Moving forward

A new hip-hop vibe from Fee The Evolutionist

Winning the Rising Star New Hampshire plaque at this year’s New England Music Awards was quite gratifying for rapper Fee The Evolutionist, but also bemusing. “I was laughing about that,” he said by phone recently. “I’m a rising star — it only took me 20 years.”

It’s actually a bit longer than that.

Bill Fee was dropping rhymes in the mid-1990s, with DJ Lyrical in the group X-Caliber. The period birthed an incredible story, when they impressed producer Ski Beatz during his visit to the radio station at UMass-Lowell. This led to an invite to Ski’s New York City studio, but their opportunity got bumped so another rapper could finish his first album — Jay-Z.

The rest is hip-hop history.

“Looking back, you know, it was probably the right decision,” Fee said with just a little irony. “We weren’t ready.” Ski Beatz stayed a mentor and produced X-Cal’s “Back in the Dayz” last year. The old-school track recounts that heady time and includes Fee’s life partner Ruby Shabazz on vocals.

Fee’s solo career is a newer development.

“I’ve always been in bands,” he said. “Playing drums, percussion, songwriting, rapping, singing … last November was my first solo release.” That would be the blistering “Go,” a two-minute sprint that evokes punk and metal with the same fervor as hip-hop.

Such cross-pollination is typical for Fee, and it’s one reason he and Shabazz have been called “King and Queen of New Hampshire Hip-Hop” more than a few times. Another is the couple’s consistent civic engagement. “We love it,” he said. “We embrace the community, and the community embraces us.”

The latest example of his genre-hopping ways will be on display Sunday, Jan. 15, in his home town of Nashua, when Fee performs with guitarist Adam Payne at Millyard Brewery. The centerpiece of the show, which will also include brief sets from Shabazz and fellow Nashua rapper Cody Pope, is an acoustic set featuring Fee rhyming and Payne’s looped playing.

It’s hip-hop, time-traveling to a ’60s jazz club. “A folk vibe,” Fee said. “I’m gonna bring my cajon and bongos, and some percussion … it’s going to be a lot of improv. Set songs, some familiar covers, but we’re also going to flip stuff, make it fresh.”

This is Fee’s first gig with Payne, who he initially saw perform at a festival in downtown Nashua a few months back. “I loved it, and I said, ‘Hey, I’ve gotta link up.’ This was the opportunity,” he said. Millyard’s a logical venue choice, he added. “I just feel like a brewery is a good place to have guitar and percussion, and kind of introduce what we do.”

The microbrewery has been a big supporter of the local arts scene, offering regular weekend events. In a Jan. 4 email, Millyard’s Dean Baxter called 2022 “a storming year,” saying “we are fast becoming a leading live music venue [and] continue to support some of the best-known musicians in New England. Fee is one of those.” 

Fee adopted his Evolutionist moniker to underscore his solo career as a step away from band days, along with the way he draws from many eras as an artist. “I’ve seen the evolution of hip-hop; I’m taking you through that,” he said. “I have soul samples from the ’70s, a little R&B, and I’ll get a little bit more aggressive … that’s one aspect; the other is the evolution of myself, and my growth as a person. I’m always evolving, and trying to learn new stuff.”

He views his NEMA win as validation for the genre in the region. “It’s flourishing; we’re in a renaissance period for hip-hop up here,” he said, pointing to the success of Pope and DJ Myth, who he also collaborates with, and other local artists, along with the excitement that surrounded the recent Hellhound for the Holidays showcase at Nashua Garden as examples.

His own brand of hip-hop is distinct from many others, Fee continued. “I consider it more of the jazz style; it’s organic,” he said, noting it attracts an eclectic group of musicians eager to work with him. “You’d be surprised how many people are open to that … they’re like, ‘Oh, I have never done this before.’ It’s new; we’re kind of making our own genre right now.”

Fee The Evolutionist w/ Adam Payne
When: Sunday, Jan. 15, 5 p.m.
Where: Millyard Brewery, 25 E. Otterson St., Nashua
More: feetheevolutionist.com

Featured photo: Fee The Evolutionist. Courtesy photo.

The Music Roundup 23/01/12

Local music news & events

• Blues boy: Among the many veteran guitarists praising Quinn Sullivan are Buddy Guy, who said “players like Quinn come along once in a lifetime,” and ZZ Top’s Billy Gibbons, who called him “a true speaker of the language” of the blues. A prodigy who’s had a guitar in his hand for most of his life, Sullivan has shared stages with Carlos Santana and the late B.B. King, and many others. Thursday, Jan. 12, 7:30 p.m., Jimmy’s Jazz & Blues Club, 135 Congress St., Portsmouth, $15 and up at jimmysoncongress.com.

