A community organization calling itself Keep Safe Boston compiled these fifty gems and pearls onto one disc to raise funds for Planned Parenthood. Spearheaded by local on air personality Anngelle Wood, this compilation pretty much compiled itself when many notable Boston music acts responded to a mass e-mail she went out requesting song contributions. For a little as a dollar, music fans can support this cause while checking out some incredible good local music.
The Pretty Morals open the compilation with “Just A Game.” Aggressive musicianship, bracing guitars and keyboards, and vocals that come across fetching and tough make this an action packed delight. The pacing scores. This is one number that can keep the body moving on the dance floor while dazzling with its incisive melody lines.
Parlor Bells make a strong follow up with their cut “Wetware.” A vocal siren croons with majestic sustains in her vocal phrasing. While the ears cannot get enough of that voice, there is also some nice touches coming from an electric guitar, notes that fall gently with lovingly sweet tones. The remainder of the soundscape spreads nicely, with a pretty keyboard backdrop and a mellow groove coming from the rhythm section. Every member of this bands hits it so tastefully.
By the third song, Corin Ashley’s “Jellyfish,” it’s clear that this compilation will offer a tremendous amount of variety and talent. Ashley’s smooth, almost whispery falsetto is a treat in and of itself. Each sweeping section of this tune creates an epic feeling. A unique vocal timbre keeps things interesting while the singer’s dramatic phrasing and pauses reminds of some of the long gone vocalists who made music great, back in the day. The music, especially a rangy bass line, unfolds with assertive purpose. There’s just a stride here that cannot be denied.
One of my favorite Boston bands, The Rationales, offer “All The While,” a peppy, mid-tempo delight. Embraceable vocal harmonies and a hooky chorus are just icing on the cake. Beautifully sung, this tune grows on the listener with each verse and chorus. There is also a spry piano boogie, a wavy guitar phrase, and a concise rhythm section that makes one want to just eat this up.
Hallelujah The Hills intrigue with a softly expressed vocal and quiet, tenderly picked electric guitar notes on “Affectionate Darlings 4 Life.” This reminds of early Pink Floyd and other experimental, prog-rock material from that time period. An accordion makes a gentle appearance to complete this incredibly interesting ditty.
Apply Betty do their thing well on “Skin Of My Teeth.” Keeping simple expressions in a simple framework allows these ladies to put all of their energy into each note. They don’t play a lot of notes but they sure do put a lot of feeling into each one. It is a tasteful reminder of the late 1970s new wave bands that took the world by storm with their concise expressions.
Blackbutton mosey along with their hefty strums and low end runs on “Hospital Stay.” Mellow vocals over a thoughtfully played dreamscape keep this easeful glide interesting. One can savor each bit of this plucky, unfurling tenderness. Each instrumented is played with tasteful accents, enough to keep a deep feeling going on throughout.
Gene Dante And The Future Starlets provide a marvelously delightful soundscape on “Girl On A Unicycle.” With a vocal that reminds of Elvis Costello at his most dramatic, this song spreads its wings wide open and flies along with dramatic sweep. Each instrumentalist plays each note with a sweetly ringing tone, tones that perfectly compliment the unique vocal timbre gracing it all.
The Year Million play “Something Better” with a driving, infectious beat, a whirl of keyboard sweetness, and a gutsy guitar line. The band could knock people over with this kind of pop power. Yet, they’re wise enough to temper their forcefulness with twisty guitar phrasing, a hooky chorus, a bracing low end line, and a vocalist that keeps his dramatic bursts of lyrics from going over the top. “Something Better” is high octane ear candy.
Another favorite from the Boston music scene, Do Not Forsake Me Oh My Darling,” make a strong musical statement on “Making Friends.” Keeping things simple, vocalist Sophia Cacciola reminds of early 1980s new wave singers. Crooning over a mournful organ swirl, she keeps the chorus catchy and fun.
John Powhida International Airport play “The Promised Land” with an appreciation for unusual soundscapes and unique vocal approaches. Powhida has his own way of applying his vocal prowess over an intriguing synth line and a quirky acoustic strum. He also tells his story with intimate details that make his song come to three-dimensional life.
The Michael J. Epstein Memorial Library contributes “Secret Animals” to this compilation. Epstein plays some intriguing electric guitar phrases as he and a girls backing chorus sing this ode to early 1960s story songs. It works. Soft smooth vocals move in striking contrast with Epstein’s edgy lead guitar work, highlighting the appeal in each.
