Blues artist Bob Petrocelli can mend bitter hearts with blunt songs

Written by Conrad Javier

Bob Petrocelli has a blunt style of music; it can help mend a bitter heart on a rainy day, and a happy heart in a sunny day. All in one, “Six Feet of Fun” makes one get up and remember the day when they saw the most beautiful woman they have ever seen. When Petrocelli brings his blues background in “Lady With a Plan,” we can hear his heart drench with anxiety and fear that a his woman has a plan. His guitar riffs are precise and promising in his album; in fact, we can see who Petrocelli is as a musician in “Gulf Coast Blues” and “Threw My Love Away”: blunt, straight to the point.

Conrad Javier: Every artist can recall a time of hardship in their music career; when was yours and what did you learn from your experience?

Bob Petrocelli: When I was 25 years old I was sharing a house with two other people and working in a touring show band.  Simultaneously I was fired from the band and lost both roommates.  I returned from the road trip and had to sell most of my equipment,  wound up scrounging for food, and ultimately had to take a day job to survive.  I lost the road gig because I didn’t want to do choreography while playing.  I thought I was a “serious” musician, above that kind of stuff.  There was a lot to be learned from this, such as the need for planning, knowing what you’re getting into and what’s expected of you; limiting your exposure to risk as much as possible.  In retrospect, that experience may have made me overcautious.  As a result, I think I missed a lot of opportunities over the years.

Javier: Since you are a more seasoned artist who is in tune with himself, what would you tell a young musician who is just starting his music career?

Petrocelli: I think the thing I would say is know exactly what you want to achieve and then develop plans to make that happen.  Don’t get discouraged by rejection.  Many great artists had trouble getting signed to record deals.  Today we have the internet.  There are constantly expanding online opportunities.  These days an artist can have much greater control over how his/her career progresses.  Don’t give up.

Javier: You have a really nice voice and remind me of Elvis Presley just a tad bit. Would you say you can relate to Elvis?

Petrocelli: Wow. I’m very flattered to be compared to Elvis. My girlfriend says I sound like Mick Jagger.  I can definitely relate to Elvis. I was a little kid when rock & roll first hit and I remember all the commotion surrounding him.  I’ve been very influenced by the very first wave of rockers from the ’50s.  I’m really still a little self-conscious about my vocals. I’ve been a guitarist my whole life and just started seeing myself as a singer and songwriter. Thank you.

Javier: What is your ultimate goal as an artist, and how would you be able to attain your goal?

Petrocelli: My ultimate goal is to continue writing and be able to release a CD of new material every year to two years and develop enough of a fan base to tour to support these releases.  Since this is my first release under my own name after years as a sideman I’m starting from the ground up.  So far I’m getting some airplay in Europe (Netherlands, Belgium, France, Italy) and a feature on the syndicated “Blues Deluxe” program in the US.  I don’t think this is bad for a self-released CD only out a month.  I’m working on booking some festivals for next year as well as some local New York City gigs. One of the next things I would like to achieve is getting some booking assistance.  That would make things a lot easier.

Javier: As a fan of your music, would you do a world tour?

Petrocelli: I certainly would like to tour anywhere where my music might be appreciated.  A world tour would be great, but I think the immediate target would be the European market where I seem to be getting some interest at present.

http://www.bobpetrocelli.com

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Side F/X plays with ‘Contradictions’ on seductively rocking new album

Written by Kit Burns

Side F/X can never be called predictable. On their new album, Contradictions, the band effortlessly shifts gears, from Motels-styled early ’80s New Wave (“Scattered”) to blues rock (“Her Escape”) to country (“Life’s Mystery”). Through it all lead singer Kim Cameron, who also wrote these songs, seduces us with her soulful tones. Contradictions doesn’t sound like an independent release at all. It’s a polished, professionally executed affair with top-flight guitar work, especially the searing riffs on “Won’t Break Down,” and hypnotically throbbing bass lines, as on the funky “My Hero.”

