way to make an album.
Before you start down the slippery slope, consider the following:
1. To do the job right, you have to truly enjoy things like watching meters, positioning microphones, tweaking knobs, staring end-
lessly at computer screens, checking connections, flipping switches, reading manuals, testing gear, tracking down problems,
getting stuff repaired, and learning to use all kinds of devices.
2. Despite what the ads say, learning to use recording gear takes a lot of time. It will probably be at least several months before
you're comfortable with it.
3. You have to develop a feel for compression, reverb, EQ and microphone placement. You need to learn how to set levels at
each stage of the audio chain to minimize noise and maximize headroom. You need to understand how your room and your
speakers may be affecting what you hear, and what to do about it.
4. Having to worry simultaneously about what’s going on all around you, and on both sides of the microphones, will definitely
interfere with your ability to concentrate on your performance. Think of it this way; if you have trouble performing in a studio
where someone else is handling the engineering, what makes you think you'll do better when you yourself have to perform
and engineer at the same time?
5. The fact that you can spend as much time recording and editing as you want without paying for it may seem to be a plus with
no downside, but in fact it can sap the discipline you need to deliver a really good performance.
6. Soon "gear lust" will set in. You'll want better microphones, better reverb, better software, a faster computer, better speakers,
etc. Each better thing you buy will expose the limitations of some other piece of gear, so that gear lust will be self-
perpetuating.
7. After a while, stuff will start to break or wear, and maintenance costs will set in.
I could go on, but you get the idea. And this is not theory. I've seen it happen.
Much of the above can be summarized under a basic principle that applies not only to recording, but to every meaningful endeavor.
That is, what it takes to keep something going until it achieves a goal is always much greater than what it takes to start out.
So don't try to be an engineer unless you really want to be an engineer. Otherwise, a studio will likely make your album better, faster,
and cheaper than you ever could yourself. www.melvillepark.com

20
 The Recording Songwriter
Essential Techniques and Tools for Songwriters: Some Rhyming Basics
by Keven Pearce
“Honey put down that flyswatter,
and bring me some ice water…”
- Lyle Lovett, “Flyswatter/Ice Water Blues”
I n the last issue we moved out of the high-tech realm and looked
at some of the basics of song structure. This month we’re going
to continue our low-tech focus and look more closely at a single
element – rhyme. We’re not going to look at rhyme schemes, just
at the sounds of the rhymes themselves and, we’re going to look
at an absolutely, positively, essential songwriter’s tool – The Com-
plete Rhyming Dictionary by Clement Wood. If you already have
one, great, we’ll look at how to get the most out of it. If you don’t,
rush right out and get a copy. Get a sturdy, hardbound edition,
because you will be using it throughout your creative life. Nor-
mally, when I make such a strong suggestion I might say, “You
can believe me now or you can believe me later,” but in this in-
stance I’ll make an exception: If you’re a songwriter, go ahead
and believe me now. Do not wait until later…
If The Complete Rhyming Dictionary or a quality equivalent is
available on CD-ROM I don’t know about it. (If you know of one
please let me know and I’ll advise readers, since a CD-ROM
would be convenient for those of us who do much of our writing
on the computer.) However, I am aware that there are web sites
that offer rhyming dictionaries for use online
[www.analogx.com/contents/download/audio/rhyme.htm has a
downloadable application – Ed.]. Though this could be useful for
some, I see two potential problems with the online sites. First,
you’ll have to have high-speed internet access to make an online
site practical. You’ll be running multiple searches that will yield
sometimes hundreds of possibilities to rhyme with a single word,
so this is a tool that you’ll want handy. Second, I’m not familiar
enough with any of these sites to know which are really complete.
As Samuel Clemens said, “The difference between the right word
and almost the right word is the difference between the horse and
the horsefly.” If you are a songwriter you want exactly the right
word, not an okay substitute, and a comprehensive dictionary is a
must.
“It’s time fer a rhyme but the poet don’t know it.”
– Grandpa Jones, on “Hee Haw”
Let’s go to the heart of rhyme – the actual sounds of the words
that we hear as rhymes – and look at how the unique nature of
song affects it. Understand this: a song lyric is not a poem set to
music, it is a whole different animal. Rhymes in poetry are often
ornamental in nature, whereas a song’s rhymes function to rein-
force the structure, making the song stronger and easier to follow.
We won’t delve into these differences today, but we will look at
how our rhyme choices differ in spoken and sung forms. In a
poem, a perfect or near-perfect rhyme is needed to function
strongly. A song can be much more relaxed in this regard. Let’s
look at an example.
Perfect rhymes: ARF, BARF, SCARF.
Near-perfect rhymes to the above are: CARVE, MARS,
STARCH.
Any of the above will work in most poetic or lyrical situa-
tions.
Now lets look at some examples of less-perfect imperfect And that’s not a complete list. Try it. Say each word aloud:
rhymes: ELVES, SMELLS, SQUELCH, REALM.
“DON’T COACH LOWS MOAN VOGUE COAL.”
Some of us might not hear a rhyme in the following when Some of them “kind of” rhyme, right?
read aloud:
Now sing each word, giving two beats to each word at any tempo:
There’s something in the REALM
21
That really kind of SMELLS
And perhaps most of us wouldn’t hear it in the following:
Let’s la de da da SQUELCH
Those la de da da ELVES
However, the nature of song throws the poetic rules out the win-
dow. What I am about to tell you will revolutionize your songwrit-
ing if you are as yet unaware of it, so pay close attention here.
While perfect or near-perfect rhymes are needed in spoken or
written situations, imperfect – even wildly imperfect – rhymes work
amazingly well in songs.
Why? Because, songs are sung, not spoken. When you have a
melody it is the vowel sounds that sustain the melody. Take a
listen. Say the word “pop” out loud. Now sing “pop.” Chances are
you sustained the sung version at least slightly, as in “pahh… p.”
Notice that the vowel sound (“ahh”) sound got longer as you sung
it, but the consonant sounds (“p”) did not. You cannot lengthen or
sustain the ‘p’ sounds at either end of the word ‘pop.’ Because of
this, you hear imperfect rhyme in songs all the time and your ear
accepts them totally as rhyme. Chances are you won’t even rec-
ognize how imperfect many of them are unless you read them –
not sing them – aloud.
Let’s go back to our original imperfect rhymes, only this time sing
them, sustaining the capitalized words for a second or two:
There’s something in the REALM
That really kind of SMELLS
Let’s la de da da SQUELCH
Those la de da da ELVES
Hear the difference? Even a short sustain causes the above ex-
amples to be heard as a rhymes. A long sustain will cause most
listeners to hear them as if they were perfect rhymes. Let’s try it
again, sustaining the capitalized words for two or three beats at a
moderate tempo. Once more, with feeling:
There’s something in the REA-----LM
That really kind of SME-----LLS
Let’s la de da da SQUE------LCH
Those la de da da E-----LVES
What a hook! Er, okay… at least it rhymes. (Nice job on the vo-
cals, by the way.) Get the picture? There’s no way you’re going to
get “elves” and “squelch” to rhyme in a spoken situation, and yet,
there’s no way it’s not going to rhyme when you sing it.
Now, when you need a rhyme for “don’t,” you’re not limited to
“won’t.” Take a look:
You can rhyme “don’t” with “goat” – or any word that
rhymes with “goat.”
Or, you can rhyme it with “coach” – or any word that
rhymes with “coach.”
Or, you can rhyme it with “lows” – or any word that
rhymes with “lows.”
Or, you can rhyme it with “moan” – or any word that
rhymes with “moan.”
Or, you can rhyme it with “vogue” – or any word that
rhymes with “vogue.”
Or, you can rhyme it with “coal” – or any word that
rhymes with “coal.”
(Continued on page 29)
 SURFPICK: Plectrum Paradise
by Rachel L. Cadran