White Dynomite are kicking on “Look Out Below.” A heavier guitar, bass, and drum sound here propel this song like a huge rock launched by a catapult. Its gruff guitar chords and driving rhythm section conjure scenes of action while a vocal belt turns this into a meaningful hard rock ditty.
Ad Frank does it again. He combines his rock and roll sensibilities with a taste for quirky musical mash ups on “French Translation.” His assertive rhythm section and edgy guitar provide the backbone for something combining mariachi horns from Spanish music and banging theatrical piano. Frank’s spirited, romantic delivery work wonders at keeping the listener’s ears glued to his song. It’s simply a treat to listen considerately to all he has going on here.
Ruby Rose Fox proves she’s worth her salt on “Die Pretty.” A well produced sound looms large here. Fox sings it with a deep, rich vocal prowl and some light touches on guitar wrap it in something cool. She keeps this one loaded with a sense of drama, tension, and a reason to keep listening along to the dire end.
The Color And Sound play “Back To Me” with a peculiarly appealing percussion track and a bouncy, carefree groove. The vocals bounce around too, with a joyful exuberance springing up from each voice. This one is cool to dance to. It’s impossible not to bob one’s head or tap one’s toes to its poppy beat.
A song titled “Pavement Prophet” by this reviewer’s year long Boston favorite, Sarah Rabdau & Self-Employed Assassins, makes the most of her fetching, whispery vocal and her appealing keyboard experimentations. Hypnotically sexy, hauntingly beautiful, Rabdau and her Assassins are a label exec’s hidden dream come true. Listen carefully to how Rabdau uses subtle vocal applications to build tensions in her song. She practically has “musical genius/hit maker” stamped onto her forehead.
Alchemilla’s “In My Head” could play during a murder in a mystery-suspense film soundtrack. Chilling colors and tones make this one a song that could stick inside your head for a long time. An enthralling vocalist sends chills down the listener’s spine with ominous lyrics that are wrapped in a dreadfully cold voice. Don’t mess with these people. They’re scary. Very scary. In a cool way.
When Particles Collide unleash “Constant Disaster” on an unsuspecting listener, it’s a revelation in what a duo can do. Sweet, girlish vocals, pop-rock guitar riffs, and a twisty rhythm section make this one take the curves on two wheels. Waves of guitar chords are particularly well executed. Fun stuff.
Rebuilder offer “Headrush” as a break from the pretty pop rock that comes before and after it on this compilation. This band is good, albeit in a different way from the others. Their sound is honestly raw and driving. They’re just giving it to us the way they feel it, own and dirty. A compressed guitar phrase keeps its explosive energy just below the surface, making this song feel like a stick of dynamite ready to be ignited.
Harris Hawk’s “Gussy” is raw, punk influenced rock. The lead vocal, particularly, cries out with expression before an emotive guitar line, perking with rhythm, spikes its assertive head into the song. This feisty tune will make you bob your head to its pushy sound while admiring the singer’s higher notes, the guitar’s angst, and the rhythm section’s loose texture. It rocks.
Jennifer Tefft purrs her lyrics out on “Breathe,” a moody, mid-tempo rocker that features vocal techniques ranging from sexy whisper to mightier belts. Her sonic textures are mild and loose, letting her voice jump out at the listener like something unfettered. This song is so good it isn’t funny, It has to be only a few steps away from commercial radio. Local radio programs should get behind this right away.
Drab is anything but on “Tell It To Me Straight(Tell It To Me Gay).” Girlish vocals bounce over the bopping beats from the drum set as simple by artsy guitar lines coat this one in sweet ear candy. There are some early rock and roll influences in this song and that makes it a good home for the innocent sounding lead vocal.
The Warning Shots’ “Terminally Insane” jumps out of the gate with fine, raw energy. Its compact sound is chunk full of compressed power. Instead of cutting loose, they keep plenty of tension within their song, and that is what they need to keep this chugging down the rails.
Western Education offer some fun, sprightly dance music on “Look Away.” It’s a nicely produced confection of keyboard tinkling, irresistible beats, and a lead singer who sounds like he should already be on radio. The lead vocal is quite smooth and polished and sung with the confidence of an experienced front man. This is a band who knows its sound and how to expand on it in the studio to create something with mass appeal. Expect this band to get some attention from forces outside of Boston.
