Category: Nightlife

Jim Norton talks comedy, cancel culture and more

After a pandemic-induced hiatus of over a year, Jim Norton returned to live comedy last autumn, then stopped performing in early October. He’s back on the road, with a brief Northeast jaunt kicking off at Laconia’s Colonial Theatre on Feb. 17. Norton spoke with the Hippo by phone recently, in an interview that touched on his edgy, no-holds-barred act, the state of comedy in an era of cancel culture, and how far he’s willing to go for his craft (spoiler alert — there are no limits).

Are you the same guy on and off stage, or do you turn it up when you perform?

You have to turn it up. There are times when I’m being 100 percent to-the-word honest, and there are times where I’m just being kind of honest, and there are times where I’m being just an a——. I don’t feel a need to be married to any one of those things if I’m having fun and I’m enjoying the jokes I’m doing. So, yeah, it is an exaggerated form of myself.

That a topic doesn’t have to be funny to be funny in a bit seems like kind of a guiding principle for you.

Throughout comic history things that aren’t funny are used to make people laugh. Go to something as benign as The Three Stooges. The way people literally look at comedy today, Moe would be canceled for slapping Larry and hitting Curly with a wrench. Those are physically violent things, but slapstick is never called out. … Most subjects on their own can be very sad or depressing or unsettling. I never need a subject to be funny to make fun of it.

You’ve observed that actors can play the worst people in the world without being criticized, but comedians are held to a different standard.

I think that’s because people are self-centered and they want their own personal comfort space with humor to be respected [and] they use your joke to springboard into the discussion. … People are too mentally lazy or stupid to start a conversation about the subject on their own. … I have zero respect for that, because I think the whole thing is a lie. … Lenny Bruce was technically a victim of it and Andrew Dice Clay in 1989 was the victim of it. So it’s not this … new soft generation; we’ve always been doing it.

One of your first big breaks was with Dice. What was the milieu like back then?

I expected it to be this wild sex fest on the road with all these hot girls. Meanwhile, after the show, all he wanted to do was hang out with his friends and lay in the hotel room and eat little chocolate treats…. But what an education as far as how to handle an aggressive audience … it made me a much stronger comic.

Is there a line that can’t be crossed?

No, no, no. … The problem is when people want something punitive to happen to the person who made the joke, that’s where it’s wrong. To have your own line is great, and we all have it. The problem is, we should never expect something to be done about it. Someone crossed the line; you didn’t like it. That’s the beginning and end of the conversation.

How about the Neil Young/Spotify controversy?

I would have respected Neil a lot more if he just left, but I also find some of what they’re doing to be a virtue signal. … Joe is a very close friend of mine for almost 30 years, but you know who I go to for medical advice? Doctors. I’m a grown man, and I listen to doctors that I know, so they may agree with Joe about some things, they may disagree with him, [but] I take responsibility for my own finding out of information. I don’t look to a podcaster or a comedian or a news pundit.

What other things are in the pipeline for you that fans should know about?

It’s more like just getting back to doing gigs. I would love to shoot another special but just getting back to gigs for me right now is the most important thing. I’m literally loving it. Like I’ve never taken a break before, and taking that year off was crazy. Going back on, I appreciate it like I haven’t appreciated it since I was in my first or second year, back in the early ’90s.

Jim Norton

When: Thursday, Feb. 17, 8 p.m.
Where: Colonial Theatre, 617 Main St., Laconia
Tickets: $32 to $62 at etix.com

Featured photo: Jim Norton. Courtesy photo.

Latest from Donaher a throwback time capsule

There’s a clear ’90s vibe to Donaher’s second long-player. The Manchester quartet signals its intentions with leadoff track “Fixer Upper” — with its angsty lyrics, floor-shaking guitar and a vocal that straddles the line between an angry growl and a heart-wrecked moan, it’s something Nirvana might have done had Kurt Cobain walked out of his Seattle garage.

That’s no accident.

“Kurt’s the reason why I picked up a guitar when I was 15 years old,” singer and main songwriter Nick Lavallee said recently. Though adulthood, sobriety and a bit of therapy have mellowed him, “I remind myself that I need to continuously do things that would make my 15-year-old-self smile.”

The mood of Gravity And The Stars Above veers from their sunny 2017 debut I Swear My Love Is True, though it shares its sheen — and then some. There’s “Lights Out,” a hook-tastic breakup song brimming with pain, and “Sleepless in New England,” with a protagonist who needs “to remind [his] lungs to keep on breathing.”

The latter track paraphrases a line from the movie Castaway — “tomorrow the sun will rise and who knows what the tide could bring?” — that Lavallee feels could reach the shipwrecked or the dumped.

“I think in many ways the character in that Tom Hanks movie was put on that island to almost slow down time… he had to learn how to be grateful for the things he had,” he said. “There’s some running themes like that on a couple of the songs.”

While there is more than a little romantic misery, a few moments of hope peek through.

“Worth The Wait” is a duet with Noelle Leblanc of the Boston band Damone that recalls both Iggy Pop’s “Candy” and the Foo Fighters’ wall of sound. Lavallee said he was reaching for layers of meaning in songs like Semisonic’s “Closing Time” when he wrote it.

“It sounds like a couple singing about each other, but it’s about [them] having a baby,” he said. “I was like, can I write a song that might be about one thing to me, and mean something totally different to the listener?”

