ally touring band released a brand new CD,
the primarily instrumental Soul Serenade.
The album opens with a contemplative read-
ing of the King Curtis classic of the same
name, then merges effortlessly with a cover
of Bob Marley’s “Rasta Man Chant.” Other
favorite melodies are given new interpreta-
tions by the Derek Trucks Band, namely
Mongo Santamaria’s “Afro Blue,” Wayne
Shorter’s “Oriental Folk Song” and Henry
Glover’s “Drown in My Own Tears” with a
vocal performance by Gregg Allman.
The band, led by 24-year-old Trucks, fea-
tures Kofi Burbridge on keyboards, flute and
vocals, Todd Smallie on bass and vocals,
Yonrico Scott on drums, percussion and vo-
cals and Mike Mattison on lead vocals.
Trucks has earned a reputation as one of the
great slide guitarists of all time, and he’s
equally at home breezing through Southern
rock, reggae, gospel, jazz and traditional
back-porch American music as well as Latin,
East Indian or other world music.
Soul Serenade was actually recorded in
between 1998’s Out of the Madness and
2002’s Joyful Noise. Musically and spiritu-
ally, the CD blazes a new trail for the band,
evoking a “subconscious rhythm,” a medita-
tive state. It’s most assuredly not a wanking,
show-offy guitar-player’s recording. Trucks
plays a sarod, a fretless lute-like Indian in-
strument, and, with the exception of Allman’s
guest vocal, the CD is free of any other over-
dubbing. The band set up in a studio (with
legendary producer John Snyder) and played
two or three songs in a row, as if at a show,
then went back and listened to them. As a re-
sult, the album has a refreshingly unhurried
feel, relaxed, yet solid and steady.
Local four-piece band Stacked is mak-
ing waves both on the air and at shows.
Vocalist Erin Flood, drummer David Kirk,
bassist Charlie Carr and guitarist Ben James
have been friends since their high school days
in Bethesda, Md., six years ago. Flood and
James played in a band together in high
school, and Kirk is the first drummer James
ever played with. These intimate and time-
tested connections give Stacked a thoroughly
cohesive sound that’s quite impressive given
that Stacked has only been an entity for two
years.
Bassist Carr was the first friend to migrate
west. The others followed in September
2002, as they found themselves in a good po-
sition to “stop what we were doing,” says
Flood. “We all just picked up and moved
here. We decided several years after school
that we wanted to get some sort of band
going.” It didn’t take long, only six months,
before the friends clicked as a group and
began performing.
With a full-length release planned for later
this year, their first release, a five-song EP,
falls on the better side of alternative rock and
roll. It’s sophisticated and technically inter-
esting, with good time changes and strong
vocals by Flood. The music surges in a heavy,
yet melodic way that doesn’t seem forced or
overpowering, and rewards the listener with
consistent energy and excellent musician-
ship. While their music veers toward the
metal end of rock, the strength of Flood’s
lyrical and vocal delivery prevent it from
being trapped by that label.
“It’s definitely singing and not scream-
ing,” assures Flood. “As a band, we’re influ-
Stacked’s radio-ready efforts seem poised
to propel the band to the next level.
enced collectively by Tool and Radiohead,
but then we all come from different musical
backgrounds,” she says.
Flood counts among her songwriting in-
fluences the venerable Ryan Adams, Tom
Waites and Lyle Lovett. Polished and profes-
sional, Stacked’s radio-ready efforts seem
poised to propel the band to the next level,
and it wouldn’t surprise me if Stacked went
national. The band’s “loud, beautiful rock
and roll” can be heard locally on KFLY.
Stacked will appear May 1 at Wetlands, along
with 5South, Another Reason, and The
Empty.
On Sunday, May 2, Cafe Paradiso will
welcome back Karen Savoca and Pete
Heitzman. The pair met onstage and have
since combined their love of “modern folk in-
fluenced by pop, blues and everything in be-
tween.” Savoca’s moving voice and emotion-
ally charged songs emerge on stage as she
coaxes the melodies from her conga drum
and other hand percussion. Heitzman’s
acoustic guitar creates delicious soundscapes
and a comfortable groove. The pair has a new
studio recording, “All My Excuses.” Don’t
forget, (almost) every Monday at the Café
Chris and Jen host Retro Night, featuring the
best of ‘70s and ‘80s music.
ew
APRIL 29, 2004 25