Album Reviews
for "Sparklers and Bottlerockets"
HybridMagazine.com
Reviewed by Embo Blake
TijuanaStripClub - Sparklers and Bottlerockets
Foggydog Records
When you take brilliantly disguised pop/country songs and force
Leonard Cohen to sing them at gunpoint, what you get is Tijuana
Strip Club. This album oozes brilliance at each turn. Soft and smooth
darkly tinted vocals work their way effortlessly over glittering,
sparkling musical soundscapes. The songs are cohesive, and the mood
of the entire album is carried forth on the smoky voice of Randy
Cordero, the principle songwriter/performer of TSC, and as far as
I can tell, the man who put the album together and then created
a band to support it. Not a new idea, but an amazingly well done
one in this case.
Cordero's voice goes from Cohen smooth to Nick Cave gruff without
a hitch. If I was to hear "Mercy Springs" playing on the
radio or on a jukeboxin some seedy dive bar, I would be caught wondering
what Bad Seeds record I had missed somewhere along the way. Complete
with xylophone clanking along softly, Cordero arranges songs that
showcase from where his musical influences undoubtedly spring. But
the songs don't fit neatly into categories. "Hate The Sound
Of Rain" is full of wide sweeping feedback and deep electronic
rhythms. Not a single song sounds like any of the others, which
is quite a feat among fifteen tracks! Each song is original in its
own right, and they run the gamut from fairly straight dark alt-country
to full on sinister electronica; never does a song miss a beat or
sound like it doesn't belong in the company of the other songs.
There are songs here for the goths, the hicks, the rockers, the
beat-heads, the indie rockers, and just about everyone in between.
The music is amazing, yes, but the lyrical content of Sparklers
and Bottlerockets is as strong, if not more so, than the sonic aspects
of the record. From lyrics as straightforward as "I have never
fallen in love before/ not like this before/ how unfortunately"
to the uber-poetic "explosion, like fireworks fired on a clear
night/ 'cause making up can always make us feel alright/ sparklers
and bottlerockets make me think of you/ we just remind ourselves".
The lyrics, whether complex or simple, are all delivered remarkably
delicately, somewhat belying the depth and passion of the songs.
Short of going to San Francisco to try to track down this band,
I suggest hopping online and finding this album. You won't be sorry
you did.
-Embo Blake
Bandoppler
Reviewed by Chris Estey
TIJUANA STRIP CLUB - SPARKLERS AND BOTTLEROCKETS
This San Francisco-based band with a strong lead singer/songwriter
was started in 2002, and this is their debut 15-song full-length.
Some heavy names are thrown around pretty freely on the bio, due
to the clarity and symbolism of the lyrics, and Randy Cordero's
deep vocals.
But the music isn't as dark as is sometimes described by the press,
and can't be nailed down into any one genre, startling the listener
with a SoCal laidback C&W ditty ("Being In Love")
after mesmerizing them with American Music Club-style rock-art-rap
("Ghostride"), and oh yeah, before that comes a less
angular Stan Ridgeway narrative folk pop song ("Hate The
Sound of Rain"). And just before that Waits' "Walking
Spanish" brushes through "Hapless Suitor" gracefully....
But I'll stop playing spot-the-influence, because it's deluding
and unfair. Cordero has a one-up on all those current depressing
Mark Eitzel-style songwriters by having learned some real vocal
technique while serving as Surreal Neil in Super Diamond, one
of the best ND tribute bands. (Second only to Phranc's version
in my opinion, besides the master himself.)
Cordero is actually a better singer than many of the greats he's
compared to, which might be a great reason to encourage talented
young singer/songwriters to do a little time as cover artists
(and make a little loot that way, to be honest) before stepping
out with originally-written projects of their own. Hell, Stiff
Little Fingers was a covers band till shortly before their first
record ... okay, I'm off the subject now.
Main thing is, for all the influences or imagined influences Cordero
may or may not show here, there is one I like to ruminate on,
due to the cover of Stephen Duffy's "Natalie" included.
Turns out those unpretentious little mechanical beats and whooshes
and sound affects that accompany the band performances here may
not just be an accident of experimentation thrown in to make the
songs a little more textured. Duffy was an original member of
Duran Duran, led the bands Tin Tin and the Lilac Time, and was
considered by American mags like Trouser Press as one of the great
unsung heroes of Brit New Wave.
Cordero gets the exquisitely poetic Europop spirit of "Natalie"
down perfectly without going into recent twee territory. He saves
a song that was actually pretty cool to begin with, but few modern
American indie rockers probably know of or would dare to handle.
