All posts by limelightmagazine

Julia Cirignano reflects on time with Limelight Magazine

BY JULIA CIRIGNANO

Julia Cirignano (center) with Flight of Fire at the Narrows Center in Fall River, MA.

I have been writing for Limelight Magazine for six months and unfortunately my time here has ended. While many of you may have seen my articles for Limelight or have met me in person at shows hosted by JKB Entertainment Group, you may not know that I have actually been an intern.

As a student at Endicott College with a major in English with a creative writing concentration and a music minor, I decided to do my senior internship under the guidance of Katie and Jay, the co-owners of both JKB Entertainment Group and Limelight Magazine. I chose this internship because Limelight was my favorite local music magazine and after meeting Katie and Jay I knew we would gel well together. I couldn’t have been more correct.

Interning for Limelight has been an amazing and truly rewarding experience. While I was given many intern-like responsibilities through my work for JKB, I was also a full time staff writer for Limelight. For JKB, I worked many shows and got to meet some awesome people – both musicians and fans. For Limelight, I was given the opportunity to interview many amazing musicians, business owners, and other people within the music industry and write articles about them. I interviewed local musicians and bands such as Sarah Barrios, Liz Bills (of Analog Heart), blindspot, Erinn Brown, Nikki Coogan (of The Devil’s Twins), Exit 18, Flight of Fire, Girls, Guns and Glory, Shanna Jackman, Ashley Jordan, Jenna Lotti, Martin and Kelly, Dan Masterson, MB Padfield, Sinners Inc., and Matt York, and also several national acts such as Paul Bielatowicz, Black ‘N Blue, Journeyman – A Tribute to Eric Clapton, MASS, Motion Device, Leather Leone, Joan Osborne, and Trevor Rabin.

I also had the opportunity to write featured stories on several businesses and nonprofits, including Cable Car Cinema and Café, Coolidge Corner Theatre’s After Midnight Program, Dark Delicacies, Fright Rags, Hudson Horror Show, Mouradian Guitar Company, Purchase Street Records, Narrows Center for the Arts, The Time Capsule, and TJ’s Music All Star Band Program.

I interviewed director Justin Mayoh about his film Tales of Rocky Point Park and author J. Blake Fichera about his book Scored to Death. I also wrote a few themed stories which focused on a variety of subjects such as vinyl, tattoos, fitness, and more. These stories included quotes from many musicians, fitness trainers, business owners and music fans: Erin Ollis, Amy Marie, Amanda McCarty, Nina McGoff, Sarah Barrios, Emil Belisle, Paul Horton, John MacFee, Hailey Magee, Brian McKenzie, Jennifer Mitchell, Moment of Clarity, Christopher Ruiz, Allison Sigrist, Emile Belisle, Nikki Coogan, April Cushman, Mike LaRoche, Ken Macy, Stan Matthews, Ryan Stark, Arline Urquhart, Mark Vinciguerra and spokesmen from  Burlington Records, Cheapo Records, In Your Year Records, Joe’s Albums, Music Connection, Nuggets Records, Round Again Records, Skele-tone Records, Spun Records and Sunset Records.

I also interviewed JKB Entertainment Group/Limelight Magazine’s co-owner Katie Botelho-Bielatowicz about nail art designs and how to book shows. In addition, I contributed to a tribute story on Bob Coburn of Rockline by interviewing Ian Anderson (of Jethro Tull), Rik Emmett (of Triumph) Shaun Hague (of Journeyman – A Tribute to Eric Clapton) and a number of Limelight’s loyal readers.

I am hugely grateful towards both Katie and Jay for taking me on as an intern, teaching me the ropes to write articles and host shows, being patient with me, buying me food, and keeping me entertained. I truly enjoyed the wonderful experiences I had while working for the both of them.

Some of my most memorable moments includes driving to Rhode Island to watch Jay get a David Bowie “Blackstar” tattoo while I interviewed the tattoo artist and musician Nikki Coogan (of The Devil’s Twins). I will also never forget the night I got to help Katie and her husband (and national touring guitarist) Paul Bielatowicz judge JBK Entertainment Group’s Opening Act Contest held at the Narrows Center for the Arts in Fall River, Mass.. Along with the amazing people I met at that show, I will never forget the jaw-dropping performance put on by Flight of Fire, which ended up being a band I have stayed in contact with, written an article about, and assisted when they opened for Lita Ford.

For JKB Entertainment, I was able to help host shows for a variety of different artists such as Blackmore’s Night, Opening Act Contest (Elsie [featuring Lisa Couto & Ray Cooke], Flight of Fire, Allison & Kevin Giuliano, Huxster, Gracelyn Rennick, Ilene Springer, We Own Land, and Matt York), The Yardbirds, Lita Ford, and Paul Bielatowicz & Simon Fitzpatrick.

It was great to be part of the Fall River community if only for a short period of time. Before this internship, I had never been to Fall River. Being a Bostonian myself, I learned to love Fall River and the surrounding towns due to the truly passionate and creative people I had the opportunity of meeting and working with. I am thankful to every business owner who invited me into their store and took the time to answer my interview questions. I am thankful for everyone who picked up their phones or sat by their e-mails answering my interview questions.

Thank you to Katie and Jay for all they have done and thank you to all the other helpful people I have met through them. This internship was truly a blast! I am grateful for all the tools I have learned along the way and will continue reading, writing, and being an avid music fan.

 

19th Annual Boston Underground Film Festival Announces Final Wave of Films

Cambridge, MA – Following up on last week’s feverish announcement, the Boston Underground Film Festival (BUFF) is proud to reveal the remainder of its eclectic 19th edition, taking place from March 22nd  through the 26th at the Brattle Theatre and Harvard Film Archive. BUFF’s already dynamic lineup is rounded out with even more intriguing films from around the world, including over 80 short films and music videos that promise to disturb, dazzle, and delight.

BUFF is honored and thrilled to be hosting the East Coast Premiere of hotly-anticipated doc A Life in Waves, an intimate portrait of one of the most influential electronic composers of the last 40 years, Suzanne Ciani. Documentarian duo (and BUFF alum) Brett Whitcomb and Bradford Thomason will be in attendance, along with the diva of the diode herself for a post-screening Q&A at the Harvard Film Archive. Fans of synth would be remiss to miss this! On the other end of the documentary spectrum is our New England Premiere of Dean Fleischer-Camp’s Fraud, an impossible to categorize hybrid-doc and bold experiment in filmmaking that explores the essence of “truth” in a post-truth era. Come and catch one of the most controversial films to take HotDocs by storm last year.

Lovers of all things dark and disturbing are advised to pencil in this quadruplet of narrative nightmares: A grieving mother and a bullying occultist (Steve Oram) face their demons in black magic thriller A Dark Song, from Irish, first-time director Liam Gavin. Valentin Hitz’s gorgeous and unnerving Hidden Reserves gives us a peek at the future-that-could-be (ponder this: death insurance) with his Austrian dystopian sci-fi masterpiece. And speaking of hidden, BUFF presents for the first time ever a Secret Screening; we can’t tell you what it is, but we can tell you that it’s one of the most highly anticipated genre titles coming out this year. Take the leap into the rabbit hole with your pals at BUFF and catch it before all your friends.

Lightening things up substantially is a triple threat of comedic treats: A group of awful idiots fail at throwing a party over and over in Slamdance smash Neighborhood Food Drive, with BUFF alum & director Jerzy Rose and writer Halle Butler in the house. Emerson College alum Michael Reich brings his surreal and sensational She’s Allergic to Cats to the Brattle; you’ll laugh, cry, and ponder duck boobs. Rounding things out is our anniversary screening of oft underappreciated Southland Tales, Richard Kelly’s gonzo anarchic vision of the near future (which may be closer to the near present), which we lift up and celebrate ten years later.

The festive environ would be incomplete without a set of accompanying parties: BUFF delivers in spades this year with our opening night, All Your Heroes Are Dead-themed shindig at Zuzu (hosted by Moon Button and all things vinyl). We’ll have a night of karaoke at Tasty Burger, themed Dystopioke (aren’t you curious), a late-night jaunt out to Boston Bowl for Big Lebowski-themed shenanigans (costumes highly encouraged, dudes), an incredible closing night happening at the Lilypad, hosted by our favorite merchants of awful, The Whore Church, and complete with synth soundscape provided by Dust Witch, Antoni Maiovvi, and Timothy Fife. And, of course, more! Save up your stamina because we work hard and play harder on team BUFF.

Grab Festival Passes, only available through Kickstarter, until March 17th: bit.ly/KickstartBUFF19

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BOSTON UNDERGROUND FINAL WAVE

A DARK SONG – East Coast Premiere

Liam Gavin | Ireland | 2016

A determined young woman and a damaged occultist risk their lives and souls to perform a dangerous ritual that will grant them what they want.

A LIFE IN WAVES – East Coast Premiere

Brett Whitcomb | USA | 2017

This incredible documentary explores the even more incredible life and innovations of composer and electronic music pioneer, Suzanne Ciani. Join us for a Q&A with Suzanne & the filmmakers following the screening!

FRAUD – New England Premiere

Dean Fleischer-Camp | USA | 2016

A struggling family commits fraud in this contentious docu-ficto hybrid.

HIDDEN RESERVES – East Coast Premiere

Valentin Hitz | Austria/Germany/Switzerland | 2016

Where death with dignity comes at a premium, an insurance salesman turned narc must reevaluate his ideology when he falls for the rebel he’s assigned to entrap.

NEIGHBORHOOD FOOD DRIVE – East Coast Premiere

Jerzy Rose | USA | 2017

A group of awful idiots fail at throwing a party over and over.

SECRET SCREENING – Secret Premiere

Secret Director | Secret Country | Secret Year

One of the best genre films coming out this year.

SHE’S ALLERGIC TO CATS – New England Premiere

Michael Reich | USA | 2016

A dog groomer in Hollywood aspires to be more than a dog groomer in Hollywood.

