When I first heard about these girls a few years ago, I was really excited. I loved the name and the concept, and being a chick who rocks myself, I wanted to give them my full support. So I ran out and bought 2001’s “What’s Your Excuse” and was a bit disappointed. The concept was there, the attitude, the energy and the look, but the budget production and tinny tone was a poor representation and I knew it wasn’t worthy of them. It suffered from what a lot of the early punk recordings did, at a time when there was just no reason for it. But I held faith, because I knew these girls would be back, and they are.
Lisa Richards has been quite a traveler, starting her career in Australia and then taking it to New York City. But fortunately for us, this Aussie now calls Austin home. As soon as I pressed “play,” I knew this artist could join ranks with the best talent in our town.
When Ed Hamell (Hamell On Trial) was here for the Folk Alliance, he did an in-store at Waterloo. With his typical wit he said “So this country and the whole world is going to hell in a hand basket worse than ever before, and I’m staying at the Folk Alliance and all those people over there are singing songs about flowers and butterflies. Where the hell are all the folk songs?” His point hit home and was greeted with laughter and applause. Well Ed, here’s what you’re looking for. Perhaps the events of the world today are so overwhelming that all the good songwriters are stumped- except Butch.
Nothing less than the “Queen of South Austin,” Leeann has been pumping life into the ONLY part of this city that’s worthy of our reputation for quite some time. Her backyard “Barn Dances” are some of the best house parties anyone could throw anywhere. If someone tried that in north Austin, their neighborhood association would shut them down. Try it in Round Rock, and Williamson County’s finest would slap them around, bloody their nose and leave them in the slammer. But in South Austin, no one complains because they’re all there, having a great time. Life is good down here, ain’t it?
There’s one thing that keeps all artists going, no matter what their craft is. It’s the idea that they could still come up with something better than anything they’ve done so far. It’s the thought that their defining moment may not have happened yet, and if they keep reaching down deep enough, maybe they’ll find it. But if you’re a guy like Bob Dylan, that’s got to be one hell of a monkey to carry around on your back. As big as his 800-pound gorilla must be, it doesn’t stop him. Maybe that’s because he quit buying into that logic and pushed the monkey off years ago.
RokkaTone is a 5-piece acoustic band from Austin, specializing in old school ska and rocksteady. The goal of this group is to sound like “a Jamaican street band” from the time when Alton Ellis, Toots & the Maytals, Desmond Dekker and the Skatalites ruled the island. They blend that sound with American folk, blues and ragtime, and a bit of doo-wop for good measure.
I’ve been fortunate enough to go to Ireland and Scotland a few times, so I’m always glad to get my hands on new music from over there. Gaelic Storm however, began their journey on the shores of Amerikay- way out in Los Angeles. There they were lucky enough to be the band that supplied the Irish traditional music for the film “Titanic.” And that’s a pretty sweet gig, if you can get it.
When Ray sent me this one I about fell out of my chair. I knew he was working on a new album with a new label, but it seems like only months ago that “Delerium Tremelos” was released. That album was a wonderful thing, and I just didn’t expect anything from Ray for another year or more. (But I’m not complaining, believe you me.) A lot of other folks wish they could be so prolific, but Ray’s secret is that this kind of music just sort of falls out of him. Anyone else would really have to labor at it.
Billy Brent Malkus comes to us from Maryland’s Eastern Shore, a rural farming region scattered with tiny crab towns along the Chesapeake. Raised on classic country music at the family pig farm, he left for Baltimore to hack away at their punk rock scene. Eventually his country roots took over and he decided to come to Austin to pursue better things.
I’ve been a fan of another Austin band doing the retro thing for a long time now. Yep, that was me at the Electric Lounge checking out the Spankers, and at the Continental for 8 ½ Souvenirs back in ’95. I’ve also enjoyed Shorty Long’s set at Flipnotics, and I’ve seen Squirrel Nut Zippers a time or two. But for some reason I was a bit skeptical about these guys. I don’t know why, because the revival of 20’s and 30’s American novelty is a small enough genre. The right attitude should be “the more the merrier.” Shame on me (or anyone else) for thinking otherwise. This style deserves due respect, and anyone capable is welcome.
Sometime in the late 80’s, the music known as “Art Rock” or “Progressive Rock” fell from grace. Perhaps it was the Seattle scene that pushed it out of the limelight, who knows. Led by bands like Rush, Yes, Queen, Pink Floyd, Genesis, and King Crimson, it eventually seemed to drown under its own weight and disappear. I always blamed the shortening of our collective American attention spans. Others might say it was MTV that decided no one in those previously mentioned bands were as pretty and marketable (and therefore as talented) as say, George Michael.
I normally stick to reviewing full size albums, but this band shows great promise in their 5-song debut. Chemistry between players is so important in any music project, and that’s what I hear in this. The vocal harmonies between Rich Russell and Landry “Slydry” McMeans seem like a rare thing in its infancy, and so does the songwriting. Slydry’s high-pitched voice is as unique as her slide on the lap steel guitar.
If you’re like me, you may have been asking yourself “Self, whatever happened to the Art Rock of the seventies?” Well, I’ve always thought it died as our attention spans gradually grew shorter, and the “dumbing down of America” became the priority of the powers that be. But before I start on a rant about how the music industry caters to the lowest common denominator and it’s all part of a totalitarian regime partitioning out information in such a way that… nevermind. I live in Austin and it doesn’t have to be that way. I have a brain of my own, so do you, and it doesn’t have to be that way.
This little gem is one of the better singer/songwriter albums that have come my way. Jim Halfpenny and his band have created a well rounded package that seems to have everything well in check. Catchy songwriting, experienced musicianship, and a quality well-polished production. Instrumentation includes soprano sax, mandolin, accordion, violin and fretless bass for added depth.
(In honor of Clifford “CJ” Antone, I’m reviewing this classic recording that he no doubt cherished and listened to thousands of times.) In the early 80’s I was a teenage punk rocker and metal head, and Clifford wanted to turn me on to some real blues. He gave me the club’s worn out copy of this album, and it opened my eyes to a world of music I knew existed- but really didn’t understand. I might know a lot more now, but the true depth of blues music is a lifelong quest.
Here it is folks. LZ Love delivers a powerful blend of funk, soul, gospel, R&B and rock that echoes more of 70’s Motown than the live music capitol. This is the real deal. It contains every bit of the grit that put this girl on the same stage or studio as James Brown, Luther Vandross, George Benson, Natalie Cole, Clarence Clemons, The Neville Brothers, Joan Armatrading, Bonnie Raitt, P-Funk, Sister Sledge, Carolyn Wonderland, Michael Franti, Shelly King and Papa Mali.
There’s only one thing you need to know: this CD is a beautiful thing. Now is the part where I, your faithful reviewer, will attempt to describe it for you. (Okay, I like a challenge, and that’s why they hired me for this job.)
Matt Sever really is an electrician, but thank God he gave that up. Not that it’s a bad gig, but music is a better one, especially for him. And why would you work a regular job if you didn’t have to anyway? It’s good to know Austin is a place where the ‘regular job’ isn’t the prison sentence it can be in other towns.
There’s a lot of ways to define a good songwriter. My favorite one is this: A good songwriter will make you want to write songs, even if you’ve never done it before. Jon Dee makes me want to write an entire album of songs.
Hamell On Trial
When Bill Hicks died in 94, the torch he carried all those years fell flat on the ground. Sensing the opportunity to steal from a brilliant and obscure source, many comedians tried to pick the torch up and continue where he left off- but none could. They really just picked his material and persona apart like vultures, and American audiences were none the wiser. But rehashing his bits and copying his bitter ranting style was WAY missing the point. They didn’t take the time to understand Bill’s mind, and see the philosophy and course of evolution he had started. Everyone that is, except Ed Hamell.
Hi, my name is Maria… and I was a Teenage Metal Head. I’ve been mosh-free now for several years. But back in the day, I worshipped bands like Black Sabbath, Motörhead, Judas Priest and Iron Maiden. But I gave up my spiked leather armbands and motorcycle chain belt for two reasons. One was the new style of “cookie monster” vocals (you know what I mean) I never really liked. Even the best cookie monsters just don’t seem exactly talented, do they? The second part was that metal totally left its creative, theatrical, art rock roots behind.
The Flying Club
The Flying Club creates an interesting mixture of smooth, elegant jazz and Brazilian pop. “Far and Away” is the first full-length release from this group based in Austin- a town that has long been connected both musically and spiritually to Brazil.
When I received this CD and looked at the cover, title and press sheet, I assumed it was what it claimed to be: Jewish wedding music. Sure I’ve been to a few Jewish weddings and I’ve “Hava Negila’d” into the wee hours- but I really wasn’t sure how to review such a thing. Even after seeing some great Klezmer bands, I still felt ill prepared. And then I pressed “play,” and discovered it to be something entirely different.
This CD starts with the track “Easy,” which gets your attention from the get-go. The first part is the odd rhythm supplied by drummer Eldridge Goins. At first I thought it was wrong, or I heard it wrong- but then I backed it up and realized that it was very right. It might catch you off guard, but it grows on you and fits the song perfectly. That’s the hallmark of a great drummer, he lets the song pull the rhythm from him, rather than just forcing a rhythm he already knows into the song. “Easy” is a haunting and peculiar song that grows on you and becomes addictive. And if you’re a singer songwriter like Wendy is, it’s best to just knock the ball out of the park on the first track. That being said, imagine the beautiful Louisiana songstress as she walks the bases- like so many clubs in Austin- to home plate.
Folks, here you’ll find genuine Texas honky tonk music the way God intended, with just a touch of Jerry Lee Lewis rockabilly. This album was put together by seasoned professionals who have shared stages and recording studios with a staggering list of folks. This is one of the bands that places like the Broken Spoke and Gruene Hall were built for. The best thing I can do is give you a quick rundown of the characters involved:
Folks it’s almost St. Patrick's Day, and to enjoy it properly you need to spend it with some real traditional Irish music. If you don’t know what to get, I have just the thing for you: Paddy Keenan and Tommy O’Sullivan’s album “The Long Grazing Acre.”
I know I’m a vast encyclopedia of musical knowledge, but there are certain artists I feel unqualified to review. Maybe Bob Dylan is qualified to review Arlo Guthrie, perhaps Joan Baez is, or Pete Seeger, or the guys from the “Mighty Wind” film. But me? Nope. But being unqualified doesn’t keep your humble musical servant from wanting to talk about them, and Arlo is one of those artists that should be talked about. He is part of a uniquely American tradition of storytellers, and even if he weren’t Woody’s son he’d still be a national treasure. (Arlo and his family represents what it really means to be American. Their music fills me with a kind of patriotism I don’t have to feel guilty about.)
When I was very young, my Mom used to take me to the Armadillo. Yeah, THAT Armadillo. I don’t remember a whole lot, but the music in general was a lot like this. It was this funky mishmash of country, blues, rock and gospel. It was feel-good music played by people who felt good playing it, and everyone felt good hearing it. The years went by and that’s the sound Austin became known for. It’s country that doesn’t fit the Nashville plan, and it’s the tradition Austin City Limits has tried to maintain. I guess it’s “Americana” or “Roots music,” but whatever you want to call it, it definitely is Austin. The important thing is that it draws from all kinds of influences both black and white, and draws everyone together. It’s as hippie friendly as it is cowboy friendly, and the kids and grandparents will be there too.
I was headed out one night to fight the Christmakwanzikahdan traffic in my 1971 VW Squareback, so you can imagine where my stress level was- and my mood. Figuring that I’d be stuck in traffic for hours, I grabbed a stack of CD’s waiting to be reviewed. (I put this CD on top after seeing their group photo.) Good thing too, because about 20 seconds into the first track (and just after a confrontation with an aggressive minivan) my foul mood and grimace had turned to a grin, and then I began to chortle, guffaw and giggle quite uncharacteristically.
This CD is a wonderful thing. A lot of singer-songwriter albums are sent my way, and most of them are pretty good- but this one rises above. The major influence here is Van Morrison, with similar lyrical phrasing and soulful jazz-rock compositions. Secondary influences being Warren Zevon, Dave Matthews Band, Joe Jackson, Counting Crows, and vocals that remind me of Sting. In spite of all that, there remains a unique element that Drew Smith can call his own.
Until now, all I knew about the lanky guitarist known as “Scrappy Jud” was that he seemed to play on just about every stage with every artist in town. And that’s pretty good work if you can get it. So I figured that Scrappy was more than just a good guitar player, since good guitarists can be found sacking groceries and flipping burgers all over this town. So how does he get to play with folks like Ian McLagan, Ray Wylie Hubbard, Colin Gilmore, Beaver Nelson, Jon Dee Graham, Stephen Bruton, Bruce Hughes, Toni Price and Bob Schneider? The answer is on this CD.
Oh how I love a band with a sense of humor. I also like people who aren’t really who they appear to be. And if a band has its own theme song it must also have an actual concept- which is a rare thing these days. The Small Stars are all that and more, being one of Reno, Nevada’s lesser-known Cabaret acts. Stuck here in Austin for an indefinite period of time, the Small Stars are more than just another cheesy lounge act.
I really don’t have a rule against reviewing any particular genre of music. Quite honestly, the only reason that I’ve never reviewed a “Contemporary Christian” album before is that the ones I’ve received haven’t been very good. Most started out as church bands with little or no outside music experience, and eventually decided to release a CD. As much as I respect their chutzpah, tenacity and message, they often lack that real world edge and “boot camp” experience that makes non-Christian music so raw, relevant, and well- GOOD. It shouldn’t be that way, but it is. Most Christian music seems to have been created in a protective bubble by folks I can’t relate to, which makes writing about it pretty hard- until now.
These guys from Yukon, Oklahoma (Yeah, I’ve been there) have kicked up a lot of red dust lately. Tons of people I know have been talking about them (both north and south of the Red River) yet somehow I’ve managed to avoid hearing any of their CD’s or seeing them live. I heard them on the Dudley and Bob Show one morning, but that’s about it. So when they sent me their new CD I was pretty excited. I couldn’t wait to hear what all the fuss was about. So I admit, perhaps my expectations were a little high.
Hallelujah! The new and long awaited album from Guy Forsyth is finally here! It’s been 5 years since he released “Steak,” which was before the 9/11 event that changed everyone’s way of thinking about life and what to be “for and against.” That’s an important thing to keep in mind with this artist, who is all too aware of the world we live in.
Alex Coke is a master jazz sax player who has lived a fascinating musical life. He spent 8 years with the Amsterdam based Willem Breuker Kollektief- an internationally renowned ensemble on a 30 year world tour. He played in Bosnia during wartime. Here in Austin, he was a founding member of the Creative Opportunity Orchestra, which counted as a member the dearly missed Austin jazz legend Martin Banks.
