Lots of new music for the month that begins like a lion and goes out like a lamb. Some is ferocious, some is mellow, but all of it is good! Here are some picks:

Caitlyn Mitchell – “Pawn”
The debut single by Caitlyn Mitchell is a massive ballad. Atop a sea of strings and vocal harmonies, Mitchell’s voice evokes the rawest of emotions while sounding as clear as a bell. The lyrics are heart wrenching while never losing their sense of poetry, a hard balance to strike. Her theater influences are on full display here, as the song sounds as ready for a Broadway stage as it does for car speakers on a late night drive.

Breachway – “Big Red Pine”
This new song by Breachway evokes a feeling of Americana, something that has been increasingly common in the Rhode Island music scene. A reverb-soaked guitar moans in the background like a distant train whistle as the drumbeats fall upon the track like rain. The song feels weather-worn and honest, with the lyrics both melancholy and honest. The track hits a crescendo around halfway through, as the guitars become distorted and the drums and bass hammer the track like a determined blacksmith.

Namé – “Forgive and Forget”
Recently, Namé released their debut album, Changing, which features an intriguing blend of influences. The second track, “Forgive and Forget,” is a prime example of this, with the lead guitar lines echoing The Grateful Dead despite the track’s quick pace and punky chord progression. The guitars remain clean throughout the track, however, introducing a jangly element to the mix. Over all of this, the defiant vocals tie everything together with a nice bow.

Indelego – “Always (I’m Here)”
Alt-rock darlings Indelego are back with their first single in a year, and it could not be more different than their previous single “I Will be Your Ghost.” While that one opened with a mellow ukulele as the song built around it, this track kicks open the door with barre chords that jump all over the guitar as the drums and bass set the speed. The song is full of surprises from that point forward, as the mood immediately changes to something between jazz and math rock before settling into a sweeping chorus and going back to punk. There is something for everyone in this track.

Nova One – “You Were Right”
Nova One is back with a single that swings elegantly between dream pop and shoegaze. Vocals combined with a tremolo effect lead into guitar riffs that soar over dense layers of distorted guitars, deep bass, and thick drums. Just as soon as the storm starts, however, the song returns to airy synths and gossamer vocals. The song throws listeners for a curve right at the end, as the pace slows to a crawl and gives way to one of the fuzziest outros I’ve heard in a while.

The Quahogs are one of the best bands to come out of Rhode Island in recent years, producing an instantly relatable, resonant sound. They’re the type of band that, as soon as you hear them, you know instantly it’s them. The Quahogs are real. Their music, their lyrics, and their band members are always authentic, which is an artform itself in these times of disposable art and forgettable pop music.

Their music runs the gamut of human emotion, deriving inspiration from their own lives and experiences. They know what joy and pain are, and they know how to tell their story. From the passing of their legendary drummer Nick Iddon, to their struggle to release their new album, The Quahogs are proven survivors.

I recently spoke with vocalist and rhythm guitar player Steve DelMonico, to find out what led up to their new album and the subsequent sold-out album release party at The Parlour.

Brian Shovelton (Motif): How did the band begin and where did you get your name?

Steve DelMonico: At this point, I’m not exactly sure why I named the band The Quahogs. I used to go quahoging in my youth and I like to eat them. The project started 13 years ago. I had enough songs for an album and I booked time at Machines with Magnets and assembled a band. The band has gone through a few incarnations. The current band members are Mike Murdock on drums, Ashish Vyas on bass, Steve Donovan on lead guitar, and myself on rhythm and vocals.

BS: Do you write songs together, or does one person do the majority of the writing?

SD: I usually come up with the songs, at least the skeletal structure of the song. On the past album, Donovan helped with the break on “Blaze” and Nick Iddon helped with the structure on “I Lost Myself.”

BS: The music video of “For What Reason” was super popular. Where was it shot?

SD: The video of “For What Reason” was a combination of film from a handful of live shows that Nick filmed (he filmed every show) and shots from a tour way back from our buddy Charlie Weber. Charlie put the music video together. He’s also been in the band.

BS: How did Nick’s passing affect the band?

SD: The passing of Nick was one of the hardest things I’ve been through. He was like a big brother to me and many others. He had a tremendous impact on PVD and beyond. When he was preparing for chemo, he told me he wanted Mike Murdoch to drum for us. He handpicked drummers for every band he was in. He put others before himself and was one of the most loyal people I’ve come across.

BS: Tell me about the new album. How many recordings is this for the band?

SD: Tasteless is our third full-length record. The recording started in 2018 and took until now to come out. Looking back at the songs, it’s pretty reflective of where I was in the final chapters of my 20s.

BS: The album release party for Tasteless sold out. How did that feel?

SD: The album release was such a special moment. To finally play all of those songs in front of people meant a lot. To have it at one of my second homes, The Parlour, made it even more special. Getting out of the car to load in and seeing the mural of Nick, thinking about how I’d joke with him that the album won’t come out, or that it would come out in 2025. I guess I was one year early.

BS: What’s next for the band? I heard you might be going on a short tour. Where are you headed?

SD: I’ve been writing again and planning to book some shows around New England for the next few months and then planning a bigger tour for the end of the year.

The Quahogs are an honest band playing real rock & roll. Check out their new album Tasteless, their other two albums and music videos. And whenever possible, do yourself a favor and see them live — they are among a handful of artists producing authentic music that’s well worth the price of admission.

Musicians are an artistic breed under near-constant scrutiny and pressure to produce and perform. When their creations go out into the world, they open themselves up to being loved, criticized, or ignored (usually all simultaneously), which can lead to an added sense of insecurity. Regardless of professional level, the pressure can take its toll and create or add to mental health issues.


The music industry is not a 9–5 job with benefits, time off, and a steady salary. The lack of benefits force many in the industry to choose between paying bills or investing in their mental health. Self-medication has often been a more affordable go-to, but can lead to a myriad of other problems.


Trouble No More, an initiative started by Tune In & Tune Up co-founders Don Culp and Dr. Al Puerini, along with Mike Petrarca and Kate Noveau, provides the mental health support and resources that so many in the local music industry desperately need. The four connected in 2023 after reading an article about the mental health of musicians published in this magazine. Petrarca and Noveau reached out to Culp.


“I could not believe that these two therapists were reaching out to me and offering their services to support anyone in the music community who was suffering from mental health-related issues,” Culp says of the response to the article and issue. “I set up a meeting and we worked out the start of the Trouble No More program on the spot. It was the first time that we had ever met and we were like long-lost friends. Both Kate and Mike knew musicians who had suffered in some way from the pandemic. This initiative was near and dear to their hearts as well.”


