Les Dirt Clods
Earth Rooster
Rainydaylewis@juno.com
A few years back, Randolph Lewis was one half of the songwriting duo behind Come On Thunderchild, one of the more popular (and talented) local Charlotte bands of the last 10 or so years. Along with John Morris (now leading his own straight-ahead rock outfit, Tyre Fyre), Lewis appeared on the scene looking like something of a backwoods savant (even as his educational background included study at Davidson College), clad in T-shirt, paint-splattered pants, and boots. Playing rhythm guitar with great brush-like strokes of color, Lewis served as the John Singer Sargent of Charlotte rock forceful, considered, and the possessor of a considerable knack for miniaturist portraiture.
His post-Thunderchild work has been mainly centered around his band Les Dirt Clods (French for “The Dirt Clods,” goes the joke), an act with enough balls to play straight-ahead gothic ballads alongside Faces-style roots rave-up, all tied up with some serious hotwire Southern soul. So: a band with most everything it could want a Charlie Watts-style drummer in David (DK) Kim, a slick bass player in Mark Lynch, a fleet-fingered fret-burner in Shawn Lynch, and a keyboardist, Justin Faircloth, with just enough soul to tie it all together. However: No record. No document, outside of a few live recordings pulled from area soundboards after the last empties and cigarette butts have been swept away. Until now, that is. At long last and in the immortal words of Layne Staley — here comes the Rooster. Yet when you spend some three-plus years on a record, doubts naturally arise. You can polish the assembled rock-pile to perfection, but you can wear away the very edge that made the original stones (and, in the Dirt Clods’ case, The Stones) unique in the first place.
But make no mistake there’s plenty of gems here, from the consciousness stomp of “My Blues” to the lazy lament that is “Linda” to the miles-“n’-memories road-tripping of “Ringin’ Bell.” Sure, a couple of tracks might have benefited from a bit more barroom swagger, that mysterious energy John Fogerty used to call “chooglin’,” but this is mere quibbling. Earth Rooster is probably stronger 1-10 than any regional record I’ve heard all year. They may call themselves Les Dirt Clods, but the music is diamond-like.
Rating: 
1/2
— Timothy C. Davis
Baleen
Sedate Everyone So You Can Get Away With Anything
Liquilab Records
Baleen is one of the most versatile bands you’ll ever hear. Anywhere, any time. A top-notch rhythm section, three distinct vocalists, a restrained virtuosity, an amazingly broad musical vocabulary, and an explosive live show. Enjoy them now, here, while you still can.
Sedate Everyone So You Can Get Away With Anything expands upon 2001’s Soundtrack to a Normal Life, while reigning in its excesses. This time around, the band has further abstracted itself while continuing its drive towards pop form. Everything sounds manipulated, cut apart, re-arranged and pasted back together like one of those pictures of a person made out of pictures of that person — it’s only when you sit back and listen that it regains focus.
Bits of techno, sampling, acoustic balladry, rock, soul, jazz, funk and more are thrown around, and there’s a cluster of genre-fucking going on: “Faceless” could be an R&B/soul song, with Steve McMillian’s bass leading the melody and Derek Hines’ vocals effortlessly gliding above. But then guitars more suited to grunge come in, Hines starts yelling and the whole thing ends like Baleen are the Beatles circa “64, all harmony “woo woo’s.” “Magnifico the Mule” is staccato funk that sounds oddly German, with a slimy menace creeping underneath. The last three tracks are an abstract-techno-psychedelia suite of sorts.
Best of all, Baleen has the balls to tackle Can’s “Vitamin C,” surely one of the great Krautrock songs. Odd thing is, Baleen’s cover might best the original, if only because it’s longer, as a groove this deep should be. Hats off to drummer Mr. Phil Disher, who takes on Can’s Jaki Leibezeit and comes out alive, if covered in sweat.
Still, Sedate… does meander at points. Sometimes songs get buried under production and solos that shine live seem a bit much on disc. For a band that thrives on spontaneity, they over-think a few ideas (mixing took over six months), working themselves into corners they can’t just work out of. Still, it’s a great record, brimming with creativity and talent, and you get the feeling that Baleen has the chops to do anything that they put their collective mind to. They won’t be hanging around Charlotte too much longer, methinks.
