Author: Michael Witthaus

A.J. Croce’s family crossroads

Fittingly, the first song A.J. Croce ever recorded from his late father Jim Croce’s catalog was “I Got A Name.” He’d done hits like “Time In A Bottle” and “You Don’t Mess Around With Jim” during Croce Plays Croce concerts for a few years, and a bit reluctantly at that. The decision to truly embrace the tribute show after a long and successful solo career involved some divine intervention, A.J. said recently.

When Jim Croce died in a 1973 plane crash, his son was 2 years old. One way he got to know him was as an archivist, poring over reels of tape for clues about his artistic process.

A fourth-generation musician on both sides of his family, A.J. Croce was destined to perform, but his apple landed away from the tree. He grew up playing piano, not guitar like his dad, and his tastes leaned toward blues, jazz and R&B instead of lyric-driven folk rock. A.J. went on to make multiple acclaimed albums rooted in a style one writer described as “part New Orleans, part juke joint, part soul.”

One day a few years ago A.J. Croce stumbled upon a crossroads while listening to his father’s writing tapes. When he wasn’t touring, Jim Croce would record ideas into a Wollensak recorder, and one particular reel was filled with material his son recognized immediately — they were selections he’d been performing for years.

“It gave me chills,” Croce said. “It wasn’t just obscure old jazz and blues and early country artists, but the exact, very obscure songs. So it was Fats Waller, who’s not obscure; but it wasn’t ‘Ain’t Misbehavin’’ or ‘Honeysuckle Rose’ — it was “You’re Not The Only Oyster In The Stew,” which was one of the first songs that I played on a demo for Columbia way back in the late ’80s, early ’90s.”

Twelve of 15 were songs he’d done; Croce began to look at the connection to his father as more than biological.

“I’d probably been asked my whole career to perform his music, and as much as I love his songs, I was first and foremost a piano player,” he said, “and I was also more likely to play a song by Ray Charles or the Rolling Stones than something by my father. That really inspired me to look at the concert not just as a tribute to his music but to the connection that we have to music in general.”

Thus, the upcoming Croce Plays Croce concerts in New Hampshire and across the river in Vermont will blend selections from Jim Croce’s brief but prolific career — three albums made over 18 months in the early ’70s — and A.J.’s genre-crossing catalog, along with the music that inspired them both.

“The influences that we both share are so vast, it could be so many different things,” Croce said. “You can hear Jimmy Reed on songs like ‘You Don’t Mess Around With Jim,’ and Lieber & Stoller’s songwriting on many of the others, whether it’s ‘Leroy Brown’ or ‘Car Wash Blues’ — those sort of R&B influenced things.”

The show also celebrates Jim Croce’s innovative songwriting approach, which A.J. believes came into its own with his most enduring hit, “Time In a Bottle.” His dad wrote the song for him.

“It was sort of a musical epiphany that happened,” he said. “I think he felt like, ‘This is my last chance to do this for a living; I have a son now, I have a family,’ and he really went with it.”

Croce knows the foundational elements of his dad’s work, but believes it’s the relatability of hits such as “Operator (That’s Not the Way It Feels),” “Lover’s Cross” and character songs like “Bad, Bad Leroy Brown,” “Rapid Roy” and “Speedball Tucker” that ultimately set him apart.

“Being a record collector and sort of a musicologist, I think I can hear where those influences come from,” he said. “But what he does is so unique, different than almost anyone I’ve heard. He personalizes it from the perspective of not just him seeing these people, or being present around these people, but also making heroes out of sort of everyday folks.”

Croce Plays Croce

When: Thursday, Feb. 10, 7:30 p.m.
Where: The Flying Monkey, 39 Main St., Plymouth
Tickets: $39 and up at flyingmonkeynh.com (13+)

Featured photo: A.J. Croce. Photo by Joshua Black Wilkins.

Prog rockers ready new album

After a long break since releasing 2015’s Oceans, Mindset X is readying Human^z— the band’s first album with guitarist Lucian Davidson. The son of bassist and keyboard player Paul Davidson, he joined in 2018, and his presence is noticeable on the new disc’s first song.

“For The Love Of War” is a hefty, toothsome number that recalls early Black Sabbath and proto Metallica; the single will drop on Feb. 22. Ahead of that, the Manchester quartet will celebrate a milestone on Jan. 29 at Angel City Music Hall.

“Eighteen years together,” singer, guitarist and primary songwriter Steve Haidaichuk said by phone recently. “It feels like we’re 22 again — just a little more achy.”

The new addition has refreshed the group.

“We fell in that prog-rock niche over maybe the past 10 years,” Haidaichuk said. “Lucian’s background is a lot more metal, so it brings our aggressiveness to the forefront. Not to say that I’m not a metal guy, but, like, I dabble. … Lucien grew up on the big metal bands.”

“We were looking to add more to the sound of Mindset X,” Paul Davidson said. “A guitar player seemed to be the natural of what we’re looking for, which actually was great — it brings Steve to the front of the stage, instead of hanging back with us. So he’s more of a front man now.”

While Oceans was a concept album featuring a primary character, Human^z has other ambitions.

“It kind of ties back to the square root of what we are as a species,” Haidaichuk said.

“It’s almost like part two, but it takes it in a little different angle,” Paul Davidson said, adding that the new effort reflects the many challenges of the recent past — lockdowns, dread and endlessness. “You’re caught in a box for so long; you just want to break out of it, just let it all go.”

