D. Smith - Groping For Luna, Vol. 1

With the overwhelming amount of music we acquire on a weekly basis. It's become nearly impossible to gain a sense of intimacy with an album the way I used to.
That was until 'Groping For Luna' showed up in my mailbox.

On perhaps one of 2014's most surprising, out of nowhere releases of the year. D. Smith (Known to many as Dan Smith of Shirk Circus/The 65's)
gifts us sixteen songs that  give the singer songwriter bit a healthy kick in the gut.

'Groping for Luna Vol. 1' puts excellent songwriting, as well as a knack for storytelling in the spotlight. Each song shares a raw, honest and unflinching quality that is both haunting and real. It's hard to imagine songs that have this sense of darkness can also feel so beautiful and eloquent.

 From the muscular rock of Worst Case Scenario to the more restrained, folky
The Ballad of Squeaky Fromme. Smith approaches each song with enough grit, honesty and sin to earn the respect of anyone with  a soul to put on display. There were moments here where I felt Smith was channeling the great Bob Mould.  That somehow, there was a lost Husker Du album waiting to surface. From start to finish Groping for Luna felt like a record worthy of a sequel. Here is a record that makes me recall the days when an album, not just a song, but an entire album stuck with you and made for a conversation starter.
Not to be missed or overlooked. With the beginning of Al Crisafulli's Sugarblast Music..This very well might be the last we here from his long time label Dromedary Records for a while.
If that's the case. Dromedary may have left us with it's best release to date.
James Damion

Dromedary Records  Get it Here
Sugarblast Music  Also check out

D. Smith's Video for the Single "Fait Accompli"

Man of mystery D. Smith has just posted an incredibly moving video for the song "Fait Accompli. Available on ShitHouse Records. The track features Bobby Diamond on drums. "Fait Accompli" was at Kenny Lacatena's Homebrew Studios. You can download the album Here.

Part II of my Interview with Speed the Plough's Cindi Merklee

When I first approached Cindi about doing an interview for the blog. It wasn't to promote an album or a tour. It wasn't to talk about an anniversary of a landmark release or a tell all book detailing ones sorted past. My agenda, if you want to call it that, was to get to know one of the more intriguing people I've met since the blogs inception. Through co creating this blog I've been given the opportunity to reach out to many of the people who inspire me with their music, stories and overall spirit. Something an introvert like myself would never be able to do otherwise.

Part II of our interview revolves around a conversation we had while Cindi paid a visit to my makeshift photo studio to participate in a ongoing project I had started with local musicians. 
Though that short session produced a few memorable images. It was the laid back bull session that served as the foundation for this interview. Thanks to Cindi for opening the door for me. James Damion

James: I attended my first Record Store Day event this year and say I overdid it would be a monumental understatement. One thing I came across made me think of you. It was the Folk Music Box set. Being that Folk is perhaps the one genre that continues to evade my taste in music. I'm curious to know what it is that draws you to it. Was there a particular artist or person that influenced your appreciation for the genre?

Cindi: There’s a great quote credited to Woodie Guthrie: “Any fool can make something complicated. It takes a genius to keep it simple.” That’s a broad statement but there is a good amount of truth in it, and it isn’t exclusive to folk music - look at The Ramones.
In that sense I feel that folk & punk are not-so-distant cousins. With that said, I still laugh my ass off at "A Mighty Wind". Every genre has their stereotypes as well as their gems. What draws me to music of any genre is the honesty in songwriting. If a song or artist comes across as trite or contrived, trying to fit in a marketable genre - that’s when I lose interest. That whole Monsters of Folk nonsense? No thanks. Connor Oberst could turn his back on music and become an insurance salesman tomorrow and it wouldn’t phase me.
Then you look at someone like Vashti Bunyan who released a hauntingly beautiful yet poorly received album back in 1970 (Just Another Diamond Day) only to slip in to obscurity for thirty years before more or less being “re-discovered”. This is a recent discovery & current fixation of mine. She somehow effortlessly blends worldly sophistication and childlike innocence in her writing and vocal style. That’s where I’m at right now. Tomorrow’s fixation may be the latest Throwing Muses release. It’s whatever hits me at the moment.