“Our healthcare system is difficult to negotiate,” Puerini says. “We work hard to make that task easier for the musician who may not have any idea how to approach this crazy system.”


Culp said that there were a lot of technical issues that needed to be worked on and resolved before a program such as this could be presented to the public.


“Everyone on the team was more than generous with their time,” Culp says. “Everyone took charge of different aspects of the organization, it’s an incredible team effort that brought this program to the forefront.”


Puerini explains that Trouble No More is an innovative initiative by Tune In & Tune Up.
“Our goal is to help musicians self-identify their issues and provide an easy, non-intimidating avenue to receive the care they need,” Puerini adds. “It’s one of many programs we have to help musicians.”
Here is how the program works:

  1. Anyone who works in the RI music community, including musicians, stagehands, sound and lighting technicians, bartenders, waitresses, and venue managers are welcome to participate. If interested, contact professional licensed therapists via email at: rimusicmh@gmail.com
  2. Once contact is made, a short questionnaire is emailed back. The client answers the questions and the therapist sets up the first meeting.
    Every bit of information is completely confidential. This program is conducted with the same privacy and control as any mental health-related format.
  3. Life strategies are worked on and, if more meetings are needed, the therapist will work with the client to continue treatment and help find ways to offset pricing.
  4. Tune In & Tune Up pays for the initial evaluation and two additional meetings with a therapist.

Trouble No More is completely confidential with therapists that are board certified, licensed and insured. The privacy of their client is of the utmost importance. They are always looking for new therapists with a shared interest in the music industry who would like to help.


“Anyone can contact me or DC (Culp) to discuss ways to participate and help,” Dr. Puerini says.
Tune In & Tune Up currently have the financing to help individuals in the local music industry in many ways, but they are always fundraising by accepting donations and hosting events. Their next event takes place Saturday, September 30 at The Ocean Mist.


“We are dedicated to helping people in our industry find health and happiness and ultimately to reconnect with their creative selves,” Culp says. “We all need healthy artists contributing to society in this chaotic time. Tune In & Tune Up through the Trouble No More program is here to help.”


“The Trouble No More initiative is unique in RI,” Puerini concludes. “We have several dedicated mental healthcare providers who have stepped up to assist us and offer their services at a greatly reduced rate. It is a collaborative team effort.”

*For those in need of immediate help, or who are otherwise in crisis, please dial 988.
Email rimusicmh@gmail.com for more info on the Trouble No More program.
The Trouble No More fundraising show is on Sat, Sep 30 at Ocean Mist, 895 Matunuck Beach Rd, South Kingstown. Doors 8pm, presentation 8:30pm, music 9pm. Tickets are available for $15 at oceanmist.net or $20 day of show.

Okee dokee folks… I am one of the few people who will say it: I am happy summer is over! The time of year has arrived when I am comfortable and not feeling like death!


I thought I would wrap up summer with things to look forward to for next summer. This includes two festivals: Rhythm and Roots and Newport Folk. All year I see folks posting their drama about Newport Folk. Can’t get tickets! Who’s playing? What do I do, who do I see? Blah, blah, blah… OMG! A lot of these postings require having a cultish, blind faith in something without knowing what you will actually receive. In case you haven’t guessed yet, I am not a fan of Newport Folk Festival. I used to be. Back when it was an actual folk festival, it was great. Over the past ten years, with its new producer, it has turned into an indie music fest. That is fine, but please change the name and don’t sully the name of a legendary event. I am not alone in these thoughts.


I’ve spoken with people who used to go to the festival but are not thrilled with the current version. I know we are in a minority and most people have been brainwashed into thinking Newport Folk is the greatest festival in the world. Well, it’s not. Not being able to get tickets and buying tickets for unannounced acts is ridiculous. Folks lose their shit over this. It is expensive and it is a nightmare to get in and out of. What used to be folks relaxing on blankets listening to music has turned into a “stand in front of the stage in the hot sun and try to look cool” concert. I could go on.


May I offer a better festival experience? Rhythm and Roots festival. It is an actual festival and getting tickets is easy. Plus, the music is great, the venue is so much nicer, it’s not terribly expensive, parking and getting in and out is easy, it’s a relaxed environment, and – best of all – there is camping! To some, this is the part that they love the most – the opportunity to go back to the campground throughout the day and chill at your home base. You get much more bang for your buck with this fest as well, and it’s longer. The schedule goes until 11pm. If you have a hankering for more music after that, there are all-night jams throughout the campground, and you can play in them! Some of the festival performers are occasionally part of these jams.


The quality of acts at Rhythm and Roots is usually just as good, if not better, and you know who is playing before you buy tickets. Ninigret Park is a beautiful area for a festival and there is plenty of room to stretch out, relax, and enjoy the music. There are three stages of music and one of them is dedicated to dancing which is a big draw for many. I have never seen any stress about Rhythm and Roots, just total enjoyment.


So next year, when the ticket drama starts, avoid an ulcer, save your money and your sanity and get tix for the best 3-day music festival in Rhode Island. Oh, one more thing, there are many Rhode Islanders involved in the production of this festival. No carpet-baggers here! Read on…


Beth Barron, the Energizer Bunny of the RI music community, is hosting another Ladies of Folk Show. This time in conjunction with Stone Soup Coffeehouse. Stone Soup has been picking up a bit of steam again and trying to regain its footing as a serious music presenter. They are hosting more local and regional folk artists this incarnation. Besides Barron, the bill includes RI’s own “ghost folk” singer and internationally acclaimed songwriter, Allysen Callery; singer-songwriter and recording artist of Celtic/folk music, Mary Pierce; and singer-songwriters, Jane Hesser (aka Ground Weather) and Michelle Saylors. Shows are held at The Music Mansion, 88 Meeting St, PVD, musicmansion.org. Stone Soup hosts shows on the second Saturday and third Thursday of the month.


For more, ladle over to stonesoupcoffeehouse.org.


Another Rhode Islander whose energy for production seems indefatigable is Russell Gusetti of Blackstone River Theatre. He has been the beating heart of this venue for almost a quarter of a century. I actually think it is more (than a venue) but I will stick with this for now. BRT consistently presents great music. Russell brings in the best music in the Celtic/Irish, Canadian, British Isles, folk genres, and more. And they present classes in folk traditions, instruments, dance, and arts. The music schedule at BRT features: Eileen Ivers/Universal Roots (10/1), Niamh Parsons and Graham Dunne (10/7), Alasdair Fraser and Natalie Haas (10/14), Ed Sweeney and Cathy Clasper-Torch (10/15), Mari Black Trio (10/21), and more into the fall.


