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Music : Styles : Blues : Live Albums : Texas Blues
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Performed for a tiny audience at the renowned Pachyderm Studio in 1998, this CD is the best example of what Indigenous sound like live. While their national debut Things We Do is an excellent introduction to their music, their live shows are far above and beyond any studio recording in terms of energy and performance, as the entire band frequently takes off into 10-minute jams to mind-blowing effect. Live at Pachyderm Studio provides a taste of that, including extended versions of several previously recorded songs, as well as previously unavailable material. An item of special interest is the cover of Hendrix's "Red House"; the guitarist's influence on Indigenous frontman Mato Nanji is undeniable. The production on this album is so clear, putting it in the stereo and cranking it up might be almost as good as hearing them live. This band is addictive, and Live at Pachyderm Studio is the perfect fix. --Genevieve Williams
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Fleet-fingered fretman Monte Montgomery has quietly carved out a name for himself on the competitive Austin music scene as a poll-winning guitar hero and a must-see live act. What's more, on a scene known for blazing Stevie Ray-style Stratocasters, he's done it all with an acoustic guitar! Montgomery's first live effort, a double disc recorded at Fort Worth's palatial performing-arts venue Caravan of Dreams, showcases his guitar prowess and the popular appeal of his live band's propulsive power. Most of the acoustic rock-oriented material comes from Montgomery, as self-penned staples from his live show are interspersed with such favorites as "Wishing Well," "Whirlwind," and "When Will I" from his two studio albums. Montgomery and the band make the most of the live setting, stretching out the songs--five go past 10 minutes--with creative instrumental interplay. Montgomery also successfully mixes in a diverse selection of cover tunes, including a percussion-driven rendition of Fleetwood Mac's "World Turning" and a radically reworked, almost satiric take on Merle Haggard's "Silver Wings." The Hall & Oates hit "Sara Smile" and Dire Straits' "Romeo and Juliet," the latter the 13-minute album closer, also appear in personalized versions spotlighting Montgomery's aggressive acoustic-guitar excellence and his crowd-pleasing personality as a live entertainer. --Michael Point
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Nobody plays rockin' blues with more heads-down authority than the current edition of the Fabulous Thunderbirds. Still led by singer-harmonica ace Kim Wilson, whose prowess on the instrument marks him as one of its all-time greats, the band surges through this February 2000 concert at full throttle. Which means the rhythm section keeps a flat-four chug percolating, pianist-organist Gene Taylor makes like Johnny Johnson on steroids, and Kid Ramos dishes out rhythm 'n' leads with reverb-drenched efficiency, while Wilson keeps his pushy baritone thundering above it all.Ramos dives into the old T-Birds hit "Tuff Enuff" with a solo that punctuates steely riffing with funky chords. Wilson--although unremittingly powerful--sounds best on the slower numbers like Guitar Slim's "The Things That I Used to Do" (another Ramos showpiece) and Jerry McCain's "Tough Enough." The slower tempos allow him to wrap his voice around the lyrics, stretching syllables the same way his singing harp elongates and elaborates notes. The only gripe is that this concert's tight arrangements don't give Wilson enough time to solo. As his guest performances on Ronnie Earl's new Ronnie Earl and Friends (Telarc) displays, the more Wilson stretches, the more inventive and melodic his playing becomes. And Wilson's solo return to the studio is overdue. --Ted Drozdowski
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Louisiana-born Lonnie Brooks is an underrated blues great, capable of dishing out swamp-rock, bittersweet melodies, and fire- breathing rave-ups. The pyrotechnics won out in this 1987 live performance, recorded at B.L.U.E.S. Etcetera on his adopted home turf, Chicago. Brooks's "Two-Headed Man" and his take on Freddie King's "Hideaway"--which bookend the CD--find him plying slick, screaming string-bends and gutsy vocals that mix back-road gravel with down-home charm. It's the latter that makes numbers like "Got Me By the Tail" and "Eyeballin'" such colorful, appealing stories. They reveal Lonnie's still-vital country roots. At times the band plays with the velocity--and ferocity--of a guided missile. But Brooks is always at the controls. --Ted Drozdowski
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![Live In Australia [1990]](http://ecx.images-amazon.com/images/I/417T0ZT409L._SL160_.jpg)
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