---

...Capitol-City A&E Zine...

---

As I write this, I've just heard that the third album from the menacing KoRn, Follow The Leader, has debuted on the SoundScan charts at #1, which might seem like quite a feat for what has up until now been regarded primarily as a gnashing, angst-ridden, and very twisted metal band. The surprise fades, however, when one finds upon listening to the disk that KoRn have taken their fascination with hip-hop and rap a step further than the peppering of those elements found in their previous effort, Life Is Peachy.

Leader starts in standard pounding KoRn fashion with the swinging wallop of "It's On", "Freak On A Leash", and the first single (?!) "Got The Life". "Dead Bodies Everywhere", whose title is right in line with the morbid fixations of vocalist/growler Jonathan Davis, features an interesting juxtaposition of some of the heaviest guitar sounds I've heard on record with hints of the hip-hop components that slowly overtake the album's personality. In fact, "Bodies" segues smoothly into the much-hyped "Children Of The KoRn", featuring the rapping of Ice Cube, which isn't bad if you're unaware that he hasn't been taken seriously as a rapper since Boyz N The Hood.

Davis takes his stab at a straight rap line on "All In The Family" with Fred Durst of Limp Bizkit playing straight man, in which we find that Jon's white and can't write (he can't write rap, anyway). Having achieved the necessary status to hang out with "big stars" like Cube, Durst, Trevant Hardson of Pharcyde, and Cheech Marin, Davis continues to wallow in some sort of strange, pedophilic, extroverted self-loathing/self-pity that I would have thought he would have either outgrown or succumbed to by this point: in the liner notes he thanks himself for "getting through all the bullshit". Selling tons of records just for being a pervert must be a really hard way to make one's beans. Don't get me wrong, I enjoy the music of KoRn, I just detect a lack of sincerity in their rage. The kids dig KoRn, but last I heard the kids also keep it real.

---

HUM
Downward Is Heavenward
RCA Records

A smooth and flowing, swirling wave comes from the new Hum disc, Downward Is Heavenward. It takes me back to that brief time when "grunge" wasn't a joke or a clothing style or even a dirty word. Hum have likely tired of the constant comparisons they receive to their fellow Illinois natives, Smashing Pumpkins. Those comparisons are not necessarily out of line, though in Hum's defense, the primary Pumpkins influence here is that of the powerfully fuzz-drenched Gish and Siamese Dream, before Billy Corgan moved to Mars to count stars.

Hum's previous album, You'd Prefer An Astronaut, established their ground rules - heavy and dissonant though relaxed guitars and the droning and distinctly un-whiny vocals of Matt Talbott -- and the band follows those rules closely on Downward. I can see where one might tire of the vocal style here, but for me Hum's real attraction is their guitar work. Hum have a knack for creating lush guitar progressions with solid melodic qualities that ebb and flow like liquid sound. Standout tracks include "Comin' Home", a slightly ironic title for a band who recently were forced off of their national tour by a bus accident; "If You Are To Bloom"; "Green To Me", the first single; and "Dreamboat". A worthy follow-up to their major-label debut. Here's hoping Hum get themselves back on the road soon, as it would be a shame to see this record go to waste.

---

FASTBALL
All The Pain Money Can Buy
Hollywood Records

Austin's first true commercial success story in years, Fastball are just about legitimate rock stars. Actually, I'll take that back for now: Fastball are now officially at least a one hit wonder, with "The Way" permanently ingrained in every mind that's been anywhere near a radio or MTV in the last several months. That even includes those of us in prison! Funny, that "The Way" is a Tony Scalzo tune, since Tony, at least in my admittedly addled perception, has always played second fiddle to Miles Zuniga in Fastball. At least as far back as All The Pain's precursor, Make Your Mama Proud, The Zuniga/Scalzo songwriting team has been anything but, as the two practically always write on their own and sing lead on what they write.

Such mutual exclusivity is perhaps a little strange and might seem like a potential hindrance, but "Fire Escape" (Zuniga) or "Better Than It Was" (Scalzo) could have filled the shoes of "The Way", or at least would make worthy follow-up singles themselves. "Which Way To The Top" (Zuniga with Jeff Groves) is a nice mellow rainy-day number featuring backing vocals by Poe, and complete with syrupy-sweet organ work that would make a great third or fourth offering. It's likely in the current climate of the record biz that Hollywood already considers All The Pain a success, but with tunes like these, hopefully they'll see fit not to drop the ball and make Fastball into the legitimate rock stars they deserve to be. Ask Timbuk 3 what they think of that. All The Pain doesn't rock like Make Your Mama did, but it does show lots of growth and some serious pop song-crafting savvy, and should qualify as a classic at least in local reference.