SOUTHLAND TALES – Anniversary Screening

Richard Kelly | USA | 2006

During a three day heat wave just before a huge 4th of July celebration, an action star stricken with amnesia meets up with a porn star who is developing her own reality TV project, and a policeman who holds the key to a vast conspiracy.

BOSTON UNDERGROUND SHORTS LINEUP

Shorts Block DISORDERED STATES:

A TOWN CALLED THEOCRACY

Jehad Al-Kateeb, Syria/USA, 15 min.

Boy and girl meet cute through the magic of municipal overreach.

GUTS
Carrie Drzik, USA, 4 min.

The delightful tale about a plucky young heroine left to her own devices.

MARGINAL CIRCUS EMBASSY

Oliver Kowalczyk, Spain, 10 min.

We can’t always hide our anxiety and loneliness with costumed pool parties.

ISADORE

Brooke Paxton, Australia, 14 min.

A German Expressionist ode to pantomime and our desperate need to please another at our own expense.

YULETIDE

Marinah Janello, USA, 5 min.

Krampus can spy you. But that doesn’t mean you can spy on Krampus.

WALL

Giannis Vlahopolous, Greece, 14 min.

Those who control the money may also be controlling your outrage.

YOU CAN’T ESCAPE

Goirick Das, USA, 3 min.

Ding dong ditching—or the endless cycle of running from our fears and ourselves.

NO WAVE

Stephane Lapointe, Canada, 12 min.

After he hears a man scream within the calming sea of a relaxation radio station, sleep deprivation is the least of Henry’s problems.  

BROADCAST SIGNAL INTRUSION

Tim Woodall, UK, 15 min.

The brief hijacking of a TV signal leads a lonely, grief-wracked video archivist onto an obsessive quest for meaning.

Comedy Shorts Block DON’T LOOK BACK INTO THE SUN:

DEATH METAL

Chris McInroy, USA, 5 min.

A metalhead gets passed down a satanic guitar that riffs to shreds.

CALLING IN DEMONS

Porcelain Dalya, USA, 8 min.

Instead of calling out of work sick, Daphne finds that she has demons in her home.

EULOGILIA

Alex Grossman, USA, 11 min.

After her bizarre addiction to eulogize is discovered, a troubled young woman fights to prove her sanity while attempting to survive group therapy.

EARWORM

Tara Price, USA, 5 min.

A lonely man does battle with a relentless piece of music.

IDIOMS ORIGINS ANOTHER TALE

Jim McDonough, USA, 6 min.

According to the legend, each and every idiom came to be after happening in real life. These stories have never been told. Until now

COMPUTER FIGHTERS

Kevin James & Neil Cicierega & Ryan Murphy, USA, 22 min.

When the local rich kid begins to hog a new groundbreaking video game at the arcade, it’s up to Ryan, Neil, and Kevin to stop him.

PET MONKEY

Eric Maira, USA, 8 min.

A date night turns ugly when a persistent boyfriend offers to buy his girlfriend a monkey.

STAYCATION

Zachary Fleming, USA, 12 min.

Rob just wants some quality alone time. So does the apartment he rented.

4D

Laurence Rosier Stanies, Australia, 7 min.

if the fourth dimension is time, what would a real 4D printer look like? A time machine? A black hole?

HAPPY ANNIVERSARY

Mark Kuczewski, UK, 6 min.

One man’s quest to rekindle his love with his zombie bride.

TAMPOON

Jeanne Jo, USA, 7 min.

When Miranda makes bad decisions about her love life, a possessed tampon enters to take care of business.

CHICKEN TUESDAYS

Brandon Daley, USA, 10 min.

Will Gillman sets out to impress his date by bringing her to a chicken photography competition at a local bar. From the director of last year’s Savasana.

Animated Shorts Block GET THE BALANCE RIGHT:

THE PAST INSIDE THE PRESENT
James Siewert, USA, 12 min.

A couple replays the same encounter day after day.

ADAM

Veselin Efremov, Sweden, 6 min.

A criminal wakes to find he has been stripped of his body and placed into a machine.

MOLAR

Luke Liberty, USA, 2 min.

Strange things are afoot in the dark of the forest.

HOLD ME (CA CAW CA CAW)

Renee Zhan, USA, 11 min.

A bird and her boyfriend are seemingly happy until she wants more.

PANIC ATTACK!

Eileen O’Meara, USA, 3 min.

Maybe you did leave the coffee on; maybe your house plants are gaslighting you.

LILLY HITS THE ROAD

The Bum Family, Canada, 5 min.

An adventure of a 10 foot tall orange monster and her friend Fluffle.

ROGER BALLEN’S THEATRE OF APPARITIONS

Emma Calder & Ged Haney, UK, 5 min.
The theatre of the subconscious; sex and death cavort for the audience’s amusement.

THE GOLDEN CHAIN

Adebukola Bodunrin & Ezra Claytan Daniels, USA, 13 min.

On a distant space station, a scientist becomes obsessed with the pocket universe she is monitoring.

THE HISTORY OF MAGIC: ENSUEÑO

Jose Luis Gonzalez, USA, 5 min.

In a small Texas town, a teenage girl’s imagination transforms her bike ride home.

THE ITCHING

Dianne Bellino, USA, 15 min.

A wolf just wants to party with some bunnies, but there is something under her skin.

OPOLIS

John F. Quirk, USA, 3 min.

Lookout! Space alien Attack!

Midnight Shorts Block TRIGGER WARNING:

HELL FOLLOWS

Brian Harrison, Japan/USA, 11 min.

The soul of a sadistic killer posses the body of his identical twin, and is out for vengeance.

STUDDED NIGHTMARE

Jean Claude Leblanc, Canada, 9 min.

Can a man resist the pull of the suicide chair?

FOR A GOOD TIME CALL

Izzy Lee, USA, 12 min.

Maybe you shouldn’t.

MUTT

Bruce James, USA, 14 min.

Faith will do some crazy thing to you, down in the buckle of the bible belt.

MOUSE

Celine Held & Logan George, USA, 11 min.

Two cokeheads come up with an uniquely opportunistic way to stick it to the man. Held and George are a filmmaking duo to keep an eye on.

THE LOWER RACE

Graham Roberts, USA, 10 min.

In the near future, when our toxic earth is ruled by giant ants, one part-human warrior is all that stands against total Insecta domination.

FANGS & CLAWS 2
Francisco Lacerda, Portugal, 17 min.

Get ready for the trashiest sequel of the year!

PRINCESS

Jonty Williment-Knowles, USA, 5 min.

A troubling love story, told through a broken lens.

FUCKING FREAK

Salamo Manetti-Lax, USA, 15 min.

As an Alien walks the sun drenched landscape of Los Angeles, it encounters a slew of angry inhabitants mirroring various facets of LA society. A nice little message picture.

New England Horror Shorts Block HOMEGROWN HORROR:

LETTING

Hannah Neurotica, Vermont, 3 min.

A little girl’s nightmares manifest in her toy collection.

LOOKER

Diana Porter, Massachusetts, 10 min.

A scorned woman has a special plans for her lecherous harassers.  

FRACTAL

Anna Gravél, Maine, 14 min.

A woman’s return to her childhood home releases terrible memories.

STRANGE HARVEST

Stee McMorris, Massachusetts, 6 min.

A pair of strangers awaken to find themselves imprisoned in a bizarre alien goo.

THE DISSOLVING MAN

Ben Swicker, Massachusetts, 20 min.

An aimless young adult finds his life literally disintegrating before his eyes.

THE PRICE OF BONES

Brandon Taylor, Massachusetts, 10 min.

A pair of women go to disturbing lengths to achieve a socially-desired body type.

THE CALL OF CHARLIE

Nick Spooner, Rhode Island, 14 min.

A Lovecraftian creature makes things awkward for guests at a dinner party.

PEPPERCORN HEARTS

Christine Louise Marshall, Maine, 13 min.

A funeral holds more than sadness for the spurned mourners gathered there.

Shorts Playing with BUFF Features:

WALDEN PINK

Peter Bolte, USA, 11 min.

Walden sits on a park bench as an endless stream of religious proselytizers, process servers, and angry bartenders distract him from from finding peace and clarity to his repetitive and draining existence. From BUFF alum Peter Bolte (Dr. Sketchy’s) and starring David Yow of The Jesus Lizard.

HOME EDUCATION

Andrea Niada, United Kingdom, 25 min

A domineering mother and her inquisitive daughter engage in unusual acts of faith in an attempt to cajole an attic-bound pater familias back from the dead.

THE BRIDGE PARTNER

Gabriel Olson, USA, 14 min

A timid housewife is jolted into a fight for her survival or sanity by her new partner at a weekly bridge game when she thinks she hears a whispered threat.

FROM THE DIZZINESS OF FREEDOM: THE PHILOSOPHY VESSEL

Melissa Ferrari, USA, 8 min.

A visualization of the strategies people incorporate to find meaning in their lives inspired by the mythology and functions of mazes and labyrinths across history.

THE QUANTIFIED SELF

Gleb Osatinski, USA, 11 min

Lozinski, Clare and their daughters Daniela1 and Daniela2 prepare for the girls’ first trip to a The Pillar, which gives meaning to their highly ordered lives. But The Pillar takes and gives and when it blesses the family with a new addition, it takes from them in ways they can’t anticipate.

INK

Ashlea Wessel, Canada, 10 min

A traumatized woman seeks penance and personal transformation through tattooing after surviving a devastating pregnancy. One night, drenched in booze and ink, her deepest fears threaten to consume her.

THREE POINT DYNAMICS

Keaton Smith, USA, 15 min.

An alcoholic, theoretical physicist seeks to right the wrongs of his past by applying his unified theory to reality.

BYEFURNOW

Michael Elliott Dennis, USA, 17 min.

A bereaved pet owner, on the suggestion of a stranger in a bar, resorts to a mobile app to help him find closure.

AN ELDRITCH PLACE

Julien Jauniaux, Belgium, 17 min.

Terror grips a man keeping watch over an erratic researcher’s late night experiments.  

RITES OF VENGEANCE

Izzy Lee, USA, 5m

Nuns’ justice comes, their will be done, on earth as it is in heaven.

