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Manila Standard, July 2005

Two normal looking dudes on the sleeve of the album posing along the grilled fence of church, one wearing Buddy Holly-glasses, the other a plaid shirt. Nefarious grave stealers? Animal rapists? Serial Killers? Psychiatric inmates? Close, they're The Famous and they've come for your children.

Now, I hate country. Try to play Billy Ray Cyrus while I'm around and I'll rip off your head. But The Famous [you gotta love the attitude. Hi, guys! We're The Famous! Not just Famous but THE Famous!], well, they take what's there and run off with it. You can almost smell the dried up beer on the floor and the smoky haze as "Light, Sweet Crude" threatens to pull you six ways to Sunday. The wrecking crew of Laurence Scott and Victor Barclay channel a bit of Black Francis with Hank Williams and sniff a bit of rockabilly, a dash of roots right before they rocket through Texas — doing "anything for a rattlesnake or a ZZ TOP keychain". It's such a wonderful assortment of genres that you never hear the 'yeehaws' and 'yoodles'.

I feel a fever coming on. And I see you still have your head on your shoulders.

Ink 19, June 2005

These tough-talking, tobacco-chewing country punks from the Bay Area deliver enough twang to get them misidentified with the Americana movement. But don't be fooled: these guys are totally whacked. The psychotic fury of the opening song, "Son of the Snake," is the nightmarish reality hiding behind the deceptively innocuous Western-themed album cover. While there is traditional roots music on this record, best exemplified by whiskey weepers "Overtime" and "Tear," The Famous ride the rails with a bottle of Jack Daniels and fistful of stinkweeds.

Vocalist Laurence Scott growls and roars like vintage Frank Black when The Pixies were dangerous. No matter which one of two interpretations you give "Get You Back," it doesn't change the fact that Scott sounds like a serial killer, which'll scare the hell out of any Wilco fans who mistakenly order this CD, believing it's all about Southern jangle and boyish harmonies.

No, not quite.

The energizing "Midway" has a boot-stomping surf riff that is made both ugly and hilarious with Scott's rough singing and hysterically twisted lyrics. "True Believer" boils with relentless energy and the warped "Son of the Snake" is one of the most memorable LP openers of the year -- simply because you don't expect it. Best debut album of the year? Believe it, pardner.
—Kirby Raine http://www.ink19.com/issues/june2005/musicReviews/musicF/famous.html

Americana-UK.com, June 2005

Deep down and dirty swamp rock that breaks any perceived formula with the incredible, unclassifiable voice of Laurence Scott. Sitting somewhere between The Drive By Truckers and The Pixies, this album, somewhat bizarrely, saves its best material for last, 'Overtime' through to closer 'I Wonder' are far superior to any of the tracks that precede them. A real solid collection that would have benefited from being released on vinyl.

http://www.americana-uk.com/html/reviews.html

West Coast Performer, May 2005

Like an Old West duel between ‘50s country and ‘90s indie rock, Light, Sweet Crude shatters the pastoral tedium of alt-country. The Famous arrange a standoff between the Pixies in a cowboy hat and Hank Williams on speed, six-shooters loaded with punk and rockabilly, and whaddya know - that bastard alt-country genre gets shot square in the forehead, with a stray bullet no less.

Band members Laurence Scott and Victor Barclay draw a fine line in the sand with Light, Sweet Crude - a line to cross for all those who can’t stand Wilco and wish X were still around to save West Coast punk. On the back cover of the album, Scott and Barclay pose like a pair of young Johnny Cashes, while the inside sleeve is lined with photos of old cars, a vintage clothing store, and an oil derrick. It’s a meeting of the Wild West and the modern West if ever there was one.

Scott’s vocals are quirky, uninhibited, and coarse, yet when he wants to he can croon like a whiskey-chuggin’ angel. But Barclay’s instrumental contributions make this album what it is - he knows how to play and he knows what to play, both on electric guitar and stand-up bass. He keeps the music intriguing by abandoning the comfortable conventions of genre - except for the hackneyed ballads “Tear” and “Overtime.”

For a local indie debut, this album’s got one heck of a roster of collaborators and contributors behind it. Light, Sweet Crude was recorded at John Vanderslice’s Tiny Telephone studio and mixed by Aaron Prellwitz (Neil Young, Death Cab for Cutie, Red House Painters). Before joining the Famous, lead vocalist Scott sang with Frank Black. Lead guitarist Barclay produced and recorded early incarnations of local groups Vue and Oranger and was a founding member of the Aquamen. But big names don’t mean a thing here, and they should soon become a footnote to the Famous story. After all, Scott and Barclay were the only ones to walk away from the duel without a bullet in the arse.
—Nate Seltenrich

http://www.performermag.com/wcp.recrevs.php

Shotgun Reviews, April 2005

If history is going to repeat itself, then it may as well do it all the way. Back in the ‘80s when new wave music was one of three well-circulated rock & roll styles alongside AOR and heavy metal, there was a flashback roots-oriented movement with bands such as Jason & the Scorchers and Green On Red courageously showing off their love for country. Now that new wave has returned with Franz Ferdinand, the Killers, and the Bravery and the Darkness are fitting themselves in tight spandex and doing histrionic AC/DC imitations, it’s perfect timing for roots-rock to be resuscitated. Now called “Americana,” it’s actually a genre that’s been bubbling underground since the early ‘90s and welcomed again by college-radio stations.

