Treasure Hunt 24/06/13

Dear Donna,

Thought you would enjoy this couple. I’m not sure but I think my grandmother made them. They are all hand stitched and have tiny nuts for heads. I know they are in tough condition but I can’t just toss them. What are your thoughts about possibly finding them a new home?

Thanks, Donna, for any information.


Dear Tracy,

You are right! They are sweet.

Your grandmother could have made them but it’s tough to tell now. They are from the middle to late 1800s if that helps. They are not that uncommon either. I have seen many different versions throughout my career.

Nut dolls, apple head dolls, and later clothespin dolls are around. Some are considered a form of folk art. Yours definitely fall into that category. Being in tough condition doesn’t help, but there are collectors for them. The older the better, and the more detail the better as well. I find yours very charming. I would say they would run in the $100 range to a collector.

Tracy, I hope this was helpful. I also agree not to toss them and do find them a new home. Try bringing them to a local antique store near you. Remember they can’t pay full value because they will have to sell them too.

Donna Welch has spent more than 35 years in the antiques and collectibles field, appraising and instructing. Her new location is an Antique Art Studio located in Dunbarton, NH where she is still buying and selling. If you have questions about an antique or collectible send a clear photo and information to Donna at, or call her at 391-6550.

Donna Welch has spent more than 35 years in the antiques and collectibles field, appraising and instructing. Her new location is an Antique Art Studio located in Dunbarton, NH where she is still buying and selling. If you have questions about an antique or collectible send a clear photo and information to Donna at, or call her at 391-6550.

Late Night With the Devil (R)

A 1970s late night talk show host really monkey-paws his prayer for ratings on Late Night with the Devil, a fun shaggy horror movie.

We’re told that the movie we’re watching is a combination of the show as it was aired and behind-the-scenes footage for the presumably final episode of Night Owls with Jack Delroy, a nighttime show in the 1970s that could never quite knock Johnny Carson off his perch as the king of late night. Host Jack Delroy (David Dastmalchian) earned his best ratings on the night his wife Madeleine (Georgina Haig) came on the show shortly before she died of cancer. Since then, he’s been in personal and professional turmoil. We also get some “the 1970s, man, they were wild” footage of riots and upheaval, mixed in with some “news” footage about a satanic cult.

All of which brings us to Halloween night in 1977, which also happens to be the start of sweeps week — which, fond sigh, kids, ask your grandpappies about the stunts and special guest stars TV shows broke out for those ratings-significant periods in the TV year. For Jack’s desperate ratings grab, he’s planned a Halloween show all about the hot topic that is the occult, featuring psychic Christou (Fayssal Bazzi), magician-turned-skeptic Carmichael Haig (Ian Bliss), parapsychologist June Ross-Mitchen (Laura Gordon), her patient Lilly (Ingrid Torelli) and a singer that we’re all pretty sure is going to be bumped for time. June’s book, Conversations with the Devil, is about Lilly, the sole survivor of the satanic cult mentioned in the intro footage, who June claims is possessed by a demon.

The show starts with the kind of borderline corny comedy one associates with this particular time in TV — Jack offers a mostly “meh” comedy monologue, he does some banter with/light ribbing of Ed McMahon-ish sidekick Gus McConnell (Rhys Auteri), a band juices up the jokes with musical moments, and it all happens in front of an appropriate stripes-and-mustard-tones set.

Christou is the first guest, offering some clumsy cold reads with messages from people who have crossed over. Right before his time ends, though, he is struck by what is perhaps a “real” supernatural moment — he drops his vaguely Spanish magic-y person accent, he grabs his head in pain and his eyes roll back. The audience seems shocked, Jack isn’t quite sure what’s going on and producer Leo Fiske (Josh Quong Tart) is delighted that this moment of spookiness might attract viewers and attention.

