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Mike G and Associates are:
Mike Gendron-lead guitar, vocals
Peter Gendron-keyboards,harmony vocals
Jason Carpentier-bass guitar
Kevin Ferschke-drums
Mike started his Bar and Grille tour June 4 with a bang~ he announced that he had been nominated for the Providence Phoenix's Best Male Vocalist.
He genuinely looked surprised, but shouldn't have been. After all, he came in second in the recent Providence Motif contest for Best Male Vocalist.
Mike hails from Rhode Island's own Blackstone Valley, where he rocked the Lincoln High School talent show with a memorable performance of 'the Cats in the Cradle' and has had a following ever since. What began as a grassroots hobby of garage band sound and melancholy lyrics has become a profitable living. It began with 'Damaged Goods' to 'Mike G & the Vacations'to years with Grand Evolution. Mike's brilliance as a confessional songwriter is at the forefront now that he is leading his own band again, and he has come into his own. Not only is he a mainstay of the local music scene, he is a force to be reckoned with.
To all you 20 somethings out there: it's time to transfer out of the super massive black hole that is the club scene~and appreciate local artists.
Mike is a musician first, and a fisherman second ~ he hooks a line, reels a rhyme, and works for a dime. During the gig, Mike mixes his own original songs in with recognizable covers. The bandmates innately recognize Mike's capacity for depth; after ring of fire one acknowledged, 'You kind of have that far away look in your eyes, brother'. Peter Gendron, who is a dead ringer for John Lennon, introduced a Beatles tune as 'Modern Rock'; the sarcasm was as dry as melba toast, but there's something to be said of a band that likes to have fun while taking their rock and roll seriously.
The originals are a treat from top notch musicians that utilize blended techniques to incite an emotional response from the audience. "Close your eyes, my baby" written and arranged by Peter Gendron started out as a lullaby for his daughter, but didn't finish that way. There is an edge to it and it it turned into a slow rock and roll song turned "may you rest forever in peace." Some are very psychological, such as "Skeletons" where he wails on the harmonica with the vendetta of a broken heart. Others, such as 'Julie Blue' wistfully acknowledges the need to reconnect with that one person in the world, perhaps, that ever understood us.
"Infinity" rolls like an angsty love ballad, with lyrics of "heavy is the heart that's shut." As with any strong musician, the pictures are ambiguous; spitting into a fan is obviously symbolism, but of what? Every song is an emotional catharsis that brings you through a labyrinth. Vague and disorienting as his songs may be, Mike strums from the heart.
Somewhere, hearts and flowers bloom in the spot where he lost his love as he leans into the microphone, and bitterness scatters like rose petals in the wind."Poison Love" is a long hard lesson in love you won't soon forget, this lesson being from his own father.Hence the lyrics in another song, "Keep your heart safe, and your eyes on the road." It is an autobiographical, versatile expression of a man who is living with little regrets; he's seen beauty and wants to share it with you. It is not sordid, but sublime; he loves life in all its facets and his easygoing attitude proves he is a survivor.
Mike G and Associates are truly diverse, with two shows unalike. There is a distinct twang to certain vocals, as Mike's main influence is Neil Young; in fact, he also plays in a Neil Young Tribute band, "Young Rust". Mike ends every song with a solo or a jam, and aced "Keep Rockin' in the Free World." "All along the Watchtower" was a screamin rendition of the Dylan cover, and Mike rocked as if his guitar was a fire hose that he could hardly contain.
He may sound Americana and wear a cowboy hat, and but don't call him 'Country Mike'.The Associates have played with Soul Asylum.
