Solas is an Irish-American supergroup that, for an all-acoustic band, plays with amazing volume. It's mostly an instrumental outfit, which is what motivated stellar-voiced former lead singer Karan Casey to go out on her own. She simply wanted to sing more. Her classic album is The Winds Begin To Sing.

The folk records we're receiving these days show a real trend toward soft, slow, and often sad music. And though Casey is arguably at her best when singing snappy dance rhythms, on her new disc, Distant Shore, the pace is decidedly unhurried. It works quite well for Casey (though I do hope the music community, in general, picks up the tempo next time out).

Here's my take on the state of Karan Casey's art, from a brief record review which appeared in the Boston Globe:

Jess Tardy studied at perhaps the best high school jazz program in Maine*  and later drew critical acclaim for her work with the Harvard University Jazz Band. But she calls herself a singer-songwriter; and the consistently fine material on her debut album, Waiting for You, bears her out. Her voice is most reminiscent of Bonnie Raitt, with an occasional nod to Melissa Etheridge. Tardy's singing style also brings Raitt to mind. But there's a touch, too, of a male classic-rocker, Maine's Bill Chinnock.

Tardy's delivery ranges from breezy to bold, but she doesn't shout. Rather, she relies on the traditional virtues of nuance and timing. She sings in the loose rhythms of rock's early years, and with particularly good effect on her own great "Safe and Sound" about a love interest who fears commitment:

Coproducer, guitarist, and songwriter Noam Weinstein is another act to watch. His "Love Is Right Here,"  "9:30," and especially "Ships Crashing" are standouts. Tardy is a confident singer, and advance word is that she and her rhythm 'n' jazz band get a bit grittier on stage. Jess Tardy plays a residency at the Kendall Café on Sundays in February.

* Before heading off to Harvard, Jess Tardy was "an award-winning vocalist with the Nokomis Jazz Ensemble and Jazz Choir." - Bangor Daily News,  April 24, 2002

Waltham (the band) reminds me of high school. In a good way! Daydreaming about boys, driving in cars, going to parties, having the boy you like like you back . . .  The record release party on March 28 at The Paradise was a true celebration. The wildly supportive audience was eating out of Frank Pino's hand from the minute the back-lit Waltham sign began pulsating. I personally haven't seen any other local band that has crew who come out onto the stage to rev up the crowd  -  but Waltham did. Getting that crowd going was easy, and the audience didn't stop  -  even when the band was done.

Waltham's songs tell stories that you can relate to with driving beats and fully powered power chords. Everything on Permission to Build, their debut release, rocks. And makes me think of mid-eighties radio. Big, loud guitars, strong, beautiful vocals, and catchy songs that you want to sing along with. My two new favorite songs are "All I Want Is You" and "Cheryl". Check out the low-budget video for "All I Want Is You" on the group's website  -  www.walthamtheband.com. Both songs grabbed me so hard, I can't stop singing them. "Say It Again" has such an emotional ache  -  another of my new favorites.

If you have the good fortune of seeing Waltham live, go for it. It is a rock show you need to see. This CD keeps me smiling. Go put it on in the car, roll down the windows, and start driving around.

The two bands that opened were Elcodrive (who I missed completely, sorry) and Cracktorch. Cracktorch was great! I need to see that band again  -  soon.

JoEllen

Northampton, Mass. -- Saturday at Rick's Bar and Grille [in Bellows Falls, Vermont] will be a night of firsts. The folks at Fort Apache (Boston's legendary recording studio turned management firm which recently relocated to BF) will begin their quest to bring some rock to Rockingham Street with its first ever area concert promotion. Those who have heard and seen the headlining Stone Coyotes know that the trio's lead singer/guitar-slinger Barbara Keith, is the "First Lady Of Rock" (the title of an autobiographical track on their Born To Howl cd). Backed by hubby Doug Tibbles on drums and son John on bass, Keith writes superbly-crafted gems, channels Bo Diddley on her BC Rich guitar, and exudes a cool, unflappable stage presence that evokes a trace of Chrissie Hynde and a dash of the late Joey Ramone. Rick's will be the group's first foray into the Green Mountain State.

The Stone Coyotes' bio is a fascinating study of artistic bravado. A few years ago, they traded the glitz of LA and lure of big Major Label bucks (Keith returned her six figure advance while Doug ceased writing for popular TV shows like Bewitched, Andy Griffith, The Munsters, and Love American Style) to go underground, subsequently moving to the media mecca that is Greenfield, Mass. to start a band. Four indie records later, the Coyotes have generated a grassroots buzz far and wide by virtue of their live act and some radio airplay, gaining pockets of popularity in Texas, Cleveland, Pittsburgh, Salt Lake City, Anchorage, and all along route 91 South.

