Jitterbug Vipers - Phoebe's Dream

Jitterbug Vipers - Phoebe's Dream
2013, Jitterbug Vipers

Jitterbug Vipers are an anomaly in the Austin, Texas music scene, reliving the marijuana culture that infused American jazz music in the 1920s and 1930s.  Jitterbug Vipers celebrate both the music and the muse on their debut album, Phoebe’s Dream.  Let by the impressive pipes of Sarah Sharp and the exquisite guitar work of Slim Richey, Jitterbug Vipers take listeners on a whirling ride you won’t soon forget!

Jitterbug Vipers kick off with the title track, a jazz-noir story song about a woman trying to make her own path to heaven. Vocalist Sarah Sharp sounds like a utopian blend of Katherine Walton (Squirrel Nut Zippers) and Brianna Corrigan (late of The Beautiful South).  The dark undertones continue to hold away on "A Viper Just The Same", an ethereal and eloquent piece of jazz that mesmerizes.  Jitterbug Vipers show off their sense of humor on "Stuff It". Full of innuendo and sultry vocals, the song also highlights the sublime instrumental work of Texas' most dangerous guitar player, Slim Richey. "Undecided" is a jaunty little number that ruminates on an answer that never arrives. Part invitation and part interrogation, the song displays Sarah Sharp at her casual best. 

"When You're High" is an old school love song that's sung in dulcet tones. This sort of intimate vocal style has fallen out of fashion, perhaps, but reflects a time when melody, lyrics and the ability to sell a song were all that a vocalist had. "Dangerous" celebrates the talents of guitarist Richey with tongue-in-cheek humor and some fantastic guitar work. The Jitterbug Vipers let down their collective hair with "That Was Just The Sauce Talkin'", a post-amorous letdown that's artfully crafted and ultimately tuneful. This is an amusing tune perhaps unless you're the one it's directed at. "Billie's Blues" gives Sarah Sharp a virtual spotlight to show what she's made of, and she does not disappoint. 

"Viper Moon" is a duet between Sharp and Ricky's dulcet guitar that is not be missed. Each fills the space where the other is not, occasionally overlapping in a sort of coital muse.  Sharp purrs and preens her way through "Trouble" in a kittenish fashion that puts Ann Margaret to shame, and the rest of the Jitterbug Vipers match her measure for measure with a deliciously understated style. Slim Richey goes to town on "Django's Birthday", giving a virtuoso performance. The only thing missing here is a healthy dose of gypsy violin to balance it out. 

Jitterbug Vipers rock it old school on Phoebe’s Dream.  I don’t know if I would call Slim Richey dangerous, but he is certainly one of the finest axe men I have heard in some time.  His slithery electric groove and Sarah Sharp’s hypnotic and sultry voice are the perfect pairing.  The rest of the band, Francie Meaux Jeaux (bass) and Masumi Jones (drums) are killer in instinct and execution.  Phoebe’s Dream might be one of the most fun listening experiences you encounter in 2013.  Jitterbug Vipers aren’t original, per se, but these hep cats are in the real.  Phoebe’s Dream is a Wildy’s World Certified Desert Island Disc.

Rating: 5 Stars (Out of 5)

Learn more at www.jitterbugvipers.com. 

Review: Patrick & Eugene – Altogether Now: Birds Bees Flowers Trees

Patrick & Eugene – Altogether Now: Birds Bees Flowers Trees
2010, Tummy Touch Records

Patrick Dawes (Groove Armada, Richie Havens) & Eugene Bezodis (near-tragic magic) are a British phenomenon that has danced along the periphery of American pop-cultural conscience for a few years now. Perhaps best known for the song “The Birds & The Bees”, which accompanied a well-known Volkswagen commercial a couple of years back, Patrick & Eugene have repeatedly found their music used in commercials and even in television shows (Weeds, Grey’s Anatomy). Patrick & Eugene owe nods to bands such as They Might Be Giants, The Beautiful South and Squirrel Nut Zippers, but also have comedic routes that stretch from Monty Python to Derek & Clive. Altogether Now: Birds Bees Flowers Trees is Patrick & Eugene’s US debut. It is a compilation of the best material from Patrick & Eugene’s two British albums, Postcard From Summerisle and Everything And Everyone. Some might quickly categorize Patrick & Eugene as a novelty act because of the oft comedic wit and atypical instrumentation/sounds, but the musicianship here is too good for Patrick & Eugene ever to be considered merely a novelty act.

