DJ Trashy
Dirty Dozen
Sanitary Soundz Inc.
Here we go again, the twelfth recording by none other than DJ Trashy. On tour to promote his new record, Trashy has put together another collection of electronic mixes and vocal styles from such artists as Benzo, Doc Roc, Keely, and Johnny CaGe, just to name a few. Known for his dance party beats and sonic grooves, Mr. Trashy is at his best with Dirty Dozen, a celebration of his years of hard work touring the club circuit in cities all over America. Being a metal thrash weirdo rock individual with a genteel persuasion, I’ll happily admit that track 4 grabbed my attention. It opened my view of DJ music just a touch wider. It’s called “Born 2 Rock”, an idea I can relate to. The vocal parts are pretty cool, with Benzo and Johhny CaGe assisting Mr. Trashy to make this an ass shaker to die for. And the mixed musical sounds are layered in an interesting way that keeps you listening for more. All of the mixes are filled with tons of bass that blows through the speakers and gets you dancing. DJ Trashy has a strong fan base that he has collected during his twelve plus years of spinning and mixing records, and if you aren’t familiar with the DJ, when hearing this cut you’ll add yourself to his list. If you are into electronic music, and want to dance to the sounds of a pro, than get a copy of Dirty Dozen for your next cocaine fueled freak-fest party.—Brian Serpas
The White Bitch
The White Bitch’s Brass Balls
Indie
The White Bitch brings an eclectic mix of electronic grooves to the “Hurricane Party” on their latest release, The White Bitch’s Brass Balls. Michael Patrick Welch showcases some of his vocals on “Car Cute” recreating a 70’s style rock jam and brings that 70’s psychedelic vibe to “Weekly” with references in lyrics to “…smoke a quarter bag.” The band brings an early 80’s underground punk feel to “N.O. Unknown” and “No More Parties.” The White Bitch follows the classic 80’s styling of words to music (think “Pump Up the Volume”) and mixing things up on “BoingBoingBoing” that then leads into “Song to a Bong (+ song from a bong)” bringing a mixture of thoughts, musical beats, and theories together. The White Bitch uses creative intros and intermissions full of musical instrumentation and electronica beats to keep things lively and edgy for the listener. Although this CD is an incredible piece of work from this talented band, I just don’t think any recording of them does justice to seeing this band perform live. Their energy and artistic flow seems to come to life on several tracks, but nothing compares to Welch’s vocals live crooning out some Prince cover tunes while playing his originals.—Sheri Bleuler McKee
Rebirth Brass Band
Rebirth Revisted
Slow Drag Productions
Rebirth Revisited is an amazing CD bringing the classics from Rebirth back to life in this century to create a whole new album. With samples taken from Rebirth’s 25th Anniversary the tracks are then manipulated to sometimes sound nothing like the original Rebirth tune. Mixed and mastered by Vincent Broussard, this CD is like an offspring of the famous Rebirth Brass Band locals love. Broussard brings in beats and rhythms that add to their famous music that includes two different versions of “Do Whatcha Wanna,” one which takes a while before that famous brass horn section comes in to liven things up. Broussard brings in more jazz, hip-hop, and electronica influences to redirect the simple music played at The Maple Leaf. This CD will surely capture new fans and old as the interpretation of Rebirth’s music goes down in New Orleans music history.—J.J.
New Orleans Moonshiners
Frenchmen St. Parade
Indie
The New Orleans Moonshiners will amaze you as they take you on a journey back in time with classics from yesteryear, along with a few originals, leaving the listener with great memories of good times on their latest release Frenchmen St. Parade. Chris Edmunds will have you singing “Uptown Ditty” in no time while tapping your feet to “K&B Rag.” The good times keep rolling with “Doin’ That Lindy Hop Dance,” and a favorite classic “Let Me Call You Sweetheart.” These guys really know how to do New Orleans music up right, bringing the listener classic New Orleans Jazz style with a bit modern flair and spice creating something uniquely ours. I truly can’t get enough of this CD and have it on continual repeat because it feels like the essence of the French Quarter put to a musical beat. By all means grab this one today to listen to during festival season and it make for a great gift or souvenir if you’re looking for something special that gives a taste of New Orleans to the world.—J.J.
