Guest CD Reviews by Nancy Neon

Text by Nancy Neon / FFanzeen, 2018

Images from the Internet

Michael J. Roy

The Bright Side

https://michaeljroy.hearnow.com/

Roy opens with a track called "The End." So, for Roy, the end actually becomes a beginning with a new recording for 2018. The song has a T-Rex feel. Lyrically, Roy seems to be singing about a relationship, be it romantic or creative, that teetered on the precipice of greatness only to implode. "Same Old Thing" has a cool, downbeat feeling. Musically and vocally, it will turn those on who dig Jakob Dylan or Tom Petty. It is a powerful song of regret that highlights what I have always called Roy's painterly style of guitar playing. "Impossible Ways” is vocally strong with a ‘60s pop feel. "Mr. Berserk" is someone we all know; he tries to come off as if he has it all under control, but blows up like a grenade with any or no provocation. These are some of Roy's best lyrics, where he sings of "Mr. Berserk" being followed around by a shadow that cannot be escaped. "Moving to L.A." is something I can relate to after a bad fall on the ice in Boston last winter. The track has a lovely vocal, melody, and arrangement. The music and lyrics touch the listener with an amalgam of wistfulness and wanderlust: "I can't believe/I've stayed here so long/It makes no sense/Once the summer's gone/It seems I don't know/Why I'm here at all/And I can hear that balmy West Coast call." "Point Of No Return" has a Bob Dylan/Tom Petty style vocal and overall vibe. "All The Time That Never Was" has a feeling of sadness and regret over real or perceived unrealized potential. Roy describes it as "pining for things that you know are never going to happen." This concept has resonance for me as I have been troubled by my own sense of unrealized potential. “Thin Air" has the message of striking back and ultimately surviving creatively against the threat of obsolescence. "A Reason to Live" speaks of the renewal of hope and life in the face of the increasing pressure of time and mortality. This track is fast paced, energetic, and the catchiest of the bunch along with the closer, "The Bright Side." As with "A Reason to Live," on "World Run Wild," Roy's musical mojo is at full force as he sings" My mind is on fire." So is his guitar! "The Bright Side" is a shimmering, jingle jangle power pop track in a Byrds/Dwight Twilley Band vein. When I spoke to Roy about the recording, I mentioned that I always thought he was the George Harrison of the Boston-based bands Fox Pass and Tom Dickie and the Desires. Roy showed he understood what I meant by responding by saying "dark horse." (In addition to the dictionary definition, Dark Horse was Harrison's record label.) The Bright Side is a powerful follow up to Roy's 2015 release Eclectricity.

Tom Guerra

American Garden

www.tomguerra.com/

The song "Nevermore" opens this recording with power chord/riff stylings in a classic rock vein. Guerra's voice is a combination of approachability, vulnerability, and moxy. "Goodbye to Yesterday" was written by Guerra and bassist Kenny Aaronson of The Yardbirds. This song has elements of blues, garage rock in a Sonics vein, and ‘60s pop-oriented harmonies. "Walls" is a Tom Petty number that Guerra recorded soon after Petty's death. The vocal is downbeat and the arrangement is faithful to Petty's style. "Jack for Joe" is Guerra's homage to his former roommate/manager, Joe Polito, who died about 30 years ago. Guerra described Polito as having "lived life at full-throttle racing speed." Guerra expresses a lingering fondness for his halcyon days while asking “where can we go now that we can't go home again?" "Blood on the Rising Sun" was written after the Charlottesville riots and features Jon Butcher on lead guitar. Guerra uses a Dylan/Petty style vocal to create a 21st century protest song that ends with the chant "hate cannot replace us." "Family of One" and "Lyin' King" are two more Guerra/Aaronson collaborations. These were intended for inclusion on a Jack Douglas-produced Yardbirds album – a concept that was sadly shelved. The bridge "Now that tomorrow is here at last" is a line Guerra intended as response to the Yardbirds' "Shapes of Things." "The Lyin' King" has blues harp and a garage rock-oriented feel. "The Story" is a song Guerra was moved by after hearing Brandi Carlile's version. Here Guerra's voice sounds like he is broken but still fighting to summon up faith and strength to strive for love. "Meet Me at the Bottom of the Glass" is a piano/vocal arrangement with Morgan Fisher of Mott the Hoople on keyboards. Like "Jack for Joe," it is about Guerra's friend who was lost to alcoholism. The closer, "American Garden," is thematically a pastiche of three Vietnam veterans with whom Guerra had conversations about their war experiences. The title track has an Apocalypse Now vibe with its psychedelic feel, distorted vocals, and helicopter sounds. The pop rock section of the song juxtaposed against the more ominous elements of “American Garden” highlight the dichotomy of the relative innocence of pre-Vietnam War versus the lost idealism of the post-War period. The image of the "American Garden" is all the more startling when you realize Arlington cemetery is one interpretation of the album title. This is Guerra's third solo recording. Also check out his band, The Mambo Sons.