TROLL: A SOUTHERN TALE

Marinah Janello, USA, 12 min.

An eccentric artist navigates self-expression through his experiences living and growing up in the South.

DISCONTINUITY

Lori Felker, USA, 15 min

When Tabitha moves back “home” to the house she shared with her long-distance boyfriend Stephen, their reunion is interrupted by communication problems, neighbors, and a clowder of cats.

BOSTON UNDERGROUND MUSIC VIDEOS

“Turbo Killer”

Carpenter Brut

Seth Ickerman

“Shooter”

Clipping.

Carlos Lopez Estrada

“Being”

Millington

Josh Thomas & Darcy Prendergast

“Father”

Rysy

Martyna Iwańska

“Ten Year Tenure”

Halfsour

Ariana Ratner

“Molly”

Palehound

Lara Jean Gallagher & Brian Kinkley

“No Reason”

Bonobo & Nick Murphy

Oscar Hudson

“Bury the Body”

Ruby Rose Fox

Ruby Rose Fox & Dave Brophy & Roger Metcalf

“Happy”

Mitski

Maegan Houang

“Good Earth”

Fawn

Ariana Anderson

“Nothing”

Tesla Boy

Ryan Patrick

“Roller”

Quilt

Adi Putra

“Ya Ya Ya”

You Won’t

Josh Arnoudse

“Big Dead Heart”

Eldridge Rodriguez

Pat Breen & Cameron Keiber

“Overcame the Sun”

Cloudy Busey

Julian Clark & Adam Hersko & Matt Twohig

“Dropped Bench Press”

Skinny Bones

Eli Susser

“Back Around, Devil”

Dessert

Alex Lill

“Black Man In A White World”

Michael Kiwanuka

Hiro Murai

“Lite Spots”

Kaytranada

Martin C. Pariseau

“Blood in Love”

Ruby Cube

Pierre Teulieres & Milo Gony

“Closer”

Lemaitre

Ewan Jones Morris & Casey Raymond

“I Wanna Prove To You”

Lemon Twigs

Nick Roney

The Cassette Chronicles – Eddie Money’s ‘Can’t Hold Back’

BY JAY ROBERTS (SPECIAL TO LIMELIGHT MAGAZINE)

The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s that I have acquired through Purchase Street Records in New Bedford, MA.

The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from the 1980’s through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums.

These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.

Eddie Money’s Can’t Hold Back (1986)

While classic rock radio will always keep “Two Tickets To Paradise” in their rotation when called upon to play an Eddie Money track, this album contains two more of his biggest hits in “Take Me Home Tonight (Be My Baby)”, the rocking track that features Ronnie Spector on guest vocals, and “I Wanna Go Back” which is a nice nod to nostalgia. That kind of struck me funny considering I’m listening to the full album for the first time as it has only recently had its own 30th anniversary.

The thing about this album is that despite containing two smash hits that the pop charts wholeheartedly embraced, there is nothing else really approaching the quality of either track throughout the rest of the album. I liked the song that opens up side two, “We Should Be Sleeping”, but that was mostly for the smoking guitar work in the song (particularly the solo on the outro).

While nothing is truly noteworthy for being bad, the album is top heavy with the hits and then just kind of meanders its way to the end. Pop music in the 1980’s had such a diverse roster of artists from various genres so you had to have radio friendly hits to make yourself heard in such a crowded field. However, it is very disappointing to me when an artist doesn’t back up those hits with some good old fashioned album tracks as well.

Notes of interest: Randy Jackson (now best known as a judge on American Idol) played bass on three tracks while Mr. Mister members Richard Page, Pat Mastelotto and Steve George pop up on the song “One Chance”.

19th Annual Boston Underground Film Festival Announces First Wave of Films

Cambridge, MA – The 19th annual Boston Underground Film Festival returns to Harvard Square to kick off New England’s spring festival season, bringing with it a smorgasbord of phantasmagoria, dark comedy, thrillers, killers, and chillers to the Brattle Theatre and Harvard Film Archive from March 22nd through the 26th. The 2017 schedule boasts an eclectic selection of weird, wonderful programming packed with flavors for cineastes of all tastes!

Bookending this year’s festival of sensory-melting bliss are 2016 TIFF Midnight Madness juggernaut Prevenge and ferocious feminist satire Bitch, on the heels of its 2017 Sundance world premiere. Veteran actress, co-writer of 2012’s Sightseers, and first-time director/writer/star Alice Lowe’s bloody British baby bump (off) slasher comedy Prevenge appropriately births BUFF’s five days of cinemania and cinemonstronsity when it splatters the Brattle Theatre screen Wednesday March 22nd, fresh from its SXSW 2017 screening.  And closing out this year’s filmic feast is filmmaking triple-threat director/writer/actor Marianna Palka’s delightfully disturbing dive into dissociative doggone delirium, Bitch.

Bubbling up from down-under, also coming to Boston fresh from SXSW 2017, is not-to-be-missed Aussie crime thriller Hounds of Love, a masterful feat of tension, terror, and restraint from Perth-based, wildly talented first-time feature filmmaker Ben Young. In stark contrast to some of BUFF’s darker fare, prepare to meet your new obsession with first-time filmmaker Bill Watterson’s Slamdance 2017 standout Dave Made a Maze, which will beguile and a-maze with its hilarious odyssey through one man’s intricately crafted, booby trapped, livingroom box fort labyrinth; awe-inspiring stop-motion animation and strong lulz await.

BUFF alum Steven Kostanski & co-directing partner Jeremy Gillespie, both of Astron-6 fame, are coming to Boston, bringing with them their moody, atmospheric, tentacular modern horror masterpiece The Void. Speaking of creatures, BUFF is beyond thrilled to welcome legendary creature creator and make-up effects maestro Gabe Bartalos, who will present his phantasmagorific nightmare Saint Bernard for the first time ever to a North American audience.

BUFF is psyched beyond belief to be hosting the East Coast premiere of 68 Kill from mad genius Trent Haaga, director of BUFF’s 2011 Director’s Choice Award-winner Chop and writer of  2013’s Cheap Thrills & 2008’s Deadgirl. Haaga’s highly anticipated punk rock heist film unites BUFF regulars AnnaLynne McCord & Matthew Gray Gubler in the ultimate highway to hell road film. Additional beloved BUFF alumni will be in attendance with fresh cuts this year, including multi-award-winning, Massachusetts-based horror filmmaker Skip Shea, who unveils his deeply personal first feature, Trinity, to a hometown audience.

As usual, we’ll have: Our kid-friendly annual Saturday Morning Cartoons program with cereal smorgasbord, programmed by renowned curator, author, and Monster Fest Festival Director Kier-La Janisse; a veritable bounty of shorts programming celebrating fantastic music videos, animation, transgressive horror; and more! So. Much. More!

Individual screening ticket prices vary and will be available online and at the Brattle Theatre box office on the day of screening. Festival passes, which include admission to all films and parties, are available at a significantly reduced rate through BUFF’s ongoing Kickstarter through March 17th. Passes, thereafter, will be available for $180 at www.bostonunderground.org/tickets.

Festival Passes & Ticket Package Presales are available through Kickstarter until March 17th: bit.ly/KickstartBUFF19

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BOSTON UNDERGROUND FIRST WAVE:

BITCH – East Coast Premiere

Marianna Palka | USA | 2017

Caged in the suburbs of our discontent, a woman (Marianna Palka) snaps and enters a fugue state, consumed by the psyche of a vicious dog. Her philandering, stay-at-work husband (Jason Ritter) must grudgingly assume the role of family caretaker, forcing him to engage with his four children and sister-in-law (Jaime King) as they attempt to strengthen their familial unit and entice mom back to reality. Marianna Palka writes, directs, and stars in her bitingly funny and profound fourth feature.

DAVE MADE A MAZE – East Coast Premiere

Bill Watterson | USA | 2017

Dave (Nick Thune) is an artist who has yet to complete anything of significance in his short career; out of frustration, he builds an elaborate box fort in his living room. When his girlfriend and friends (including Kirsten Vangsness, Adam Busch, and Meera Rohit Kumbhani) enter against his protests, he must save them all from a series of fantastical pitfalls, booby traps, and creatures of his own creation. Actor Bill Watterson writes and directs his hilarious and idiosyncratic first feature.

HOUNDS OF LOVE – East Coast Premiere

Ben Young | Australia | 2016

In Ben Young’s tense, chilling feature debut, 17-year-old Vicki Maloney is randomly abducted from a suburban street by a disturbed couple and held prisoner in their home. As she observes the volatile dynamic between her captors, she soon realizes the key to survival lies in driving a wedge between them.

PREVENGE – East Coast Premiere

Alice Lowe | UK | 2016

In her directorial debut, Alice Lowe (Sightseers, Hot Fuzz, Garth Marenghi’s Dark Place) writes, directs and stars in a pitch black comedic tale of vengeance about seven-months-pregnant Widow Ruth and the unborn serial killer that compels her on her homicidal rampage.

SAINT BERNARD – North American Premiere

Gabe Bartalos | USA/France | 2013

Prolific creature designer Gabe Bartalos (Brain Damage, Tim and Eric’s Billion Dollar Movie, Gremlins 2, and the Leprechaun series) crafts a phantasmagoric vision of a classical music conductor descending into insanity with his sophomore feature. Seemingly vanished from a short-lived run on the festival circuit in 2014, BUFF is proud to give this must-see nightmare, and the visionary filmmaker who created it, a proper North American premiere.

68 KILL – East Coast Premiere

Trent Haaga | USA | 2017

Trent Haaga (writer of Deadgirl, Cheap Thrills) returns to the director’s chair following 2011’s Chop with a punk-rock after hours thriller about femininity, masculinity and the theft of $68,000. When Liza (AnnaLynne McCord) asks her boyfriend Chip (Matthew Gray Gubler) to help her rob her wealthy sugar daddy, he can’t say no. Once they step into the man’s home, Chip & Liza embark on a breakneck roadtrip to hell. Adapted from Bryan Smith’s 2013, no-holds-barred crime novel of the same name.

