Reviews (GC3)

New Nile Orchestra 

“New Nile Orchestra”

Addison Ababa Records

R.D. 1, Box 1850 Vergennes, VT 05491

Recorded at Low Tech Studio, Burlington, VT

Released in 1995

By Gus Ziesing

You may consider yourself a musical sophisticate. Perhaps you are familiar with scads of obscure alt-rock bands in all their contemporary permutations, and you know something about reggae and ska. You even have a passing acquaintance with the Nigerian jou jou music of King Sunny Ade, and make reference to it occasionally, confounding you friends. Chances are though, that you have never heard anything like the music of New Nile Orchestra as presented on their self titled seven song C.D. You won’t understand the words vocalist Kiflu Kidane is singing, but your body will move to the layers of rhythm in a familiar way, and you will appreciate the unique phrasing and melodies of these Ethiopian songs.

New Nile Orchestra based in Vergennes) has the full band sound, with Kidane singing his vocals over the drums of Jay Catalano, the bass of John McConnell, the guitar of Michael Corn, and the piano of Ron Rost. The guitar plays in the “high note” chordal plating style characteristic of much African guitar, while the piano and synth punch out horn-like parts. Combine this with the twisting bass and drums lines and Kidane’s flowing vocals, and you have that peculiar combination of trance spaciness and rhythmic foundation that the Talking Heads mined so well in their hit “Once in a Lifetime ''. Except here we have the original feel. This music is unique to African music, too, in the slight Arabic microtonal shadings on some of the vocals. “This music comes from Africa,” Kidane states, “but that doesn’t mean that is sounds like, say Nigerian or South African music,” Ethiopia is a big country on the west coast of Africa, Kidane notes, whose people speak about 100 different languages. As a dancer with the Ethiopian National Dance Theater, Kidane toured around Ethiopia and became familiar with many of the isolated culters there. On this album  he sings in eight dialects altogether, although the differences are hard to discern to the Western ear. 

New Nile Orchestra, the album, has a nice flow to it. Each one of the seven songs has a few different parts, and back to back all the songs flow together like a song cycle. “I Ha Ma Ma” is a traditional song sung by the coffee pickers of the Ethiopian province country of Kafa, as the liner notes tell us. Arranged by New Nile Orchestra, it starts out with a nice shimmering slide guitar figure by Michael Corn before settling into a mid-tempo upbeat anthem featuring contrapunctual vocals. “Kotu,” the second song, is another traditional song, sung by “a man to the women of the Ethiopian province country of Harer, who are renowned for their beauty.” This song is more atmospheric, with Kidan’s exotic vocals weaving over a rhythm employing odd time signatures. “Shoelala,” the third song, has what is probably the closest Ethiopian music comes to a boogie woogie beat. “I Ya Ya” is another anthemic upbeat song, distinguished by its catchy acapella refrain. This song illustrates what is evident throughout this C.D. – you may not understand the words, but the musical “hooks” stick in your mind. Warning: you may find yourself humming in an Ethiopian dialect.

At this midpoint, New Nile Orchestra  seems to hit its full stride. “E Ye Yew Gedame” starts off with a sinuous beat in 6/8 time. Kiflu’s vocal floats over the top with long asymmetrical phrases a transcendent counterpoint to the hip grabbing rhythm of keys, bass, and drums. “Tenistaling,” the next song, is also a standout, with a decidedly Arabic lilt to the vocals. The words to this song are sung in Amharic and Arabic, as a greeting between the people of Sudan and Ethiopia, as the liner notes tell us. Kiflu Kadane sings and holds a note for about 15 seconds and ends in a flourish with air to spare. 

This album was recorded in the studio as a live performance, with minila overdubs. As a result, the ensemble playing of the band comes through with the vitality that they show live, and this is a good representation of what the band really sounds like. Michael Corn on guitar and Ron Rost on keys interact well together, occasionally building almost psychedelic solos in the midst of these multilayered songs. Drummer Jay Catalano lays down a solid foundation, Stephen Kemp contributes tasty percussion throughout and Kiflu Kidane’s brother Seleshe Demassae sings backup on two of the songs. Production is clean and natural sounding, as befits the songs. 

What this C.D. hints at but can’t show is the visual impact in Kidane’s dancing when the group performs live. At their album release arty a month ago, the full house at metronome was obviously tuned into the movement of the frontman. I get the impression that New Nile Orchestra is a big fish in the small Vermont pond. With their great live show and this C.D., they should be getting the attention they deserve as one of Vermont’s most unique and interesting bands. 

