KERI LEIGH
Arrival (Waldoxy)
Recorded at the legendary Muscle Shoal studios in Alabama with
leftovers from the studio’s old rhythm and horn sections, Leigh’s
Arrival is a reminder about that old joke about gold-painted cowchips
still being shit at the end of the day. Leigh’s mistake wasn’t the band itself,
but believing the old-timers could provide an excuse for songwriting that dips
so shamelessly into the blooze clich� well. –
Andy Langer
SCHWAGGERT
(Freedom)
The Schwagg, featuring members of the Neptunes/Toad Liquors,
laid down this entire debut of 11 cuts in a single afternoon. They say they’re
the Stones meet NRBQ, but they’re really more the Silos mixed with a good dose
of Jerry Lee Lewis wildness and Escovedo songwriting smarts. “Take a Little for
Yourself” and “When Can I See You?” stick fast to the brain ribs while “You
Ain’t Nothin’ but Trouble” and “Me and My Woman” are definitive Austin rockers.
An appealing, albeit roughly finished work. – Joe
Mitchell
LEEANN ATHERTON
Only Glory (Rain Storm)
I caught Atherton at SXSW this year and she really impressed me
with a hard-twanging country-rock set, but here she opts for slower, more
Nashvillean ballads – with the exception of the rollicking first track – that
unfortunately understate the power her strong voice can pack. – Lee
Nichols
DAN ISRAEL
Like The Country
One man, two instruments (guitar and occasional harmonica), and
seven songs played simply. Acceptance and forward motion seem to be the common
theme of Israel’s songs, with nearly all of them making reference to moving on,
going places, or looking back attentively on what has gone before. Come to
think of it, didn’t Israel himself just move on again? – Ken
Lieck
TALLBOY
It’s no coincidence that Tim Kerr produced this five-song cassette: sounds
like Poison 13. Only better. Whereas Kerr’s seminal Austin band chose to
subvert the blues through punk, Tallboy’s doing the blues through a hardcore
haze. Maybe that’s cutting it fine, but the fat, burp-gun guitar, pumping out
fast and furious riffs, is slamfest heavy. “Don’t Wanna Be Like You” and “Top
Fuel” are particularly good. A terrific tape. – Raoul
Hernandez
THE WALKING DEAD
This Carnival of Life (Fez Guy Records)
Canadian born & raised Lucky Holloway assembles a Division I band to
support his style of country/rock. Unfortunately, sound production for much of
this is coarse. Glover Gil’s piano and Larry Tracy’s steel are lost in the
background. Production improves halfway through and John Wilson’s guitar
extracts itself from the spider webs on “Match Made in Hell.” “Back to the
Coulees” and “Snug as a Bug” give a lively counterpoint to the ballads. – Stephen McGuire
“Bonus Tracks” reviews all local and Texas-based
releases commercially
available. Send to: “Bonus Tracks,” The Austin Chronicle, PO Box
49066, Austin, TX 78765.
This article appears in September 22 • 1995 and September 22 • 1995 (Cover).