The Transcenders hail from Dallas, a fact that I easily found forgivable half way into the first track “The Believer.” Energetic, inspired and uplifting, you want to jump up and down holding your fists in the air triumphantly by the end of this song. They make it clear right off the bat that songwriting is no weakness in this Indie rock band. Splitting that responsibility is Ryan Parvis (lead guitar- vocals) and Brian Hughes. (rhythm guitar- vocals) A band is considered fortunate to have one inspired songwriter to call its own, and these guys have two.
Industrial metal moshers will enjoy this one. The obligatory wall of sound will come at you the moment you press “play,” and it will not let up until the final track is over. More than that is the humorous take on 1950’s science fiction with this story of a spacemonkey. You know, before we launched people into space, we launched puppies, kittens, and most commonly- monkeys. Wouldn’t want to hurt a real person or anything. Actually, the deep, dark, and dare I say “Goth” spin is the up front thing here. The humor is subtle, as it should be. (But being the silly sort- I pick up on the humor first.)
Bettysoo is an Austin guitarist singer songwriter who with the help of Stephen Doster just released a brilliant debut CD. Imagine Nanci Griffith, Shawn Colvin and Terri Hendrix, Bettysoo is your typical Texas gal cranking out well-written acoustic folk-pop with just a bit of bluesy twang. Moments of Bonnie Raitt, Carole King and Carly Simon can also be heard here, all on this ten-song debut.
Craig Marshall
Craig Marshall is best known as the founder and front man of Austin’s popular swing group the Lucky Strikes. A New York native, he moved here in 1991 to further his music career. “Before The Fadeaway” is his second solo release outside of that band. Having mastered the swing genre, he now moves on to pop music.
King Tears
This CD starts out with one of my favorite local indie songs ever- the peaceful and euphoric “Staring At The Sun.” I wish I had some elaborate and intellectual explanation as to why I like the song so much, but dammit, I just do. That gets at the crux of what King Tears is all about really- quality songwriting. Nothing too flashy or overproduced, just two guys who enjoy writing and recording good songs.
Grady
I’ve long accepted the idea that rock and roll died right about the time Keith Moon did. Okay, maybe it coughed and wheezed a little past that, but certainly not much longer. And if you also share my “rock is dead” theory, here’s a band that pumps life right back into the ol’corpse when you didn’t think it was ever possible.
Austin Daze
Ah, Ruta Maya coffee house, my home away from home. Located in one of the historic old Penn Field airplane hangars, it’s big enough to house a coffee roasting area, a tobacconist, a full size stage, and enough room for about 1,000 of your closest friends. There’s even a play area for the kids. The parking is easy and it’s nowhere near downtown. But more importantly, the atmosphere is true South Austin, with friendly, mellow folks everywhere. Did I mention that aside from the finest cup of Joe, they also have Guinness, Dogfish Head 60 minute, and at least a few varieties from Austin’s Independence Brewery ON TAP? Truly the place to be on any evening, but especially on First Thursdaze.
Imagine taking old school jazz (Charlie Parker, Thelonious Monk, John Coltrane) and laying modern hip hop, electronica and funk over it in a way respectful enough NOT to piss off the jazz purists… Surely that’s not possible, is it? Ummm, yes it is. This recording crosses all those boundaries and turns it into one finely crafted piece of art. Doing that is of course, experimental. I hesitate to use that term because it implies that some things work, and some things don’t- but it all works here. It also implies a learning experience, but these guys know exactly what they’re doing. In fact- that’s what is so amazing about it. The first time I heard their bebop horn progression and suddenly there’s a DJ scratching over it- I had to smile. Not because it was funny- but because they made it WORK, it worked well, and I laughed in awe and disbelief.
Former Endochine keyboardist Johnny Goudie is a busy man working with artists like Vallejo, Kacy Crowley, Colin Gilmore, Kevin McKinney, Jeff Klein, Eliza Gilkyson, Patty Griffin and Go-Go’s Jane Wiedlin & Charlotte Caffey to drop a few names. But after a recent divorce, Johnny decided to release his second CD, which he recorded primarily on his own.
There’s no denying that front man Franklin Morris was influenced by Kurt Cobain, as so many of us were, which is especially evident in the track titled “Da da.” When I heard his angst-ridden distorted screaming in the opening song “Saddest Star,” a flood of things came back to me. The early 90’s Seattle scene, neo-punk power pop like Green Day, The Strokes, the White Stripes, and even a bit of the garage-quality real deal from early 80’s American punk. (That part comes from being on a budget, which adds more than it subtracts on this recording.) But is it bad to wear your influences on your sleeve? Not always.
Kissinger plays solid straight forward guitar oriented rock and roll. They play it the way it was meant to be played: RAW. The Ramones knew that, and that’s what made them great. And like the Ramones, there are few lead guitar solo on this record. Why? Because Kissinger knows that it’s the songs that matter stupid- not the virtuosity and ego of the guitar player or anyone else. The amazing thing about Kissinger’s style is its simplicity. It’s just good ol’ rock and roll, which is a pretty rare thing these days. They seem to get lumped in with the neo punk bands- but that’s not really what they’re about.
Van Morrison stands at the outer fringes of popular music, in spite of being a prolific world class songwriter, a uniquely expressive vocalist, and a survivor of nearly 40 years in the business. One of Ireland’s national treasures, he is known best for soulful jazzy hits like “Moondance” and “Brown Eyed Girl.” In May 2005 he will release his 36th album entitled “Magic Time.”
It’s always cool when I get a bunch of CD’s to review, and a band I’ve never heard of turns out to be the best of the bunch. Maybe that comes out of having no expectations, I dunno. Regardless, this is one of those rare recordings that I’ll continue to listen to long AFTER this review hits the birdcages.
Ray Wylie Hubbard
Stick in this CD and press play- and Ray Wylie Hubbard lets you know immediately why he’s a Texas music legend. (I know the word “legend” gets thrown around a lot these days, but it truly fits here.) This music grabs you the same way the Flatlander’s “Now Again” CD did when I heard it the first time. It just comes out of left field and surprises you with its well seasoned, effortless ease, wrapping around you like an old flannel sleeping bag next to a late night camp fire in the Texas hill country.
Beaver Nelson
Beaver Nelson is just another gem that the music industry bigwigs have passed on too many times. They’ll flirt with him and make big promises and never follow through because they’re more interested in protecting their stockholders than showcasing true talent. But since the music industry is run by Satan, that should come as no surprise.
Cooper’s Uncle
Folks, when I was a young girl running barefoot through the Blue Ridge Mountains of Tennessee, the sweet sounds of fiddles and banjos filled the air. Oh wait, I’m a Tejana from South Texas, so I guess that never happened, now did it? But when I listen to Bluegrass, it takes me back there as if it really DID happen. I actually begin having memories and flashbacks of the simple Appalachian childhood I never had. Oh, sure, I guess that could be from several years of heavy drug use, but I prefer to blame it on the music.
Unified Tribe
Okay, I wasn’t going to do this, but then I felt compelled to out of principle. It’s not like I enjoy putting bad karma into the universe, but this is my job. It’s just like Lester Bangs said in Almost Famous. “Kid, you must be honest and unmerciful.”
Hairy Apes BMX
Folks, there are few things that make me happier than a band who’s not afraid to take chances, especially when it’s done with a sense of humor. If you were such a band, you might call yourself “Hairy Apes BMX.”
The Bonedaddys
The Bonedaddys started out around 1984 as a loosely organized bunch of LA musicians under the direction of percussionist / tribal leader J. Michael Temple. (aka Mike Tempo) With 8 or 9 members, they mixed Fela and Manu DiBango style Afrobeat with James Brown funk, rock, gospel, New Orleans second line and Caribbean rhythms for spice. A combination of well-written originals and wisely chosen covers filled their sets. Musicianship was top-notch, with blazing and melodic guitars, fat baritone sax, keyboards, drums, percussion and club-shaking 5 string bass. They were considered to be the first American “worldbeat” band at the time. (Then the Lambada craze came along and ruined that term for everybody. Dan Del Santo is still spinning over that one.)
TOPAZ
This is the third release led by Austin sax player Topaz McGarrigle. I love Jazz, particularly the funk and rock fusion or “acid” jazz that was heavy back in the seventies. (I didn’t really discover it until the early 80’s because I’m just not that old.) I don’t normally review CD’s that aren’t fresh releases, (2001 for this one) but it was sent to me and I really liked it- so here it is.
Delta Nove
Back in the late 80’s, my favorite underground LA band was The Bonedaddys. They were an 8 piece worldbeat band blending Afro-pop, New Orleans second line, Fela Kuti and Manu DiBango sax riffs and James Brown funk in a great big sweaty technicolor costumed mess. They toured all over for about 8 years, but never got the following they deserved. Eventually, and very sadly, their members dropped off and the band pretty much disappeared. (Fortunately- the Bonedaddys have recently regrouped and released a new CD.) The important part is- these guys picked up on the Bonedaddy’s cultural revolution, and the spirit lives on.
Collect All Five
If you’re like me, you’ve been wondering what ever happened to that great jazz-rock fusion thing that was happening in the seventies. You know- Return to Forever, Weather Report, the Mahavishnu Orchestra, and so on. Usually I just figure that today’s musicians don’t have the attention span required for jazz-fusion and art rock, and leave it at that. But if you’re lucky enough to live in Atown, I just found a band that has set out to prove that theory wrong. “Collect All Five” is a talented improvisational jazz-fusion group with psychedelic and funk tendencies. CAF also blends in Old World traditions, with a sax style bordering on Russian folk and Klezmer for an exotic and unpredictable feel.
Jelly Jar
So I pop in to Gino’s Italian Grill, which is one of my favorite South Austin dives. They’ve got good food, good live music and plenty of ice cold Shiner bock. A guy named Greg who is one of the owners will walk up and tell you funny jokes even if he’s never met you. (But since he knows me pretty well, he never leaves me alone.)
Will Dunlap
Will Dunlap is a local songwriter, guitarist, singer, drummer, keyboardist and producer- (whew…) who has assembled some of Atown’s lesser-known pearls to create a CD that will take you on a journey through several musical styles. R&B, Country, Blues, Gospel, Tejano, and plain old rock & roll are all represented here. This project reminds me a lot of the Pat Boyack CD that I reviewed earlier- not quite as star studded perhaps, but not short on talent and longer on diversity of sound. Like Pat’s CD, this one is filled with knockout vocal performances by a handful of guest singers, with the ringleader guitarist respectfully staying in the background.
Brave Combo
Brave Combo. Do I need to say anything more about these guys? I could end this review right here- because you should already know everything about them. But being a blabbermouth- I won’t. This is the best polka band in Texas. Nay- this is the best polka band in America, or perhaps even the world. I mean, how many Grammy winning polka bands are there? And I don’t need to tell you that this isn’t your Grandpa’s polka band either. You already knew that. 
“My Weapon”
2006 Hairball 8 Records
Score= 7.5
I’m excited to say that “My Weapon” is the album I knew they were capable of making all along. This disc just rocks. The girls are a little older and wiser, the sound is fuller, richer, deeper, punchier, and sounds better cranked up in your car, which is a pretty important thing to me. The release of this album is in good time with the recent softening of The Donna’s sound. The Applicators are brattier and edgier, taking The Runaway’s style in more of an early punk direction than towards Ace Frehley and AC/DC.
The Applicators sound hungry and ready to knock The Donnas off the pedestal they’ve enjoyed for too long. Who’d be better to do that than a bunch of girls from Austin? This album is further proof that Austin chicks flat-out rock. What a wonderful place to be where artists like The Applicators, Adrian and the Sickness, Carolyn Wonderland and Patrice Pike are considered regular parts of the scene. Gotta love it!
“Mad Mad Love”
2006 Independently Released
Score = 8.5
“Mad Mad Love” is a sweet, wonderful thing. The first thing that hits you is her unique and expressive voice. Initially you will want to compare her to Macy Gray, Kate Bush, Björk, or perhaps Eartha Kitt. Then you begin to realize that Lisa Richards really has her own thing going, and any comparisons become futile. With an uncanny ability to be silly and feather-light, and disciplined and refined at the same time, she is definitely a singer’s singer. She can also switch gears on a few bluesy songs and lean in a very natural Bonnie Raitt direction.
In “Mad Mad Love” she showcases that spectacular and versatile voice with twelve well-written and thought provoking songs. The production is far beyond its budget for an independent artist, and the talent along for the ride is superb. Lyrics range from story telling to the abstract, with plenty of imagery and emotional pull. This CD exhibits the experience and confidence few singer songwriters have.
“War and Peace”
2006 Two Roads Records
Score = 8
Many anti-war and anti-Bush CD’s are sent my way and I usually agree with them politically and chuckle at the humor. But I haven’t reviewed any because none have been great albums. None have been worthy of more than a few listens. Songwriting, musicianship and lyrical poetry always take the backseat to ranting about the mess we’re in. Thankfully Butch knows better than to make that mistake. This IS a great album in every imaginable way, and a cathartic experience for the artist and listener alike. Butch has managed to take those thoughts and frustrations that so many of us share and turn it into great art and a beautiful lesson.
The music recorded here has a timeless quality that will far outlast Bush, this particular war and unfortunately the ones that are to come. The gentile lilting melodies often convey the peace and harmony he wishes to promote. With thought provoking wordplay and clever use of metaphor he never comes across as preachy or condescending, which will make it enjoyable even to some who support the war. The feeling you get is that of a wise old sage relaying the simple truths about the evils of war and the goodness of peace, without being too specific. He sings often about Bush but never really mentions him by name- it’s just not necessary. Many future leaders will repeat his mistakes, so these songs are about them too. Butch is as good as Dylan when he was Dylan, and Woody Guthrie and Pete Seeger as well.
“Every Day Dream”
2006 Independently Released
Score = 8
This CD is just dripping with soul. Leeann has this wonderful kind of old time bluesy rock thing happening that echoes of Motown, Janice Joplin, Bonnie Raitt, Marcia Ball and plenty of artists from the 60’s and 70’s that aren’t around anymore. Her warm, full and slightly raspy voice is strong and consistent, and very versatile. As good as it is, the musicianship here is probably even better.
There’s no hiding the blazing melodic lead guitar solos by Johnny Mac and Larry Wilson, the slide guitar work by Papa Mali, the rhythm guitars by Sunnyman and Jackson, Riley Osbourn’s Hammond B3, bass by Courtney Audain and drums by Frosty. Several other talented guests round the recording out nicely. The musicianship makes for a big big sound that way exceeds the budget for this independent release. That’s what friends are for, and Leeann has plenty of talented friends.
Songwriting is also strong, with Leeann writing or co-writing most of the tracks. “What’s Your Situation” is a jazz departure, which reminds me of the jazz-pop from the mid 90’s. Extra points goes for track 5, a tribute to Austin’s beloved Mamo John Traynor. (Anything that makes Mambo look down from above and smile gets a nod from me.)
“Modern Times”
2006 Sony Records
That logic is flawed for many reasons, one of which is that artists evolve and change in many intangible ways. They don’t just start out and continue on in a linear direction, they must constantly re-invent themselves and jump on different tracks altogether. Certainly Bob has become a very different artist over the years, so to wonder if he’s better now than he was in the 1960’s disrespects both the man back then and the man today.