- Chris Mosser

---

Chris Duarte

Tailspin Headwhack

Silvertone Records

I met Chris Duarte after his first gig after moving back to Austin. He spent 10 or so years up north. It was a rather interesting evening. I got four phone calls from four different friends/musicians, all excited and all wanting to go see the same dude? Chris Duarte. Needless to say Chris burned down the Continental Club that night, he did everything but set his axe on fire! My musician friends were setting all around me and they were loving it!

This new album is a quantum leap from his first release on this label. You can tell he has learned a great deal even in the first few seconds of the first track, very professional! Wicked ripping tricky blues/rock style with a homeboy approach! This man obviously cares about his craft and has taken the time to put in his licks. Chris knows were the magik comes from and has tapped into that with this new release. Outstanding Texas style blues guitar with a funky twist or two.

Duartes' choice to utilize the production expertise of David Z. ( a member of Revolution, the band headed by the artist formally known as Prince ) only goes to show how far he is willing to go to accomplish his goals of attaining perfection, but as Tin Cup has expressed so poetically, "perfection is unattianable", the persuit of perfection is itself the perfection. I'm looking forward to owning a large stack of CD's created by this artist throughout his life and carreer. - Doug La Rue

---

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

---

Tony Burrows

Love Grows Where My Rosemary Goes

Varese Sarabande

VSD-5725

It's almost a shame that this CD has to be filed under the name of Tony Burrows-it would probably sell better if it were under "Compilations "or "Various Artists." Perhaps it's finally time to put Burrows' name above such song titles as, "Love Grows Where My Rosemary Goes," "Beach Baby," "My Baby Loves Lovin', " and "United We Stand." Burrows was the lead singer for the one-hit wonder studio bands responsible for these huge, time-tested pop hits of the '70's.

Burrows has a perfect voice for these types of melodic, hook-driven tunes-tunes with a clean sound that still fit the current rock era. This is the so-called "bubblegum" sound that is often dismissed as an insignificant sidebar to the story of rock and roll. There were no acts in this genre solid enough to carry more than one or two hits before being driven to mere footnotes in rock's history. Unfortunately, Burrows (perhaps along with Tommy James) is a part of this unfair dismissal. You'd only have to listen once to this eighteen-song collection to recognize Burrows' solid voice supporting one memorable tune after another. Burrows was the lead vocalist with such "one-hit wonder" bands as Edison Lighthouse, White Plains, and The Pipkins ("Gimme Dat Ding"). He was also responsible for the vocals on some acts that were completely forgotten until this CD, with classic hokey '70's names like Flowerpot Men, Touch, and West End Boys (whose "Summertime" is the one true groaner in the collection). He even recorded occasionally as Tony Burrows, but with unsuccessful name recognition.

It's a tad ironic that one of the most fun tracks is called "Too Many Golden Oldies," as it is a nostalgic commentary on our interest in music of the past. As music of the past goes, this is the perfect "K-Tel style" party collection-it would be interesting to see if one who's unaware of the CD's title could hear the familiar vocal running through each track. Burrows has already surfaced as subject matter in the popular party game, Trivial Pursuit (the Baby Boomer edition) featuring the question, "What is the connection between the following groups?" Even the answer doesn't reveal his name, it simply says, "The lead singer was all the same."

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

---

Natty Nation

The Journey Has Just Begun...

Laughing Dog Records

Jah seeds planted in the soul-songs of reggae pioneers Bob Marley and Bunny Wailer, traveled far from the warm climes of the West Indies and found fertile soil deep in America's heartland. Madison, Wisconsin is home to Natty Nation, a roots-reggae band that showcased at the Flamingo Cantina during SXSW '97. During the Flamingo show, frontman Demetrius Wainwright was a live wire-bristling with positive energy that proved irresistible to your feet. In contrast, the album focuses more on the lyrics, urging introspection of your own spirituality and motives in life. The energy infusion of live shows is hard to duplicate in a studio, but Wainwright successfully blends his powerful charisma into the songs. Englishman Steven Cadle's punk-influenced guitar creates jagged cutting edges, slicing up the hypnotic rhythm and groove of the traditional reggae "rootsieness." Drummer Peter Johnston, (born in Laredo, but raised in Wisconsin), has a wickedly innovative one-drop rhythm that pounds in your veins like a metronome for your heart. Adding to the rich mix with talented vocals and rhythm guitars are Joseph Mayeur, a native American (Cherokee) and Jeffrey Maxwell, (born and raised in Jamaica), who once performed with the Twinkle Brothers. This debut album was recently nominated by NAIRD (National Association of Independent Record Distributors) as "Best New Reggae CD Release of 1996." It seems their journey truly has just begun...