Gus Ziesing is a genius computer jacker who taught Bill Gates everything he knows. He listens to music incessantly and writes about it whenever he can. 

Belizbaha

“Charlie’s Dream”

Produced by Joey Sommoerville

Recorded at Archer Studios

Colchester, Vermont

And White Crow Audio

Burlington, Vermont

Released in 199

By Douglas H. Smith

“Hey, you guys!” This is a scream that any young adult raised on PBS children’s shows will remember opening The Electric Company. As the first sound one hears on Belizbeha’s CD “Charlie’s Dream,” this almost perfect impression of that show's call to action seems to serve a similar purpose for his band’s music. Segueing into the mid-tempo hip-hop rhythm of “Only if,” the disc first introduces poet “Fattie B.,” who raps, “Sit, back, relax, and listen up friends,” daring you as the listener to “open up your years” – to come to the music with the intuitive open-mindedness of a child.

Several “if” clauses subtly warn us against the dangers of categorization, whether of music or of individuals. The band defines itself by refusing to do so: “This is a phat song…this is a nice song. This is a jazz song…this is only if.” Only if what? Only if one attempts to fit this song and the band’s music overall, into a specific musical genre. “This is a funk song…this is a love song…this is a jazz song.” Belizbeha’s sound includes all of these facets and more, as over ten musicians and vocalists blend elements of hip-hop, rap, classic funk, fusion style guitar, jazzy brass hooks (among other things) to create smoothly flowing, undeniably danceable music.

The term “floe” recurs in the lyrics to several of the songs on “Charlie’s Dream.” The members of Belizbeha are evidently tuned in to the emerging consciousness of the 90’s often referred to as the “new paradigm,” which recognizes that at the quantum level all matter is part of the same whole - interconnected - and that the underlying unity consists of energy. In The Celestine Prophecy, for example, James Redfield explains how we are all able to tap into this source, ot “engage the flow.” Music, of course, acts as a major vehicle for communicating this energy flow and allowing listeners to engage” in –while having fun!

In “Catch the Flow,” vocalists Chauna Antoniuc and Kadiatau Sibi harmonize on the title phrase, later explaining, “Catching the flow is something we all need to do. And when we feel the flow we can all live together.” Between the refrains, one of the poets rapidly preaches, “Flow, yes I flow, what’s a flow definition? To move like a stream in time on a mission for the zone that's owned alone…Cuz fluid circulation means smoothness…Nothin’ to prove cuz the brother’s never grooveless. Continuity’s the key ya see to the lifetime lock, so set yourself free,” Naturally, in the music, the flow = the groove, and the poet lists several famous public figures (not exclusively musicians) that he knows “All got flow!...Flow in any aura, flow in any era. Taking control of the scenes unseen.”

Instrumentation fits. As a fluid jazz guitar glows (of course), over a driving funk beat, interrupted by powerful, short blasts from the brass section –still fitting cleanly into the groove. The socal bridge features a subtle organ backup, followed by a brief but melodic instrumental, high-lightning muted trumpet.

“Yes U Can '' follows, building on the theme of unity through consciousness of the flow: “Ya know I gotta have soul power of the mind. To stimulate a great concept, as I makamicheck, Check the vibe….Flowin’ and I’m flowin’ with the fink…Move with the revolution that’s caught up on the down low, low can you go? I rise & I shine on a new rhyme flow.” 

Fattie B. reinforces the band’s awareness on “Boofoobudoobie,” rhyming over a slow funk rhythm: “Ah yeah, now I gotta tell a tale of a ten man band that’ll ham with the flow, plain’ hip-hop jazz as we grow together as one groove under the sun.” Furthermore, he reveals what makes Belizbeha’s music work—a spirit of fun and play: “...we gotta lotta fun wit the rhythm rolled tightly. Boofoobudoobie. Let ‘em ride with a sound so groovy,' ' as if to inspire one todrop inhibition of adulthood and to dance with the abandon and pleasure of a child.