I am here for this vibes-based horror. Rubber bats and goofy costumes in the audience mix with behind-the-scenes sweaty desperation and “it’s all an act” jadedness that help make the setting as regular and “nothing to see here” as it gets — until maybe it isn’t. What if Dick Cavett but sweatier and maybe possessed — it’s sort of a weird concept but it works and is mostly a fun-ride take. (The ending is abrupt and has a “we’ve only got the set for one more day, just go with what we have” not-quite feeling that, honestly, fits with the movie’s mood even if it doesn’t quite satisfy storywise.)

David Dastmalchian is exactly perfect in the lead role. He’s both sorta famous — he’s a real “he’s literally in everything” guy (his IMDb includes Marvel, DC, TV, Oppenheimer) — and not so well-known that he can’t sink into the sad, desperate mess that is Jack Delroy. B

Rated R for violent content, some gore, and language including a sexual reference, according to the MPA at Written and directed by Cameron Cairnes and Colin Cairnes, Late Night with the Devil is an hour and 26 minutes long and distributed by IFC Films. It is available on AMC+ and for rent or purchase.

The First Omen (R)

The “all” in “it’s all for you” is a long ramp-up prequel to the action of the original The Omen in The First Omen, a movie that is a baroque operatic shriek but isn’t quite as fun as that implies.

I found myself thinking a lot about Evil during this movie, the series that just started its fourth and final season. It is airing on Paramount+ and it is a Robert and Michelle King joint (they of the The Good Wife television universe). Evil is a chocolate fudge sundae with extra cherries for a certain kind of dogma-fascinated lapsed Sunday school kid, thoroughly gleeful in its dark goofiness. It is a kick and a half and if you haven’t checked it out, run, don’t walk. This season’s endgame seems to be Antichrist-focused, not unlike this movie — is that a spoiler? If you aren’t aware that demon-children is the territory this movie is playing in, I’m not sure why you would watch it. It’s not a traditional horror in the sense of The Nun movies. It feels to me very much like Evil, very much Catholic school kids misbehaving with apocryphal church lore, but louder and without the sense of humor. (Evil has Andrea Martin in the supporting role of a demon-fighting nun, if you need another reason to check it out.)

Here, we’re following Margaret (Nell Tiger Free, best-known probably as the second Myrcella Baratheon from Game of Thrones), a young American novitiate showing up in early 1970s Rome to work at a Catholic convent/girls’ orphanage and school and take her vows and become a fully fledged nun. She’s been brought over by Cardinal Lawrence (Bill Nighy), a mentor since she was a child growing up in her very own nun-run girls’ school/orphanage institution. She was a “bad kid” back then, but Cardinal Lawrence helped put her on the right path, Cardinal Lawrence is the best — I’m sure the movie will prove this to be true!

She is sharing a room with fellow novitiate Luz (Maria Caballero), who has decided to spend her last days pre-veil trying out decolletage and disco. She gets Margaret to join her for a night on the town, and though Margaret is fuzzy the next morning, Luz assures her that nothing too untoward happened.

Margaret is rather fuzzy at her new job too, where she can’t understand why all the other nuns are so mean to Carlita (Nicole Sorace), an admittedly odd child made all the odder by her regular isolation from other kids. Margaret feels protective toward Carlita, and when Father Brennan (Ralph Ineson) shows up telling her that Carlita is part of a larger conspiracy, she might not immediately believe him — but she doesn’t completely discount him either.

This movie revs up slowly before barrelling toward a bonkers conclusion, all wheels flying off and motor on fire. Like a wild roller coaster you ride after waiting in a two-hour line, the finale helps you to forget a bit how much the beginning of this endeavor seemed to crawl. Well, the very beginning firmly plants us in the realm of “The Devil,” but then we slow-walk it through a novitiate’s quiet yet unsettling adventures in Rome to get back to that point.

That said, the bulk of the movie is not a lunacy drought. The movie is filled with devil imagery and so much gore, much of it centered around childbirth. The movie even brushes up close to Saying Something about female power, both in the church and in the wider world, which would have been a bit of clever fun in this kind of horror movie (and very Evil).