Photo Credit: Don Sternecker

As for my introduction to folk - that would be Woody & Arlo Guthrie. I don’t know about these days but back when I was in grade school we began each day with the Pledge of Allegiance followed by an edited round of “This Land Is Your Land” which politely omitted the verse that speaks out against private property.  As musical as my family was, folk music was not heard much primarily due to the communist witch hunt perpetrated by Senator Joseph McCarthy beginning back in the1940s. My father was a WWII Navy Veteran and despite his musical leanings and other admirable qualities, he didn’t appreciate criticism of the American government which is prevalent in folk music. Democracy is predicated on dissenting views yet the wave of McCarthyism managed to equate dissent with sedition - something this country is still struggling to understand and correct.

Despite this, my oldest brother was very much a product of his generation and gave me a copy of One Night by Arlo Guthrie when I was still in the single digits.
“The Story of Reuben Clamso” used to crack me up, and it still does. It’s story telling at its best. There’s a great cover of The Beatles’ “I’ve Just Seen A Face” on there as well and the album closes with a beautiful take on Ed McCurdy’s “Last Night I Had the Strangest Dream” which I’ve covered when performing solo acoustic.

James: We had a great conversation about our mutual appreciation for the Replacements. What was your introduction to the band. Anything particular that helped earn your love for the band?

Cindi: It was 1989 and Tom Petty was touring in support of Full Moon Fever. I was in my sophomore year in high school and listening to a lot of what was popular at the time
(Motley Crue, Def Leppard, Dokken, etc). I wanted to see Petty though and
The Replacements happened to be the opening act on that tour. My brothers were overjoyed by this coincidence and promptly gave me a stack of their Replacements records, a blank tape and a list of song suggestions. I went back to my room and put on Hootenanny first because I liked the cover art. At first listen though I just didn’t get it. Clearly these guys didn’t take themselves too seriously, if at all. It hit me like a joke I wasn’t “in” on. Next I went to Tim and skipped to “Bastards of Young” because I was intrigued by the title. I was blown away buy the gut-wrenching honesty of it.
There was no posturing, no gimmick, no schtick. Westerberg’s vocals drip simultaneously with defiance and despair. You can’t fake that. I was hooked, and I’ve been ever since.

James: Have you heard about the reunion shows and are you planning on hopping a plane, train or rickshaw?

Cindi: I have! And I’m glad they’re having fun with it as well as helping out Slim. I’m funny when it comes to reunions though. While I was late to the party with them - only discovering them with Don’t Tell A Soul - I did have the chance to see them at The Ritz and at Rutgers back to back nights on that last tour in the early 90s. I love those memories and I’m happy to hold those as my remembrance of that band. I encourage anyone who doesn’t share this sentiment with me to check them out though.

James: You mentioned you had the chance to see Tommy Stinson when he played Maxwells? Was there any hero worship going on? Any embarrassing encounters you'd like to share?

Cindi: Yeah.....that was a great show and my first encounter with one of my idols.
Tommy had just released Friday Night is Killing me with Bash & Pop. My oldest brother was getting married the next day and he gave his blessing to me & my boyfriend at the time to leave the rehearsal dinner early to catch the show at Maxwell’s. I was a total spaz over Tommy. HUGE rock star crush. The band played a killer set - hard not to with an album that good. I think it’s the best post-Mats material any of them have released. At the end of it Tommy was walking through the crowd when he tripped and stumbled right at my feet.
I can’t imagine the look I had on my face but when he got up he looked at me & asked if I was OK - I think that says it all. The whole way out to the car I was giddy as a school girl over it - so much so that my boyfriend suggested I dump him so I could marry Tommy. Needless to say, that didn’t happen.

James: Have you checked out the book "One Man Mutiny" ?

Cindi: I wasn’t aware of the book - love the album though. I saw Tommy at Maxwell’s when he was touring in support of it. Another great show and this time I wasn’t too much of a spaz to approach him. I was still afraid of putting my foot in my mouth so I didn’t say much but he did personally autograph a poster for me, thanking me for coming out. And yeah, I still got giddy.

James: While we're on the subject of Maxwell's. How did you take the news of the closing? Did you take place in the farewells and send offs? Were you at all shocked when bands began to play again under a different system?

Cindi: I was heartbroken - as so many were. I was too young to have gone there in its heyday and some argue that it was in decline by the time I was going there regularly but it’s all relative. Maxwell’s was my first exposure to the “indie” music scene. It was one of the few shared experiences I have with my much older siblings. It felt like home. When I first started playing in bands as a kid all I wanted to do was play there. I’m lucky to have had the chance on a number of occasions with musicians I have a tremendous amount of admiration & respect for.