In fact, if music is a perfect vehicle for conveying new paradigm consciousness, both instrumentally and lyrically, then the child is a perfect model for receptiveness to it. The CD’s opening screech from The Electric Company is not so random, now is it isolated: :Only if” later refers to Sesame Street, quoting, “Sunny day, everything’s A-OK,” with the aid of a four child “kid’s choir.” “B to da e” elicits memories of the PBS shows’ educational methods, such as the spelling out of letters and words, often with amusing imagery, to a musical beat. Here, one of Belixbeha’s rappers playfully recites the letters in their name: “b to da e l i z b, e to da h to da a ok.” “A-OK.” Sound familiar? Even the printed lyrics flow together, without the “form” of punctuation, capitalization, or spaces, and some refer to the pleasures and sports of childhood, such as “sesnsationslikeyoureatin’ PeterPaul…” “passtheballskitskitkatterpitterpatter,” and “knickknackpaddywhackasIrecite aripap & dunkitonyournoggin’whenweplayalittlehoop…” The Final Line, “downgoesthefrownonyourfunnyfaceace,” demonstrates one band objective to be opening minds through the joy of experiencing energizing music.

On “Turn Around,” Shauna employs a soulful melody over a fast funk rhythm to inspire everyone to dance–and to listen, too. Her lyrics complement those spoken in “B to da e,” as she sings, “the music makes me want to turn my life around, I move my body & my soul to that sound…So leave your frown behind when you walk into our door…Just close your eyes & let the groove engulf your mind. Cause when you’re feelin’ down & out. The music’s here to make you cast away all your doubts.” No doubt! “Belizbeha will make you feel alright.” Indeed, the blaring horn solo alone should do so, as it rapidly rises and falls, flying above the sin’s steady dance beat.

“K’s groove” emphasizes the motivation behind the music once again. Here, the women trade off vocals, enjoining the listener to “Take it higher,” advising how an adult might tap into this childlike yet ultimately wise consciousness. Over another fast groove surrounded by layers of staccato guitar and mellow electronic keyboard chords, we are told, “Be alert & alive and keep your head up high. Feel the grove gotta move now spread your wings & fly.” A slowly building Mark Robohm does “take it higher,” through sound. 

Just as on those PBS children’s shows, an ensemble cast made up of female and male, black and white, older and younger, works in harmony to produce a unified effort that flows in a smooth groove. Not the streamlines male/female counterpoint at the end of “Bow Diggy (Bow),” the soulful vocal strength in “Stronger Than I Am,” and the clean transitions between styles within single tracks—”Boofoobadubie” being the standout.

Joey Sommerville, besides playing the trumpet, flugelhorn, and various instruments, shows professional knowledge of production: his work mixing with Dan Archer allows each instrument and vocal to emerge crisply, despite the large number of people involved. But it is Fattiebumballatie (poet) who sets the tone of childish play and fun with words. 

He returns to this theme in the closing song, “Fattie,” which begins, “Weebles wobble but they don’t fall down, So flip your frown around, cuz I came to get down…And everybody knows that I can flow.” Fattie’s self description end the disc: “I’m the grove gladiator, funk formulator, Soul stimulator, microphone manipulator, First rater. Greater illustrator on the fader. Bass in the space means peace, see ya later.” 

Douglass H. Smith is a former high school English teacher who enjoys hanging out and listening to music. 

Strung Out

“Chocolate Covered Fishhooks”

Produced by Strung Out, Dan Archer

P.O. Box 1742

Burlington, VT 05402

Released in 199

By Trudy Witting

Burlington, Vermont should be proud to include the acoustic-based rick band Strung Out as a part of their at and healthy music scene. And every resident of Burlington should discover what a gem of a CD their self-released Chocolate Covered Fishhooks is. The band, originally from Geneseo, NY (south of Rochester,) chose Burlington as the happenin’ music town to cultivate and develop their sound and following. The release of their debut CD punctuates their success and illuminates their unique raw talent.

Having listened to the band live, usually at Nectar’s and on numerous occasions within the past several years. I’ve heard their sound evolve and become what is truly delightful on CD/ Far from being monotonous (as other, less scrupulous critics might have suggested,) a dependable undercurrent of positive, upbeat energy is delivered via Dennis Vlatowski’s intense drums and congas. Against this background, interesting vocals and unusual relationships between instruments develop and persist. With vibrant fiddling and quality vocals from Emily Etesse, David Ballads incomparable mandolin and guitar picking, lyrics and harmonica riffs that could list the roof. The song “Rise” highlights Braun “Scaff” Scaffidi's vocal and music writing ability as do “Spiral” and “Jungle,” all three being my personal faves.

