05 August 2015

A Short Interview With The Extraordinary SARAH McCOY of New Orleans, Louisiana.


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I can't remember now how I happened to see this Sarah McCoy video but I don't think I shut my mouth the whole time it was on. 
In it she holds nothing back and lays her sound down artfully, with great blues power, and a strong sense of good old-fashioned raw art and soul. 

Part Miss Simone, part Waits, part the carnival barker showman, part the carnival's sad trapeze artist, she is all Pianist and all her own voice. Ms. McCoy is an original talent with a sound that might recall standing five feet from a passing train, or a distant memory of someone you heard singing gospel from across the street one night, or the sound of someone breaking your heart with a blues and soul mixtape, or a bar full of lovers moving hot sweaty in the moonlight to the music of Sarah McCoy...
I had to find out more.

A brief interview is below the video:



RS:: Rick Saunders : I stumbled across a video of you in France playing the piano and singing your song Merry-Go-Round with your Glockenspielist Alyssa Potter in France. I'm still reeling my jaw back up. It's a thrill to see someone play so full-on. I've always held that one should be prepared to kick up there, or get off the stage.

What's your story, Sarah McCoy?
Where are you from, how long have you been playing piano?
Do you play other instruments?
And why not a glockenspielist, for crying out loud?
Do you augment with other instruments when available?


SM:: Sarah McCoy:
 My story, huh? Well, I came wailing into the world May 27th, 1985 to a retired police offficer and an ex-nun who met as recovering alcoholics. As funny as it sounds, it really is a beautiful story. We moved to charleston, South Carolina in the early 90s after hurricane Hugo. When I was 11, a traveling carnie gave my parents a piani for me, when I was was 12, my pops was diagnosed with cancer, and when I was 15, he passed away at the age of 72. By this time I was in a local charter school for music and theater, but I ended up ditching it to try and feel normal in an average public school where no one knew. 

Fast forward a few years and I'm turnin 20 and hittin the road with my thumb out. I hitchiked and landed in California.

That's where I met Alyssa, my glockenspiel player. She was my supervisor in a Pizza joint called Pizza My Heart. She was sleeping on my couch when I won an online auction for a glockenspiel. (i was in a phase of aquiring lots of tiny instruments). Anyhow, she would sit down during my band practices and dink out the waltzes on it while we played. Anyway,  I ended up just throwing her on stage with it one night and she never stopped playing with me after that. We ended up  running around the country for a while then coming back to Monterey. But for many good reasons and personal circumstances, we decided to randomly move to new orleans where the grand adventure really began to take off.


I have been playing piano for about 15 years now, and the glockenspiel has been there for me thick and thin.
Its bizarre because for some reason it works and it always has. Which is perfect because the chick that plays it is my best friend in the universe.

I do have a fluctuating band. I've played with bass players, cellists, horn players, drummers, mandolins, guitars and even an admittedly crappy ukulele. But it's always boiled down to alyssa and I.
We kind of rule with the power of friendship.

RS:
Thanks for your time, Sarah. One should never underestimate the power of friendship. You make really incredible, legit work and I hope I get to see you play live sometime. Bonne chance!


This is the only official recording of the terrific Sarah McCoy at this time. 
Sit down and Listen it to it, as soon as you have the time. While highly melodic, with a moody groove that suggests some rare string-laden Motown heartbreaker, this is no pop confection. This is six minutes of classical-infected New Orleans piano blues played at an early Winehouse level.



And....



Sarah McCoy @ la Maroquinerie (Paris) from David Unger on Vimeo.
Extrait du concert de Sarah McCoy à la Maroquinerie (Paris) le 14 février 2014, dans le cadre du festival "Les Nuits de l'Alligator".
filmé par David Unger











30 June 2015

LOU SHiELDS - Cold Water Collection

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Chicago's Lou Shields plays classic, original, piedmont-esque country blues without artifice, or a 
whiff of potpourri. His picking is nimble, powerful, and confident, his singing the same.

There's a tautness to Mr. Shield's playing, an insistence that balances his midwest twang and drawl with a southeastern mountain blues walk that is at once familiar, yet layered, present-day old-timey with none of the affectations that can draw. It's weird olde american music played like it came out today. This
isn't skinny suspenders music, but a soundtrack to Mr. Shield's travels and artistic sensibilities (he gigs as art teacher, too.)