The movie does have a lot going for it and a lot of that — how the story comes together, how the movie walks the tightrope between terror and ridiculousness — is due to the skill of Free. She is very good at hitting the exact right notes with Margaret, who goes from sincere to scared to worried about her own mental state to determined.

The First Omen doesn’t exactly hit a bull’s-eye for me in either the genuinely scary or delightfully unhinged targets, but it is enough of a near miss for both that I had a decent time. Also, seriously, watch Evil. B- (for The First Omen; the TV show Evil is an A+ with a chef’s kiss).

Rated R for violent content, grisly/disturbing images, and brief graphic nudity, according to the MPA on, and some real House of the Dragon birthing-body horror stuff that you can not unsee, according to me. Directed by Arkasha Stevenson with a screenplay by Tim Smith & Arkasha Stevenson and Keith Thomas, The First Omen is two hours long and distributed by 20th Century Studios. The movie is now available for rent or purchase and is streaming on Hulu.


The Last Stop in Yuma County (R)

Bank robbers, locals and folks passing through unfortunately intersect at a dusty diner in 1970s-ish Arizona in The Last Stop in Yuma County, a decently fun movie whose whole vibe is “tension plus heat and dirt.”

Charlotte (Jocelin Donahue) is the only one working behind the counter at the diner on the day that the air conditioning goes out and the fuel truck is late to fill up the empty pumps at the gas station across the road where owner Vernon (Faizon Love) has to tell people that they can wait in the diner for the truck or try to make it 100 miles to the next station.

A kitchen knife salesman (Jim Cummings) decides to wait it out, as do an older couple on a road trip (Gene Jones, Robin Bartlett). Charlotte and the knife salesmen are trying to act normal in the stuffy diner because that’s what fellow patrons Beau (Robert Brake) and Travis (Nicholas Logan) have told them to do. The knife salesman had absolutely no chill when he got a glimpse of Beau and Travis’ car and realized it and they fit the description of bank robbers who got away from a robbery earlier that morning. Soon Beau is holding them at gunpoint — as well as everybody else who happens through the diner, whether they know it or not — and waiting for the fuel truck and an escape route to show up. Will that happen before Charlotte’s husband, Charlie (Michael Abbott Jr.), the local sheriff, figures out that things are squirrelly at his wife’s diner?

“Waiting for the other shoe to drop” is basically what the movie is all about, especially as other people enter the picture, such as Charlie’s hapless deputy and a young couple eager to either emulate or steal from the robbers. There is maybe too much waiting and too little shoe, with a climax that is only momentarily exciting. This movie is fine if you happen by it but nothing I’d go out of my way to seek out. C+ Available for rent or purchase.

The Beekeeper (R)

Jason Statham is a beekeeper in the dumb and awesome The Beekeeper.

Adam Clay (Statham) is a beekeeper who protects the hive (a thing he says eleventy billion times here) in both the literal sense and the “government agency with dumb name” sense. Literally, he keeps bees on the property of Eloise Parker (Phylicia Rashad), a nice lady who was nice to him. In the other sense he’s recently retired from The Beekeepers, an outside the normal order of things group of government assassins. So when Eloise takes her own life after being scammed out of every penny she has, Adam and his particular set of skills killer-robot marches through every level of the organization of scammers, blowing stuff up and demolishing every henchman put in front of him. Working a parallel investigation into what happened to Eloise is her daughter, FBI agent Verona Parker (Emmy Raver-Lampman), who is also awesome and if somebody wants to do an equally dumb spinoff movie about her, I promise to buy tickets.

I didn’t actually see this movie in a theater; I saw it at home on a day I specifically was looking for something fun and stupid to watch, and this movie super fit the bill. It is exactly, 100 percent, completely what you think you will get based on the phrase “Jason Statham in The Beekeeper,” said in that “in a world” voice. It’s all punching, all ka-booming, all threats and violent comebacks to dumb taunts. It is, when you need this sort of thing, perfect. B+ Available for rent or purchase.

