Southern Fried Genocide
Southern Fried Genocide
Self-released; 2012

Cars, liquor, and being gainfully employed by the cloven-hoofed boss of the underworld are all topics that get equal air time on this self-titled release by the Melbourne-based Southern Fried Genocide.

Formed from the still smoldering ashes of the now-defunct Zombie Jesus, Southern Fried Genocide ups the ante with solid slabs of suvern blacktop boogie served white hot.

With buzzy, volatile guitars that sound as though they might come apart at any moment, most of the songs are performed in overdrive tempos and as such, is perfect skateboarding/irritate-the-neighbors music. The songs bring to mind dark images of horror films, running ‘shine, and street races that end badly for someone.

Original, brash, and decidedly nervy with his coarsely agitated vocal delivery, frontman Stevo delivers a memorable performance throughout the album. But main guitarist Mark, a.k.a. “Rockshow,” steals the show every time he steps up to take a lead, most notably on “Working for the Devil.” Like a possessed Chuck Berry crossed with Rick Neilsen, Mark plays as if he has something to prove, and his fretwork is incendiary, fluid, and melodic. There are more than enough chops to spare on these eight tracks.

The lineup is rounded out by Wes AWESOME (rhythm guitar), Reid (bass), and Ralph (drums), all gifted, agile players who lay down impressive rhythms at breakneck speeds. Proof of these solid, unwavering tempos is the freedom they afford Mark’s over-the-top lead work on standouts like “Four Door Hornet” and “The Dreggs.”

The band have been gigging steadily, with high profile dates opening for national acts like Cracker, Maylene and the Sons of Disaster, and Brooklyn’s Hull under their belts. Southern Fried Genocide are a solid five-piece who show nothing but promise of great things to come with this high-octane debut.

– M.A. Rivera

Sound Traveler
Self-released; 2011

On the surface, Sound Traveler appears to be just another garden-variety acoustic duo. But a few deft touches on their eponymous debut reveal them to be something much more.

The husband-and-wife team of Bob and Patty Tatum have a strong affinity for Irish and Appalachian folk, but these influences inform rather than define Sound Traveler’s music. Incorporating elements of jazz, gospel, rock, blues, and country, Sound Traveler is full of interesting surprises, from the playful, sonic strolls of “White Cadillacalimousina” and “Gators For Sale” to trumpet-flecked opener “Stars Tonight.”

Bob and Patty are accomplished multi-instrumentalists, and along with acoustic guitar and bass, mandolin, harmonica, xylophone, hand percussion, and trumpet are used to subtle effect. Trumpet may seem like an odd choice of accompaniment for an acoustic act, but Patty’s playing is so spare and tasteful here that you wish more would employ it. It lends warmth and space to the frail “Only Now,” and adds a bright step to “Florida Sunshine, Florida Rain.”

Bob is a talented lyricist in the folk storyteller tradition, but I especially like his decision to include not the words of each song in the liner notes but the stories behind their creation. It’s another thing I wish more artists would do; often these reflections offer more insight into the music than the lyrics themselves. For instance, we learn that Bob’s great-great-great grandfather, an Irish immigrant, designed built, and manned lighthouses in the notes to “Lighthouse Keeper,” a doleful ode to those who provide guidance amid confusion and uncertainty. We also learn that the tumbling “Smoky Hollow” is inspired by the couple’s rural summer home in the Appalachian Mountains.

The Tatums divide their time between Avery County, North Carolina and Cape Canaveral, and Florida plays just as important a part in the duo’s unique outlook. Locals will relish the litany of place names that keeps “Florida Sunshine, Florida Rain” bouncing and the childlike simplicity of “Gators For Sale,” a tune that could easily fit into Peter, Paul, and Mary’s repertoire.

Marked by affecting harmonies, evocative compositions, and accomplished musicianship, Sound Traveler is an album that both comforts and challenges in equal measure. — R. Marsh

Visit the Tatums online at www.soundtravelerband.com. Hear song samples, read blog posts, and keep abreast of local performance dates.

Josh Miller Live at the Cottage Pub
Self-released; 2011

Anyone familiar with Josh Miller’s music knows that it’s best experienced live. And while the recently released Live at the Cottage Pub is certainly no substitute, it does an excellent job of capturing Miller and his band at their very best.

For close to five years, Cocoa Beach’s Cottage Pub (now the Shak Shack) served as Miller’s musical headquarters. Apart from being his principal venue — and often, practice space — it was also where he bartended part-time and forged lasting friendships. In its heyday, the Cottage was for Miller something akin to Pee Wee’s Saloon, the now defunct Beale Street watering hole where W.C. Handy enlisted musicians and penned some of the Blues’ most enduring tunes.

Those who witnessed some of Miller’s performances in the cozy dive will find much to enjoy here, while newcomers will wish they were in attendance. Culled from a two hour-plus set, Live at the Cottage Pub is a palpable recording of a scintillating June 2, 2007 performance.

Backed by what many consider to be a classic lineup — Jim McKaba (piano), Miguel Hamoum (bass), Jonathan Buck (drums), Kevin Double (harmonica), and Karl Davis (guest vocals) — Miller coaxes fevered licks from his guitar as he bellows through over an hour’s worth of bona fide blues.

Among the songs featured here are opener “Back to the Chicken Shack,” “Chicago Breakdown,” “Done Got Tired,” and an infectious, evocative rendition of perennial Miller favorite “That Ain’t Right.” Closer “Guv’ner’s Boogie” pays tribute to Cottage owner Mark Proctor with all the strident rhythm and subtle humor the legendary Limey championed so tirelessly.

A must-have for any blues enthusiast and required listening for every Josh Miller fan.

Hear samples of Live at the Cottage Pub at: www.joshmillerblues.com and check for upcoming local performances. Josh Miller plays at the Beach Shack (1 Minutemen Cswy. in Cocoa Beach) on Friday, September 9 at 8 p.m.; Thursday, September 15 at 5:30 p.m. at Jump’s Tiny Tavern (201 Taft Ave., Cocoa Beach), and Friday, September 16 at 9:30 p.m. at Paddy Cassidy’s Irish Pub (2009 N. Atlantic Ave., Cocoa Beach).

Lone Hymnal

Cocoa Beach-based band Lone Hymnal started out in the late 1990s as Gottesfeld, a name many residents remember fondly.