I did a short interview with Lou and he told me that part of his style comes from skateboarding, and that sounds correct. There's a weighting and unweighting to his picking style, a flow of energy that is easy, yet tough. Burly, but gentle. Bottom line: quality stuff.


RS (Rick Saunders) :: I've been listening to your new album for the last week. It's terrific. 

A friend sent it to me who thought I should check you out so as a result I don't have much info about you.

Are all your songs originals?
How long have you been playing guitar?
You seem to have an interesting collection of instruments. Can you tell me about them? 
Your playing style is very physical, your picking is powerful. I'm interested in how you developed your style, and who you see as influences.

LS:: Yes, all the songs are originals.  I very rarely play a cover song.  However, I definitely have my influences and draw deeply from the past.

I have been playing guitar for over 25 years.  
I got into playing home/hand made instruments about 6-7 years ago.  I stumbled on a few during my travels and then a good friend of mine got into building.  He does most of my stuff now and goes by Callahan Guitars.  His name is Mike Callahan.
He made me a 4-String "Shitar" out of reclaimed materials from my skateboard ramp.  Also a 
image stolen from wesleybushby.blogspot.com/
spider-cone wood body resonator, a 6-string Shitar, a semi-hollow body w/P-90s and is currently finishing up a Tri-Cone.

I usually get a crazy idea and message him in the middle of the night and we start brainstorming the design, locating materials usually 60% reclaimed wood and parts and then he gets to building.  It is a great process and I love to support my friend who is an aspiring luthier.
My style comes from skateboarding, working hard and releasing my energy and experiences while performing my songs.  I am very into Pre-War Country Blues, Delta Blues, Fingerstyle/Ragtime/Jug Band and all that good stuff.  Also 80s Punk and Hendrix..  Some of the early Folk musicians as well. 
My style comes from so many past musicians and also environmental sounds too..  

I also have a mangled right hand..  I am missing half my Index finger, 1/4 of my pinky finger and my middle and ring were also injured in a table saw accident..  So my picking is A-typical.

RS:: Tell me about your picking style, if you will. 

How do you think it differs from another guitarist not missing parts of their hand? Did you play guitar prior to the accident?

LS:: I seem to do everything kind of my own way or as an interpretation of things I hear.  I would rather not get somebody else's idea "right" anyway..  So I have a few picking styles that I use in my tunes for Slide, Fingerstyle guitar and Banjo.  But because I use my thumb, middle and ring finger it comes out differently than more traditional picking styles/techniques.
I did play prior to the accident but losing my Index and part of my Pinky finger helped me get serious about art and music because it was nearly taken away forever.  So for me it was a strong life lesson to learn about having respect for the moment, working hard and learning to be grateful for what you have in the now.

RS:: How long have you been traveling and playing music?  
Do you have a favorite place to play, or venue?

How do your songs come to you? Music or lyrics first? Does it take you a long time to write, or can you whip 'em out? Or does it just depend?

LS:: I have been playing guitar for 25+ years.  But performing this way for 6.  I have been writing this kind of music since about 1995.  

I love to be in a place with good vibe and character.  Maybe an old building with an ancient wood floor, wood beams or some kind of cool history/vibe.  I luckily have many favorites both in the U.S. and Europe.
The songs come to me almost like magic.  I can not try to write a song.  They just happen.  It is usually a riff on the guitar or banjo that I some how pull out of the air. My lyrics are about whatever might be bothering me at the time.  Or something that I have learned.

Sometimes I can finish a song very quickly and others take months. But they all seem to evolve over time and take on their own life as I perform them.

RS::  Screamin' All Over/Mountain Country is a hell of a song. Please tell me about it.
LS:: The two songs run together.  Screaming all over is about how "she done left" and Mountain Country is about how he heads to the hills to pacify his mind.  "Head back to the mountain country, place where I Should be"

RS:: You tour a lot. You're playing shows all over but do you play on the street at all? Any place in mind you'd love to go to that you havnt yet? 

What's happening in the coming year? New recordings? Travels?

LS:: I started out busking and doing open Mics.  I occasionally still do both but I am focusing on touring as much as possible these days.  
We are working on a tour in Europe for 2016 that will hopefully include Switzerland, Finland and Sweden along with Belgium, France Germany, Netherlands and Poland.  Fingers are crossed!  
I am excited about playing any new place.  I hope music and art will continue to take me down that road and I hope I can help folks feel better for a bit in the process.
I also will have an art show in Aarschot, Belgium in May 2016 at a Cultural Center for the city.  
I am just about to release a vinyl only LP called "Deep River".  I am planning to record again possibly this coming Fall for a Spring 2016 release.