When I asked Emily how she would categorize the sound of Strung Out, she was unable to respond, and redirected the inquiry my way. I had struggled with this task of placing the sound in or around a musical genre in order to best describe it accurately. The attempt was futile. Personal influences of the band members include Dylan, Bela Fleck, Dave Matthews, the Dead and Jon Luc Ponty. And while these artists are certainly evident and while these artists are certainly evident, none is overwhelming. Surely Latin, jazz, folk and even “Jerry” genres exist within the Strung Out sound, but what one hears is such a varying blend. Comparisons to early 70’s artists have been made, and I admit some of the harmonies between Emily and Dave and Brain reminded me of the interplay between Slick and Kantner in the Jefferson Airplane. Final analysis brings one back to the purely original unique ins and outs of tone, mood and melody. 

I asked a friend to take a listen to the CD while she was at work. When she heard “Medula Momblangatta,” she responded with goose bumps and a shriek, reported that Emily’s voice coupled with Latin influenced instrumental affected her in a personal, spiritual manner. She then found that the upbeat, energetic music helped her get her work done. Previously unfamiliar with Strung Out, she asked where she could buy the CD for herself, and even her  mother, If you’ve heard Strung Out, you’ll be ecstatic with the quality production of Dan Archer/ Archer Studio. If you haven’t heard the band, or haven’t felt compelled by them in the past, give this CD a try. You may find yourself dancing through your spring cleaning or just gleefully attentive to great improv and jammin’, yelling at your CD player as I did when the song's end fades out. 

Trudy Writing is an alt-rock country girl who loves music. 

Disciples

‘Disciples” 

PO Box 59

Waitsfield, Vermont 05673

Produced by Stacey Starkweather Mixed and engineered at Noteworthy Studios

Released 1995

By Tom Smith

People…let’s go to church! This debut release from The Disciples is packed with to feel good grooves, earthy gospel harmonies and overall positive message played with serious convection by some of Vermont’s finest music makers. In an angst ridden world where many a global groove becomes a springboard for meaningless noodling, it’s refreshing to hear a band playing music so deeply rooted in tradition and respect.

Centered around Eden vocalist Tammy Fletcher, this recording confirmed my belief that no matter how jaded someone might be, there’s nothing like gospel harmony to get those endorphins crankin’. Ms. Fletcher is absolutely, positively, The real Thing. Step aside all poseurs…this woman can testify!

Frank Zappa was right when he said “timbre rules.” Not only is Fletcher’s pitch and rhythmic phrasing impeccable, but the undeniable conviction of her powerful delivery takes you so deep into the music that you’re allowed to just feel itl and trust me, it feels good! With her seemingly effortless style, little seems lost between emotion felt and emotion expressed. 

Produced by Stacey Starkweather, this CD features Starkweather on basses and vocals and powerhouse groover Barry Blinn on drums. These two are among the best bass/drum allegiances around; these guys are like glue. Veteran keyboardist, vocalist Andy Shapiro plays piano, Hammond B-3 and contributes vocals. The beauty of Shapiro’s playing and singing are strengthened by the genuine quality of the instruments he plays–no synthesizers here!

Rounding out the rhythm section is Bob Hill (formerly of the popular 80’s band “Blue Rose”) on guitar and vocals, who doles out some tasty blues-based statements as well as some nice slide work. And joining the band for a few tracks is alto favorite Dave Grippo. It seems Grippo is incapable of playing anything other than exactly what the song requires. This music is the perfect vehicle for what Grippo does best. After all, Dave’s nickname is “The truth.”

The ten song album opens with a Fletcher/Starkweather composition called “Count On Me,” a medium tempo R&B funk number. A Philip Roy song called “Devil Ride '' follows, featuring some powerful singing foe a thirty-one voice all-star chorus.

Other highlights on the album include a cover of Marcia Ball’s “Power of Love,” a Starkweaather/Shapiro tune called “Clear your Room,” Andy Shapiro’s “Oh Lord” and the beautiful instrumental “Bob’s Trucks” which features a fine testimonial solo by Dave Grippo.

Overall , a fine first effort by a dynamic Vermont group. Hats off to Stacy Starkweather for his production work on this recording, another fine album layed down at Granville’s Noteworthy Studio.

Tom Smith is a local musician/educator who plays guitar with Act 20. Spastic and the Martin Guigui Band and plays drums with the jazz quartet Modus Imporvisi. 