The Famous are perhaps the most creative of this league of not-so-extraordinary Southern gentlemen; it helps that they aren’t from the South as the group isn’t afraid to give traditional country a good-natured spanking. In fact, the opening cut “Son of the Snake” doesn’t even sound like Americana. Judging from that, I thought the cover art and pictures were possibly a joke to reel in unsuspecting customers not expecting a Big Black CD. But it’s not a gag; these guys have country in their blood, and they are damn good at bending its clichés.

Vocalist-guitarist Laurence Scott can write some hilariously twisted lyrics like on “Midway” and “Get You Back”; humor is best served black, after all. Those songs epitomize the Famous’ unrestrained expression of artistic freedom. They’re not trying to be adored by the masses, just being themselves, and “Midway” reveals more about American life than any of Bruce Springsteen’s last few albums. Light, Sweet Crude has its share of twang and Southern accents; more importantly, it is filled with heart. And even when it’s broken, the Famous continue to beat with relentless enthusiasm and endless joy. I reckon these boys will be Famous one day.

http://www.shotgunreviews.com/reviews/music/shoe/#thefamous

Culture Bunker, April 2005

Whiskey soaked American Music that's tight and varied. The CD kicks off in supreme fashion with a grinding groover in Son Of The Snake, than gets even better with a rootsy raver that's sure to stick squarely inside your head with It's Done. Tear takes the disc in a more straight country-fied direction that's (heart) felt through much of Light, Sweet Crude. There are about 6 songs on this debut disc that are very good, well written and impassioned performances that point to a very bright future.
—Craig Goossen

http://www.culturebunker.com/noise/index.php3#famous

Pop Matters, April 2005

The San Fran Bay Area duo of Victor Barclay and Laurence Scott mix their own brand of roots rock if delivered by a jacked-up Les Claypool on the opening "Son of the Snake". It's an eclectic number that contrasts totally between chorus and verses. But this is the anomaly of the album. Supported by drummer Chris Fruhauf and bassist Jack Dunham on several tracks, the band also sounds like they've been influenced by The Handsome Family or Tarbox Ramblers. "It's Done" is an old-fashioned but edgy country romp. A tad gentler is "Tear" which harkens images of Slobberbone or a twangy Marah. Just as solid is the groovy rockabilly "True Believer" while lyrics such as "I would do anything for a ZZ Top keychain" ingratiate themselves on "Midway". What you find here is very good rock tunes with no filler at all. The highlight might be the infectious "Lost" which shifts gears often but the honky-tonkin' "Overtime". But the sleeper pick is the softer, twang-fuelled "Deconstruction Worker" which cites philosophers.
—Jason MacNeil

http://www.popmatters.com/shorttakes/2005_04_10_archive.shtml

The Owl Mag, April 2005

The Famous' debut release Light, Sweet, Crude masterfully showcases the roots of rock 'n' roll. Distilled from the grains of traditional country but infused with power chords and scorching lead guitar, this audacious album is both out of control and expertly crafted.

Equal parts haunting, overdriven, and succinctly heartfelt, the album's tales are steeped in literate Americana from top to bottom. It slyly navigates a twisted path with ghostly riffs, unshakeable melancholy, and pondered revenge...before ultimately ending up on an open desert highway with a full tank of high octane. And a score to settle.

It's around this time that Light, Sweet, Crude finishes off the Jack Daniels, smashes the bottle, and lights up a cigarette. So throw on a pair of jeans, grab your own bottle and call shotgun. Be warned though, it may already be taken.
—Joel Doss

http://www.theowlmag.com/thefamous.php

Alternative Rock Review, April 2005

The Famous' Light, Sweet Crude reminds me of what my dad's country records used to sound like. Put away your adult perspectives and think about how music felt when you were a child. As a kid, I thought Johnny Cash was scary. No, not in the Jack the Ripper definition in the word, but Cash wasn't somebody you wanted to upset. To my ears, he roared like a towering grown-up, his eyes burning with the rage you'd expect from a stern principal after misbehaving in the playground. Of course, as I got older I came to appreciate Cash as an elder statesman of outlaw country rock - nothing terrifying but admirable nonetheless and even relatable. The Famous, on the other hand, can be frightening - just listen to the gritted-teeth rage of "Get You Back" and "Son of the Snake." And, hey, country music should have its chilly scenes. However, the Famous strike various emotional chords on Light, Sweet Crude, and all of them are effective. My father would've cried to "Tear" back in the day, and "Overtime" is a charming homage to traditional country. The Famous perform a neat juggling act on this debut, swinging from country and post-punk, bottles of Jack Daniels in one fist and beef jerky in the other.