If you ask me, I like his voice far better now. It’s weathered, haunting, mysterious and engaging. It’s completely different, so once again, apples and oranges. But this is the sound I WANT to hear from Dylan today. If he were still doing that trademark warble that every comedian has impersonated, it would be almost unlistenable.
What you will here in “Modern Times” is graceful simplicity in its finest form. Dylan understands that if it’s not necessary to the song, then it doesn’t belong. That’s the lesson to be learned here. It’s smooth and soothing, well seasoned and effortless, which is somehow edgy in its own way. It is a wake up call to anyone who might think Dylan is no longer relevant, or that this is old hippie folk music.
“In This Life”
2006 Independently Released
Score = 7.5
By the late 1970’s, ska music was slowly being absorbed by the punk rock scene, which resulted in songs with faster and faster tempos. More of the bands were coming from England or America instead of Jamaica. Sadly, this became the ska sound that most Americans know today. While hyperfast tempos may have been fun for a while, in the end it ripped the heart and soul right out of the genre. Ska had lost its roots, Jah was saddened, and darkness fell upon the face of the earth.
So it is really refreshing to me that this group is helping to revive the style, and bring it back to its simple, mellow “rocksteady” ways. More interesting is the acoustic format, with upright bass and stripped down drums and percussion. Even more interesting is the use of the melodica, and the sparse presence of steel drum. The choice of instrumentation really helps to create a unique and timeless thing. (There just aren’t many towns in America where such a ska band would form other than Austin.)
The production is sparse and thin, but I think that’s the feel veteran ska producer Victor Rice was shooting for. (You almost expect to hear a few skips and pops as if you’re listening to old vinyl.) Songwriting is up to the task creating smooth, intoxicating melodies and the same kind of simple romantic lyrics old ska was known for. The musicianship wisely lets the songwriting take the lead and does not stand in the way by doing unnecessary things. I don’t think these guys are trying too hard to please the purists, but if any kind of ska is your thing, these guys are for you.
“Bring Yer Wellies”
2006 Megaforce
Score = 7.5
Although they might have a few members born across the pond, the band is now unofficially based here in Austin where this album was recorded. Trust me, this CD is the finest evidence that traditional Irish music is best performed with a belly full of Tex-Mex. I’ve followed their work for a long time, and this may be their best album yet. Here they sound relaxed and in their groove, having shed the ill feelings of that nasty corporate environment way out west. I have a good feeling about this one. Although Ireland is certainly the prominent force here, Scottish and American folk music influences them too.
The tracks that really stand out are “Don’t Go for the One” (Hilarious- if only I could tell you why this means so much to me…) the Irish anthem “Kiss Me I’m Irish” and “Me and the Moon.” A nod goes to the final instrumentals titled “The Salt Lick” and “Tornado Alley” which lets you know where these boys now reside.
“Snake Farm”
2006 Sustain Records
Score = 8
The Snake Farm sits on I-35 near Selma, Texas, and I’ve been told for years there’s more to it than just reptiles. My aunt once pointed out the double-wide trailers sitting behind it, and said “take a guess what goes on back there.” I thought she was crazy, but now I’m not sure. Apparently this local urban legend has reached Ray, or maybe he’s been out back a few times himself. Either way, the opening track is a classic with Ray’s sly humor in full swing. (I like the plug he gave to one of my favorite old 80’s bands- The Alarm.)
This album rambles through a thick, sticky, greasy mess of genuine American roots music. Imagine a chicken fried steak smothered in cream gravy and a couple of greasy cheese enchiladas with chili con carne on top. Now cover that with bacon and bacon drippings, and set it to music. Don’t forget the ice cold Lone Star and a jalapeno on the side. This is primarily Texas style blues with a country and rock chaser, and it stands up well to all the praise it is getting. Ray’s guitar work and Gurf Morlix’s guitar work really shines as expected.
Ray might be considered country, but he rises above and beyond that category in the same way Johnny Cash did. He doesn’t so much sing as he does speak through the music in storyteller fashion, like a character actor playing the role of himself. His material is very personality driven, and that’s why it seems so effortless. It’s just Ray being Ray. The only thing about this album that seems amiss is the lack of variety. Most tracks have the same basic groove, which makes the album seem a bit rushed conceptually. But it’s an awesome groove, so I can deal with that. I think you can too.
“Valley So Steep”
2006 Lowe Farm Records
Score= 8
Here he hooked up with Rebecca Cannon, the darling yet bratty front woman of the popular 90’s Austin punk band “Sincola.” With a previous hit called “Bitch” and a video that I’ll always remember, I knew Rebecca’s time in the limelight was far from over. Together they decided the switch from punk to country would be a natural one. They were right- and the Sapphires were born.
Enter Grammy winning steel guitarist and producer Lloyd Maines who has a long history of turning all things golden. Lloyd adds dobro and pedal steel among his production help and general guru presence. Guests also include Warren Hood on fiddle and Craig Bagby on drums.
The first thing that hits you is the authentic roots country sound with a tinge of bluegrass, and any hint of punk rock is noticeably absent. Rebecca and Billy give it a real Conway Twitty and Loretta Lynn meets George Jones and Tammy Wynette kind of effort. Who knew that Rebecca could slide in to that role so naturally? The backing band combined with Lloyd Maines and guests adds the finishing touch. You’ll be glad you bought this one.
“Everyone’s Got ‘Em”
2006 Chicken Ranch Records
Score = 6
Hitting “play” I instantly realized a new kid was on the block, as the all-acoustic musicianship passed my stringent quality control. Upright bass thumps away, the muted trumpet wails, the clarinet brings us right back to yesteryear. Guitars, banjos, violins, they’re all very nice. Everything clicks away fine and authentic enough. Then the third track starts and “Smokebreak Slemenda” starts to sing. Ouch.
His vibrato is out of control and makes me shiver. Wait a minute… “Shiver.” Is that the desired effect? My guess is that this cat is trying to do the retro sounding vibrato that Mysterious John does so well, but pushes it right over the edge. Or maybe I’m missing the point, and making me shiver was intended? I dunno. All other vocalists seem to work fine for me.
Cella Blue’s voice is sweet as honey, but her style is- and perhaps this is just coincidence, almost identical to founding Spanker Christina Marrs. But even Christina emulates the style of the era, so her style may not be exactly “original” either. It’s a head scratcher either way. Then WGS uses instrumentation that includes ukulele and kazoo… well now that’s Spanker territory if you ask me. (If one of them learns the saw, I might just have to shoot them. Oh wait… is that what I hear on track 15?)
The novelty songs here work well, and songwriting is no problem for these guys. Overall this is a good CD and that’s why I’m writing about it. There’s plenty of room in this genre, so I think they’ll find their crowd. And if you think about it, they’re probably starting out as better musicians than the Spankers were in ’95 anyhow. If they can work out their concept to be a bit more unique, they’ll be just fine. Besides, humor is always a good thing, and they definitely have that.
“Proteus”
2006 Independently Released
Score = 7
I’m happy to say there has been a grass roots effort to revive the style, and this is the best local example I’ve heard so far. Heavily influenced by the jazz-fusion of the same era, Proteus doesn’t shy away from unpredictable time changes or dramatic, ambitious instrumental interludes. Musicianship is strong with impressive keyboards and guitars throughout. The rhythm section keeps up very well and never misses a step. When it comes to their instruments, these boys definitely did their homework. No lacking of talent there.
But just like the other examples of this style I’ve heard lately, Proteus lacks the unique vocal qualities of a charismatic front man like a Geddy Lee, a Peter Gabriel or a Jon Anderson- and there aren’t any showmen like Freddy Mercury around so I won’t even go there. Even Pink Floyd, while not a show band at all- had unique and instantly recognizable vocals. That’s another part of the magic that the progressive art rock bands of the day had, and I’m still waiting to hear that in a new band. The vocals on this album are good, but they don’t stand up to the instrumentation. And on one track in particular (Beyond the Earth) they even have a bit of a “boy band” thing going. Ouch. Lyrics are also not a strong suit, which was another crucial piece in the progressive rock puzzle.
But the important part of this band is the instrumental work and the sheer cerebral talent that seems to flow effortlessly when they’re jamming. Like the bands mentioned above, they seem to be capable of doing a million things instrumentally without putting a foot wrong ever. If they can do this live, they’d be a great band to see. The track “Spec o’ Fleck” demonstrates a Bela Fleck and the Flecktones style workout, which is a challenge for anybody to pull off. That is the part about these guys you need to know about, the rest will come in due time.
“Don’t Play to Lose”
2006 Floodwater Records
Score = 7
The Lonesome Heroes are on a mission to make a different kind of country music. With its “Grapes of Wrath” era feel soaked in reverb, you get the feeling you are listening to a long distant echo of something that once was. The drifting melancholy and bittersweet style is beyond the range of their youth, and yet it seems totally natural to them.
The production is low budget and the mix is occasionally questionable. The song structure is loose but the almighty groove and ability to convey the mood is dead on. I expect great things from this band in the future, so they’d better stick around for the long haul.
“Zonk”
2004 Schazbot Records
Score = 7
Grass is a three-piece project lead by bass dynamo and vocalist Mo Pair, who also fronts the psychedelic funk band Groovin Ground. Moving in a late 60’s early 70’s art rock direction that is part Yes, America, and Crosby, Stills, Nash and Young, the sounds recorded here are lush and creative- bringing you back to those days when having a brain was cool.
Grass manages to work in a Zappa and a Ziggy Stardust reference, and an entire live performance of “The Trees” by Rush. That’s right, a complete old school Rush cover performed live in 3 piece without any help. Granted it’s not perfect, but even coming close is an ambitious task. Followed by the sounds of a water bong and much laughter, and a few things I won’t give away- but it’s a good laugh.
“First Things First”
2006 Strong Domino Records
Score = 7.5
Halfpenny writes deep, thought provoking lyrics. “Like the cradle and the hearse, first things first” is a great way of saying death is just another beginning. The opening song “Pentagrams” has lines like: “She goes in 5 directions like the points on a pentagram, and when I look for haven in her eyes, I just see reflections of the fool I am.” The insert contains complete lyrics with landscape photography and cool graphics.
With it’s musically KGSR friendly feel it’s a bit hard to categorize. Bluesy pop rock with a bit of Texas twang comes close. A dash of Americana? Sure, why not. Most songs are good, but my favorite is the final bonus track “The Long Bar.” A great classic drinking song and an ode to friends and family no longer with us, it wraps up the disc nicely. While he is also deeply involved in soundtrack work in his backyard hill country studio, Jim Halfpenny’s time would be better spent on projects like this.
“Hard Again”
1977 Blue Sky Records
Muddy Waters didn’t invent the blues, but he was one of its most significant pioneers. He shaped it and helped it get the respect it deserves. (Well, actually that still hasn’t happened, but because of Muddy and Clifford, the respect is better now.) Muddy’s long career began around 1941, and lost steam in the early 70’s. Right when it appeared to be all over, Texas guitarist Johnny Winter brought him out of retirement for what would become arguably the best three albums of his life. “Hard Again” is the first of the three, beginning with a defining, powerhouse rendition of “Mannish Boy.” One listen removes any doubt that Muddy was KING at the time, and perhaps of all time. (And you must admit that when it comes to testicles, every guy in any rock, punk or metal band that ever existed MUST bow down to this man.)
The Austin connection is clear, being recorded with current residents James Cotton on harmonica and Pine Top Perkins on piano- both blues legends of the highest order themselves. Johnny Winter supplies guitar and various backgrounds screams, Charles Calmese is on bass and Willie “Big Eyes” Smith is on drums. Muddy is of course the front man and ringleader, supplying more swagger and attitude than anyone- let alone a 63-year-old possibly could. This is an album that you can leave running continuous and never be bored. If you think you love the blues now and you don’t already own this- slap yourself and get yer sad George Thorogood lovin' ass to the record store and prepare to be reborn.
“My Higher Ground”
2006 Independently Released
Score = 7.5
The first thing that hits you is the power of her band. A tight, in the pocket rhythm section just dripping with funk, a keyboard style you might expect from Stevie Wonder, and a red hot guitar that you would expect from any project based in Austin. Everything just locks in so sweetly, and then LZ starts to sing. LZ’s voice is a classic. Comparisons to Aretha or Tina Turner will definitely happen. She’s that girl in the Southern Baptist choir that sets herself apart and gets the spotlight towards the end of the service when it all gets pushed over the top and everybody leaves their seats.
The next thing that hits you is the songwriting. Many times I had to grab the insert, looking up the credits thinking “She didn’t really write that, did she? This is an obscure Otis Redding or Al green song, right?” Nope. She wrote or co-wrote every song. The arrangements and production complement the songs nicely, and make for a well-rounded package.
Without a doubt LZ is a powerful vocalist, one of the best in Austin today. But it’s very likely that Ruthie Foster still holds top honors in this category. Austin music fans will inevitably compare the two, like the two best gunslingers. But stylistically, they are apples and oranges in their music. And even if Ruthie does have a better voice, LZ might be a more inspired songwriter. The important part is that they both call Austin home.
“Accidentes de Longitud y Latitude”
2006 Independently Released
Score= 8
Sure, there’s plenty of Latin rhythms and lyrics en Espanol, with the occasional accordion here and there. But that’s where everything else you might assume about Latin music comes to an end. Experimental electronic effects, orchestral percussion, xylophones, a string section, distorted electric guitars, pedal steel, a variety of traditional Mexican acoustic guitars (like the requinto jarocho, jarana and the quinta huapanguera,) cheesy mall organs, lounge piano, quirky unpredictable arrangements and ambient interludes- all makes you realize this is a different kind of Latin project. These guys have an unusual concept, and the talent to pull it off.
At times reminiscent of David Byrne or even Danny Elfman, this CD is a ripe source for film soundtrack with dramatic, mood setting appeal. Catchy, memorable melodies intertwine with inventive electronics and percussion that really takes you places. These guys will stand out as artists who will take risks. Just when I think they’re going in an art-rock direction, suddenly it turns hip-hop. They are simply too creative to fall into the typical machismo trappings that most Latin bands are known for. Latino nerds? Maybe, but I like it, and you will too.
“Long Way Home”
2006 Independently Released
Score = 7
A smoother and more refined singer songwriter than you might expect with such a blue-collar name, Matt writes songs that flow in a simple, effortless way. Simplicity is a thing that is overlooked by many, since the “real” world teaches us that for things to be better, they should be more complex. While that might be true with electronics, it doesn’t always apply to songwriting.
I like the ambient quality of the second track “Water,” and the humorous take on the writings of Ernest Hemingway of track 3. I’m a sucker for anyone who plays the banjolele and puts it in waltz time, like track 4, “Sad Lisa Waltz.” Track 9 is a Jon Dee Graham cover of “$100 bill.”