THE VOID – New England Premiere

Jeremy Gillespie, Steven Kostanski | Canada | 2016

ASTRON-6’s Jeremy Gillespie & Steven Kostanski return with a Carpenteresque saga of brutal, cosmic dread, packed with creatures straight out of hell. In the middle of a routine patrol, officer Daniel Carter (Aaron Poole) happens upon a blood-soaked figure limping down a deserted stretch of road in the middle of the night. When he rushes the young man to a nearby rural hospital, he finds that patients and personnel are transforming into something… inhuman. As the horror intensifies, Carter must lead the other survivors into the subterranean depths of the hospital in a desperate bid to save their lives and end the nightmare before it’s too late.

TRINITY – Boston Premiere

Skip Shea | USA | 2016

Award-winning Massachusetts-based filmmaker, writer, artist and actor Skip Shea brings to life a deeply personal and disturbing first feature based on the true story about a moment in the life of a clergy abuse survivor. While at a coffee shop, a man accidentally bumps into the priest who abused him when he was a child, triggering a surreal, PTSD-induced dissociative moment that sends him on a twisted journey through his past.

Sleeze Beez: Looking back 30 years later

BY JULIA CIRIGNANO & JAY KENNEY

Whether you called them glam bands or hair bands, this subgenre of heavy metal and hard rock music consists of big hair, tight pants, and nostalgic music. Glam bands played rock songs full of rage, sentiment, and electric chaos. The genre was pioneered by bands such as Mötley Crüe, Cinderella, Poison, Dokken, Ratt, and Bon Jovi and it thrived mostly in the mid-80s to early 90s until grunge came along.

Sleeze Beez is a glam metal band that formed in 1987. Originating in The Netherlands, the band’s classic lineup consisted of Chriz Van Jaarsveld, Jan Koster, Don Van Spall, Ed Jongsma, and Andrew Elt. They released four studio albums between 1987 and 1994. Their most popular being Screwed Blued & Tattooed which was released in 1990 and cracked the Billboard Top 200 albums chart on the strength of their single “Stranger Than Paradise” that was prominently featured on MTV.

Koster, one of the band’s founding members and dedicated drummer, struggled with a wrist injury for years and finally decided to give up playing in 1996. The band decided to call it quits after the release of their fourth studio album Insanity Beach, but reunited briefly in 2010 when they played two reunion shows.

On the eve of the band’s 30th anniversary in 2017, Limelight Magazine caught up with one of Sleeze Beez’s founding members and guitarist Chriz Van Jaarsveld who reflected on the band’s history.

Sleeze Beez drinking Grolsch (Dutch beer) in Panama City Beach​, Florida, in 1990. (PHOTO SUBMITTED BY CHRIZ VAN JAARSVELD)

LIMELIGHT MAGAZINE (LM): Sleeze Beez formed in 1987 and 2017 is your 30th anniversary. Although the band broke up in 1996 and reunited briefly in 2010, why do you feel that so many people are still interested in the band and your four studio albums? 

CHRIZ VAN JAARSVELD (CVJ): It’s great to see that our music is still alive at this day and age. Back in the day, we worked hard to get recognition and our input was relentless. We weren’t just a band, it was a way of life; non-stop dedication so I consider it rewarding and a compliment. It is great to know that our music lives on.

LM: Looking back on your nine years together from 1987 to 1996, what would have been the biggest highlight for the band and why? 

CVJ: I reckon that the biggest highlight for us was that we got signed by a major label (Atlantic Records) for a worldwide deal and got the opportunity to cross the Atlantic. When we started touring the U.S., “Stranger Than Paradise” was climbing the charts. The video clip was all over MTV and we easily adapted to the rockstar lifestyle. We took the stage by storm. It was great. It was what we wanted.

LM: After releasing your debut album, Sleeze Beez changed vocalists for their second album, Screwed, Blued & Tattooed. Why did you change vocalists and how did the addition of Andrew Elt provide stability and propel the band to more success? 

CVJ: It simply didn’t work out with the first singer. [There were] problems on a personal level and musical differences. The same old stuff. We brought in another singer, who filled the gap briefly but he actually couldn’t keep up with us. Round that time, I met Andrew at an “All Star” jam session organized by rock magazine Metal Hammer. Andrew and I shared the same bill. We actually didn’t gel that well because we both had similar ego’s [and] a certain attitude towards each other. (Later on, we became friends of course, brothers in arms). But, I acknowledged his qualities as a singer and performer and we unmistakably had some strong musical chemistry going on on stage, with mutual respect. So, when Sleeze Beez needed a new singer, I called Andrew up and asked him to come over to the studio. At first, he wasn’t that keen on it but when I went to a gig he did with his band and played him some of the stuff we’d been working on (I played him some tunes right there in the dressing room on a crappy cassette player under the noses of his fellow band mates who were not too pleased by that) he was instantly intrigued. When he came over to the studio, he was totally blown away by the new material. Jan, Ed, Don, and me were a solid unit already, ready to take on the world. Andrew was the last piece of the puzzle. From then on, we were ready for takeoff.

Sleeze Beez “Screwed Blued & Tattooed” charted on the Billboard Top 200 charts when it was released in 1990.

LM: In preparing for this interview, you mentioned that you listened to Screwed, Blued and Tattooed for the first time in years. That album charted in the U.S. on the Billboard Top 200 album chart. What can you objectively say about that album after so many years have passed? 

CVJ: I´m a bit of an “audiophile” and I got this great vintage amp recently. One night I listened to all kinds of music and when plowing through my CD collection I came across a copy of Screwed. For the first time in like 20 years I sat down and listened to the whole album. Objective, as if I heard it for the first time. It was quite an experience, really. I always only kept on hearing the flaws or parts that I found disturbing and could have been better (in my opinion). I’ve never been able to listen to it without analyzing (same goes for other albums we did or I’m on) but now I could really just sit down and enjoy the ride. I really enjoyed it actually, and I can imagine why it did for us what it did. There’s a great energy about it. Good tunes too. I actually played air guitar to it.

LM: You were also signed to a major label, Atlantic Records, for that album. How did you end up getting signed to them? 

CVJ: After Screwed, Blued & Tattooed was recorded, we knew we had something good. So we started “shopping” the album to get it noticed by the bigger labels. When we did, we realized that the rumor was going around already. People heard of us, talked about us, and were interested or eager even, also due to our live shows. We had several executives from big labels coming over to the Netherlands to meet up and negotiate a possible deal. When Atlantic made us an offer we couldn’t refuse, we finally closed the deal. Atlantic was a huge player in the market, of course, and had many of our own heroes under their wing so we considered it a great opportunity to sign with them.

Sleeze Beez in the studio during the recording of “Screwed, Blued & Tattooed” in 1989. (PHOTO SUBMITTED BY CHRIZ VAN JAARSVELD)

LM: On the strength of the hit single “Stranger Than Paradise,” from Screwed, Blued and Tattooed, the band did nearly 80 headline shows throughout the U.S. and Canada that year. What do you recall about that tour? Did you have any venues that stood out? 

CVJ: We actually did a bit more. We crammed a whole bunch of shows in a relatively short period of time. I recall that it was one wild ride. “Stranger Than Paradise” was climbing the charts and the video was all over MTV. (Click HERE to see the video). Good reviews in magazines and radio airplay. We got quite a decent fan base that started following us around. We lived the rockstar lifestyle to the brink and enjoyed every minute of it (and every aspect for that matter.) We crossed the US in a frenzy, and rock ‘n rolled from city to city and the names of the places and venues became a blur (just like that part in the Spinal Tap movie where the band doesn’t know where they are anymore, shouting “Hello Cleveland!” That happened to us too and a lot of the other stuff as well, by the way). Also, it’s been a while ago too, of course, we are talking the beginning of the 90’s here. We played most of the venues and clubs that were known around that time. It was a blast!

Sleeze Beez “Powertool” was their third studio album and last for Atlantic Records.

LM: According to the biography on your website, your third studio album, Powertool, took three years to complete due to continuous struggle between the band and the label. What were some of the difficulties with Atlantic Records that came about that you’re able to say after all these years? 

CVJ: We had most of the material for Powertool ready straight away, really. After Screwed, Blued and Tattooed, we continued writing and recording demos. The thing was that Atlantic felt that the music didn’t have the same output, the same vibe as Screwed had, so they tried to hook us up with other writers and a producer. They flew us to L.A. and stuck us somewhere in Hollywood to write new material but that did not work for us. Although we were willing to collaborate, we stood our ground at the same time. Eventually we ended up in England, where we finally recorded the album, with producer Gary Lyons. The sessions went really well and Powertool saw the light of day fairly quickly. The thing was, though, that the Seattle Grunge scene emerged and spread like wildfire, right around the time Powertool came out. The record companies considered grunge the next big thing so they didn’t put much effort in bands like us anymore. They signed The Stone Temple Pilots in our place and after some struggle with lawyers, we were released from further obligations. Powertool had been released too late. If it would have been released on schedule, things would have turned out different, I’m sure.

Sleeze Beez final studio album was the aggressive “Insanity Beach.”

LM: Sleeze Beez fourth studio album, Insanity Beach, is one that Limelight Magazine enjoys very much. This album is more aggressive and hard-edged than anything you did before. Why did you take this direction at the time? 

CVJ: It was just a natural course our music took. It was how we evolved. Maybe it was a sign of the times as well. There was a lot of tension in the band back then, which oozes through the music as well. Also, the production is more heavy, a fatter sound. It’s a bit more dark, compared to its predecessors but a fine album nevertheless. Glad you guys like it!

LM: Is it true that the band was planning to tour behind this album but disbanded before you could go on the road? 

CVJ: Yeah, we had a tour planned and everything. But the truth is that we weren’t the band we used to be anymore. We’d outgrown each other over time and the ranks got divided. We weren’t a unit anymore. When the mutual spark is gone, it is better to part ways. It was the best thing to do, also to the fans: it wouldn’t be sincere to continue. So, we decided to call it quits.

