A Club Bohemia editorial
by Joe Viglione
We're building a New England Rock & Roll magazine with the Club Bohemia newsletter. Reviews, videos, photos and the Club Bohemia Calendar
Shows this week:
Thursday, March 21
Tysk Tysk Task, Bill Dwyer, Ken Selcer with Roberta Lamb,
Linda Marks with Woody Carpinella
Friday March 22
Max Ridley's Basement Players, Sound Down the Cellar
Fifth Business, Melt
Saturday March 23
MAR23
The Deep State, TV Shirt, The Melatonins, and Blame Shifters
https://www.facebook.com/events/1296236960518229/
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Louder Than Milk
https://youtu.be/y6FcLE5WbZ0
TMRZoo picked up my Why Mott the Hoople Matters article.
April 9, 2019 at the Orpheum Theater
http://www.tmrzoo.com/2019/73443/why-mott-the-hoople-matters
We are very grateful that we've reached over 4700 people in the past month. Club Bohemia is BACK in a big way. (written last night, 10/16/19)
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UPDATE 10:40 am
Look at our numbers and how they have spiked since 32 this morning (around 8:30 am or so, I forget!) to 272 at 10:40 am
4,955 hits, almost 5,000 views for the past month!
10:40 am
Pageviews yesterday
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123
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Pageviews last month
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4,955
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Pageviews all time history
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228,324
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Pageviews today
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272
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earlier Sunday morning
Pageviews yesterday
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123
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Pageviews last month
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4,715
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Pageviews all time history
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228,084
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Pageviews today
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32 since 8 pm Saturday night
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So here are a couple of photos snapped at the club on Saturday  
Encore at Club Bohemia Saturday 3-16-19
__________________________________  MELT RETURN TO CLUB BOHEMIA HERE'S A REVIEW FROM 5 YEARS ago Melt LIVE at Club Bohemia April 18, 2014Performing March 22, 2019  Melt took the stage at 10:21 pm opening with “Spiral” – something distinctly different after the Boney-M styled dance pop of the previous act, Dan Oulette. This was pure new wave ave in the new millennium – think The Rolling Stones “Sway” played backwards, solid and powerful with a great audience response. 10:30 PM the band went into “Leopard” – with a Kinks/Paul Revere & The Raiders chord-riff the drums, bass and guitar providing a frontal assault for Kyte’s vocals – think Jefferson Airplane’s Grace Slick meets Susan Boyle. Concise and smart hard pop with elegant guitar lines even sharper in the cement-floor confines of Club Bohemia. Kyte holds the notes extra high and long with drummer Ben Thompson pounding away a la David McLean of Boston’s legendary Boom Boom band. At 10:34 came “No Shame” followed by “Quarter To 3” (not the 1961 song by Gary “U.S.” Bonds). “Supersonic” – track 5 from the band’s Armageddon Party CD was more boom boom sounds, and splashy quasi-psychedelic guitar grooving from Dan Inzana. Some of the foundation sounds borrowed from the Bob Ezrin production of Alice Cooper’s Killer lp. “Supersonic…histrionic…I don’t know which way to go.” Maybe a bit of the New York Dolls “Frankenstein” in there to boot. “Bradford” followed at 10:46 PM, and the group dedicated it to the Boston scene’s fallen solider, Anderson Lyn Mar. The heartfelt vocal glided perfectly over liquid guitar. Melt is a perfect name for the music, a great Fender sound that cuts through the hard-hitting rhythm section. A lovely cover of Portishead’s Glory Box changed the pace at 10:51 PM. Picture Marilyn Manson’s “The Dope Show” put in a dreamier state. “Grind”, the eighth song of the evening at 10:55 PM had a sort of Tommy James “I Think We’re Alone Now” undercurrent, nuts and bolts no-nonsense rock. “Babble On” featured a repeating guitar strum line over a bit of jass fusion. The title track, Armageddon Party” (see video below from another show) was a cosmic assault, a bit more in your face than the CD rendition with “Draggin’ closing out the evning at 11:06, a bit of the Ramones’ “Blitzkrieg Bop” but tightly packed in the vacuum container with more Kinks/Paul Revere & Raiders power added to it. A solid night and a revelation as this is one of Boston’s best kept musical secrets. This they achieved at Club Bohemia on a Friday night in April http://www.tmrzoo.com/2014/61222/melt-live-club-bohemia-april-18-2014  |
6 days ago - Asa Brebner, a lion of the Boston music scene who found particular fame in the '
Asa Brebner, a lion of the Boston music scene, is dead at 65. “I was 20 years old when Jonathan Richman walked into the health food store I was working...