I asked the First Lady, who doubles as her own press secretary, about the band's growth. "We have had time over these last years to hone our craft, work on our golf swing, practice free throws, benefit from watching videos of past shows," explained Keith. "We used to be much more cloistered artists, rarely emerging from the cellar to blink startled into the bright stage lights."

On stage, the Stone Coyotes concoct a hip-shakin', headbobbing brew that transcends its many diverse roots. Their performance last Saturday at Harry's in Northampton included covers of Dolly Parton and Motorhead  -  which delighted the cross-generation melange of tie-dyed graybeards (many of whom were frenetically dancing) and a faction of decidedly younger, multi-pierced hipsters.*

Other Harrys' highlights included "Plain American Girl," the centerpiece of last year's Ride Away From the World cd  -  a galloping rocker, full of images of fallen soldiers, the Mohawk Trail, Indian maidens and toiling farmers. It had me wondering if perhaps Keith had studied history. "Nope  -  English major," she replied. "But literature helped give me appreciation for art through the ages  -  even if I'm a little shaky on chronology. So it's a hodgepodge of everything from Horace to Emily Dickinson to Pantera, but I just love whatever rings true . . . I love the loneliness inherent in the tremendous sweep of time  -  and I like lyrics that enhance that distance, that removal from the exact dates of our own existence, and at the same time acknowledge the kinship with those who lived centuries ago."

Most of the other songs were a bit less less esoteric, many simply extolling the virtues of living in the here and now. "Our goal is to play like children in the powerful waves of rock and roll . . . and entertain at the same time," explained Keith. "I like how Roger Staubach once described what it was like being quarterback for the Dallas Cowboys  -  'in a state of relaxed aggression.'"

The Stone Coyotes revel in that tough-yet-cool vibe. And, if they keep it up, they may just become the First Family of Rock.

Boston's own beloved Muck and the Mires ripped open their set with the All Mucked Up album track "With a Little Twist". It was interesting to see that it was Muck and the Mires who wore matching outfits and Chelsea (i.e. Beatle) boots* and whose gear included Rickenbacker guitar and Vox AC 30s. The combo covered a wide gamut of emotions and styles from the poppy "She's an Angel" to the ominous "Caught in a Lie" to garage gems like "Doreen". "Doreen" showed off drummer Linda's primordial power. "I'm Down with That" highlighted a cool bass line. Brian sang lead on the Honeycomb's "Have I the Right" and played blazing leads throughout. Brian, please bring back your swoon-inducing version of the Swinging Blue Jeans "Nobody But Me"!

Band members looked splendid in their matching red shirts (check their website!). Lead singer, Rickenbacker slinger, Evan looked fantabulous in his black shades that made him look like an alien insect posing as an Italian film director. Besides "Have I the Right", other brilliantly chosen and performed covers were Michael and the Messengers' "Just Like Romeo and Juliet" and Richard and the Young Lions' "Open Up Your Door" (both on Nuggets box set number one) featuring primal screams by Evan! Muck and the Mires kicked off a night of rock 'n' roll magic that I will never forget.

Not long after nine, the Rock Engine blasted into the Spencer Davis Group good-time anthem of lust, "Gimme Some Lovin'." Mike Smith swaggered dramatically onstage looking like the quintessential English rocker  -  tall, thin, dressed in black, with beautiful bone structure, slicked back hair, long sideburns, blinding smile, a look of joie de vivre in his eyes. I can imagine him in his local (neighborhood pub) with a fag (cigarette) in one hand and a pint (of ale) in the other, chatting up the birds (hitting on the girls) and regaling his mates with possibly raunchy tales. Or this is the Nancy Neon vision. (In actuality, he's happily married and living in Spain.)

Pre-British Invasion territory included "I Hear You Knocking," "The Girl Can't Help It," "Lawdy Miss Clawdy," and "Ready Willing and Able." My complaint with the show was two covers that I could have lived happily without  -  Bob Seeger's "Old Time Rock 'n' Roll" and Bruce Springsteen's "Hungry Heart." I understand that Smith digs the sentiment in the former song, and the latter is a tribute of sorts to his friend, Stevie Van Zandt.