Oldjack is one of this reviewer’s favorite roots rock bands. Dan Nicklin has a Jack Daniels smooth vocal timbre that he puts to good use on this laid back, mid-tempo rocker. Nicklin is the kind of singer who can get a heft of energy and sound going on at his microphone without even trying to belt. He’s a hearty singer and here he swings wide with the arc and reach of this very likable number. Dig the lead guitar that comes a bit later.
Salita is an interesting name for a band. They are also unafraid to draw from unconventional sources for their main melodic phrase. On “Shake Our Bones” a foreign flavored horn moves beautifully and mellifluously through a thatch of acoustic instruments and percussion. Its lead vocal is full of talent but the emotion is self-restrained, and that lets the horn take the driver’s seat for this mash up of anthem exclamations and folk groove appeal.
Ironically, The Fatal Straw ride hard right into “Stray.” This band does anything but stray. They’re a full on power rock band that keep their compressed guitar, concise bass and drums, and smoothly assertive vocal on track from beginning to end. They know where they want to go and they don’t let anything get in their way.
Magen Tracy plays “Fiercely” with some peaks and valleys in her rock and roll delivery. This rock ditty cruises with loose power down the travel lane with one hand ready to shift gears. Aggressive girl vocals are both fetching and tough, like some of the national scene’s better singers. The guitars, too, are special, giving off sparks with nuance rather than slamming out chords.
Airport go into classic country rock mode on “Go Up,” a pleasant ditty with lush harmony vocals, edgy guitar phrasing, and a world weary lyrical story delivered by a contented lead vocalist. The band masterfully controls the pace of this down-tempo, out on the range number. Many nice touches create a perfect atmosphere, especially a moody guitar phrase and a dose of accordion in the backdrop that adorn this piece.
Aloud’s “Darkest Days” is a beautifully quiet ditty calling for hope during life’s most trying times. Sincere vocals male one believe in the singer’s shot in the arm, and an easeful accompaniment carries this one tastefully, soulfully forward.
Mercury On Mars put in a nifty appearance on this compilation with “Be The One.” Their tight ensemble playing and bracing guitar work make this song come alive with the kind of wild abandon some of us old timers haven’t seen in quite some time. Just when you think this band will only get so aggressive, they surprise by stepping down hard on the pedal for some rocking action.
Textbookcopilot offer some exciting guitar work on “Arrival And Departures.” Guttural vocals rock right out while a pushy rhythm section slap it all forward. The listener can really appreciate the artful guitar touches in this tune’s quieter moments. This song gives a tremendous sense of racing toward an epic moment and it’s impossible to resist following along.
Nate Leavitt mellows out this disc with “Taking The Long Way Home.” Leavitt’s voice is unusually full and lush for one singer, and he uses it well to fill in the beautiful, wide open spaces in this song. As comfy and homey as a living room sing along, this tune wisely utilizes thin country guitar phasing and a little light honky tonk piano over a shuffle beat to complete its emotive quality. This is the kind of music one could listen to all day.
M.G. Lederman offers wide, sweeping electric guitar gruel with ominous tones on “Dignity In Decay.” This swaggering number takes its time laying out its kick ass attitude. A perfectly edgy vocal timbre, explosive guitar chords, and epic drums make one feel he’s at the gates of hell. Other nice touches are a barroom piano line and an incisive guitar phrase. M.G. Lederman learned well from 1970s hard rock influences.
Eddie Japan’s “Fight Song” is catchy and likable. A pleasant up-tempo ditty, it has a chorus of pretty voices, a joyful melodic guitar line, peppy keyboard work, and a vocalist with mass appeal. One can feel the purposeful stride in the song’s message, a support for organized labor during times of opposition. When the song ends, the listener wishes it was a lot longer to dig more of its hopeful, positive vibe.
You People sing and play with attitude on “Daylight Savings.” This driving, punk rock piece offers grunge guitar chords and jittery phrasing. The vocals are appropriately gruff and rugged. This is garage rock at its finest, loud but still hooky.
Darktown struts right in with their hard rocking tune “Another Chance.” This band lays down a hip, irresistible beat like nobody‘s business while sudden shifts in vocal and guitar approaches keep it lively, loose, and free. It’s a fun song and local radio stations should keep giving it another chance. It’s catchy as hell and could go places.