With 37 minutes of playing time, this 10-song effort leaves you wanting more, but we’ll take what we can get. Along for the ride is the hardest working guitar player in this town- Scrappy Jud Newcomb, Liz Pappademas (Hurts to Purr) on accordion and piano, Tom Pearson on bass, Jon Greene on drums, and the dulcet tones of Seela on backing vocals.
“Full”
2006 Freedom Records
Score = 8
Former front man of Austin’s legendary “True Believers,” and of the punk band the Skunks, he is often compared locally to Tom Waits. I’d say he has better control over that gravely growl, and he’s easier on my ears- but that’s a personal thing. But what really matters here is the songwriting- and Jon Dee is one of the best around.
Another striking thing about this album is the guitar work. The bright, shimmering tones in opening track “Jubilee” remind me of REM or The Smiths, which counters Jon Dee’s rough voice and harmonies nicely. Some songs also have the emotionally uplifting feel of early U2. The guitar sounds change afterwards through various blues rock incarnations, with brilliant textural qualities. The reverb saturated slide in the background of “Swept Away” is intoxicating, and truly makes you feel as if you’re being swept away. I really like the haunting, mysterious and image laden “Tie a Knot.”
“Songs For Parents Who Enjoy Drugs”
2006 Righteous Babe Records
Score= 8
Ed is the only person I know who’s qualified to pick Bill’s torch up off the ground. The reason he can when the comedians can’t is this: Bill Hicks was always a musician first, and a comic second. Bill approached comedy with a rock and roll/take no prisoners attitude, and that’s what enables Ed to understand what was really in Bill’s head. The other reason it works for Ed is that he makes no attempt to steal Bill’s bits or imitate his behavior. He doesn’t need to. He has his own thing going, but with Bill’s squeegeed third eye directing the way.
Hamell On Trial is first and foremost a one-man acoustic punk rock show. What he does live truly defines who he is. You’ll laugh your ass off, you’ll respect his energy and punk rock work ethic, and he’ll give you plenty to think about. And if you’re timid or prude, prepare to be offended, just like you should be. Ed continues his tradition of writing about a train wreck of degenerate social misfits and drug pushers that only he or maybe Quentin Tarantino could dream up. He sees beauty in the ugliest, most vile things. He guts pop culture like a fish, and makes it rhyme at the same time.
On this his second album with Ani DiFranco, Ed attempts to explain the world we live in to his now 4 year old son Detroit. These days even toddlers will raise an eyebrow watching the antics of our favorite President, and his sad little war. But he also deals with the question lots of new parents do: what do you tell your kids about the endless partying, drinking, drug use, orgies, bestiality, gambling, stealing, vandalism and left-wing politics you enjoyed before THEY came along?
Not quite as groundbreaking as 2003’s “Tough Love,” this is still a great effort by one of the most unique and thought provoking artists around. There are plenty of neurotic and caffeine infused songs here, like “Pretty Colors,” “Values,” “Civil Disobedience,” and “Mommy’s Not Talking Today.” Besides, only Ed could write a sophomoric song like “Coulter’s Snatch” and make it work. (Ani singing along safely removes any chauvinism.)
As usual, Ed and Ani add full instrumentation and synthetic sound effects for a totally different vibe since Ed’s live one-man shtick really wouldn’t translate in a studio anyway. Asylum Street Spanker and spoken word master “Wammo” makes a few cameos. But nearly absent is Ed’s hyperfast thrashing on that 1937 Gibson acoustic, which both he and Ani should be slapped for. Guess you’ll have to go see him for that- and be sure to tell him Maria sent ya.
“Age of Winters”
2006 Kemado Records
Score = 7
In the good ol’ days, Metal had these great mythical Tolkien-esque lyrics about fantastic kingdoms and monsters waging epic battles between good and evil. They wrote gothic anthems about things you’d never see in your awkward, boring teenage suburban life. Sure it got all Spinal Tappy after a while, but if you’re bored with no money or car and a whole lot of imagination and time on your hands, this stuff really took you places. Today’s metal lyrics are usually about pointless evil and violence and dropping the ‘F bomb’ as much as possible, with all the poetic grace of the latest video game soundtrack.
So along comes “The Sword” from right here in Austin, a town not known for metal. They’ve created a mountainous wall of dinosaur thunder that really brings me back to those thrilling days of vinyl- and scratches and itch that hasn’t been scratched in a LONG time. Without a doubt, the major influence here is early Sabbath, but it doesn’t stay that way. The tempo changes often and doesn’t always lumber about like a 60-ton brontosaurus. It may be heavy and dramatic in places, but when they slap that dinosaur hard on the ass- she really gets up and goes. This is definitely a band that happened AFTER Metallica and Pantera, but its heart is pure apocalyptic 70’s mayhem. Press play, and prepare to bang thy head, fist raised high in the air.
On the plus side, these guys who are all too young to remember Sabbath’s glory days really captured the spirit. They’re also aware of the art rock vision of the time, and the Roger Dean-ish cover art by Trail of Dead leader Conrad Keely adds to the validity. The whole package seems authentic enough. On the minus side, the lyrics are more a caricature of the time than anything else. They lack a charismatic lunatic front man like Ozzy, Dio, Halford, Dickenson or Kilmeister, and don’t really have a unique look or stage presence, which meant everything back in those days. Can’t exactly give any pluses for originality, but who cares. This is their first album, and they have plenty of time to work that out if they chose. Trying for a “look” might not work anyway. The important part is the music, and they really nailed it here.
“Adrian for President”
2006 independently released
Score = 7
So I admit it- I’d never heard of this girl. I just got her CD, and I’m wondering who she thinks she is, and why we would want her to be President. How cocky is that? Especially given the great president we have now? (cough, wheeze…) Obviously this girl “thinks” she can rock, but since I'M the authority on such matters, I’ll have the final word on that. And if she’s a poseur, believe me- my wrath is merciless and I’ll ‘out’ the bitch right here and now. So I popped in the CD and pressed “play.”
Wow. Okay, looks like the jury just rushed back in to re-evaluate. Like the Dude Lebowski said, “New evidence has come to light, man.” By the third song I’m doing Internet searches trying to figure out who this chick is and wondering why I never heard of her before. This girl ROCKS. (On her web site there’s a video of her playing in a club with a freshly broken foot. She decided to play in her underwear to make up for the fact that she wouldn’t be able to jump up and down in her usual way. The girl is ON FIRE in that clip.)
Why does this SG brandishing chick rock so hard? Adrian Conner was the “Angus Young” character in the successful Seattle AC/DC all female tribute band “Hell’s Belles.” As such, the spirit of Angus just oozes from her like a woman possessed- and how much more rock and roll can you get than that? She recently moved here to start her own band and to lose the cover band stereotype. So we as a city- the “Live Music Capitol,” need to give her a warm welcome.
This CD bounces back and fourth between the influence of AC/DC and the Ramones, and that’s a pretty genuine rock and roll place to be in my book. Adrian’s guitar playing has SERIOUS cojones. (Imagine a scrote like two cantaloupes in a plastic HEB bag.) She struts her stuff like the baddest thing that ever plugged an SG into a Marshall, and after watching her, you’ll begin to think she could be.
Lyrics are pretty average at best, but with all that rock and roll in her heart she makes it work anyway. Songwriting isn’t bad, but not great either. The playing time for this 8 song disc is a terribly short 21.5 minutes, and you’ll hit play again as soon as it’s done. Her on stage shtick is still pretty Angus, but it’s hard to hold that against anybody. Drummer Ric Furley is solid and fills out a big sound, and bass player Heather Webb does everything right but should be more up-front in the mix.
“Far and Away”
2006 Instrument Flight Productions, Inc.
Score = 7.5
The thing that hits you first is the sultry and effortless vocals delivered by Amanda Walker. Her voice is wonderfully sweet and consistent, euphoric and completely in her element. She gives the music exactly what it needs.
Secondly, you realize the depth of the project- the musicianship, the skill, the songwriting, the production. Brazilian percussionist Luiz Coutinho supplies bateria style rhythms in a smooth jazz setting, which seems nearly impossible. There are few sounds in this world that can get your heart pumping and sweat pouring like the thunderous samba of Brazilian percussion- yet Luiz is never obtrusive or distracting in this delicate setting. That’s a magic trick if you ask me. (Repiniques, tamborims, pandeiros, agogos, surdos and berimbaus aren’t used to being subtle and ambient.)
Electric guitarist Matt Williams and nylon string acoustic guitarist Carlos Ufret provide intricate melodies that weave delicately with Amanda’s vocals, and Joe Sokolik’s heavily compressed bass is ever present in the mix. Founder, songwriter and drummer Bruce Popky anchors it all nicely. A string quartet appears in two tracks for a full lush sound.
Perhaps at times little ear-candyish and too KGSR friendly, but it’s good enough to be forgiven of that. (With so many things going right, that would be a petty thing to suggest.)
“Piety and Desire”
2006 Horeb Records
Score = 7.5
Recorded in New Orleans with an A-list of Big Easy talent shortly before Katrina, this album is post-bop jazz-fusion in a big way. Instead of jazz fused with rock, this is classy post-bop jazz mixed with Professor Longhair, the Wild Tchoupitoulas and a bit of chant from the Synagogue down the road. Does it work? I’m still writing, aren’t I?
Musicianship is astounding with Jason Marsalis (yes, the Marsalis family) on drums and vibraphone, Austin’s own Alex Coke on sax and flute and Mark Rubin on oud and upright bass, the amazing Roland Guerin also on upright bass, Matt Perrine on tuba, Fred Sanders on piano and Neil Bufome as the ringleader providing vocals throughout. My favorite tracks are the New Orleans rave “High Fidelity,” the ambient and spiritual “Seven Blessings of the Garden District,” and the energetic Klezmer fused “Playpen Stomp."
“Piety and Desire” was named after an 1881 image of another New Orleans hurricane disaster- taken at the wharves between Piety and Desire streets. Musically, this is a fascinating journey that could only have happened in such a city. (Perhaps New York is the only other city where so many amazing cultures come together.) Playing out like the soundtrack of a film that surprises you with entirely different scenes from moment to moment, no two tracks are alike. If you don’t like one, the next is entirely different. Either way, all tracks are complex art expressed through contemporary jazz that will give you plenty to think about. If you liked the previously reviewed Alex Coke release “Iraqnophobia,” you’ll like this too.
“Right Where I Belong”
2005 Independently Released
Score = 8
The fourth track “Coffee Today” is on par with Carole King’s “So far Away.” It relates to the feelings of loneliness sometimes brought on by a simple event, like stopping by for coffee. It has a rainy Sunday feeling about it, that rare moment on the sofa when the world stops and a bittersweet feeling washes over you, and you realize the day won’t last forever. “Does it Satisfy” shines with the help of local trumpet hero Ephraim Owens.
Wendy shows a great deal of promise as a songwriter and lyricist. She has a knack for riding the line between joy and despair, euphoria and melancholy. As a vocalist she is sultry, passionate and very consistent. Her time spend with close personal friend (and more) Guy Forsyth- has been a great influence. (Or perhaps, Wendy has been a great influence on Guy?)
The “A” list of Austin talent along for the ride includes Forsyth, Carolyn Wonderland, Warren Hood, Cole el Saleh, Leslie Mccurdy, Su Walenta Hunt, Wayne Sutton, and Ephraim Owens. Rounding it out and adding his personal stamp of quality is producer Stephen Doster, who in my opinion can do no wrong.
“In A Honky Tonk Mood”
2006 Texas World Records
Score = 8
Lucky Tomblin supplies his golden toned lead vocals on most of the tracks. He first sang at the Grand Ole Opry Show in San Antonio with Roger Miller and Ray Price. He shared stages with Doug Sahm, Augie Meyers and the West Side Horns. He founded The Fire Station recording studio in San Marcos and produced the Texas Tornados, Joe Ely, Flaco Jimenez, Jerry Jeff Walker and Omar and the Howlers.
Earl Poole Ball is “Mr. Honky Tonk Piano.” He was a member of the Johnny Cash Show, and played on Gram Parsons' “Safe at Home” album and the Byrds’ “Sweetheart of the Rodeo” album. He’s recorded with Merle Haggard, Glen Campbell, Linda Ronstadt, The Flying Burrito Brothers, Buck Owens, Rick Nelson, Marty Robbins, Marty Stuart, Mickey Gilley, Jerry Lee Lewis, Carl Perkins, Johnny Cash, and appeared on Johnny Carson and Saturday Night Live.
Cindy Cashdollar has won 5 Grammys, recorded with Bob Dylan, Asleep at the Wheel, Leon Redbone, Peter Rowan and Graham Parker. She is a frequent guest on Garrison Keillor's NPR show, “A Prairie Home Companion.”
The amazing Redd Volkaert is one of Austin’s finest guitarists. With sausages for fingers he keeps a cult following of Austin pickers in awe. Hailing from Vancouver, BC, he moved to Los Angeles and then Nashville. He worked with Ray Price and Merle Haggard, becoming Merle’s permanent lead guitarist in 1997.
The equally amazing Sarah Brown has played bass for Albert Collins, Buddy Guy, Otis Rush, James Cotton, Dr. John, Bonnie Raitt, Nick Lowe, Mason Ruffner, Paul Carrack, Big Walter Horton and the LeRoi Brothers. She really nails the bass on this album with her sweet melodic walking grooves, and her vocals are great too.
Drummer Jon Hahn hails from Iowa and has played with artists like Radney Foster, The Flatlanders, Joe Ely, Rosie Flores, Gary Primich and Jim Stringer.
Bobby Arnold has played rhythm guitar for many projects, but excels as a recording engineer for folks like Willie Nelson, Ray Charles, Neil Young, Merle Haggard and Les Paul.
This amazing cast of Austin characters has put together a smooth and polished recording that any old school country traditionalist would love. It is truly a feather in Austin’s Stetson, and another reason why we're a better town than Nashville.
“The Long Grazing Acre”
2003 Compas Records / Hot Conya Records
Score = 7.5
If you’re unfamiliar, I’ll fill you in. Amongst his contemporaries it is believed that Paddy is the greatest Uilleann piper in Ireland today. In 2002 he won the "Traditional Musician of the Year" award from TG4, the national Irish language television network. Early in his career, he was a founding member of “The Bothy Band,” regarded as the greatest of the Irish traditional bands to revive the style in the seventies. Because of his genius for improvisation and counter melody, he has been compared to instrumantal masters from John Coltrane to Jimi Hendrix. His speed and ability to flex and bend notes has a hotshot rock guitar quality, but it's authentically Irish as it can be. Born in Trim, Co. Meath, his style has been passed down to him from his father and grandfather who were also pipers. (His late brother Johnny was considered the greatest Irish banjo player of his generation, and Paddy regards him as the real genius of the family.) Paddy also demonstrates his keen abilities with the low whistle, which is like a bass flute if there was such a thing.
