GINGERLADY
independant
Rarely are we treated to an album as rich in texture as Ginger Leigh's GINGERLADY. Thissublime creation opens with energetic guitar riffs in "Wildflower", a journey to the mystical landscapes of New Mexico. The album's second track, "Fire," exploits the dichotomy of fire and water in a fun, nonsensical portrayal of a dream about laundry. Expect to hear both these catchy tunes on the radio before long.
From there, this acoustic pop CD turns a little more personal, a little more soulful. While GINGERLADY's lyrics are written from Ms. Leigh's personal experience and inspiration, they strike a common chord in us all. Ginger allows poetry to stand as lyrics-- a talent of many great song writers. Both lyrically and musically she's been compared to Sara
MacLachlan, Annie Lennox, and Joni Mitchell, yet GINGERLADY is uniquely Ginger Leigh.
Ginger's vocals are sultry and intimate, and her vocal range is amazing. If the cello and the soprano sax ever had an affair, Ginger's voice would be their love child. Spine-tingling harmonies and masterfully woven musical interludes make GINGERLADY a delightful auditory experience. Don't miss it. GINGERLADY is available at music stores across Austin. Or find out about Ginger's upcoming performances by calling (512) 896-4155.
~Chris S. Witwer
Supersonic
Wall To Wall Mostache
China Records / Sire Records / Discovery
Melody Maker was quoted as saying, " Shoving rock n' roll into the next millenium...", well, I dont know about that! Supersonic reminds me of the "Euroelectropopexxing" everyone was listening to and doing in college during the mid 1980's while they danced until their hearts poped out of there chest. With such retro flashbacks of Skinny Puppy and Art of Noise coming to mind, although there is a healthy dose of L.A. streethood overtones. I'm sorry but rock n' roll just does not even come into play, hear!
These guys were flipping through archieves of funky sounds and blending them together with what I think is this bands best asset, great sampled rythyms! You'll love this music if you have a head full and your in the middle of a crowded dancefloor downtown in a club that is not recommended to the tourist.
- Doug La Rue
David Spann
Distant Light
Austin Templar Records
David Spann's face and chops are well known around Austin, especially in the 04 zip code area. With Distant Light, he exceeds his own formidable reputation, catapulting into the first rank of local guitar titans (even challenging the nationally ranked). This is strictly a guitar-oriented album, aimed at the sort of folks that would turn up for a G3 show. Spann's work on this album exceeds even Eric Johnson's recent seven-year project Venus Isle . This CD will also satisfy fans of Vinnie Moore, Yngvie Malmsteen and the resplendent Joe Satriani. Spann touches on funk in "Look Me Up," a song with motown-influenced vocals and delicious guitar licks that overlay a slappin' bass from Preston Hunt. Other band members sing on different tunes, but, let's face it, people buy albums like this one for the guitar work-and indeed, some of the instrumentals capture Spann at his most shimmering and ethereal. Another standout is "Ain't Your Daddy (But I Met Him Once)," in which the band manages a difficult analyzed groove, switching back and forth from 5/4 to 4/4 with aplomb-feeling, rather than counting, the crazy rhythmic patchwork.
One has to credit the expertise that could make a home recording such as "Soft White Underbelly" or "The Knights of Templar," (captured live at the Saxon), sound just as kitchen clean as tracks that were laid in any top local studio. Spann stays outside the mainstream of today's eclectic rock radio (without the hypnotic synth beat that is almost de rigueur with the younger crowd), while inhabiting the same electric ladyland as Satriani, Al DiMeola, and the rest of the too-fast-for-FM screamers. With the guitar about to be declared the state instrument, there is honor among wizards. Look out, Eric Johnson & Co.-we might just have to hold a G4 concert next time.
- Lindsey Eck
Ana Egge
River Under The Road
Lazy S.O.B. Records.
SXSW '97 was the first time I heard Ana Egge, with Linda Lozano and Kim Miller as part of The Songwriting Trio playing for "Mike's Feedback Magazine's" annual musi
cians party at Steamboat. At the time I didn't know which lovely voice was Egge's, but I do now... and so will a lot more people with the release of her debut album River Under The Road. The long list of Austin heavy-hitters contributing to this project makes it impossible to ignore (not that you'd want to!). The collective talents of David Sanger, Danny Barnes, Rich Brotherton, Mary Cutrufello, Marvin Dykhuis, Paul Glasse, Steve James, Sarah Brown, Cindy Cashdollar, and others, create a richly saturated tapestry, upon which Egge weaves her silken lyrical threads into picture words.
Twenty year-old Ana has an older, wiser soul peeking out... illuminating her descension into an elusive world inhabited by endless excuses for human frailties and senseless acts of desperate courage. Discovering early in life that words and music were balm for a painful heart, Egge courageously seeks out cures and writes her own prescriptions for peace of soul. The title track, "River Under The Road" is the undisputed jewel of the album. Co-written with Jimmie Dale Gilmore and Sarah Brown, this song demonstrates the potential wild woman that lurks within her soul. My personal favorites include the one about the pathetic rock-a-bye cocaine bitch, who thinks she's still the "Fairest Of Them All." I was just blown away by the dreamy "Souls Out Sailing," which was produced by Egge and Brown. You can definately feel a woman's touch here. It's going to be a joy watching Ana's star ascend.