The mysticism and intrigue of Old New England, and the Blackstone valley especially, is an apropos location for a deep thinker like Mike Gendron. Be sure to pick up a copy of 'The Traveler's Diary' at their next show, currently selling for the bargain price of $5.00 a copy. That's below wholesale for a professionally produced CD that is self-arranged and written. Just in case Mike's not your thing, they have a 'generous return policy'; Mike's tongue-in-cheek remark to non-creative people that never want to pay artists what they're worth. With stellar reviews in the Phoenix, Motif, and Limelight, keep your eyes and ears peeled for Mike G and Associates; they just might be the next big thing to come from the Rhode Island music scene.
Irish Times, Worcester MA, 244 Main Street
http://www.redstreakmotors.com
Bike Night 6-9 pm
A rogue curl from an otherwise slicked back pompadour bounces off a white porcelain forehead...the contemptouus snarl for the crowdgoer with no visible tattoos .... With a giant black and white wall size banner proclaiming them, Jason James and the Bay State Houserockers bring a James Dean smoldering intensity to Summer nights in Worcester. Be prepared for fishnets, fashion, and fun
. This is a dancing crowd that likes the ponytails twirlin, them hips shakin' and arms swingin. Imagine a neo-fifties crowd meets Dancing with the Stars as two couples took to the floor to show off professional lessons. Their dizzying moves were matched by the Bay State Houserockers exceptional performance. They never broke character; they opened with 'drive, drive, drive' and drove right into 'Summertime Blues'.
It is close encounters of the Irish kind at the Irish Times in Worcester, where there's something for everyone here. DJs spin dance grooves upstairs while the cool kids and hepcats tear up the dance floor during Wednesday night Wheels.Across from the Palladium and within walking distance of the DCU center,Irish Times is THE college age venue for Good Times. An ample pool room boasts leather couches conveniently located behind the stage and seperated by a clear wall for viewing. The room is band friendly with a state of the art sound and light system. The dark, rich wood interior gives it an 'Irish' feel, yet not lacking in contemporary touches; there are large booths for privacy dimly lit by artsy lamps. The menu is terrific, with traditional Irish fare such as Bangers and Mash and Corned Beef, as well as other excellent favorites. The hamburgers are as big as your head; the Southwestrn Egg Rolls and fried ravioli are cooked to perfection. There is live entertainment every night of the week, with $1.00 tacos on Mondays and cash prize Karaoke.
Every Sunday 5-8
Greendale's Pub
404 West Boylston Street
Worcester, MA
He's baaack!
Sunday afternoons belong to the Blues at Greendale's Pub in Worcester. Tucked away in an industrial setting, this working-class cash only venue has its own charm and started to grow on me. The kitchen is open every day from 4-8 with reasonable prices; no sticker shock here: Greendale's is home of the original dollar dog. The best drink value would be $4.00 Jack/Johnny and Sam Adams for $2.25; try finding that price anywhere else in Worcester!
Blues breathes its own life force into the crowd, and there were plenty of wiggles and smiles. Full of ample bodied-blues that shoot from the hip, Mike Lynch led the vocals with Jim Perry his first mate singing the harmonies. Jim Perry and his house band feature a great new guest artist each week. It is a continual burn of wild raw blues that is definitely worth taking a listen to.
Each week the feature ends with an open mike blues jam with plenty of crowd participation. One week was devoted to Bob Dylan with tributes of "All Along the Watchtower" "Knockin' on "Heaven's Door" and "Rainy Day Women #12 and #35" for the legend's birthday.
The Blues Jam is exactly that - a jam; it's an improvisational set of whatever develops. Nothing is nailed down to perfection, but there is a familiarity. Jim introduced a bassist Peter McGilvery , as "one of the craziest people I know ~ in a good way"
Continually extrapolating the sound, Mike Wailed through "You know we will meet again...if your memory seves you well." and "Sweet little rock and roller...she never gets any older." rough and loud...just as this crowd likes it.
One open mike participator was particularly striking with a smooth grin and a white shock of hair. He played the harmonica with the vendetta of a broken heart.
Jim traded his Les Paul for a Fender Telecaster, and energized the fanfare.