London born guitarist singer songwriter Tommy O’Sullivan prefers to think of himself as a singer that plays, rather than a player that sings. His vocal style is versatile, unique and expressive, and adds much to the recording. It's a great accompaniment to Paddy’s piping which also has a vocal quality. Tommy is no slouch with an acoustic guitar either. Whether he’s powerfully strumming full rich chords or using his percussive flat picking style, he keeps the momentum and energy flowing throughout the disc.
Together they run through a variety of originals and traditionals, and jigs and reels. The Sandy Denny classic “Stranger to Himself” is a great thing here, and so is Rolly Salley’s "Killing the Blues." (You may know the Shawn Colvin version.) Although the pair wander occasionally into singer/songwriter territory, it’s the jigs and reels that blow you away. Like the Saturday night session in that perfect Irish pub fantasy that all of us Americans entertain, where the greatest musicians ride tractors and plow fields by day, and shake the town as the county’s best kept musical secrets by night.
I'm a bit biased having been fortunate enough to attend the annual Johnny Keenan festival in Ireland back in 2003. Paddy and Tommy blew the roof off the joint, let me tellya. (I was unfortunately not able to catch them at the Cactus Cafe in 2005.) But any bias aside, I know Irish traditional well enough to tell you this is the genuine article. Backing musicians include James Blennerhassett on bass, Greg Sheehan on percussion, Mary Green on vocals, John Fitzgerald on keyboards, former Bothy Band mate Triona Ni Dhomhnaill on keyboards, and Stephen Housden (of the Little River Band) on electric guitar.
“Live in Sydney”
2005 Rising Son Records
In this double CD set, Arlo is captured in his element at The Seymour Center in Sydney, Australia. He is joined by his son Abe on keyboards, and multi-instrumentalist Gordon Titcomb. Captured here are the music and stories that have made Arlo one of America’s folk music heroes for more than 40 years.
What makes the live experience with Arlo so cool is his comical introductions and humble self-deprecating ramblings in the middle of songs. It’s the style of humor that the sixties and hippie culture was known for, and is so rarely heard today. (Yes kiddies, hippies weren't just known for LSD and pot and protesting war. They were also damn funny people.) He started this with the 18 minute “Alice’s Restaurant Massacre” in 1967, and has mastered the art of storytelling with an effortless, accidental style over the years. The result seems more like a wonderful piece of nostalgia than something recorded just months ago. The stories make up at least half the time on these CD’s, and you’ll be so into them that they will seem to fly by.
A lot of material is covered here, there’s Arlo classics, Woody classics, Bob Dylan classics, you name it. His story about how Dylan doesn't cover classic Dylan anymore- so if you want to hear that stuff you'll have to see him- cracked me up. Arlo’s guitar sounds wonderful and Abe and Gordon sound great too. So I invite you to grab this CD and step back into a simpler and better time in our culture, and enjoy what those folks down under got to see on this special night.
“Live From Antones”
2005 Independently Released
Score= 7
This music just says come on in, grab a cold one, the BBQ’s over there. You can dance or sit down and tap your toes, we don’t care- just glad you’re here. That’s the feel I think Shawn Nelson and the Ramblers are trying to create here. Listening to this CD, I can imagine them in just about any honky tonk where the beer is cold and everyone’s glad to be off work.
Shawn Nelson was born in Houston, and lived in Austin while attending UT. Afterwards he moved to Nashville to work for a music publishing company, but decided to move back to Austin to pursue his own career. After a few other projects, he teamed up with the Ramblers and became the chief songwriter and front man. Aside from strumming the acoustic guitar, Shawn adds mandolin for a bluegrass feel.
Lead guitarist Joe Faulhaber is without a doubt a very good guitar player. His leads sizzle on just about every track here. Although I’d probably be into it 100% if I saw him in person, some of his solos come off a bit long winded for this recording- particularly on “The Difference.” Louis Landry adds plenty of soul with his R&B and gospel tinged Hammond B3 organ, and high backing vocals. Bassist Shaun Dickerson stands out to me as bass players go. Supplying smart walking blues basslines that accentuate the melody and make you want to move is his specialty. His tone is warm, well compressed and ever present in the mix. And anytime you have a drummer with a name like Mooke, you know it’s gonna be good, right?
“Circle Circle Dot Dot”
2005 Independently Released
Score= 7
Folks, when it comes to maintaining a fowl mood, I’m an expert. Maybe Ed McMahon holding a giant check on my front porch could crack the ice, I dunno. So any band that can pull me out of my holiday grumpies gets an honorable nod from me. The Cooties have a silliness that reminds me of the very first time I heard the B-52’s or Laurie Anderson’s “Oh Superman.” Songwriting reminds me of early Who from their “Happy Jack,” “I’m a Boy” and “Boris the Spider” days- but with female vocals. Mix that with the chugging rhythm guitars, relentless beat and general tone of the Ramones first album, and you’re somewhere near the catchy, infectious Cooties sound.
Musicianship and vocal virtuosity are nearly non-existent, and they sound very much like the overdubless 3 piece that they are. Thinking that’s a problem is of course WAY missing the point. The Cooties are about glorious simplicity and having fun. Even though none of the three members are “vocalists,” Shannon and Susan McMahon (ironic surname, given my earlier reference to Ed) supply interesting and creative harmonies throughout. So good, it occurs to you that they really know what they’re doing after all. Often singing lead simultaneously, Susan’s voice sounds like an innocent and naïve schoolgirl, and Shannon- well, he has his own thing going, I won’t try to describe him.
The down side is that even if there are 15 tracks, the total playing time is barely over 30 minutes. The CD is finished way sooner than you thought it would be, but after having so much fun with it the first time, I just hit play and listened again. It also helps to have a little something wrong with you to enjoy it like I do, it’s definitely a love it or hate it kind of thing- but it works for me, and I write the reviews so that’s all that matters.
“In The Rain, In The Sand, In The Cold…We Will Love”
2005 Independently Released
Score = 8.5
Songwriting is of course the key thing, and Drew delivers soulful, dramatic songs that ebb and flow like the best of them. But what really sets this recording apart are the backing horn and string sections by the brilliant Matt Russell. Imagine the “Chicago” horns from the seventies combined with the strings from the Electric Light Orchestra. It makes for a big fat dramatic sound that surrounds you, and highs that are just that much higher. Even after only hearing this CD one time, the horn arrangements stuck in my head for nearly a week. Added to that are well-placed piano, organ, vibraphones, drums, percussion and bass, with the singer-songwriter-guitarist guy in the middle. This is a group effort, with a room full of talented musicians using Drew every bit as much as he uses them.
Another thing that sets it apart is that you’d have no idea this came out of Austin. Absent is the bluesy-twangy sound and simple arrangements Austin is known for, which is a refreshing thing in this case. Drew assembles a bigger, more complex and cosmopolitan sound that New York or Chicago could easily claim, but we’ll go ahead and take him and call him our own anyway. I guess its just another reminder that Austin is still unpredictable and anything can and will happen here.
“Byzantine”
2005 Curium and Freedom Records
Score= 8
Playing guitar is a craft that anyone with the desire can learn, but to be a songwriter you have to have something to say- it requires certain life experiences, a unique point of view and the ability to communicate it through lyric and melody. A songwriter makes a song that not only sounds good, but transports the listener to a different place or time. One listen to tracks like “Damaged Goods” and “Baby, Let’s Break The Rules” tells you right away that Jud Newcomb is far more than just a good guitar player.
Lyrics like “You never know what you might find when you avoid the narrow mind” speaks volumes in this day and age. I liked this CD when I first heard it, but it has the ability to grow and expand every time I hear it. Each time a new line stands out that I didn’t notice before, and the scope of what’s here gets deeper and wider.
I like Scrappy’s voice, but understand that I also like the voices of Tom Waits and Shane MacGowan. Scrappy’s is easier on the ear than either of those two, but it’s still cut from the same cloth. It has that rugged, raspy quality that’s trying a lot harder to be honest than it is to be pretty. And if we all did that, wouldn’t it be a much better world?
“The Small Stars”
2005 Independently released
Score = 7
There are rumors going around that this is actually a side project of Fastball, but it would be more accurately said that Fastball is a side project of the Small Stars. The Stars first reared their ugly heads in a local lesbian coffee bar in 1989, and shortly after that their alter egos known as Fastball took off. It stayed that way until after a few platinum albums and world tours petered out and suddenly the Small Stars concept seemed like a much more fun option. I couldn’t agree more.
The Fastball connection is really only Miles Zuniga as “Guy Fantasy” and Jeff Groves as “Buddy Llamas.” The backing band is John Bush (New Bohemians/Edie Brickell) as “Brick Masterson,” Jeff Johnston (Li’l Cap’n Travis) as “Godfrey McCambridge,” Landis Armstrong (El Orbits) as “Richard Steele,” Matt Hubbard (Willie Nelson) as “Max Dolby,” and Nakia (Nakia) as “Vic Odin.”
As a lounge singer Miles Zuniga’s voice is adequate at best, although his campiness grows on you and becomes endearing. The songs are clever, theatrical, comical and entertaining as expected. Listening to the album you get the impression it is the soundtrack from an off-off Broadway musical. And like a lot of theater soundtracks, it seems sketchy without filling in the whole story needed to truly appreciate the idea.
My favorite song is “Don’t Keep ‘Em Waiting” which sounds very Ziggy Stardust. The rest is more of the ‘rock musical’ genre and vain attempts at character development. But if the Small Stars can master their characters and continue growing their concept, I believe they will eclipse the Fastball thing that distracted them in the first place. That’s my hope anyway. I’m all about supporting the long shot idea that seems more fun, over the tried and true corporate rock thing- aren’t you? But something like this would be best appreciated live, so go see them and tell ‘em Maria sent ya.
“Wear That Shoe”
2005 Independently Released
Score = 7
The San Marcos band “Wear That Shoe” was formed the other way- by experienced musicians who have been living and working in the real world for years, and after a post 9/11 epiphany- found the need to make music for a higher purpose. With that in mind, I think they have been able to create music that should appeal to folks who ordinarily might cringe at something like this - whether they share their beliefs or not.
This CD opens with a straight up funk song with a busy tempo and rock solid bass line by Craig Walton. My favorite track is the Amy Hall blues folk song “Evangeline.” Her vocals are sultry and sassy and the guitar work is just brilliant. The final track is a salsafied blowout with plenty of percussion soaked Latin rhythms and changes.
Lead guitar guru Barry Bynum was influenced by Johnny Winter, the Beatles, Grand Funk, The Byrds, Iron Butterfly, Crosby, Stills, Nash and Young and Led Zeppelin. To me he sounds more like Dire Straits’ Mark Knopfler and Thin Lizzy’s Gary Moore.
Guitarist-singer-songwriter Seth Worley was born in Morocco as an Air Force brat and has fond memories of life in an Arab village. Back in the USA, he became addicted to folks like the Grateful Dead, Zeppelin, Jethro Tull, Yes, BB King, Chicago, Santana, Moody Blues, Bob Dylan and Rare Earth. That’s when he became a Texas musician.
Guitarist-singer-songwriter Amy Hall has written songs with Ike Eichenberg for Grammy winner Terri Hendrix, and played solo with her acoustic guitar for years around Central Texas. She has also found a musical home in Belfast, Ireland with Barry Bynum’s previous band, “Liberation Suite.”
With all the singer-songwriters in the band, the album comes off sounding more like a compilation than something from a unified project. Perhaps with more time the WTS sound will become better defined. I can’t promise this CD is for you, but if you’re open to this kind of thing, you will be surprised with their ability to nail many musical styles.
“Garage”
2005 Universal South
Score = 5
I pop the CD in and the first song comes on. “Fightin’ For” is a slick radio friendly alt-country song with way cliché lyrics backed with way cliché guitar licks- having never heard it before it already sounded overplayed. It was made with Nashville’s approval in mind and will probably be a big hit on CMT and THOSE kinds of radio stations. ‘Cha-ching’ for them I guess. Feeling surprised that this was the 'other' CCR I’d heard so much about, I went to their web site to learn more. Ahhh, I get it now. Pretty boy lead singer for the girls, Lynyrd Skynyrd type backing band for the guys. Now I see the universal redneck appeal and it all makes sense. All the guys and girls in Oklahoma can now get drunk to the same band together. (I know, I’m cynical. I’ve been around the music biz way too long...)
Second song passes- more of the same. Third song- wait- here’s a tribute to the beloved Dimebag Darrell. That’s pretty cool, and they put a Kurt Cobain reference in too. Sweet. A few more throw away tracks later, there is a cool rocker called “Late Last Night,” but it’s a Todd Snider cover. Track 9 is a cool blues rocker called “Blues for you,” and it is an original. Wait a minute, this CD is beginning to get better. “Lighthouse Keeper” is next- that’s pretty cool. “This time Around” is not bad, but still a bit formulaic and cliché. Then comes a Bo Diddley cover of “Who Do You Love.” It’s cool but I can’t help but hear the version George Thorogood butchered all to hell in the 80’s. Yeah, CCR does it better, but all I hear is George. Couldn't they have chosen a more obscure Bo Diddley song? One that hasn't been covered a gazillion times by every bar band on the planet?
Okay- this isn’t a bad CD, but it’s not special either. It certainly doesn't live up to the hype. It’s like they think if they play country music and simply add distortion to the guitar- bingo. It’s that simple. There are plenty of Austin bands blurring the line between country and rock better than this. I mean how long have Joe Ely or Robert Earl Keen or Steve Earle been doing it? (Or for that matter- Buddy Holly.) My friend Mel from Oklahoma swears I should have heard CCR's live albums first to know what these guys are about, and maybe he’s right. But if you want my advice and you’re not already a fan, don’t start here.
“Love Songs For and Against”
2005 Nimble Records
Score = 9
Before I get started, let’s do a simple rundown of exactly what we’re dealing with here, incase you just moved to planet Earth. Guy Forsyth is a powerful vocalist who learned how to project his voice by busking on 6th street, and then by fronting the Asylum Street Spankers who were all acoustic and microphone free at the time. He’s a fantastic guitar player, focusing on slide resonator style Delta blues. He also happens to be one of Austin’s premiere blues harp players that could easily share a stage with James Cotton or Kim Wilson. A triple threat? Wait- there’s more! Aside from being a talented vocalist and multi-instrumentalist, he’s a truly inspired songwriter. He’s also one of the few people in Austin to master the musical saw. Add all that together, and you have a rare jewel in Austin’s jewel filled crown.
“Love Songs” starts out strong with “Long Time” which is a hard hitting spoken word rambling blues tune containing such lines as “Everyone wants to pull off the crime of the century- steal 200 gazillion dollars and get away with it. We Americans are freedom loving people and nothing says freedom like getting away with it.” The truth hurts, and Guy knows there’s plenty of pain going around these days. Then my favorite line: “I wonder how the rest of the world sees us, like a drunk 15 year old waving a gun in their faces.” We all hope that’s not true, while knowing it probably is. Powerful thought provoking lyrics that are extremely relevant. Few even on a national level can compete, and yet for some reason he remains OUR best kept secret. Forsyth comes off as a patriotic American simply venting his frustrations about our recent mistakes more than anything else. After all, when you love something, you expect it to be the best it can be.