Altogether Now opens with Patrick & Eugene’s best known song, “The Birds And The Bees”. The song has an old-timey feel with a modern array of electronic accoutrements. The sound is eccentric and eclectic, and melody is so catchy you’ll be knocking your head against the wall trying to make it come out weeks later. “Nevertheless” is a fun sway-inducing tune. The song will make you yearn for simpler times, relying on a spacious arrangement to give it an open, easy feel. “Circus Train” is a sound collage, creating train and animal sounds from percussion, found and synthesized sounds, instruments and creatively applied vocalizations. The song is highly rhythmic and fun, and displays keenly Patrick & Eugene’s talent for constructing a coherent song out of almost anything.

“Altogether Now” is a happy, highly positive tune. You’ll want to be up and dancing around to this highly active musical missive; it feels sort of like a children’s song for adults. Patrick & Eugene wend their way through the eccentricities of songs such as “Llama”, “Old Times” and “Don’t Stop” before settling on “The Leprechaun”, an eclectic and mildly catchy tune that listeners will find highly appealing. “A Dog’s Tale is likely to be a fan favorite, but the album’s theme song should be “Can’t Get You Out Of My Head”. That’s what you’ll be thinking about Patrick & Eugene in the days and weeks after your first listen to Altogether Now. Patrick & Eugene might have saved their best work for the last two tracks on the album, however. “Saturday Night” is a wonderful reflection on days gone by with a riotous twist; you’ll dance until your laughter prevents it. Patrick & Eugene take one more shot to show off their instrumental chops on “Peony”, an intriguing little number that’s a great calling card for the duo.

Altogether Now: Birds Bees Flowers And Trees might be one of the best original offerings of the year thus far. The music will be both new and familiar to American audiences, and with the right continued exposure should mean significant success for Patrick & Eugene. It’s unusual to find an act that can make you laugh and want to dance all while providing high-quality songwriting and musicianship. Patrick & Eugene harkens back to the days of Vaudeville, while maintaining seriously modern elements to the music they create. Spend some time getting to know Patrick & Eugene. You’ll be happy you did.

Rating: 4 Stars (Out of 5)

Learn more about Patrick & Eugene at http://www.patrickandeugene.net/ or www.myspace.com/patrickandeugene. Altogether Now: Birds Bees Flowers Trees is available from Amazon.com as either a CD or Download.

Review: Shady Cats - Love Callin’

Shady Cats - Love Callin’
2006, Grady Crumpler

Raleigh, North Carolina’s Shady Cats has been a long time in the making. Singer/songwriter Grady Crumpler started playing a regular gig near his home back in 1995. After being invited to play a private party, he hooked up with drummer Bill Eagen, who provides the rhythmic core for Crumpler’s songwriting. Together with a revolving committee of musicians, they became known as Grady Crumpler & Last Call, and eventually Shady Cats. Shady Cats began recording songs and demos nearly a decade ago. This piecemeal approach led to a focus on the songs rather than a specific sound for the band. Crumpler shopped songs to various producers. Consequently Shady Cats’ debut album, Love Callin’, has three producers of note involved. John Plymale (The Pressure Boys, Squirrel Nut Zippers, Superchunk, Meat Puppets); Dick Hodgin (Hootie & The Blowfish) and John Custer (Corrosion Of Conformity, Cry Of Love) all bring their masterful hands to bear on Shady Cats’ work. The result is an uneven but promising album that makes up in creativity what it sometimes sacrifices in continuity.

Love Callin’ opens with the uber-catchy title track. Vocalist Grady Crumpler has an enigmatic and enjoyable voice that's occasionally reminiscent of Elvis Costello. "Love Callin’" is a great start; if this song had been released circa-1986 the members of Shady Cats could have bought mansions with the proceeds. "Lost Myself" marches the line of demarcation between 1970's classic rock and 1980's pop; a territory that Shady Cats tread throughout much of Love Callin’. "Lost Myself" has one of those melodies that stay with you and recur at the oddest moments. Crumpler shows a deft lyrical touch on "She Kisses Me With Her Eyes". The song is virulent, catchy enough to knock "Lost Myself" out of the catbird seat in your brain, and the imagery is just off the beaten path enough to catch your attention.