T here are a multitude of plectrum products with varying price

scales. They all have different gauges, structures, shapes and
forms to make them distinguishable and unique. Some prices
resistance and exertion.
The production process for a Surfpick is completely manual –
each pick is sculpted by hand requiring five separate power tools
appear hard to justify but there are products that prove to be and three hand sanding phases in addition to nine additional
sound investments with a value far beyond their price. stages. The density of the wood makes it dangerous to work with -
special blades are required and it is more inclined to kick back
PLETHORA OF PLECTRUMS
with power tools. The natural oils are visible when first cutting and
A plectrum is a tool and has a dynamic effect on your sound and fully cured wood shavings appear wet to the touch. Assessing
playing, yet they’re often disregarded or considered disposable. quality and authenticity of Lignum Vitae stock takes a skilled eye.
Everyone has individual preferences - the ultimate test is trying Many pieces expose blemishes when they’re cut, and several
different kinds to see how they compliment your playing technique hybrid forms are on the market. The properties are amazing when
and style. It’s easy to sample the more basic picks, as they are made into a finished piece, but it is a very difficult material to work
widely available and reasonably priced. Many hesitate to try more with which deters many craftspeople.
expensive products as they fail to see a direct advantage or gain. Available in gauges from 2mm to 4mm and several popular cuts
With all the money invested in instruments, equipment and - standard, clamshell, tricorner, jazz and bass. You can specify a
strings, it seems nonsensical to choose the cheapest picks. If you rounded or beveled taper for the edges when ordering. The life-
choose the least expensive tools, they are likely to be less dura- span depends on your playing style – they are extremely durable
ble, reliable and dynamic and can be heirloom pieces, but are not indestructible. Strings are
than their higher priced metal and extended harsh strumming, odd angles and high string
counterparts. gauges can take their toll (the Lignum Vitae jazz or bass style cuts
The least expensive plec- or synthetic picks are recommended if you have an unusually
trums vary in shape and aggressive playing style).
gauge and often have ac- Prices range from $15.00 to $100.00+ for single picks and full
companying designs lend- sets. Full sets are available that contain a dozen picks in a variety
ing more commercial and of attractive boxes. Bargains include partially finished items (still
visual appeal. Some of usable, just not cosmetically perfect). Custom orders and requests
these products look great, are welcome, but all orders must be shipped within the U.S. as
but when given a basis of exportation of Lignum Vitae is illegal.
comparison according to
higher quality and usage FOR MORE INFORMATION: www.surfpick.com
standards, many simple
cannot compete. The more expensive picks incorporate more
purposeful structural design and composition, addressing issues
such as ergonomics, tonal quality and resonance.
I could have never imagined considering a $15.00 pick a bargain
until I came across Surfpick’s Lignum Vitae picks. The quality,
material and intensive construction process more than justify the
price. The improvement to playing and tone is in itself priceless.
SURFPICK – CATCH THE WAVE . . .
The grandest plectrum connoisseur cannot deny the superiority of
Surpick’s Lignum Vitae Picks. A stellar product from the Surfpick
Company, Surfpick plectrums raise the standard. The quality,
durability, comfort and tone of the products are unsurpassed.
Handcrafting each piece, they deliver top quality materials, work-
manship and customer service. Surfpicks are complimentary to
both acoustic and electric instruments – enhancing sound and
speed (the smooth surface eliminates the drag that other synthetic
picks can have against the strings).
The Surfpick Company has the support of a wide array of artists,
apparent in the testimonials provided on their site. Many have
recruited Surfpick to produce customized plectrums in addition to
instrument enhancements and modifications. Several musicians
boast the direct acceleration of their playing as a result of utilizing
them.
Lignum Vitae is the strongest wood on earth - the composition is
so dense that it actually sinks in salt water. Hundreds of years ago
it was indispensable – utilized for bearings within massive hydroe-
lectric generators and for fittings on tall ships. Synthetic materials
dominated thereafter, but Lignum Vitae is still in use in many
dams and composes the propeller bearings on modern Naval
ships. The cellular structure of the wood is encapsulated in natural
oils, resisting a finish and providing a beautiful tone and glossy
sheen when polished. It feels as cold and smooth as marble when
finished - comfortable to hold and sliding over the strings with less