Drummer Josh Maynard, bassist Tim Allen, and guitarist/vocalist Chad King performed a streak of fiery local shows under that moniker before going their separate ways… for ten long years. In 2009 they began writing songs again and are now back as Lone Hymnal with a new guitarist, John Shade Vick, who fills out their “sad, country, surf rock” sound.

With original tunes reminiscent of late-’60s country and early-’70s rock, Lone Hymnal are a far cry from the sleek-toned, Top-40 beachside bands you’re used to hearing. It’s been said that the quartet draw inspiration from an entirely different decade, as well of the likes of Bruce Springsteen, Creedence Clearwater Revival, the Stones, and Johnny Cash mixed with the indie sensibilities of Wilco, Pavement, and Yo La Tengo.

They’ve recently completed a full-length album and are expected to be on the road and touring behind it in the fall.

Catch an early glimpse of their magic at Paddy Cassidy’s Irish Pub on Friday, August 19.

Lone Hymnal perform at Paddy Cassidy’s (2009 N. Atlantic Ave. in Cocoa Beach; 783-0810) on Friday, August 19. Visit the band online at: www.lonehymnal.com

Bird Dog Bobby Band
Time To Live In
Lakehouse Records; 2011

The Bird Dog Bobby Band delivers upbeat creative originals with deeply rooted versions of blues classics, all of which reflect the members’ extensive range and depth of experience.

Their encyclopedic knowledge of the blues is evident in the tasteful composition and razor-sharp execution of original songs marked by stunning guitar wizardry and smooth, emotional vocals. All of these factors make the whole of this band greater than the sum of its parts. Listen, and you’ll be rewarded with one well-executed riff after another, each new, but inextricably linked to long traditions of other blues masters.

Drummer Reno Mussatto’s powerful vocals and solid grooves always have just the right feel, and Gary Whitehead bonds the rhythm section together with perfectly balanced bass lines. The band’s namesake, Bob “Bird Dog” Rhoads (guitar and vocals) rounds out this trio, which is comprised of former members of the Smoking Torpedoes and the Honey Hounds.

Made up of 13 original tunes, Time to Live In stems from the members’ personal experiences and is truly a labor of love. It bounces between accounts of life on the road (“Headed to Memphis”) and clever subversions of classic blues tropes, like opener “Who Told This Joker He Could Drive?” which is a thinly veiled critique of Obama and his administration.

Other standouts include heavy ’70s-era rocker “Get Outta Town,” the swaggering, witty “Breakfast Time,” and “River of Life,” which sounds like a reggae-flecked outtake from the Band. This level of musicianship often comes at the expense of soul, but the Bird Dog Bobby Band have it in spades, as evinced by moving closer and title track “Time to Live In.” Rather than ending things with an abrupt bang, its slight, tasteful strings arrangement sets things back to an expectant simmer, a promise perhaps of more to come from this incredible group.

Catch the Bird Dog Bobby Band on Saturday, August 20 from 2 to 6 p.m. on the deck at the Beach Shack (1 Minutemen Cswy., Cocoa Beach; 783-2250). Check out their Reverbnation site — www.reverbnation.com/birddogbobbyband — where you can listen to all the songs off Time to Live In for free and view other upcoming local dates.

Low Cut Connie
Get Out the Lotion
Self-released; 2011

Despite being based (ostensibly) in Gainesville, Low Cut Connie enjoy a strong connection to the beachside.

They’ve played a number of shows here over the last few months and are due back to perform at Paddy Cassidy’s Irish Pub on July 23, so we thought we’d give their excellent 11-track record, Get Out the Lotion, the old review treatment.

If there’s a climate Get Out the Lotion suggests, it’s humid and swampy. And as dolled up for a night of pulling chicks as its creators are, it’s hard to notice anything else but the pit stains on their cotton shirts. Far from being a turn-off though, it only makes them more intriguing. Starting off with a contagious Buddy Holly-fed Beatles track called “The Cat & the Cream” that resounds long after it’s over, the rest of the album alternates between smirky, come-hither glances (“Full of Joy”) and outright arse grabs (“Rio”), and the overall effect is as audacious as it is disarmingly charming.

Rock n’ roll acts as the driving spirit here; not your ironic hipster variety, mind you, but the kind that shakes floors and helps make babies. There’s rusty honkytonk in “Darlin’” and loping country-blues hybrids like “Big Thighs, NJ”; there are even strains of doo-wop and silken R&B, but through it all, Low Cut Connie hew so closely to their sincere vision and pursuit of enjoyment that Lotion never comes across as contrived, as it certainly would in other hands.

As such, Get Out the Lotion sounds like a collection of outtakes from classic bands you never thought would come to light. It’s rare that I move a submitted CD from its relegated section into my own daily listening stash. Get Out the Lotion more than deserves the upgrade.

– R. Figgis

Catch Low Cut Connie on Saturday, July 23 at Paddy Cassidy’s Irish Pub (2009 N. Atlantic Ave., Cocoa Beach; 783-0810). Visit the band online on Facebook, MySpace, and www.lowcutconnie.com, where you can hear song samples and download the album in its entirety.

Damion Suomi & The Minor Prophets
Go, And Sell All Of Your Things
Hopeless Records; 2011

Simply put, Go, And Sell All Of Your Things is a compelling answer in a world and musical landscape that is passing out riddles and fallacies.

Lyrically, Damion Suomi’s songs lead the listener by the hand through the course of “the Hero’s Journey,” originally described by Joseph Campbell in his study of mythology, “The Hero With A Thousand Faces.” Filled with the ideas of embracing simplicity, isolation, self-fulfillment, self-achievement, and inner peace, Go… is also tempered with enough artistic distance to avoid coming across like a pompous, self-help concept album. Much has been made of several Biblical references in the songs, yet they merely serve as a reminder of historical reference and the power of stories that have engaged so many minds before us. The references are also not meant to glorify a belief that so many share on the whimsical air of fate, but rather to point out the shortcomings of rejecting one’s ability to reason for oneself and walk away from the “shortcuts” to thinking.

As in life, Suomi’s unnamed hero is faced with the dilemmas of what is important in his life — relationships, money, family, and religion. Yet unlike similar tales, Suomi’s find his hero following his heart rather than the easy, standard path society has laid out for him. Instead, our hero continues to follow the path in search of his bliss on tracks like “I Hope You Die Sad And Alone” and “City On A Hill” and overcomes temptations and struggles to declare triumphantly: “F*ck it! Roll another one and we’ll be on our way!” At this point on the album there’s no doubt that you’re with Suomi on the journey, and you feel you’re moving forward together with the band leading full charge ahead.