Mott the Hoople article on TMRZoo
http://www.tmrzoo.com/2019/73443/why-mott-the-hoople-matters?fbclid=IwAR02Q6BLOZu859hEBMh-DVGmMVcEj9u59H9JfSymj9RmOKKLb7MovGSt5T0
Newly Painted and Redecorated Club Bohemia
Photos by Joe V. http://www.joeviglione.com
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Mott the Hoople article on TMRZoo
http://www.tmrzoo.com/2019/73443/why-mott-the-hoople-matters?fbclid=IwAR02Q6BLOZu859hEBMh-DVGmMVcEj9u59H9JfSymj9RmOKKLb7MovGSt5T0
Newly Painted and Redecorated Club Bohemia
Photos by Joe V. http://www.joeviglione.com
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THE RINGS
The Rings, 1981 MCA Records review by Joe Viglione AllMusic Review by Joe Viglione [-] on www.club-bohemia.com
The self-titled debut album from The Rings had everything going for it: great production by the band, management by New England promotion guy Al Perry, putting them in the same envious position held by the Cars, representation by a guy who knew all the right radio people, and excellent songwriting by everyone in the group. Comparisons to the Cars are obvious, but Michael Baker shared the limelight with bassist Bob Gifford and lead guitarist Mark Sutton. Maybe the problem with selling the group was their lack of image. The album cover, a pink hula hoop descending on a swimming pool, may not have been as exciting as the rings of Saturn, and the photos of drummer Matt Thurber and the rest of the group are so plain that they mislead.
The band is closer to Devo in style, but the Rings' eclectic pop was far more commercial. From the sounds of the last track "Third Generation" and its psychedelic Harry Belafonte riff, to the magnetism of the first track, "Opposites Attract," this band had everything going for it. "I Need Strange" is the quintessential anthem for men on the prowl; "Got My Wish" is a stunner, a pop tune that pulls you into its space; and "Watch You Break" is just tremendous with infectious music and lyrics. Was it MCA that couldn't deliver superstardom for these guys? Or was it just bad luck that made for only two major-label releases and no national spotlight?
They had a local following, and from the basic rock & roll of "My Kinda Girl" -- almost an answer to the Real Kids "All Kinda Girls" -- to "Who's She Dancing With," the Rings pretty much cover the musical spectrum of rock without doing a ballad. "I Need Strange" is the Cars doing an up-tempo "Moving in Stereo" -- just terrific. There's not a bad track on this album and it is such a shame that they came and went like a great web page you try to save, but it's gone before you know it. https://www.allmusic.com/album/the-rings-mw0000843842
AllMusic Review by Joe Viglione [-]
https://www.allmusic.com/album/rhythm-method-mw0000839205
With a better image on the back cover photo than the
pictures in the previous album -- and a dreadful front cover drawing by
Larry Blamire -- the wonderful Rings lean more toward Roxy Music meets Herman's Hermits
on their second album released the same year as their first. "Uh Oh
(Here I Go Again)" is a very clever sequel to "Let Me Go," their minor
hit from the first LP, and sounding nothing like the first disc. The
progression on this album is amazing considering how quickly it followed
on the heels of the self-titled debut. "Take the Chance" is Split Enz meets the Ventures,
these guys mop riffs right and left, but they key is, they know where
to lift, and when. More cohesive than albums released in the same time
period by the Atlantics on ABC, Willie Alexander also on MCA, Robin Lane on Warner Bros., Private Lighting on A&M, and the Nervous Eaters on Elektra, the Rings
have the benefit of their own production skills, their fate squarely in
their own hands. They overcame the production curse that imploded all
the aforementioned groups' efforts, but, despite that plus, this superb
music just never caught on. Michael Baker's "Talk Back" equals his work on the first album, but nothing here achieved the regional airplay in New England like the Rings'
debut. This project is crisp, the vocals are on target, and the band
captured something at the Record Plant in New York which many of their
peers could not -- the performance of their live energy to the studio
recordings. "Love's Not Safe" is quirky pop that works, and the title
track truly experimental, but the material is not as explosive as their
brilliant debut. Still, it's top-shelf stuff. The Rhythm Method and the
previous outing, The Rings, would make a nice retrospective combined on
one CD. Innovative music that somehow escaped attention.
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http://www.tmrzoo.com/2019/73443/why-mott-the-hoople-matters?fbclid=IwAR02Q6BLOZu859hEBMh-DVGmMVcEj9u59H9JfSymj9RmOKKLb7MovGSt5T0