LM: A lot of founding band members today keep the name and add members and perform the songs they recorded with a new lineup. Was there ever any thought about putting a new band together with the name Sleeze Beez after the 1996 break up? 

CVJ: It has been asked or suggested a couple of times by managers and people out of the music biz but we’ve never considered it. It would be betrayal. Although we had our differences at the time we broke up, we came out stronger. We are like brothers. We would never do such a thing. Sleeze Beez would not be that same band without any of its original members. Replace one or leave one out and the chemistry and magic are gone. It’s the sum of the parts that make the difference.

Sleeze Beez reunited for the first time in many years in June 2010. Pictured above, they are about to enter the stage at the GelreDome in Arnhem, Netherlands. (PHOTO BY EDWIN VAN HOOF, SUBMITTED BY CHRIZ VAN JAARSVELD)

LM: Sleeze Beez reunited in 2010 & 2011 for two shows, including a slot opening for Aerosmith in the Netherlands. How did the reunion come about? 

CVJ: We were asked by a well-known Dutch agency to open for Aerosmith. They thought it would be a great event that way; The Beez reuniting on a bill like that. We actually liked the idea so we got together just for that event. Afterwards, we liked it so much that we decided to do one more gig at the legendary Paradiso in our hometown of Amsterdam – a farewell show as a closure that never happened back in the day. For the fans and for us, it was absolutely fabulous.

LM: How do you feel both reunion shows went? 

CVJ: It was great to hit the stage again together after all this time. When we got on stage at the Gelredome Stadium, we saw that the front rows were filled with Beez fans. It was amazing.

LM: Given that 2017 is Sleeze Beez 30th anniversary year, are there any plans to do another reunion? 

CVJ: Not at the moment but never say never…

LM: Is there anything else you’d like to share with us? 

CVJ: Back in 1987, when Jan (Koster) and I started this band, we had actually only one song to our name; “Girls Girls, Nasty Nasty” and the record company wanted to sign us and give us studio time to record an album just on that one song only. Problem was we didn’t really have a band but we’d told the record company we did, to get a record deal. So, when we started recording the very first (and now obscure) Look Like Hell album, it was actually just the two of us, Jan and me, together with an engineer. We lived in the studio and we worked non-stop. We wrote a song in the morning, recorded it in the afternoon, and we did the mixing at night. Besides our own instruments we played all the instruments together. In the meantime, we got hooked up with a singer and in between recordings, we were frantically looking for a second guitarist and a bass player. We held auditions in the studio. When Don (Van Spall) came in and we jammed a bit, we knew he was the right guy for the job. He brought Ed (Jongsma) along, a solid bass player. We finished the last recordings with them. When the album was done, we had a band at the same time. That’s how it started and the rest is history.

Following our interview with Chriz Van Jaarsveld, we re-listened to Sleeze Beez four studio albums and put together our 10 favorite songs. We consider this an “essential playlist” of their music. If there were ever a compilation CD, we’d hope these tracks would make the cut.

“Damned If We Do, Damned If We Don’t” (Screwed Blued & Tattooed)

“Girls Girls, Nasty Nasty” (Look Like Hell)

“Raise A Little Hell” (Powertool)

“Rock In The Western World” (Screwed Blued & Tattooed)

“Save Myself” (Insanity Beach)

“Screwed Blue ‘N Tattooed” (Screwed Blued & Tattooed)

“Stranger Than Paradise” (Screwed Blued & Tattooed)

“Tell It To The Judge” (Insanity Beach)

“Warchild” (Look Like Hell)

“Watch That Video” (Powertool)

The Cassette Chronicles – Autograph’s ‘Sign In Please’

BY JAY ROBERTS (SPECIAL TO LIMELIGHT MAGAZINE)

The Cassette Chronicles is a continuing series of mini reviews and reflections on albums from the 1980’s that I have acquired through Purchase Street Records in New Bedford, MA.

The aim of this series is to highlight both known and underappreciated albums from rock, pop and metal genres from the 1980’s through the cassette editions of their releases. Some of the albums I have known about and loved for years, while others are new to me and were music I’ve always wanted to hear. There will be some review analysis and my own personal stories about my connection with various albums.

These opinions are strictly my own and do not reflect the views of anyone else at Limelight Magazine.

Autograph’s Sign In Please (1984)

“Day time, night time/Things go better with rock/I’m going 24 hours a day/I can’t seem to stop.”

For anyone listening to the radio in early 1985 when the Autograph song “Turn Up The Radio” gave the band their signature (and only) hit, that lyric was a great summing up of how it was to be a rock fan in the mid-1980’s. The song is still a hard rock anthem to this day.

As for the album the track was released on, Sign In Please had a few good companion songs but nothing that compared to the celebratory anthem that made the band so memorable today. The debut album’s 1980’s production decision to add keyboards to everything in an attempt to give songs a glossy sheen left the band sounding what is today described as an AOR sound as opposed to a straight up hard rock sound.

Sometimes that keyboard heavy sound works, such as with the track “Night Teen & Non Stop”, but for the most part it robbed songs of an edge that the material could’ve used. But when they weren’t overwhelmed by the keys, songs like “Deep End” really shined. And despite the impossibly cliched novelty song title and lyrics to “My Girlfriend’s Boyfriend Isn’t Me” is a rather catchy rocker.

Steve Plunkett had a really cool voice with a full throated rasp that gave the band’s sound a little bit of roughness that didn’t get polished over. Unfortunately, the majority of the songs on the album just kind of fell flat.

As much as I enjoyed the big hit song when it was playing on the radio back in the day, the band quickly fell off my own personal radar after that. They didn’t have the staying power given the quickly growing slate of rock bands. But even with their status as a kind of one hit wonder band, you could do far worse than being remembered for “Turn Up The Radio”.

Notes of Interest: The band played 48 shows opening for Van Halen before they were even signed to a record label. They broke up in 1989 without ever really benefiting from the whole 80’s metal scene beyond “Turn Up The Radio.” However, guitarist Steve Lynch and bassist Randy Rand got the band back together in 2013. Steve Plunkett declined to take part in the reunion but gave his blessing as the band recruited a new singer and drummer.

Delp’s last words to a print publication posted online for the first time

BY LIMELIGHT MAGAZINE STAFF

Today, March 9, 2017, marks 10 years since the passing of BOSTON, RTZ, and Beatlejuice vocalist Brad Delp. On Thursday, February 22, 2007, Limelight Magazine conducted a one-hour interview over the phone with Delp from his home in Atkinson, NH. According to our research and a source that was close to Delp, it was his last in-depth print interview before he died on March 9, 2007. While we were planning to write a story about Delp, Beatlejuice and BOSTON at the time, we decided to run this interview as a Q&A in our debut print issue that was released in the summer of 2007. Since then, this has been our most requested interview to read and we decided to post it on our website for the first time on the 10th anniversary of Delp’s death as a way to remember his legacy and extraordinary talent. Below is the word for word text of that interview.

Cover- Summer 2007
The cover of the debut issue of Limelight Magazine which paid tribute to Brad Delp.

Brad: Hi. This is Brad Delp calling. How are you?

Limelight Magazine (LM): I’m very good. How are you?

Brad: I’m well, thanks, doing good.

LM: We’re starting a new publication, called Limelight Magazine, that’s going to focus on the music of New England and we just want to ask you a few questions about Beatlejuice and BOSTON and music in general.

Brad: Absolutely.

LM: Could you tell us how Beatlejuice was formed?

Brad: Let’s see. I think we’re in our fourteenth year now. I’ve actually known [drummer] Muzz since 1980.  We’ve been good friends since then. In 1986, when BOSTON went out on its Third Stage tour, Muzz was the drummer for Farrenheit with Charlie Farren on vocals. Their first album had just come out and we wound up doing that whole tour with Farrenheit as the support act for us. So that’s kind of my history with Muzz.

Anyway, we used to get together socially quite a bit, usually on the weekends over Muzz’s house. We would get together maybe for diner or a movie. Invariably, drummers always tend to keep their drum kits set up in the basement and in Muzz’s case he had about three kits set up there. So, at the end of the evening, we’d usually go down in the basement and just jam with some of our other friends who were there.

We usually wound up leaning toward Beatles music because the guys that came over usually grew up around that time period and I, of course, was a major Beatles fan. So, we played all kinds of things, but largely Beatles stuff. This went on over a period of time, and again, it started out just socially.

One evening we were together.  It was Muzz and I and I think at some point Steve Baker our keyboard player was involved and also Bob Squires who actually grew up with Muzz. I think they went to grade school together. He was our original lead guitar player and had actually played in two other Beatles tribute bands prior to Beatlejuce.

We got together just for fun and Muzz suggested one evening that we try and find a club or something close by and just go on a Wednesday night for open mic and play for people and he eventually booked us.

Prior to that, we actually did one other gig at Muzz’s sister-in-laws’s house. I think it was a holiday like the Fourth of July or something and we ended up playing for a bunch of friends just outside in their backyard, but the first official gig we had was at Bleachers in Salem, MA, on a Wednesday night.

Prior to the show, we just put up posters that said “ALL BEATLES ALL NIGHT.” It didn’t mention who was in the band.

One concern of mine was I didn’t want a big deal being made because I was the guy from BOSTON and have people think that we would be playing some BOSTON songs. So we stared out really anonymously because it was all about the songs.

Right from the start, we tried to get the songs as close to the original arrangements as we could. We did that first gig and I think there might have been one or two people who were there that asked if I was in another band, but no one there really cared.

Since the gig worked out pretty well, we booked a few more shows after that and decided that we would play once or twice a week to keep the band happy and it just grew from there. Eventually word got around about the band and I hope that people came out mainly to listen to Beatles songs.

Since then, we’ve had people come to our shows that I call the “dot org” people. These are the heavy BOSTON fans that are on the BOSTON web pages all the time. When they found out about us, they came because they were curious about what we were doing.