From beginning to end, the music, songwriting, lyrics, and sincerity of the band reach out and touch you. You find yourself drawn into a wonderfully-crafted album full of ideas, wisdom, and foot-stomping beats. And in its own way, Go, And Sell All Of Your Things creates a wholly new kind of sound. – D. Domske

Hear song samples of Go, And Sell All Of Your Things as well as tracks from other Damion Suomi albums by visiting: www.damionsuomi.com

BILLY CHAPMAN BAND

Rosalea’s Dream
Self-released; 2011

“I think I should go out and start to miss this place again,” sings Billy Chapman on “I Looked Into,” a track from his band’s latest album, Rosalea’s Dream. “‘Cause when I’m here,” he reasons, “all I can think of is everywhere/And when I’m gone, all I can think of is you.”

It’s nice lyric taken on it’s own but in the context of the other eight tracks here, it’s also an apt summation of how many beachside residents must feel during the crowded spring season.

Chapman, a skilled guitarist and powerful vocalist, guides the inspiring Rosalea’s Dream through some blistering, Pearl Jammish rock (“Strangers;” “Fall In Love;” “Solitary Man”) and jaunty, McCartney-worthy ruminations (“Back in the Days,” “In the Moonlight,” and the catchy singalong “Pieces”), while making a soothing stop in island territory with the loosely jangling “Scattered Man.”

Though Chapman could easily hold your attention by his lonesome, drummer Scott McCune and bassist Dave Clark provide some tight backing throughout, giving Rosalea’s Dream just the right amount of depth and percolating power to keep you coming back for more.

Chapman himself, however, shows some accomplished songwriting here, and Rosalea’s Dream is the latest culmination of 25 years of performing and honing his craft. With songs like these, it’s no wonder Chapman and his band enjoy such a strong local following. They capture the feelings many of us wish we could express as affectingly.

Hear song samples of Rosalea’s Dream at: www.billychapman.com. Catch Chapman performing solo at Doubles Beachside (1896 S. Patrick Dr., Indian Harbour Beach) on May 6 and 27 from 6:30 to 10:30 p.m. The Billy Chapman Band perform live at the Sports Page (220 N. A1A, Satellite Beach) on Sunday, May 22.

BASTARD LOVECHILD OF ROCK N’ ROLL
BimBom
Self-Released; 2010

There’s a touch of the ironic in much of Bastard Lovechild of Rock N’ Roll’s music, but you’d expect that from a band whose members go by the names Cookie Sugahips and Hotdamm Sweet Huckleberry. But whether it’s all a joke or not is immaterial, because if nothing else, BLORR want you to have as good a time as they are.

The Satellite Beach-based duo, comprised of keyboardist/vocalist Chris Hess (Sugahips) and drummer Adam Winn (Huckleberry), are sure to draw comparisons to the White Stripes with their sleazy, bottom-heavy rock stompers, but Hess and Winn don’t take themselves nearly as seriously — and therein lies their charm.

Bits of BimBom, their latest nine-song EP, could very well be jokes within jokes  — naming songs “My Terrific Tushhh” and “Booty Makin’ Baby Shakin’” tends to make one wonder — but they ultimately win you over with their enthusiastic rendering of rock at its most primeval and raw. Elsewhere, BLORR embrace soaring, Jeff Buckley-style sublimity (“Halleluja, I’ve Been BLORR’n Again”), transcendent Verve-like atmospherics (“Seven Sisters”), breezy bossa nova (“My Blushing Grape”), and twinkling, laid-back indie “(A Baby Is Born”). The further the album plays out, the more the duo reveal themselves to be masters of their own sonically expansive domain.

When it’s all said and done, there’s nothing the least bit funny about BimBom. But for a few dodgy lyrics, it’s a stellar album made the way they used to — full of fitful moods, emotional arcs, and soul-saving messages. That all of this it is achieved with so little is simply amazing.

Catch BLORR on February 18 at the Social in Orlando. BLORR have a strong online presence. Check them out online and hear samples or purchase the entirety of BimBom at these addresses: facebook.com/blorrmusic; myspace.com/blorrmusic; twitter.com/blorr; bastardlovechildofrocknroll.tumblr.com. BimBom is also available through iTunes.

There’s a reason you hear so much local talk about Honey Miller.

Comprised of some talented musicians from various, now defunct projects, the Cocoa Beach-based quartet bring with them a solid reputation and the tunes to back it up. Describing their sound as “sideways surf” and the result of “the city and the country meeting the beach,” principal songwriter, vocalist, guitarist, and co-founder “Anywave” Dave Miller seems to have hit the nail on the head. As vague as that description sounds, it’s a spot-on categorization of some original songs couched in waterbound imagery and played with a level of sophistication heard rarely in the local music scene.

Dispensing with the loose blues heard from earlier offshoot bands, Honey Miller anchor their sound to a layer of crisply clear atmospherics provided by Laurent Magniez’s sighing electric guitar lines. Thanks to this undercurrent, their debut live release, Stuck Outside, breathes with quiet life, and favorites like “Two Steps” and “Permanent Wave” are lent a dose of patient confidence that was lacking in earlier versions. The effect is pleasantly soothing — almost mesmerizing — but it’s more likely to draw them attention than see them fade into the background.

On the strength of these songs, Honey Miller (which also features percussionist Jazzy and stand-up bassist Aren) have been enlisted to contribute to the soundtracks of some locally-produced films. They’ve also garnered the band bookings by many local bars and restaurants, places that prefer their music to be simultaneously engaging and unobtrusive.

Other bands might balk at this seeming incongruity, but as seasoned professinal musicians, the members of Honey Miller understand its efficacy. We have always maintained a humble yet steadfast approach to the local music scene,” says Miller, “so we’re blessed that so many listeners within the surf community are embracing our sound. We hate playing soulless cover music. We interact with the crowd to keep them involved.”

Mixing popular originals with obscure b-side covers, Honey Miller are also happy to play requests, and they’re available for private parties, museum and gallery openings, special events, and festivals of all kinds.