• Guitar voice: Renowned as one of the premier purveyors of instrumental rock, Johnny A found his calling by accident, when a case of laryngitis claimed his voice; it’s been him and his guitars ever since. Johnny’s been a Tupelo Music Hall favorite since it was a small venue in Londonderry. His upcoming Blues, Beatles and Beyond show has support from a rhythm section of Dean Cassel on bass and drummer Marty Richards. Friday, Jan. 13, 8 p.m., Tupelo Music Hall, 10 A St., Derry, $35 at tupelohall.com.

• Hard hitting: A release show for the debut album from Tino Valpa includes sets from Born Cursed and Heavyweight. The video for the title track, “Live Or Be Lived All Over,” is a metallic knockout. The four-piece band, driven by a rapid, racing beat, jumps and thrashes through the song, a call to rise up from life’s struggles. Valpa’s raging vocals are on point, and other tracks are just as bracing. Saturday, Jan. 14, 6:30 p.m., Riverhill Grange, 32 Horse Hill Road, Concord. $10 at the door for this all-ages show.

• Fab faux: While some Beatles tribute bands move through the group’s entire career, 1964: The Tribute sticks to their touring days, recreating live shows that most audiences couldn’t hear above their own screaming. From Ed Sullivan to Candlestick Park, it’s one of the most satisfying doppelgänger performances around, with stunning recreations of classics like “She Loves You,” “Tell Me Why” and “I Wanna Hold Your Hand.” Sunday, Jan. 15, 7 p.m., Palace Theatre, 80 Hanover St., Manchester, tickets at palacetheatre.org.

• Songstress: NH Music Collective continues to find opportunities for local performers like Kimayo, who plays for the dinner crowd in Concord. The singer-songwriter calls her music a “confidante, dance partner, comforter [and] mood lifter.” Her 2021 coming out song “Becoming Untamed” chronicled a journey of “re-wilding … shedding expectations and old belief systems to awaken intuition, curiosity, and self-love.” Wednesday, Jan. 18, 6 p.m., Uno Pizzeria, 15 Fort Eddy Road, Concord. See kimayomusic.com.

At the Sofaplex 23/01/12

Strange World (PG)

Jake Gyllenhaal, Dennis Quaid.

This Disney animated feature introduces us to Searcher Clade (voice of Gyllenhaal), who, when he was a kid, was forced, like it or not, to join his famous father, Jaeger Clade (voice of Quaid), on his explorations to find a path beyond the mountains that surround (and keep cut off) their city-state. On one exploration, Searcher discovered pando, the electrified fruit that becomes a source of power to their previously horse-and-buggy world. Jaeger was uninterested and plunged alone through the mountains.

Twenty five years later, Searcher is a successful pando farmer and himself the father of teenage son Ethan (Jaboukie Young-White). Searcher farms, his wife/Ethan’s mom Meridian (voice of Gabrielle Union) flies a crop duster and Ethan dreams of a life doing something else — maybe exploring like the grandfather he never knew.

Searcher wants nothing to do with exploration, but when president (and former expedition member in his dad’s explorations) Callisto (voice of Lucy Liu) shows up on Searcher’s farm, it looks like he might have to hit the trail once again. Across the land pando plants have been dying and Callisto needs to find out why to save everyone’s modern way of life. They discover that pando isn’t separate plants but one big plant and decide to follow a hole deep in the earth to find the source of the plant and see if they can figure out what’s killing it.

Naturally, Ethan stows away on the subterranean ship making the journey and Meridian shows up to tell Searcher that Ethan is there, putting the whole family on the trip into the mysterious deep and the Strange World they find there.

Where and what is this Strange World? I kind of feel like if you’ve been through middle school biology you’ll know pretty quickly, thus making the wait for the reveal feel extremely draggy (and the very straightforward “here’s what’s been happening” explanation is oddly deflating of the cool concept).

