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Bob Powers It's not too often that you get to listen to a band that plays alternative country, classic rock and punk. Pistol Whipped is that band and Chicago is where they've worked hard to become one of the city's most respected. And if respect comes from Chicagoans, then national renown can't be far behind, right?
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The group's second album, "Too Much Excitement" (Beluga Records) boasts a pleasing but eclectic 14 songs that give Pistol Whipped ample time and variety to show off their wares. Siblings Laurie and John Miller. are at the center of the effort. Laurie handles vocal duties and plays guitar, while brother John displays dazzling guitar abilities. He also plays bass. The jewel box insert says that Shelley Zawadzki plays drums in underwear, whatever that might mean.
You might expect the Millers to sing harmony with aplomb, and they do. The songs are all over the map, from almost pure country to rabid punk to even a tiny touch of jazz. The key to Pistol Whipped is that they seem to be having a great time. It's contagious. One song, "Stupid Conversation," will resonate in your brain for days and days.
"Too Much Excitement" is one of those albums that improves with each hearing. This one will stay in your Top Ten for a long time. And don't be surprised if Pistol Whipped strikes gold. They deserve it.
These Folks Never Wrong
If only for its quirky name, Sons of the Never Wrong deserves a shot at the pot of shiny coins. In keeping with its reputation as nouveau-folksters who need a break, the band has come up with a wonderful third album, "One If By Hand" (Gadfly Records).Like Pistol Whipped, Sons of the Never Wrong makes Chicago its base.
The time seems right for a national breakout. Livingston Taylor has said of the group, "I see it all, and Sons is as good as it gets. They're burnin' inventive, bright and original." In acoustic music, this trio should achieve big things.
The "Sons" consists of Bruce Roper, vocals, guitar, and keyboards; Deborah Lader, vocals, guitar, banjo, mandolin and spoons, and Sue Demel, vocals, guitar, and strumstick. Eight songs were penned by Roper, and the remaining were done either by Demel or Lader. The album includes a host of guest musicians, which adds to the professionalism and approachability of the Sons.
The harmonies achieved by Roper, Lader and Demel will cause memory banks to sift through the catalogs of time in search of comparisons. One frequently mentioned is The Mamas and the Papas. Others have discussed the Roches as possible mentors or influences. And good old John Prine, one of my personal favorites who burst into prominence during those unlamented Hippie times.
As my grandmother used to say, "That don't make no never mind." Sons of the Never Wrong" are originals. Their work on "One If By Hand," will cause a number of emotions as one listens to this well conceived and beautifully recorded collection. Each Son has awesome talents as songwriters. These compositions are clever, emotional, funny, and often stirring. As a demonstration, listen to "Comet," in which each voice intertwines, then blends into one. It's spectacular.
Almost Classical, But Not Classic
Tim Garland joined Chick Coreas Origin recently and made an immediate impact. Now in his album as a leader, the saxophonist offers "Made by Walking" (Stretch Records).The album consists of nine aural "snapshots" of some people who have an impact on Garland's life. These include entertainer Josephine Baker, famed club owner Ronnie Scott, poet Pablo Neruda, Corea, musician-poet Don Patterson, children's writer Eric Carle, and "accidental" heroes Rosa Parks and Brian Kennan. Finally, there's horror filmmaker Will Hammer (remember those British scary movies from the 60s, presented by Hammer Films?)
With an excellent backing band, including Corea on two numbers, Garland has made an album that attempts to straddle the valley between the cities of Jazz and Classical. To my ears, "Made by Walking" doesn't convince as jazz. It's boring and you cant dance to it. I certainly wouldn't give it an 85. And classical it's not, because classical music doesn't get this sleep-inducing.
The only time the album springs to life is in the cover of the Billie Holiday true classic, "Good Morning Heartache."
Garland has talent. Next time, perhaps he'll put it to use.