Honey Miller perform every Sunday (from 3:30 to 7:30 p.m.) and every Monday (from 6 to 9p.m.) at the River Roost (1891 E. Merritt Island Cswy. in Merritt Island; 452-6606) and will appear at the Hunker Down Lounge (7 S. Atlantic Ave. in Cocoa Beach; 613-3802) on August 7 starting at 6 p.m. Visit Honey Miller online at www.myspace.com/anywavedavehoneymiller or at www.spacecoastlive.com. For booking information, call 328-6058 or email anywavedave8@aol.com

LOCAL 518
Sense of Urgency
Self-released; 2009

I suppose I’m getting wistful with age, because I find myself wishing I had a certain stack of records I’d grown out of and sold before moving across the country a few years back.

Stanley Clarke; Weather Report; Zappa; Tony Williams Lifetime; Mahavishnu Orchestra, Bill Laswell… They were all products of a brief though impressionable foray into jazz fusion and progressive rock. I can see their covers in my mind’s eye and can still hum many of the tunes to myself in moments of weakness, which at least offers me some solace for not having the funds to repurchase the bulk of them.

So it’s with something of a thrill that I put on Local 518′s Sense of Urgency, an intense album that distills the sound of a few years of my youth into one splendid recording. I’m pretty familiar with this quintet (I once accused them, kindly, of swallowing metronomes) and Pastorius’ other project, Elephantgun, but wasn’t fully prepared for the taut, single mindedness of this sophomore album. And there is a single mind at work here, one shared by bassist David Pastorius, Al Brodeur (guitars; keys), drummer Bjarne Kjaer, percussionist Anthony Darmana, and principal keyboardist Dave Hoag.

For all its restless virtuosity and polyrhythmic flights of fancy, Urgency is an impressively focused affair, its enthusiasm and spirit precariously hugging the brim of a full glass on a three-legged table. If one note or beat were out of place, the whole thing would overflow to create an unholy mess — the unhinged excess their rock fusion genre is often faulted for exhibiting, if not actively promoting.

But there the glass stays, vibrating, but still miraculously intact while Urgency darts madly around the room chasing flurried influences. There’s hard rock’s boom and rumble on opener “Lebanon,” bossa nova (“Decertification”), calypso (“Dune Buggy”), and the jazzed-up Cuban son of “Paredes.” Controlled chaos drives much of the album — rhythms and bridges are locked into, disassembled, and tossed up in the air, only to be reconstructed in wholly different, though improved form. By the time track 9 winds down, you’re left somewhat breathless, but adrenalized enough to absorb the brilliance of another 20-minutes worth of stunning original material.

Sense of Urgency is impeccable on many levels, but succeeds, above all, for its surgical implantation of a soul — a needed human impress — onto a densely packed mathematical grid.

View videos and listen to song samples by visiting www.davidpastorius.com or www.myspace.com/local518. Copies of Sense of Urgency can be purchased from www.cdbaby.com.

Forgotten Citizen
Twenty Second Century EP
Self-released; 2010

The music of Forgotten Citizen isn’t something we’re used to hearing here, at least in this locally produced form.

You’re more likely to hear this kind of independent, underground sound in more metropolitan areas, places where electronic music either matches the mechanical rhythms of urban life or, in more ambient form, offers respite from the city’s unending din.

Hearing Twenty Second Century, Forgotten Citizen’s latest EP, in absence of a looming, steely backdrop, then, casts it in stark relief, and in the process comes across as far more organic and emotional than you might initially expect.

Still, the album (played, recorded, produced mixed, designed, and packaged by the artist), is decidedly broody, and as such, resembles the work of a textureless Massive Attack or a more subdued Nine Inch Nails. But as dystopian and coldly industrial as it all sounds (witness the ominous, repetitive squelch of track 3, “Here We Go, Hold On!”), Forgotten Citizen seems to aim more for measured uplift than narcotic somnolence.

Adding to the intrigue is Forgotten Citizen’s “blank” identity. Wholly devoid of distinguishing features, his black, faceless one-piece suit is cited in his online manifesto as a way of directing the listener’s attention to the music as it stands. It’s a clever, if unoriginal contrivance (Daft Punk, for one, have employed the gimmick for years), and probably translates best during FC’s frequent live performances. Here, it’s rendered ineffectual.

The overall concept works well in general, yet the problem with it all is FC’s obsession with — of all bloody things — auto-tune. Yes, auto-tune. And it doesn’t just pop up in a chorus here or a random line there. It’s applied to seemingly every undeserving note. Some may be drawn in by its use (it is mesmeric), but others will be turned off by its gratuitousness.

That said, Twenty Second Century is actually quite excellent in places and shouldn’t be faulted for its reliance on computer-generated melismata.

Whether Forgotten Citizen fulfills a need for more adventurous music within the local music community remains to be seen, but at least he can rest easy in the knowledge of having broken down some antiquated barriers. And that in itself is worthy of praise.

Visit Forgotten Citizen online at: www.forgottencitizen.com. Read tour updates, hear song samples, and purchase tracks for download.

Quiet Science

Despite their soothing name, there’s something disquieting about Quiet Science’s sound, a sense of percolating rage hemmed in by a panel of circumspective, clipboard-weilding therapists. And their debut full-length, With/Without, is a case study on the evils of meticulous production.

As arresting as the chiming, U2-like riff of opener “In the Company of Killers” is, the song quickly devolves into the kind of slick, radio-friendly wrath that brought success to bands like Muse, Radiohead, and Depeche Mode, acknowledged peers of this Merritt Island-based quartet. But their bottled sonic textures aren’t so much the fault of the band themselves as they are the result of some overly clinical sound board manipulation, which here is crisply clear to the point of distraction.

There’s no denying that Quiet Science are shockingly accomplished musicians, but tunes like “Brilliant” and “Ghost and the Grave,” as incredible as they are, make you yearn for the raw, lo-fi demo versions, ones that might have captured an organic feel lacking in their recorded state. The result of this obsessive knob-twiddling is often the dull thud of sameness where the goal of breathtaking surprise was clearly the goal.

But this is really nitpicking, because With/Without shouldn’t be criticized, of all things, for its impeccable professionalism. On the strength of this one album, Quiet Science should have no problem earning supporting spots with their heroes. Nearly everything here is hit-worthy and the writing is astonishingly thoughtful, due perhaps to vocalist/guitarist Nathan Walker’s having worked in the suicide watch units of some local hospitals. As such, the lyrics exude themes of hope, redemption, love, and courage, but they’re offset with a refreshing degree of bald honesty. There’s also a vaguely Christian message behind all these tracks, but they’re more of the Bono variety, inclusive and warmly embracing rather than cold proselytization.