Alexis Marceaux
Orange Moon
Indie
Alexis Marceaux’s follow up album Orange Moon will simply hypnotize any listener with her angelic harmonies. Marceaux, a Chalmette native, recently came back to New Orleans after Katrina which inspired the new album. “Leila and the Orange Moon” is simply an enchanting and haunting tune that will cap tivate the listener while “Sur Mon Chemin” brings a Cajun theme from Lafayette. Locals including Clint Maedgen, Paul Sanchez, Susan Cowsill, Craig Klein, and Big Sam Williams participate on the tracks. Marceaux’s vocals mirror that of Sarah Mclachlan, and with the right marketing, it would be easy to see her music as a part of a movie soundtrack. Orange Moon captures a grand emotion through symbolic lyrics and orchestration that will immerse your soul.—Sheri Bleuler McKee
Panorama Brass Band
17 Days
Threadhead Records
Panorama Brass Band brings an eclectic mix to the table on 17 Days. The band showcases the ruckus and chaos that the Mardi Gras season brings through their unique musical interpretation highlighting a flavorful Klezmer style. Although the CD starts with a funeral style march on “Hearer My God to Thee,” “Lily of the Valley” immediately brings the festivities to a roaring start. Oddly enough much of the CD sounds more like a pish posh of rambling musical phrases to form a complex tune that results in mediocrity rather than what most of us find to be the joyful sounds of Panorama. Although the Klezmer sound can be quite flavorful, at times it seems overzealous and repetitive causing more musical disruption to the piece than actually complimenting it with good timing and accents. Even though this collection doesn’t do justice when listening to Panorama live, it will do unleashing a pandemonium of musical jaunts. —J.J.
Tab Benoit
Medicine
Telarc
I can say without hesitation that Medicine is Tab Benoit’s best album to date. This may seem like a pretty bold assessment of a musician that has released a total of sixteen records and has, for many years, received international notoriety as both a guitar-slinger and songwriter. However, with a whole string of new original songs, New Orleans’ adopted son Anders Osborne at the helm as co-producer and a backing band that includes Osborne alongside Ivan Neville on the Hammond B3, veteran country music drummer Brady Blade, bassist Corey Duplechin and BeauSoleil’s David Doucet on fiddle, the Houma-native musician-activist has found a foolproof recipe for success. From the grinding blues of the title track, Tab and company transition into the soulful and heartbroken “Sunrise.” In “A Whole Lotta Soul,” Benoit laments the destruction of the land that he loves while simultaneously showing that he is unwavering in his belief that music and community can save the world. “Long Lonely Bayou” features tab on acoustic guitar accompanied only by the bittersweet cries of Doucet’s fiddle, who later takes a turn at the mic in the swinging honky-tonk number, “Can’t You See.” The album culminates in, “Mudboat Melissa” a tribute to a mythical swamp siren settled into a gospel bass groove and syncopated, second line rhythms. While the album has its roots dug deeply into the black earth of electric country blues, the whole recording is singed around the edges by the blistering soul of New Orleans R&B and the sweet melodies of South Louisiana swamp pop that give Tab his signature sound. With Medicine, Tab Benoit and his all-star cast of friends have produced a true tonic for the soul.—Garrett Pittman
Marcia Ball
Roadside Attractions
Alligator Records
Marcia Ball’s latest CD, Roadside Attractions, brings a soulful liveliness to life’s little journeys through a grand musical dose of therapy that any of us can relate to. With songs like “That’s How It Goes,” “We Fell Hard,” “Look Before You Leap,” “I Heard It All,” and even “Mule Headed Man,” Ball brings her theme to life through her musical compositions that will bring a Louisiana smile to your face as you feel the emotions. At times Ball’s playing sounds a bit like good ole’ Professor Longhair, but she always brings her personality and flair to the table. Roadside Attractions will have your heart, and it’s truly one of Ball’s most personal and intimate albums that brings her even closer to her fans. BP victims will easily relate to “This Used To Be Paradise” but she reminds us all that “The Party’s Still Going On,” whatever age and whatever we may endure. This CD has Grammy Nomination written all over it and if you want a quick shot in the arm, grab it cause this is just the type of musical medicine we can all use to make the daily attractions of life easier to swallow.—J.J.
Quintron
Sucre Du Sauvage
Goner Records
“Let’s play” invites Quintron on his opening track “Ring the Alarm” ...and play is exactly what he does over Sucre Du Sauvage’s 14 assorted tracks. Recorded in a gallery space at the New Orleans Museum of Art exhibiting a retrospective of he and his wife/collaborator Ms. Pussy Cat’s performance pieces, the album itself is a showcase of the various musical styles Quintron has experimented with throughout his career.
The album’s first half consists of rapid, upbeat, 70’s garage punk-pop, personalized by Quintron’s toe-tapping organ hooks. The best of these are “ Banana Beat” and “Spirit Hair,” featuring the album’s most whimsically entertaining lyrics that sound as if they were written by a children’s author frolicking in a halucinagenic haze.
If songs one through eight are recess, then nine through 14 are naptime. Sucre Du Sauvage’s bipolar second act sees Quintron retreat from the dance floor to a quiet cave of isolated meditation, where he closes his album with a series introspective instrumentals. “Bells” and “Train Ride” bring to mind the organic ambient experimentations of Brian Eno and Aphex Twin, while the synthesized textures layered upon “Elevators” and “Deep in the Clouds” manifest more rhythmic—yet calculatedly disjointed—sonic soundscapes.
Sucre Du Sauvage is Quintron’s playground, and he’s brought all his signaturesounds to share. Newcomers may be off put by the schizophrenic fugue in style mid-way through the album, but longtime followers will appreciate the celebration of influences Quintron pays homage to on his latest effort. —Greg Roques