Jim Perry and the house band turned and burned during the Open Mike as "Cheeky Steve" blew on the harmonica like a saxophone; he held the harmonica in one hand and the microphone in the other. "Steve" was a fan of rockabilly blues jams with lyrics of "I'm in love with you babe`let me ride in your automobile...you got a fine little car....with too many drivers at the wheel."
Bringing years of blues under his belt, Jim Perry slides into the keyboard as well as he plays the guitar.
It is a mostly older crowd, but the ladies are well-groomed and fickle.
"Kim" an audience member, strutted to the mike to sing "Me and Bobby McGee" accompanied by the Greendale equivalent of Big Brother and the Holding Company.
http://www.myspace.com/ericfontana
http://www.cdbaby.com/all/ericfontana
http://www.courthousearts.org/
Studies in R+B
Eric Fontana and the Ultra Fine Reducers "Booked" at the Courthouse!
Eric Fontana - Vocals/Guitars*
Thomas Brinkley - Bass
Vinnie Pagano - Drums/Percussion
Keith Munslow (Piano) and (Organ, Track#8-Wonderland Blues)
Gordon Beadle (Baritone/Tenor Sax)
*All songs written and Arranged by Eric Fontana (BMI)
6/12/09 CD release party @ the Courthouse Center for the Arts
Round 1-cuffed, printed, jailed
South County, RI~The Courthouse for the Arts proved to be a great room for Eric Fontana.
So many great jazz players are dead, that the ones that are still alive are dying to be like the ones that are dead." ~ Yogi Berra
Although the first thing I noticed about Eric Fontana was his shoes,it's not the most impressive credential he bears.
Eric writes R&B songs with an electric blues feel in an old-timey style that is difficult to do. Most of what he writes details the complex side of the human experience, and he rides the emotional wave until it crests with a wailing lead guitar.
The first set completed the entire CD chronologically, beginning with 'You gotta lotta Nerve" and ended with "Wonderland". The CD just doesn't do his stage prescence justice; he mixes theatre with music, and is a show stealer.Eric Fontana and Gordon Beale utilized extended instrumentals and heavy improvisation, and everyone was confident in their role to allow the others to seek new creative heights. There was a mutable, chameleon like quality to Fontana's energy, and it was hard to look away from his devilish grin. During 'B Flat on Your Back', Fontana bended notes to a bluesy climax that are grounded by pronounced bass lines that not only walk~they strutted.
Fontana kept to the genre with simple lyrics that didn't require a lot of interpretation, but carried a heavy psychological weight nevertheless. "Stop All Your Talking" begins like Wilson Pickett's "Midnight Hour" and delves deep into the intricacies of inter-personal relationships affected by the occasional drama (occupational hazard) of a musician's lifestyle.
"Strange Fascination" emitted like a confession, and the lyrics are explicit.Musicians, just like the rest of us, know the rules, but bend them to suit their needs from time to time. Wonderland" was dreamlike and surreal ~ watching Fontana and the Ultra Fine Reducers perform under magenta, purple, and teal neon lights was like being in a David Lynch movie. Thankfully that ended the first segment; I needed a break to maintain my equilibrium.
Round 2-tried, sentenced, punished at the Courthouse
After the short recess, the second set consisted mainly of covers. Never lacking in originality, it was no one's guess what they would play next. It was ironic to hear Cash's 'Folsom Prison Blues' in a courthouse, and Brinkley's bass emulated the train coming to take me to Folsom prison.
Eric rocked a Fender Telecaster that inspired everyone in the crowd to dance, and there were more crazy shakes than a Grateful Dead concert. Unlike the first segment, where Gordon Beadle seduced and brought the sax screaming to a climax, he violently spanked it through the second segment. Crowd favorites were "Born on the Bayou" and "Good Golly, Miss Molly"; where Eric actually pulled his pant leg up to show off his striped socks. The audience demanded an encore; the choice was the Beatles "I saw her standing there."