At different points, the listener is drawn almost uncomfortably close to the lyrics, and in this respect Walter’s delivery resembles the hyper-articulacy of Death Cab for Cutie’s Ben Gibbard. Effusive credit should be given to bassist Robert Wesley, keyboardist Daisy Elisabeth, and drummer Charles Barnett, all of whom give Quiet Science their essential sonic strength.

Some will find With/Without fresh and exciting, and others will scoff at its whitewashed approach. But both sides will agree that Quiet Science are one of the most skilled and visionary bands around.

Join Quiet Science on May 2 to celebrate the release of With/Without at The Mezzanine (East Coast Christian Center, 680 N. Courtenay Pkwy.; Merritt Island; 452-1060). The all-ages show is scheduled for 7 p.m. Purchase copies of the album and previous EPs at: www.quietsciencemusic.com or www.myspace.com/quietsciencemusic.

JunkieRush

Judging from Musica, their latest release, it’s no wonder JunkieRush have been hailed as one of the best bands to come out of the underground Orlando scene.

Produced ably by Brett Hestla (Creed, Virgos Merlot, Dark New Day and producer of Tantric and Framing Hanley) Musica’s enthralling sound taps into several disparate genres — hard rock, Latin, funk and various Caribbean styles — and combines them in exciting and very original ways.

Comprised of guitarist/vocalist/principal songwriter Bobby Koelble, Latin-influenced percussionist Ito Colon, drummer Thatcher, bassist Matt Gallagher, and saxophonist Nathan Anderson, JunkieRush also take cues from progressive rock. Opener “Bring Money” and songs like “James Brown DNA” recall the difficult chord changes and sheer instrumental power of bands like Tool and Primus. But the professed “addictive” and “euphoric” qualities of their tunes owe much to Koelble’s inspired (and often cutting) lyrics and the band’s reliance on island-inspired rhythms.

If there’s anything that can be called an “underground Orlando sound,” Junkie rush seem to epitomize it. Replete with just the right amount of high-octane energy and low-key reflection, Musica’s 13 tracks do a fine job of translating the experience of seeing them live for the armchair listener. But what really stands out here is the musical prowess of the quintet, or sextet, if you include Hestla — and you should. His impeccable production brings each of their individual talents to the fore without sounding patched together.

Chock-full of seamless, mind-boggling tempo changes and virtuosic guitar work, Musica foretells a new musical trend, one that speaks as much to the head as it does to the feet.

Visit JunkieRush online at www.junkierush.com and look for links to purchase the album. They play the Hustler (810 N. Miramar Ave. — A1A — in Indialantic; 768-0640) on Friday, April 9.

The Cook Trio
Moonlight
Self-released, 2009

Less academic than its predecessors — 2005′s Gypsy Jazz Guitare and  2007′s Villa Saïd — the latest release from acoustic gypsy jazz band the Cook Trio, Moonlight, taps into the inherent humor and playfulness at the heart of their preferred genre. Which is not to say that they’d ignored those carefree facets of jazz manouche before — far from it. But Moonlight, recorded some five years after their founding, finds the band settling into a more comfortable and far less restrictive groove.

Prior to Moonlight, the Cook Trio (comprised of guitarists Jason and Ian Cook and contrabassist Kyle Jones) had to do the hard work of exhuming the rhythms made famous by Django Reinhardt for a largely ignorant public. Even then though, the Trio tempered their lessons with thrilling flights of fancy. Marked by nimble fretwork and a magical, transportive knack for conjuring buried emotions and forgotten eras, their first two albums still seemed to graze the surface of another incompletely explored musical dimension. In retrospect, both now have a kind of sepia-toned or sealed-in-amber quality. Their pleasures are intoxicating, but compared to Moonlight, their charms are achingly vicarious — a bit like falling in love with Ingrid Bergman after seeing “Casablanca.”

Here now is the vision made flesh, the love requited. Making use of the general, and often slapdash, improvisatory scaffolding Reinhardt constructed, Moonlight sees the Trio climbing about it frenetically and even rearranging its scheme. No longer hobbled by their predecessors’ impressive achievements, the Cook Trio is free to fashion their own. Even the doleful tunes — like the Jason Cook-penned title track (one of three he contributes) — are tempered with hands-a-pockets lightheartedness, a feeling that seeps from every pore of the remaining standards, which include Duke Ellington’s “It Don’t Mean A Thing” and two by Reinhardt. Jones’s feverish “Red Light” ends the album on a definite high note, leaving you with the feeling of having heard something wholly extraordinary.

They’re not the only practitioners of the jazz manouche genre, but they’re definitely one of the most promising — guys who have the rare ability to explore the past without getting mired in it.

Visit www.thecooktrio.com to hear song samples and to purchase copies of Moonlight, copies of which are also available at www.cdbaby.com. They’ll be performing live on March 12 (at 7:30 p.m.) and March 13 (at 2 p.m.) at the Cocoa Village Playhouse, located at 300 Brevard Ave. in downtown Cocoa Village. Call the box office at 636-5050 for ticket information, or visit www.cocoavillageplayhouse.com.

To most locals, Al “Grumpy Al” Urezzio is simply the colorful character behind Melbourne landmark the Burger Inn, a place beloved by old-fashioned hamburger fans throughout the County. They’ve come to know and love him for his miraculous cooking skills and for his famously testy demeanor, but die-hard Grumpy Al devotees also know that he’s also one of the area’s best musicians, a highly talented one-man band whose hoard of original material hearkens back to the golden era of insightful, groove-driven tunes.

After getting his start in the early ‘60s performing in high school bands in his native New York, Al moved to San Francisco to catch the end of the “Summer of Love” and to hone his musical chops. The next 25 years saw him drumming up and down the West Coast, supporting the likes of John York of The Byrds, Bruce Day of Pablo Cruise, and Mitch Holman of It’s A Beautiful Day. He also found time to front several original bands — Life On Earth and Billy Blastoff among them — which were opening acts for famous nationally touring bands.

1992 saw Al relocate to Florida to take over the Burger Inn. While developing the business into the iconic eatery it is today demanded most of his free time, Al still managed to work on creating and recording both new material and polishing old tunes he wrote during his youth. He reckons he’s got over 100 self-penned tunes under his belt, some of which graced 50 Years and Counting, a live album he released in 2007. Others have found their way onto his latest, the jaunty, uplifting Just Another Day In Paradise.