I didn’t attend the big final farewell but I did go to a bunch of shows in those final months.
I was lucky enough to be a part of the Bar None night when Speed the Plough was invited to play along with Alice Genese, Freedy Johnston, Chris Stamey, The Health & Happiness show and a whole bunch of others. Other stand out shows from those final nights were Stuyvesant with True Love, Wild Carnation & Bambi Kino who was the last band I saw there.

I was a bit surprised to see bands playing there again after it had “closed” but business is business and for me the place as I knew it was already gone.

James: I don't think I would have ever had the chance to hear Balloon Squad if it were not for meeting you. I finally got my hands on one of the bands EP's and really enjoyed what I was hearing.
What was it like joining the band and getting to make music with your Brother Joe?

Cindi: Thanks so much! It was intimidating at first. I was 18 and had never been in an original band, let alone one that had been together for 10+ years already. Plus I was taking over bass duties from my brother who had switched to guitar. He wasn’t the strongest bass player rhythmically speaking but to make up for that, either consciously or subconsciously, he would come up with some crazy bass parts - almost lead bass bass parts. It was a challenge learning some of them and then keeping that momentum going on the new songs we were writing.

Looking back on those years and considering we were living in the same house at the time I’m a bit amazed that things went as smoothly as they did for so long.
It was great having our rehearsal space/studio right in our basement.
I just wish we were more ambitious at the time.

James: Have the two of you ever discussed the idea of collaborating again musically?

Cindi: We have but we’re both involved with other bands/projects right now. We are working on a Balloon Squad reunion show later this year though. I’m really looking forward to that because there are songs of ours which I love that never saw the light of day.

James: D. Smith (The 65's) is often credited for your working in music again. Was there anything in particular that kept you away from your passion. How was he instrumental in bringing you back in?

Cindi: This will sound cliché but I ditched music after going through one of those soul crushing break ups in my 20s. It just so happened that this coincided with Balloon Squad splitting up so everything was in limbo. At the time any musicians I knew were all playing in cover bands - something I refused to do. I lacked the confidence to pursue anything outside of my immediate circle of friends and acquaintances so I hung it up.

Photo Credit; JC Call

Unfortunately once I cleared my head over the break up
(or at least thought I did) I fell into a really toxic relationship that lasted far longer than it should have. I met Dan at the tail end of that. At first I didn’t realize that he had been in
Shirk Circus - I owned & LOVED both
Words to Say & March but came across them after the band had split up. Dan was recruiting me for a project he was putting together but once I made the connection panic set in and I turned him down. He’s a phenomenal bass player - so intuitive. At that time I had more than 6 years of rust to scrape off. There was no way I could be his bass player. He wouldn’t take no for an answer though & eventually talked me down from the proverbial cliff. The project was short lived but I’ve been playing ever since and was grateful to have the opportunity to work with him again in The 65’s.

James: Though music is a key part of our lives. It's just one aspect of that life.
What else inspires and drives you? What are your passions?

Cindi: Southern gothic literature (except Faulkner), when I have the time to read. My main favorites are Carson McCullers and Flannery O’Connor. I had this idea that I was going to write an albums worth of songs written from the perspective of characters from my favorite short stories or novels, thinking that this would help me get outside of my own head for a while. I quickly realized that the characters I was drawn to write about were ones which I identified with on some level, so it wasn’t the escape I was hoping for. I stopped after the first one, a song called “Miss Amelia” inspired by McCullers’ Ballad of the Sad Cafe.
I haven’t deserted the idea entirely though. I think I read that Lisa Hannigan has done something like this already so it’s not necessarily an original idea but it’s still an interesting practice.

I’m also a bit of a history buff. I’m fascinated by the cultural impact and complexity of the American Civil War. When I went back to school it was with the intention of becoming a teacher. I earned my BA in history with a minor in African American Studies in an effort to gain a more objective view of this country’s history. Unfortunately by the time I graduated the economy had tanked, the public education sector in NJ was decimated and there was no way I could pay back my student loans and support myself on a teacher’s salary.
It’s something I may return to though should the conditions ever be favorable.

James: Any closing words or wisdom you'd like to share with our readers?

Cindi: Do what you love.