This is very impressive, and when Cordero also writes a nifty
little Wave number like "No Evidence" himself and includes
it in the sequence without shame, I have to admire his unexpected
but superb assimilation of the late 70s/early 80s style. In this,
above all, he reminds me of Paul Kelly, the Australian folkie-turned-post-punk-singer-turned-roots-rock
singer, who could also belt out some gritty observations but also
knew his way around a synth and drum machine if he felt like it.
Yes, this might be a little too diverse for one record by one
band, maybe shows off a little too much, stretches too far between
the heartland and the bedsit. But Cordero's songs really do offer
unusual smarts and some surprises and an already expert voice
to sing them. That's definitely something to look out for in the
future.
WEBSITE www.tijuanastripclub.com
FORMAT Compact Disc
RELEASE YEAR 2003
BabySue.com
TijuanaStripClub - Sparklers and Bottlerockets
(CD, Foggydog, Pop)
An exceptionally strong independently produced project, Sparklers
and Bottlerockets is unique...and its sublety is powerful. This
San Francisco-based quartet consists of Vince Littleton (drums),
Randy Cordero (vocals, guitar), James Terris (keys, loops), and
Kevin Witte (bass). True to the claim of the press release, these
fellows' music does bear a resemblance to Leonard Cohen and Tom
Waits...but Tijuana Strip Club is anything but a copy band. They
use their influences as a diving board to create their own unique
sound...writing moody and effective compositions that have a slightly
spooky and somewhat sensual vibe. The sound quality is truly impressive...rivaling
the production of any major label release we have heard this year.
The vocals are superb. These gentlemen know what they're doing...and
they know how to use technology to get their message across (rather
than bury their songs underneath too many layers of crap...which
is how many bands ruin their music lately...!). This album contains
fifteen crisp, clear, melodic songs that feature some wonderfully
subtle electronics which really make the tunes shine. Lots of
great cuts here...including "Turnstile," "Hate
the Sound of Rain," "No Evidence," and "Outline
of a Man." Cool and effective./ (Rating: 5+)
Greenman Review
Reviewed by Christopher White
TijuanaStripClub, Sparklers & Bottlerockets
(Foggydog Records, 2003)
Sparklers & Bottlerockets, with fifteen radio friendly songs,
clocks in at just under an hour. I suspect some GMR regulars might
read 'radio friendly' as 'damning with faint praise' which is definitely
not my intent. The San Francisco based Tijuana Strip Club essentially
appears to be Randy Cordero (producer, words & music, vocals,
guitars, synths, etc.), with able support, especially from Gary
Myrick (co-producer & multi-instrumentalist). Sparklers &
Bottlerockets offers a well produced, solidly professional, listening
experience with the potential to appeal to a large and varied audience.
Cordero's vocals sound a bit like Bryan Ferry channeling Leonard
Cohen. Which is to say, he's often recorded with a close mic while
reciting/chanting in a fairly quiet, husky, voice more than truly
singing. But he can and does sing... and does so with a comfortable,
pop friendly, panache. Others might find different examples, but
you get the general idea.
The material is good, even if it sounds at times overly familiar.
The opening tune, "Turnstile," recalls a Traveling Wilburys'
tune by Tom Petty. The next tune "Mercy Springs" is where
the Leonard Cohen reference comes from and so on. Despite this,
Cordero is enough his own man that these discernible influences
never become overwhelming. And there are enough different threads
of influence that, taken as a whole, no one or two dominate. The
third track, "Hapless Suitor," has a damped down fire
that is allowed to flare up on the instrumental break. This is one
where Cordero's vocal and acoustic guitar are augmented by a very
full band sound, all instruments and 'sounds' courtesy of Myrick.
"Ghostride" tosses into the musical Cuisinart a tune that
sounds like it was written by Rickie Lee Jones collaborating with
Jazzy Jeff, then performed by Roxy Music. "Being in Love"
and, to a certain extent, "Bottlerocket" sound a bit like
they were written for Phish.
I won't continue to make comments about each track. I've tossed
out enough points of reference that you should've gotten a good
sense of whether or not Sparklers & Bottlerockets might appeal
to you. I suspect it will be in regular rotation on my CD changer
for a while. About the only aspect of Sparklers & Bottlerockets
I'm not yet sure will wear well is Tijuana Strip Club's predilection
for 'cool' production touches... 'sounds' buried in the mix, swirling
effects, the odd rapid stereo pan. Then again, that's the stuff
that made Sgt. Pepper's Lonely Hearts Club Band both absolutely
of its moment and a timeless classic. In the great scheme of things
Sparklers & Bottlerockets is unlikely to rival Sgt. Pepper,
but like that recording its eccentric flourishes might well become
endearing rather than annoying.