When I return to the states I am doing a run with The Hangdog Hearts to the East Coast.  And then I will head West on my own to California.  I return to the Midwest August 9-12 for Farmageddon Music Festival in Wisconsin and then Muddy Roots Music Festival in Cookville TN Labor Day weekend 2015

RS:: Thanks for your time, Lou! Best of luck in the new year


18 June 2015

RiVER OF GENNARGENTU - Taloro

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River Of Gennargentu (the nom de blues of Sardinia's Lore Tuccio) is
proof once again that blues music is an international language, and in the right hands and the right voice it can be made new again while staying true to the original (whatever that is.)

The music of Jesse Mae Hemphill, R.L. Burnside, Junior Kimbrough, and of course the masters that came before them, live on in the music of the River Of Gennargentu, but there's differences.  Ghosts of African desert poly-tones brush past dancing Romas while electric Appalachians and the hill country people of north Mississippi meet the mountain and ocean people of Sardinia for a late night ramble. I keep saying it, and you know it's true: It's all connected.

It's subtle, intriguing stuff this River Of Gennargentu. I needed to know more. Fortunately, Mr. Tuccio was willing to chat with me. You'll find an interview below the music player::



RS (Rick Saunders) :: Tell me about your music, Lore. How long have you been playing? Sounds like you dig that North Mississippi hill country drone of Junior Kimbrough, but mixed with other sounds, too. Tell me who's influenced you, and how you discovered it.

LT (Lore Tuccio) :: I play since I was 14 (I am now 36 ) I started in mid 90's playing guitar in metal, punk and noise bands with friends, and experimenting kind of noisy electronic music with cassette tapes and turntables. I'm influenced by DIY punk ethic, but I listen a lot of music: genres is not so important, good music is important, in fact. 

Some years ago (about 2007) I bumped into primal blues, and has been an authentic revelation: primitive blues talks with your soul. My first influences were Son House, Bukka White, Rosa Lee Hill,  Skip James, Robert Pete Williams, Big Joe Williams, and the North Mississippi Hill Country scene, of course. So, I started playing the blues and building my own instruments: cigar box guitars, percussions, etc...

Then in 2011 I met this guy, we have friends in common, he listened some recordings of mine and proposed to play together: we formed Black Lodge Juke Joint, a raw punk/ blues duo, made two self-produced records and played in festivals, squats, pubs, houses parties, street's corners...

Now after years of moves around Italy and several changes in my life,  I'm returned to the small town where I'm grown, in central Sardinia, near Gennargentu Mountains, a place with beautiful natural landscapes, really into the wild some month ago I recorded the EP as you know, and that's all!

I forgot to tell you that in addition to the Delta and North Mississippi Hill Country (RL Burnside, Kimbrough, Jessie Mae Hemphill, Robert Belfour, etc.) is a  very important influence for me African blues (Ali Farka Toure, Tinariwen, Boubakar Traore, and more)! Also , people who come to my gigs says he feels even influence the Sardinian music , and that's good !

RS:: What/where is the River of Gennagentu? What's its significance to you?

LT:: About this, Taloro is a river that flows from the mountains of Gennargentu , so I chose the name is a tribute to my land and this people...You know , Sardinia is a sparsely populated region ( one of the least populated in Europe, 1.5 million inhabitants ), where the economic crisis feels a lot , going around playing I saw that people immediately understand the blues , is a music that fits in these times and places...

RS:: What's the music scene like for you? Do you play mostly around Sardinia or do you travel?

LT:: The blues scene in Sardinia is alive , there are a lot of individuals and bands that play : I can think of King Howl quartet, and Donnie, also Hola La Poyana , Sunsweet Blues Revenge , Francesco Piu, and many others , each with their own personal style... 

For now I played mainly in Sardinia , but I'm starting to run across Italy , the last time I played in Rome at Mojo Fest 2015 .. then this summer there is some good chance to play in Germany.

RS:: I was wondering if you were into the desert blues scene, considering your close proximity to Tunisia. That's interesting. I did a little research on Sardinia last night and listened to some guys playing the Launedas and that drone sound it makes reminded me of your sound.