Kit Burns: Side F/X’s eclectic genre-shifting is not something I usually hear from rock groups coming out of Washington, D.C. How has the reception been in D.C. thus far?

Kim Cameron: D.C. is a confluence of different nationalities, cultures, and therefore, music. My co-writer and I have taken advantage of those diversifications and styles into our approach. So far, we have been lucky.  Everyone has taken a liking to the variety – especially women.  That was the general approach of the album, to make sure the listener did not get bored.  Our general philosophy was [that] people like a lot of different sounds, genres – so why not produce something with a little magic in each song?

Burns: There are too few women on rock radio these days. What challenges do you feel you face as a woman leading a rock group?

Cameron: The biggest challenge I have come across is appearance.  When you tell people you are a part of a rock band, they expect to hear a raspy/screeching voice on the mic. People are always trying to box women into a hardcore look or sound in the rock world – but to me, you can be feminine and sound feminine without losing the rock spirit. I believe it is important get the industry to take notice of music that has something to say, not necessarily who, or which, gender says it. It is in this spirit that we created Contradictions.

Burns: Is there a hidden meaning behind the album title Contradictions?

Cameron: Absolutely!  Actually, the entire album has many hidden meanings. Contradictions represents a clash between sounds and lyrical content. “Never Forget” is a song about a cancer victim that I know personally and was impacted by, but the vibe in the song is actually quite cheerful. To me, we all face challenges each day, but it’s up to us to see the positive to keep our spirit alive, hence the ‘contradiction.’ If you look at the album cover, you will notice vines wrapping around myself and my lead guitar player.  As you unfold the cover, you will see two birds.  While the birds start off together, as you unfold the cover, the birds fly away, and one of the birds carries away with it a broken heart. Similar to the album artwork, Contradictions also represents my personal growth – growth as a person, growth as a songwriter, growth as a woman, growth as a singer. The true contradiction, is, what you see is not always what you get. Inside all of us are some hidden talents that are often overlooked.

Burns: You co-wrote the lyrics on Contradictions. How do you find the process of a songwriting collaboration? Is it easier, or harder, than penning the words on your own.

Cameron: Having a journalism degree, I am not only accustomed to being edited, but find the process invaluable. Anytime you can place two people, and sometimes three on a project, you will always gain a better experience and song in the process.  Since these songs are all about personal life experiences, I would be lying if I said the editing process was not challenging because it can feel like someone is taking apart your soul, but in the end, if you can explain your story in a way that makes sense to others, that is really the objective.

Burns: How long have Side F/X been around? What is the story behind the group?

Cameron: Side F/X started out as a basement concept with two of my very close friends, who happen to be brothers. One ended up as a co-writer on over half of the songs. We would get together; play music for their extremely large family gatherings for a couple of years until last year, when we decided to make ourselves ‘official.’ Part of the decision was based on the creation of the original works (Contradictions), which began on April 2007. It took us several months, but I think we are right where we should be, a very diverse mix of musicians from two Iranian transplants to a D.C. native who has fought hard to rise above a very poor and drug-infested neighborhood to an information technology professional. What I have found is the more eclectic the backgrounds, the more inspirational the sound. All musicians bring their background to the sound; they cannot help it. 

http://www.sidefxband.net

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Caldwell Shine releases “intoxicating mixture of folk, jazz, blues, and classic rock”

Reviewed by Kit Burns

Caldwell Shine/Which Way Is Mine

There is a sense of liberation that you feel while experiencing the music of Caldwell Shine. His intoxicating mixture of folk, jazz, blues, and classic rock leaves you with the same cool air of transcendence and freedom as the best jam bands. However, Shine doesn’t lead a jam act; rather than let their hair down and spontaneously gel, Shine seems to be probing lyrically and having his fellow musicians follow him on his internal quest. Such intellectual pursuits was once the trademark of Pink Floyd, which Shine does echo here like on “In This Sound” and “Sweet Mother Earth.” However, Shine has a more physical relationship with the groove; whereas Pink Floyd often remained in chilly English reserve mode, Shine can get downright funky while making us think, as on the former.