22
( Bottoms Up continued from page 18) JG: Yeah, Im pretty much the same thing. I mean Ive tried a lot of
different things, like from other players, but I keep going back to
with a Guns 'n Roses feel. (laughs) same thing.
“Every Time We Touch” (track 8 on Whisky Down) seems to Evan: I feel the same way. Everything off the rack sucks. It seems
have a ton of those influences. Not that thats a bad thing, but that everything is made for some 13 year old beginner. Five
when you are in the creative stages of writing do you find months down the road it falls apart.
that sometimes those influences are too strong in that it Is there a certain track that is dear to you guys? I listen to
forces some changes or do you just go with what you feel? Drink My Poison (track 4) and it seems like theres a story
JG: (laughs) Yeah, Eddie went out and bought that Velvet Re- there.
volver CD and came to us with Every Time We touch and Wasted EJ: Theres no real story behind that tune. Its just a hypothetical
Time and we were like... thats the same song. (laughs) situation. Its about a drug dealer feeling almost bad for victimizing
EJ: It was a very influential CD. Yeah, it was kind of too much. somebody. I just kind of made it into a story. Four chord changes
(laughs) and it just feel together. I think that it is very relatable.
JG: So thats where we take a song and just revamp it. We like JG: On The Inside. I wrote that song before the band got together.
what we came up with in terms of Every Time We Touch and Its a story that relates to my personal life and a situation that oc-
Wasted Time but they are still so close. curred during those times. I guess I wrote the tune out of bottled
EJ: We dont even play them out on the same nights. They were up frustration that was building up for thirteen years. It felt good to
written about four days from each other. Just ended up that way I get those feeling out.
guess. How can the readers get Whisky Down?
Have you ever got on stage and the vibe was different and JG: Come to a gig (laughs). We have some CDs at our shows.
you ended up playing a tune differently and liked it and stuck You can also go to our website www.bottomsupband.net and or-
with the change? der it there.
EJ: Yes. Sometimes a song will shape up better out there. You
get a tune and you have an idea on how its going to go but it goes
a different way.
N M S NH Needs a Sales Rep
O A O A
Evan: After playing a song a dozen, two dozen, four hundred
times it starts to take on changes. You find you’re playing it faster
or you’re playing it slower and you realize, “Oh shit, that sounds
20% Commission
slick (laughs)”, and you stick with it and every one else catches
on. It’s still the same song it’s just got a different flavor to it. I'm
friekman@hotmail.com
sure every band goes through this same thing.
JG: I can guarantee that all those songs, since we started to the
ones we recorded, have gone trough some kind of change... not
drastically, but there are some changes in them. I am already
playing “Call My Name” different cause I found something I
though was cool after it was recorded so I went with that.
When writing, do you some times envision one of your influ-
ences performing the tune as you are creating it? If so who?
EJ: Definitely, definitely. There’s a song we wrote that did not
make the CD. We didn’t even do it. It just sticks in my mind be-
cause there was this George Harrison video I was watching one
night. The next thing I know I got this entire tune, it even sounds
like something he may have written. I like the tune but it’s not for
us. It’s not the kind of tune for Bottoms Up. Different things weigh
in on your interest and carry over as you when you’re doing your
music, some times too much.
What are your choices in instruments?
EJ: I play a Peavey Wolfgang strat and I have a B.C. Rich Im
working on.
Do you play the Peavey for the drop D tuning?
EJ: No, it just has been my main guitar for years now. It’s easy,
nothing complicated about it. It’s got one volume knob and a tog-
gle switch. I can play almost anything.I run a real basic set up. I
plug into a wah paddle into one amp. There’s no channel switch-
ing, I do everything with my volume knob and I play through a Pit
Bull amp.
JG: I play an old 5 pc. Tama Rock Star set. I think its an '89. Its
been the best set for far. Ive played a lot of different sets and I like
this one. I use Sabian cymbals. Jeff Rich sets me up with some
signature sticks.
Evan: I play an old Fender P through a 4 x 10 cab. I came from
the old '70s vibe where if it’s as big as a house it’s gonna sound
good (laughs). You lug two or three of these SVTs around for ten
years... man that was getting old fast.
Does your choice of instrument come by way of an influ-
ences or has it been trial and error?
EJ: They work (laughs). No, I dont play anything because some
one else plays it. I get the sound I want gets the job done. Thats
it.
23
(Continued from page 19) ------------------
10:45pm Dave, the Owner, offers to match donations up to $1000
PCDM ------------------
www.pcdm-band.com
Dipthong www.dipthong.net
!!! Big Daddy will sing because they got everyone to give $150 (to
3rd place winners in the BOTB
the benefit) to get him on stage !!!
Let Me Be / Right to Enslave
Jack and Diane - nice gentle, slam into hard rock. Good rock with
crowd on their feet at the dance floor
good lyrics and harmonies. Originals then covers. They give
new EP – State of Emergency
shouts to Chris and light guys.
I want you to want me / old one by Sweet - Fox on the Run - 11:15pm This Side Up www.thissideupmusic.com
solid performance / I Found Out .. “can I have some water?” the 4th place in the BOTB
lead asks... what, no beer on stage!? / Come Sail Away / Styx – Mosher guys who seriously ROCK! Gave us a new song, only
Too Much Time On My Hands. Awesome. / 25 or 6 to 4 – Chicago played 2x out
- Solid rhythms. They slide from one to the next not even pausing Revelation / I Wish I Could Have Followed You
for the raucous applause that erupted after each song / CD do- 12:25am Disorder by Design www.disorderbydesign.com
nated for raffle Check out the interview elsewhere in this mag!
The Dots Packed the house. Electrical Tape adds to the amazing music.
“Mama I'm sure hard to handle now” / Sweet Home Alabama Blood Enemy – brandy-new CD – release party Oct 15 Bomb
Shelter in Manchester, NH.
---------------
7:20pm I notice there are still people here who arrived during Hol-
-------------------
low's set. Dedicated and they're well rewarded with a great lineup
What time is it? What time did we get here? When do we think
of bands
we’ll get any sleep??
--------------
-------------------
Blister in the Sun – completely whiney and punk and perfect. And
She Ate My Children
they'd just done Skynyrd! So f'n good. Um. No website that I can find. Surprised? Nope, not me. These
D e c a d e n c e guys ROCK.
www.decadencerocks.net Great guitar – psycho high energy
Wendy on lead vocals introduced for 1:17am
Will who had run a shelter in New Voice of a young kid band. After
Orleans working all day for the show, they
He says they need $ to help. They have the energy to play. My god.
have food, they have clothes. They A decent crowd still here, willing to
need to rebuild their lives. … look stay through to listen to these guys
for the interview elsewhere in the close out the night.
mag! … Smoke machine intros ….sleep….
taped-in static voice to set mood.
Heavy Metal 80s Day 2. Sunday. 12pm-9pm
Thanks all the other bands for their Randy – Big Daddy – is so ex-
participation here. hausted and the day’s just started.
Shout at the Devil / Motley Crue / He’s cranked up to 11 and has
Tesla / Cinderella / Skid Row / Lay been for days now.
it Down / Ozzie / Quiet Riot End Result www.morganic.com/endresult.html
“More Cowbell!” shouts the crowd Sang with the All-Stars yesterday
Side stage – was interviewing Will and came back to gentle folk- Southern Rock in a great way
singing. Sorry I missed it! Email me with their name! poetry- Jeremy Lyons played with them. He shone like the sun.
web@comcast.net 3 Hole Punch www.getpunched.net
8:30pm Shuvlhed shuvelhed.com The Immigrant / Jenny / Roadhouse
Thanks Will for the work he's done. People singing along. Set in Decent harmonies. Technically sharp. Guitar twang is great.
jeans, leather vest… 5 guys you definitely want on your side in an Voice a little off for Roadhouse, but how many people mainline
alley. whiskey like J.Morrisson to get that tone?
LowellRocks All-Stars 2:15pm
They set up for the benefit, with one practice. Jeremy Lyons www.deltabilly.com
Ronin (Lloyd) & Wayne Morgan (End Result) & Marc Smith & 2nd stage acoustic. Phenomenal. True New Orleans blues be-
Wendy + Kevin (Decadence) & Jay (Hand To Hand Combat) & cause he’s from New Orleans. Everyone is blown away. Lots of
Wayne (Road to Nowhere) & Alan (SpitFire) & more Robert Johnson. Lots of just amazing work.
Dirty Water / Let it Roll / Back in Black / There's Only One Way to Check for interview in this mag
Rock / You Really Got Me Troll www.trollrock.com
----------------- True hard rock. ‘70s, ‘80s Black Sabbath sound.
more raffle offers. Why can’t I win? I was out interviewing Jeremy Lyons, but the raucous noise from
----------------- inside kept pouring out onto the patio. Walked back in, everyone
said I’d missed a great show.
Milhouse milhouse.rocks.it Gotta catch them at the New England Punk,Goth, Metal Fest!
How on earth did they get a web site from Italy (.it) ? How geeky
And find them after at Samantha’s in Salem NH.
cool.
2nd stage – fun, happy, enjoyable stuff Baked Naked www.bakednaked.net
Party time galore!