http://www.bminet.com/rvellis/nattynat

Sharon Jones-LeFlore

---

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

---

Peter Keane-Walkin' Around Flying Fish (Rounder FF652)

Peter Keane is young folkish singer/songwriter with an appealingly gentle touch, but with an intense dedication to acoustic blues. The combination of the two extremes works beautifully as he sings his stories in the folk tradition. Even his voice has a pretty and clean sound with just enough raspy edge to pull off a Mississippi John Hurt song admirably with all the appropriate, well, blues. It's folks like Hurt, Dave Van Ronk, and Ramblin' Jack Elliott who have had the most obvious influence on this young practitioner. Originally from Cincinnati, Keane spent some years doing folk covers in the Cambridge, Massachusetts coffeehouse circuit before moving into the thriving Austin, Texas scene where he now is becoming a writer of songs which maintain the depth and simple beauty of those brought about by the genre's founders. "Walkin' Around," "You Haunt My Dreams," and "New Orleans" all sound as though they could have been written## at least half a century ago; in fact, "Louisiana Special" sort of was, being an updated variation of "Orange Blossom Special." Interestingly, the original most faithful to traditional blues storytelling is a story of Mississippi John Hurt himself. Keane found in the bluesman's history that his first ever trip out of the South and into New York City was for recording sessions at Christmastime, 1928. "Poor Jessie" is Keane's touching speculation about Mrs. Hurt's feelings about this bittersweet slice of thei#¡r lives ("There's a train to New York City, it won't be there to stay, Jessie's still up waiting a thousand miles away...Poor Jessie, please, Jessie, don't curse your man out loud.") Among the covers are a duet with the rugged-voiced Bill Morissey on Eric Von Schmidt's "Blow Whistle Blow," and a warmly melodic "I Want You," which features Lyle Lovett's cellist John Hagen, on Dylan's classic. Most of the album has minimal accompaniment, with Austin's finest session players filling the all-acoustic holes (Champ Hood, David Heath, and Paul Pearcy). This attentive student of folk and blues is living proof that age, color, and region have no bearing on a singer/songwriter's ability to get it right.

by Rush Evans

---

Songs From The Nineline

- Laurie Freelove
(Chocolate Records 6909-CD)

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

---

Cotton Mather

Kontiki

(Copper Records)
sixthsense@earthlink.net

The art form previously know as Pop - is back! One spin of Cotton Mather's second release Kontiki and your hooked on harmonies and mad for melodies! Led by frontman Robert Harrison (who pens the hymns and sings the masses), and Whit Williams (a guitarist who refreshingly isn't trying to be another SRV clone), Cotton Mather has arisen from the ashes of Cotton is King (their 1994 debut release), by re-emerging triumphantly with the self-produced material found on Kontiki. When their last record label went defunct, so did they...but thankfully, not for long. The music lured them back together and drew into the confines of a garage studio. Using their own ADAT and 4-track recording equipment, they once again have shouted thatCotton (Mather) is King (of the Hill).

-Sharon Jones-LeFlore

---

 

Jon Dee Graham

(Freedom Records) Escape from Monster Island
http://eden.com/~freedom
freedom@eden.com

Undoubtedly one my favorite albums of the year! The solo debut of songwriter/guitarist Jon Dee Graham, (True Believers, Lou Ann Barton, Michelle Shocked, amongst many others) is truly awesome. Growing up on a ranch in south Texas, Graham dropped out of UT-Austin to tour as guitarist for The Skunks (one of the first punk bands in Texas), who wrote their own page in the legend steeped stages of Raoul's and the Armadillo. In 1996, the prodigal punkster returned to Austin to work with country diva Kelly Willis, and with a little help from some of his friends, he has created a timeless treasure throve of songs called Escape from Monster Island. Graham is joined by Charlie Sexton bandmembers Rafael Gayol (drums), George Reiff (bass), and Michael Ramos (piano, B-3), and lead guitar and steel are curtesy of Mike Hardwick, who also co-produced the album with Graham. Kathy McCarty's vocals enhance Graham's low dusky voice, which is actually the ideal companion to his songs.