Sweet and wholesome, “Circle Yes Or No” is another highlight, a grade-school romance laid atop a brisk power pop beat. “I basically envisioned, what if The Descendants covered The Lemonheads?” Lavallee said. “They actually backed up Evan Dando on a record once … that’s what I was going for.”

Another throwback move was how the new record dropped. One week prior to hitting streaming services, it came out as an oh-so-retro compact disc.

“I love vinyl, but we weren’t listening to records in the ’90s, we were listening to CDs and tapes,” Lavallee said. “I wanted the first image of this album to be a shrink-wrapped CD, and those feelings of ’90s nostalgia to hit hard.”

Donaher — Lavallee, lead guitarist Tristan Omand, bass player Adam Wood and drummer Nick Lee — will celebrate the new disc with three area shows. The first is Feb. 11 at Newmarket’s Stone Church, followed a week later at Shaskeen Pub, the band’s home court. Opening there is Colleen Green, a singer-songwriter signed to original Nirvana label Subpop’s affiliate Hardly Art. The final show happens Feb. 26 at Lowell’s Thirsty First Tavern.

A self-described “obsessive creative” who’s also a lapsed standup comic and creator of the Wicked Joyful line of pop culture action figures, Lavallee said the presence of two other songwriters in the band, Wood and Omand, helped steady him.

“I’m challenged by them. They don’t let anything slip by,” he said. “I’m doing some stuff that’s very different compared to the first record lyrically, and that’s definitely Tristan pushing me to not just repeat myself.”

As with the first record and last summer’s Angus Soundtrack 2 EP, a favorite band from the decade still influences him.

“This album sounds like it could have been recorded between the Blue Album and Pinkerton,” he said, referring to a pair of Weezer CDs. “It’s no secret that I’m a big fan of Rivers Cuomo and his songwriting, and people would expect our take on Pinkerton, but a little darker, a little louder, little messier. … I think some of those elements are definitely there.”

Donaher w/ The Graniteers

When: Friday, Feb. 11, 9 p.m.
Where: Stone Church Music Club, 5 Granite St., Newmarket
Tickets: $12 in advance, $15 day of show at stonechurchrocks.com
Also Feb. 18 at 9 p.m. at Shaskeen Pub, 909 Elm St., Manchester with Colleen Green & Monica Grasso ($10 at door)

Featured photo: Donaher. Photo courtesy of Jessica Arnold.

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.

Corey Rodrigues headlines Tupelo Night of Comedy

The world is full of comedians who entered the craft after being inspired by another standup, but Corey Rodrigues came to it through the crucible of a barbershop owned by his family. Making the customers laugh came naturally, and the more he did it, the clearer it became that he was destined for bigger crowds.

However, Rodrigues was the last one to know about his career in the making.

“I never thought I would be a comedian,” he said in a recent phone interview. “People used to say I should, but I was like, that’s stupid. I don’t know how to make people laugh [who] I don’t know, and I don’t want to … I’m not a clown. I didn’t even know how that could be possible.”

So Rodrigues became a comic by acclamation, as classmates, coworkers and others urged him to give it a shot.

“It’s just in me, I’ve always been this person,” he finally realized. “There’s a funny angle at which you look at things … someone else may have thought it, but they just don’t know what to do with it. That’s not their mindset. … The blessing and curse of a comedian is you’re constantly finding something funny.”

After suffering through a few tough shows early on, he did begin to study other comics.

“I was like, I could eventually get to that … it looks easy enough,” he said. He eventually became aware of another critical standup survival skill. “If you’re delusional, you’ll stay in this business. … You have to have a level of delusion.”

Rodrigues was raised in Milton, Mass., after his troubled mother sent him and his brother to live with their grandparents — he described it as an act of mercy in an Epix Unprotected Sets episode filmed last year.

Early on, he sharpened his edge at Boston’s Improv Asylum, later winning several competitions. A key break came in 2018, when his Dry Bar Comedy Club special garnered over 40 million views, leading to a Late Night With Conan O’Brien appearance the following year.

The Dry Bar special required Rodrigues adhere to PG content, which wasn’t a difficult pivot for him, as he already had a long resume working on cruise ships.

“I do churches, colleges, corporate gigs, everything,” he said. “If you have enough material, you could talk about your balls and something very vanilla at the same time and still make it funny. It was probably one of the best experiences I ever had. … I killed that set.”

He’s done some other unconventional things, like appearing on Mike Huckabee’s show in Nashville a few months back.

“I want to make it [out to] be worse than it was, but it was actually pretty cool,” he said of the experience. “I don’t agree at all with what he said after, when we talked, but he knew my jokes [and] everybody’s gotta laugh.”

Further evidence of Rodrigues’s inclusive comedy was found in Corey’s Stories, a family-friendly livestream he did with his son in the early days of the pandemic. The two read books together, told jokes and invited their audience to call in to answer trivia questions for prizes.

“I had a lot of friends complaining about being stuck at home, kids getting on their nerves and everything, so I created something to kind of give people a break,” he said.

Does Rodrigues have plans for his son to follow in his footsteps?

“I’m not really grooming him for that, but he already knows how to hold his own,” he said. “He showed me that in the show, which was pretty awesome.”

Corey Rodrigues, Kyle Crawford and Alex Giampapa

When: Friday, Jan. 14, 8 p.m.
Where: Tupelo Music Hall, 10 A St., Derry
Tickets: $22 at tupelohall.com

Featured photo: Corey Rodrigues. Courtesy photo.