Whisperin' and Hollerin', March 2005

9 out of 10 stars -- The Famous deliver the goods straight up with no filler

From the cover you'd expect some old-fashioned country music, not Johnny Cash or Willie Nelson, but something of real vintage like singing cowboys such as Roy Rogers or Tex Ritter. However, those preconceived notions are blown apart like the gas tank of a Pinto after hearing the opening track, "Son of the Snake." This ain't your poppa's country music, pardner. Neither blasphemous nor reverent, the Famous have their mud-soaked boots planted in both punk and Southern twang.

"Son of the Snake" sets the table - relentless Pixies howl with a redneck accent, scarier and more challenging than anything on Metallica's last two records. While it's easy to drop the Americana tag on these boys, what I usually hear from the genre is never this aggressive and lyrically stinging. The Famous are a thinking man's Reverend Horton Heat or the Violent Femmes gone electric. Some of the words bite like rattlesnakes, especially the bitter singalongs "Tear" and "Get You Back," but there are drop-dead hilarious narratives as well such as vocalist Laurence Scott's yearning to see the world's smallest horse on "Midway."

http://www.whisperinandhollerin.co.uk/reviews/review.asp?id=2196

Trouser Press, March 2005

Bridging the gap between classic country and punk rock is no longer a radical idea; X and Social Distortion long ago proved that both genres have more in common than purists of either style would care to admit. Formed in San Francisco in 2003 by vocalist/guitarist Laurence Scott and guitarist/bassist Victor Barclay, the Famous successfully combine the transcendent roar of punk with the brutal honesty and black wit of traditional country on Light, Sweet Crude. The Famous dip their toes in the psychotic anguish of the Pixies and the lovelorn narratives of Hank Williams Senior without going overboard on either.

The record is a surprisingly balanced fusion of the group's influences; none of it feels contrived or sounds like a marketing gimmick. "Tear" and "Get You Back" are midnight confessions of heartache with such darkly humorous revelations as, "I'm so mad / I curse at the TV." Driven by Scott's penetrating growl and Barclay's gritty riffs, "Get You Back" is either a song of vengeance or an optimistic view of reconciliation; it all depends on how much whiskey you’ve swallowed. For the most part, Scott's vocals more closely resembles Michael Stipe's than Johnny Cash's, but there is no doubting the authenticity of his country affections, best exemplified on "Overtime," the only track on the album without any modern-rock touches. The Famous aren't afraid of expanding the boundaries of Americana — the serrated, metallic guitars of the opening rocker "Son of the Snake" and the spellbinding surf groove of "Midway" venture beyond the usual perimeter of roots-rock. Their deep-seated knowledge of what makes country and punk work as separate entities have given them a high level of confidence and skill to pull them together without force, enough to make their first record a knockout punch to the chin.

http://www.trouserpress.com/entry.php?a=famous

CD Baby, March 2005

It's like The Stones, The Doors, The Cramps all mixed in with Iggy Pop for an arse-kicking mix of swampy, swaggery classic rock-americana-roots rock-country drinking music. Think whiskey-soaked, cigarette-smelling, beat-up southern spirit with an emphasis on perfect hooks, aggressive guitar, irreverent attitude and cackling, "lemme tell you some'in.." vocals. If you're any kind of roots rock fan, you'd be a eejit to miss this album.
—CD Baby

Impact Press, February 2005

Laurence Scott and Victor Barclay are The Famous, a band that combines the trueness of country music with the attitude of southern rock. Elements of blues and Americana are present during this album of solid, up-tempo songs that pick apart a man's past, his relationships, and the paybacks along the way. Backup musicians do their part to add the majority of drums and bass guitar, to help create an album with highlights such as the pulsating "True Believer" and "Lost."
(J.C. Carnahan)

http://www.impactpress.com/articles/febmar05/musicr2305.html

SF Weekly, December 13, 2004

Here’s a band that doesn’t live up to its name -- at least, not yet. The Famous plays no-frills country music of the Bakersfield Sound variety (that is, the old-fashioned Buck Owens style, a genre now known as “classic country”) mixed up with some good old indie rock. So the Famous isn’t famous, except among those who’ve heard the group in action, because practically everyone who’s listened to the band’s cheese-free, slightly punkified hillbilly jangle thinks it’s the greatest. Here’s the kicker: A common sight at Famous shows is a guy walking away afterward shaking his head and saying, “I don’t even like country music. But they were really good!” Whether fame finds Victor Barclay and Laurence Scott or not, you can be one of those head-shaking guys.

Reviews from tribe.net members

"AMAZING alt.country/psychobilly/old-time-twang that just knocked my socks off."

"Great energy and bold, intelligent songs. Go see them! Buy their CD!"

"i just bought their album - listen to it all the time - country alternative - great mix of tunes - their music has a way of sticking in your head - great stage show - highly recommended"

read more reviews of The Famous and “Light, Sweet Crude” written by members of tribe.net or add your own!

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