I get now why this movie, which spent like a minute in theaters around Thanksgiving, had such odd, vague marketing. To explain the story feels like you are tangling yourself up in details and characters and themes. Strange World has some beautiful visuals, moments of action and an interesting central quest but it also has a lot of talking about characters’ feelings and motivations and parent-child relationships. Like, a lot of talking. Those text-heavy scenes, often between adult characters, slow down the action and make the movie feel less kid-compelling. By its nature, the setting of the movie doesn’t lend itself to lots of high-personality new creatures and characters (we get one, basically, which, as a character in the movie calls out, feels like it’s primarily there for merchandising purposes), leaving only the humans. Sure, I thought to myself, this is a lovely reminder to me, a grown parent, to listen to my kids and their dreams and ambitions without imposing my ideas about what their dreams should be. But what are my kids going to do during the moments that inspire these thoughts? In my experience, that’s when they go to the bathroom or start searching for another screen to watch until the action starts up again. B- Available on Disney+ and through VOD.

M3gan (PG-13)

A terrifying giant doll becomes even more terrifying thanks to some A.I. programming in M3gan, a lively thriller coming in at a brisk hour and 42 minutes.

Gemma (Allison Williams) is a toy designer who becomes the guardian for her tween-ish-aged niece Cady (Violet McGraw) after Gemma’s sister and brother-in-law die in a car accident. Cady, who was in the car with her parents at the time, is understandably distraught about both the traumatic accident and their deaths. Gemma, who is unsure about this whole parenting thing, decides that she can cross two tasks off her to-do list — cheer up Cady and beta test a new toy — by introducing Cady to M3gan, a 4-foot-tall doll who will bond with its primary user and learn how to relate with that particular child. Previously, Gemma had helped develop toy company Funki’s Purrpetual Petz, a sort of toothy-Sonic-plus-Furby creation that looks nightmarish but has impressive tech (we later learn that Gemma has programmed it to listen to its kid owners and collect data — but of course). It is also sort of chef’s-kiss perfect in how annoying it is portrayed as — it makes realistically parent-aggravating noises and has all of these dumb app-based features.

M3gan (voice by Jenna Davis; Amie Donald does the doll action, according to Wikipedia), which will be a kid’s best friend, surrogate parent and gentle nag about teeth brushing all rolled into one, also seems like a just awful product and one of the great aspects of this movie is that most people’s reaction to seeing the doll for the first time is to be instantly creeped out by it. For some reason, though, it isn’t until a therapist points out that Cady is transferring all of the grief-bonding that should be happening with Gemma to the doll, that Gemma starts to get a little concerned. She tries to get Cady to take some breaks from M3gan, but by then her silicone creation has started to get sassy.

Again, it is really quite delightful that this movie never tries to get us to think maybe M3gan is a good idea. From the first moment we meet the first prototype (whose face melts! It’s great!), the movie makes it clear that this poorly-thought-out toy will be some kind of horror show, even if we don’t know at first what kind. When I first saw the trailer for this movie, I probably thought something like “ugh, what ridiculous nonsense.” After seeing it, though, my reaction is “What ridiculous nonsense! 10 out of 10! Four stars! No notes!” Like the brutal artificial intelligence it portrays, it feels like this movie guessed the potential response to it and absolutely leaned all the way in. Is it all intentional, what a snort-laugh hilarious movie this frequently is? I think probably. Williams has such a great “ha! What?” energy the whole time and everyone is so appropriately, un-horror-movie wigged out by M3gan that I feel like M3gan knows it’s chosen gothicly silly over scary and that that choice was correct. B+

Rated PG-13 for violent content and terror, some strong language and a suggestive reference, according to the MPA on filmratings.com. Directed by Gerard Johnstone with a screenplay by Akela Cooper and a story by Akela Cooper and James Wan, M3gan is a delightful hour and 42 minutes long and is distributed by Universal Studios.

Featured photo: M3ghan

Born to Run 2, by Christopher McDougall and Eric Orton

If starting (or restarting) an exercise program is one of your new year resolutions, Christopher McDougall can help you achieve it.

McDougall, a former war correspondent for the Associated Press, fell into a second career when he started writing about running. His 2011 book Born to Run had the effect of an incendiary device in the running community because it challenged the notion that runners need expensive shoes. Now he is back, with Eric Orton, for Born to Run 2.

Like the first book, which examined the athletic prowess of members of a tribe who can run for hundreds of miles without the accoutrement that most modern runners think they need, Born to Run 2 introduces us to some fascinating people, like a woman who was formerly 300 pounds but now runs regularly as a form of prayer. But this is essentially a training manual for regular people, especially people who have been told they can’t run, and people who find running tedious or hard.

