Historical Newspapers of South Carolina

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Kitchen from page 3 To her left was bassist Hartman Meehan. You can always tell you 're watching a good bassist when you don't have to watch and see if he makes a mis . take! Meehan established his talent and ability from the get-go, and was a silent and skillful addition to the show. He did his part to provide solid bass lines and was a complement to the dninuning styles of Matthew'.Bridges. Though the lights were off in the rear of the stage, Bridges didn’t let this blanket his perfor mance. Bridges’ performance behind the drums was entertaining in itself. He provided a show of his own as he viciously drummed away in the back ground. He was reminiscent of Keith Moon in his antics and attitude. He even took the lead vo cals on one song, putting on his cowboy hat just for the occasion. In watching Bridges, you can see that each member of Irene’s Kitchen can put on an individual, entertaining show of their own. Despite managing their respective endeavors, Irene's Kitchen manage to play many shows and have recorded an album. The Traveling Salvation Music Show is a defini tive collection of the band’s early influ ences. The opening track, “Cold Winds of Alber ta,” is a Gram Parsons csque tail of a man long ing to be back home after following the woman he loved up to the cold lands of Cana da. “Barnyard Girl” is a racy bluegrass ditty that starts with the effortless stomping of Bridges on the drums. It builds in vu numcjiim uii list. The singer proclaims, “AH I need is some one to love. All I want is a barnyard girl." If you aren’t busy two-stepping to this song, you’re singing along to the irresistible words. The Bob Dylan-esque song “Urban Decay” deals with a man’s love affair witha certain “lady” named Mary. The name suggests that this love af fair, while tempting, could prove to be harmful in the end. Another highlight of the album is “Calvert’s Big Break,” a song in the true musical tradition of Big Star. It blends rock ‘n’ roll with traditional country, giving the song more of a powerful voice and message. The harmonies are reminiscent of the Jayhawks with “la la’s” and lovely arrangements. The album’s title track ends the album and is a mixture of blues, country and rock‘n’roll. The story depicts a low ly group of people who had nowhere to go and nothing much to do. But they have their mu sic, and that gives them enough cause. It is a strong exclamation point to an all-around strong al bum. Though Matt will tell you he isn't completely happy with the way the .dbum turned out, Irene's Kitchen should be proud of such an achievement. produce a blistering ode to Americana that is deeply embedded in the roots of many styles and genres that made music the wonder that it is. The band is continuing to evolve and expand its sound. Their shows are never the same in content, but the spirit is still there. Irene’s Kitchen are plan ning to record in the near future, and with more time and experience under the belt, the future for this band is looking up. The Traveling Salvation Music Show is avail able at all Manifest Discs and Tapes and can be or dered through their Web site. Visit them at www.ireneskitchen.com. Artist: Irene’s Kitchen Album: The Traveling Salvation... Rating: AAR out of AAR A Kevin Langston The Gamecock Matt Williams (left) sings lead as older brother Rob provides backup vocals. Irene’s Kitchen played several songs, ranging from covers newer originals to songs off their album Traveling Salvation Music Show. A Columbia Landmark for Fine Food, Spirits and Entertainment Since 1971 wed. 3/1 Two Pennies thurs. 3/2 Larry Clark 20# Wings every Monday night vlinch Specials 1 meat & 3 vegetables $4.95 w/ tea or soda 'inner Specials 1 meat & 3 vegetables $4.95 w/ tea or soda fri. - sat. 3/3 - 3/4 Centerstage Karaoke HAPPY HOUR DAILY • 4:00-7:00 Delightfully infectious by Pete Johnson Gamecock Critic •fit ☆ -V out OF -Jr Jr JSr * No, the Seattle scene isn’t dead. It hasn’t resutged as of yet, but bands like Five Gears In Reverse on Montesano Records give the Emerald City a fight ing chance. These songs are perfectly crafted, with driving melodic guitars filled with mid-song tempo changes, chord pro gression and wonderful harmonizing. It’s a safe assumption that they are de signed to stick in your head. The deep harmonizing and frequent chord changes that mark You 're Not Asking The Right Questions are infec tious to say the least. From the get-go, Five Gears are in high gear. “Half the Time” is a finely crafted, driving melod ic pop tune. If the Apples In Stereo and Weezer were to combine efforts for a song, this would most certainly be what would come of it. Some tracks might lead the listen er to think that they could very well be one of the missing Elephant 6 Collec tive bands. But just when you think you’ve figured out their sound, Five Gears shift, revealing influences that hadn’t surfaced before. Some tracks have heavy Beach Boys influence (“Eyesight”), featuring hand claps, textured harmonies and poppy guitars. Others sound more like a mix between Ben Folds Five and Athens, GA masters of psychedelia, the Olivia Tremor Control (“Olivia”). But the train of influences doesn’t stop there. Five Gears definitely have some love for Elvis Costello (“Copious Sighs”); they even take their band name from one of his songs. More or less, Five Gears In Reverse are a pop band, but they most certain ly aren’t your prototypical pop band. Their influences ran deeper than most other pop bands nowadays. On you’re Not Asking the Right Questions, Five Gears are joyfully unpredictable. But they don’t sacrifice the spirit of pop mu sic to successfully make catchy songs that will stick in the listener’s head.