Featured photo: Late Night with the Devil

On a roll

Bike Run party with James Montgomery Band

By Michael Witthaus

The yearly Laconia Motorcycle Week is returning, which means drivers should check their rear-view mirrors twice for the next 10 days while heading to the Lakes Region. It also signals the return of the Peter Makris Memorial Run, on June 8. Now in its 18th year, the charity ride attracts hundreds of motorcyclists and benefits area first responders

Motorcycles assemble at Naswa resort and are escorted to New Hampshire Motor Speedway for a few laps, followed by a ride around the lake that ends back at Naswa. Now part of this tradition is James Montgomery, who began playing the bike run’s afterparty in the mid-2010s. The blues harmonica stalwart is back again with his band for an afternoon set.

He’ll also help kick things off.

“I play ‘Amazing Grace’ at the beginning of the bike run,” Montgomery said by phone recently. “Last year we must have done at least 500 bikes, something like that. It’s a pretty big run, and raises money, and then we have a party afterward — and, you know, nobody gets hurt.”

Montgomery has been a fixture on the New England blues circuit since coming here in the early 1970s. He attended BU with plans to be a teacher, but instead fell into a music scene that included the J. Geils Band, Bonnie Raitt and Duke & the Drivers. He was signed to the Allman Brothers’ label Capricorn Records, where he worked with studio legend Tom Dowd on his second album.

Montgomery discovered the blues in his hometown of Detroit, seeing legends like Muddy Waters, Junior Wells and John Lee Hooker perform and learning his harmonica and singing style from James Cotton and Paul Butterfield. His reverence for the genre’s progenitors spawned a career in film. He’s participated in documentaries on Butterfield and fabled Boston radio station WBCN.

He also co-produced Bonny Blue, a documentary about Cotton, who he had a father/son relationship with prior to his death in 2017. The film’s centerpiece is a five-camera shoot done at Boston’s House of Blues while Cotton was still alive, with Huey Lewis and the late Jay Geils also in the harp legend’s band.

Montgomery beams while discussing the film, which debuted last year on the festival circuit and will see a general release later this summer.

“We were one of five finalists for the Library of Congress Ken Burns Prize,” he said. “It’s one of the highest awards you can get.”

His current movie project is non-musical, and close to home for Montgomery. America, You Kill Me is a documentary about his late brother Jeffrey, a pioneering gay rights activist in Detroit. His advocacy began when his partner was shot outside a Detroit gay bar in 1984, and he learned that local police were not aggressively investigating it or other LGBT-related murders. It’s played in a few movie houses, and Montgomery is working on a national release.

Musically, his most recent album was a duet effort: 2020’s Cadillac Walk, recorded with guitarist and singer Jay Willie. The title comes from a Mink DeVille song that’s one of several covers on the disc, like the Rolling Stones’ “Satisfaction” and “Give Me One Reason” by Tracy Chapman.

Each one is given its own spin on the original.

“Jay Willie’s like me — don’t just cover something; he really wants to make an additional statement,” Montgomery said, adding, “I had a ball making that record…. They gave me a bottle of wine and 20 bucks, and I went, ‘OK, I’ll do it for that.’ The wine cost more than what they paid me, but anyway, we had a great time.”

His signature kung fu kick is still operational, though the 71-year-old harmonica player jokes that a hip replacement may change that someday.

“The generation that grew up playing in rock ’n’ roll bands in the late ’60s and ’70s always thought we were going to be young forever … none of us have this mentality that we’re old,” he said. “I say I’m on the ‘too stupid to stop’ tour, because if you don’t stop, you don’t even notice how long you’ve been playing.”

James Montgomery Band
When: Saturday, June 8, 1 p.m. (following Peter Makris Bike Run)
Where: Naswa Resort, 1086 Weirs Beach, Laconia

Featured photo: James Montgomery. Courtesy photo.