24
 Big Daddy!
All the bands and everyone want to hear Big Daddy come up and
rock and enjoy himself and enjoy being in the spotlight and enjoy
being DONE with this whole thing! $5,000 for Red Cross from 2
days of rock and commitment and some fantastic music. And at
9:30pm, it’s time to let it all out and appreciate the hard work
that’s done such a great job.
Kryptonite / Sweet Home Alabama / I Want To Be Sedated
Sweet.
Bed.
Sleep.
Randy, you are a god.

Talk Dirty To Me / Kryptonite / Purple Rain (???? But still,

sounded kool.)
Kept the swears down for the kids’ sakes.
Instruments on target & vocals are great.
The Carl Ayotte Band www.carlayotte.com
2nd stage – with Captain Morgan, really rockin’ cool sound.
Southern Cross songs
Album: “Emotional Baggage Check”
5:15pm tables are full. People standing around the pool tables.
Remedy www.remedyrnr.com
They nail REM’s End of the World.
Metal sound but not scream-fest. Cool classic rock of ‘70s up to
‘90s
Good guitar solos. Vocals great.
I Want You to Want Me / U2’s Desire
Wild Ride
2nd stage - New band, we need to know more about them!
Pop-country, ala Faith Hill. Our Dana’s on drums with them.
Cool sound, wanted to hear more of them.
Ript www.riptrocks.com
I swear, I’m going to be a groupie for them.
Back here at Reflections on Oct 14.
Santa Monica / Sublime - What I Got, said remember that! / Sweet
Emotion / Cold Shot / Jet’s Are You Gonna Be My Girl / Ballroom
Blitz … god, such an awesome job. They are so ON that this is
better than the originals by far.
The Shine
Carmine from Remedy
I would love to know more about The Shine.
Email me. During their set, I was collapsed asleep in the car.
8:15pm
Tons of people here, most hanging out at the pool tables. Place
still buzzing with strong energy. People still offering up money for
the benefit.
SoL PropheT solprophet.com
Rap. Screamed vocals. Powerful.
A line of 10 yr old boys learning how to slamdance.
Declare War / Criminal Mentality
8:45pm
Manifest www.lowellrocks.com/artist_listings.asp?Artist=52
Metal yelling, cupping the mic, muttering and growling.
Crowd surges forward to mosh.
Drummer is sexy in sweat. And he twirls his drumsticks.
I’m smitten.
What a great way to end the night.