Shady Cats have a special guest on "In The Moment", with legendary producer and performer Don Dixon (REM, Guadalcanal Diary, Hootie & The Blowfish, Moxy Fruvous) sitting in on vocals. Dixon's vocals are top notch, but the song gets a bit too wrapped up in its soul-searching feel. "You Got A Way" finds Shady Cats back in the early 1970's sonically, featuring big guitar riffs and barre chords as rock and jazz mix in uneasy but pleasing measures. On "Lines", Shady Cats head for a solid rock arrangement with country accents (primarily in the guitar line). "Lines" is a highly enjoyable song that stands out in spite of not being ostentatious. Shady Cats show serious chutzpah on "I Want Independence", with Crumpler laying down the most serious guitar solo on the album. Shady Cats find pop magic on "Take Me", a high-speed rocker with R&B roots that could be a hit in any decade in the rock era. If "Love Callin’" would have enabled the members of Shady Cats to buy mansions back in the 1980's, "Take Me" would have bought the entire town.

Shady Cats dig in with a positive message on "All The Way", but message falls a bit flat in a lounge arrangement that sounds contrived and very much out of context with the rest of Love Callin’. "Till The Rain Comes" sticks with the positive thinking, pointing out that sometimes even the rain is a good thing. The sound here is a cross between Elvis Costello and Fleetwood Mac (particularly in the harmony vocals); a retro sound that sounds amazingly relevant for the music scene of today. Shady Cats wind down with the theatrical rock aria "Desperation", among the most enjoyable tracks on the disc. The Cats taken listeners on an interesting turn at the albums close, dangling another side of the band as they walk out the door that is likely to bring listeners back the next time around.

Shady Cats put their best foot forward on Love Callin’, blending 1970's classic rock and 1980's pop and in the process serving up a highly palatable brand of rock 'n roll that's highly palatable for today. Grady Crumpler is a solid lead on vocals, and accents the songs on Love Callin’ with mildly adventurous guitar work that will please the ears of casual listeners while seeming a bit too tame of fans of classic rock. Love Callin’ is a safe album, but some of the songs here are so catchy they might need to be quarantined.

Rating: 3 Stars (Out of 5)

You can learn more about Shady Cats at www.shadycats.com. You can purchase Love Callin' as either a CD or Download from CDBaby.com.

Review: The Lost Fingers - Lost In The 80's

The Lost Fingers - Lost In The 80's
2009, Sony Music

Canadian trio The Lost Fingers know a little about what it takes to make good comedy. Don't get me wrong, there's nothing comical about the music of The Lost Fingers, but George Carlin used to say that the job of comedian was to take things you already knew and show them to you in a different light. That's what The Lost Fingers do on Lost In The 80's, a collection of cover songs presented in jazzy, acoustic renditions that are likely to surprise and amaze you. The Lost Fingers, named in memory of jazz guitar great Django Reinhardt, have already achieved Gold Record status in Canada and been nominated for two Juno Awards with Lost In The 80's. The album is now available in the US for the first time.

The Lost Fingers open with a cover of Technotronic's Pump Up The Jam, a tune that starts a bit slow but quickly comes up to speed. The jazzed-up version will appeal to fans of Squirrel Nut Zippers, and the instrumental work is absolutely flawless. You Give Love A Bad Name (Bon Jovi) has a frenetic feel, particularly in the guitar part, which is about as blistering as you can get with an acoustic guitar. You Shook Me All Night Long (AC/DC) could easily have been translated as a high energy tune, but The Lost Fingers made the brave decision to present it as a languorous tune complete with scat-singing. The risk pays off here in one of the most intriguing songs on the album.

The rendition of Luc Plamondon's Incognito (made famous by Celine Dion) is surprising in that it sounds like it might have come out of a European holiday film. Incognito goes down as a fine cup of espresso. Samantha Fox' Touch Me (I Want Your Body) again sounds like a Squirrel Nut Zippers rendition and is highly danceable (although perhaps not in the fashion Ms. Fox might have originally envisioned). The guitar work here is especially fantastic. Stevie Wonder's Part-Time Lover is given real life as a swing tune. In spite of some stylistic touches and changes in instrumentation the song remains essentially unchanged from the original, although it is interesting to hear the nuances acoustic instruments bring out in the classic Pop/R&B tune. Likewise for Kool & The Gang's Fresh; this cover works a lot better than I might have expected and is likely to bring big smiles live.