Which Way Is Mine is not a pop record. Rather, it’s a full-on feast of an LP, rich with layers of sonic texture and mood. “Funny Thing” is about as close as Shine gets to pop with its sultry, danceable bass lines. It’s probably the only cut that can be taken out of context and enjoyed by itself. Most of the record is best savored in a long haul, wherein you can spend hours savoring and digesting the craftsmanship that Shine has provided it with.

http://www.caldwellshine.com

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LambBone’s ‘Wild Man’ is a wildly eclectic brew of jazz, funk, and blues

Reviewed by Kit Burns

LambBone/Wild Man

You can almost compare LambBone, otherwise known as John Lamb, to Ben Folds. The piano-based rock is a dead giveaway to one of Lamb’s major influences, not to mention some of the caustic lyrics, such as those found on “News.” But while Folds is often tightly knit with his alternative roots, Lamb knows no boundaries, shuffling the deck with pinches of jazz, Latin music, funk, psychedelia, and blues. LambBone is so eclectic that a new term needs to be defined for music that crosses borders in such a schizophrenic fashion. Surprisingly, LambBone’s stylistic derring-do is not confusing at all; this isn’t the mad creativity of Frank Zappa on the loose but rather a gifted, versatile musician utilizing all of his strengths.

At times, especially on the title track, “One of the These Nights,” and “Cleveland Blues,” Lamb recalls Joe Jackson in his late ’70s-early ’80s prime. While the tracks don’t have the kinetic energy of Jackson’s vintage bile, Lamb’s voice is reminiscent of Jackson’s in his more mellow moments. Jackson, too, was a rock & roll iconoclast, leaping from genre to genre with every succeeding album. Lamb takes it a step further, doing all of that on the same record. “Be My Girl” has a soft, jazzy foundation while the satirical “Lawyer” would make Randy Newman proud with its pointed wit.

http://www.lambbone.com

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The MCP provide entry way into an ‘adventurous way of life’

Reviewed by Sabrina Tinsay

The MCP Band/Above the Waterline

The MCP Band is a natural, capturing an adventurous view of life, the band and keeps their audience listening. In the song titled “Won’t Let Go,” the inviting guitar solo opens the door for many to dive into
a wine of rock and blues. One may find him or herself swaying back and forth, kicking up their old town boots to dance the night away with MCP’s “E Funk.” In the song titled “Centerville,” it is apparent that MCP’s raw talent is uniquely clever: “In a refuge we call sleep…it seems that we were solid.” What a wonderful way to start the weekend filled adventure; surely listen to the MCP Band’s righteous tunes.

http://mcpband.com

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Paul Ford takes bluesy approach to Americana on ‘The Moon’

Reviewed by Kit Burns

Paul Ford/The Moon

Singer/songwriter Paul Ford takes a more bluesy approach to Americana. Although the country affections are still felt, especially on “Dark Chocolate,” Ford is more rock than twang as on “The Recipe,” the title track, and “Every Time,” which leans closer to alternative, actually. What Ford is doing here is a throwback to the days when the blues played an integral part in rock & roll. Producer Mike Hellebusch smartly avoids the pop polish that often stains singer/songwriter albums these days. There’s a rawness to these tunes, like on “What They Want,” that captures the urgency and streetwise pulse of real rock.