25
Reviews CDs Rated 1 to 5
Blues Eddy tremeloed guitar riff from guitarist Doug “The Professor”
Bell. The great horn arrangements are still there and now they
Albert Cummings True To Yourself take on a Henry Mancini like quality echoing everything from Pe-
10 Song CD Blind Pig Records
ter Gunn to surf music to The Green Hornet. In the back Tim
Produced by Jim Gaines Musical Director: Tommy Shannon
“Miles” Long lays down some eerie Farfisa sounding organ lines
Recorded at Wire Recording, Austin TX and Ardent Studios, while “stunt double” Ricardo Monzon adds fantastic congas.
Memphis, TN
“Cuppa Joe” is marked by some nice smooth harmonies. The
By Stuart Sullivan and John Hampton
vocals are the body of the song. From the sedate “Cuppa Joe” we
www.blindpigrecords.com www.albertcummings.com
jump to the crazy feet of “Pull the Plug”. “Prozac” does get into a
Performance: 4 Production: 4 Songwriting: 4 Recommend: YES
bluesy swing with bassist Pete “The Cat” Wood walking along,
This is another great CD from another very talented local artist. zoot suit and chain swinging. Doug Bell plays a short, succinct,
Albert Cummings hails from western Mass. The photo on his CD and very tasty guitar solo. Being a guitarist myself, I would like to
belies the fire that shoots from inside this man. True To Yourself hear a bit more of that. “Yes You Do” is a nice hospel style blues.
is Albert’s second release and contains ten original songs. The The intro is a cool call and response right out of the fields. As I
disc comes out of the gate with the pounding strut of “Man On said this is a seven-piece band. Here is the rest of the band:
Your Mind”. In the first few seconds you can hear a Strat whammy Bruce “Mr. Memphis” Cummings on baritone sax, harmonica, and
being throttled, squeezing out a prelude of what is to come. The vocals; Bob “The Breeze” Holfelder on trombone; and Ross “Hot
guitar comes full on with a Wah drenched solo. Albert wrenches Sauce” Hill on trumpet.
the neck of his guitar, squeezing it until it gives him what he This is the band you want at your party if you want people danc-
needs. The song lets us know that Albert can kick. Next up is the ing until they sweat. The horns and their arrangements really
smooth stepping “We Can Work It out”. The songs play like a stand out. I am not too keen on the recorded sound of the drums
story. First we hear Albert talking about the “man on her mind”, as they sound a little too modern for the style of music but the
next he asks his girl to listen to him and that maybe they can recording is high quality. Good disc from a great band. - James
“work it out”. The song boasts a nice slinky groove with a solo that LeBoeuf
is a bit more subdued but still sharp. “Come Up For Air” is a killer
rocker. The song exemplifies the idea that blues and rock sit in Hip Hop
the same chair. Straight up, and going for the throat, this number Royce Da 5'9 Independents Day
makes you want to get up and move. The set list teeters a bit, Make it Count Records 2005
going from incendiary to shuffling, but it works to give you a 18 Song CD
breather. “Blues Makes Me Feel So Good” drops the machine Production: 4 Songwriting: 5 Performance : 4 Recommend: YES
down into second gear but keeps the RPMs high. Albert never
Royce Da 5'9 is one of the most lyrically talented artists to touch
really lies down all the way. When the time comes, he slaps his a mic since 2000. Independents Day is an independently pushed
guitar around and spills some souls on the floor and the ceiling record from an artist frequently in the limelight. Back burnered for
and the walls. Holding down the beat while Albert flies his guitar a bit, he is still well known and can be signed anytime he wishes.
around the room is Tommy Shannon, formerly of Stevie Ray His talent showed early when he laced tracks with Eminem. As it
Vaughn and Double Trouble, on bass and B.E. “Frosty” Smith happens, Em and Royce had a beef with one another that shook
on drums. Riley Osborne is right there filling in with some sweet them out. On Royce's fourth disc, Death is Certain, Royce came
piano and keyboards. The CD continues to kick out the windows out from behind Eminem and into his own spotlight. This was only
and takes a trip into John Lee Hookers house with the amped up the beginning. While Death is Certain referenced Royce and Em's
“Your Sweet Love”. This is the story of another man laying himself dealings, and quickly grew to be one of his best works to date.
out to a pretty woman. Albert screams out “You must have some
Independents Day takes it higher and is his best work. Royce's
kind of gift babe!” I bet she does. His guitar wails like a man with a lyrical ability lands solidly on incredible tracks like "Looking At My
plan. I do love the band and the music, but the song “Sleep” sits Dog” featuring Yo Gotti where the spoken word flow is calm, on
above as very groovy and moody. It evokes a purple night alone point, beat mastered, with a little switch up here and there in
with your loved ones. Maybe he is whispering to his children. This speed. Creatively spills out on tracks like, "F*ck my Brains
song really adds some depth to the CD by bringing in a much- Out”which features June and Ingrid Smalls and in which all three
needed moment to collect yourself and really enjoy. artists play to completely different flows and outlooks. They take
Do yourself a favor, go out and get this CD, put it into your player the same aspect and different tempos and, after all the individual-
and crank it all the way up. Thanks Albert for reminding us all that ism, they all come together in a masterful ending. This disc sets
the blues can rock. – James LeBoeuf out to let everyone know that, signed or not, if you push hard you
Bellevue Cadillac Prozac Nation can sell some serious records. I think Independents Day is way up
12 Song CD www.bellevuecadillac.com there, a classic in my CD collection. - Shaun O’Brien
Produced by Rob Fraboni Engineered by Todd Wimmill
At Fort Apache and Rear Window Studios
Rock
Performance: 4 Production: 3 Songwriting: 4 Recommend: YES Barefoot Servants Barefoot Servants 2
Bellevue Cadillac is a seven-piece band. That being said, it is 13 Song CD
understandable when I say that their sound is more big band jazz ATOM Records 2005
style than blues. Granted, blues touches all styles of American www.barefootservants.net
Performance: 5 Production: 4 Songwriting: 4.5 Recommend: YES
music and they have blues in them, but their sound is straight out
of the swing era. This is not a bad thing. Eschewing popular current musical trends, ace guitarist and vo-
Prozac Nation opens with “Call of the Wild”, a bopping drum beat calist Jon Butcher, bassist Lee Sklar, guitarist Ben Schultz and
a la Tommy Dorsey from drummer Russell “Hollywood” Wood that drummer Neal Wilkinson stick with what they do best - stripped
gets your feet tapping. Inventively gliding from ominous to joyous, down guitar driven rock laced with tasty leads and lyrical hooks as
the horns (arrangements by Jeff “Be-Bop” Giacomelli) come in like well beautifully crafted acoustic ballads with a story. Butcher al-
smooth wind while vocalist “Gentleman” Joe Brown gets a real ways had a way with words and doesn’t disappoint here, espe-
jazzy scat delivery going. “Hazel Eyes” kicks off with a Duane cially on the striking “Bells of Saint Mary’s” which tells of hope

