Gill Landry

Location:
US
Type:
Artist / Band / Musician
Genre:
Tropical / 2-step
Site(s):
Label:
Nettwerk
Type:
Indie
"There 's only one fozzle shnaz down the broken window frame
spilling dardembozzle up the morrow with nothing to see and nothing to
hear, just the long dark narrow spill of the hollow hell that is chimney road.
Steel guitars in the rain anchored to clouds driven mad with possibility
and the long night that was to, and is always yet to come.
Such is the magic of Kiki and the curse of the dreamer,
stuck half dead on a mountainside without the hope of dissillusioned lovers.
There's more than one way to skin a machine and the sun has shown me things
I cannot refute nor prove. When does it ever cease?? I used to travel down tourniquet hallways under February skies exploding in all directions like a flame gun with the force of gods colliding in love with blind abandon!!
Curbed by the fear of chains and the death of light I bowed to the rule and
began to rot in shame. Now I search for my legs with wet eyes, casting aside
all glue and broken dreams for a ravaging inferno screaming like a newborn
from the devil-less ocean and cascade all my dying fears into the burning city streets! "



The Ballad Of Lawless Soirez
Debut Album By Gill Landry
On Nettwerk Records
In lesser hands, Gill Landry's tableaus would come off contrived; his meticulously depicted portraits of the underside, unfulfilled, undesired, and unworthy would be busted as bogus. But Landry's too sharp a storyteller, too tuned-in a craftsman, too real, to find himself on the wrong side of suspicion. Like Tom Waits, John Prine, Steve Earle, and recent-years Dylan, Landry is down-to-business believable. His songs carry their own persona, and though they may be creepy and otherworldly at times and nasty and grubby at others, they're familiar while remaining at arm's length. Just as you know the stark, dark, sleek B&W abandoned pulp-noir street of the CD cover, even if you've never been unlucky enough to find yourself there, you've run into the soused slobs of "Dixie" and the sorry-ass denizen of "Ugly Town" and the dark clouds of "Mutiny" and the "graveyard eyes" of "Desiree." You may not want Landry's characters over for dinner, but you recognize them when you see them. When Landry tags the subject of "Gasoline Legs" as having "nothing to lose/Poisoned with a vision/Back turned to the ocean/Sleeping in the arms of hurricanes," his words, though hardly translucent, are clear and picturesque nonetheless. He's never a waster of images, nor of sounds: the only embellishments he chooses are the ones he needs. With its mariachi horns and mournful violins and time-warp clarinet, the twangy guitars and understated organ, The Ballad of Lawless Soirez creates its own world, somewhere between "the shoulders of highways," the "twisted streets" of Paris, and the great "loneliness in the middle of nowhere." Landry is schooled and immersed in the great Americana musical traditions and he wears them well, his voice just labored enough to ensure he's been there and back and just homey enough to make you want to walk his lonely avenues. ~ Jeff Tamarkin
Years ago, Gill Landry began performing as a busker on the streets of New Orleans. He took the name Frank Lemon and created the Kitchen Syncopators, inspired by the old country blues, jazz and songster music of the 20's and 30's he was hearing around New Orleans. More recently, he's played banjo and steel guitar for the Old Crow Medicine Show, but the music he's created for his first solo releaseThe Ballad Of Lawless Soirez has a vibe all its own, a resonance at once timeless and timely, the lonely sound of solitary footsteps scuffing down a midnight street.
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