The Music Roundup 24/06/06

Local music news & events

Island country: Get ready for Kenny Chesney’s three-night stand at Gillette Stadium with No Shoes Nation, a tribute band from Seabrook that recreates the tropical troubadour’s sound and energy. Thursday, June 6, 8 p.m., LaBelle Winery, 345 Route 101, Amherst, $40 at

Phish stew: An inventive mashup of the Vermont jam band and the likes of Miles Davis, Jazz Is Phsh is an instrumental supergroup led by Adam Chase that can take “Sample in a Jar” and fold in a bit of John Coltrane along with some Herbie Hancock and finish it all with original grooves for a funky, soulful and classy new take on a genre that’s already built on improvisation. Friday, June 7, 9 p.m., Stone Church, 5 Granite St., Newmarket, 21+, $20 at

Rockabilly roll: A high-octane gumbo of country, surf music and punk rock, Reverend Horton Heat is not a person but a band, fronted by singer, songwriter and guitar player Jim Heath. The group became a staple in the 1990s with songs like “Bales of Cocaine” and “Psychobilly Freakout.” They’re currently on a spring-long tour with the similar-minded band The Surfajettes. Saturday, June 8, 9 pm., The Goat, 50 Old Granite St., Manchester, 21+, $29.50 at

Banjo afternoon: Though she began her musical career in bluegrass — Alison Brown was for a brief moment in the late ’80s a member of Alison Krauss & Union Station — she’s taken the banjo to another place in recent years. Her eponymous quintet performs an area show, weaving jazz, Celtic and other influences into “a sonic tapestry” that’s earned comparisons to fellow banjoist Bela Fleck. Sunday, June 9, 2 p.m., Rex Theatre, 23 Amherst St., Manchester, $29 at

Living link: Evocative as both a singer and a guitarist, Keb’ Mo’ performs in Nashua. The five-time Grammy winner’s shows are soulful and compelling affairs; in 2022 he released Good To Be, with an infectious title track. One of those Grammys was won under his given name Kevin Moore, for co-writing “Git Fiddler,” from Jefferson Starship’s Red Octopus. Tuesday, June 11, 7:30 p.m., Nashua Center for the Arts, 201 Main St., Nashua, $49 and up at

God’s Ghostwriters, by Candida Moss

God’s Ghostwriters, by Candida Moss (Little, Brown & Co., 303 pages)

In the first centuries of the Common Era, literacy was rare. Even when people knew how to read and write, they didn’t want to do it since scratching out letters and symbols on papyrus with no desks or ergonomic chairs was physically taxing. The solution for many elites of the time was to have enslaved people do it.

While most of the early leaders of the fledgling movement that would one day be known as Christianity weren’t men of means, they still had people accompanying them on their travels, and these people — not necessarily Matthew, Mark, Luke and John — were the people who would write down the stories about Jesus of Nazareth, Many of them were enslaved, posits theologian Candida Moss in God’s Ghostwriters.

Formerly a professor at Notre Dame, now at the University of Birmingham in the U.K., Moss is attempting to bring biblical scholarship surrounding the New Testament to a broader audience. In doing so, she may upset some apple carts of belief, specifically for those who perceive Christianity as a religion of the learned built on the writings of Aquinas, Augustine and other intellectual heavyweights. In fact, Moss points out, in its first centuries, the emerging religion was often derided as the fantastical beliefs of women, the lower classes and, most of all, enslaved people.

Some of these ideas are already well-known, chief among them the fact that crucifixion was a form of execution used primarily to punish the enslaved and the worst kinds of criminals, and a threat to keep other people of low status in line. But Moss goes much further out on this limb, arguing that the involvement of the enslaved in the production and dissemination of Christian Bible influenced its content, through the inclusion (and exclusion) of certain things, and descriptions that would more easily flow from the mind of a servile person than from an elite. Descriptions of a netherworld, for example, are often disturbingly similar to conditions of prisons in ancient Rome, she says.