For more, row, row, row over to riverfolk.org.


Another driving force in Southern New England music is Patrick Norton and the Narrows Center in Fall River. Catch Amythyst Kiah with opener Jon Muq on October 5. Patrick only brings in the best.
Bridge on over to narrowscenter.org.

That’s it for now. You can listen to my podcasts at: motifri.com/rootsreportpodcast. You can also find my concert photographs at motifri.com/fuzeksfotos. Thanks for reading and listening.

Blood on the Tracks

Detroit Rebellion – Fake News

Detroit Rebellion returns with their third album, Fake News, that rolls through the night like a hayride through the Americana apocalypse. Detroit Rebellion has always been about fuzzed-out blues, somewhere between Robert Johnson and The Gun Club. That carries on with Fake News, but they also added ’60s psychedelic, garage, and stoner rock to a beatnik poetry slam and poured it into the party blender. Take the tune “Doom and Gloom,” for example. It sounds like John Lee Hooker meets no wave with machete-esque lyrics like: “I love your perfume, it smells like doom and gloom.” To me, Fake News is more of a commentary on the past couple of years than a “political” record. It’s a world of mass shootings, corruption, and batshit conspiracies that birthed Fake News and those themes echo through the melody and angst. The title track turned out to be one of my favorites, managing to be ridiculously infectious while the lyrics are all about conspiracies. “Yellow Teeth” bursts with ’60s psychedelia while “They Ate All Your Pie” is so damn menacing. Another one of my favorites is “How Long Before You Turn on Me,” which reminds me of the MC5 jamming with The Birthday Party. Check out Detroit Rebellion for yourself on Bandcamp and the other streaming services. The video for “Laws of Attraction” is also up online at: detroitrebellion.com

Coming Attractions:

9th Annual Holiday Benefit Cover Shows 

An annual tradition returns to benefit the Rhode Island Community Food Bank. These benefit shows are holiday staples. Where else can one go to hear a set of Fugazi followed by a set of Abba? Likely only Askew on Dec 10, baby! In the past, I feel like they’ve announced which bands were performing the cover sets. They haven’t this year, but I have heard an informed rumor that the Brother Kite are doing the Tom Petty set, which is perfect – because they sound nothing like Tom Petty. Maybe it’s mostly “supergroups” of musicians coming together for a one-off set or maybe they just ran out of room on the poster – guess we’ll all have to go to find out! 

Night One goes down at Askew in PVD on Dec 10 with local musicians performing  Abba, Fugazi, Green Day, and Goo Goo Dolls cover sets. 

Night Two is at Alchemy in PVD on Dec 16 and features local musicians doing covers of No Doubt, Tom Petty, Alanis Morisette, and The Killers. There will be raffles with prizes donated by local businesses to add to the festivities and it is all for a great cause!

The Smithereens with Marshall Crenshaw

The Smithereens have reigned as sultans of power pop for over 40 years. I can still remember hearing “Only a Memory” on the radio coming home from middle school. While the entire world has changed, when you listen to a Smithereens record, it doesn’t seem all so different. Of course, there are some changes: Sadly, singer Pat DiNizio passed several years ago, but Marshall Crenshaw has stepped up to fill the void. Expect a mix of Crenshaw’s material with The Smithereens bangers in what promises to be a great night of rock ‘n’ roll hoochie koo.

The Smithereens with Marshall Crenshaw rock the Greenwich Odeum in East Greenwich on Dec 10.

Lightning Bolt

Local noise gods Lightning Bolt return what promises to be a romp through clandestine rhythm-powered feedback. Seeing Lightning Bolt live is an intense trip. It’s like watching a band rip through the wilds of urban wastelands in one giant sonic boom. It always seems like they are hunting down something that is just out of reach. I never know how much or how little to say about Lightning Bolt. If you’ve seen them or know the whole Fort Thunder legend, you don’t need my words. I’m just here to tell you it is happening. 

Lightning Bolt and babybaby_explores will rock the Met Cafe in Pawtucket on Dec 14. 

They Might Be Giants

The Johns in They Might Be Giants return to the Strand with their quirky indie rock to get you ready to kiss this miserable year adieu. They Might Be Giants have a fascinating discography. They have released over twenty albums throughout their 40 years as a band. I’ve always been partial to their earlier stuff like “Alienation’s for the Rich,” “Rhythm Section Want Ad, We’re The Replacements, ” and of course their smash hit, “Birdhouse in your Soul.” They’ll probably only play the latter but there isn’t such a thing as a bad They Might Be Giants record. They put on a great show and will have your New Year’s Eve’s Eve poppin’!

They Might Be Giants return to The Strand Theatre in Providence on Dec 30 to get you ready to ring in the New Year.

Email music news to mclarkin33@gmail.com.

In early November, Rhode Islander Bill Bartholomew returned to Brooklyn, a place he called home for 10 years, to debut his solo record, “Beij,” and I was lucky enough to be there. It’s a special kind of thrill to see local musicians in other spaces, and self-identified artist of many trades, Bill (who told the crowd it was “terrifying” to re-enter New York as a musician) did not disappoint. Sitting at a tiny table at the back of “Pete’s Candy Store” – across from the heart-shaped sign reminding patrons that the donation of $5 was very much appreciated by the band, I witnessed Bill’s raw vulnerability and the support of old friends (many fellow musicians) come together in an intimate show.

If you’ve seen him play you know he likes to experiment with unexpected sounds; he sprinkles falsettos, guitar riffs, and musical dynamics into a set that could be rock, folk, metal, or a storytelling session. He did it all that night and instead of guitar-smashing-daredevil dance moves, Bill executed badass kicks, contorted over his acoustic guitar, and let the music go where it needed to – all while sitting in a chair (he shared that he had battled long COVID). By the end of his release show, I felt his joy and gratitude for being able to make and share music. I interviewed Bill Bartholomew right before this show and he explained how his two worlds (journalism and music) live side by side, and how creating on his own allowed him to “come back home” to himself.

Mayté (Motif): I’d like you to start by telling me all the things that you do so I don’t miss anything.

Bill Bartholomew: Oh wow… well, the way I’ve been describing myself now is singer, songwriter, media personality. Primarily, I’m a singer-songwriter for my project. I play drums in a number of bands in Rhode Island, and I was/am half of the band Silverteeth, but we’re on hiatus. And I am the host of the Bartholomew Town Podcast, producer and host at WPRO, and a contributor at Rhode Island PBS. That’s good enough.