Envy

“Distorted Greetings”

Raise Giant Frogs Records 

207 Church Street 23,

Burlington, VT. 05401

Recorded at White Crow Audio 

Produced by Gel Robinson, Tom Walters,

And ENVY

Released 199

By Mary Ann Evans

Envy consists of two musicians who are well-known to followers of the Burlington music scene and two who are relative newcomers. Matt Hutton’s almost gravelly vocals and guitar work should sound familiar to fans of his former bands Fellow Thieves, Windmill, and Spray 6. Sean Toohey also lent his guitar and vocal expertise to Spray 9, and really shines in Envy. Melanie Nunnuck (bass) and Ann Mindell (drums) combine to form a strong, albeit predictable rhythm section on which Matt and Sean build. Joining Envy’s four original members, Lucian Sonder contributes flowing cello melodies that give depth and variety to many of the songs. 

Recorded and mixed at the now defunct White Crow, one of the most high-tech studios in Vermont, you can’t help but be in awe of the production of the ten track Envy CD. These songs sound damn good…almost too damn good. Being partial to lower-fi recordings, I was a littles turned off by the slick, clean sound. I was also distracted by the sometimes overwhelming vocals. I realize lyrics and vocal melodies are important, but it’s easy to miss subtleties in the rest of the music when you are so conscious of hearing Huttons occasionally contrived words. That in mind, I still found that the more I listened to the album, the less I was bothered. 

The CD’s titled, Distorted Greetings, comes from a line in the first song, “Bloodboy,” And believe me, there is a definite sense of distortion throughout the album, not only in terms of the instruments, but in its overall feel. Listening to Envy’s songs, it seems everything is not quite right in the world. Whether it’s the thinly veiled political statements in “Bomb”, “the elephant crown all prepared to drop their bomb,” or the conflicting sentiments expressed in “Sunday”, “I am your match though I decline you/ I am your catch and I confine you,” There is a feeling of unease that runs throughout the album. Somehow, somewhere, something has twisted and “doubting is believing.”

Of the CD’s ten tracks, there are eight actuarial songs (two are what I would classify as out-takes). The first two songs on the disc, “Bloodboy” and “Bomb”, along with “Horse” and “Still Life Scene”, are the heaviest and hardest on the album. Watch out for screaming guitar solos. Especially in “Bloodboy,” “Horse, and the mellower “Falling In and Out of Sleep.” “Finger Prison” is a slow tempo number as well, although you can still tell that this band likes to rock.

“Imaginary” is the only song to showcase Sean’s singing and songwriting abilities, and is my favorite on the album. Beginning with a distorted guitar that builds into a fast-paced riff this song pulls you in for a quick, fun ride. Sean’s vocals sound a bit distorted and distant, which is refreshing, and there are some cool harmonies with Matt. The ending is loud and crazy and not so clean. “Sunday” is one of the more poppy tunes on the album, and my second favorite. It’s the only song where the mellow undercurrent of the cello can be prominently heard, and it adds so much to the mood that I wish they had highlighted it more on the disc.

Undoubtedly, Distorted Greetings will receive some national attention: it’s slick, professional, and accessible. There’s a lot to like about it and it’s strong for a debut album. I’d like to see what they sound like with rawer production and a little more experimentation. That said, I recommend you check out the disc for yourself, and/or see them play live. 

Mary Ann Evans attends Burlington College, plays the flute and has a fetish for the fast cars.

Tokyo Storm Warning 

“Flood”

Taconic Records

PO Box 83

Danby, Vermont 0739

Produced by Tokyo Storm Warning 

Released in 199

By Scoatia Jordan

It’s been a little over a year since Tokyo Storm Warning made their club debut at the Battle of the Bands in May of 1994 in Burlington. Finishing second out of a large and vastly talented array of local bands, they missed that coveted first place by one point. Since that fateful night at Toast the band that came out of nowhere (actually the band is Danby-based,) have endured some relatively obscure gigs, nights of technical difficulties and small chords with a quiet integrity that has at last earned them a sturdy reputation as a band to be taken seriously. And their debut album, “Flood,” is a reflection of just that. Recorded live at various performances in the fall of 1994, the compact disc release has the look, and most importantly, the sound of a real pro package.

Tokyo Storm Warning is a band that shines in the concert setting, and the decision to release a live recording was a good one. The band knows what works for them as musicians and each member contributes their own unique power and they all add up for some interesting chemistry and musician dynamics. This album is all about dynamics.