As a whole, this CD stands up well against anything he’s ever done. My favorite track of all is called “105.” It rivals my previous favorite Forsyth tune from 1996’s “Needlegun” called “Hometown Boy.” Full of imagery, sweat and tears- and relevant as all get-out. Guy’s well chosen help includes backing vocals by the immensely talented Carolyn Wonderland, Wendy Colonna, and Pam Miller. Recorded and mixed by Mark Addison at his scenic Aerie Studio right here in Atown, Mark also supplies guitars and keys aside from moral support.
Tina Marsh and the Creative Opportunity Orchestra
“Iraqnophobia”
Vox Lox Records, 2005
Score= 8
This album is a true piece of audio art- a work of abstract expressionism through contemporary jazz. It is REAL jazz, a thinking man’s jazz, not the sickly sweet “Muzak for Yuppies” stuff that comes out of L.A. It is basically two compositions, staring with a 6 track piece called “Wake Up Dead Man” about Texas prison life, and a 7 track piece called “Iraqnophobia,” which is about your favorite quagmire and mine.
Most of the CD I find fascinating, thought provoking, enjoyable and immensely creative. It is also mixed with parts that are harsh, abrasive and mentally abusive- sort of like the soundtrack for a bad twilight zone episode. But this is art- and art isn’t supposed to be pretty and match your sofa. Alex is making his point, dealing with the realities of his subject matter in a genuine way. And isn’t your favorite war and mine a lot like a bad twilight zone episode? And what about prison overcrowding right here in Texas? These two quagmires meet, clash and explode in a blur of notes that leave you lost and confused, and yet very hungry for more. Put a sax in Alex Coke’s hands and he uses it to create amazing textures in the same way a painter might. It’s as if he wants you to reach out and touch the sounds, and run them through your fingers- not just hear them.
My favorite track in the “Wake Up Dead Man” part is “Danger Line” with its busy tempo and up front horns that dance and intertwine together. Close second is “Running Time” with a more classic and contemplative bebop feel. In “Iraqnopobia,” I like “Longnecks and the Shah” with its intoxicating Middle Eastern trance and Tina Marsh’s eccentric vocal work. She is beautiful and exotic, mixed with sudden moments that would startle Yoko Ono. Close second in Iraqnophobia is the final track called “Release.”
One of the most significant and well assembled recordings to come out of the criminally undersized Austin jazz scene, this album might take a month or two to fully understand and appreciate. (I had time for 3 listens and based my review on that.) And even if I don’t fully understand what Alex Coke and his team have created here, I know enough to know when I've been blown away. A nice finishing touch is Alan Pogue’s stellar photography in the 20-page insert and informative liner notes.
“What It Is”
Independently released, 2005
Score= 8
I like all the songs on this CD, but especially the first four. There are a lot of influences, certainly the sounds of the uplifting bands of the 80’s like REM, XTC and U2 are here. Also the melodic lead guitar style and acoustic interludes from 70’s southern bands like Skynyrd, Molly Hatchet or Marshall Tucker Band are here too. And then there are moments where I hear Wings era Paul McCartney. Then add a dash of Dave Matthews Band. If you could mix all that up, here’s where you’d be. Maybe that’s why they’re called “The Transcenders.”
Everything here is solid- musicianship, vocals both lead and backing harmonies, and the production. A lot of time and thought went into this. It was probably created with their day job paychecks, but you would never know that. (It’s a bummer that I didn’t get their promo kit until after their CD release parties at Jovitas and Flamingo Cantina because I would have been there.)
The catch is that it’s all about the music with these guys, with very little thought to image. Just a bunch of former SMU friends making music they love. No pretense, none of that “look at me” syndrome. And that might be the reason the evil music industry- run by Satan, might not touch these guys. I hope I’m wrong and they get a big fat contract- but that’s my prediction. It’s not music that matters these days, it’s marketability. So these guys will probably make do with a strong and healthy cult following. Good for them.
If you’re looking for an indie rock band that has it’s priorities well in check- these are the guys and they know what really matters. Buy this CD and catch them when they come to town. Tell ‘em Maria sent ya.
“Story of a Spacemonkey”
2005 independently released
Score = 7
Vocals are a bit David Bowiesque, sometimes 80’s-ish, and well done. Fat distorted metallic rhythm guitars dominate, with keyboards in the background. Bass is lost in the mix, and since they are currently between bass players, I have to wonder about that. Lyrics are clever and haunting, and always give you something to visualize and think about.
Not terribly original or unique, this CD bleeds of “Powerman 5000,” or probably a bunch of other Goth-Industrial-Metal bands across the fruited plain. That fact will probably keep these guys firmly rooted in Austin, but it doesn’t mean they’re not fun to listen to, and it especially doesn’t mean PAIL isn’t having a lot of fun doing it.
“Let Me Love You”
2005 Sweet Papaya Music, BMI
Score = 8
But the really amazing part is this: Bettysoo didn’t write her first song until a little more than a year ago. She never entertained the idea of a music career until a higher spiritual power pointed her in that direction. That’s when she took an informal songwriting class at UT, which led to the joining of a local songwriter's group. It was there where as her web site puts it- she met and “kidnapped” Stephen Doster to make it all happen.
In a town where so many folks have spent so many years trying to get a career off the ground, this girl might just do it in one. (It’s not that she never played guitar or learned to sing until a year ago, she just never realized it was her life’s calling.) I don’t know if Bettysoo had all the right help, if she’s simply a genius, or some combination of the two, but songs like these aren’t accidents. Voices like hers aren’t accidents either.
Bettysoo is a gifted storyteller who pens poetic and illustrative lyrics that flow naturally. The opening track “For Bethany” tells the story of a girl overwhelmed with emotional relief while leaving the funeral of her abusive father. Years later she finds herself back in the same situation with an abusive husband. As sad and as common as this tale may be, Bettysoo mixes tragedy with beauty by putting the characters in a setting of tall pine trees, and the "grass upon the hills and the orange of the flowers by the road." I'm also taken by this line: "And she was dreaming, lying looking up at the sky, and every storm cloud coming in seemed to sympathize." Wow- sympathetic storm clouds. Who'd have thunk it?
Each song tells a different story with a different range of emotions. In the process, Bettysoo isn’t shy about her deep religious faith. If you think being open with that isn't politically correct, she then goes one further. She sings about her marriage in a deeply romantic way in a time when such emotions would seem to be reserved only for single folks. A sweet gesture, or a reminder that pop culture has gone astray?
Stephen Doster produces the CD and supplies his tasteful and refined acoustic and electric guitars. Known for his work with Nanci Griffith, his band the Libertines, his annual John Lennon Hoot Night, Doster is one of those guys that seems to be involved in music all over Austin. He’s no stranger to Nashville either. (He was also a close personal friend of comic legend Bill Hicks.)
Jim Echels is a dynamic and powerful southpaw drummer who’s forte is adding a dramatic ebb-and-flow feel to any song. Light and subtle at times, then heavy as thunder at just the right moment. Jim supplies backing vocals, and is as comfortable with an acoustic guitar and a microphone as he is behind the drums.
Bassist-Keyboardist Todd Wilson hails from Illinois, and we welcome him to the Lone Star State. He’s been in many bands and released several CD’s of his own, and he recently composed an independent film score. Here he adds well rounded in-the-pocket bass, but it’s his work on the ivories where he really shines. His subtle piano and mellow Hammond B3 swirls in the background of guitars and Bettysoo’s soulful voice.
And that brings us home to the ringleader, BettySoo herself. A songwriter and vocalist to be reckoned with, I expect big things from her. If you go out to see her play, please tell her that Maria sent ya.
“Before The Fadeaway”
2005 Big Ticket Records
Score= 7
Now I’ll admit it- sometimes I hate pop music for no other reason than the fact that I’m a total music snob. I incorrectly assume that “pop” must somehow be watered down and therefore unworthy of my time. This is a false generalization, but I gravitate to it anyway. After all, the Beatles were a pop band; did they lack artistic substance and soul? I think not. So it must be accepted that pop, like any other form of music, has its good side and its bad. But with pop music a much larger percentage is crap due to corporate encroachment- since pop is often used to turn a quick buck. But when it’s artistically driven, it can be VERY good and it often becomes the music best remembered for that place in time in your life, even if you listened to other things. For that reason, it is a respectable thing indeed.
All that being said, it’s obvious that Craig Marshall knows good pop from bad pop, and approaches his songwriting accordingly. He sees the art of it, focusing on melodic sensibility and romantic lyrics that almost anyone could relate to. Being able to make truly good music with an almost universal appeal ain’t easy- and therein lies the magic. Craig sees the value of simplicity and the “less-is-more” approach. The recording is smooth and euphoric with tasteful vocal harmonies throughout. I’m occasionally reminded of some of the better British 80’s pop like XTC, Joe Jackson and Paul Weller’s Style Council. I will admit however that this is the kind of music I have to be in the mood for, which isn’t often- but that’s a personal thing. My favorite track on this CD is "Settle For Me," with a simple melody that practically plays itself.
Craig has a lot of talent along for the ride, primarily that of guitarist / vocalist Jon Notarthomas. Austin regulars like Chris Searls supplies drums and Trish Murphy adds background vocals. Other contributors are Darwin Smith (guitars, xylophone, vocals) John Thomasson (bass) Darin Murphy (drums) Kyle Schneider (drums) Derek Morris (piano, organ, Rhodes, Farfisa) Jeff Botta (percussion) Kevin Lovejoy (piano) Erik Wofford (percussion and electronic effects)
“Rope Chair Needle”
Independently released, 2005
Score= 7.5
Cliff Brown Jr. and David Lee Hess are the creative force in this project, and drummer Roberto Sanchez and bassist Chad Shaw provide the rhythm section. Together they set sail through a range of folk, rock, blues and twang that echo from an earlier simpler time in popular music. Banjo and harmonica mingle comfortably with acoustic and electric guitars, and the vocals are relaxed and unpretentious. Steady drums and bass marching ever forward, never wavering or obtrusive. Check out the Grooveline Horns appearance in “Beg Me to Follow.”
Better than their original 5-song release “Down In Luck” but still too short, “Rope Chair Needle” is quality over quantity nevertheless. It is an early glimpse of what for every reason should be a band with a healthy cult following and a lot of great musical moments to follow.
“Y.U. So Shady?”
WEA records, 2005
Score= 8
“Grady” is a thundering Metalbilly freight train flying down the tracks with a sound that will convince you Motörhead has joined forces with Z.Z. Top. Soaking wet with Texas bluesy twang on a foundation of earth-quaking distorted bass rumble, the sheer power on this CD leaves little doubt about the size of these boys’ cajones. And I’m talking serious, serious cajones folks. This monstrous wall of sound comes at us for the most part from our quiet and polite neighbors up in the Great White North.
Guitarist-front man Gordie Johnson has already had quite a career in Canada, and so has bassist Big Ben Richardson who originally hails from London, England. But the third character in this power trio is long time Austin drummer Chris Layton of SRV and Double Trouble fame. Together, they’ve been peeling the paint off the walls of several local venues with a high decibel blasting that ought to piss off every noise-ordinance enforcing cop within 20 square miles.
But any band with big amps can turn them up to eleven. What makes Grady great is their ability to put the Almighty Groove into each track. Their songs are simple and the lyrics aren’t poetry- but you wouldn’t want that in this kind of testosterone driven thing would you? Grady is simple- but in a grand and well thought out way. That makes sense, right?
Opening track “Hammer in my Hand” sounds a bit like King’s X, but from there on it’s pure fist-in-the-air hard driving rock and roll the way it was meant to be. Somewhere up there Stevie Ray is looking down upon Chris “The Whip” Layton and smiling real big. Plenty of other folks are smiling too, enough to give Grady the honor of “Best New Band” at this year’s Austin Music Awards.
“Live at 1st Thursdaze” Volume #1
Daze Alive Records, 2003
My good friends Russ and Wendy host the evening, and with this first release they captured performers like Groupo Fantasma, Toni Price, South Austin Jug Band, Two High String Band, Larry, Brown Out, Azul, Echobase Soundsystem, King Tears and Cooper’s Uncle. The great part is going from serious Salsa, to Bluegrass, Blues and Funk all in one CD- which is what you can expect in a town like this.
The CD begins with Panda’s “Talkin’ Republican Blues,” an ode to the GOP and a guy who despite being born in Connecticut tries really hard to be perceived as a Texan. We know better, don’t we? Come to think of it, that’s just one of many ways this guy tries to deceive… but don’t get me started.
Stand out tracks are: South Austin Jug Bands “Mullet” song, Brown Out’s James Brown instrumental “Soul Power,” King Tears’ “Staring at the Sun,” Azul’s “Spacejam,” both of Groupo’s songs, Cooper’s Uncle’s “Rabbit in the Log,” Echbase’s “Carousel,” and Larry’s brilliant “On The Road.”
Folks, keep an eye out for future First Thursdaze releases- after this one was done in 2003, many more great moments were recorded. Russ told me himself that he has 2,000 some odd minutes of music to sort through, all great local artists and a few national acts like John Popper of Blues Travelers fame.
“Aural Karate”
2003 independently released
Score= 9
They didn’t stop there. As the old school jazz foundation continues, another thing appears later in the track “Septelewan” that doesn’t belong- a genuine country pedal-steel guitar. That’s right- Marty Muse adds country pedal-steel to traditional bebop jazz. Does it work? What do you think? Yes, it works- and it works well. After all, these are masters.
Folks, these kinds of things only happen when people who truly love music get together. The ringleader here is Brannen Temple, a world class session drummer (Eric Johnson, Sheena Easton, Chaka Khan, Robben Ford, Hot Buttered Rhythm) and possibly the best drummer in this town. His bright snare oriented style is an ever present driving force. On this CD all elements of the trap set are recorded well-balanced, crisp and clear. His technique makes it obvious why he is who he is. Rounding out the rhythm section is acoustic bass player Marc Miller, with timeless grooves he brings top-notch jazz sensibilities of his own.
The horn section is made up of trumpet player Ephraim Owens, and tenor and soprano sax player Michael Malone. The pair lock together solidly, playing traditionally when they want to, and goofing around artistically if they want to as well. Ephraim displays his laughing sense of humor in the track “Slip-N-Slide.” They move from respectful traditional jazz to having silly fun with ease. Gotta love it.
Additional musicians are Steven Snyder on acoustic piano, Dave palmer on wurlitzer and therimen, and Jason McKenzie on the tablas. But wait- there’s one more. DJ NickNack Malkiewicz is the man supplying the hip hop beats and turntable scratches and various vinyl sound effects that works so well over classical jazz. Lots of credit goes to him for making this project so special.
