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'The Sound of Deep Ellum"
Various Artists
Island Records
★★★★
The section of Dallas known
as Deep Ellum has a musical
history extending back to the
1920s when early blues and
jazz singers performed in the
area’s many roadhouses and
saloons.
Today, the artsy
neighborhood continues to be
a place where one can hear
great music. But now, the
area’s music scene has
expanded and includes styles
ranging from thrash-rock to
rap.
“The Sound of Deep Ellum”
captures the diversity that is
Deep Ellum’s essence. The
record features 10 bands and is
a fine compilation of previously
unrecorded music.
Many people associate the
Deep Ellum area with
alternative rock music, and the
record has no shortage of it.
The Buck Pets deliver wild
garage rock on “Snatch Rap, ”
while Shallow Reign takes the
listener through psychedelia on
“Paint the Rowers All Black. ”
Both of these are solid, well-
done songs.
End Over End and the Trees
contribute strong tracks as well.
Both bands play no frills,
straight out rock n’ roll.
The record’s best song is
Reverend Horton Heat’s “The
Devil’s Chasin’ Me.” The Rev’s
twanging guitar combines with
the rhythm section of drummer
Mike Goodsell and bassist
Swingin’ Jack Barton to create
some of the most frantic
modem rockabilly today.
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Unfortunately, Three On A
Hill’s “No More Love” does
not stand up well with the other
songs. “Man O’ War” by the
funk-rock Daylights is another
weak spot on the record.
The record’s non-rock tracks
are definite treats. The New
Bohemians’ “Jamaican Lady”
is a reggae-influenced song
fused with the jazzy licks of
guitarist Kenny Withrow.
Deep Ellum’s newest band,
the Decadent Dub Team,
introduces rap to the Deep
Ellum sound with “Six Gun,” a
hardcore rap combined with
European industrial music.
While it may sound like just
another modem dance tune,
“Six Gun” is actually quite
enjoyable.
The old Deep Ellum of juke
joints and jazz bars is
personified by the Legendary
Revelations. “Sales Tax,” its
contribution to the record, may
sound out of place with its big
band jazz sound, but it is an
outstanding song and adds to
the record’s eclectic nature.
On the whole, the album is
well done, and no two songs
are exactly alike. Hopefully,
more will be heard from this
funky Dallas neighborhood in
the near future.
Review by Shane Hall
The Mannish Boys
Cary Primich, vocals, guitar,
harmonica;
Gil Hartman, guitar;
Kenny Felton, drums; Frank
Meyer, bass.
The floor was shaking and
the house was rocking
Saturday night as the Mannish
Boys performed an infectious
mix of rock n’ roll and rhythm
and blues that kept the crowd
dancing until 1 a.m.
With approximately 90
people in attendance, the
Austin band hit the stage at
10:45 p.m., and opened their
first set with a blazing
instrumental that featured the
guitar work of Gil Hartman and
harmonica by vocalist Gary
Primich.
Primich, a Chicago native
and veteran of that city’s blues
scene, then strapped on a
guitar and led the band
through a one hour set mixing
blues covers with originals from
their debut album “A LiT Dab’l
DoYa.”
Rrst set highlights included
the ballad “You Got the
Power,” and Muddy Waters’
“Mannish Boy. ” Primich’s
vocals were exceptional
throughout the night as were
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his guitar and harmonica skills.
Hartman demonstrated skillful
lead guitar lines, while the
rhythm section of drummer
Kenny Felton and bassist Frank
Meyer provided a non-stop
driving beat
The first set ended with the
instrumental “Satellite Rock,”
and after a short break the
band returned to the stage
shortly after midnight for a
second set that was no less
spectacular.
The band’s second set
ranged from Chicago blues
standards like “My Babe” to
Bo Diddley-style rock on songs
like Willie Dixon’s “Pretty
Thing. ”
The enthusiasm of the
audience did not seem to dim
for a moment. After the closing
song of the second set, “Go On
Fool,” the crowd yelled and
stomped for an encore. The
band was more than happy to
oblige.
“This is dedicated to
everybody out there who’s
broke,” Primich said as the
band kicked into “Money
Habit,” which was followed by
a short instrumental. The band
then said their good nights and
left the stage amidst the
applause of the crowd that
seemed to love it all.
The crowd also reacted
enthusiastically to the acoustic
blues of opening act Leighton
Hamilton. Hamilton, also from
Austin, performed a one hour
set consisting of covers like
“Statesboro Blues,” with a few
originals mixed in. His version
of Robert Johnson’s “Ramblin’
On My Mind” was especially
good. Hamilton proved to be a
talented vocalist and guitarist
His slide work on the National
steel guitar was also impressive.
Hamilton later joined
Primich and crew on stage
during the Mannish Boys’
second set. Hamilton and
Hartman combined to make a
formidable guitar duo.
Review by Shane Hall
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