M: How would you say journalism bleeds into your music or music into your journalism?

BB: For as long as I can remember I’ve always had two major interests in my life: music and current affairs/politics/news media, especially local media. I see them all under the umbrella of artist, especially in my specific role in media where I do reporting and straight-type journalism, but I’m more of a performer. When I do podcasting or radio, it’s all entertainment and [the] creation of content. It all bleeds seamlessly like that. Then there’s the more major side of it, which is the role of the artist serving as a mirror. Whether that’s through my music or podcasting, it’s all me experiencing the world, and then sharing my take on it. I feel like [music and journalism] are always going to be woven together for me. When I perform, now more than ever, there’s more storytelling during my sets. And when I create media content there’s a musicality to it; I use my hands a lot, even when I’m not on camera. I don’t see one as, “Oh, that’s my job, and this is my passion.” They both are things that I do. They all combine into how I would define my art.

M: I love what you said about interpreting what’s happening in the world – in both music and media.

BB: I think that’s the ultimate job. There are definitely people who have a more technical approach to music or media, and while I embrace as much technicality as I can, really, all that comes from is my own emotion or feelings on things. I’m always working on balancing what should be refined. And what’s better than being as raw as possible?

M: The name of your new album is “Beij” (“kiss” in Portuguese), right?

BB: Yeah, well pronounced.

M: Thank you! What was the vision for “Beij”?

BB: After spending 10 years focusing on music, I was looking for something to add to my portfolio and I naturally fell into podcasting, then talk radio, and then the journalism world surrounding COVID. I’m very thankful for that. I was still doing shows at my loft, playing out, drumming in bands, and recording demos, but my identity had really gone into the media side of things. Late last year I started to feel like I wanted to rebalance that. Having been in bands for a really long time, and also performing as a solo artist, I really wanted to follow my instinct to be by myself when I made music now… Through podcasting, I learned that I’m probably my happiest and more fluid- when I’m by myself. I have a team that I work with in radio, and there are major figures in my life- that I bounce ideas off of when I do podcasting, but I wanted to make a record and reestablish my musical identity by myself… where I was completely able to control my own destiny- anything I was able to accomplish or not accomplish, I could look back and say, hey, that was on me.

That meant recording, producing, playing all the instruments, and just being alone in my room with the door closed for several months. And then on the other side thinking: how do I want to perform this live? I decided it was going to be this indie, experimental, folk thing, with a little bit of northern country to it, all the music that I’ve always wanted to make.  And it was difficult because you get into those moments where you don’t know: Is this the right tempo? Is that the vocal take? So, I started to ask people that were close to me what they thought. It really came down to, for the first time really, me saying, “Let me see what happens when I work by myself.” That was really the impetus for this entire launch – no one is going to interfere with my vision. That may be the egomaniac talking, but I also think it’s the artistic process: the painter, the podcaster, the writer. That’s where I wanted to land more so than the camaraderie and the hangout that comes with being in a band; I prioritized the former over the latter in this case.

M: You created the landscape you needed to tell your truth with absolute freedom.

BB: I’ve been in established bands where there’s always been two songwriters, or in some cases, two front people. That’s a lot of time to spend splitting songwriting duties… and creating a vision that is emblematic of what you want to do is hard and beautiful when it works. But, I needed to go back home to myself, just writing songs and putting them out into the world.

M: You just said that and I got chills for you. That happens when I’m in conversation with people and they say amazing things.

BB: Oh wow, thank you.

M: You’re welcome! Many of the songs on your album feel like ballads, and your performance is typically more indie rock or metal, no?

BB: Some of the songs are really old songs… kicking around for 15 years, and others were written this year. I probably have 50 ripped legal pad papers of different lists of songs and somehow, I just landed on this batch. When I play live there is a tendency for this rock side to come out – and I’ll climb things! I love that aspect of the show, being as raucous as possible, climbing into the audience and laying down on the floor, or doing weird experimental stuff with my voice. But I think the true artist that I am, when I think back over the experiences that I’ve had, is that solo acoustic guy with no amplification in a cafe in Brooklyn, or a small venue somewhere – I think that’s the closest to who I really am and I wanted to tap into that.

M: When you were done with the album did you think- oh this was exactly what I wanted?

BB: You know, through podcasting I learned about creating and sharing content, [with] the idea being, “Let’s make it, learn from it and keep working.” A lot of people said, “Why even make an album? Just make a song.” But I felt like I needed to have a foundation. I deleted most of my old music off of Spotify… to establish a new foothold with the [listener]. Heaven-forbid, I’m unable to make music for some reason… and if someone stumbles upon my stuff, they’ll say, “Okay, I think I know where this guy was coming from.” It represents me. Then in May, right as I was finishing the record, my computer crashed and I ended up losing it temporarily. Luckily, I was able to recover most of it, but there was one song that I thought came out really good called “Lonely1,” which was completely lost. I was devastated… and my roommate, Randy Robbins, an incredible songwriter said, I think you can do that song even better, and I did. I’m really proud of the perseverance there… I was prepared to enter into a deep depression as a result of losing the record. I have really worked hard since the pandemic [at trying] to improve my mental health. And I think that if it was 2019 or early 2020, before I really started taking some steps, I probably would have had a complete meltdown or at least just given up on the project.

M: You took the setback as an opportunity. I wrote down a lyric from this song actually: “I’m an axe so complex.” Is that right?

BB: The lyric is “I’m an X”. A lot of people probably think that it’s an “ex” partner. But it’s the letter X and it has a couple of meanings. One is “I’m an X factor”, I guess. But really it comes down to how I see myself as somebody who has always been gender-neutral. I don’t identify as non-binary or anything, and I don’t advertise this, this is probably the first moment that I’ve ever stated this to a person in the public sphere. But I’m an X and I always have been. That’s why it hurts when people make fun of me for wearing pink overalls. I take it so deeply personally when people attack other people’s views. I don’t experience life through the eyes of a male. Now, I know that I am privileged to be a white male, don’t get me wrong, I totally see that… But the lyric is sort of a hint to people of where I stand in the world, I don’t really see myself locked into any gender. And I think that’s where our society is heading — toward gender fluidity and changing norms. One of the things I don’t like about bands anymore is moving heavy equipment. I’m pretty strong and I don’t love lugging stuff and some people make fun of me for that, [because the thought is], “You’re the guy, you should lift something up.”