If the fact that Al sings soulfully and plays all the parts himself (through some state-of-the-art keyboards) on weren’t incredible enough, Paradise is also packed with some of his strongest material. We’ve said it before and we’ll say it again, Al’s sound recalls early Billy Joel or Springsteen with its urgent, infectious rhythms and street’s-eye view of life and love. Tracks like “Every Time Those Boys Come Around” and “Back To The Good Old Days” will have you nodding in joyful commiseration with their celebratory themes. Paradise pleases on several levels, but the truth is that Al’s ebullient spirit is what makes it so worthy of attention. Just Another Day In Paradise captures Al’s decidedly ungrumpy essence well, but should surely inspire you to catch him live.

Grumpy Al performs every third Saturday of the month — this month on the 16th — from 7 p.m. to 8:30 p.m. at East Coast Coffee & Tea, located at 285 E. Eau Gallie Blvd. (in the Publix Plaza at the corner of Eau Gallie and South Patrick Boulevards). Al also plays during “First Friday” events at the Art & Antique Studio, 1419 Highland Ave. in the Eau Gallie Arts District of Melbourne. Copies of Just Another Day in Paradise are available for purchase at his shows and at the Burger Inn (1819 N. Harbour City Blvd. — U.S. 1 — in Melbourne). Visit Al online at www.myspace.com/ grumpyal2 to hear song samples and to read news about upcoming gigs.

Damion Suomi

A fable attributed to Aesop tells of a vixen who proudly trotted her brood of young foxes in front of a lioness nursing her lone cub. “Is that all you have?” sneered the vixen. “Yes, only one,” replied the lioness. “But a lion.”

Similarly, Needs A Little Water, Damion Suomi’s latest release, is a mere three tracks long — brief, by most recording standards, but a lion nonetheless.

What Water lacks in length is more than made up for by the quality of the tracks themselves; it’s not so much the individual glitter of each, but the brilliant, blinding glare they emit together. On it, you can detect strains of Dylan, Costello and Billy Bragg, along with the sheer force of a young Christy Moore, but when it’s all said and done, Suomi’s sound defies easy comparison. At its heart, Needs A Little Water carves out its own path, and sounds simply like Suomi.

Like a worn leather psalter that fits in the palm, Water is meant to be shared, studied, and sung along to, and Suomi offers it warmly as balm for the struggling soul. The martial, Guthrie-esque “Mustard Seed” delivers its gospel of individual ascendance with the urgency of a revivalist hymn, and “Burn The Pain” soars upward to swing from the tabernacle rafters. Closing parable “Lion, Ram, Fish” beckons the congregation outside to worship under the stars and then down the dusty road to home. And while each stands on its own as a rich chapter, it’s when joined by their brothers that their message becomes clear: that our flaws are the very keys to our salvation.

Both timely and timeless, the pithy Needs A Little Water holds all that’s best about Suomi’s music: soulful, palpable playing, finely wrought imagery, and the sense of having met a rare, kindred spirit. It’s a feeling that lingers long after the album ends, and one you’ll want to experience again and again.

Needs A Little Water is available for purchase through Damion Suomi’s website: www.damionsuomi.com. The site also provides links to his Twitter, Facebook, and MySpace pages.

Vintage

Here’s a question: Is there anything more insidious than Amazon’s “If You Like” feature? You know, the one that suggests I buy Takin’ Care of Business: The Best of Bachmann-Turner Overdrive because I once purchased the Brandenburg Concertos? That same brilliant algorithm that assumes I’ll like Blink-156 because I bought The Story of The Clash many moons prior?

My own knowledge of contemporary music is by no means comprehensive, but it’s neither as slim as their recommendations imply. The folks at Amazon and other like-minded music purveyors would do well to plug the Merritt Island-based Vintage into their database as a reliable control group for anyone who likes good old-fashioned rock n’ roll. The popular quartet could also serve as the undeniable standard against which all crap should be judged. Do you like the Who? Do you like Led Zeppelin? Jimi Hendrix? Bruce Springsteen? Cream? The Rolling Stones or the Beatles? Do you like music? If you answered “Yes” to any of those queries, then you’ll fall head over heels for Vintage.

Their latest release, the Welcome to Earth, deserves your ear if only for the fact that the lads who recorded it don’t fall into any preconceived notions of what young bands are supposed to be into these days. Welcome to Earth’s timeless tunes and the quartet’s admiration for those who came well before them help renew your faith in music. Youthful and energetic without being angsty, James Spiva, Michael McCord and brothers A.J. and Sean Cummings, already enjoy a devoted local following; by the time people hear the six original tunes collected here, their fan base should increase several hundred-fold. From the confident plod of “1929″ to the CCR wig-out of “Runnin’ Low,” everything about Welcome to Earth is wise beyond its years.

Welcome to Earth is available through www.vintagetheband.com. Vintage play Thursday, November 5 from 7 p.m. to 11 p.m. at Rusty’s (628 Glen Cheek Dr.; Port Canaveral; 783-2033); Friday, November 6 from 9 p.m. to 1 a.m. at the Dog N’ Bone (9 Stone St.; Cocoa Village; 636-2828); Friday November 20 from 9:30 p.m. to 1:30 a.m. at Off The Traxx (918 E. New Haven Ave.; Downtown Melbourne; 327-2919); and Friday, November 27 from 7 p.m. to 11 p.m. at Normans Raw Bar & Grill (3 Forrest Ave.; Cocoa; 433-0872). Check their website for a more detailed gig schedule and for news on upcoming appearances. Hear song samples at www.myspace.com/vintagetheband4.

No disrespect to all the Parrotheads out there, but if you count yourself as a true Floridian and really want to follow a bard who reflects your laid-back, beachy lifestyle, you’re squawking up the wrong palm with this Jimmy Buffett character. What you really need is Sunnyland Steve, the real-life incarnation of Cocoa Beach musician Steve Burchfield, a singer/songwriter/guitarist who lays strong claim to the laureateship of the Sunshine State with Demo’d, his first solo release.

Where Buffett may have created the Florida/Key West genre, he seems to have left it out in the sun too long during expensive yacht trips and dodgy business ventures. Along comes Sunnyland Steve with 9 original tunes that polish the style back to its former glory, ridding it of several coats of privileged opulence and the dullness brought on by neglect and caricature. A professional entertainer since the age of 12, Steve developed his “Sunnyland” persona during a stint in the Keys where he played regularly. But as much as the Keys have clearly rubbed off on his vision, it’s a vision that’s also informed by Florida’s forgotten interior — the cypresses, hammocks, sawgrass prairies and swamps you pass on your way down south, which are as much a part of the State’s identity as its beaches. Demo’d is the soundtrack you hear as you near the Monroe County Line and glance at the crushed shell roads in your periphery, yet it’s also the perfect accompaniment for lazy Space Coast days spent at the beach or on the river.