26
 CDs Rated 1 to 5 Reviews
elicited for the hopeless by the sound of church bells ringing. ears I have ever witnessed: adding texture and global flavors to
Other standout songs include the opener, “Pharaoh’s House”, his overlays. If his infusion of Spanish, Russian, and Middle East-
which is an all out rip roaring rock song about the tough times we ern modal qualities in his embellishments were not enough, his
live in and the ready for radio “Rude Boy”, which could easily be a interpretation was nothing short of masterful. He knew, almost
theme song for any number of fading celebrities with it’s story of intuitively, when to come in, when to lay out; when to drive, and
an aging “me first” bad actor. when to add subtlety. His rich background in rock, folk, and
While you’ll, unfortunately, never hear any of these songs on acoustic pop shined forth and his in-person meekness was quickly
today’s pre-programmed radio (oh, for the days of WBCN pimping surpassed by his technical and artistic wizardry. Flav Martin is
local music), I’d highly suggest running out and finding this CD one to watch. - Darcie-Nicole Wicknick
and adding it to your current play list. There’s no filler on this well
Ron Gill & the Manny Williams Trio Scullers
crafted collection of songs. - Lloyd “Ronin” Corricelli September 22, 2005
Live It was a comfortable crowd for a Wednesday night at Boston’s
Cake City Hall Plaza, Boston best Jazz room. And with the help of locally-accented music
September 10, 2005 maven Ron Gill, the appreciative audience got even more com-
This Saturday was WFNX 101.7's annual free concert, Disorienta- fortable as Gill and his talented tag team traded jabs, jokes and a
tion. And when you put the words “free” and “concert,” together jukebox worth of Jazz classics by Duke Ellington and Billy Stray-
that can mean only one thing — eager rock fans by the bucket- horn. From a gentle “Something to Live For,” a smooth “It Should-
load. I swear, the entire bus I took there was filled with people all n’t Happen to a Dream,” and an expressive (dare I say “colorful”?)
headed for Disorientation. When I finally got there (an irking 40- “Multicolored Blue” to a Basie-d “Greivin’” and a swaying swing
minutes late), the show was already in full swing, tearing up Bos- through “I Ain’t Got Nothin’ but the Blues,” Gill spoke and sparkled
ton City Hall Plaza. Bobbing heads as far as the eye could see, his way through some of Duke and Billy’s best, as well as some
dwarfing the enormous stage. Opening act Finch got the crowd lesser-known gems have come of the WGBH radio host Gill’s
going with their whisper-to-scream energy but they were nothing tireless quest for the best of his genre. And though Gill was un-
compared to the headliner - ’90s geek rockers, Cake. doubtedly the leader of the band, he gave his capable cohorts
As soon as Cake hit the stage, a change came over the crowd. plenty of time to shine. In addition to his long-time pianist Manny
Every ear perked up. Everyone got ready to scream their heads Williams, Gill also took the time to feature the spicy licks (and wit)
off. And they had ample opportunity to between each ironically- of guitarist/comedic straightman John Stein and the efforts of sax
monotoned, strangely danceable song. The band opened with man Phillippe Critittien. No matter who was playing, it was evident
crowd pleaser "Short Skirt/Long Jacket," which set the stage for that the entire band was having fun sharing their musical stories
one upbeat, crowd surf-inspiring song after another. Particular and the crowd just went right along with them. - Matthew S. Rob-
highlights were an all-crowd sing-a-long to the catchy "No Phone" inson
and an encore rendition of "I Will Survive." But however much the
concert rocked, there was one element noticeably missing—
Cake’s much-loved ode to desperate attempts, "The Distance." I
have a believe that many fans (myself included) left feeling like
they’d missed something, but the overall effect was enough to tide
us over. It was a memorable show by a memorable band, and
definitely has me looking forward to who ‘FNX will book for next
year’s Disorientation. - Michelle Kellaway
Flav Martin Club Passim, Cambridge, MA August
25, 2005 (An Acoustic Evening with Al Stewart)
www.flavmartin.com
It is rare to see a musician step onto a stage with someone he
barely knows, let alone someone he’s not played with in the past,
and make it work. But when you have a prodigious talent like
acoustic guitarist Flave Martin facing the task, you can be sure he
will master it. He recently sat in with folk legend Al Stewart, who
invited Flav to accompany him on two songs during his show.
How much rehearsal did they get you wonder? Oh, they just made
it work during sound check… but the audience would never know
it. Martin accented Stewart’s lively performance beautifully, im-
porting his own flavor, even though he was sitting in. Flav Martin
is a virtuoso.
Flav, a Westerly, Rhode Island-based guitarist, composer, and
recording artist, possesses one of the most adaptable musical

NOMASONHA NEEDS YOU!

We are looking for:
• CD Reviewers
• Hip-hop writers
• Classical writers
• Sales Reps
friekman@hotmail.com
27