M: It’s unfortunate that people make assumptions and create behavioral expectations of you, others, us… based on how we look and on the norms that are being upheld. We all have identities that we’re managing, that we might share or we might not. Thank you for talking about the complexity of identity, and for recognizing the privilege and safety that can come with presenting as male and white. Before we end, I wanted to ask one last thing about a specific song. I loved the lyric “Tell me your fire sign” because I’m a Leo, but I couldn’t figure out how to say the song title. Is it “Toucanet”?

BB: Yes! Like a little toucan, the bird. I wrote that song earlier this year when my partner was in Brazil. She goes pretty regularly but this time the trip kept getting extended, and then she got dengue fever, and it was just kind of a weird time. I wrote that song in one take. I bought a keyboard, set it up, and that song came out. I was like, “What? Wow, that’s new.” I’m not a pianist at all, but that song was pure soul and a pure expression of a February night… with lyrics like “When did my sky turn gray?”

Want to experience this indie record and learn more about Bill? Stream his music on Spotify or Bandcamp, visit bartholomewtown.com (and watch his podcast), follow him on Instagram at @billbartholomew for 2023 tour dates, and keep a lookout for him on WPRO and Rhode Island PBS.

This RI-based rock band asks bold questions such as: When is it too early to celebrate Halloween? Is October 8 too early? (no). And, should a band sell socks as merch? That’s a resounding YES in my opinion! 

Beyond Gravity’s Eddy DeMelo (guitars) and Dustin Oerman (vocals and guitars) discuss managing being family men and musicians while blending ‘90s rock riffs with storytelling lyrics — all of which might make you reach for your flannel shirts.

Eddy DeMelo: Don’t say anything that will incriminate you, Dustin!

Mayte Antelo-Ovando (Motif): Oh, that’s already recorded, so…

ED: Oh no, what have I done?

Dustin Oerman: Haha!

MAO: To start, let me say I watched your “Between the Notes” show (a Motif Podcast) at the Parlour and learned a lot about your band! You mentioned your debut EP release, The Nature of your Game, the fact that y’all had been together (alongside bass player Walter Canavan, and drummer Rob White) about 2 years, and that you were hungry to get in front of crowds since Covid prevented that… so tell me what’s happened since April?

Photo by James Lastowski

ED: We’ve just been doing a lot of writing and rehearsing for the most part. Summers are always tough, because we all have kids and they want to go on vacations (this dad rock band has kids ranging in age from 3 years-old to college-age). So it was just a lot of writing and practicing when we were all in the same state.

DO: And we focused on our video for “Got Nowhere to Go”. We’re pretty excited how that came out, actually.

MAO: Say a little bit more about the video because I watched it, and I had questions! I’d love to hear what the storyline was in that video.

DO: Well, it’s about two friends — kind of hanging out in the beginning. Then one friend gets killed – he gets mugged. But really the song is about friends moving away and kind of losing track of each other — and we thought it would be really impactful if we threw a crazy twist in there, and tried to show the emotion within some of the lyrics. In the end he’s got nowhere to go, as he’s sitting on a rooftop by himself.

MAO: Since you’ve now been able to perform and share your EP, what kind of feedback have you gotten?

ED: We’ve had a great response in the last couple shows we played. We have probably almost another full-length album’s worth of songs, either fully written or just about done. We’ve gotten to play those for some folks, and the response we’ve received has been good so far, which is pretty encouraging.

DO: We’re excited- we probably have about eight or nine songs that we could go to the studio right now and record… everybody seems to be releasing singles lately so we may want to do that.

ED: We have one single that didn’t make it in time to the EP, but it’s just about done. It’s just being mixed. Now, everything’s tracked- we had to re-track it and hoped to release it in April but it’s still not done.

MAO: Oh yes, the single you mentioned at the Parlour was “Paradise”, is that it?

ED: Yeah, you were paying attention!                                                 

MAO: Yes, haha, I was. There was something y’all said that I wanted to revisit. You’re all married and have children of varying ages. You mentioned that when you love something you stick with it — it being music.

ED: I don’t think that’s changed in any of us… when you’re a little bit older, and you’ve got kids and careers, you go through seasons where you have more time that you can dedicate to it and others where you wish you could, but you can’t. I don’t think it’s ever for a lack of passion or lack of wanting to do it. I think if anything, it’s just that sometimes there are other responsibilities that take precedence.

DO: It’s an interesting dynamic, having a family, being married, or being in a relationship, trying to be a homeowner, grow your career — and still have your passion for music on the side — trying to put 100% into it. I find that I go through stages where life can be overwhelming but then all of a sudden, I sit down and I play my guitar — write a new song and I’m like, ‘oh, man, I gotta get this to the band!’ And then the passion starts all over again. It’s funny, my father-in-law had this belief that people kind of lose their artistry or their drive as they get older, maybe the creativity in a way — but I haven’t found that… Responsibilities change but when I take the time to sit down and find my creativity, I feel like I still have a lot to say. I think we all try to live life to our fullest as dads with our families, and then still try to put as much as we can into our music.

As the conversation continued Eddy and Dustin highlighted that even when the bandmates are not in a room together, they create new songs, melodies and parts that are then shared among them via text.

ED: Rob (drums) doesn’t really sing or write music, but he’s great at just coming up with ideas and melodies. He’ll just sort of speak or hum it into his phone, and we’ll get a voice text and then I’ll grab a guitar and work on it. Even when we’re not really practicing, it’s something we’re always thinking about. I think it’s an outlet for us — to [write music]. We all have our family and work responsibilities and this is something that we do- really just for us. It’s great that people have been encouraging and supportive. But I’ll be honest, if everybody heard it and was like, “It’s terrible,” I’d think, “I’m still having fun, so I’m gonna keep playing it.”

MAO: The process of creating something is what drives all of you.

DO: Yeah, I was always a singer-songwriter, originally from Pennsylvania. I moved up here for a small sales job, but really to play at open mic nights because we didn’t really have them where I was from in PA. When I had an opportunity to move up to RI, I said, “Why not?” The music scene where I was from in Pennsylvania was very rural: Not many places to play. New England is famous for open mic nights so I would play by myself, but I always found it more enjoyable to write music with others… that aspect of being in a band and writing music together; something about that is just addicting.

ED: And, it helps when there are no real egos in the band either. Nobody’s afraid to throw in their two cents.

MAO: I’m sure. So, Dustin, I watched the video for “Got Nowhere to Go” and then saw the Parlour performance and noticed you playing acoustic guitar instead of electric — I loved it!

DO: Oh, awesome. I wrote that song with my acoustic originally, and then brought it to the band. And once again, expanded the idea and made a full-band version.