Perhaps one of the most interesting covers given his untimely demise is The Lost Fingers' take on Michael Jackson's Billie Jean. It's the best cover of Billie Jean I've heard; the Jazz setting works particularly well for this tune, bring out some of the natural energy in the chorus. Wham's Careless Whisper gets similar treatment, and once again the cover works better than I would have thought. In this case it actually sounds better than the original. Soft Cell's Tainted Love is interpreted here is a moody and off-kilter tune with some unusual vocal harmonies. It's once again one of the best covers of the song I've heard, although all covers of Tainted Love have forever been overshadowed by Dan Akroyd's nasally percussive version from Coneheads.

The Lost Fingers enter the Space Cadet service with a terrific rendition of Paula Abdul's Straight Up. As usual, the strong vocal lines are simply an appetizer for the splendid instrumental play of The Lost Fingers. Alannah Myles' Black Velvet gets sent up in a version that captures the wanton sensuality of the original. This may be one of the more underrated songs of the 1980's; a classic in sheep's clothing, but The Lost Fingers unmask it for the quintessential song it is. Lost In The 80's closes with a pair of Francophone tunes. The first is Joe Le Taxi, a song written for Vanessa Paradis in 1987 by Franck Langolff and Étienne Roda-Gil. Sung in French, the song has a Mediterranean feel that sneaks into the Gypsy Jazz arrangement. The Lost Fingers follow up with Belleville Rendez-vous from the animated Les Triplettes de Belleville (2003). Written by Benoît Charest and Sylvain Chomet, the song was nominated for an Academy Award for original singer Béatrice Bonifassi. The Lost Fingers run with the song, providing a high energy reading that's highly entertaining and bound to inspire some dancing.

The Lost Fingers bring a breath of Fresh Air to the 1980's and beyond, provide renditions of classic songs so full of energy and life you can't help but be hooked by the experience. It's no wonder The Lost Fingers are major stars in Canada; I have no doubt they'll repeat their success in the United States, Europe and beyond. Lost In The '80's rises above the genre of "cover album" to true artistry; make sure you give it, and The Lost Fingers, the time of day.

Rating: 4 Stars (Out of 5)

You can learn more about The Lost Fingers at http://www.thelostfingers.com/ or www.myspace.com/thelostfingers. You can purchase Lost In The 80’s as either a CD or Download from Amazon.com.

Review: Squirrel Nut Zippers - Lost At Sea (Live)

Squirrel Nut Zippers - Lost At Sea
2009, Southern Broadcasting/MRI

When Brian Setzer covered Louis Prima's Jump Jive An' Wail back in the mid-1990's, he ignited a hunger for music from and inspired by the Swing era that opened the door to popular success for a lot of bands who might not have otherwise had the opportunity. One of those bands was the Squirrel Nut Zippers. While the Squirrel Nut Zippers aren't a swing band, per se, a number of their tunes do fit the category. Writing with a cinematic zeal, Squirrel Nut Zippers tell stories in song with whatever sound fits the storyline. Their esoteric approach has left critics scratching their heads for the appropriate descriptive language while beguiling and befuddling fans. The band took a break from public life in 2002, staying in exile until 2007 when the core of the band headed back out on the road. On October 27, 2009, the Squirrel Nut Zippers release a live album, Lost At Sea, documenting some of their biggest hits from over the years as well as giving a fine aural picture of where the band stands more than a decade after the light of celebrity first shone upon them.

Lost At Sea opens with the Swing/Funk of Memphis Exorcism, recalling the 1950's Jazz Era of the deep south. The instrumental runs about 2 1/2 minutes and sets the stage nicely for an even full of music and dancing. The crowd at Brooklyn, NY's Southpaw is clearly audible and very much into the show. You will be too. Good Enough For Grandad blows the roof off the joint on just the second song with a serious New Orleans flavor and Jimbo Mathus on vocals. It's a song about reverence for the past and reflects an "old-time" philosophy that still makes sense even in a post-modern world. Not too mention there's some pretty hot jazz going on here. It Ain't You displays the other vocal personality of Squirrel Nut Zippers. Katherine Whalen has a voice boiling over with sensuality while retaining a sound that is pure-1930's gin-joint jazz. The hot swing carries over into Prince Nez. The roof already blown off, the Zippers tear down the walls and stomp on the floor boards for good measure.

