PAYNE
Like the folky version of Alice in Chains, their obvious influence, Payne seem
to buy the notion that the insinuation of power can be more powerful than the
actual display, and, at their best, actually manage to prove it in a
convincingly dark semi-acoustic haze — teasing but, to their credit, never
delivering full-on Nine Inch Nails doom. — Andy Langer
BLUE FACE
(Ahoy)
Self-described as “…rock music with a lean, trim, yet
deceptively full sound,” Blue Face the band actually shrink to a foil for
Analisa the singer. Only occasionally does the buzz saw sound let up.
Otherwise, creeping monotony is the order of the day. This only accentuates the
one-trick style of a potentially strong singer.
— Stephen McGuire
STEVE FISHER
A Boy’s Life in Texas (Waterbug)
Understatement’s one of the hardest tricks an artist can pull off, and Steve
Fisher’s a master. One of the finest and least-celebrated of Lone Star
singer-songwriters, his melodies and lyrics are like children’s songs for
adults, delivered in a voice as laid-back as prime Willie. — Steve
Brooks
BARBARA DENNERLEIN
Take Off! (Verve)
Though organist Barbara Dennerlein is from Munich, her trumpet
player on Take Off! is Dallas’ Roy Hargrove, and plugging in on the
guitar is Austin’s Mitch Watkins. Unfortunately, like her WWI and WWII
ancestors, Dennerlein is into total domination, and lets neither musician do
much, which leaves only her incessant noodling.
— Raoul Hernandez “Bonus Tracks” reviews all local and Texas-based releases commercially
available. Send to: “Bonus Tracks,” TheAustin Chronicle, PO Box
49066, Austin, TX 78765.
This article appears in January 26 • 1996 and January 26 • 1996 (Cover).