As for the Rock Engine, the band was tight and professional without being slick or formulaic. The sax/harp player was brilliant. The guitar and bass players were basic, but strong, never underplaying or overplaying. The weak link in the chain in my opinion, which was shared by my two companions, was the drummer whose pedestrian style lacked that needed Dave Clark machine gun/snare cracking style.

I would have loved to have seen Smith play a vintage Vox Continental . . . I would have lost my mind! Yet Mike Smith made the Roland keyboard work well because it delivered the jet fueled Little Richard/Jerry Lee Lewis pounding rock 'n' roll piano sound as well as the more garagey combo organ stylings of the British Invasion hits. Smith and company covered many of the hits  -  "Over and Over", "Catch Us If You Can" (always a fave), "Can't You See That She's Mine (another fave). Swoon territory was covered meltingly with "Come Home" and "Because" which he dedicated to the enthusiastic crowd of avid, joyous fans. "19 Days", an original that comes off with the soul of a blues standard, was hot. "Try Too Hard", an elegant but still rocking arrangement, had some of the crowd dancing in the aisles. The band kept the celebratory mood going, blasting out twenty crowd pleasers ranging from the 50s oriented goodtime numbers from the songbooks of Little Richard, Chuck Berry, Elvis Presley, Fats Domino, etc. to a more sophisticated song, a collaboration with Manfred Mann's Mike D'Abo called "Free as a Bird" (from 1976, not The Beatles song) and a new, unrecorded ballad that was especially heartfelt, "I Didn't Really Know You."

The show seemed to end too soon. Yet Smith returned to share even more of his incredible vocals, amazing and versatile keyboard playing, and a charisma that was unmatched. "Glad All Over" described the jubilant mood of both the performer and the audience. On "Bits and Pieces", I and three other enraptured fans played tambourine. "Anyway You Want It" kept the energy level surging right 'til the end. Mike Smith breathed fire into my sixties' dream and caused me to experience a glimpse of heaven right here in Massachusetts.

As for the venue, the Regent Theatre, everything was totally polished and professional. The venue was gorgeous, the sound was great, and I was impressed by the welcoming, helpful employees. I talked to Leland who does some work with Chuck White and there are lots of exciting events planned including the Rockin' Ramrods and Orpheus. (Someone pinch me!)

Mike Smith's Bits and Pieces Site:
www.geocities.com/SunsetStrip/theater/9169/index2.html

www.muckandthemires.com

* Years ago a Kingston Trio reunion was filmed for a PBS fundraiser. It was the last thing I saw of the great Dave Guard. Not much later, he died of cancer. Kingston Trio superfan Lindsey Buckingham of Fleetwood Mac made special note of the fact that he was the only person on stage who actually was dressed like a member of the Kingston Trio. Nancy's notice of Muck and the Mires brings that to mind.

Nancy's review also brings to mind Brett Milano's Mike Smith notice in this week's Boston Phoenix, in which he had this to say about Muck and the Mires:  "[T]heir brand of '60s-styled Britpop is so spirited and true to form that most of Evan Shore's songs sound like long-lost covers."

Alan Lewis

Northampton, Mass.  -  Lori McKenna is an atypical working mom, whose occupation is generally thought to be better suited to a more unfettered, Bohemian lifestyle. She writes and sings for a living.

I asked the native of Stoughton, Mass, via e-mail, about being a young mother of four in the music biz. "It may be a bit more unusual for a touring singer-songwriter to have kids  -  but in comparison to the zillions of moms out there who have careers  -  I think I have the best of both worlds," said McKenna. "It also seems like plenty of artists have children. Maybe what's a little unusual is that I had all my children, escept my youngest, before I had even thought of, or begun, this crazy career. I had my first child, Brian, when I was 19, and I didn't even start playing out anywhere until I was around 28."

Despite the enormous demands of child rearing, the unpretentious McKenna  -  who will be appearing tonight at Oona's  -  quickly found an audience in and around Boston, which may be the most saturated, competitive marked for a budding singer-songwriter. Between feedings and school send-offs, McKenna found time to craft her introspective and spiritually probing songs. In less time than it takes to go from kindergarten to third grade, she self-released her debut record (Paper Wings and Halo of which she sold over 9,000 copies from the Internet and stage), landed in The Boston Globe's top 10, appeared at The Lillith Fair and Newport Folk festivals, won the Boston Music Award for Outstanding New Contemporary Folk Act and shared stages with the likes of Shawn Colvin, John Mayer, Dar Williams, and Richard Thompson.

Signature Sounds picked up her impressive sophomore effort, Pieces of Me, and another studio record [Bittertown] is in the works for early next year. McKenna is also planning to make available through her Web site a new CD called Kitchen Tapes.