ED: Up until recently, Dustin didn’t even play electric guitar in the band. If there were two guitars, it was my electric and his acoustic and it’s only now that we have the dynamic of actually having two electrics in the band, which has been fun.

MAO: Is there anything else you want to share with people that maybe don’t know y’all or haven’t been able to go to one of your shows?

DO: I think the biggest thing about us is that we like to write music that people can latch on to and find some kind of meaning in and really enjoy listening to; we all grew up in the 90s and early 2000s and play music influenced by that, but with a little bit of a modern twist on it, I’d say.

MAO: Next Show?

DO & ED: PEM’s Halloween Rock Party at Fete Music Hall, Oct 8, 2022!

See? It’s never too early to celebrate Halloween with rock bands. The Beyond Gravity dudes and dads say so. If you’d like to follow them and see what’s next for them go to:beyondgravityband.com or follow @beyond_gravity_band and watch their newest music video: youtu.be/fYn6ANxVctA

Durham, North Carolina based folk rockers Beloved Binge will be stopping in RI on their country wide tour. The couple, who describe their music as, “rubble pop in a punk pot,” have been compared to Olympia, WA indie record label k-records, placing them somewhere in the ranks of indie folkies and shoegaze rockers. Beloved Binge is celebrating 10 years of making music, their 10 year “bandiversary”. Their music spans the rolling sounds of folk, and extends out to the feedback filled backbone of garage rock. The constant that winds through their recent album Pockets is the way the duo’s voices come together, part folk chorus, part rock anthem.

Eleni Vlachos is the self-identified drummer of the multi-instrumentalist duo, which will be gracing the stage at AS220 this Wednesday. She and husband Rob Beloved, quit their jobs and got in an ‘82 camper van with their dog, to tour the United States in celebration of making it 10 years.

Beloved Binge does more than just make music. Both members are vegan and work to raise awareness of the suffering of animals, especially as part of the high production food system. On a trip while touring they were traveling from LA to San Francisco and passed a feedlot for dairy cows, the conditions in which the animals were being kept convinced them to take the step from vegetarianism to veganism.

“One of our interests is reducing suffering in the world,” Vlachos explained. Animals make up a lot of life on the planet, and the members of Beloved Binge believe that with increased awareness of plant-based food options, people can make the switch.

“It’s hard to change,” she acknowledged, “Every meal is choice.”

Vlachos is also interested in film work. She has made two films, one called Seeing through the Fence which focusses on the reasons for switching to vegetarian and vegan diets, and why people are reluctant to do so. She will be giving out free copies at the show. While they are on tour this fall she is working on a new project called Big Talk. She is asking the artists they meet while touring questions off her “big questions” list, such as “What is the hardest part of being alive?”

Vlachos grew up in Seattle, working the cash register at her father’s pizza place. Her mother’s family had many classical musicians. She started playing the drums at age 21.

In 1998, Vlachos traveled to Crete, as part of a trip around Greece to get to know the country and visit her father’s family, there she bought a bouzouki (μπουζούκι, pronounced: boo-ZOO-kee), a Greek instrument resembling a lute.

“My father was embarrassed,” she joked, the instrument is usually played by men.

Vlachos met Rob while they were both still living in Seattle. She was looking to get involved with a new band. After the third member of their group left, they re-located to Durham, North Carolina.

“We were kind of broken-hearted,” Vlachos said. They decided to move somewhere new. They had heard nice things about the weather in North Carolina, so they packed up their stuff and moved.

“When we got there it was like a ghost town,” she remembered. But the town opened itself up and revealed a welcoming arts community that has helped them feel at home.

When planning their tour to celebrate 10 years of music making slotting Rhode Island in was an easy choice. Rob’s father lives in the city.

They have played AS220 before and are fond of its DIY ethos. The DIY movement is a large component of what they do. Their tour is self-organized and they are traveling by camper van with their dog.

Looking back on ten years of writing and performing Vlachos finds that the biggest changes are those of perspective.

“You look for ways to entertain yourself,” she said. Tired of playing gigs the same exact way every time they incorporated a theatrical element. Once, they put on a show of Three’s Company inside their performance.

But touring is a major draw when for Vlachos when it comes to going around the country.

“Playing shows is a way to connect with a community that you don’t get when you’re just traveling.”

Beloved Binge will be playing AS220 Thursday August 14. Check out their music at belovedbinge.bandcamp.com.

Okee dokee folks … As I mentioned last month the summer shows are plenty. I have managed to get to quite a few so far and have many more to attend. One commonality I have noticed among the performers is that a lot of these folks are getting old, some very old. I guess I am, too. With age comes wisdom … or just the AARP?

Shawn Colvin was the first of the bunch of concerts I went to last month. Colvin played the Narrows in Fall River, and she made several jokes alluding to her age. She is just 58 years old. In spite of her mocking her own diminished capacities of memory and eyesight, she put on a great show. Nimfest in Newport presented Susan Cowsill. She is the youngest member of the Cowsills and checks in at age 54, just a year older than I am. She still has the youthful look she had as a child. Her voice and performance are still top notch and I didn’t hear her make any age-related jokes, though her audience was a bit up there in years. The former Newport resident drew a nice-sized crowd to King’s Park. Unfortunately, Cowsill seemed to rely more on random cover songs than her own or even Cowsills material. Next up was Yes at the Newport Concert Series. This bunch just looks ancient. Despite the fact that I thought they might break a hip or need CPR on stage, they too put on an amazing show and pulled off great live versions of the Fragile and Close To The Edge albums in their entirety. They can still play as well as they did the last time I saw them 30 odd years ago. The lead singer who replaced Jon Anderson seemed young enough to be a son or even grandson of the band members, though he behaved and looked very Jesus-like and appeared to be singing to his father above. The topper of the senior citizen summer tour had to have been the Crosby, Stills and Nash show at PPAC. What was supposed to be a CSN show was more of a Crosby-Nash show. Stephen Stills’ voice, for lack of a better word, is toast and he was off stage quite a bit. He could barely talk, let alone sing. I actually felt bad for him. However, his guitar playing is still strong. CSN as a group, whose ages are 69 to 72, are pretty tired, though Nash is still a pretty strong performer at 72. They did make age-related jokes; Crosby made one in reference to putting out a new album instead of rolling over and dying at their age. Funny, but not really. For some, the nostalgia factor of seeing these legends live skews their audio palates. While CSN was an enjoyable show, it is tough to see legends who are burning out with age. I guess maybe it is better to burn out than fade away. I would much rather watch these bands than most of the auto-tuned/computer sampled products of music of today. These folks are/were the real deal. There are still plenty of great performances (young and old) to catch during the remaining days of summer. Read on…