Ford has surrounded himself with a large number of guest musicians that provide these tracks with an added kick. The CD is laced with saxophones, trumpets, French horns, trombones, violins, and strings that display greater ambition on the part of Ford and Hellebusch. Ford isn’t alone in riding the retro-rock road; however, many of his peers usually take a more conservative approach, keeping everything stripped down. Furthermore, Ford writes exceptionally well; “If I Were Superman” and the moody “Isolation” convey heartfelt sentiments with genuine tenderness and no saccharine fluff.

http://cdbaby.com/cd/paulford

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Canada’s utterly unique Tig Wired pays tribute to workers in the industrial field

Interview by Kit Burns

Don’t blame Canada for Nickelback.

The country has a long tradition of influential cutting-edge greatness, from Leonard Cohen to Rush. You can include Tig Wired among Canada’s unique properties, an amalgam of alternative rock, country, blues, and jazz that shouldn’t make sense at all. Tig Wired’s new album, Ne Obliviscaris, is a homage to the blue collar working class. Colin and Chris Campbell provide insight on one of the most original projects in the music scene.

Kit Burns: Your album, Ne Obliviscaris, carries the theme of songs for blue-collar workers in industrial areas such as welders and riggers. What was the inspiration behind this?

Chris Campbell: The inspiration came from working in the industrial arena for the last 25 years; there are a ton of people who work this lifestyle and no one ever gave them a mention, so I figured it was about time someone expressed what life on the road can be like. Being blessed with having a musician in the family, it was an easy step to take the idea to my brother and have him get involved. Lets face it: welders weld, fitters fit, riggers rig, and music pros make the music. I tried to get the gist of the workplace and feel of the temperment of the workers across to Colin, and he made it work. The name Ne Obliviscaris comes from the Campbell Clan motto which means never forget or forget not, which is a very appropriate saying in the business of working in the trades on a lot of levels. You spend weeks on end working 12 hours or more, seven days a week until the job is done, away from home and family, it can be a rough haul on peoples relationships and the Tig Wired CD reflects some of the things we all go through because of the job we do. The tunes speak across a number of trades – boilermakers, pipe fitters, millwrights, iron workers, scaffolders, brickies, tin bashers etc…even engineers. All these people are involved in making a project work and be successful. There are a lot of dynamics that go down on the job due to money and time constraints; the environment is very rarely a friendly one to work in. Lots of times the heat, gasses, and dusts create difficult situations. The stress of the job and the unwinding from a job all create a surreal life when the end of your day ends up in a camp housing for everyone. Let’s face it: it is a cauldron for mixing things up. The CD is meant to reflect on the good, the bad and the ugly of the trade.

Burns: Stylistically, the album is fairly eclectic. How did you match the sounds with the lyrical content? Did the music come first?

Colin Campbell: I’d say both approaches took place. Initially Chris generated pages of lyrics about his perceptions and experiences in the industry over the past 20 or so years. He had some general ideas about what type of feel or style certain lyrics could fit with – like hurtin’ blues or country rock or whatever. I filtered the lyrics through my head, got a main idea or concept to run with then re-shaped, added, deleted and ultimately wrote more lyrics with the idea of making them fit a musical structure. With other tunes I had a musical idea or hook in my head that I thought could develop into a good groove or set of changes. I purposely moved the ‘musical styles’ all over the place in an attempt to connect with as many of the people in the workplace as possible. If you like country, funk, blues, rock, reggae, jazz, you’ll hopefully find something to suit your musical palate on the CD. This approach might make the CD harder to promote since it doesn’t lend itself to compartmentalization or packaging where you could say for instance that this is a collection of 14 blues tunes or 14 R&B selections. On the other hand a lot of people don’t want a CD with the same genre of music from start to finish.

Burns: Is Tig Wired a band or a project?

Colin: Project. Again, I’d say its both. It was a concept of Chris’ which led to a project, which led to the utilization of some local musicians/friends/fellow band members of mine to air out some of my ideas in live and studio settings, which led right back to the further development of the project. At the moment Tig Wired isn’t performing but if we were presented with the opportunity to play a series of gigs the ‘band’ would get together in a hurry.

Burns: Where does the name come from?