An engaging combination of island-style ethos, authentic Delta and Piedmont blues, light comedy and good old-fashioned entertainment, Demo’d is chock-full of the kind of humorous wordplay and deft turns of phrase you can see the likes of Johnny Cash, Willie Nelson, and even Mr. Buffett himself wanting to adopt as their own. And while Steve’s playing is impressive — and at times downright astounding for the unassuming fullness it achieves when paired with his voice — it’s his songwriting skills that make Demo’d such a treasure. Avoiding outright satire in favor of sneaky wit, songs like “Girls Who Play Guitars,” “My Girl Can’t Wrestle,” “Volleyball Blues,” and the surprisingly touching “Good Time Man” lend Demo’d equal doses of sun and shade, facets that are revealed even more when they’re performed live. Sunnyland is an interactive entertainer, giving members of his audience a pivotal role by taking requests out of his multi-style, 1,000-plus song repertoire. Equally fluent on banjo, six- and twelve-string guitars, and mandolin, he occasionally adds bass and drums for an infectious full-band sound, contrasted by the warmth and intimacy of his acoustic sets and the intensity of his country blues. We highly recommend you see him live, but until that time, Demo’d will serve as a wonderfully evocative substitute.

This month, you can catch Sunnyland Steve at Camp Holly Fish Camp (6901 W. Hwy. 192; Melbourne; 723-2179), Sunday, September 6 from 3 to 6 p.m. Since returning to Cocoa Beach in February, 2000 Steve has performed over 3,000 solo shows (including countless charity gigs and private parties) and played lead guitar with the Mammoth Band for six years. For booking information or to get hold of copies of Demo’d, call (321) 960-9074 or email sunnyland71@hotmail.com. Check out his MySpace page at www.myspace.com/sunnylandsteve to hear song samples. His live calendar can be viewed at www.spacecoastlive.com.

Mary Pastorius
From Then Until Almost Now
Mæric Music; 2007

Comprised of 17 tunes culled from a 10-year span of tireless creativity, local singer/songwriter Mary Pastorius’ From Then Until Almost Now fairly bursts from the surfeit of compelling musical ideas it contains.

While several of the tracks have never been released until now, many have made previous appearances on other recordings she had an impressive hand in. Described by Pastorius as a kind of “clearing house” of some rich early material, From Then Until Almost Now collects songs she wrote while in Dope Fiend during the late ’90s, Locura in the early part of the naughts, and some penned most recently with Queen Mary.

The dizzying wealth of sounds covered here is almost as astounding as the list of players who support her, people whose own musical pedigrees connect, either by actual association or inspiration, to that of her late father, beloved jazz bassist Jaco Pastorius. She’s helped by her brothers David (bassist for Resident favorites Local 518 and Elephant Gun) and John (drums), guitarist Matte Henderson (who’s played with Mick Karn and Natalie Merchant), percussionist Bobby Thomas Jr. (of Joe Zawinul’s fusion collective Weather Report, with whom Jaco earned initial fame), guitar icon David Torn and several renowned local musicians, drummer Bjarne Kjaer of Dub City Tribe among them.

Now, what may at first sound like pointless name-dropping is actually essential to understanding the brilliance behind both From Then… and Mary Pastorius’ unique talent. Because while it may seem daunting at first to wrap your mind around gulping opener “Backwards World” (from her Queen Mary days), referencing Kate Bush and the atmospherics of Belew-era King Crimson will set your ears in the right direction. Further help comes in the form of “Nothing” and “Feeding The Disguise” (from Queen Mary and Locura respectively), songs you can imagine P.J. Harvey or Shirley Manson wishing they’d written. And it’s artists like these — ones who’ve followed their own path regardless of commercial concerns — that inform the lush aural vision Pastorius has conceived, a vision that admits both darkness (“Hairdu”) and light (“October”) in equal degrees.

Less a decade-long summation than an invitation into Mary Pastorius’ complex soul, the impeccably produced From Then Until Almost Now is a cohesive album in its own right and one that deserves repeated, frequent visits.

Visit Mary Pastorius online at www.marypastorius.com. From Then Until Almost Now is available online at www.cdbaby.com/marypastorius

Just Blue

The word “just” is defined in many ways. Among them, “Guided by truth.” And, “Simply. Certainly.” So it’s serendipitous that the Melbourne-based duo of Just Blue embodies those definitions through simple, pure music.

In fact, moments of serendipity have followed Just Blue since Melissa Barelmann (vocals) and Chad Fagg (guitars, backing vocals) met in early 2006, brought together by a love of simple, personal songs. A musician since he was a child, Chad played in several rock and metal bands before arriving at his true home: behind an acoustic guitar. After mistaking Melissa’s voice for that of Natalie Merchant, Chad knew those soothing vocals would provide the ideal accompaniment.

Just Blue began playing covers — from Bon Jovi to Coldplay — in local coffeehouses. But they wanted more. Melissa and Chad wrote 20 original songs in just a few months. They started recording right away to capture the soul of their new creations. Of those 20 tracks, 13 of them are on their debut album, Below The Damage, featuring songs that weave Melissa’s mellow vocals with the tapestry of Chad’s acoustic guitar. The authenticity of the album even extends to its packaging — Chad put the finishing touches on the CD by designing the artwork. In addition to Natalie Merchant, major influences for Just Blue include singer/songwriters like Missy Higgins, Jewel, Shawn Mullins, Matt Nathanson, Glen Phillips, Joshua Radin, Damien Rice and Mindy Smith. Enjoy this acoustic duo’s debut CD, filled with songs about love, loss and a little bit of hope.

LOCAL CD REVIEW

MD420
Self-Released; 2008

There’s no denying the beach does something to music. It can strut in from Detroit, its chest puffed out with garage-rock inflections and bold power chords, or it can come slinking through the back door with New York attitude and gobs of eyeliner, but once it feels the sand between its toes and warm water lapping up against its ankles, it takes a deep breath, slackens its rhythms and turns its attention to the things that truly matter. Unfortunately, the downside of this sunny influence is often outright sloppiness brought on by too many cans of cheap beer slurped down during the waning hours of daylight. There’s a fine line between being laid-back and lazily amateurish, something Cocoa Beach-based trio MD420 seem to acknowledge throughout their self-released eponymous album.

