Reviewed by Harry Kaplan
Holy water! Something completely novel and refreshing. There is true synthesis here. Too Sad For The Public mixes more genres than a soda jerk at Baskin Robbins does with 31 flavors. The second song is concrete evidence of my previous statement. Liberty City, Pt. 1 is a flat out, knock em drag out of the highest order. Let’s not forget Parts 2 & 3 either! This song mixes country, jazz, big band, bluegrass, folk, reggae, and funk to create a completely original composition. This will be the 4th time listening to this track, at the time of writing.
Unfortunately, this seems to be more of a side project rather than a proper band. There were a lot of guest musicians which indicated more of a “one off” and not a stable band. That is unfortunate, because the music has some serious legs. It is totally innovative and very easy to listen on repeat, and repeat, etc.
This is the project of songwriter and producer Dick Connette. Connette has been in the music business in various capacities since 1970. Over the last 30 years, he has devoted himself to writing music and songs based on Americana. This collection includes mainly originals, with two covers thrown in for good measure.
Even the covers sound absolutely nothing like the originals. For instance, He’s A Bad Boy (Track 6) is a Carole King cover and it sounds nothing like King’s version. It is completely beautiful and a really really great song. The harmonica in this song reminds me of the closing song in Midnight Cowboy.
Young Loves to Love (Track 10) is a completely original take on Van Morrison’s Brown Eyed Girl. So different that it takes a while to determine which song it is. It is symphonic and plays more like a classical composition. It is one of a kind and an absolutely beautiful rendition.
There is a song on here that pays homage to the late Chuck Brown and Go Go Music. Chuck Baby (Track 12) is a barn burning funky number that clocks in at just over 12 minutes. And I wish it was another 12! It is that effin good. Anyone that ever heard Go Go and Chuck Brown will recognize that drum beat. That beat is as distinguishable as a birthmark or tattoo. It has a sound that is undeniable. I couldn’t help but dance during this funk-a-thon.
So, let’s forget the pretense. Just buy it. I can’t say anymore. Well actually I can, I sense an overall Gothic feel to the entire album. As if Joy Division got into a head on collision with Tammy Wynette. Those are the final words.
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