“Boy In A Box”
2005 F+M Records
Score =7.5
Strongly influenced by 70’s glam rock, in particular T.Rex and early David Bowie and a bit of John Lennon’s latter work, his classic falsetto vocals are the center of his sound and talent. His voice is often echoed by a higher pitched duplicate that very subtly imitates a female backing vocal. Be it digital or just falsetto overdub, the effect comes off very well enhancing an already brilliant voice. Johnny’s lyrics are also seventies throwbacks, equal parts brilliant and cheesy, clever and crass.
In addition to his vocal talents, the instrumentation and recording quality is exceptional and well polished. Johnny’s multi-instrumentalist abilities are well showcased here. The sounds are thick and lush with keyboards, electric and acoustic guitars, bold synthetic string sections, percussion and drums. His skilled melodic pop songwriting creates a dreamy, peaceful, euphoric state that is rare in these insane times we live in. Don’t get me wrong, this is rock and roll- but it’s what rock was when we had a whole lot less to be stressed out about.
“Surrenderender”
2005 Independently released
Score= 7
The important part is that like the artists mentioned above, The Murdocks write GOOD SONGS- which wins a lot of forgiveness from me. Although I was a bit put off the first time I heard “Saddest Star,” the second time I listened it struck me just how damn funny it is, and that’s its charm. Morris’s vocal style delivers equal parts anger and cynical dry humor- the latter of which hits you with a delay. And what came next was the high energy thrashings of “Horsegore,” and that hooked me into the rest of the CD. As the tracks went by, I was compelled to turn the volume up higher and then higher again.
Bassist Robert Houghton has a bright, raspy sound with the occasional buzzy sloppiness that you’d want in a punk band. His tone is near perfect, but his fretwork is a bit minimal for me. Drummer Ryan Cano is dynamic, energetic and aggressive, with a simple and straight forward technique.
What “Surrenderender” might lack in originality, it makes up for in energy, catchy power pop songwriting and its variety of sounds. Each song has its own vibe, and segues into the next quite well. But it's when the Murdocks aren’t trying to sound “Seattle” is when they sound best. That’s the path where their promise lies, and makes me think they’re going places. The prime example is the final track Easter Moon- which is my favorite on the CD. (Honorable mention also goes to the sullen hidden ghost track that follows it.)
“Me and Otto”
2005 WCI Records
Score = 8
The guitarist-front man known as “Chopper” writes good rock songs with memorable hooks and harmonies, and the band plays them with the bare minimum of effects and overdubs. Their background vocals sound as if- and I could be wrong- they’re being done live as they’re playing, not multi-tracked in afterwards. In fact, this recording sounds like you’re sitting on the floor of their garage while they run through their set list. Perhaps it’s a bit under produced and engineered, but man- sometimes that’s the best way to go.
There is an occasional seventies retro feel, but not so much to say they’re TRYING to be retro. Maybe it’s because in the seventies rock and roll wasn’t dead yet, so when it's played right, it might have that seventies feel by default. Their sound is big and heavy, focusing on the long lost art of melodic rhythm guitar. And guess what kiddies- a few other things they have in common with the bands of the seventies is this: they sound great when played VERY LOUD, and occasionally you might be compelled to sing along.
I liked this CD as soon as I heard it, but as I listened more (for professional research purposes) it continued to grow on me. My favorite tracks are the opening smasher Me and Otto, Sister Vikki, Hannah, Vicario, Certain Girls and Outta The Car. And since that’s six out of the ten songs, I guess I might as well just say there isn’t a bad track here. So if you like to rock- and I know you do- this one needs to be yours. And if you want to support a local independent band- and I know you do- this is one to buy. Better yet- go see them live and tell ‘em Maria sent ya.
"Veedon Fleece"
Polydor Records, 1974
Veedon Fleece- named after a UK carpet manufacturer- takes us way back to 1974 which was already Van’s 8th album. These days, most popular artists never even get THAT far, yet Van was just beginning. This is also a different course with Van having gone through a life-changing event, the end of his marriage to singer Janet Planet whom many of his songs were about. There’s nothing like a divorce to shake a little creativity out of an artist, and there’s nothing like an artist willing to produce something deeply personal following such an event.
While a divorce is a stressful time for most, Van found solace in his music, which came out abnormally peaceful, dreamy, sullen, and naturally Celtic. His fans at the time were expecting soul and R&B songs and were caught off guard. As a result, this album was not as successful as most, because few people understood it. But as the years passed, it aged well and the Van faithful began to realize it is one of his best.
Van stays true to the Irish way with words: “Come here my love, and I will lift my spirits high for you. I'd like to fly away and spend a day or two- just contemplating the fields and leaves and talking about nothing. Just layin' down in shades of effervescent, effervescent odors- and shades of time and tide- and flowing through. Become enraptured by the sights and sounds in intrigue of nature's beauty- Come along with me and take it all in.” Yeah, they don't write 'em like that anymore.
Veedon Fleece is comfort food for the soul, the ideal Sunday morning soundtrack, when the weather is damp and you just want to curl up on the sofa with a large cup of really good coffee (with a shot of Bailey’s for comfort) and let time and everything else stand still.
“Ready? Ready!”
2004 Coup d’etat Inc.
Score= 8.5
La La Land makes 80’s era European power-pop along the lines of Elvis Costello, Joe Strummer and XTC, with brief moments of Kraftwerk thrown in. The songwriting is skilled, unpredictable, melodic and always changing directions. Guitarist singer songwriter Thomas Mazzi pens brilliant lyrics and brings them to life with a voice that sometimes reminds me of Matthew Sweet, Peter Gabriel and Spider Stacy of the latter day Pogues. He is accompanied by keyboardist-singer Ruby Painter who sings in a spoken word fashion similar to The Waitresses’ Patty Donahue. Luis Guerrero produced the album and plays keyboards and percussion, Steve Sanders and Mike Buckmaster supply drums and Jake Spelman adds guitars.
The production and recording quality is better than expected from an independent local debut, and quite creative with peculiar electronics and sound effects scattered about. Well placed acoustic and distorted electric guitars balance out the synthetics. At times thick and full with a million things happening, and then simple and sparse, right to the point. Stand-out tracks are “Let’s War,” “Rowan St.” “Crooked Star,” “Goodnight Glory,” a cover of Trio’s “Da Da Da” and a playful version of Lou Reed’s “After Hours.” A few more tracks might have helped the overall short playing time, but I guess it’s good to be left wanting more, right?
Sadly, the CD came to me without a press sheet, and the single page insert doesn’t include any bio information to let me know who these people are. Printed lyrics are also absent, in spite of being an elemental strength of this band. Their website is similarly elusive, it took me several tries to find a computer that would work with the flash software but I still learned very little once I did. (That sort of thing makes it hard for me to collect information and then act like the know-it-all that I am…)
But what I DO know is this: “Ready? Ready!” is an album full of clever, catchy, well-written songs that are FUN to listen to. You remember when music was fun, right? It’s a refreshing change of pace from the typical beer and testosterone driven blues-rock-funk hybrid this town is known for and can’t ever seem to get past. You’d never know this recording came from here. Let’s hope these guys keep on with this project, I’d really like to hear what they record next.
-Maria Mesa,
Atown Records
“Delirium Tremolos”
2005 Philo / Rounder records
Score 7.5
Ray set out to release a CD full of really good songs, drawing on the writing skills of an A-list of local talent. He achieved that goal in a day when most albums have two or three good songs and then a bunch of filler. Elyza Gylkison, Patty Griffin, Jack Ingram, Slaid Cleaves, Cody Canada, Ian McLagan, James McMurtry, and Bob Schneider all make appearances here. Take it from me, there’s not a bad track to be found. The amazing thing is, even though most of the songs came from different writers, it all flows naturally from one to the next as if Ray penned them all himself. (And I should add that when you get to be a songwriter of his stature, you can go ahead and cover a few without needing to be forgiven.)
That being said, you can’t overlook the greatness of the songs he DID write. Dallas After Midnight is a brilliant song about robbing a liquor store, “because it’s hard to live in Dallas when you’re white trash and poor.” (Actually Ray, that’s why a lot of us moved here.) Dust of the Chase paints the picture of a gambler reconciling with God about the blood he’s spilt through the years over a deck of cards. Brilliant imagery delivered with a voice that is weathered and sincere. This kind of stuff lasts forever, folks.
Beginning in a relaxed alt-country groove, the album slowly wanders over to the spiritual, then ends in a true blues fashion. His haunting funeral dirge rendition of Woody Guthrie's "This Mornin I am Born Again" is done with a chorus of vocals over a slow creaking kick drum and snare. A very interesting interpretaion, that's for sure.
“Delirium Tremolos” is a genuine slice of Americana with a timeless delivery, one that country, blues and folk fans should all be pleased with. Especially Ray himself.
-Maria Mesa
Atown Records
“Motion”
Freedom Records, 2004
Score= 7
Catchy roots rock, folk and twang, Beaver drifts between melancholy and euphoria with ease. He’s the kind of artist Brian Eno and Daniel Lanois could easily turn into a household name- much like they did with U2 in the 80’s. He delivers an uplifting spiritual message that is so badly needed in these times of woe, with enough soul and sincerity to avoid being preachy or pretentious. A great example is “It Is There,” a Marleyesque reggae number, stoked with image laden lyrics that are nothing short of poetry.
Beaver’s strong suit is his catchy songwriting skills delivered with his ‘real guy in a tough world’ sincerity. His shortcoming is that he’s a singer in the same sense that Bob Dylan and Neil Young are singers. But his voice works very well for his purpose. It becomes endearing and genuine despite any weaknesses that might be perceived, and whatever anyone else may have said.
Guitarist and co-producer Scrappy Jud Newcomb shines as he tastefully adds melodic licks here and there, ever mindful of the songs true calling. The recording quality is good with a full, rich sound that was probably achieved on a budget. All in all, a solid effort from a local artist that crafts brilliantly catchy songs and meaningful lyrics with ease.
-Maria Mesa,
Atown Records
“Greenwood”
2004 Independently released
Score = 7
Could there be a more real and true form of music than Bluegrass? Let’s think about this. Bluegrass doesn’t care what year it is. Bluegrass doesn’t care how old you are, what kind of clothes you have on, what your hairstyle is, the brand of beer you drink, if you’re fat or skinny, short or tall. Bluegrass doesn’t care about much at all, except having fun and raising your spirit the same way it has for many generations. This is a traditional style that came over with the Celtic (Irish and Scottish) immigrants, and believe me, the Celts knew a thing or two about raising spirits. So if you could use a little spirit raising, I offer you one of my favorite local bands: Cooper’s Uncle.
Cooper’s Uncle is Todd Michael on acoustic guitar, James Dinkins on banjo, Tyler Balthrop on mandolin and Brad Degge on the upright bass. Sometimes you might find their friends along for the ride: Mike Grigoni on Dobro, Randy Collier on guitar, and Billy Bright of Two High String Band, playing mandolin. They play pretty regularly at Stubbs, although they’re bound to pop up just about anywhere.
Their new release entitled “Greenwood” contains a combination of originals and traditionals arranged or re-arranged in a Cooper’s Uncle style. Fun and enjoyable, a perfect fit for April’s “Old Settler’s Music Festival.” Although these guys are certainly a good bluegrass band, they still have some work to do to be a GREAT bluegrass band. A little more focus on original songwriting might get them where they need to be. But it’s still early for these boys, and I think they’re on the right path.
-Maria Mesa,
Atown Records
“My Funny Valentine”
2005 Magic Muzik Productions, Inc.
Score= 2.5
Unified Tribe is a 13 piece Austin based pop and hip-hop band that uses rap and dance choreography in a way that makes you think you’re watching American Idol. Their roots are in NYC and LA, which says a lot. They wear stage costumes and go by single monikers like “Magic,” “Liberty,” “Zen,” “Starr,” “Baby” and “Harmony.” Yes that’s right, I can’t make this stuff up folks. This is something you might expect to see on a bad cruise ship, an SNL skit, or at a “positive peer pressure” assembly at your local high school.
I know what you’re thinking. “Gosh Maria, go easy on them. These kids could be in gangs or selling drugs or something, at least they’re focusing their energies on something constructive.” That’s the thing folks, these people are in their late 20’s to late 30’s, WAY old enough to know better. If they were teenagers, it might be different.
The CD they sent me is a single. I’m used to getting albums, but this is a single. It’s a slick, overproduced electronic hip-hoppy cover (a cover! imagine that!) of the old Rodgers and Hart classic “My Funny Valentine.” I admit I only heard about 30 seconds of it, because as soon as I hit ‘play’ all the customers in the store started to leave and my co-workers started throwing things at me. (I do not have health insurance.)
There is a positive side, and it must be said. Unified Tribe is a multi-ethnic group of men and women, and they promote peace and harmony amongst the races and sexes. There are also subtle hints here and there on their website that they may be a Christian band, and I can’t knock that either. But that doesn’t change the fact that they are still in serious need of being locked in a room for six months with a stereo and the entire catalogs of Jimi Hendrix, The Who, The Beatles, Bob Dylan, Muddy Waters, 13th Floor Elevators, Doug Sahm, Townes Van Zandt, Janis Joplin, Shiva’s Headband, Black Sabbath (Ozzy years) everything Rush did before Signals, Bon Scott era AC/DC and the Bill Hicks ‘Sane Man’ video. During that time, they should have nothing to eat but these wicked brownies my cousin makes down in the valley. I’d like to hear their version of “My Funny Valentine” after that.
Sorry to be the wet blanket of truth, but sometimes that’s what I’m here for.
-Maria Mesa,
Atown Records
“Beautiful Seizure”
2003 independently released
Score= 7.5
This is a very experimental jazz fusion project with serious psychedelic tendencies. They’re centered around vibraphone / marimba player / singer Mike Dillon, who ads authentic jazz fusion credibility to the Apes otherwise insane sound. Brad Houser provides baritone sax, clarinet, and guitars. J.J. Richards povides bass and vocals, John Speice does drums and percussion and E. Clarke Wyatt adds keyboards and cello.
This is a band that, as primates naturally would, climbs out to the end of a musical branch which occasionally snaps and sends the whole bunch tumbling to the ground. But more often, that branch stays intact, and the Apes jump, swing and scream at the end as if totally unaware that anything could go wrong. Listening to all this makes me think the Apes are a band that is best appreciated live, and I regret to say that I’ve yet to have that pleasure.
Although vibes-marimba man Mike Dillon is the featured player, much credit goes to the more than ample rhythm section. John Speice (drums) and J.J. Richards (bass) are able to lock tightly to all the complex things going on, they stop on a dime and never stumble. They add expression and dynamics to the groove without just blindly plowing forward like many jam band rhythm sections do.
None of the members of this band are vocalists, but that doesn’t keep them from singing or rapping or taking on strange characters. The lacking vocal talent doesn’t matter much because they make no attempt to take their lyrics, vocals and rants seriously. This is a band that is confident in its strengths and has fun with its weaknesses. The featured part is the musicianship, the complex rhythms, the dynamic ebb and flow, and the creative, textural sounds they generate.