McDougall argues that running is a natural state for the human body — “if it were difficult, we’d be extinct.” The earliest humans — for whom running was an occupation, not an interruption of the day — were able to survive in unforgiving circumstances not only because of their brains, but because they were able to run long distances. They weren’t faster than the animals they pursued, but since they could sweat and their prey couldn’t, they could outlast them by running until the animals collapsed. “Evolution doesn’t reward pain; it rewards joy,” the authors argue. For the modern human, “If it feels like work, you’re working too hard.”

Or running all wrong.

Most runners, even longtime ones, run wrong and in shoes that bring on injury. McDougall and Orton are particularly critical of the “squishy” shoes that are all the rage. While shoes that are padded and gel-packed may feel comfortable to stand in, they too much separate the foot from the ground, making our feet land unnaturally and preventing us from feeling the useful discomfort that should be the signal to run differently. They are equally disdainful of much common running advice:

“‘Listen to your body’ may be the only fitness advice more useless than ‘We are all an experiment of one.’ You and your body don’t speak the same language. You have no idea what each other is saying,” they write. “Your body still believes that on any given day it needs to run to find a mate, or fresh water, or a safe hideaway for the family before glowing eyes emerge from the dark.”

What advice does work? McDougall and Orton break it into seven fundamental steps: food, fitness, form, focus, footwear, fun and family. Yes, a cynic might say the sum total of the advice can be reduced to “eat less, exercise more,” but they offer counterintuitive, actionable steps to help us get to that point whether we are beginners or veteran exercisers who need a reboot.

For example, they point out that most runners focus on how they can run longer, not how they can run better (which would lead to running longer, and without injury). To run better, they maintain, takes all of 10 minutes to learn — in the comfort of your home, barefoot, with music. Your natural running form emerges when running in place, back to the wall, to songs set to a certain number of beats per minute — they recommend “Rock Lobster” by the B-52s, but they also offer other choices such as The Beatles’ “Help!” and Led Zeppelin’s “Rock & Roll.” Once you can feel how you’re supposed to run, it’s just a matter of practice out on the road or trail, they say.

They also promote a lifestyle full of what they call “movement snacks” — bite-sized stretches and movements throughout the day to keep us limber and emotionally in check. “The more you move, the more emotionally safe you’ll feel. The safer you feel, the happier and less anxious you’ll be.”

As for food, they advocate a diet heavy in sustainably sourced meat and cheese. “There is no ethical argument that can be made in support of commercial meat production,” they write, but with our carb- and sugar-rich diets today, our bodies have forgotten how to use fat as fuel, which is why so many people are obese. They prescribe a two-week “factory reset,” eating no foods that are high glycemic.

And of course, they take on running shoes, which they call “the most destructive force to ever hit the human foot.”

“If the Food and Drug Administration were in charge of running shoes, they’d be announcing a recall and yanking them off the shelves,” they write, citing a study that found people who ran in expensive running shoes bought after a gait analysis at a running-shoe store suffered five times as many injuries as people who hadn’t had that kind of “help.”

Minimalist shoes, however, had a short shelf life, and there’s little pleasure in running barefoot in New England in winter. There are some brands the authors recommend that can be ordered online, but at minimum, they recommend taking out the insole liners of your current shoes for immediate improvement. McDougall and Orton also offer advice on a number of other running topics, including best practices for running with dogs.

Some of their recommendations may be radical, but Born to Run 2 is engaging and for the most part convincing. It can be read without having read the first book, but for maximum inspiration, start with the first and proceed to the second. B+

Album Reviews 23/01/12

Heroes and Monsters, Heroes and Monsters (Frontiers Music srl)

You get why this is a stupidly named band, right, like, I don’t have to explain that there’s a really great band called Of Monsters And Men already, and Lana del Rey has a song called “Gods & Monsters,” right? (Am I being pedantic, I’m really trying to change, folks). But belay all that nonsense, because we’re talking about our friends at Frontiers Records, meaning it’s time for our periodic reminder to local Iron Maiden- and Judas Priest-soundalike bands that they’re one of the last companies that might give you an actual record contract if you’re nice, just tell them I sent you. Anyway, the rundown: Canadian supergroup-ish three-piece hard-rock band here (has there ever been a Canadian hard-rock that’s been able to find a fourth guy?): the singer was in Kiss guitarist Bruce Kulick’s band, the multi-instrumentalist was in Slash with Myles Kennedy and whatnot, and they sound quite a bit like Skid Row (you remember them, right? No, that was Cinderella. What? No, that was Tigertailz. Sorry? No, that was Poison. Etc.). The tuneage has some Savatage-ish power-metal to it, and the singer has a little Metallica to him. It is definitely OK. B