While decidedly relaxed, the acoustic MD420 is marked by accomplished playing and impressive songwriting skills. It could have easily gone the soused, slapdash route, but opts wonderfully for something much more. Their avowal that they don’t practice should raise more than a few alarms, yet by the end of the first track, it’s obvious that Mike Adam, Dave Miller and Laurent Magniez share that rare kind of musical bond that renders it futile.

Adam (“Riff Tide Mike”), who before moving to Cocoa Beach lived on the Jersey Shore, Southern California, New Orleans and Atlanta, provides vocals, guitar bass, harmonica and percussion. Miller (“AnyWaveDave”), originally from New Jersey, plays guitar and sings. He’s a self-confessed “surf addict” who’s penned two of the album’s finest tunes, “Permanent Wave” and “Time,” both of which are warm homages to Cocoa Beach. Hailing from France, Magniez (“Lowrent”) supplies MD420 with some of its most finely-wrought riffs. It’s clear the three of them don’t so much play together as commune with music’s spirit, and MD420 (which was recorded live) is full of this sense of spontaneity and soul. By turns countrified, surfy, swampy, bluesy and reggaefied, this recording celebrates the beachside lifestyle with effortless charm.

Formed from the remnants of the Big Banana River Band (which sprung from Riff Tide), MD420 have become beloved fixtures in the local music scene for their affability, professionalism and catchy originals. Their music is set to be featured in a surf documentary soundtrack to be released in 2009, they’ve aired tracks on WMEL 1300 AM and WFIT 89.5 FM, and they’ve been the band of choice for a number of local events and gatherings, among them: the Waterman’s Challenge, the Doctors/Lawyers Surf Party and a celebration for the recent passing of the Clean Ocean Act. This April 11th, they’re slated to perform for the 50th Anniversary of Ron Jon’s held by the good folks at the Cocoa Beach Surf Museum.

Catch MD420 at the Sand Bar (4301 Ocean Beach Blvd.; Cocoa Beach; 799-2577) Friday, April 3rd from 4 p.m. to 8 p.m. and Friday, May 1st from 4 p.m. to 8 p.m. On Saturday, April 11th they’ll perform the Cocoa Beach Surf Museum’s celebration of Ron Jon’s 50th anniversary from 6 p.m. to 9 p.m.. The Museum located in the Ron Jon Watersports Building at 1475 N. Atlantic Ave. in Cocoa Beach. The band also play Monday, April 20th and Tuesday May 5th, at Coconuts on the Beach (2 Minutemen Cswy.; Cocoa Beach; 784-1422) from 7 to 11. To hear song samples and view updated performance schedules, check: www.myspace.com/md42020

Arturo Echarte

It’s clear from the outset of Acoustic Survivor that guitarist Arturo Echarte plays from his soul.

That he donates all of the proceeds of his local performances to those in need only confirms his devotion to the original aim of his craft. Where others make noise about making music “for the love of it” or “to change lives,” the highly-talented Echarte follows through with his promise, and then some.

Apart from being a highly relaxing listen, Acoustic Survivor shows his willingness to infuse stagnant forms with new life, as he shifts effortlessly between Michael Hedges-style fingerpicking, flamenco, classical Spanish, and chromatic strokes of jazz and Island-style reggae.

By turns studied and carefree, the songs on Echarte’s demo, though seemingly unfocused, provide the album with a charming immediacy that’s often lacking in similar submissions. No one, as far as we know, challenges the way acoustic beachside music should be heard quite like Echarte. Having a passing knowledge of reggae riffs is part and parcel of nearly every local jobbing musician’s repertoire, but when injected sparingly (and unexpectedly) as Echarte does, the style bows respectfully to both accepted tradition and daring invention.

There’s a latent deftness behind intricate compositions like “Cuba’s Dawn” and “Cherry Liqueur,” but they never come at the cost of deeply felt emotion, nor do they attempt to supplant earned technique with aimless fret theatrics. Innocuous sounding tracks like “After The Party” or “Seabreeze” roll along nicely enough, yet surprise with abstract off-ramps toward blossoming and highly original, polyrhythmic directions.

Arturo Echarte plays locally throughout Brevard at music venues, restaurants, parties, private dinners, and special events. To book him for your event or to order copies of Acoustic Survivor, call him at (321) 544-4949, or email him at: pcisurfer@aol.com.

Songs for Naked People

Self-released; 2005

Originally from the small hamlet of Elkton, KY, Palm Bay musician Ben Wilson has been playing music since the age of 14. It certainly shows on the impressive Songs for Naked People, a highly accomplished 13-track album of original material he released in 2005.

On it, Wilson, who provides vocals, guitar and bass, blends traditional acoustic singer/songwriter fare with upbeat, almost childlike folk inflections, matter-of-fact delivery, and a love of comic wordplay. “Bob Ross Indefinitely,” an ode to the impressively-afroe’d landscape painter of Public Television fame, is an amusing enough concept on its own, but it explores deeper layers of humor that never approach the mean-spirited satire you’d expect. Likewise, Wilson’s ebullient outlook wrests the Dylanesque “Baghdad Is For Lovers” from surly interpreters to bounce along wittily toward sarcasm’s winking edge. As a lyricist, Wilson most resembles Elvis Costello, whose insightful observations never come at the cost of outright parody or pretentious intent. That important distinction between tragedy and comedy is what makes Songs for Naked People such a satisfying and uplifting listen.

The music is delightfully loose and countrified (think Harvest-era Neil Young), thanks to Wilson’s stellar backing band, made up of David Britton (guitar and mandolin); Jon Radford and Chris Robertson on drums; Syd Hedrick (steel guitar); Allison Davis (violin); and John Winters playing keyboards and concertina.

Check www.benwilsonmusic.com for information on how to purchase the CD, view photos, song samples and lyrics, and most importantly, check his up-to-date performance schedule in the “Shows” section. Ben is a prolific live performer and plays frequently in the area. Catch him this month at the Getaway Martini Bar in Viera on January 10th; Wednesday January 9th and Saturdays (the 17th, 24th and 31st) at Lexi Martini Bar in historic downtown Melbourne. He’s also appearing at Moonstruck Wine Co. (also in downtown Melbourne) on Friday, January 16th.