FREE Musicians’ Classifieds
Nomasonha
c/o Continental Cobbler
6 W. Broadway
Derry, NH 03038
friekman@hotmail.com
Your ad here. Don’t forget area codes with phone #s.
Booking Manager Wanted
Booking manager wanted. Must be active, likes to talk,
and have people/ phone skills. Money based on job
performance. If interested call 978-815-4401 or email
Sswytch@gmail.com
Bassist Available
I'm a 20 year old bass player living in the Boston area
searching for musicians to start a straight ahead blues-
rock band. Some of my influence are Led Zeppelin, The
Rolling Stones, Guns n' Roses, Aerosmith, The
Stooges, and the MC5 to name a few. Things to know
about me:
- Not looking for a metal/tribal/hypnotic type of sound.
- I play a Fender jazz bass out of an Ampeg stack.
- Willing to practice/play pretty much anyday of the
week.
- I've played in many bands playing rock, blues, and
punk for years.
If you're b/w 18-27 email stavystav@gmail.com or call
me at 614-226-7622. My name is Jeff.
Bassist Available
Bassist, vocalist Stacy Bugg is looking for a
cover/original band that is working or near working. I am info@bybloodalone.com or
willing to play bass and sing. I also play drums. (888)
324-1123 stacybugg@yahoo.com www.stacybugg.com
Bass player available for studio work and fill-in gigs. I'm ing for a percussion player who wants to try something
currently keeping busy, but I have time for more. What- new with drum sounds and and a rhythym guitar-
ever the project, I can learn the material quickly.
www.louiespag.com
Bassist Wanted
V.O.C - Victims of Circumstance: Heavy and melodic
Gardner based band of 4 years is looking for a dedi-
cated and skilled Bass Player. We have a practice spot
and a CD. Serious inquires only. Contact Matt 978-
632-2355 matty_callahan@hotmail.com
or Frank 978-297-1561 frank@voc@comcast.net
www.mojopitch.com/voc/main.htm
Vocals, Drums, and Guitar looking for a bass player.
We are looking for someone with good chops, drive,
dedication, some writing and a desire to create great
music . We all have stage and studio experience and
have been playing for many years. Our ages range from
25-30, and are searching for someone between 21-
30ish. Our influences include: Sevendust, Dream Thea-
ter, Machine Head, Nevermore, Alice in Chains, Metal-
lica (Ride the Lightning - Justice years) and Tool just to
name a few. We want to write music that is heavy, with
good grooves, melodic, somewhat dark, and all
wrapped up into a package that is fun for us to play and
will catch peoples attention. We have a rehearsal space
in Manchester, NH and practice 2-3 times a week. If this
sounds like something you’re interested in e-mail me at
nhbassist@comcast.net
www.seventhrising.com/bassist/
Attn: Bass player needed. Must be able to tour! Upcom-
ing tours include east coast, west coast, uk, portugal,
japan, more. We are NOT looking for a for-hire musi-
cian. Style: Rock/Pop/Alternative - Check out some
tunes at http://myspace.com/paulbettencourt. Songs will
be heavier when performed live. Current Members:
Paulo Bettencourt (Flesh, Nuno); Daniel Margasa
(Motor Skills, Zen of Drumming); Michael Gurry (The
Syndicate, Smear)
Please contact us at one of our myspace pages, or
email. www.myspace.com/mgurry
www.myspace.com/paulbettencourt
mgurry@bigfoot.com
Musician Classifieds
are FREE.
(subject to editing for space)
Drummer Wanted
Cutting Room Floor is looking (always) for a progres-
sive Metal Drummer. Should be experienced and crea-
tive. We rehearse in the concord nh are and play struc-
tured original material. Brian for info mar-
shall_peavey@yahoo.com or (603)491-2432
Portland gothic hard-rock band By Blood Alone is seek-
ing a new member to fill the percussion spot. We are
female fronted with heavy guitars, haunting keys and
vocals, and have top-rate material, radio airplay, re-
cording and rehersal space, and active, well connected
promo machine and have recieved many great reviews
in the local press. We seek a mature, responsible team
play with chops and taste for heavy, dark melodic music
with prog-leaning arrangements.
business@bybloodalone.com
The Totally Homeless (an experimental project)is look-
ist.influences:Ween,Butthole Surfers ,Flaming Lips,Pink
Floyd etc.lets bring back some sick psychedelic mu-
sic.Ian 207- 233-1004 ianvercauteren@yahoo.com
Drummer needed immediately for a power pop band
with big connections. Must have own transportation and
be willing to travel throughout New England. Gigging
experience not necessary. Cookie Cutter Girl has 7
songs on 9 compilation CDs, with airplay on over 500
radio stations internationally. Promotional gigs coming
up in Oct. We're live in mojo music studio in NH, broad-
28
casting to 50 stations. We're shooting a live video for
Evolving Artists TV in MA, broadcasting to 12 countries.
I have a PA and rehearsal space in my Augusta, ME
home and will need to ride-share to the gigs with you.
CookieCutterGirl.com gets 10,000 hits per day ... Also
click to SpiritofSunday.com > Jam > Cover Tunes to
see the full cover list. I have the knowledge, experience
and connections to make this project fly! / Lynn Julian
PH: areacode (207) 621-2761
Guitarist Wanted
Preciphist is looking for a new lead guitar player. Must
have chops. randscape2001@yahoo.com
Whiskey Thursday is currently looking for a guitarist
with strong vocals. We are a rock band with influences
from Led Zeppelin, The Who, Jethro Tull, Phish..you get
the idea. We love to experiment with music and have
come up with some cool jams lately. We would like to
get "back on track" ASAP so we can start playing out
again. We currently practice on Monday and Thursday
evenings from 7:00PM to 10:00PM. If you are inter-
ested, please make sure you can practice twice a week
and be available for weekend gigs. We are looking for a
kick-ass guitarist/vocalist/cool-dude/ball-bustin'/rocker,
if this is you, please respond to this e-mail with contact
information so we may get in touch. WT is located in
Central, MA. Brian theband@whiskeythursday.com
(978)-973-1543 www.whiskeythursday.com
Keyboardist Wanted
Attn: Keyboard player needed. Must be able to tour!
Upcoming tours include east coast, west coast, uk,
portugal, japan, more. We are NOT looking for a for-hire
musician.
Style: Rock/Pop/Alternative. Songs will be heavier when
performed live. Current Members: Paulo Bettencourt
(Flesh, Nuno); Daniel Margasa (Motor Skills, Zen of
Drumming); Michael Gurry (The Syndicate, Smear).
Please check out some tunes then contact us: MikeG
mgurry@bigfoot.com www.myspace.com/mgurry or
www.myspace.com/paulbettencourt
Vocalist Wanted
New band forming looking for mean vocal talent and
stage presence. Influences: STP, Tool, Sunny Day Real
Estate... Good sense of melody is key. Only serious
inquiries need reply. All or nothing. Wes (781)-975-0725
gpfresco@msn.com
PRODUCT OR SERVICES
R&B/Hip-Hop/Soul Singer-Songwriter-Producer
Available
R&B/Hip-Hop/Soul Singer-Songwriter-Producer avail-
able for booking & available to write & sing hooks.
www.myspace.com/shaymuse Shay Muse: shay-
muse@solitaryrecords.com
Custom Guitars
Choose the body, color, neck style and all the hardware
to make it run, and we hand assemble it to your specs.
Starting from $700. sales@waveguitars.com
Sound System Rentals
Stunt Music. Price ranges: $150 to $2500 per night, all
size venues. 603-377-0850 or
info@stuntmusic.com. Remote recording packages,
too.
(Lloyd Thayer continued from page 12)
www.clubpassim.org/musicschool/?school=current. I am also go-
ing to be doing a blues history class. When we do the dobro class
it’s like six lessons but the blues history class is going to be no
instruments just talking (laughs). We’ll see how that goes.
You got a handle on that?
Yeah, I think so. I hope so. It is going to be fun. Anytime you talk
to people you can always learn more.
I had a chance to talk to Paul Rishell (NoMaSoNSa May 2005)
and just from the short talk we had I learned a mountains
worth.
Yes he is a good place to start. He will point you off into different “bones” in a rhyming position. The perfect rhymes – moans,
directions. It is up to you to keep going. In the dobro class I have
over the years added in a few peoples names. Tracing the line
from like Charlie Patton and move to Son House and then on to
Robert Johnson, and then right on up to today.
Can a white man play the blues?
Oh Boy! I mean that is a loaded topic. Absolutely. The blues is
about a feeling you have inside. Black people were the first to sing
and play the blues and develop that style as well as many other
styles of music but if you go back you will see that there were
many white performers playing in that style. It is about an emotion.
We might not all have the same emotions because of different
experiences, but we all can talk about pain and loss. That is
probably why this music transcends race. Blues is music about
being human. www.lloydthayer.com
(Disorder continued from page 14)
grandmother's on the phone. She wants to say 'Hi.'". That was the closer examination in a future column. But for now, let’s use it to
first time I had ever felt naked on stage, even when I've been na- fix our “bones” problem. If “bones” doesn’t yield a suitable mate
ked on stage.
Mike: We we're opening up for a national and we were done the
sound check. The soundman's like, "Go", and we start playing the choice” word I find an even richer word than my first choice. Per-
intro to the set and three minutes later we were like, "Where the
fuck is Nick?"
Steve: No one told him we were starting.
Mike: And like ten minutes later he walks on. We had been play-
ing the same riff for like ten minutes. Fans were pissed, falling
asleep like, "These guys suck".
Derek: Mike's getting on the microphone going "Nick! Where are
you?" Come to find out, wasn't he right in front of the stage in a
body bag. He had no idea.
Mike: He had no one to carry him up in the body bag. He was just On the other hand, sometimes you’ll just have to rely on your
lonely.
Nick: Alright. I'll get out of my body bag myself.
Who would you say are your biggest influences?
Mike: Pantera, Chimera.
Steve: Mudvayne
Nick: James Taylor
Mike: He listens to a lot rap and gets a lot of influence there.
Steve: Paul Simon. I was listening to a little Paul Simon earlier.
Nick: The soundtrack to New Jack City.
Steve: I still listen to chunky ass beats and stuff like that. Whoa, I
can actually make something metal come out of a different ver-
sion. If I add a little double bass here, a little snare work here, it
would be a cool metal riff. It's still different. It's changed.
Mike: A lot of Metallica for me. Old Metallica. Derek listens to
punk. He used to play in a punk band. Every influence we could
possibly have. It's out there.
Nick: Everything that I've ever heard that was good that was mu-
sic, I carry with me.
Any famous last words?
Steve: Suck it!
Mike: See you in the pit.
Nick: Turn and punch your neighbor in the face.
Mike: I got nothing else.
Nick: Derek's a pussy. That's my last word.
29
(Recording Songwriter continued from page 21)
“DON’T COACH MOAN VOGUE LOWS COAL.”
Any pair of the above words would be a fine rhyme in a song.
Perhaps your English teacher told you nothing rhymes with
“orange.” Try “forage,” or “mortgage” or any word that rhymes with
either of them. They’ll work if you sing it! I could go on here, but I
think you get the picture.
While the rhyming dictionary is relatively easy for a poet to use, a
songwriter will want to become a power user. For example, let’s
say you’ve got a strong image going that needs to use the word
cones, loans, etc., don’t yield anything satisfactory. Your possibili-
ties will include any single syllable word with a long “o” as a vowel
sound. In addition, multiple-syllable words with a long “o” in the
final syllable are also possible matches – “Merlot,” for example.
This means you might do a dozen or more separate searches to
find all possible matches. You might get lucky and find just the
right word in the first couple of possibilities. If not, you might be in
for a time consuming search. But the good news is this: If you
really need a word to rhyme with “bones” that will fit well in your
song, chances are very good that if you are diligent, you will find
it.
And what if you don’t? Well, there’s another essential song-
writer’s tools that can help, and you might as well get it when you
get your Complete Rhyming Dictionary – it’s The Roget’s Thesau-
rus of English Words and Phrases – 1,405 glorious pages of syno-
nyms, antonyms and related words smartly indexed for easy ac-
cess. The thesaurus is a powerful songwriter’s tool that warrants
for its rhyme, go to your thesaurus and search for a suitable syno-
nym. Often I find that when I am forced to search for a “second
haps in your search you’ll find “ashes” to be a substitute that you
like even better than “bones.” So now you go back to your rhym-
ing dictionary and see if you can find a suitable rhyme for “ashes.”
Yes, you’ll work much harder at crafting your songs if you’ve got
the proper tools and the skills, discipline, and perseverance to use
them. But, you will find that you’ll create better songs, and you
won’t come as often to “dead ends” that prevent the successful
completion of songs because you’re stuck for the right word or
phrase.
creative instincts. I could find no rhyme for “flyswatter” in The
Complete Rhyming Dictionary. Hmm…
Keven’s web site – TheSingerSongwriterStudio.com – has lots of
helpful info for songwriters and recording engineers.
Businesses
You can have this
1/8 page ad space
for only $65
 Reflections Lounge is the largest
sports bar in Northern Massachusetts
with 22 TV's, three of them are 10ft
Jumbo screens. We have 10 satalites
so you can get all the sports action
here. We have a Full Menu and we are
available for private parties from 20 to
200 guests. Every Friday and Saturday
night see all the best local bands here
at Reflections.