Rating: 1/2
–Jesse Steichen
Jamie Hoover
Jamie Hoo-ever
Loaded Goat Records
Gaining its name from a misprint in the credits of a former Hoover project, Jamie Hoo-ever is a classic odds-and-ends collection of singles, most of which are covers Hoover has donated to various tribute/compilation efforts. There’s the Traveling Wilburys’ “Handle With Care” from a Jeff Lynne tribute record (the cheekily-titled Lynne Me Your Ears), a Klaatu track, “Silly Boys” (perhaps the best cut here — the psychedelic overtones of the song fit Hoover like a Joseph-style coat of many colors), a Bobby Fuller track, a cover of “Sukiyaki,” George Harrison’s “It’s Only a Northern Song,” Todd Rundgren, Bob “Elusive Butterfly” Lind, Let’s Active, The Everly Brothers, and of course the obligatory Beatles track, “Goodnight,” which closes out the album. Whether or not you’ll like this mostly depends on your opinions of the original tracks listed above. Hoover’s versions are all respectful, relatively straight-on takes, colored with his own (power) pop art vision. Put another way: If you think rock ended with the Beatles, you’ll love it. If you see the Beatles as trailblazers, however — the Big Bang of rock and roll but merely a flashpoint in the ever-evolving musical universe — you might wish for a little more fire and brimstone. For the choir, in other words.
Rating:
–Timothy C. Davis
Mike Strauss
Gone Electric
www.mikestrauss.net
Sounding like a cross between Jon Dee Graham and Dave Schramm, Mike Strauss’ solo debut has, perhaps incongruously, the comfortable feel of a veteran roots rocker’s work. Gone Electric‘s got all the requisite components: rich guitars up front, a pulsing rhythm section (regular bandmates Jon Schigoda and Greg Lilley), down n’ dirty accents via harmonica, sax, Hammond B3 and lap steel, and a roster of local roots veterans (David Childers, Michael Reno Harrell, Eric Lovell) helping out. It’s a lush-sounding recording, nicely produced by Strauss and Joe Kuhlmann – the 11 songs are split into smokin’ rockers, mid-tempo porch tales and late-night ballads, and they all sound just like you’d want them to. Strauss’ lyrics are solid if unspectacular, dealing primarily with the vagaries of relationships. This isn’t anything you’ve never heard, but it’s done very well and a nice way to spend 38 minutes — something you can’t say for a lot of records.
Rating: 1/2
–John Schacht
Greenlight
My Experiments with Groove
www.Greenlightmusic.net
Green Light are decidedly one of the more eclectic outfits in this region. The instrumental trio (drummer Adam Snow, bassist Dustin Hofsess, and guitarist Kevin Gill) take pieces of all sorts of musical styles and meld them into an improv-laden, spacey jazz rock…something. Sure, Pink Floyd comes to mind, as does John Coltrane and some of the more psychedelic stuff from the Beatles. The trick here is an almost perfect groove, where the musicians’ crisp playing can take guitars/bass/drums into experimental soundscapes or subtle tonal shades. There is also an element of global fusion going on: the guitar sounds like a sitar, the percussion slides into middle eastern beats, and the whole group into a bossa nova groove. The tracks on this record run the gamut from 1-minute noise dirges to tracks that would have taken up the big chunk of a side of a record in the old days.
Rating:
–Samir Shukla
Abe Reid & the Spikedrivers
Caution: Falling Boogie
www.Abereid.com
Statesville native Reid evokes Frank Zappa with his vocal style on “Screamin’ Eggs” and several other tracks off Caution: Falling Boogie. The Spikedrivers, Korey Dudley (stand-up and electric bass) and Charlie Heard (percussion), accompany guitarist/vocalist Reid on a loose stomp-rock boogie laced with straight blues numbers and rockers on this collection of nine tracks. The band enlivens the surroundings with the added burst of harmonica and noisemakers. Even though blues is Reid’s apparent credo, don’t peg the trio as just another blues band, as they have a knack for concocting psychedelic-tinged rockers alongside the traditional backbeat. “Drive” is a rambling tune reminiscent of shuffling down the road in a beat-up convertible while AM radio belts out a rocker. The title track’s dance vibe is also peppered throughout the record, which is made up of seven studio tracks and a couple of lo-fi live ones.
