Love Songs For the Hearing Impaired
(Def American)
Former Georgia Satellite songwriter and frontman Dan Baird “fired” himself from that band after their wonderfully complex and darkly emotional third album and struck out on his own. That he should hit the often-traveled trail of the journeyman should certainly come as no surprise; the Satellites were always just a group of inspired journeymen at heart, as loose as a pick-up band in a one-night jam session, as tight and cohesive a unit as any well-practiced bar band could be. It should not come as any surprise, then, that Baird’s solo debut would draw upon the same influences and inspiration as did the band’s best work: the Stones, Chuck Berry, The Faces...all those musical pioneers who defied the expectations of their time and defined an art form. Love Songs For the Hearing Impaired is no-frills, straight-ahead, gut-level, guitar-driven rock ‘n’ roll. A vastly underrated songwriter in a Woody Guthrie/Hank Williams “keep it simple but convey a lot of thought” vein, Baird has always had a flair for penning both lyrical and musical hooks, he provides both here in quantity. Tunes like “The One I Am,” “Jule + Lucky,” “Seriously Gone,” and the grammatically-correct “I Love You Period” are meat and potato tunes for fans who like their rock unpretentious and undiluted. From Baird, I would expect no less... (The Metro, 1993)
It’s About Time...Recorded Live At The Tennessee State Prison For Women
(Margaritaville Records)
With two decades of toiling away in the music biz under her belt, Marshall Chapman has amassed a resume of songwriting credits and major and indie label releases that would make even the most hardcore alternative rocker blush with envy. The talents of Ms. Chapman have long been overlooked by all but her loyal legion of fans, however, making her one of Nashville’s best kept musical secrets. Only time will tell if It’s About Time...Recorded Live At The Tennessee State Prison For Women will win Chapman the long overdue success that she deserves, but one thing’s for certain: she’s a hell of a performer. Chapman’s blending of country, rock, and blues tends to make her too difficult to pigeonhole into any ready-made format, and that’s just the way that it should be. Chapman’s live delivery of songs like “Real Smart Man” or “Good-Bye Little Rock & Roller,” her throaty, sensual vocals, and energetic guitar playing as gleeful and electric as they were twenty years ago proving that there really is still magic to be found in the streets of the Music City. (T-Bone, 1995)
Dulcimer Player
(S.F.L. Records)
Dulcimer master David Schnaufer may well be one of the Music City’s best kept secrets…’tis a shame, too, because Dulcimer Player, Schnaufer’s second album for Nashville’s S.F.L. Records, is a sheer delight. This collection of tasteful originals and inspired covers offers a Celtic-flavored romp through the dulcet tones of Schnaufer’s dulcimer, a traditional instrument making a welcome comeback. With the help of skilled session folks such as Mark O’Connor, Tone Patrol’s talented Dave Pomeroy, “Cowboy” Jack Clement, and the Cactus Brothers (also known as members of Walk The West), Schnaufer expresses pure emotion through his instrument, creating a wonderful and spirited sound which needs no words to encumber the anarchistic freedom of its soaring notes. (The Metro, April 1990)
TONE PATROL
5.19.89
(Earwave Records)
For those of you who caught Tone Patrol’s wonderful performance at The Metro’s Second Annual Nashville Music Awards show, then you’re already familiar with this talented quintet. For those of you who sadly missed the affair, this tape – recorded live at Nashville’s Douglas Corner – would serve as an excellent introduction. Stepping out from their various roles as session players, Tone Patrol’s Dave Pomeroy, Kenny Malone, Biff Watson, Larry Chaney, and Sam Bacco placed their creative skills together to deliver an energetic and mesmerizing performance, captured here in all of its beauty and grace. Tone Patrol performs an original and unique blend of jazz, rock, and so-called “New Age” music, instrumental tapestries delicately woven by the combined skills of the musicians, played to perfection in the spirit of the performance. I’d suggest catching these guys their next time out…and after you see them live, you’ll search high and low for a copy of this tape (as well you should). It’s creative efforts such as this which serve Nashville’s image as the “Music City” best. (The Metro, April 1990)
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