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The Twangshifters

The Twangshifters

Review by Larry Toering

The debut CD from northwest rockabilly group The Twangshifters is not only traditional in approach, it's also chock full of current vocal stylings from the fabulous Sara Barry. This is a band that comes with the talent of Shaun Toman on guitar and backing vocals, and Troy Stutzman on drums and vocals. They also feature upright bass man Corvin Blacke  who brings it altogether with his great playing, background singing and writing along with Barry and Toman. Blacke and Stutzman work so well together it's truly a tasty experience to hear them play. This band rocks with intensity and sheer madness but never loses the groove in the process. That is something a lot of bands could learn from these days. Barry is a star if there ever was one. She has grabbed my radar and won't let go. A fabulous and fiesty front woman, she will blow you away and turn around and do it all over again with each and every track. I've heard a lot of rockabilly and garage rock, and I can say that these guys take the proverbial cake. The Twangshifters are making noise with class and brash to spare. If you like rockabilly that is faithful to original form, this CD will not only satisfy, you will also discover a heavenly voice in Barry that goes far beyond any categorization as well. They're awesome, and she is awesome!

Track by Track Review
Friday Night

Instant spunk fills the air with traditional rockabilly swagger. It’s just so pure it's like being transported to the late 50s or early 60s. This has all of the feeling of good Friday night cruising and sock hopping like they did back in those days. There are no modern touches to spoil the authenticity. It really does sound like something for the rockabilly purist. I love this opener because it does everything to set the tone for the entire disc. It’s a jubilant arrival!

Rose City Rebel
This rings of a person or two I can think of, but then it concerns a local tie which I have so I can relate. The Twangshifters are from Portland, Oregon, otherwise known as the "Rose City." There is a big percussive vibe here from Stutzman. In fact, the rhythm section is all over this one, and it doesn't stop there, as by now the voice of Barry has made its impression.
Rockabilly Cowgirl
Swinging fun is in abundance here and it's time for Toman to sparkle with some sweet guitar work, and that he does. The blend of chemistry between all really kicks in here and establishes the rocking groove that never lets up. This is playful but at the same time there is a focused seriousness to it that gives it a slight push in a heavier handed direction.
Daddy
This is where Barry starts to really come alive, as her voice becomes simply volcanic! By the time the mid-section kicks in she is complemented with a sharp guitar solo. Yes, I can see her walking through the door. But what she goes on to do is like some kind of wonderful dream.
Black & Chrome
Now this is an exceptional piece, and then some. Barry firmly takes things to another level altogether. The mood is smoky, and the strings are sharp and biting. This features more cool guitar and rhythm section work as well, but Barry comes alive here like no other. This is almost too big for its Rockabilly britches and by that I mean it has a modern edge that puts it right up with anything any band is doing today. Yet, it’s accomplished without losing the retro vibe they possess. This is fantastic!
Polish Me Up
Another groove is laid down for Barry's huge voice, and she once again delivers the goods. This is a very structured backdrop with some more searing guitar licks to complement. This is one of the numbers I tend to revisit. It's just such great fun that it's infectious.
Good Lovin'
This is more of the traditional rockabilly which this group does so well. Things go upbeat and the guitar sizzles. Toward the end Barry starts to come on strong again. I love it!
Sad & Lonely
Things go down a notch in tempo as Barry once again goes off the charts with her unique voice, and there is a slight ring of Patsy Cline here. I can't get enough of this country tinged track, and Toman tops it off with some more tasty guitar. This is one of the vocal high points on the whole thing for me. I am hooked by now, as I imagine anyone would be.
Boy Ain't Right
Kicking things back up, this is more of a fussy little number with a lot of attitude. I'm at my wit’s end in describing Barry's approach, it has a cosmic effect all over this CD. This one can easily be compared to “Boogie Woogie Bugle Boy of Company B,” as if to put some kind of finish on the classic. That’s just my impression, but I wouldn't be surprised if I'm right. This is killer!
Goodbye
This is so lovely, as Barry takes the words right out of anyone's mouth who would be in the same situation. Here they do go a bit into more modern and country stylings, but the overall rockabilly ambiance remains intact. Sometimes it can be hard to distinguish between country and rock factors in rockabilly. I think they nailed it once again here, though. This track is perfect to my ears, and Barry speaks for everyone.
Please Mama Please
This starts off with an old recording. This has one of the more retro vibes to be found on this fine CD.
Twangshiftin'
The closing number is guitar dominated, but then it should be with such a title. This is where Toman really shines and gets a chance to display his fine chops. “Twangshiftin'” like his life depends on it, he moves between all the scales like a hot knife through butter and then makes his way back for a grand twang of an ending.
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