-Sharon Jones-LeFlore
7 Stones
Beyond the Now
Flywheel Records
This album shows an undeniable Moorish influence. Ian Moore-ish, that is. 7 Stones generates the same eclectic groove we have come to expect in Austin, resulting from the flowing together of many separate musical traditions-not that 7 Stones sound like anyone but themselves. This band's popularity has established them as a Sixth Street "must-see." This album succeeds in capturing the excitement of their live show, except for the vocals which I felt were unevenly recorded. Ray Prim has rich, riveting tenor vocals that dominate the stage show. On Beyond the Now, it often feels that Prim's vocals were constrained in order to leave room for the admittedly splendid guitar work-especially on the opening cuts, "7:13" and "Run Over Me." The lyrics are largely focused on self and God. "Me" is probably the most frequent word used on the album. Typical is the
sentiment expressed in "Can We Be Free," "My friends, try and understand me, yeahºjust let me live my life." Their
mirror-staring is redeemed on "Munchkin," a tender love song that issues the invitation, "Dominate my love for you / Do what you want to."
This album offers nice surprises, such as unexpected breaks interspersed among the clever, somewhat atonal rhythm guitar parts. The acoustic beginning of "Head High" is one example. Another high spot is the drum and vocal break on "Fearless." This track shows off 7 Stones in all their rock 'n' roll mastery, with the tight rhythm section driving the song to a frenzied, yet controlled intensity,
culminating into a climax of tribal drums and vocals. In fact, the whole direction of the album is somewhat
unexpected for those familiar with the 7 Stones live show, which has more of a bluesy feel than the driven rock beats that power this disk. Overall, Beyond the Now is well worth taking home. There's enough meat in this rock n' roll stew to satisfy even the heartiest appetite.
-Lindsey Eck
Julieann Banks
Gold
I was quite a fan of the hard-rockin'(and hard-partyin') Apaches of Paris and their gutsy guitar-totin' frontwoman Julieann Banks. I was thrilled to see her recently resurface with her first solo project, aptly titled Gold. Joined by Paul LeMond on lead guitar and "Mambo" John Traynor on percussion, their performance is so consistantly tight, it's hard to believe that it was recorded on KUT-FM's "Live Set." With the recent explosion of chick-singer/songwriters with sweet little girl voices, it's refreshing to experience her lush sultry vocals. Banks demonstrates such a powerful range, her voice should be listed as a separate instrument (is that really a wailing siren at the end of "Fireman's Daughter")? Her songwriting is in top form, with honest and insightful storytelling that could only have sprung from the inkwell of introspection and pain. Banks has that rare ability to translate very complex emotions into simple feelings. She crawled right inside my own insecurities with "Insomnia," the only studio produced cut. Julieann has definitely paid her dues in Austin and has matured into a major talent-ready to make it big.
-Sharon Jones-LeFlore
Sammy Davis, Jr.
I've Gotta' Be Me: The Best
of Sammy Davis, Jr.
Reprise Records/Archives
I'm a huge Sammy Davis, Jr. fan not only for his incredible talent, but also for his over-the-top, sometimes campy, performance style. I was excited not only to find a CD of his live show complete with his Hollywood impersonations and show-biz attitude, but also to find a vinyl copy of Sammy doing a rocked-out version of the Alka Seltzer "Plop-Plop-Fizz-Fizz" jingle. This release focuses on the serious vocal talents of Davis as he interprets pop songs with his distinctive style.
Reprise has stuck closely to its own archives for this beautiful and cohesive collection which represents an era that is long gone. Like his friend Frank Sinatra, Davis also had a unique phrasing style. These studio recordings leave no doubt about the vocal abilities of Davis, as they were often overlooked in favor of his talents in acting, dancing and comedy. Davis' warm and tender singing is apparent in the rare gem, "Here's That Rainy Day," which was the opening track from the classic album, Sammy Davis, Jr. Sings and Laurindo Almeida Plays. (in which Almeida's guitar is Sammy's only accompaniment). The 1966 album is also available on CD with a previously unreleased version of "Misty."
This is clearly the most solid collection of '60s Davis material to date, as it represents his finest period. A nice companion piece is the "Decca Years" CD, with the more Broadway sounding '50s recordings. The only thing truly missing is a thorough Sammy Davis, Jr. boxed set.
by Rush Evans
Unplug This
Compilation
Hallie Records
Compilation disks often fall short of satisfaction. The styles are usually too diverse or the performances are too uneven. When a compilation album does achieve even a measure of coherence, one could call it a relative success. While Unplug This is all over the globe stylistically, from the Woodstock sensibility of "The Green Lantern Needs Your Vote" by Mike Nicolai to the ultrahick drone of "Molly Dear" by the Gourds, the disk achieves a certain evenness of mood. United by more than the lack of
electricity, the songs are brought together by attitude. Offbeat, witty lyrics flow through the spaces left among the resonance of acoustic instrumentation.