Singer-Songwriter Jackson Browne will visit the Providence Performing Arts Center (PPAC) on Wednesday, August 20. Playing solo guitar and piano, Jackson will perform songs from his entire body of work. Jackson Browne has written and performed some of the most literate and moving songs in popular music and has defined a genre of songwriting charged with honesty, emotion and personal politics. The 65-year-old Browne is best known for songs such as “Doctor My Eyes,” “Here Come Those Tears Again,” “Rock Me On the Water,” “The Pretender,” “Running on Empty,” “The Pretender” and “Fountain of Sorrow.” He was honored with induction into the Rock and Roll Hall of Fame in 2004, and the Songwriters Hall of Fame in 2007. Beyond his music, he is known for his advocacy on behalf of the environment, human rights and arts education. He’s a co-founder of the groups Musicians United for Safe Energy (MUSE) and Nukefree.org. For more about this show, “Take It Easy” over to PPACRI.org

If you don’t know who Kala Farnham is by now, you should. She is a pint-sized, piano-playing powerhouse from Putnam, Conn. Kala is quickly becoming a mainstay in the RI and surrounding area’s music scene. I first saw Kala perform as part of the Sweet Little Variety Show at the Roots in PVD about two years ago. I was amazed at the talent of the young girl who played a keyboard that was bigger than her. From where I sat she appeared to be no more than high school age but I was shocked when she said she had been playing piano for more than 20 years. Kala started lessons at age 3 and now at the ripe old age of 26 has been playing piano almost as long as she has been walking and talking. She just released her first studio CD, Anahata: Wake Up Your Heart. Farnham’s three previous releases were more homemade products. Though I am not fond of reviewing CDs, I am making a bit of an exception for this one. I love this CD and wanted you all to know about it! The disc starts out with a simple tinkling of a couple of notes on the keys, but quickly launches into the big, fully produced sound of ”Naked Honest”. The 13 song recording features 12 original songs by Farnham and one cover. Kala handles all keys and vocals; Daisy Castro adds nice touches with violin, and master guitarist Duke Levine provides tasty licks throughout. From the aforementioned lead track ”Naked Honest” to the final cut, “Maitri,” the CD delivers wonderful songs that are strong both lyrically and musically. Favorites of mine are: “Songbird,” “Pencil & Ink,” “Ruthless” and “Maitri.” She is a classically trained musician with influences of pop, Broadway and world music in her sound. For ease of description, Farnham’s style can be compared to other female singer-songwriters such as Kate Bush, Tori Amos, Vanessa Carlton, Fiona Apple and Norah Jones, but she definitely has a style of her own. Those who are fortunate to see Kala live are wowed in the same way that I was. If you are interested in catching one of her shows this month, she will be splitting the night with Adam Trudel at Stage Right Studio, 68 South Main Street in Woonsocket (stagerightstudio.org) on Friday, August 29. For more, tickle your ivories to kalafarnham.com

Many of you may remember the work of the late singer-songwriter Harry Chapin. “Taxi,” “Cats in the Cradle” and “W.O.L.D.” are just some of the fine songs that he left us with. He also left a daughter, Jen, as part of his legacy. Jen Chapin is a remarkable singer-songwriter in her own right. She writes and performs her own music but it has the soul of her father’s work. She has been compared at times with Laura Nyro, Tori Amos and Alanis Morissette. Jen has been featured on “Late Nite with Conan O’Brien,” NPR’s Mountain Stage and WoodSongs Old-Time Radio Hour, and Sirius Satellite’s The Loft. She has performed on stage with Bruce Springsteen, and has opened for Bruce Hornsby, Smokey Robinson and the Neville Brothers. When Chapin tours, she plays with her husband, bassist Stephen Crump, as well as guitarist Jamie Fox, a group billed as the “Jen Chapin Trio” that is described as playing urban folk music. She is out on the road this summer and will be making a stop at Sandywoods Center for the Arts in Tiverton on Friday, August 22. She released her 7th album, Reckoning, last year and when I saw her this past November in Hingham her show consisted mainly of material from this disc. Reckoning was produced by 5-time Grammy award winner Kevin Killen and its songs are “songs of ambition (and the lack thereof), of anger, and gratitude, of privilege, and being without, of being overwhelmed but still hungry for more life. In short, of family.”   Harry Chapin was instrumental in starting the organizations the Presidential Commission on World Hunger and World Hunger Year, and worked tirelessly for them. Jen Chapin carries on his work and is on the board of WHYHunger, the organization founded by her father. The show at Sandywoods will keep this up. They will be collecting canned goods for the local food shelter and donations for WHYHunger. For more, taxi over to jenchapin.com or sandywoodsmusic.com

There is a LOT of music this summer in the City by the Sea. The Newport Concert Series keeps it going under the big white tent on America’s Cup. Rounding out the summer dates are August 10 with Gregg Allman (66 years old), Dean DePalma will be on the Point Stage; on August 16 is The Beach Boys (in their 70s) with Joe Silva on the Point Stage; on August 20 will be Alanis Morissette and on August 31 is Kenny Wayne Shepard. For more, navigate to newportwaterfrontevents.com. On August 29 you can Rock the Fort and get hoochie-kooed with Rick Derringer (he is 66, just to keep the age thing going). The first classic rock concert at Fort Adams will also include Steely Dan tribute — Hey Nineteen and Rhett Tyler and Early Warning — a Stevie Ray Vaughan inspired group. For more about the show, sloopy over to: newportrocksthefort.com. You still have a few Sundays left for Nimfest’s free shows at King’s Park on Wellington Avenue. They happen from 3-6pm. For more about those shows, float over to: facebook.com/nimfest. The Touro Synagogue will present a Klezmer concert featuring the Yiddishkeit Klezmer Ensemble on Sunday, August 10 at 4:30pm in Patriots Park on Touro Street. The concert, presented in cooperation with Common Fence Music, is being given by Touro Synagogue in celebration of Newport’s 375th anniversary. Klezmer music, for those of you who don’t know, originated in the villages and ghettos of Eastern Europe where itinerant Jewish troubadours traveled from town to town and performed at joyful events, particularly weddings. With its lively beat and distinctive sound, Klezmer music, which is similar to a big band sound or jazz, has enjoyed a renaissance and renewed popularity on the concert stage and as dance music. It is free and open to the public. In case of inclement weather, the concert will take place nearby in the Colony House in Washington Square. For more, dreidel your way to commonfencemusic.org