For Part I of my interview with Cindi, click Here

Interview of the Week; Covering the Basses with Speed the Plough's Cindi Merklee

Cindi Merklee is a New Jersey based musician/bassist currently enlisted in the growing family known as Speed the Plough. Her musical journey can be traced back to the 90's when she joined her brother Joe Merklee in the indie meets power pop act Balloon Squad. Years later she resurfaced with the alt. rock outfit The 65's. Since that time we've crossed paths numerous times at shows, sat for some portraits and kept in touch on Facebook. Since an ill fated 65's interview a few years back. I've wanted to get the scoop on Cindi's musical journey and diverse influences. In part one of our interview, she brings us up to date about her departure from the 65's and becoming a member of STP. Thanks Cindi, 
I can't wait for the sequel. James Damion

James: You recently had the opportunity to play with Mission of Burma at Brooklyn's
Bell House. I remember how excited you were when you first found out. How did the opportunity come about and how did the show go over.

Cindi: Not too long after the
Hoboken Arts & Music Festival last fall J
ohn Baumgartner reached out to Todd and asked him to keep us in mind should he have an opening at The Bell House. Next thing I knew we were on the bill with Mission of Burma in February.  Perfect timing, I suppose. But yes - I was thrilled to be playing the Bell House at all. Having the opportunity to play with Mission of Burma was almost surreal. It didn’t fully sink in until we were loading in.

To be honest I felt we’ve played better shows -
I know I wasn’t in top form, but there were some real good moments where we all really came together. I just wish we had more of those that night. Regardless, our set seemed to go over well and whatever anxiety I had at the end of it was washed away when I crossed paths with
Clint Conley as I headed back stage. He greeted me with a firm handshake and a job well done. Couldn’t ask for a better conclusion to our portion of the night. I’m still smiling about it.

James: Mission was a band that really helped shape my Punk ethos as a teenager.
Their post reunion material has more than cemented that spirit. Did you have any special kinship with the bands music?

Cindi: Sadly they were a band I totally missed the bus on. I knew of them through my older brothers but didn’t familiarize myself with them until Unsound, which is a stellar record.
I’d feel bad about this if they were nothing more than a nostalgia act these days but they’re anything but. They’re still very much relevant and their set at The Bell House ranks among one of the best I’ve ever seen. Inspiring on so many levels.

James: I fondly recall meeting Toni and John through Al Chrisafuli at a 65's show.
How did you come to know them and how did the opportunity to join the band present itself?

Cindi: I’m a little foggy on the details of when exactly we first met but it was definitely a byproduct of being a part of the Dromedary family. It was probably at the first Camelfest or when the 65’s shared the bill with them at Mexicali - I can’t recall which came first.
I’ve known Ed Seifert for years, though. He used to record at my brother’s studio back in the 80s with The Ambivalent Bros.

James: Did leaving the 65's and joining Speed the Plough coincide?

Cindi: There was a bit of a gap between my departure from The 65’s and joining up with Speed the Plough - maybe six months or so. During that time Al Crisafuli had reached out to me to let me know John & Toni were thinking of asking me to contribute vocals to a new song of theirs. Before that came to be, I was invited to their Monday night jam sessions that summer where I found myself among not only my future band mates but also the likes of Dave Weckerman and Glenn Mercer which was kind of crazy for me having more or less grown up in the Hoboken scene. Later that year I wound up recording backing vocals for Speed the Plough on  “Mansion” (which is on the Tag Sale portion of the compilation that was released on Bar None back in September). A few months later I got a phone call from John Baumgartner telling me that Dan Francia had decided to leave the band and asked if I’d be interested in taking over bass duties. I was already on the record so it made sense. Plus I was thrilled to have the opportunity to join them, so it was easy to say yes.

James: As you know, I was very fond of the former and quite disappointed upon hearing you were no longer with them (Recalling your absence at Camelfest II)

Cindi: Thanks, James. The 65’s had persuaded me to stop pushing music on to the back burner. Going to school full time and working 40 hours a week left little time for anything else but Daniel, Joe & John were really supportive. For that I’m grateful. I had been a fan of Shirk Circus, The Dark Brothers, and C.I. Infidels plus Daniel Smith has sort of been a mentor to me over the years (as crazy as that may sound to some, including him) and remains one of my closest friends. Unfortunately the creative relationship within The 65’s ran its course before the potential of that line up was realized, however Dan and I have talked about recording together at some point. The challenge is getting the two of us in the same room at the same time but we haven’t ruled anything out so who knows.