LT:: Hey thanks for your considerations Rick! I would love to, I do not believe to be part of the desert blues, although there are cultural aspects that will probably bring us closer ( both Sardinian and Tuareg peoples are traditionally shepherds) Your mention of the launeddas made me think of one thing : here in Barbagia is a musical tradition that has much in common with fife & drum of North Mississippi, and here you play the drum (tumbarinu) and the fife (pipiolu) !

RS:: What sort of guitars do you use, and amps? Do you work strictly solo now?


LS:: I change often gear (among the various things I do to get some money there is the repair of musical instruments, before selling them happen to keep them for a while ), but now i'm using mostly my old Eko Navajo and FBT G.60 amp, and 6 string my cigar box guitar.

Taloro is recorded only with acoustic instruments: CBG, acoustic guitar, resonator guitar. During the recording sessions there was a microphone in front of me, so that together capture voice and instrument, one take, no overdubbing, in the simplest way possible. And yes, for now I play solo.

RS:: Anything else people should know about you or your music? Any new releases or big gigs coming up?


LT:: By the end of June  the Talk About Records decided to release the reissue of Taloro: that will contain two previously unreleased tracks dating back to the first recording sessions of the EP (2008 ): the hard disk of my computer where I recorded at the time it broke , and recently I found some tracks escaped to that mess, these will be included in the reissue. It will be in limited edition and hand-numbered . Then start summer tour , which will touch Sardinia, Italy and Germany...I hope I have answered all, if you have other questions just ask , thanks Rick !

RS:: Thanks for your time, Lore! 

14 April 2015

CHiCKEN SNAKE - Unholy Rollers

fb // LiSTEN! // reverbnation  // beast records // great interview // BUY: teelmusic at gmail dot com (this release is vinyl only!)

   Have y'all heard the new Chicken Snake album? It's called Unholy
Rollers. Chicken Snake rocks the best of the blues of The Cramps and the Gun Club, the book love of X and Nick Cave, the ghosts of Jesse Mae Hemphill, John Lee Hooker, Bo Diddley, and Junior Kimbrough, the cooked and crooked roots of Iggy and The Stooges, Johnny Dowd, Beefheart, Handsome Family, and of course the legendary Hasil Adkins! Chicken Snake combines it in their own original black and white (with technicolor swamp) New Orleans southern gothic style, that rocks as hard as it arts.

   Like a thing in the dark that's brusquely brushed past you, something chilling, thrilling, like the back of your ears touched by some dusty and kudzu covered Charlie Feathers and early Dr. John albums, Chicken Snake play dirty rock and roll pot boilers, part hard wink of evil juju blues bonfire in the middle of nowhere, and part late-night party on the covered patio, fetching beer out the iced down back of a hot rodded Ranchero.

   Jerry Teel (guitar/vocals - Ex-Boss Hog, Honeymoon Killers, Knoxville Girls) and Pauline Teel
(vocals and terrific photographer ) are partners in life and rock, and they make a terrific team, visually and sonically complimenting each other, and with the backup of Josh Lee Hooker on guitar, and Jessica Melain on drums they make for a seriously tough and interesting unit.
 

 Jerry Teel's historia de la rock music guitar tone is confident, sexy and stabbing, and his production on this album sounds sweet and sticky, but crunchy like a PBJ with extra nuts, muscadine jelly, sweet onions, and fried hot peppers. Pauline sings like the gal next door, but she's got a mess of razors and an ass-pocket of whiskey ready to go. It's brass-knuckle creeptastic '68 Elvis from the crypt blues and roll without pretension. Raw, honest, blood, sweat and murder, bad luck and trouble. Chicken Snake takes the often shiny, pillowed, and potpourried History of American Roots Music and drags its precious ass face-first through underground Louisiana swamps, across the dirty south's alleys and backwoods, stands it upright on stage and shines a hot, sweaty light on it...then makes it dance.

You need this. Get it. Vinyl album only via: teelmusic at gmail dot com














































































































































































































































































































































































































































































































11 April 2015

Who The Hell Is C.C. Adcock?


Who The Hell is C.C. Adcock?
One self-titled album in 1994 and another in 2004 called Lafayette Marquis. Both albums are dirty mojo bags stuffed to over flow with south texass blues and backwoods sleazy swamp town one swangin' blue light house party boogie.

Lafayette Marquis
branches down to throw on some textureized filthy mid-period ZZTtopian remixish  night tripper-esque voodoo sexy steamy spook funk. Growing up in S.W. Louisiana, years spent as a touring guitarist behind Bo Diddley and Buckwheat Zydeco is bound to skew yr ears to something different and different is a good word to start with when speaking of the music of C.C. Adcock.