Chris: TIG is a form of welding on the upper end of the technique scale, and I felt Tig Wired would be a name easily recognized by the people we are getting the message out to.

Burns: You’re based in Canada. How has the album been received locally?

Chris: Locally, now there’s a concept. I guess because the idea behind the Tig Wired project is aimed at such a wide variety of people (age, trade, locations where they live, jobs they are working at etc..) that local exposure really would mean exposure to the trades people out there in the shops, refineries, power plants and pulp mills. I’ve packed the CD along with me to shutdowns/turnarounds and am selling them to the people whom I work with. Needless to say, the reception is great as it relates so well to those people who are also on the road working. Sales across Canada are OK and also there have been requests to send the CD abroad to places like Japan, Australia, Europe, and Arabia where there seems to be a decent reception to it. Some of the Union Halls have helped out by selling the CD for us.

The music scene has not really picked up on the project at this point but it has received good exposure from the work force such as Union newsletters throughout North America, from several of the trades. A couple of the tunes do speak of the need to work safe and smart and it’s been good to see the Unions and contracting companies willing to use the safety message offered as a way of reaching workers from ‘outside of the box’ mentality. We have also had construction companies purchase the CD as a recognition or safety award to give out to their employees, something different than a hat or a mug. So locally speaking the reception to the audience it is aimed for is good. We have been getting radio play from the college / university stations as well as CBC and public radio like CKUA in Alberta. It’s good to see the support offered to independent recording from these venues.

http://www.tigwired.com

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Joy Adler’s ‘Postcards’ is emotionally uplifting, radiant

Reviewed by Kyrby Raine

Joy Adler/Postcards

Give Joy Adler credit for not trying to sound like any of the other female singer/songwriters out there. Her voice, soaring and radiant, flows like a waterfall. Throughout Postcards, I found myself simply mesmerized by her singing; it wasn’t until after I listened to the album more times did I even pay attention to her words. Her vocals alone were the hook. On “Prayer” and “Your Love Is Everything,” Adler seems inspired by a divine force; there is an otherworldly, almost ethereal, quality to her singing on those tracks that is quite magical.

Adler’s versatility is also impressive. The opening cut, “By Your Side,” is a lovely country rocker with enough jangling guitars to cross over into the Americana circuit. “Prayer” and a remake of the Cult’s “She Sells Sanctuary” feature sizzling blues licks while “Feels Good” touches upon funk and jazz as Adler’s voice is more sultry than ever. This is a fairly emotionally uplifting album, even when the lyrics deal with love lost. That’s mainly because of Adler’s high spirits beaming through the grooves.

http://joyadler.com

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Blues rocker John Garr drinks alone but parties hard on ’331′

Reviewed by Kit Burns

John Garr/331

John Garr probably doesn’t ring a bell. And please don’t mistake him for John Parr, the cheese rocker who had a mid-’80s hit singing the theme song for St. Elmo’s Fire. Who is he, then? Garr is a baby-boomer bluesman with a creative range that reaches into the ’50s and stretches into the ’80s heyday of the AOR format. However, don’t call this retro. First of all, Garr’s lyrical subject matter isn’t defined by a particular decade. “Leave Me Alone Blues,” for example, is a timeless ode to drunken isolation wherein Garr doesn’t want anybody seeing him cry in his beer. But Garr isn’t moping; he’s simply unleashing his devils inside as his band joins the sad-sack party with explosive sax, muscular drumming, and jumpy piano.

Secondly, Garr doesn’t fall into a single category. Free from any record-label restrictions, Garr is able to strut whatever sweet tooth he has buried within from the light reggae of “I Love You Baby” to the pop jazz of “What About Love” to the rockabilly of “Failure to Communicate” to the downtrodden blues of “I Get It From You.” What the – ? Indeed, Garr has more ideas in his brain than most artists that are supposedly at the peak of youthful fertility. Save me a beer, man.

http://www.johngarr.com

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