James: I would imagine joining an already established act to be tough. You were joining a family in every sense. What was the process like? Was there any hazing involved?

Cindi: Hazing? HA!! No, none of that but it was a bit intimidating at first trying to familiarize myself with a 30 year catalog (which I’m still becoming familiar with). The family dynamic was another element to consider, though I had been in a band with one of my older brothers for years so it wasn’t a completely foreign concept. Once I got over my initial insecurities it was a matter of finding my place in the band, so to speak. While I haven’t gone in with the intention to re-write every bass part to every song, I’m also not necessarily one for learning a song note for note. I’ll listen to the original and if I feel it the way it was recorded, that’s how I’ll learn it. Otherwise I play what I feel or what I am able to manage while singing. That’s still a challenge for me so in some cases I have dumbed down bass parts so I don’t short circuit. Throughout this everyone has more or less given me a a good amount of leeway - no one has ever said “No, you’re playing it wrong.”

James: What's your involvement / input in writing new songs for the band?
Everyone has encouraged me to bring my own songs to the table which I will get around to but haven’t done yet. As far as the band goes, this is probably the most collaborative atmosphere I’ve had the good fortune to find myself in. Someone will bring an idea in to the room and we all kick it around until it starts to come together (or doesn’t). No one comes in with everyone’s parts charted out. Toni will take notes but on a whole it’s a very organic process. We all come up with our own parts and consider any suggestions that are thrown about. If I come up with a busy bass line for a song John wants to have more of a folk feel to it, he’ll tell me - and has - and I’ll strip it down. Given that our catalog more or less runs the gamut from folk to jazz to psychedelia to indie rock there’s plenty of ground to cover.
My focus is to compliment whatever the song dictates. If that means keeping it simple,
I’ll keep it simple. If it means playing something more propulsive or textured, I’ll take it in that direction. Having the room to stretch out like that from one song to the next is one of my favorite things about this band.

James: How will you be Ploughing forward with the band? Tour, New Record?

Cindi: We’ve played a whole slew of shows over this past year which has been great. We’ve taken a bit of a winter break to get some recording in at Mix-o-lydian but we’re starting to line up shows for the spring. Right now we’ll be heading to Beacon, NY, Brooklyn & Montclair - all in May.  As for the next record - no concrete plans just yet as far as I know. I’m just looking forward to recording the new material and seeing what takes shape.
Speed the Plough For more info on the band

From '93 to Infinity - A Dromedary Records Compilation

Local micro indie label Dromedary Records celebrate their twentieth anniversary with the release of
'From '93 to Infinity'. A clever and overall stellar collection featuring current and past Dromedary friends and family, putting the cover treatment on songs released in 1993.
The year Al Crisafulli followed his heart of hearts by starting his own independent record label.

'From '93 'til Infinity' features a hefty sixteen tracks delivered with quality and care. It's very rare when a compilation or tribute album resonates with the listener the way this does. Somewhat surprising, given the history of cover and tribute albums. Visit your local record store's dollar bin or Good Will store and you'll get a good idea. '93 'til Infinity' on the other hand, doesn't feature a wasted moment.

Picking the standouts from this album was like trying to decide what corner deli I want to pick up my winning Powerball ticket from. The quality and variety presented is astounding. Brixton Riot covering The Archers of Loaf's 'Might', Cinema Cinema's cover of PJ Harvey's '50 Ft. Queenie', Varsity Drag's take on Versus' 'Let's Electrify', Overlake's cover of
Yo La Tengo's 'From a Hotel 6' and D. Smith Sucks 'Fuck and Run' each shake the foundations. I'm also hearing a number of acts here for the very first time.
Riel, Dots Will Echo, Flash Flood, Picnic all deliver stellar covers. Other notable contributions come from the 65's, Stuyvesant, The Anderson Council,
Jean Homme & The Broken Telomeres, Guy Capacelatro and Tiger Saw. Add to that they eye popping cover illustration of Lauren Kelly and a few of my own photos thrown in for good measure and you've got a can't miss production that commemorates and celebrates the spirit and inspiration that was and is indie. James Damion

Dromedary Records  Get it Here

D. Smith Sucks - The End of Everything

I was in the midst of telling some god forsaken Jehovah's Witness to get the fuck out of my building when a message came across my Facebook page. It was an old friend asking that I call him as soon as I got the chance.