An integral part of the band's sound is guitarist Frank Russo. Russo understands dynamics and he manages to create a sound that is both heavy and sweet, complicated yet simple. And he lays the whole thing on you in a series of multi-textured hooks, riffs and solos. His sound is bright and clear yet ominously dark. His sound is bright and clear yet ominously dark. He has the ability to pull back gently on a song giving it room to breathe and he knows when to attack full throttle, and when he attacks, he rarely misses. Complimenting him throughout this album is vocalist and second guitarist Nathan Bostock. There is a certain frailty and power to Bostick’s presence on this recording. Live, his reluctant embrace of the spotlight cuts a soft yet imposing figure and the emotional range of his vocals surpass mere genre. The maturity of Bostock's lyrics are surprising given the relative “newcomer” status this band carries; his lyrics not only whirl right along to Russo’s melody, they go hand in hand in setting up the mood for each tune. While Bostock and Russo churn out extremely impressive levels of words and melodies over and over, also deserving much credit is the very tight rhythm section of drummer Jeff Hahn and bassist Charles Russo. Russo and Hahn’s abilities are showcased in the song “Intervention.” This song belongs to the rhythm section; they rock, kick and groove hard on what is probably the definitive funk song on this disc. “There’s a time bomb ticking, between you and me, gonna blow a hole in the sky for the world to seem and then the pieces fall, right to the ground, there’s no guarantee we’ll still be around,” Bostick intones in a menacing and oddly prophetic way while Russo slaps the bass in a hypnotic groove.

Other strong cuts include the very fine opener “Becoming You,” an addictive melody; “Home,” a very raucous older tune; “Flood,” one of the band's first compositions, evocative and melancholy in mood. Tokyo Storm Warning isn’t a radical band. Theirs is not necessarily the music of activism or political messages, but rather stories of the human condition, Songs of pain, loss, love and isolation that you will remember long after the CD ends. 

Scotia Jordan is a free-lance Burlington writer and a strong supporter of the Burlington music scene. 

Patrick Ross 

“Just Fiddlin’ Around” 

Promised Land records

HCR 60, Box 40

Canaan, VT 05903

Released in 1995

By Jonathan Shelagh

When Patrick Ross was eight years old he took a fiddle down off the mantle at his father’s house and asked Arthur Ross how to play. A fourth generation fiddler himself, the senior Ross showed his son a scale to play. Two hours later, the young man had three songs in his repertoire and he hasn’t stopped since. He entered his first fiddle contest in the summer of 1991, the 18th Annual Stark Fiddler’s Contest in Star, New Hampshire. He didn’t win or place in his category but showed such an enthusiasm that the festival organizers created a special “Crowd Pleaser” category, which Patrick won again in 1992 and 1993. 

Patrick Ross is now sixteen years old. His father passed away in 1993 and Patrick has vowed to carry on the family tradition. This cassette, his first, is the result of his efforts.

“Just Fiddlin’ Around' ' is a collection of mostly standards recorded at Kingdom Studios in Canaan, Vermont. Packaged like an old-time traditional record, this album is a fine collection of genuine music recorded with love and respect by Big Ed Chester (who also writes for Relic magazine, among others.) “Tennessee Waltz” and “Orange Blossom Special” are a few of the more popular numbers deftly handled by young Mister Ross and his able backing band, and a version of “Old Time Rock and Roll,” familiarized by Bob Seger, will be recognized by most listeners.

Patrick Ross has developed a style based on family tradition that he is carrying proudly into the future. He attends the Mark O’ Connor Fiddle Camp in Nashville where he continues to develop his talent. This cassette is a fine first effort in what will be a long career.

Jonathan Shelagh is a student at the University of Vermont and he’s learning about our music. He’s a flatlander. 

Huffy

“Sunny Drive Time”

Sudden shame Records

69 Grant Street

Burlington, Vermont 05401

Recorded and Mixed at Eclipse Studio

By Joe Eagan and Huffy

Released in 1995

By Don Hill

Tim Lauben has spend the last several years defining his alternative pop sound with the late, lamented band Snowplow (their single “Waste Away” is arguably one of the catchiest songs ever to come out of the Burlington area) and more recently with his tripped-own solo project Puddle. Where the Puddle project revealed the quiet, introspective side of Lauben’s muse, the huffy project is back to the noisy pop of old. 