This year, Nashville-flavored Americana, Canadian music and hot Louisiana dance bands each get a stage at The 17th Annual Rhythm and Roots Festival on opening night. This is the BEST festival and party of the entire year. No singular location outside of New Orleans or Chicago can be said to celebrate traditional music perhaps more than southern Rhode Island. Charlestown hosts the well-known summer music festival that features North-American born musical traditions that include bluegrass, folk, jazz, blues, Cajun, zydeco, R&B, country and rock & roll. The annual festival attracts over 10,000 festival-goers from about half the US and several countries to Rhode Island over Labor Day Weekend. Nationally recognized producer of the Rhythm and Roots Festival, Chuck Wentworth, describes the essence of roots music. “You know it when people play from the heart. When people are there for the joy of making music, not to make money or achieve fame… it’s non-cognitive.” This year Wentworth has booked several tradition-bending (and blending) performers never before heard in New England, and plans to introduce his loyal audience to exceptional Canadian artists in a special opening night tribute. On Friday, August 29, the live performances kick off at 4pm with three stages of music in three diverse themes. The Canadian Stage will feature a special tribute to outstanding north-of-the-border performers, and is hosted by Leonard Podolak of The Duhks (Podolak’s band is the host band of this year’s festival). Other celebrated Canadian artists to take the stage include blues sensation Matt Andersen, and the folksy, award-winning Ten Strings and a Goat Skin. Rhode Island native, and now Nashville mainstay Sarah Potenza, hosts the Americana Stage, with a night of music that features traditional bluegrass artists the Travelin’ McCourys and Grand Ole Opry outlaw (and “It Takes Balls to be a Woman” songwriter) Elizabeth Cook. This is the hottest festival of music and dance in New England. The Rhythm and Roots Festival serves as the grand finale to a Rhode Island summer. This two-and-a-half day, five-stage, all-ages festival takes place August 29, 30 and 31 at Ninigret Park in Charlestown. There is SO MUCH MORE to this festival but I am out of room! Find out more by two-steppin’ over to rhythmandroots.com.

Though this is happening at the beginning of September, I figured I would give you a head start for your musical planning. The first annual Providence Folk Festival will take place on Sunday, September 7 at Roger Williams National Memorial in Downtown Providence. The fledgling festival will feature two stages of acoustic-themed music. Headlining artists are Robin Lane (of Robin Lane and the Chartbusters) who is known for her hits: “When Things Go Wrong” and “Why Do You Tell Lies” as well as her backing vocals on Neil Young’s first album. Legend of the 1970s Andy Pratt, best known for his hits, “Avenging Annie” and “Summer, Summer” will also be gracing the festival stage. Also on the main stage, The Rank Strangers will bring bluegrass, Ed McGuirl and Joe Lambiase bring the blues, Lisa Martin a bit o’ country/folk, Dan Lilley (with Amy Bedard and Scatman) strums out the Americana sound, Allysen Callery and Bob Kendall will perform both together and solo, and Steve Allain will the provide his entertaining MC and singer-songwriter talents. The Rhode Island Songwriters Association sponsors the second stage and will present solo artists such as Kala Farnham, Jake Haller, Tracie Potochnik, WS Monroe and many others. The festival is free and is a great opportunity to get a good dose of the RI sound as well as some classic performances. If you are interested in supporting the festival financially you still have time and can help out by going to the Indiegogo fund raising site:  www.indiegogo.com/projects/the-providence-folk-festival–2. For more about the festival, cock-a-doodle-doo to HearInRhodeIsland.com

That’s it for now. Thanks for reading!

John Fuzek

www.johnfuzek.com

songmillLittle Rhody is a tiny state, but I am willing to bet we have more songwriters per capita than any other. Afloat this summer in our vast pool of dedicated and talented singer songwriters is Mary Ellen Casey.

Mary Ellen is not new to songwriting. She has been writing and performing for years. Like many local songwriters trying to support themselves or supplement their income, she performs a hearty mix of her own compositions along with well-known songs by nationally known artists. Her latest and second commercially released CD of original music, Ordinary Day, showcases how beautiful and pleasant her original music really is.

Similar to the rich vocal styling of Anne Murray, Mary Ellen’s strong, yet smooth voice is perfectly suited for, and carries well, the songs she has selected for this CD.

On first listen, the songs appear to be light with very pop memorable and melodic refrains. Digging in deeper, though, you will hear much more. Between the soft lines of her lilting voice lies an undercurrent of deeper meaning – a soul searching for itself.

The album, dedicated to her soul mate, leads with an up-tempo number “The Love of Her Life” – a quest for someone looking for, and finding, that special someone. Several cuts in this collection laud those who have stayed together through the thick and the thin of it all and come out shining. Probably the finest song on the album is, “You Love Me Anyway” – a passionate and honest reflection on the strengths, weaknesses and differences that hold a couple near and dear. If you buy just one single from this collection, “You Love Me Anyway” would be this reviewer’s pick.

Just when you think the CD only shines a light on love, Mary Ellen’s out celebrating with her mates on “Paddy O’Hara,” a sprightly number that has the listener leaving their troubles behind as they step through the doors of their local pub. ”Paddy O’Hara” celebrates the Irish in us all as we tip a pint or two and toast good friends.

Recorded at Lakewest Recording and produced by Jack Gauthier, the album is a strong, comfortable listen with Duke Robillard backing Mary Ellen on lead guitar and Mark Teixeira moving things along with some tasty rhythms.

The album, all in all, is a salute to the hard working gal/guy. On “Ordinary Day,” you are encouraged to call in a “well-day” from work and simply enjoy a walk about your own town. The title cut, “I Would Love You Despite Of,” takes another look at that couple who despite working hard, carrying a multitude of family responsibilities and the weight of the world on their shoulders, push through and endure. “This Lady” is a tad sad, yet a reminder of how we all feel at times, as we struggle to juggle what life throws at us while trying to find peace, acceptance and a higher purpose in life.

“Bathroom Trash Blues” is a cute tribute to her pup’s trash-pickin’, incurable blunders. The final cut, “New England Town,” captures what it means to be home – a songwriter’s blessing for all she values.  It is a beautiful closing number acknowledging those who have come before us and the gifts we’ve been given.

Make a songwriter happy this week by buying a CD, downloading a tune or two, or shutting down that Facebook and going to listen to some original music – maybe even Mary Ellen Casey, on August 17, from 11am to 2pm at Java Madness in South Kingston. Learn more about Mary Ellen by visiting www.maryellencasey.com