Opening on a strong note with the dramatic, rhythmic
guitar work of Kathy Ziegler, her singing about an "Old Car," is probably the best vocal performance of the record. The Instruments offer a brooding meditation in "Promise of Renewal" that doesn't lack for a rock edge just because it's unplugged. Pam Peltz's "Roman Polanski" is an intellectual contemplation on the world view of the renowned director-an experimental piece that succeeds more in its conception, than its execution. "The Ballad of Dr. Neruda," by Larry Seaman, is another cleverly introspective
meditation, but what the lyrics have to do with the Chilean poet escapes me.
The acoustic guitars shimmer and ripple all across this recording, but the same can't be said for the vocals. One might blame the performers, but, when even a crooner like Michael Fracasso sounds a little off, it seems the studio could have found a more flattering recording mix. Fracasso's contribution, "Jar of Pennies," is an unrhymed, experimental, somewhat imagistic piece that fits in with the overall quirkiness of the collection. It never hurts to have a name or two on a compilation CD and Fracasso fans will want a copy of this unique cut from the master songwriter. In the end, Unplug This succeeds better than most compilations in finding a raison d'être other than the usual "whoever was around at the time." Even the tracks that seem a little lower in quality than the rest, offer plenty of entertainment value in their idiosyncratic approaches to acoustic music.
-Lindsey Eck
The Best of The Beatles Songbook - The Hollyridge Strings
(Varese Sarabande VSD 5690.)
I'm not sure I've fully grasped the whole bachelor pad music craze of the mid-'90s. A lot of it seems to be mindless background sound effects; the very stuff that caused the rock and roll revolution which brought about experimentation with sounds and an emphasis on saying something meaningful. The resurgent fascination with this stuff seems to be born more out of humor than genuine music appreciation (not that there's anything wrong with that). But sometimes syrupy strings and horns are the most straightforward vehicle for presenting a great melody. After all, at the end of the day, a melody is the only thing that truly makes a song music. And I've c#ertainly never heard better melodies than those written by John Lennon and Paul McCartney. The Hollyridge Strings put out half a dozen albums in the Sixties interpreting Beatles songs; the most successful providers of the magic of Beatles music to the Mantovani crowd. This Varese Sarabande compilation brings the best of these into one collection, for a bachelor pad/elevator session that is surprisingly listenable. Unlike other rereleases of lounge music, this one features tunes that you've always known, which actually translate quite well into the language of easy listening. And remember that we are listening to Beatles songs; a certain amount of reverence is required, no Esquivel influenced chuckles allowed. Somehow, the Strings lack the cheesy, overwrought instrumentation common to many such interpretations of popular songs by similar practitioners (ever heard a Muzak version of "Satisfaction"?). These guys simply reproduced the remarkable melod#ies of "Ticket To Ride," "Yesterday," and "Norwegian Wood" in a reasonable setting, which retains the warmth and depth of the original songs. It's worth noting that most of these recordings came out in 1964 and 1966, when The Beatles were not only at their hitmaking, mop top peak, but they were still primarily taken seriously only by the youth of the day. Attempts this early to deliver these songs to the "adult" audience show just how remarkable the songwriting abilities were of these long-haired British kids. I've always been one to dismiss elevator music as mindless, brain-numbing, filler designed to entrance the masses into abandoning all thought and purchasing whichever products appear before them in the stores that play it. But when great tunes are treated with respect and given beauty by the beautiful sounds of violins and other orchestral instruments, then I feel compelled to listen with joy and respect. Either that or I'm just getting old.
by Rush Evans
Songs From The Nineline
Laurie Freelove
The more I listen to this CD, the more it grows on me. Laurie is gifted with a beautiful voice, and she can very easily go from a mere whisper to a full alto back to a gentle tone without sounding forced. Her voice is rich in texture and warmth, and it shines all throughout the different cuts. Laurie's talent both as a gifted musician and as an intelligent singer/songwriter is very evident. She is not afraid of sharing her experiences and feelings with her audience and one gets the feeling of actually looking right into her soul. The fact that the CD is a compilation of live broadcast recordings made between 1990 and 1996 is an added bonus, since the audience gets treated to some beautiful renditions of both old and new songs. I was lucky enough to be on the KLBJ studios the night she played "Dear Prudence" to a live audience. Listening to this cut again, brings a lot of memories, and as a Beatle fan, it is one of my favorite. Some of the other song which I find very appealing are "The Nineline", which you will soon find yourself humming to; "The Moon In Our Hearts" a song full of beautiful harmonies, where Laurie and Gemma Cochran (on supporting vocals), complement each other's voices; and "The Invisible Invisible." a very powerful song. The CD is impeccable, and it is hard to believe that the recordings come from different broadcasts. This is a CD who needs to be added to your collection. Make sure to see Laurie Freelove during SXSW at Ruta Maya on March 14 at 11pm, and look for an in depth interview on our next issue.
by Laura Rojo