Performer Magazine
Reviewed by Sherry Sly
TijuanaStripClub - Sparklers
and Bottlerockets
Recorded at the Rec Room, San Francisco, and
Studio City Sound Mixed by Tom Weir, Jamie McMann, and James Terris
Mastered by Michael Romanowksi at Paul Stubblebine Mastering
It's tempting to not mention Tijuana Strip Club is led by Randy
Cordero, aka Surreal Neil, aka head of the international phenomenon
Super Diamond. But it's just too cool an aside. And aside it is,
because Sparklers and Bottlerockets stands on its own as a damn
fine collection of original material. Sparklers has an alt-country
feel. Cordero sings in a rich, low tenor that never distracts from
the instrumentation and clearly enunciates sometimes colorful, always
competent lyrics. Comparisons that come to mind instantly are Leonard
Cohen, Johnny Cash, Lloyd Cole and at times Nick Cave. Not bad company
at all. Cordero knows his way around a catchy chorus, and he shows
a keen ear for knowing just when to stop production. Additional
instrumentation is provided at various times by synthesizers, organs
and drum loops. The result is similar to Jim White, another alt-country
artist with electronica accents. Sparklers opens with “Turnstile,”
destined to be a classic, fast paced with great wordplay, starting
each verse with a rhyme of “turnstile” (“meanwhile,”
“freestyle”) wrapped up with “I've never seen you
smile.” For the most part Cordero's lyrics are straightforward,
e.g. on “Runs Deep” he sings “I'm gonna kiss you
on the forehead / I'm gonna kiss you on the cheek / I'm gonna kiss
you everywhere right now / 'cause my love for you runs deep.”
Such unambiguity is a nice foil with the slick production. His attempts
at more poetic writing sometimes fall flat, for instance “Being
In Love” contains a few confounding similies like “as
petty as a wife without a spouse.” The exception is the oddly
thrilling “Ghostride,” in which Cordero speak sings with
manipulated vocals in a style reminiscent of the Nails such delightful
word juxtapositions as “yeah hip-hop man from the trash town
/ missing person can't be found / uptown cold cocked coked out shout
shocked.” Sparklers' few clunkers are the slower songs, due
to Cordero's lyrics being too simplistic when left to stand on their
own. For instance “No Evidence” plods along without much
melody or chorus, adding odd electronic effects that bring to mind
Madonna's Ray of Light. Such a choice can work, but it highlights
songwriting, and “people change / were you confused or was
it that you lied / only change / when I received your letter I broke
down and cried” is not particularly compelling. Still, on an
ambitious 15-song release with only one cover, Cordero can more
than afford a few clunkers. Speaking of covers, he's got great taste,
choosing “Natalie,” a gorgeous tune from Stephen Duffy's
unsung pop masterpiece Music in Colors. Sparklers is a strong, solid
release, and Tijuana Strip Club is worthy of comparison to Wilco
and Whiskeytown. That Cordero does an eeriely accurate Neil Diamond
impression is but a whimsical footnote to, not a selling point of,
this wonderful album.
Contact: www.tijuanastripclub.com
Impact Press
Reviewed by J.C. Carnahan
TijuanaStripClub •
Sparklers and Bottlerockets •
(Foggydog Records)
•
Singer/songwriter Randy Cordero brings a set of lungs that sound
a lot like Leonard Cohen. This release is carried by Cordero's voice
and the Œoutlaw on a lost highway' kind of atmosphere. Blending
an alt-country, folk, alt-rock and electronica collective is a progression
that sounds far past much of the basic singer/songwriter stuff out
there right now. "Hate the Sound of Rain" and "Hapless
Suitor" provide a little insight on what is offered here. (JC)
Culture Bunker
Reviewed by Nate Fitz
TIJUANASTRIPCLUB - Sparklers and Bottlerockets
(Foggydog Records)
When 10,000 Maniacs came out a few decades ago, you braced yourself
for screaming zombie punk and got introspective folk-rock. Tijuana
Strip Club poses the same problem. The name conjures up something
between The Reverend Horton Heat and Calexico, or at least some
funky mustachioed organist out of a David Lynch movie. If you're
going to name your band as if you should be serving up cheap margaritas
to seventeen-year-old gringos on Avenida Revolucion, then where
are the mariachis and cheesy striptease numbers? I suppose the lesson
is you can't read a band by their cover. Maybe singer/songwriter
Randy Cordero should have gone for Cordero and the Commotions instead,
for he picks up Lloyd Cole's mantle, drops it an octave and takes
it for a drive through the Southwest. This album often feels like
a travelogue through Cordero's relationships, with mixed results.