While conceding at the start that much of what she writes in God’s Ghostwriters is inferred from what is uncontested about this period of history, Moss makes a compelling, if provocative, case. She is used to controversy, having previously published a book that questioned the number of early Christians who were killed for their faith. Moss’s 2013 The Myth of Persecution, for some, seemed an attack on Christianity itself, given that the martyrdom of early Christians is often used as an argument for the validity of Christianity’s claims. God’s Ghostwriters presents a similar problem, she acknowledges, writing, “If the New Testament is not the work of Jesus’ disciples, can it be trusted?”

Moss does not answer that question outright, but she is reportedly Catholic, so she must think there’s something of value in the Christian Bible. But she likens its “invisible” authors to delivery workers during the pandemic, writing “We speak of Amazon ‘delivering things,’ as if an abstract multinational company brought purchases to our home,” rather than low-wage workers.

For many readers, Moss might dance too close to the edge of blasphemy when she refers to certain biblical descriptions of Jesus as “slavish” and says that the narrative of Mark’s gospel, in particular, leaves room for interpretation that Mary was either enslaved or a sex worker. Some early critics of the fledgling Jesus movement argued that Jesus’s father was a Roman soldier named Pantera. This is not new information to scholars of the New Testament and early Christianity; just as there were people eager to advance the deity of Jesus, there were many people eager to stamp it out.

But Moss’s excavation provides an engrossing history of Roman life and how slavery was part and parcel of the time, and she offers a rudimentary and accessible snapshot of biblical scholarship that is rarely, if ever, delivered from a pulpit. She shows, for example, that the story of the adulterous woman about to be stoned that Jesus forgave — which she calls “something of a fan favorite” — was not in the earliest manuscripts of the Gospel of John, where it resides today, and speculates on how it came to be there. Her descriptions of life in ancient Rome do not give it the romantic overtones held by the many people on social media who say they think about ancient Rome daily — as much as Rome is marked by military conquest, roads and aqueducts, it was also a place where animal feces was used as mortar, and dogs, as well as humans, were crucified. Perhaps modernity isn’t as bad as we make it out to be.

Does it matter that the Gospel of Mark was not written by a disciple called Mark, but dictated by Peter to Mark or even to an unnamed, enslaved person? Does it matter if the letters of Paul were not physically composed by Paul, but by a person who was enslaved or formerly enslaved? For some, Moss acknowledges, yes, this would present “an insurmountable problem” to their faith. But it seems that for most people who see the Bible as the inspired word of God, it would not matter who actually held the stylus or reed. For those who are willing to have their preconceptions challenged, God’s Ghostwriters will do just that. BJennifer Graham

Album Reviews 24/06/06

Steve Conte, The Concrete Jangle (Wicked Cool Records)

You may know Conte from his guitar contributions to the New York Dolls (or, more likely, not; he was with them for about five whole minutes, and yes, David Johansen was there at the time); he was also the guitarist for Michael Monroe’s band, in which he continues to perform. This dude has for-real rock star cachet either way, though, having been a utility player with Peter Wolf, Eric Burdon and even Paul Simon, by which I’m saying he knows how to write great songs. Half of this album was co-written with Andy Partridge of XTC, but after listening to the whole thing I get the sense that Conte is never the weak link when collaborating with the big stars he’s played with; it’s probably the other way around. Though this is billed as a Beatles-meets-’80s-pop-rock affair, the underlying vibe is undoubtedly Raspberries, i.e. ’50s-informed radio rock from the ’70s. The songs all get right into your head and take root right away. Really top-drawer stuff here. A+ —Eric W. Saeger

Marshall Jefferson, House Masters – Marshall Jefferson (Defective Records)