We’ve actually had a couple of people who flew over from England that are primarily BOSTON fans and they sort of designed their vacation around when Beatlejuice was going to be playing. But people at this point realize we don’t do any BOSTON stuff and are okay with that.

Initially, I had this fear that we’d be in the middle of “In My Life” or some Beatles ballad and someone would yell out and ask us to play “More Than A Feeling.”  Fortunately that never happened, and again, what started out really just as a hobby and for fun has been going on for 14 years now.  We play pretty much every weekend when BOSTON isn’t touring.

Now BOSTON didn’t tour this past summer but we did tour the two summers previous to that. We went out for 10 weeks on one of the tours and around 10 or 12 weeks for the other one.

You may or may not know that there are plans for BOSTON to do a tour this summer. So when that happens The Beatles band in the past has either taken a little vacation or what they did a couple of years ago was they kept everybody else in the band and they got another singer. His name is Jimmy Rogers who is actually a very good vocalist.

My favorite band has always been The Beatles and one of Muzz’s other favorite bands has been the Police. He is a huge Police fan and he suggested to the other members that maybe they put a band together. I think they are planning on doing that this summer while I’m gone. They did that a couple of summers ago. They put a band together, called Juice in the Machine, which is the same idea behind Beatlejuice, except it’s all Police all night.  I actually got to hear them before I went out on tour.  I saw their first gig a couple of years back and I thought they did a terrific job at that.

I guess that’s a rather long winded answer to your question.

LM: How did The Beatles become your biggest influence?

Brad: I think I was just the perfect age. I’ve always had an interest in music. Before them, it seemed like everyone was playing Little League baseball and I did that as well, but I wasn’t a great baseball player.

I had older siblings and I used to listen to my sister’s Buddy Holly records and Elvis. I was kind of an Elvis fan, too, but I was a little young at that time.

When I was 13, The Beatles were on The Ed Sullivan Show for the first time. On the following day at school, there was a big buzz. It seemed like everybody had seen that show. Those of us kids who had kind of a cursory interest in music got the idea that these guys write their own stuff, they play their own instruments, and they go out and perform so maybe that might be something we might aspire to as well.

Even though I never become a good guitar player, I remember my parents got me a Silvertone guitar from Sears which I think a lot of kids had back then. It was a guitar that had a little five watt amp and, if you got the expensive one, it was 10 watts. It was an amplifier that was built into the guitar case. It held the guitar and had a little speaker in it.  I think the first thing I taught myself with that little guitar was “You Can’t Do That” from The Beatles A Hard Day’s Night record.

When I was a kid that summer, I met some other kids that were similarly inclined and they were looking for a vocalist.  I hadn’t really given much thought to being a singer, but I did know that I wasn’t a very good guitar player. So I was offered to come down and audition to be the vocalist for this band when I was a kid. That was the time of the British Invasion so we did just about every song a new band played when they came on The Ed Sullivan Show, such as songs by The Rolling Stones, Dave Clark Five, and a bunch of other bands. We would try and learn whatever their particular single was that came out and that’s kind of how it started. However, it was always The Beatles for me. There was just something special about them.

I still remember listening to “I Want To Hold Your Hand” on a little transistor radio that I kind of hid under my pillow. They played the top 10 songs of the day or of the week and it was around 10 or 11 o’clock. It was on a school night so I probably should have been in bed, but I had to wait for “I Want To Hold Your Hand” to come on. They didn’t sound like anything else and, of course, Beatlemania struck everyone.

I was also one of the lucky, relative, few people to see them play live on August 18, 1966, when they played at Suffolk Downs, which was part of their last tour. It certainly left an impression on me.

LM: Do you have any favorite Beatles songs?

Brad: There are five members of Beatlejuice. Probably the most important one is Steve Baker our keyboard player. He allows us to play the songs the Beatles couldn’t do back in the 1960’s like “I Am the Walrus,” “Strawberry Fields Forever,” and several other songs.

We kind of run the gamut right from “I Want To Hold Your Hand” and the early stuff right through Abbey Road and the “Golden Slumbers” medley.

If I had to pick a favorite song that we play, it’s probably “I Saw Her Standing There.” I can’t tell you exactly why except there’s something about that song and an energy to it that epitomizes the time and what the Beatles were about. That would be my favorite song the band plays.

My favorite Beatles song is a lesser known song called “Yes It Is,” which was first released as the B-side of “Ticket to Ride.” We’re in the process of learning that song now and I don’t know why it took us this long. I just love the real tight three-part vocal harmonies on it. It’s not like any other song I can think of. That’s probably my favorite Beatles song overall. I hope we’re going to be playing that song very soon.

LM: As far as members of The Beatles, do you have a favorite Beatle?

Brad: I think I used to gravitate toward Paul only because I had a high voice and he had the higher voice in the band. The songs that he sang were sort of right in my register and easier for me to sing.

One of the nice things about Beatlejuice is that there are five us. We’re not a look-a-like band and never intended to be.  None of us are relegated to being just one Beatle.  Since I’m the lead vocalist, I get to sing Paul’s lead vocals on songs such as “Can’t Buy Me Love” and “All My Loving.” I also get to sing John’s songs. I even get to sing Ringo’s part on “With A Little Help From My Friends” and all the George Harrison stuff too.  In fact, George was the only Beatle that I had every single one of his solo records.

With Beatlejuice, we stop at the stuff that they did as a band. They have close to over 300 songs that they did over a period of five or six years, which is quite remarkable. We’re only about half-way through their catalog. We thought if we started doing individual or solo songs there’d be no place to stop.

I don’t know if I could pick a real favorite but I think it started with Paul because his songs came a little easier to me than the others.

LM: There are so many Beatles tribute bands. What makes Beatlejuice different?

Brad: I appreciate any band where you have four guys and one of them can play left-handed bass and sing all the Paul McCartney songs. I have respect for people being able to do that, but that was never really our intention.

What we wanted to do and what I think we do pretty well is really try and get the sound so that when people listen they remember us.  When people come up and say, ‘that sounded just like the record,’ that’s the highest compliment to me.

As a vocalist, I really try to get the timbre as well as I can. There are a lot of songs that we do where I might sing the verse or I might have to sing Paul’s part and then when it gets to the chorus I might be singing John’s part. To me those songs are so ingrained. I think the timbre of my voice obviously changes depending on which one we’re doing. That’s what we’re really trying to do. I’ve had people come up and say, ‘if I close my eyes I feel like I’m listening to The Beatles.’ If we hear a compliment like that, then I think we’ve done our job.

We don’t mess with the arrangements and the leads and everything else we try to get as close as we can. The only exception to that is a maybe song where they fade out on the record and we have to come up with an ending. We really try to stay true to the originals.

LM: What’s the key to coming as close to their sound as possible. What do you have to do?

Brad: I suppose it helps if you grew up during that period. When I was a kid and when I was in a band, I had to learn those songs because I was the designated singer. My job was primarily to sit down and learn both the lyrics and the harmony parts of the songs.

My musical training was just from listening to those records and trying to discern what the parts were. I’m self-taught. I don’t read music. I’m not particularly proud of that. However, just being so close to The Beatles as a kid and being so reverential toward them has helped me to recreate their sound. They were certainly my idols. I think it helps if you were there, but I don’t think you necessarily have to be. A lot of the stuff is so ingrained in my memory.

I always say that the great thing for me about being in this band is I can tell you right where I was the first time I heard a particular Beatles song. For example, I was in my high school parking lot in my car with the radio on when “Penny Lane” had just come out. So, when we play those songs, it makes me feel 15 or 16 again or however old I was. Hopefully, that’s what it does for the people who come to our shows that are old enough to remember.

About half of the shows we do are in clubs where you have to be 21 or over, but we also do all ages shows.  It’s always kind of interesting for me to see kids as young as like 10, 11 or 12 and a lot of teenagers that know all the songs just as well as the adults. When you see kids who obviously weren’t around then and know all the lyrics, I find that kind of interesting.

LM: What do you think of the concept of tribute bands in general?

Brad: I have some friends that are in a terrific Led Zeppelin tribute band called Four Sticks. They’re mostly from the southern New Hampshire area. They pretty much do the same thing that we do. They are not interested in trying to look like them or anything. They grew up and had such fondness for their music that they really try and nail it. I think they do a great job at it as well.

Obviously, there are some tribute bands that are maybe just put together as a business and then I think it’s more of a job. With us, we never wanted it to become a job.  I think if you’re intentions are in the right place it can be a great thing. I never thought after 14 years we’d be busier now than we were when we first started.

We could probably play five nights a week if we wanted to with the requests that we have to play. I wouldn’t be happy playing five nights a week for only an hour so we usually play close to 50 and 60 songs over the course of a night.

I’m in charge of making up the set list and the first set list is close to 30 songs because the old ones are like two or two-and-a-half minutes long and you can go right though them rather quickly. The hard part about making up the set list is deciding what songs to leave out because they are all great.

As to the actually set, the first half is usually about an hour and 20 minutes because we don’t take a lot of time in between songs if we can help it. I would be happy if I didn’t have to say two words all night and we could just play the songs. It’s not that I’m anti-social or anything, but we just really want to do as many songs as we can so people can hear them.

LM: Songs were shorter back then as well too.

Brad: They were. It didn’t start off as a conscious thing but the first set mostly tends to be the older songs like “I Want To Hold Your Hand” through “A Hard Day’s Night,” with some other songs thrown in. The second set mainly goes from “Help” through “Golden Slumbers.”

But again, remember that between “I Want To Hold Your Hand” and “A Day In The Life” was only three years. Sgt. Pepper came out in 1967 and “I Want To Hold Your Hand” came out in 1964. When you think of the amount of songs and the fact that almost every single song people know is truly amazing. With most bands you know one song out of 12 that were put out on an album and the albums were just there. Not only were the Beatles terribly prolific, but almost every single song got airplay. I don’t think you say that about any other band, at least, that I can think of.

LM: Can you tell us about the upcoming BOSTON tour. What can we expect?

Brad: I can’t give you any dates because I haven’t got any myself. I can tell you that we’ve been rehearsing for the past few months and a little differently than we have done in the past.