The thing that attracts me to Adcock's work is what I look for in the music that I love best and moves me most. That's mystery, freshness, and a twist. I want to hear what I haven't heard before and C.C. Adcock brings it. Adcock keeps one deluxe custom-made steel toe work boot firmly stepping to the future while the other dances and slides confidently in, out, and all around a dirty french alligator Louisian sexy swamp mud under a shiny white hot desert Texan sun draped in sweltering big black moonless Los Angeloan sharkskin traditions.

C.C.'s side band Lil' Band O' Gold with Steve Riley of Mamou Playboys played back up for Robert Plant on a Fats Domino Tribute. Read ThisBuy Lil' Band O' Gold from AMAZON




Check out this short film on Lil' Band O' Gold! it's called Promised Land.



23 December 2014

MUDLOW - The MiNNESOTA SNOW ep

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Cover photo by the great Casey Weber
   Mudlow believes in the darkness, the nightshade of black and blues at twilight, and the tension of breath in the space between.

   They know the mystery of a song's mood brings about a sense of place. The song Minnesota Snow is such a song. You can feel the threat. The menace of blizzard winds. A blizzard of snow, or a tempest of violence? Or both. You're the witness.

"Let out some air from the tires, rock it back and forth, Needles on empty, heater's on full."

   That's a place nobody wants to be in, on-the-verge of lost desperation. All you can do is hope and pray you didn't really fuck it all up this time. It's an apt M.O. for most Mudlow songs. The world is gone shit side up y'all, but it ain't gonna always be that way baby, and it ain't ever gonna be without the boogie. It's nothing without that Mudlow style.

   Let's take it down to Stubb's Yard.

   This is where Mudlow drives us through their North Mississippi, their Texas, their Detroit demolition. This is high steppin', steel-toe sliding, finger tracing, hand clappin', face-slappin' downtown rock city boogie music. At 2:28 it's the shortest song of the three, but that's all it needs.

   The third joint of this set is Codename Toad.

   Something untoward is going on but hell, nothing's illegal until you get caught, right? It's a dirty rockin' thing having something to do with guns (a walnut grip Baretta by name) a mohair suit, a clear pint, plenty of cocaine, some weed and a shootout. It sounds like a breakneck, backroad trip from Peacehaven to Small Dole, down Devil's Dyke Road, to Shoreham and Saltdean. Listening to side one of ZZ Top's Tejas loud on repeat, taking that last midnight run...praying...Mr. State Trooper...

   It's a perfect example of a Mudlow song that could be the basis for a movie. Each song acts as a vignette of British crime, grime, and time. It's the Brighton breakdown of AC/DC'd dirty soul blues, hard loaded swagger, and a lot of whiskey, cigarettes and well-thumbed paperbacks.

   It's only been two years since Mudlow released their second album, Sawyer's Hope, but for some reason it seems longer to me. With each release, I get sucked into this Mudlow soundtrack for awhile, where the streets are usually wet and shining with street-lamp glare, everybody has a hard noir story, and the music is polished, flat black and chrome.

   This three song set is saxophone-free (a real switch for the band, which utilised the sax as a tone-setter) but does feature cello on the title track. Mudlow bassist and recording engineer Paul Pascoe's already quality sonics have been refined in those two years, and the sense of space, groove, and breath, always a Mudlow hallmark, is accentuated to the point that on headphones you'll think you're in the room. Pascoe's sense of tension and drama is put to use by Tobias Mudlow's funky, funky, country jazz punk city blues guitar, its strong, inventive plucking, crossed with a fine sense of mood really plays a great part in setting the band's sound apart. It's something that was there, but not apparent when the sax was used, often as a co-lead instrument. Matt Latcham is Mudlow's drummer. Solid, creative, and holding up the bottom while dancing across his drums with one hand in the pocket, the other on the gas. His funky foot locks in tight with the bass and guitar, and is crucial to the noir soundtrack feel of the Mudlow sound. Precise, economical, country yet funky.


   The Minnesota Snow ep is another exceptional release by a great band. It shows continued growth of depth, sonically, instrumentally, and lyrically. I wouldn't be the least bit surprised if I'm reading a collection of short stories by Tobias Mudlow at some point in the future. Whatever happens, this band will continue to evolve. It's personal blues-infected music with emotional heft, and a strong artistic vision.