With lyrics that slowly burn through your soul with the warmth of familiarity, Graham poignantly captures Everyday, USA and brilliantly exposes the pain and losses felt in real life. In a CD, full of songs that all have something honest being said, for me the crown jewel is Graham's portrayal of the helpless feelings and vulnerability that occur "When a Woman Cries."

-Sharon Jones-LeFlore

---

Larry

"Here I Am"
http://www.larryland.com
larry@io.com

A staple in the Austin club circuit since the summer of '94, Larry is a hard rockin' fusion of psychedelically funky blues, infused with the spirits of the Grateful Dead. Their live shows are an energetic mix of their own unique originals, with covers by bands such as The Allman Brothers, Phish and The Funky Meters.

Vocalist Jeff Bradberry (rubs a washboard) and leads a merry band of '90s-style hippies, comprised of two dueling guitarists, a solid (and sometimes downright tribal), rhythm/percussion section and harmonica. These seven guys (none of them named Larry) make joyful noise and their debut album displays their growth from a jam band to one serious about their music. Flower Power and Peace lives on!

-Sharon Jones-LeFlore

---

The Onlys 1300
onlys@juno.com

In a town where young bands form and reform regularly, The Onlys are a refreshing young group who have been working hard at honing their craft for the past three and a half years. With steady gigs at Austin's alternative venues like Emo's, Blue Flamingo and Electric Lounge, The Onlys have continued to build a dedicated fan base. Comprised of brothers Joel and Jason Chenoweth, Steven Bonn and Jason Lavalle, their debut release entitled,1300 (which they also produced and designed), is an impressive package.

With their seamless melodic mixure of soft acoustics and hard-edged guitars, smart lyrics and industrial hardcore, these guys deserve label attention.

-Sharon Jones-LeFlore

---

Psalm 69

(Stuck Pig Productions) Happy Hour á
http://web2.airmail.net/vickersr
vickersr@airmail.net

Mentioning Psalm 69 earlier in the 10" Maria review, made me remember they also released a new album earlier in 1997, around south by so-what time. This Dallas based grrrrl band takes heavy power grunge for a spin around dark moody lyrics that have something to say. You just have to stop groovin' to the music and moshing roun' the CD player long enough to listen!

Sharon Jones-LeFlore

---

So What

(Wretched Records) Various Artists
rche@hotmail.com

What do the Gourds, Blind Willie's Johnson, Asylum St. Spankers, Paul Minor, Pork, Hammel On Trial, Fastball, Clown Meat, Prescott Curleywolf, Beaver Nelson and Buick MacKane all have in common? So What is what, a compilation of Austin artists performing their chosen tributes to the late Bob Stinson (guitarist and founder of the Replacements), was mostly recorded live during off hours at the Electric Lounge. If you know a Stinson fan, this would make a great holiday gift...

-Sharon Jones-LeFlore

---

Velvet Hammer

(Glass Umbrella Records) Storybook.
http://www.eden.com/~velvet
velvet@eden.com

Are you a Hammer fan, yet? Do you like dreamy, magical rock 'n roll full of mystery and spirituality? Velvet Hammer makes music that'll transport you skyward clinging to a flute note and then slam you right back down with hard rock.

photo by Chris Shinn

Storybook. is a 13-song compilation of their members best solo and duo projects, with some newer demo tracks added. Joining the Hammer gals an various cuts are David Von Ohlerking, Ty Tabor (King's X), Rick del Castillo (Bliss) and Van Wilks.

If you're into primal mood music, keep a look out for the re-release of their 1992 best-selling instrumental cassette, Necessary Storm, which was recorded spontaneously during a storm by keyboardist Ginger Doss, with meditation text narrated by Lynda Millard. Pioneers of web self-promotion, Velvet Hammer's homepage has just rolled over 170,000 hits. Whew! This has got to be one of the hardest working-self managed bands coming out of Austin today. You Go Grrrls.....

-Sharon Jones-LeFlore

---

A Taste Of Texas:

Songs 'Bout Texas by Texans (Epic/Legacy Records)

Unfortunately, this blatantly commercial compilation of heavy hitters has no taste. The only thing this album has in common with itself, is that all of the song titles have "Texas" in them (except one, which has Dallas). Featuring the likes of George Jones, the Vaughn Brothers, the Highwaymen, Moe Bandy, Willie Nelson, Stevie Ray Vaughn, David Allan Coe, Rodney
Crowell, Omar & the Howlers, Asleep At The Wheel, Billy Jo Shaver, Rusty Weir and the best surprise of all, Johnny Winter. I think I'll buy a truck load and sell them outside of Samsung-it'd be another instant Texas sell-out.

-Sharon Jones-LeFlore