On "Mercy Springs," he sings "you are the reason
for everything… you make the winter feel like spring"
of love that works, and on "Bottlerocket," love is a terrible
trap he can never escape: "…when it starts again, it's
like a bad rerun." While his lyrics aren't subtle, sung with
Cordero's distinctive bass, they do resonate - as in "Last
Words," when saying goodbye to a lover is the "…last
taste of honey/ I'll ever eat." By this, the tenth track, they
offer up some welcome Spanish guitar to the alt-country vibe. With
"Runs Deep," and "The Love That She Deserves,"
that follow, this San Francisco quartet finally sound like they're
having fun, delivering some cha-cha-cha maracas, wacky synths, trumpets,
and still more Spanish guitar. The day they kicked out these goofy
jams was probably the day they named the band. Tijuana may be the
place to go for cheap thrills, but Tijuana Strip Club is where you
go for unexpectedly earnest vignettes on the travails of love in
the modern world, with just a dash of kitsch. --- Nate Fitz 8/11
Fufkin
TIJUANASTRIPCLUB Sparklers and Bottlerockets
(Foggydog Records)
Tijuana Strip Club Sparklers and Bottlerockets (Foggydog) Randy
Codero, the man behind the Strip Club, sings like Mark Eitzel, writes
like Steve Earle, and generally does enough to keep the country-folk
enthusiast's interest piqued. There are choice softer acoustic moments
- "Hate the Sound of Rain," "Bottlerocket" and
Stephen Duffy's "Natalie" - that tug the heartstrings
nicely enough. More sensitive than that ironic name suggests.
www.tijuanastripclub.com
COSMIK DEBRIS MAGAZINE
Reviewed by Rusty Pipes
TIJUANASTRIPCLUB Sparklers and Bottlerockets
(Foggydog Records)
With a name like Tijuana Strip Club I would have expected something
bawdy and loud, maybe like the Black Crowes, but TSC is nothing
like that. Mostly sedate and introspective, their music is much
more akin to the moody poetry of Leonard Cohen. Indeed the low-register,
slightly raspy vocals of TSC's frontman, Randy Cordero, can easily
be mistaken for Cohen's and the lyrics of most songs follow that
same seen-my-share-of-trials path.
A few of these bottle rockets fizzle, like Cordero is trying a little
too hard to be capital-M Meaningful, but most cuts are quite deserving
to be called sparklers. My favorite on the CD is "Hapless Suitor"
where Gary Myrick contributes some spare but pleasing blues guitar,
but I also enjoy the more acoustic-driven songs "Turnstile"
and "Natalie."
[Pick this up at "http://www.cdbaby.com/cd/tijuanastripclub/from/blvds"©
2003 - Rusty Pipes
ZERO MAGAZINE
Reviewed by Mike Peaslee
TIJUANASTRIPCLUB Sparklers and Bottlerockets
(Foggydog Records)
How can you hate clean, pristine, country-tinged rock? I liked
the Wallflowers. I liked the Gin Blossoms. This is well put-together
music, adult contemporary at it's most listenable and inspired.
Vocalist Randy Cordero never actually lifts his voice from a husky
drone until the last song "A Kind Word is Never Thrown Away,"
but neither does he overtly molest the mic or your ears with cheese.
Once you wade into this long album, you start to hear an odd, unexpected
mixture of synthetic drums, synthesizers, production hacks, tweaks
and sonic manipulation that completely contradict the purely organic
instrumentation. At no point do you feel that they just set up a
mic in the room and pressed record. It never feels unnatural—just
deliberate. It comes off like a heavily sci-fi and LSD influenced
Jimmy Buffet with a cold... sort of happy and jingly, yet subliminally
morbid and bent.
Ultimately, this is a pretty good record, but it doesn't give enough
of a fuck to be a great one. While the songwriting and production
is spotless and moving, the emotions and artistic risks taken almost
seem like photocopies of the real thing. This one is almost, but
not quite.
-Mike Peaslee |