   It's the music from the closing credits of your favorite movie. It's the song you listen to as you drive off the dock at the end of the chase scene, it's the song that plays as the sun rises over the weed-choked city cemetery, it's the sound you hear as you run through the concrete jungle of southern (UK) bars and clip-joints. Welcome back to Mudlow country. We've missed you.

   I understand this is to be the first in a series of digital releases, on the road to vinyl. I can't wait.

LiSTEN::





MUDLOW - The MiNNESOTA SNOW ep

webs // twit // fb // itunes // bandcamp // reverbnation // soundcloud // youtubes

Cover photo by the great Casey Weber
   Mudlow believes in the darkness, the nightshade of black and blues at twilight, and the tension of breath in the space between.

   They know the mystery of a song's mood brings about a sense of place. The song Minnesota Snow is such a song. You can feel the threat. The menace of blizzard winds. A blizzard of snow, or a tempest of violence? Or both. You're the witness.

"Let out some air from the tires, rock it back and forth, Needles on empty, heater's on full."

   That's a place nobody wants to be in, on-the-verge of lost desperation. All you can do is hope and pray you didn't really fuck it all up this time. It's an apt M.O. for most Mudlow songs. The world is gone shit side up y'all, but it ain't gonna always be that way baby, and it ain't ever gonna be without the boogie. It's nothing without that Mudlow style.

   Let's take it down to Stubb's Yard.

   This is where Mudlow drives us through their North Mississippi, their Texas, their Detroit demolition. This is high steppin', steel-toe sliding, finger tracing, hand clappin', face-slappin' downtown rock city boogie music. At 2:28 it's the shortest song of the three, but that's all it needs.

   The third joint of this set is Codename Toad.

   Something untoward is going on but hell, nothing's illegal until you get caught, right? It's a dirty rockin' thing having something to do with guns (a walnut grip Baretta by name) a mohair suit, a clear pint, plenty of cocaine, some weed and a shootout. It sounds like a breakneck, backroad trip from Peacehaven to Small Dole, down Devil's Dyke Road, to Shoreham and Saltdean. Listening to side one of ZZ Top's Tejas loud on repeat, taking that last midnight run...praying...Mr. State Trooper...

   It's a perfect example of a Mudlow song that could be the basis for a movie. Each song acts as a vignette of British crime, grime, and time. It's the Brighton breakdown of AC/DC'd dirty soul blues, hard loaded swagger, and a lot of whiskey, cigarettes and well-thumbed paperbacks.

   It's only been two years since Mudlow released their second album, Sawyer's Hope, but for some reason it seems longer to me. With each release, I get sucked into this Mudlow soundtrack for awhile, where the streets are usually wet and shining with street-lamp glare, everybody has a hard noir story, and the music is polished, flat black and chrome.

   This three song set is saxophone-free (a real switch for the band, which utilised the sax as a tone-setter) but does feature cello on the title track. Mudlow bassist and recording engineer Paul Pascoe's already quality sonics have been refined in those two years, and the sense of space, groove, and breath, always a Mudlow hallmark, is accentuated to the point that on headphones you'll think you're in the room. Pascoe's sense of tension and drama is put to use by Tobias Mudlow's funky, funky, country jazz punk city blues guitar, its strong, inventive plucking, crossed with a fine sense of mood really plays a great part in setting the band's sound apart. It's something that was there, but not apparent when the sax was used, often as a co-lead instrument. Matt Latcham is Mudlow's drummer. Solid, creative, and holding up the bottom while dancing across his drums with one hand in the pocket, the other on the gas. His funky foot locks in tight with the bass and guitar, and is crucial to the noir soundtrack feel of the Mudlow sound. Precise, economical, country yet funky.


   The Minnesota Snow ep is another exceptional release by a great band. It shows continued growth of depth, sonically, instrumentally, and lyrically. I wouldn't be the least bit surprised if I'm reading a collection of short stories by Tobias Mudlow at some point in the future. Whatever happens, this band will continue to evolve. It's personal blues-infected music with emotional heft, and a strong artistic vision.

   It's the music from the closing credits of your favorite movie. It's the song you listen to as you drive off the dock at the end of the chase scene, it's the song that plays as the sun rises over the weed-choked city cemetery, it's the sound you hear as you run through the concrete jungle of southern (UK) bars and clip-joints. Welcome back to Mudlow country. We've missed you.

   I understand this is to be the first in a series of digital releases, on the road to vinyl. I can't wait.

LiSTEN::