The Secret Museum
Michael Mooney & Jim Webb
January 12, 2009
By Staff Reports
Kim and The Caballeros: Honky Tonk Breakdown
This is a brand new CD from a local band that has plenty of experience in creating fine music. Recorded live at Taos’ own Sagebrush Inn, lead vocalist Kim Treiber gets things started with her upbeat original Tulsa Breakdown. Chipper Thompson joins on guitar and vocals (his mandolin playing on Kim’s song Fall Away makes it one of the sets highlights), while Leonard Kasza’s steel guitar fills are tasteful throughout this whole show. Paul Reid solidly holds down bass duties and, with Mark Bennett on drums, makes this a locked-up-tight rhythm section. Besides a good helping of Trieber originals, there’s a nice choice of covers from Wanda Jackson (Tongue Tied), Johnny Cash (Folsom Prison) and Alison Moorer (Dying Breed) to round out the show.
Don’t worry; this ain’t no dusty old country and western band just going through the motions. A real passion for American Roots Music is what they have, and that’s getting hard to find in this prepackaged Big Hat world of phony country bands playing twangy notes without no soul. So quit complaining about nuthin’ to do and brush down your Saturday Night duds- it’s time to go out shining. Grab a fresh pony and head on over to The Sagebrush Inn, Adobe Bar, or wherever they may be, cos the Honky Tonk Breakdown with Kim and The Caballeros is about to begin.
ERIK SATIE: Musique de la Rose-Croix; Pages Mystiques; Uspud
Bojan Gorisek: Piano
Richard Cameron-Wolfe: Piano
From the willfully and wickedly recondite LTM recordings (home of reissues and rarities galore by the likes of Gilbert/Lewis, Tuxedomoon, Duritti Column, and Anna Domino) come these masterly performances documenting Erik Satie’s Rosicrucian period. The 2-disc set includes great renderings of the Master Phonometrician’s oft-neglected music, mostly played (I think- the album credits are suitably vague) by Slovenian whiz kid Gorisek, including a brilliant version of the infamous Vexations, though I’d love to one day hear what Richard Cameron-Wolfe can do with it. For his part, Taos’ very own Maestro of Modernism RC-W contributes a solo piano version of “Christian Ballet” Uspud that’s seemingly austere, yet full of pulchritude and mystery. Timing is everything on this piece, and Richard Cameron-Wolfe without question has it- an awe-inspiring performance.
Glenn Goldman (my ex-boss at Book Soup): I never got him; he never got me, but we once shared a real good time at The Who’s Quadrophenia show in LA, trying to make sense of Gary Glitter during the drive home.
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