David Crosby, Live at the Capitol Theatre (BMG Records)

Yes, this founding member of both the Byrds and Crosby, Stills & Nash is still kicking around, sharing bong hits with random people and doing whatever else he does, if anything. Point of order, the Capitol Theatre in this case is in Port Chester, N.Y., not the movie theater in Arlington, Mass., but I’m not here to tease the 81-year-old alpha hippie. In fact, he’s still a decent enough songwriter, although there aren’t any songs from his last album, 2021’s For Free, in this live package. This one mostly consists of oldies recited by Crosby and the three 20-somethings (known as The Lighthouse Band) he has backing him up these days: “Deja Vu,” “Woodstock” and “Guinnevere” are here, all delivered with that old magic that involved those world-stopping silences in between phrases. He sounds pretty good vocally, and he’s still quite the acoustic guitar picker, but what may be most notable about this is that it’s his first live solo LP. A+

Playlist

• OK, super, we should have plenty of albums to talk about this week, because we’re clear of the holidays, meaning that all the bands and semi-talented “artistes” should be back to making a bunch of tunes so we can all gather around and hold hands and try to keep from laughing at all the awful music-clowns, who’ve been busy as little Santa elves, making albums for our merriment and snark. Now, try to be nice this time, guys, we wouldn’t want to — oh no, there’s barely anything in the current “you should review this” list on Metacritic, just two things coming out on Friday the 13th of January (yep, that’s how this year’s starting out, with a Friday the 13th right off the jump), and one of ’em’s a metal album! Terrific, I should have just stayed in bed until it’s warm out, you know, like, who needs this anyway? OK whatever, the metal album, here it is, it’s the new one from Obituary, called Dying Of Everything, is that edgy or what, folks? This band has been around since 1984, and they are from Tampa, Florida. The test-drive track on the band’s Bandcamp is “The Wrong Time,” and it’s like a cross between Leviathan-era Mastodon and Wasp. Funnily enough, that isn’t the worst combination ever, OK let’s move on.

• Margo Price is an American outlaw-country/Americana singer-songwriter and producer based in Nashville, Tennessee, and I know that for a fact because that’s what Google says, pretty much verbatim. The Fader thinks she’s going to be a huge star, whatever; and she was nominated for a Best New Artist Grammy in 2019. Her new album, Strays, is on the way, and hopefully you’ll like it, I guess. Right, so now let’s descend on this nice little innocent album like a pack of Dementors and find every fault with it and mention nothing nice about it, unless I change my mind after a few bars. OK, here’s a single, called “Been To The Mountain,” listen to that, she sounds a little like Cyndi Lauper or Gwen Stefani, I guess, and the tune is kind of Sheryl Crow-ish, straight-ahead bar-band rock. She does a little rap-skit thing in the middle that sounds like Transvision Vamp, if you remember them. Nothing much going on here, but it’s not all that bad.

• Hold it, I found more albums. That’s right, I tied a picnic knapsack full of peanut butter and jelly sandwiches to the end of a hobo stick and departed my Metacritic bubble, and will you look at this, folks, it’s former HIM frontman Ville Valo, more commonly known as VV, with some new record called Neon Noir! We’re back in business, baby, let’s rock our ears and see if my lunch will stay down for a full song from this dude, whattaya say? Wow, the single, “Loveletting,” has a little bit of a She Wants Revenge flavor, but it’s also kind of hooky, like Eric Carmen used to be in the 1970s, and there’s definitely a goth edge to it. I have no problem with this tune at all, seriously. With regard to his 2023 tour, he’ll be appearing at Big Night Live in Boston, but not until April 2.

• Lastly, it’s Gaz Coombes, the frontman for Supergrass, with a new solo album called Turn the Car Around! Wow, this guy’s into the cabaret stuff, it looks like; he probably really digs Dresden Dolls and all that stuff, at least to go by the single “Don’t Say It’s Over.” There’s Austin Powers-style organ in there, and he favors disposable mid-Aughts hipster-pop vocals a la Dale Earnhardt Jr Jr. The song would be OK without the stupid organ, but on a scale of 1 to 10 in horribleness, it’s only around a 3, which improves on most of the music put out between 2002 and 2010, so bravo.

If you’re in a local band, now’s a great time to let me know about your EP, your single, whatever’s on your mind. Let me know how you’re holding yourself together without being able to play shows or jam with your homies. Send a recipe for keema matar. Message me on Twitter (@esaeger) or Facebook (eric.saeger.9).

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