In the past, we kind of sequestered ourselves for maybe three months forward and just worked night and day leading up to the tour. This time Tom Scholz has decided that we should get together maybe for a weekend every month and go over half a dozen songs and then the next time we meet add another three or four songs to that and so on.

Hopefully, the tour will begin sometime in June, but again that’s sort of a general plan. We’ll probably be out on the road from June through August. The last time we went out I think we did like 60 shows. I would guess the tour would be somewhere in that line.

Had we gone out last year in ‘06 that would have been our 30th anniversary, which seems amazing to me that it’s been that long since the release of the first BOSTON record in August of ‘76. So this will be 31 years seeing that we didn’t get to do a 30th anniversary tour. Partly due to that, we’ll be concentrating pretty heavily on the first couple of records. We don’t have as huge a catalog as The Beatles, but Tom is planning on doing a few things that we haven’t actually played for quite a number of tours. I think it’ll be a lot of fun.

I’m very lucky that I get to do this, especially when there’s still an interest in classic rock. Two years ago, the last show that we did on the BOSTON tour was a festival out in California. It was us, Styx, REO Speedwagon and the Edgar Winter Band. All of these bands were a lot of the same bands that we went out with initially in the mid-1970s. It was interesting to see so many bands that are still out there and it’s nice to know that people want to come and hear it. So, I get to do that every now and then and I get to play Beatles songs on the weekends, which never gets old for me.

LM: You have a new BOSTON album in the works?

Brad: I don’t think they’ll be a BOSTON record out before this tour. I know Tom had been working on some things, but again, I don’t know when that’ll be done. It certainly won’t happen before this summer.

Given the fact that it’s basically our 30th anniversary, we know what people want to hear and you have a lot of input from bandboston.com and boston.org. We try and pay attention to what people are saying and the fans that have been with us for all those years. We’ll be trying to accommodating them. Not that we haven’t in the past, but a lot of the stuff will come from our first two studio albums. They’ll also be stuff from Third Stage and Walk On, which was the one record I was not on, and we’ll be doing some things from Corporate America, the last record BOSTON released.

LM: We’ve heard some rumors that you could be touring with the original Boston line-up this time. Is that true?

Brad: No. Tom and I will be the only original members. We do have Gary Pihl, for example, who has been with us since the Third Stage tour in 1986. That’s actually quite a while that he’s been playing guitar with us.

After our second album, Don’t Look Back, people kind of went their separate ways and I did several projects with Barry Goudreau who was an original guitar player with BOSTON along with Tom. So we still work on things from time to time. We’ve done several projects and actually toured for one them. We had a band, called RTZ, and an album in the 1990s and we did a tour with that.

I keep in touch with everybody, but as for now, Tom and I are the only original band members.

LM: Can you tell me a little bit about how BOSTON has evolved and where you are now with the band?

Brad: It’s kind of an interesting situation because we don’t play all the time like Aerosmith and a lot of other bands.  I have to say I’m kind of happy with this arrangement. When Tom gets the urge to work on something or wants to hear a vocal on something, we only live an hour apart and that has pretty much always been the case. So, he’ll just call me and it’s sort of a very low key process. He might call to say, ‘I’ve got an idea for a song, when are you available?’ That’s kind of how we did the Corporate America album.

When we do tour, rehearsals have been pretty extensive in the past because we don’t see each other all the time and there have been several new members in the band. However, my job is still the same as it was when I was a kid. I get to assign harmony parts to the guys and girls in the band.

For the last few tours, Kimberley Dahme has done a terrific job. It’s nice to have a female voice singing some of those harmony parts because some of those parts are so high. I think a lot of bands that had to play BOSTON stuff are not too happy with me. I’m not too happy with myself for some of those real high vocal parts that I sang like on the first record when I was 24-years old.  I didn’t really picture myself singing those songs when I was 54. I’ve been sort of fortunate that my voice has held up as well as it has. There are a couple of parts here and there that I can now pass off to someone else in the band and it makes life a little easier for me.

LM: I’ve read that you live a very healthy lifestyle being a vegetarian. Do you think that has helped your voice hold up so well?

Brad: I’ve never smoked so I suppose that’s a good thing. I was never too conscious of a healthy lifestyle, although I have been a vegetarian since 1969. That was more of a personal issue with me, but it certainly hasn’t hurt me.

I think vocally the biggest help for me is the fact that I go out and play three hours with Beatlejuice a couple of nights a week, particularly with a band like BOSTON who I literally might not see for two or three years at a time. Had I not been doing anything at all, I think it would have been really tough.  This way it’s enjoyable.  I don’t think of either band as work.  I have a great job and it’s just a lot of fun.

I think the fact that I really never stopped singing has also helped.  I’ve always been involved in one thing or another, whether it was in between the Don’t Look Back and Third Stage records when I did a couple of different projects with Barry or playing pretty much every weekend with Beatlejuice for the past 14 years. All of that certainly doesn’t hurt.

LM:  How about your relationship with Tom Scholz?  How has that evolved over the years?

Brad:  From what I’ve read, Tom’s comments about me have been very generous in praising me for what I do. I think it’s a mutual respect. I really don’t write a whole lot and most of the songs are Tom’s. The only time we really see each other is when we are working. That probably helps to keep the relationship as well because it’s just strictly about the music. It’s always been that way for whatever reason I don’t know.

When we work, it’s usually just Tom and I in the studio. We usually record from his home studio. We don’t have engineers and all those people. He does all that stuff. My job is to interpret whatever song he has in his head from start to finish. Hopefully, I just try to give him what he wants to hear.

LM: Do you have any more plans for RTZ?

Brad: We got together a couple of times. We have done gigs here and there, mainly when something has come up or someone has asked us to get together. Since everyone is pretty much local, I wouldn’t rule it out. However, I don’t think we’d be doing a full tour because we only did one record.

We also did a bunch demos, some of them before the first record and some of them after we got home from the first tour. Some of those subsequent songs got released on an independent label. Actually, RTZ’s keyboard player Brian Maes released a lot of them on his own label, Briola Records.  Brian Maes, by the way, wrote our biggest single, “Until Your Love Comes Back Around.”

Since we still keep in touch, I wouldn’t rule out doing something here and there, but more as a local kind of thing if it came up.

LM: I’ve heard that you play the harp as well.  Could you tell me a little bit about that?

Brad: It’s more out of necessity.  I’m not really a harp player by any means. On the last few BOSTON tours, Tom has been inclined to do a 12-bar blues so he can stretch out a little bit on guitar.Invariably, he’ll ask if I want to play some harp or something in the middle of it.  I wouldn’t single that out as a particular forte of mine. It was fun to learn a few things.  Actually Brian Maes, who is a pretty good harp player, kind of showed me a couple of things here and there, which was fun.

LM: We’ve also heard that REO Speedwagon could be an opener for the BOSTON tour.  Can you tell me anything about that?

Brad: That is the plan as I’ve heard it. I know the management for Tom has talked with them and the tentative plan is for it to be BOSTON with REO Speedwagon. I can’t confirm that yet until they confirm that with me.

Interestingly, they were one of the band’s we played with a couple of summer’s ago at that festival in California. We actually played with them on our first tour. We played in St. Louis where they are from. I think there were three bands on the bill that night and they got a tremendous response there.

The last few BOSTON tours have been just us with no other band. That can be fun too, but I’ve always liked in the past, and especially in the early days when we went out, having a kind of a camaraderie with other bands.  In the 1970s we did a lot of shows with Cheap Trick, who was just starting out back then, Bob Seger, and Rick Derranger.  I’ve always liked to meet and hang out with other musicians and we’ve always got along well with everybody.  I think it would be great if we could do a whole tour with REO Speedwagon.

LM: I’ve also heard that you like to do concerts for the homeless and other charities?

Brad: Beatlejuice is kind of self-indulgent in that we do it because we thought it would be fun for us. Consequently, we will get a fair amount of requests to do benefit concerts for any number of things, such as school fundraisers. Fairly recently we did one in my hometown of Danvers where I grew up and went to school for the athletic department.  A lot times we’ll do things for the school’s music department as well.

Every year for the last six years now we’ve played at the Portsmouth Music Hall for an organization, called SASS, which stands for Sexual Assault Support Services.  That came about because we had a close friend who knew someone who had kind of taken advantage of their services. They had to deal with people who were victims of sexual assault or abuse of some form. He said it would be really great if we could have some kind of fundraiser and raise some money for them. At his suggestion, we thought that since we were playing every weekend anyway if we could go out and do a gig and raise money for a good cause all the better.  To date these six concerts have raised a little over $100,000. We’ve done any number of enjoyable things like that, including fundraising for the homeless.

LM: I’ve read that you proposed to your girlfriend and Tom Scholz proposed to his girlfriend on Christmas Eve. Is that true?

Brad: Yes, it is true. Actually I proposed on Christmas Day and gave her a ring. The funny thing is my now fiancé and I first started dating on August 18 which was the date in 1966 when I first saw the Beatles.  We’ve been going out for six years now and we had thought if we got married it would probably be on August 18, which it will be.

After I proposed to her on Christmas, I had e-mailed Tom. I had requested a day off on either side of August 18 so I could go home and get married just in case BOSTON was on tour. He sent me an e-mail back saying, ‘no problem I’m sure we can do that. By the way, I just got engaged too, and no one had known about it.

I don’t know how long he and Mrs. Scholz now have been together. I think they have been going out for a number of years now. It was strictly coincidental. He said that BOSTON has a publicist that works for us and asked if I could let her know. I said sure it’s no secret at this point.

The only thing that was a little discerning to me is I read somewhere that Tom Scholz and Brad Delp were engaged. That might have been a little misleading. It is in fact true that we both got engaged on the same day, but just not to each other [laughs].

LM: You had talked about doing stuff in Tom’s home studio. How have you dealt with record companies over the years?  It seems like a lot of bands are going away from dealing with the bigger record companies now.