But being experimental and high risk means that when it works it REALLY works, and when it doesn’t- well that’s here too. But what works and what doesn’t work is more for you to determine than it is for me. And you'll find yourself having too much fun to really care about musical rules and regulations anyhow- which has little to do with what these guys are about. Stand out tracks are “Tortoise in a Can,” “In The Future We Will Be Happy,” “Tofu and Tai Food” (sounds as if it were taken from the Schmenge Brother’s classic “Cabbage Rolls and Coffee”) “Monk Meets Fela,” and “Tractors.”
-Maria Mesa
Atown Records
“Garage Sale”
2003 ComboTempo Records
Score= 7
I first saw The Bonedaddys in 1988 at the tiny and aptly named 8x10 Club in Baltimore. This turned out to be one of those rare “religious experience” gigs I’ll never forget. Imagine 8 guys wearing toga-like clothes made from Elvis and poker playing dog tapestries and huge bizarre homemade hats. They looked like they were all members of the same secret African tribe who’s spiritual leaders were Larry, Curly and Moe. Visiting America on some sort of beatnik cultural exchange, the wall of sound that came off that stage was incredible. After dropping a few pounds of sweat, I had become an official “Bonehead” for years to come.
The Bonedaddys toured relentlessly with varying amounts of success. I saw them next in Las Vegas, the old Cannibal Club on 6th street, the Continental Club and La Zona Rosa. Sadly, most of the times I saw them here in Atown, a dark cloud followed them. Little or no advertisement combined with a Sunday or Tuesday night- it just didn’t work out here, even though I always thought The Bonedaddys were made for Atown. After all, they looked like they just walked out of the epicenter of an Eeyore’s drum jam.
Four albums later, The Bonedaddys eventually eased off their touring schedule and stuck to Southern California and New Orleans where their largest following is. The Chameleon record label they were signed to went under, taking their albums with it. A series of member changes later, a band that should have been huge dropped off the radar almost entirely. And then darkness fell upon the face of the earth, and Boneheads everywhere were greatly saddened. Until now, perhaps.
Tribal leader Mike Tempo has reformed the band and released a new CD entitled “Garage Sale.” Long time singer Kevin “Honey” Williams has been replaced with Kaspar Abbo, who oddly enough sounds a lot like Honey and keeps the old Bonedaddys feel surprisingly intact. Former Austin resident and original Bonedaddy "King Cotton" provides backing vocals. Special guest and American icon Bo Diddley appears on the last track written for him called “Say Bo (Where'd you get that Kpolongo?)”
Stand out tracks are Como Se Llama Mama, Personal Assistant, Dog Bite, Volunteered Slavery and Say Bo. The rest are pretty good although sometimes a bit popish and cliché. A few harder edged songs like their previously covered Fela masterpiece “Zombie” would have been appreciated, but are sadly absent. Overall, this CD stands up pretty well to the musicianship and songwriting of their past, especially considering that their charismatic frontman has been replaced. It may not be their best, but is the ONLY Bonedaddys CD available today (Check Waterloo, but you might have to get it from CDbaby.com) and it’s something you really should hear. With a wealth of great Bonedaddy music now totally unavailable (A-Koo-De-A, Worldbeatniks and Jungle-Jungle) I must ask this question: Say Mike Tempo, when are you going to release a “Best of the Bonedaddys” CD?
-Maria Mesa
Atown Records
“The Zone”
Velour Recordings, Oct. 2001
Score= 8
This is a really great modern example of what was happening then, for better or for worse. There are some slightly campy moments with cheesy lyrics that would have fit perfectly on anything from that era, but rather than retract for that I must give it a plus for authenticity. Thankfully though, most of the tracks are instrumental, and vocals are sparse. They are only worthy of the instrumentation on “The World is a Ghetto,” which features sultry (but maybe too popish) UK singer Caron Wheeler. But let’s get to where this CD really shines- the rhythm section.
Drummer Christian Urich lays down a precise and creative foundation, with a busy relationship between the snare and kick drum. With a dynamic feel and good jazz sensibilities, he supplies exactly what this band calls for. Bassist Jason Kriveloff’s warm, clean tone is well compressed and ever present in the mix. He weaves in and out, meshing nicely with the complex drum patterns. Jason often plays bass Latin style, from the upbeat, focusing more on the “and” of one-and-two-and-three-and-four.
Together, these guys create a rhythm section that stands on its own. If you took the master recording and pulled every track off except drums and bass, it would still be fun to listen to. There aren’t many CD’s you could say that about, and it’s a great thing when it happens. But wait, this is supposed to be a CD about a sax player, right? Not so fast.
Keyboardist Ethan White, guitarist Mark “Tewar” Tewarson and Trombonist/didgeridoo player Squantch (you know a musician has too be good if they go by a single moniker like “Squantch.”) fill out the sound and groove nicely. There’s plenty of meat on this disc that gives you the feeling there isn’t a "featured" artist or leader. It just sounds like a bunch of guys doing what they like to do, the way they want to do it. Although most of the music here is tightly arranged, there are some experimental moments with the didgeridoo, and occasions where horns are allowed to go completely out of control.
Now comes the horn section. Sax player Topaz McGarrigle and Trombonist Squantch lock together solidly. Topaz is good enough to front this talented band, without ever casting a shadow. As the leader and catalyst for this project, he deserves plenty of credit. But sadly, he left Atown for New York City- a cardinal sin. But I guess I can forgive him since jazz is a weakspot in the Live Music Capital.
Another gripe might be the polished and jazz-radio-friendly production, but another reviewer might praise that since they probably achieved it on a budget. The important part is how pleased you’ll be if you like big horns over a tight rhythm section in a jazz-fusion format. If that’s your bag, then this CD will see plenty of time in your stereo, just like it has in mine. When these guys come to town, I'll be there.
-Maria Mesa,
Atown Records
“Deep in the Compound”
Dn Records, 2003
Score= 7
Hailing from Long Beach, CA comes the next generation of Worldbeatniks- a 6 piece band known as Delta Nove. (pronounced Delta Novay, or simply DeeNo for short.) DN blends their funk primarily with Brazilian Samba, occasionally trading their instruments for Brazilian percussion. DN features a two piece horn section with sax and trumpet (although there was an additional sax player when I saw them) that always sounds bigger than it is. But being primarily a rhythm band, the bass by Matt Welch and traps by Echo Marrufo supply exactly what this band needs. A solid ground that soloists and percussionists can build on.
What DN features is their batucadas, which is the heartbeat of Brazilian carnival down in Rio. It’s an orchestra of large and small drums, and a two tone agogo bell that sets the metronome. Here in Atown, we’re no strangers to that. Carnaval Braziliero is celebrating it’s 27th year on Feb 25th 2005, and several of our local bands from the 80’s and 90’s have featured batucada percussion in their sets. Susanna Sharpe and the Samba Police, Orangutango, Snipe Hunt, and the full time Batucada masters Sambaxé to name a few. Another band who has become locally famous (and got arrested and pepper sprayed in mid-batucada when their surdo drum accidently bumped into an ignorant Barney Fife APD officer) is Ozomatli. After their infamous legal battle, we’ve practically adopted them as our own.
With our long Brazilian history (we even have our own samba school) you might think a band would have to be pretty good to try that here. But as a bataria, Delta Nove can deliver. They’ve obviously been to samba school, and they have the proper technique. Guitarist Bobby Easton excels at the pandeiro drum and with the repinique, and sax player Rob Covacevich has the tomborim well under control. Bassist Matt Welch can teach the thunderous surdo drum a thing or two, and the result is the real deal. Granted- most of their batucada work was lifted from common recordings and originality is not very strong there- but only a geek like me would know that.
The important part is that Delta Nove delivers worldbeat (which is a local term originally coined by former KUT DJ and musician Dan Del Santo) in a powerful and interesting way that you should enjoy. This recording is a live example that probably doesn’t live up to the real DN experience, but it satisfies nonetheless. I’d bet they would sound much better in a decent studio recording with a good producer, but this is the only recording of theirs I’ve ever heard. I expect big things from these guys, and you should too. This one gets a 7 from me.
Maria Mesa,
Atown Records
Demo
Self Produced, 2004
Score= 7
I popped in their nine song live recording having no idea what these guys were about. They took me on a musical journey that true jazz fans should enjoy. CAF recently changed their name from Unified Feel Theory- because of a band from San Diego with a similar name. No bother, what matters is the music- and these guys do deliver.
The first track starts out slowly, giving you the impression that it’s safe to relax. After a minute or two, the tempo picks up and you begin to realize what you’re in for. Interesting rhythms, unpredictable changes, tasty melodies and genuine musicianship can all be found here.
But since I am a music critic- I do have to offer some constructive advice. If it were my band, I’d be using a little less envelope filter/mutron effect on the bass, since he’s a good enough player that he doesn’t need it as much as he uses it. There’s also a few places where the sax player bites off more notes than he can chew and stumbles a bit. But this is a LIVE recording and a demo of a band on a budget, so I’ll cut them some slack. The important part is what they’re trying to do and where they’re trying to go. And 90% of the time, they get there. (And 90% of the bands in this town won’t get where these guys go every time they play.)
So if you get a chance, catch Collect All Five in person. I recently saw them open for an LA touring band, and they gave them a serious run for their money. (The person I was with thought they blew them away.) Hopefully they’ll be releasing a studio recording in the very near future. If so, you can read about that here. This CD gets a 7 from me.
Maria Mesa,
Atown Records
“Preserved”
Fifth String Music 2004
Score= 7.5
It happened to be my lucky night, because unbeknownst to me a band I’ve never heard of is throwing their CD release party. I watch them set up, and I can tell they all look like seasoned musicians. One of them looks familiar- Albert Besteiro from “del Castillo” with guitar in tow. Del Castillo’s singer Alex is hanging out with his wife and child- so by now I’m thinking this must be a pretty good thing.
Through the haze of Shiners and a few free rounds from friends, I can tell Jelly Jar is a special thing. The vocal talents are obvious, the musicianship is sharp, there’s good songwriting and poetic, illustrative lyrics. Obviously, I went ahead and bought the CD. It wasn’t until the next day after 3 advils and a double espresso latte that I popped it into my player and realized what a great thing this band is.
Imagine vocals somewhere between Tom Waits and Dr. John, without consciously trying to sound like either. Imagine storyteller type lyrics that avoid clichés, but are able to pull them off when they do happen. Throw in some creative instrumentation like banjo and accordion, then display it in an alternative blues, folk and country format. That’s a clue of what’s going on here.
Most of the songs feature Tom Metcalf on vocals, with his raspy backwoods drawl and wry delivery. Wisely, some songs feature vocals by Rick Duszynski to balance things out and cleanse the palette. What really shines here (aside from the unique vocals and musicianship) is the songwriting. Haunting and melodic, rich in both blues and folk, the dreamlike state and creative imagery captured here will get you. The track entitled “Man That’s Austin” is one of the best Austin tributes since Doug Sahm’s “Get A Life.”
Rick del Castillo provides his expertise in the knob twiddling department (producer and engineer) and Karen Peters does some great background vocal work. Put all of that on the rock solid foundation provided by bassist Charlie Irwin and drummer Gary Devries and you’ve got a classic CD that will spend plenty of time in your player. This CD gets a 7.5 from me.
Maria Mesa,
Atown Records
“Texarado Dream”
Independently produced, 2004
Score = 7
The opening track showcases the powerful vocals of local gospel singer Tim Curry (no, not THAT Tim Curry) in a song called "Keep Your Dreams." If Tim’s voice won’t get you in church on Sunday morning- there’s just no savin’ you is there? Tim is backed up by the sweet voice of Shannon Scully sounding like a full ensemble herself. The songwriting is there, the musicianship is there too.
Will takes the mike on the second track entitled "Colorado Eyes." Now I know this is a town full of guitarist songwriters who also think they can sing- but you’ll be refreshed to find that Will does have a pretty good voice. (Just because he’s invited a bunch of singers along doesn’t mean the dude can’t sing.)
Then we go south of the border. Being a Tejana myself- I’m always pleased to hear the dulcet tones created when Espanol is combined with accordions. Scarlett Olson takes us there with the beautiful "Noche De Lluvia." Scarlett handles this song as if she wrote the lyrics herself. Oh wait- she did. Growing up in San Antonio with a Mexican mom pays off, don’t it girl?
I don’t have room to take you through every song, but trust me there aren’t many slouches. Haydn Vitera takes us back to Tejano with "Otra Vez," a well done Spanglish number that lets you know why he’s toured with Asleep at the Wheel, Ricky Travino, Vince Gill and Dolly Parton.
Alright- there’s a few moments when I could tell that this CD was recorded with a budget, and perhaps it’s not always best to let a guitarist or anyone who’s actually on the recording be the knob twiddler during mixdown. Those moments are rare, and the talent, performances and songwriting will take center stage above any flaws you’ll find here. So if you want to support some well-deserved local talent- buy this CD. If you do, you’ll be happy and they will be too. This CD gets a score of 7.
Maria Mesa,
Atown Records
“Let’s Kiss”
Dentone Records, 2004
Score= 7.5
Brave Combo typifies Texas traditional music better than any single band in the last few decades. True to Czech, German and Polish backgrounds and never shying away from Tejano- Brave Combo can do it all and rock your socks off at the same time. For them, funk is a walk in the park. Cuban-Puerto Rican salsa? Like the backs of their hands. They sing Polish in their sleep. They are the ultimate party dance band, they’ll rock your toddlers and your Grandma too. If you can’t have fun at a BC show, you’re DEAD and you won’t be missed. Did they set out to be a band like that? Or did they simply decide to play the music they love and everything else just fell into place?
This is BC’s 25th anniversary album, the 18th release that I’m aware of. When you get to that point in your career- you’re probably just gliding along on auto pilot, right? Wrong. While it could be said that these guys have long defined their sound and have a formula in place by which all their music must stand up to, BC still goes places they’ve never been. Notably- being animated in a Simpson’s episode, polkasizing the Elfman theme song, and putting a cool spin on "Take Me Out to the Ball Game." And like with any BC album, they also resurrect a handful of wonderful traditional songs that you probably never knew existed.
BC’s feature talent has evolved around a small but powerful and precise horn section. Sax player Jeffrey Barnes and trumpet player Danny O’Brien lock together perfectly and never put a foot wrong anywhere. Their playful melodies are artistic, graceful, and add to a general feeling light hearted humor we all need.
Over the years, BC has gone from being a rock band that dabbles in polka, to being a polka band that dabbles in virtually everything. They venture into subtle ethno-musical realms that even I can’t define. (That’s right, sometimes these guys even go over MY head.) But trying to figure that stuff out is missing the point. This is a dance party band whose simple mission is to make everyone have fun. That’s all you really need to know. That being said- go get this CD and go see them anytime they’re in town. Tell ‘em Maria sent ya.
-Maria Mesa,
Atown Records