Come Home To Me
Described as “The Pixies in a cowboy hat” by West Coast Performer magazine, The Famous forge a sound that “combines the transcendent roar of punk with the brutal honesty and black wit of traditional country,” as heard on their debut album “Light, Sweet Crude.” Their follow-up album “Come Home to Me” is an audacious 11-song blast of indie rock fused with hard-edged Americana that continues in the direction established on their debut, while venturing into fuzzed-out garage-blues, New Orleans swamp jazz, and Tex-Mex flavored surf. With an energetic and always entertaining live show, The Famous are sure to appeal to fans of The Old 97s, Frank Black or Uncle Tupelo.
The album chronicles four years of change, both political and personal. Singer Laurence Scott’s two-year sojourn in the southwest desert of Tucson and his eventual return provided much of the inspiration for this latest material. With tales of lost and found love, renewal of belief, and modern parables of social upheaval, “Come Home To Me” evokes the themes and stark imagery found in Cormac McCarthy’s Border Trilogy or Luis Alberto Urrea’s “The Devil’s Highway.”
“Come Home to Me,” features guest appearances by Bay Area pedal steel legend Joe Goldmark, and jazz trombonist Charlie Wilson (Brasshopper) whose contributions bring new textures to The Famous’ sonic landscape. The album was recorded at San Francisco’s Tiny Telephone among other studios and mixed in Dallas, Texas by Stuart Sikes (Modest Mouse, Cat Power, White Stripes.)
Light, Sweet Crude
Recorded over the course of six months at their San Francisco studio, Light, Sweet Crude is the ambitious full-length debut from The Famous. It’s a heartfelt statement that shuns irony for a return to honesty and simplicity.
By instilling lyrical insurgency to a blend of roots and country-infused indie-rock, The Famous go beyond merely aping their influences – the pitfall of so many bands with retro inclinations – and bring a new and unique voice to the alt.country landscape.
The album opens with the schizophrenic post-rock onslaught of “Son of the Snake” and transitions into “It’s Done,” which juxtaposes quiet moments of ominous tension before the explosion of a gritty honky-tonk refrain.
The melancholy twang of “Tear” is an earnest tale of lost love while “True Believer” (inspired by a Miró painting) transcends the psychobilly from outer space of the Reverend Horton Heat by incorporating the stream-of-consciousness lyrical approach of The Pixies.
“Midway” sets wistful tales of childhood desires to a minimalist indie-rock soundtrack reminiscent of Liz Phair’s Exile in Guyville while “Lost” builds from the simple relentless drive of its opening riff to a layered climax of ghostly vocals and careening backwards guitar.
A favorite of their inspired live shows, “Deconstruction Worker” may well be the only straight-up country song ever written to cite Derrida, Kierkegaard and other giants of post-modern thought.
Joining Vic and Laurence on the album are drummer Ches Smith (Mr. Bungle, Theory of Ruin), bassist Rob Douglas (Chuck Prophet, John Vanderslice), and longtime collaborators Chris Fruhauf and Jack Dunham, on drums and bass respectively.
This 13-song effort was mixed at John Vanderslice’s Tiny Telephone studio by Aaron Prellwitz (Neil Young, Death Cab For Cutie, Red House Painters) and is available now from www.thefamous.net and www.cdbaby.com/thefamous/