Tom Dickie and the Desires (1980)

Text by Nancy Foster
Opening comments by Robert Barry Francos, 2010
Interview © 1980 by FFanzeen
Images from the Internet

The following article about Boston rockers Tom Dickie and the Desires was originally published in FFanzeen magazine, issue #6, in 1980. It was written by Nancy Foster (aka Nancy Neon).

Tom Dickie and the Desires released two albums in their short history: Competition (1981) and Eleventh Hour (1982), both on Mercury (though Jon Macey has hinted that there is enough recorded material to release another). After their separation, Tom Dickie moved to California and is not in music with any major presence, except for the occasional recording. Jon Macey has had much better luck with the seminal Fox Pass (still existing) and Macey’s Parade.

I saw Macey perform a couple of years ago in Boston with Fox Pass bandmate Steve Gilligan, and have recently reviewed Fox Pass’ latest release, Intemporel (2009). – RBF, 2010

I was lucky enough to receive Dickie’s demo tape a few months ago. Tom and his combo have recently “pacted” with Phonogram-Mercury and are managed by Tommy Mottola. But never mind that, rock’n’roll is the main issue here.

When I first heard the balladic “Maybe Next Time,” I was impressed with Dickie’s ability to sing at once smoothly and melodically, and still be aggressive and intense – like a romantic Elvis Costello. In fact, the group’s ability to rock-out without sacrificing melody sets them apart from much of the competition.

All songs are co-written by Tom Dickie and Jon Macey (bass). The emotionalism of the lyrics is enhanced by Dickie’s knowledge of phrasing. The music is full of subtleties and creates a wistful tone in “Maybe Next Time.” That one, along with “Twisted Years,” “Change Your Mind,” “Count on You,” “So Sad,” and “I’m the One,” are my personal favorites on the demo tape.

“5x5,” though, instrumentally paints an ominous tableau. Tom Dickie and the Desires often open shows with this ballsy wave to the Stones. However, with a songwriting team as articulate as Dickie / Macey, and a singer as superb as Dickie, to have no lyrics / vocals seem like a waste of microfilm!

“Twisted Years” has that raw, basic Stones bar band feel with psychoanalytic lyrics. The musical dynamics as the verse builds to the chorus are exhilarating. Michael Roy’s guitar work is colorful and tastefully executed. The harmonies are fine and embellish the song as well.

Though “Add Up the Ad Girls” is sarcastic – a piss-take on vacuous fashion models – Dickie’s voice still sounds too polished and sophisticated to convincingly play the male whose mind is boggled by the media whirlpool of pretty, precise images. Hearing the tape alone, one would think it inappropriate for a man of street nobility like Dickie. Yet, live it is a rave-up. Similarly, though, “On the Other Side” seems heavy-handed and a bit plodding on the tape. Live, it kicks with that signature Tom and the Desires’ emphatic punch. Vocally, “On the Other Side” is a virtuoso performance.

“Change Your Mind” is a hit for sure, highlighting sensuous singing, sensitive lyrics, and an obsessive melody. “Burning Up” features the most artistic and probing lyrics. It is reminiscent of a young McCartney in one of those rare moments when he was aggressive and rocked.

“Count On You” and “So Sad” sound especially fabulous back-to-back, like a double A-side! Both are romantic songs with unhappy endings. Still, the melodies and riffs are catchy. These two, along with “Change Your Mind,” would be my picks for singles.

On “Count On You,” Dickie’s vocal pacing and phrasing are perfect. Phrasing is even used with expertise in the graceful musical breaks. Dickie’s voice is wracked with emotion at the end of the song.

“So Sad” is more intense and analytical than “Count On You.” The bridge is beautiful. Once again, Roy’s lead guitar work is elegant and poetic. “Don’t Wait Forever” has cabaret overtones and is philosophic.

During a visit to NYC, Dickie invited me to one of the group’s rehearsals. The Dickie / Macey team was making impressive progress. The new songs are even better than the ones I enjoyed on the demo.

The newer tunes include the authoritative, commanding, even majestic “You’ve Lost,” the smooth, sensuous “She’s a Desire,” and a frocking, bouncy “Downtown Talk.”

“Waiting Waiting” is a disconcerting, explosive rocker on which Macey sings lead currently:

All the women I ever loved
Are waiting in the road
See their faces out there
They will haunt you like a ghost

Macey’s demeanor convinces you that he is truly tormented by specters from this past. The piece de resistance live was “This Song’s About You,” which Dickie belted out with immense passion. It may have been just a rehearsal, but he was giving 500%. Of the new songs, my picks for a (thematic) single would be “You’re Lying to Yourself” and “All Those Lies.” Both have the “melodic and punch” trademark.

Tom Dickie and the Desires should be playing out again soon. They are currently breaking in a new drummer and a keyboard player, both of who are enthusiastic and do justice to the supreme songwriting of Dickie and Macey. See them and have your faith in music restored!