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Originally released on the influential label Black Jazz in 1971, guitarist Calvin Keys' debut is a stone classic waiting to be re-discovered. The funky, deep grooves and Calvin's singular guitar stylings, coupled with a heady collaborative feel that inhabits so many early '70's jazz recordings, are all on beautiful display. 40 years later, Tompkins Square proudly re-issues this LP on 180g vinyl just in time for Calvin's 70th Birthday (February 6th, 2012).
Calvin's musical roots originate in his hometown of Omaha, NE, playing with legends like Eddie 'Cleanhead' Vinson. Shortly after the release of his debut LP 'Shawn-Neeq', Calvin was hired to tour and record with Ray Charles. By the mid-70's, Calvin was working steadily with pianist Ahmad Jamal on the road and in the studio. Since settling in the Bay Area in the mid-70's, Calvin has recorded numerous solo albums and played with many greats, including Taj Mahal, Bobby Hutcherson, Big John Patton and Dr. Lonnie Smith. In 2007, fellow Midwesterner and big fan Pat Metheny included the song "Calvin's Keys" on his album, 'Day Trip'.
First album in 8 years from Leeds Devo-esque DIY punk trio, full of three minute pop blasts.
Surviving five years as a band on the UK underground scene is difficult to do, lasting for 20 takes a near miracle. However, Cowtown – Leeds formed and raised trio of Hilary Knott (keys/vocals), Jonathan Nash (guitars/vocals) and David Shields (drums) – arrive blinking into 2024 not only intact and able to celebrate two decades together as bandmates and friends, but armed with Fear Of… their first new record in eight years, and a collection of songs that hand-on-heart, away from the sales speak, may be their best work to-date.
Friendship can keep a band going for so long, but it’s more than that that’s seen this ostensibly DIY band enjoy European tours with heroes Deerhoof and Quasi, play festivals at home and abroad, and during several periods of time in their history become the most requested hometown support in their native Leeds for any touring band worth their salt – not to mention their own ability to continually sell out shows up and down the UK with little to no backing.
Other projects have come and gone – Nash perhaps most notably as drummer in Hookworms which has since evolved into Holodrum; Knott stepping further into the experimental undergrowth as Basic Switches, among other collaborative efforts – yet the band have remained.
Their fizzed-up brand of Devo-esque punk full of pop smarts has never stood still, constantly being updated and tweaked to sound timeless and subsequently outlast whichever latest guitar sub-genre has cycled back into fashion once again. Always though, Cowtown have kept at their core a warm sense of humour, positivity and the cartoonishly abstract song writing sense that’s always felt like their own small corner of the musical world
A 20-year habit is hard to kick though and the group came to the same conclusion as everyone else; which was to crack on and try not to fear the outcome – and so Fear Of… is here. Silly as it might be to say for a band whose members are living through middle age, there’s a newer maturity to Cowtown’s sound.
That doesn’t mean a monotone faced dumbing down of the frenzied hooks and two-minute blasts that they’ve cornered the market in – heck, the 11 tracks here clock in at a combed 30 minutes or so – but there is the slightest of breathing spaces given here and there.
Wonderboy II is a typically all-guns-blazing intro to the album but then they just as quickly change direction, with the angular march of Can’t Talk Now that purposefully strides into a big chorus rather than rushing breathlessly up to it as they might have done previously. As Close To Town As I Like It meanwhile glides along underneath Knott’s more measured turn on lead vocal; she takes centre stage on Sea Lions too which recollects Dolittle-era Pixies in its ascendant guitar riffs thudding percussion.
There’s still plenty of moments where the trio take the clutch fully off, of course – Thru Being Zuul, Offend Kliph and Total Engagement are two tracks that are the kind of giddy, breathless slices of pop punk (not that kind) fun that the band have made their staple over the past 20 years.