Rating: 1/2
–Samir Shukla
Vance Carlisle
Seven Song Souvenir
Vance@thegoldcoastmusic.com
Prior to stepping out from behind his drum kit and forming The Gold Coast, Vance Carlisle wrote, performed, produced and recorded Seven Song Souvenir, which turns out to be a pretty good indicator of why Carlisle felt he could drop the sticks in the first place. Relying on the Pro Tools program, two mikes and various instruments, the arrangements alone make this a worthwhile endeavor. “Take It On” is a syncopated, minor key affair with a Red House Painters feel; “September” is a piano-driven ballad; “Swim Dawg Fan” sounds like an outtake from Grandaddy’s “Sumday,” and “Joy Riding” is a melancholy, country-tinged lament with a Southern California feel, not unlike early Jackson Browne. But that’s the flaw here — the recording has the feel of a mix tape, with Carlisle proving he can write like his favorite artists. Skilled, to be sure, but it’s The Gold Coast that will determine how well he eventually stands on his own.
Rating: 1/2
–John Schacht
Rick Spreitzer
Dirt Tracks
www.rickspreitzer.com
A perfectly nice garden-variety roots record, Spreitzer’s “Dirt Tracks” occupies the more staid-but-articulate, WNCW-end of Americana. Think Guy Clark, or RB Morris, and you’re in the same ballpark — though not quite the same league. In this genre, where story telling is as much of the draw as the music, separating yourself from the pack via lyrics or music is critical. Spreitzer doesn’t — but that doesn’t make the record a failure, of course. (The one truly standout moment — the little used full-choir sound that closes the record with a bang on “Good Medicine.”) More varied instrumentation than on his 2002 Meanderthal is a welcome development, and additional accents from JD Wilson, Steven Carpenter, Mike Orlando (all credited on mandolin), Jill Lurie (harmony vocals) and Rodney Lanier (lap and pedal steel) add textural depth. But the record’s strength is its Achilles’ heel; it’s the accents (particularly Lurie) that often threaten to steal the spotlight from Spreitzer and his songs. In the end, a push.
Rating: 1/2
–John Schacht
Simplified
Act 1
www.simplifiedmusic.com
Truth in advertising here, as Simplified eschews the fancy for funky with an EP of seven songs mostly about the ladies. Chicks who “wiggle,” chicks who “jiggle,” chicks who giveth and chicks who taketh away. Not exactly N.O.W material, but it’s safe to say that’s not who’s listening to this radio-friendly fare. Located musically somewhere between Semisonic, Sugar Ray and Sublime’s island-tinged rhythms, there’s no questioning the band’s proficiency. They recently won the regionals in a national Battle of the Bands contest, and the EP comes with a radio edit of the projected single (“Picture Perfect”). At this early stage it’s hard to see how Simplified will stand out from their peers — but then that could be a plus for where they’re headed.
Rating: 1/2
–John Schacht
Robin Rogers
Crazy Cryin’ Blues
www.robinrogers.com
With pipes that give Bonnie Raitt a run for her money, Robin Rogers has been a blues staple in our neck of the woods for many years. Along with husband/guitarist Tony Rogers, she can do the duo thing or bring on a full-band blues assault. The latest chapter in the couple’s journey is the musically solid, yet diverse new disc Crazy Cryin’ Blues. The Jim Brock-produced record kicks off with the staple “Hesitation Blues” and doesn’t let up till the last note is played. Rogers can be as effective crying in a mug of beer as she is belting out innuendo-laced hot blues. She brings in the harp when needed and the piano adds sweet icing on a couple of the tunes. The gospel-charged number “It’s a Blessing” shows Rogers’ range as she easily breaks from any blues constraints. Brock adds various percussion treatments and other musicians chime in with their own flourishes to help round out a consistent record.
Rating:
–Samir Shukla
Michael Reno Harrell
Grit & Wit
www.michaelreno.com
Harrell’s Southern wit and storytelling are in fine form on this 2-disc live set recorded at the Evening Muse. On Grit & Wit, Harrell spins quaint tales of family picnics and “Southern Suggestions,” while plucking the acoustic guitar and breaking into song when the mood suits him. He was a “professional songwriter in Nashville” for many years and now travels the countryside telling his tales and playing simple, yet nicely written tunes. It’s all about the South and as Harrell tells it, “You don’t have to be from the South to be a Southerner, you just gotta live here and like it.” Harrell’s countless gigs and travels bode well for his warm-hearted and funny stories. The peculiarities of being a Southerner obviously come naturally to this native son. The tale told in “Picnic” alone is worth plopping down bucks for this recording.
Rating: 1/2
–Samir Shukla
Creative Loafing periodically devotes Sit & Spin to local releases. We welcome any CD submissions for review from local musicians and bands — the only caveat, it must be available for purchase for the general public. Please include artwork, as much information about the making of your record as you can, and where interested listeners might find it.
This article appears in Aug 25-31, 2004.