As much as he would probably like this to look like  a band project Even his solo work was packaged to look like a band,) essentially Sunny Drive Time is the new Tim Lauben album. And like his previous work, Lauben mines a pop quarry that sends indie-versed listeners running to the comparison books: Dinosaur Jr. meets Bob  Mould meets Buffalo Tom meets Nirvana meets whatever. You get the point. Comparisons are lame, but they give you an idea of what we’re talking about.

But it’s not what Lauben sounds most like that makes him interesting, it’s how the familiar ends up being just a little but different this time around. The drops and starts in the song “California,” for instance, are not particularly interesting developments in the history of music, but serve to add a dynamic tension to everything else in the song. Sometimes the whole really is greater than just the sum of its parts. And then sometimes the parts distract: on “Handlebars” a great pop hook gets lost in an eventual calamity of seemingly confused “too much too soon” overwriting. But make no mistake, these are fantastic pop songs with very catchy hooks. 

Tim Lauben is growing rapidly: as a songwriter, as a singer, and as a band leader. Keep your eye out for other bands with one word noun titles: after Snowplow, Puddle and Huffy…it's doubtful that we’ll ever see an album credited to Rim Lauben proper, but whatever he calls his next project, it’s sure to be worth checking out. Sunny Drive Time is a fine ride.

Don Hill is from Rutland and a big fan of Vermont made music.

Eef

“Eef”

Club Fub Records 

PO Box 1452

Burlington, Vermont 05402

Produced by Gus Zeising and Eef

Recorded at Low Tech Studio

Released in 1995

By Chaz Handel

The bands Hover, Snowplow and Eef have very little in common save the drumming of Burlington music scenester Brad Searles: while hover was ethereal, dreamy, modern pop, and Snowplow what angst-ridden rick with a healthy layer of guitar noise, his latest project Eef combines elements of both and ends up sounding like neither. Featuring former members of Guppyboy Mike Barret and Zachary Ward sharing Vocal duties with Burlington photographer/musician Jedd Kettler, Eef owes more to modern low-fi indie rockers like Pavement and Sebadoh than to any of Searle’s previous projects. And where the charm of Guppyboy was often a collection of random noises that probably weren’t as random as we think, Eef tends to offer more structure in their songs and this created a logical evolution. As much as they sometimes remind me of Guppy Boy, they’re definitely not Guppyboy. 

The tape starts out with a Zach Ward song called “Panic Attack.” Ward often brought a weird sort of atonal dissonance to Guppyboy songs: not necessarily off-key, but certainly alternative (check out the Eef song on Good Citizen Volume One,) His vocals sometimes strained and yelped like he was on the end of a leach. As he eases his way into “Panic Attack,” Ward sounds like Hank Williams Sr. on a major bender, out of control and barely standing.

Mike Barrett was the drummer in Guppyboy, and he’s switched to bass guitar for this project. “Maleman” showed up in Sounds Around Burlington  as the first Eef song to hit the unsuspecting public and it’s here in a higher-than-before-fi version. Barrett added a lot of the twist to the Guppyboy legend and while Eef hasn’t yet allowed for the incredible volume of his previous work, some of the edge shows through. And as Barrett has recently released his first solo recording Brooklyn, one would suspect that the more eccentric stuff will appear under monikers other than Eef. 

Jedd Jettler’s original compositions (Club Fub released his cassette of blues standards a few years back and he appears on the Guppyboy tribute tape Guppylove) tend to deal with topical subjects: on Sounds Around Burlington he sings a song called “Full House Empty Head” and on this recording he contributed “Classified section” and :Big party.” The crowd noise on the latter song sounds more like drunk painters night at the OP than a festive celebration and Kettler doesn't allow you the fantasy that he’s impressed with the big part in question for one second. He sounds pretty bitter about something. 

The second side of the tape is a live recording from an April gig at the Last Elm Café when the whole world was warm and fuzzy for a few brief moments and Eef stripped down to essentials for an acoustic based set. Two of the acoustic songs are covers: by Palace Brothers and Silver Jews, and a third is a Jedd Kettler song called “Greasy” that originally appeared on Sounds Around Burlington as recorded by Hover. If you were there, it was a great night and you’ll want this tape for these songs online.

Buy this tape. And while you’re at it, look for their first release 3 minute Kings. It rocks, too. 

Chaz Handel drives a 1963 Chevy Impala 4 door hard-top, dark green. He gets it repaired at Corrigan’s Auto in Pine Street.