The debut LP from Denver’s Slim Cessna’s Auto Club features the band’s original lineup (which included the creepy vocals of Frank Hauser, Jr. among other instrumentation and stylistic differences from later lineups). However, it is this lineup of the band that catalyzed what was mainly a live, regionally-popular cult band into a recording, touring, and vibrant traditional country music outfit. Originally self-released, the folks at Alternative Tentacles have done well to reintroduce the pulpit proseltyzing and Appalachian-tinged yodel ‘n’ twang of this simultaneously deeply original and deeply reverential album. In between the wistful swing of “Kristen & Billy” to a strange, shuffle-swing version of the traditional gospel song “Wade in the Water” that would make Tom Waits smile, Cessna and company redeem both themselves and old-time, pre-“NashVegas” country with as much energy and originality as their contemporaries in Uncle Tupelo did and with just a touch less fire/brimstone than their fellow Denverites (and past bandmates) Sixteen Horsepower. It is catchy cover to cover, but always reverent to its country roots — charged with a live energy (and plenty of hoots and hollers) that gives a roadhouse feel and ordered in such a way that it feels like you’ve just danced, sang, and sweated your way through an evening of whiskey-drinking sin ‘n’ salvation.
After their first successful collaboration on Don’t Explain, this highly talented duo is back with Seesaw. As with Don’t Explain, the Seesaw album is tastefully produced by Kevin Shirley (Black Crowes, John Hiatt). “Beth’s got a pretty heady voice, very reminiscent of Janis Joplin,” says Shirley. “She’s also got a lot of Etta James in her. With this mate- rial, there’s gentleness to the way she delivers the most heartfelt tunes. She’s done a fantastic job.”Seesaw, captures 11 new blistering tracks, including covers from Billie Holiday (Them There Eyes), Melody Gardot (If I Tell You I Love You), Etta James (A Sunday Kind Of Love) and the title track Seesaw, made popular by Aretha Franklin.
mp3 320 kbos + Covers | 196 MB | UL
Brit-folk rockers Treetop Flyers did themselves a solid when they swapped the gray skies of dreary old England for the bright beaches and deep canyons of California to record The Mountain Moves. Their second full-length takes everyone on a nice, long, Laurel Canyon-bound drive across America, starting on an open Malibu highway and eventually winding up all the way in Montana to say hello to John Mayer.
The first leg of the trip shows lead singer Reid Morrison and the other four members gassing up the car with the sun-speckled harmonies and good vibrations of The Doobie Brothers and Crosby, Stills, Nash & Young. Tuneful opener “Things Will Change” and country-soul waltz “Rose Is in the Yard” bring the folk-leaning twang of the ’70s, although the mid-tempo, easy listening feel is present throughout the entire album. Also present is the ubiquitous spirit of Blue Oyster Cult and Stillwater, the imaginary band from Almost Famous. “Houses Are Burning” starts off with guitars that put the classic in classic rock before breaking down into a Woodstock-reminiscent riff, while “Picture Show” — sounding strangely comparable to “Don’t Fear the Reaper” or the Stones’ “Paint It Black” — repeats the lyrics, “Have you heard the birdsong on the radio/ Have you got your ticket for the picture show” at least 20 times. “Haunted House” is guilty of the same repetitiveness if you focus on its final three minutes of chorus variations, but the first four minutes of the song introduce us to a country shuffle and a jangly little riff that the fellas use to build the song with aplomb. Things get pretty jammy, though, and Treetop Flyers aren’t Big Brother & the Holding Company, so old-timey lyrical twaddle and vamping can only carry them so far.
David’s CD “Song for Danko”, once more recorded Solo/Acoustic for his own label Mobile Home Records, is again the work from a real musical-genius. The CD and the title song is dedicated to Rick Danko from “The Band” who sadly died in 1999. “Buy me a ticket to London” comes true: On 11th July 2006 […]
“When director Aaron Schock sent us an email describing his documentary film about three generations of a Mexican family circus, it peaked both John Convertino’s and my curiosity. What angle would he take with the story, where would it lead, and how would it look and feel? What we were subsequently sent, was an amazing […]