Up next is Put A Lid On It, a moderate radio hit for the band back in the mid-90's. Mathus and Whalen sing call and response with Whalen exuding a raw animal nature of an old-time film star like Jayne Mansfield. Danny Diamond is the story in song of a burlesque star who came to a less than desired end; the song shows The Zippers ability to create magic at a slower speed and is a great listen. Suits Are Picking Up The Bill has long been one of my favorite Zippers songs, and is presented here with an extended opening and a more refined than the original studio cut. The sound here is a mix of Dixieland and BeBop. The Zippers move through Happens All The Time and Bad Businessman on their way to Hell, one of their bigger radio hits. The dark and deranged swing here will hook you immediately if you don't already know the song. Jimbo Mathus takes over the mic with all of the swagger of an old-school band leader in an inspired performance.

Ghost Of Stephen Foster is a darkly entertaining tune that seeks to right a wrong from the great composer. It's a zany trip into an unreal world for no reason at all, and the arrangement is amazing. Blue Angel finds Whalen at her best, laying down a vocal line full of hope and fear wrapped into one delicious song. The Zippers stand back from their usual bombast with a measured performance full of nuance and finesse. Do What comes forward for a 1950's Rock N Roll sound in a seven minute opus guaranteed to have you shaking booty and singing along for all you are worth. This is essentially the closing tune to the album, although there is a 49 second epilogue entitled Missing Link Parade tacked on to the end.

The Squirrel Nut Zippers have always sounded just a bit messy. Eschewing highly produced and refined musical grooming for an organic live sound has been heir style since they first broke on the popular music scene. Lost At Sea captures their live sound in its natural habitat - the stage. For a band that took five years off they haven't lost a step. Lost At Sea documents the Squirrel Nut Zippers of 2009 in highly complementary terms. Now all we can hope for is some new material in the not too distant future.

Rating: 4 Stars (Out of 5)

You can learn more about the Squirrel Nut Zippers at http://www.snzippers.com/ or www.myspace.com/snzippers. Lost At Sea goes on sale October 27, 2009. Expect wide availability. But if you can’t wait, you can get the CD in advance of the release date through the band’s website. This opportunity has yet to start, but keep checking back to the Zipper’s website for more information.

Review: The Public Good - No. 1

The Public Good - No. 1
2009, Lost Lyrics

Washington, D.C.'s The Public Good may look and sound a bit familiar to fans of the 1990's Chapel Hill, North Carolina scene that produced acts such as Hootie & The Blowfish and Edwin McCain. Another band from that much-celebrated scene was The Popes, featuring songwriters John Elderkin and Steve Ruppenthal, who now form the nucleus of The Public Good. Their debut album, No. 1, will be released on August 1, 2009. Produced by Brian Paulson (Wilco, Beck, Squirrel Nut Zippers, Superchunk), No. 1 features real life through the lens of classic singer/songwriter storytelling infused with wit, emotion and not just a little bit of charm.

No. 1 opens with Baby, Baby, Baby, a bit three-chord guitar pop at its finest. It's a very catchy tune about a husband/dad feeling left out once the baby arrives. This is a great pop arrangement with some Beach Boys style harmonies in the breadkown. (Imagine The Girlfriends I'd Have) If I Still Had Hair is a humorous what if song from an vocalist who sounds like he could be a third-cousin of Paul McCartney. There is a distinctive melodic sense to the songwriting even if the songs themselves range from brilliant pop ditties to aggressively mundane attempts at wit. The Only Way is a decent track with hints of The Tragically Hip woven in. Other highlights include Cigarette and Nightmare.

The Public Good may well turn out to be aptly named. The presentation on No. 1 is very rough, musically. There is some real story telling potential in the songs presented here, but there is also an innate awkwardness in the lyrical structure that needs to be worked out. Songs like Baby, Baby, Baby highlight that potential. In the right hands this could be a bit pop hit. For now, The Public Good is off to a good start. No. 1 is more than sufficient to help build a fan base.

Rating: 3 Stars (Out of 5)

You can learn more about The Public Good at www.myspace.com/thepublicgood or http://www.thepublicgoodonline.com/, where you can purchase a copy of No. 1.