“I think every soul has probably written about their time in Covid-town,” Haidaichuk said. “This really isn’t about that, but it did make me reflect on the way society handled it, from an outsider looking in perspective [of] us as a species; really seeing our good points and our bad points.”

Keeping with the math-themed title of Human^z, the release of “For The Love Of War” on 2-22-22 will be followed by a video of the song two weeks later, with a “two by two” cycle repeating every other week until the full record is out.

“When we first started doing this, we released too much music over the course of a year, then as we got farther down the line as a band we released too little,” Haidaichuk said. “I think we learned from both of those experiences what kind of works and what doesn’t. … Some people still like CDs, and some people don’t even own a CD player anymore.”

They’re excited to perform at Angel City, one of their home city’s newest venues.

“It’s a classic club and for Manchester to have one of these, I think it’s about time,” Paul Davidson said. “Especially because you’re limited when you’re playing original music as well … it’ll be nice to have almost like a welcoming show.”

They’ll play two sets, featuring new songs mixed with old favorites, occasionally reworked. Haidaichuk stressed that their aim is to shake things up and remove expectations.

“At the end of the day, we’ve always taken the music side of us extremely seriously; we like to write things that we feel mean something, and maybe make a statement or two,” he said. “But on the flip side of tha t… we want you to have fun while we get you to think; that’s pretty much what Mindset X has always been.”

Mindset X w/ The Graniteers

When: Saturday, Jan. 29, 7 p.m.
Where: Angel City Music Hall, 179 Elm St., Manchester
Tickets: $10 at the door, 21+

Featured photo: Mindset X. Courtesy photo.

Ahead of biography, Felix Cavaliere performs

Felix Cavaliere’s voice powered hits like “Groovin’,” “I’ve Been Lonely Too Long” and “It’s A Beautiful Morning” into the cultural zeitgeist, landing his band The Rascals in the Rock & Roll Hall of Fame. He’s still on the road, satisfying fans who never stopped craving the group’s signature brand of blue-eyed soul, even though they split after less than a decade together.

At the relentless urging of E Street Band guitarist and satellite radio impresario Steven Van Zandt, The Rascals reunited in 2012 for the multimedia show Once Upon A Dream. It ran on Broadway and toured North America the following year. As the group swung through press conferences in different cities, Cavaliere decided to start work on an autobiography.

“They would ask us questions individually, and everybody had a different answer,” he said by phone recently. “I said, ‘Wow, was I there or did I dream this?’ It’s kind of like when you tell a joke and somebody repeats it, it’s never the same. … I thought, I’ve gotta make sure, for my sanity if nothing else, that I write down my story.”

Memoir Of A Rascal arrives March 22. A big part of the book covers their time with Atlantic Records. The Young Rascals were one of the first rock groups signed by the legendary R&B label. They made the deal after turning down an offer from producer Phil Spector.

Their decision to go was driven by a desire for creative control.

“I knew that if we went with Phil, we wouldn’t sound like what we sounded like,” Cavaliere said. “We would sound like Phil … that big wall of sound. But Atlantic said, ‘Yeah, you guys can produce yourselves,’ and I was adamant about that.”

The unanticipated presence of Atlantic co-producer Arif Mardin, who decades later helmed Norah Jones’s chart-topping debut album, made a big difference, Cavaliere said.

“Then good fortune comes into the picture,” he said with a laugh. “You can’t really put into words the addition that was to our music. … It’s like The Beatles with George Martin. This gentleman not only became one of my dearest friends, but like wow, man, was he talented! He was phenomenal.”

Working at the home of artists like Ray Charles, Otis Redding and Aretha Franklin was “just a joy,” Cavaliere said. “First of all, my record collection at that time was three quarters Atlantic, and one quarter Motown. To be on that label was not only a treat, but that place was all about making good music. They made it so easy and comfortable for us, [and] for that I’ll always be grateful.”

Cavaliere spent most of the past year and half in Nashville, where he’s lived for several years, finishing his book and making an album called Then & Now, which pairs classic favorites with newly written tunes.

“Out of the two million songs that interest me, I chose five and re-recorded them. … I did Jackie Wilson’s ‘Higher and Higher’ and Ben E King’s ‘Spanish Harlem,’ and I wrote five new ones that were influenced by that,” he said.

In October he made a tentative return to the stage at a tribute concert for Lee Greenwood. Though it was an odd pairing for Cavaliere, whose liberal resume includes co-writing “People Got To Be Free” and working for Robert F. Kennedy’s presidential campaign, the two go back to their early days as musicians.

“He’s an old friend, and he’s done well for himself,” he said. “We are on opposite poles of the universe, but that’s OK, he’s a good guy.”

The two initially connected when Cavaliere and future Rascals drummer Dino Danelli first played together at the Dunes Hotel in Las Vegas, backing Sandu Scott, a forgotten singer bankrolled by her hotelier husband. Greenwood was with a group that approached him with an offer. Scott called her band Her Scotties, and for the duration of their brief run Cavaliere and Danelli wore traditional kilts on stage.

“Hey,” said Cavaliere, “everyone’s gotta work.”

An Evening With Felix Cavaliere’s Rascals

When: Friday, Jan. 21, 7:30 p.m.
Where: Palace Theatre, 80 Hanover St., Manchester
Tickets: $50.50 and $60.50 at palacetheatre.org

Featured photo: Felix Cavaliere. Courtesy photo.