As I began dialing the numbers I imagined what awaited me on the other end of the line. Perhaps payback for my review of his bands performance at Camelfest II. Calling them out for being "not that pretty" without the presence of former bassist Cindie Merklee.
Or referring to the bands singer as an "arrogant prick". Regardless of any punishment
I was about to receive, a friend had asked a favor and I was going to do my best to help.
As Dan picked up the phone
I immediately felt as if I was talking to an old and trusted friend. He began to tell me about his new record, the band and if I'd help get the word out about how all proceeds from the recording would be going towards supporting  a local dog rescue. A cause that is near and dear to our collective hearts. I wholeheartedly agreed to spread the word, listen and give the songs on
'The end of everything' a thorough listen.

'The End of Everything' features seven songs of brilliantly raw and honest songs.
Each with a sense of quick wit. D. Smith has always delivered a dark sense of humor that can often be taken out of context as something that it truly isn't intended to be. Parts Punk, parts  soulful Folk with apocalyptic results. This is so real, so authentic. It makes me want to gather the friends and family for a full on intervention. It's as if I met my own dirty little secret. Though this might garnish a whole lot of attention in the long run. It's these little under the radar gems that stick with you the longest. Leaving permanent scars on the listener. Promising to visit you in your nightmares much further down the road.
Drop some serious cash on this one. If not for the music or the fact that your contributing to a more than worthy cause. Do it for the simple fact that the cover art depicts God's greatest creation. 
James Damion

The end of everything Buy it Here

Maxwell's Hosts The Second Annual Camelfest

About a year ago to the day I was asked by Al of Dromedary Records to document two days and three shows at Maxwell's benefitting 'Roots and Wings', a foundation benefiting those aging out of the Foster Care system. Though just out of the hospital with about twelve fresh staples in my belly, I agreed. During those two days I saw twelve bands from varying backgrounds and sounds. It was a great weekend that raised money and awareness for a very worthy cause.  This year I was asked once again to roll film but with slightly different circumstances. One night, one show and a more focused, edgy lineup. How could I refuse?
Review and images: James Damion 08/25/2012

Bern and the Brights opened and although I was   unfamiliar with their music and sound.
I had heard the name mentioned frequently through reliable circles. Personally, this really wasn't my thing.
Two parts, nerdy, three parts folky and little bit too laid back to start the night off for me. Though there were definitely some beautiful moments within their set. It wasn't enough to feed my hunger for something with a little more angst and grit.
Bern and the Brights

After going outside for  quick breath of Jersey Fresh air,
I returned for The Brixton Riot.
I was really looking forward to seeing these guys as I've been Facebook friends with their drummer Matt for years and had a particular fondness for their recent masterpiece "Palace Amusements".
See review Here. The band mixes a 70's, early 80's Power Pop sound with gritty influences such as The Clash to cook up a tasty sound. Their set included a cover of Husker Du's "Could You Be the One?" and were joined by Stuyvesant's Sean Adams for a Lemonheads cover. It was just the tonic needed to put my spirits back on track.
The Brixton Riot

Now, during the first two bands I noticed that the majority of the folks at the show were either hanging towards the back conversing with their friends or seated to the side focused on their Blackberry's and iPhones. At one point I headed towards the stage and told Ev
(Cinema Cinema frontman) and told him "Maybe it's just me, but I don't think this crowd came here to listen to music." He turned to me and with a wicked smile said,  "I'm not worried about the crowd."
"They need to worry about me."

That's when I knew, it was on. I've seen Cinema Cinema a number of times in the last year and I can say, with all honesty. That this is band like no other. An act that blends beauty and harmony with dark, dark elements of dissonance. mirroring that of a spiritual possession or exorcism of demons already within.
I've witnessed people surrender to what Ev calls "The Trip".
I've seen people look on with eyes raised and jaws dropped.I've even watched as people walked away in confusion with their hands clamped tightly over the years. The true beauty of it is, nobody walks away unscathed. The band played a set that was less song to song than it was chapter to chapter. When recently interviewing the band, Ev described their sound as "Black Flag and Queen, Fucking!" I don't think I could have described it better.
The music just moves you.
Cinema Cinema

Gold Streets followed and completely knocked me and my ears on their collective asses. The Brooklyn bands mix of shoegaze, melodic 90's indie pop and various other angles is impressive and leaves a lasting impression. Just the right elements needed to calm and replenish frayed nerves the prior set may have created. It's a rare case when a band I've neither seen nor heard before moves me to this degree.
This was one of those times. I can wait to dig deeper and hear more.
Gold Streets