Brad: Yeah. I’m not exactly sure what will happen with the next BOSTON record, which I know Tom has been working on.  I think we’ll be working on it when we get home from touring as well. Fortunately, I’ve never had to deal with the record labels. I’ve sort of been spared that. Tom has kind of been responsible for that, and many times it’s caused some headaches for him. That’s probably an understatement because, as a lot of people already know, there was a major lawsuit soon after the second album, and that caused a six-year hiatus between that and the next BOSTON record.

I’m very lucky with The Beatles band. Muzz, our drummer, books everything. We don’t have management because we don’t really need it. We keep everything low-key and kind of on a small scale. So for me, all I’ve got to do is: Muzz will say, ‘We’re gigging here this week’ or ‘I’ve got the schedule printed out.’  I know where I’m going and that is all I have to do.  I kind of like it that way. With the tour with BOSTON, Tom really is handling that, dealing with the record companies, setting up the tour and itineraries.  All I need to know is where I need to be and on what day. I’m pretty good with that.

But yeah, I think that people are leaning a lot more towards doing things independent of the record companies just because there are so many other avenues available today.

LM: So, you’ve played with Doug Flutie before?

Brad: Well, I don’t want to say that’s how the BOSTON tour came about, but it may have sparked it. They were honoring Doug Flutie, of course in Boston for all of his achievements, because he was retiring from professional football. BOSTON has been one of his favorite bands when he was growing up, so we wound up in Symphony Hall for the show. That was the first time the current band had gotten together since a couple of years ago. We rehearsed about an hour’s worth of material for that show because it wasn’t all about us.  James Montgomery was there with his band, which was fantastic. And then there were other things going on. We got together for that. And having that as sort of a basis, having learned all those songs for that show, I think if we can just get together maybe just once a month from here until maybe April or May, you know we’d be ready to do a tour in June. So I think that’s going to work out pretty well. And that was sort of an off-shoot of doing that gig.

LM: Are there any particular artists today that you enjoy listening to?

Brad: I listen to sports and radio mostly, but it’s hard to say. I’m mostly involved with the Beatle band, so I don’t get to listen to as much music as I should. I took my son to see the Red Hot Chili Peppers when they were touring with the Foo Fighters. Those two bands I like a lot.  Aside from that, I’m probably not so much in tune to what is going on.

LM: Is your son into Music?

Brad: Yeah. My son lives in Seattle. I think that’s a good city for him. They’re kind of eclectic out there. He plays bass and he is actually not a bad bass player. When he comes home on occasion during the summer when Beatlejuice is playing, he’ll sit in with us for a few songs which is a lot of fun. Our bass player of Beatlejuice, Joe Holaday, has two kids. One of them plays drums and the other plays saxophone, clarinet, and a number of instruments. So they’ll sit in with us as well and that’s kind of fun to get to do. So my son plays bass, but he is also interested in a lot of different and unusual percussion instruments, Middle Eastern music, Japanese music, and sort of more world music. Occasionally, he’ll bring something to me that I’m totally ignorant about.  It’s interesting because I think he’s got pretty good taste. What little I know about what is going on I learn from him.

LM: How do you feel about BOSTON’s music legacy?

Brad: Again, I’m very appreciative of the fact that we’re still able to go out on tour and there’s still interest. We’ve always had terrific crowds. And I will say that I’ve met a lot of fans over the years who are just incredibly loyal and have stuck with us all this time. It’s very flattering to feel like your music means something to people in a small way. I know what it’s like being a fan, because again I grew up with The Beatles, certainty not to compare us to The Beatles, but I think whatever music you grew up with, like people growing up listening to BOSTON records. I get similar stories, ‘Oh, my first date’ or “my first high school prom, the record had just come out. I remember that song and it takes me back to that place.”  That is sort of what music does for people.  So, the fact that we could be a part of that for other people, not something we were thinking about at the time, it’s sort of nice to feel like you have some kind of legacy like that.

LM: Okay. Well I don’t think we have any other questions.

Brad: I have to apologize. I don’t think I gave you one short answer.

LM: Oh no. We really appreciate you giving us an interview.

Brad:  Oh, it wasn’t a problem at all.

LM:  So, we will see you at Salem High School [in Salem, NH] tomorrow tonight. We’re going to be coming up there.

Brad:  Oh terrific. I did not know that. But great, yeah, by all means come on by and we’ll talk a little more.

 On Friday, February 23, we continued our interview with Brad after the Beatlejuice show at Salem High School.

 LMHow do you do the voices from all four Beatles?

Brad: If I had to be in a band where I could only be one Beatle, it wouldn’t be fun. When I was a kid, I think I was the perfect age, growing up, I just worshipped The Beatles. Since I didn’t play any instrument particularly well, I could play rhythm guitar like I do now for a third of the songs. I usually just hold it. It’s my security crutch [laughs].

I was always the singer and it was my job to learn the harmony parts for everybody else.  I remember being 14 or 15 when “Nowhere Man” came out. When we first started playing it, I didn’t hear the third part. I thought there was only two parts. We were just kids at the time. Maybe we didn’t play much or we had just learned how to play. And then one day, all of a sudden, I heard that it was just one note. That harmony part that is in the middle, it makes the whole song. It’s the part that George does and that was like a revelation to me.

Even though that was at the time of the British Invasion and all these bands were coming out, I did like a lot of other bands like The Animals, The Kinks, The Rolling Stones, but it was always The Beatles. They were my heroes.

The same thing is true with 1964 The Tribute. They’re really good at what they do. They’ve got The Beatle wigs and all of that. Since there are four of them, they don’t get into the later stuff. They’re very good, but that wasn’t what we wanted to do. We just really want you to be able to close your eyes and remember hearing the music because so many of those songs never got played live. Even though we do them note for note as much as we can, there’s still an energy about playing them live that brings something else to it. When the audience responds and gets into it, that’s what makes it mean so much for me. I just love that.

As I said yesterday, it was always easy for me to sing Paul’s stuff because it was the higher stuff. John, when I was a kid, was a little tougher because some of that stuff was a little lower and I couldn’t quite do it, but now I love it. Some of these songs we’ve played now for fourteen years, and it’s only in the last year or so that I feel like I’ve really got it right. For instance, one of my favorite songs to do now is “Anytime At All.” I just feel like I’ve finally gotten it right, even though I’ve been singing the right notes and everything before. I just really feel like John for a while when I’m singing it or I feel like Paul. It’s just great. It’s like reliving my childhood.  It makes me feel like a kid again.

LM: Excellent. Did you ever get a chance to meet any of the Beatles?

Brad: I met Ringo on the very first All-Starr Band tour that he did, which was fantastic… Rick Danko from The Band, Levon Helm also from The Band, Dr. John, Billy Preston, Neils Lofgren, and Jim Keltner…They were an unbelievable band.

Ringo’s tour manager at the time had been BOSTON’s tour manager for the Third Stage tour. When we were on the Third Stage tour, he knew what a big Beatles fan I was.  So, he called me and said, ‘I’m working with Ringo, do you wanna come down to the show?’ And I said, ‘I’d love to come down.’ Then he said, ‘Well, were staying at the Four Seasons in BOSTON.  If you come down, we’re leaving in an hour and you can ride down in the van with me and Richy.’

I’m very shy by nature.  Actually, at first I said, ‘no, I appreciate it. you don’t need to do that. I’d be happy to just come to the show.’  So he said, ‘Well okay, you can come down if you want.’  So after I hung up the phone and thought it for about for five minutes, I called him back and said, ‘I’ll be there in 45 minutes’ [laughs].  So I got to ride down in the van with Ringo and I actually got to sing “Get Back” that night.

LM: Oh my goodness!

Brad: I got to do that and the other person I met was George Martin. He was absolutely the fifth Beatle. He played on a lot of the tracks. He played keyboards. He did all the orchestrations. He produced everything. I met George Martin twice. The last time, I got to sing “Live and Let Die” and “Ob-La-Di, Ob-La-Da” with George Martin conducting the Hollywood Bowl Orchestra. It was a full orchestra with George Martin in front and I got to sing the songs. It doesn’t get any better than that.

But, I don’t know if I want to meet Paul, necessarily, because my feeling is like, I’ve known him for forty years through his music. If he knows me at all, it’s probably like ‘Oh, I’ve heard your band’ or something like that. Plus, what am I going to say to him? I’d probably put my foot in my mouth [laughs]. I’ve known people that have worked with him and said, ‘I could set this up if you want to meet Paul.’ But, if I had a week to think about it, I’d be a nervous wreck.  But, I’ve seen him almost every time he has come on his solo tours and that’s plenty for me.  I’m just gonna watch and listen.

LM: Yeah. We went to the show he did at the TD BankNorth the last time he came.

Brad: Yeah. What a fantastic band. He was just great. On Paul’s Flowers in the Dirt tour, I almost met him backstage in New York. He was only a few feet away. I went to see him at Madison Square Garden. He was using the same sound system that we were using. Our sound guy from Showco said, ‘My buddies are mixing Paul, if you want to go I’ll set you up. You can come down to the show.’ So we went in early and they were just finishing up the sound check. Actually, I didn’t hear them play anything because they had just got finished and they were going to have dinner. He was going to the elevator and I could see him walk across the hall from where I was standing.  So, that was my brush with greatness [laughs].

I also saw George Harrison in the front row at Boston Garden. It was his only US tour that he did in 1974. I had waited in line for eight hours or more for tickets. I was sitting in the first row, off to the right. In those days you could take pictures. I actually used to develop black and white pictures, nothing really fancy. But I took pictures of that show and I still have those pictures I took of George. So, that was pretty exciting.

But yeah, the whole thing about Beatlejuice is it started as a hobby. Steve Baker, our keyboard player, is the same way. They were the band when we were growing up and that was it for us. That’s why he has spent so much time trying to get “Strawberry Fields” or “I Am the Walrus” and all those songs exactly right. If they’re not right, we won’t do it. We really try to get it as best we can.

LM: Thanks for taking the time to do this interview with us.

Brad: You’re welcome. It was no problem at all.

LM: We’ll see you on your tour with BOSTON this summer.

Brad: I hope so.