"I recorded it myself on a minidisc at my kitchen table in a little over an hour. There was never an intention of making an album, only documenting new material (this was back in early 2001). They're just a bunch of songs I put down just as they were finished. It's just the three of us  -  me, the guitar and the song."

That stripped-down approach works well for McKenna, whose twang-laced voice has been compared to Nanci Griffith, Alison Krauss and Natalie Maines of the Dixie Chicks. But she professes a taste for music that might surprise fans of her brand of acoustic roots country.

"I like the most recent Coldplay record a lot. I saw them in concert last summer, which was pretty fantastic," said McKenna. "In a weird way I think I've been influenced as much by some of James Taylor's songs as Green Day's Dookie. Both faves of mine!"

Kitchen Tapes includes a Radiohead cover, while McKenna has been known to include her interpretation of the Cure's "Just Like Heaven" in concert.

But perhaps her biggest musical influence is much closer to home. "I followed in my brother Richard's footsteps and took up guitar and songwriting," explained McKenna, the youngest of six siblings. "He was the original inspiration for it all . . . the one who told me to go and try to write a song. He gave me my Martin D-16 after the first open mic I did. He introduced me to the music of James Taylor, Carole King and Neil Young, not to mention a hundred others. He sat and listened to every bad song I wrote."

Did her husband, a plumber by trade, weigh in on any of those songs?

"Everyone here at home pretty much stands back and lets me do my thing. I wouldn't give my husband advice on installing a sink."

You know how new U2 records don't sound like U2, but they do? This is what the new five song EP by Wheat is like. It doesn't sound like "Hope & Adams," but it's Wheat. They cheered up. Not that they were a "sad" band, but just a little meloncholy. Now they're happy, and a little bouncy. I was a little surprised at first. Must be the new label. Or they're just so psyched with life.

The songwriting is still wonderful, insightful and makes you wish they could find a really good girlfriend. A lot of the distorted guitar is gone, as is the frequent wall of sound, and psychedelic influences aren't as strongly felt. But the essence of despair is still there "I Met a Girl" and "Don't I Hold You" brought old memories up for me, and I love it when a song can do that. Even through the upbeat tempos, these aren't happy songs. "Closer to Mercury (naked version)" is the peppiest of the bunch, but the subject is still that person who has no appreciation of all of the hard work a relationship is.

I was a little disappointed at first listen to "Too Much Time." But upon listening again I was drawn in. Those extra little sound effects and noises are still there  -  just not as prominent as in earlier releases. And the lyrics came through stronger  -  yes, the sadness is still there. But it's a we're-all-in-the-same-boat sadness that I enjoy embracing.

JoEllen, New England Music Scrapbook News #4, March 15, 2003

Rocking this hard on a Tuesday night should be illegal. I'm sure those of us who were there are having a tough morning at the office (if you have to sit in an office, that is). The caffeine is working fine now. I'm afraid of what I'll be like at 3:00pm.

Kranksquad is a 3-bass onslaught of funny, funny anthems whose themes come from their friends and inside jokes. The band wants you to be part of the joke, and that's all the fun. One of the funniest songs is "Robbie Davis"  -  named after a friend of theirs that can't join the band because he doesn't play bass. And Robbie is right there in the audience! Rocking away with many of their Waltham friends to his song.

www.kranksquad.com

[munk] blew me away completely. Electronica, rap, rock  -  and just so cool. Not a musical style I usually gravitate towards, but the live experience is overwhelmingly satisfying. Now I know why the door charge was so much  -  again, for a Tuesday night. Being a Nine Inch Nails fan, I was sucked right into [munk]'s style and energy. After reading on his website  -  www.waxboy.com  -  that his show can include a multi-media presentation, I hope to be able to view the whole spectacle. I can't imagine the performance getting more intense and better then it was. New CD Severed will be out soon.

www.waxboy.com

Voodoo Screw Machine is an homage to glam rock/metal from the 70's. Neil has way too much fun trying on the different personas he creates to sing each song. Complete with stacked Kiss-style boots, face paint, several costume changes, smoke machine and blood (for the Alice Cooper tribute) VSM goes so far over the top that you have no idea where you are. I was laughing so hard. And the music is great. You can't be a parody/tribute band without excellent musicians  -  just ask The Upper Crust and Rock Bottom.

www.voodooscrewmachine.com

JoEllen,  New England Music Scrapbook News #4,  March 15, 2003