Upcoming Shows
10-1 Ghetto Fabulous
10-2 NFL Ticket w/ free half time buffet
10-6 Milhouse for thirsty Thurs
10-7 Time Warp
10-8 Change Of Season, Q, Hostile Witness, Offset
10-9 NFL Ticket w/free halftime buffet
10-13 The Incident
10-14 Ript
10-15 Apathetic Q, Porter, Dipthong, Exhale,
10-16 Nfl Ticket w/ free half time buffet
10-20 Milhouse
10-21 Mongrel, 48 Rooms, Marazine, Skulltabogan,
10-22 Kage, Fight the Nothing, Memory Box, Inhale
10-23 Nfl Ticket w/ free half time buffet
10-27 The Incident
10-28 Electric Donkey, The Jellyfund
10-29 Ghetto Fabulous
10-30 NFL Ticket w/free halftime buffet
ww.reflectionslounge.com - Booking at Reflections: Scott: (978) 490-8393

2 Young Road
Londonderry, NH 03053
888.6TUPELO
603-437-5100

30
NoMaSoNHa Hits Alaska!

Photo of Collin "Bally" Duggan taken by James LeBoeuf’s brother.

31
 Businesses
You can have this
Full Back page ad space
for only $400
Bands
You can have this
Full Back page ad space
for only $225
Please Help Keep
NoMasoNha In Print

32