During last years Camelfest. During those three shows I witnessed a number of acts, old and new, for the first time.
One of the newer ones was
The 65's. A band Dromedary Records Al Crisafulli spoke so glowingly about. I thought he was going to wet himself. Imagine how surprised I was when they completely blew my mind. Well, here it was a year later. Having seen them a handful of times, voting their record "Strike Hard" as one of my top releases of 2011 and even attempting to interview their drunken, belligerent frontman at Six Brothers diner in Montclair. Throughout the night I couldn't help but notice the absence of their bass player Cindi Merkle. As the band took the stage I was told that Cindi was now the bands former bass player.
"Where have you been for the last %$& months?"
To be honest, I was kinda shocked. Now the 65's are pretty...... But they ain't that pretty. Though a bit disappointed, for whatever reason I regrouped and soldiered on. The band played a tight set featuring their signature grit and bar band swagger. There is a dirty goodness about this band that can't be denied. Not the kind of guys you'd leave your kids or your whisky with. That said, it was good to see them again after so long.
The 65's

Closing out a very big night were NJ Power Pop kings Stuyvesant. Talk about putting the icing on the cake. Here is a band that never ceases to deliver the spirits in the highest form. If ever there was a band that deserved a Saturday morning cartoon featuring an updated Mystery Machine,
it would be Stuyvesant.
Fueled by tasty riffs, endless sing alongs and plenty of alcohol fueled mirth.
They are the epitome of a good time. During the set, guitarist/singer Sean Adams noted what a great representation of Rock music the night had offered.
There was something for everyone.  I could not have said it better.
Stuyvesant
A really special thanks to everyone at Maxwell's, Todd Abramson, Dromedary Records Al Crisafulli and all the bands for an amazing night. See you next year.
James Damion

To learn more about the Roots and Wings Foundation
Click Here

Maxwells to Host the Second Annual Camelfest

Come to Maxwell's this Saturday to celebrate and support Dromedary Records second annual Camelfest. The benefit will raise much needed money and awareness for the 'Roots and Wings' foundation. 'Roots and Wings' does a terrific job helping children that are aging out of Foster Care. This years fundraiser has been scaled down from last years three day fest, to  a more focused and tighter one night bill.  Come have a few beers, rock our to some of the areas most stellar acts and support a worthy cause at New Jersey's best music venue. See you there. James Damion


Roots and Wings Foundation

 

The 65's - "Walk on Selfishly" Video

Here's the video for the first single off The 65's Debut album "Strike Hard". The album ranks pretty high on my list of 2011's best albums. Check out the video and go over to Dromedary records to purchase a copy.  James Damion

Dromedary Records
The 65's

The 65's - Strike Hard

On the night prior to the release of the bands debut record "Strike Hard" I sat with 3/4's of the 65's over coffee and other unknown liquid refreshments to talk about the release. Having been treated to an advanced copy of the record I had listened to each and every track numerous times. So much so that it had quickly become the soundtrack to my work day. Though the interview didn't go quite as planned I felt I was able to convey my excitement about finally being able to officially share my feelings about one of my favorite releases of the year.

Featuring former members of
The Dark Brothers, Shirk Circus,
Electric Frankenstein and Balloon Squad to name just a few.
The band combines an impressive pedigree. The 65's score exceptionally high points on their debut. Mixing intelligent, highly evolved songwriting with catchy, stick to your ribs hooks, riffs and melodies. There's a real sense of maturity and ease about the songwriting that blends almost seamlessly with the rather dirty vibe of the music. Al's vocal quality has a sort of gravely cigarettes and whiskey quality to them that really add a nice dimension to the songs. Opening with the sweeping "Greatest Pretense" followed by the somewhat uplifting "Walk on Selfishly".  I found myself almost immediately hooked. While songs like
"I Will Never Serve You", "Are You Tired of Me Yet" and "Wherever You Are" put the hook in me. It was Cindi's turn on the vocals "Worse Comes To" that made me put me on an emotional respirator.  Thus placing "Strike Hard" at the top of my list for favorite releases of 20011. Top it off with a cover of The Psychedelic Furs 80's hit "Pretty in Pink" and you've got a record that will win over even the most jaded music fan. One can only hope that the future can promise more from this band. James Damion

The 65's  Band Page
Dromedary Records  Buy it Here