At 64, Jefferson is one of the still-ticking vanguards of OG Chicago/deep house music; indeed, he’s generally regarded as the father of house music, if you wanna know. If you’re intimately familiar with the genre, this 40-song retrospective needs no introduction, but there are many years of his oeuvre to cover; this collection kicks off with an extended mix of his 1986 single for Trax Records, “Move Your Body,” the first house tune to use piano (Trax chief Larry Sherman didn’t consider it a house tune, so Jefferson added the line “The House Music Anthem” to the title, and the rest is literally history). “Devotion” is here also, another classic that clearly proves the ’70s-disco roots of deep house, with its sizzly hi-hat-driven beat and such. You may or may not also know that Jefferson put together plenty of songs with other stars like baritone singer CeCe Rogers; that collaboration is represented here in a club mix of their 1987 hit “Someday,” which is also a legendary jam. To say this collection is essential for house fans would do it no justice whatsoever. A+ —Eric W. Saeger


A seriously abridged compendium of recent and future CD releases

• Bulletin, this just in, fam, there will be new rock ’n’ roll music CDs released this Friday, June 7, which is three days before my second book, My Year In The Online Left: Social Media, Solidarity, And Armchair Activism, becomes available for sale worldwide, can you even believe it folks, now there’s a coincidence! So, the hot weather is here, and we will roast, because unbelievably hot, but that’s OK, because we will have new albums to keep us cool, like f’rinstance the new one from Bill Belichik’s favorite hair-metal rocker, Bon Jovi, titled Forever! In celebrity gossip news, the other day I learned that Millie Bobby Brown (no relation to rapper Bobby Brown) married Bon Jovi’s son, Jake, in a beautiful ceremony celebrating the doomed special sort of love that lasts forever when you get married 10 minutes after reaching the age when you can get a driver’s license! No, I kid Millie Bobby Brown, here’s to many years of blissful whatever, now let’s go listen to the new rope-in single from Mr. Jovi — actually, forget that, the whole album is free on the YouTube, so I’ll just listen to the first song, “Living Proof,” and then tell you about it! Yeah, so this sounds like the new-old version of Bon Jovi, after Desmond Child stopped helping the band write songs like “Livin’ On A Prayer,” you remember, those microwaved tunes that wanted to be interesting and catchy but they were just sort of lumpy and boring (“It’s My Life,” anyone?). That’s what this song is, but Mr. Jovi is using that Peter Frampton talk box effect again, good lord. Other than that it’s truly thrilling and innovative, seriously.

Bonny Light Horseman is something of an American folk supergroup, because the people in the band used to play in bands like The Shins and The National. Their 2020 self-titled debut album had a mix of traditional British folk songs and some originals, but since then they’ve gone more Americana. This new album, Keep Me On Your Mind/See You Free, comes to us from Jagjaguwar Records, which has always sent me good stuff, and so unsurprisingly the single “I Know You Know” is a nice, refreshing burst of ’70s cowboy-pop, the beat evoking Linda Ronstadt while singer Eric Johnson (who’s aka the Fruit Bats, by the way) lays a sort of twangy Les Claypool vocal over it. It’s really not bad at all.

The Mysterines are a British alt-grunge foursome fronted by guitarist Lia Metcalfe, and that’s really all there is to say about them for the moment; I was drawn to the band’s name, so I have no idea what I’m even doing with this. Wikipedia doesn’t know what to say about them either, so why don’t we just mosey over to YouTube to see what this is about, that’d be great. Bazinga, there they are, their new LP is Afraid Of Tomorrows, and the featured video is for the tune “Stray,” a gothy, Joy Division-infused creep-rocker that’s got something of a Trent Reznor vibe going, except there’s a girl singer and she has a low voice because she intentionally wants to scare you, like, there should be a parental warning, because I’ll tell you, I got the shivers myself.

• OK, let’s take it home with a new album from — oh no, it’s The Eels, terrific, I have to think of something relevant to say about David Malcolm Werewolf or whatever his name is, once again! Here’s a riddle, you know what you call a Tom Waits concert with The Eels opening up? A show I wouldn’t go to for $100! I’ve got a million of ’em, folks, but whatever, I’ll go see what’s going on with their new song, “Goldy.” It’s slow and grungy and kind of messy — interesting, I don’t hate this. Wait, there’s a sample part that’s boring and dumb. Backing away slowly from this. —Eric W. Saeger

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