Streight Angular” has a viable presence on social media. Their song “Super Party Fun Times” show why. The band doesn’t take itself too seriously and they’ not afraid to get a little bit silly when they’re having fun. It is quite easy to picture this band motivating a huge crowd to dance, holler, and jump up and down to this bouncy, quirky, party tune.
Muy Cansado offers a disco beat, funky riffs, and an engagingly smooth lead vocal on “Predisposed.” Likely influenced by Franz Ferdinand, this tune will compel you to dance. Tight and persistent, this outfit keeps its energy centered, and that is what makes their song so danceable.
The Okay Win play their “Every Face In A Wave” in a low key groove, down-tempo fashion. Unfurling it slowly, they offer a tastefully picked guitar melody and a dreamy vocal that sweeps nice and wide, creating a broad sonic landscape. It is easy for a listener to lose himself in this moody piece, as it sways forward with a lot of feeling. Eventually, it becomes a speedy anthem piece, and the guitar stuff gets feistier, rocking with true purpose and vigor.
Band Without Hands charge right in with “Hanuman,” guitar chords erupting and a guitar phrase spearheading this rocker. Its perfect angsty vibe only gets better due to the lead singer’s evil, hissing vocal. There’s some exciting drum work going on underneath it all, numerous rolls and fills pushing this forward with muscular authority while the lead guitar blazes a trail to wherever it feels like going, as nothing would dare get in its way.
Protean Collective slam out “Caldera” with bossy, rocking guitars, bass, and drums. One of the speediest drummers around supports this wildly effective hard rocking outfit. Explosive guitar riffage hits with a mighty force while the lead vocal arcs broadly and majestically over all. This band could at least earn an opening slot at Ozzfest. They’re too good to remain local.
Opening with a beauty of a horn line, The Daily Pravda finesse their way through “Letter to Hermione.” A lead vocal impresses by wrapping its timbre around a lovely sonic landscape consisting of that horn, touchy electric piano notes, and a more traditional acoustic guitar underpinning. It’s brief but lovely.
Duresse offer an intriguing sonic landscape on “Redwood.” A dreamy lead vocal over a wide open space, kissed by light touches on an electric guitar, pulls the listener into an alluring world. It’s uncanny how this soft timbre number can be so unobtrusive and so magical at once. An intricate percussion patter offers another layer of intrigue and likeability as the singer sustains his tender vocal notes. Unique material like this could make a huge difference in a music scene loaded with ossified genres.
Rusty Shovels prove themselves a plucky outfit on their effective cut “Ghost.” Girlish vocals entertain with their sisterly tightness and the guitar tones are ringing with something real. The band keeps this one flowing forward with a great sense of motion. Momentum builds as their cutesy vocals continue to layer this one in something shiny and sweet. There is also a little bite in the guitars but the guitar tones keep it polite.
Coolly named band Riff Legion play their “Crustacean Morality” with driving, anthem like authority. Guitar riffage and falsetto screams add plenty of spark to this dry witted lyrical rock drama. Waves of garage rock charm flow through this gripping piece of infectious punk rock action, especially during its screamy lead guitar phrase.
Incinerator utilize dreamy, girlish vocals on “Right Now.” That voice contrasts beautifully and sharply with a slightly more edgy musical accompaniment, highlighting the strengths in each. The consistent grace coming from the singer gives her a majestic lift over a humming guitar line, easeful shards of a guitar phrase, and a tasteful, unobtrusive drum pattern.
Kingdom Of Love provides a zesty piece of electronic dance music called “Two Souls.” A voice both pretty and assertive glides sweetly over bleeping and blatting notes from a fine tuned electronic keyboard. Things take an even greater turn toward fun times when the keyboard play speeds up and the unfurling chorus pleases the ear. This is a band that really knows how to construct music in this genre.
This compilation closes out with a mash up of the duo Hammer And Snake with the band Powerslut, combining their talents on “OverExposure.” This tune reflects a B52’s influence in the boys-girls vocal tradeoffs and a general 1980s impression in the basic guitar chord progression. All of this song’s elements combine into something special. It’s impossible not to like this hip collaboration of voice and guitars.
Keep Safe Boston is a compilation that would be challenging to top. If the folks in charge of this project want to try again, I wish them luck in coming up with another batch of 50 songs this diverse and impressive. If any of you readers are interested in hearing some fine local music from Boston while supporting the mission of Planned Parenthood, please visit the organization’s website. The compilation can be downloaded at a pay what you like offer.
http://www.keepsafeboston.org/home.html
