Rosie Flores "Speed of Sound" Eminent Records by Scott Snidow

As I set about writing this piece on Rosie Flores, I realized that there were many politically correct campers out there that would be less than happy if I were to truly speak mind my mind on this gifted and talented woman. For example, many wouldn't like it if I were to mention how cute and vivacious she is, or that, in my opinion, she has the best set of legs to ever support a guitar. And far be it for me to piss the socially sensitive set off by saying something about her ethnicity, thus preventing me from mentioning that she was the first Hispanic woman to break onto the country charts with her single 'Cryin' Over You'. Many of these political correctionists wouldn't even like the fact that I keep referring to her gender, instead preferring for me to treat her like one of the fellas. Well hell, this isn't one of the fellas that I am writing about! This is Rosie Flores! The Latina Rockabilly Filly from San Antonio! For those of you who have ever witnessed a live performance by Ms. Flores, then you know that there is simply no comparing her to anyone or anything else. She is a breed apart. She always has been. Flores has long been an innovator. During the 80's she helped pioneer the cow-punk movement, as well as playing a big part in the 80's renaissance of rockabilly and guitar based swing music. As a youth, she was schooled on every style of music from Mexican roots music to country to rock to surf to blues to jazz to swing. Her list of influences range from Patsy Cline to Wanda Jackson (the queen of rockabilly) to Eddie Cochran to Jeff Beck. Now, for the first time, listeners can get a sample of Flores' diverse musical tastes and talent on her new CD, Speed of Sound. Produced by Flores along with Rick Vito, "Speed of Sound" features ten solid performances that are sure to please the more opened minded of Flores' listeners. All too often, performers lock themselves in a rut where they keep releasing CD's that sound too much like the previous releases. What is worse, is all too often listeners come to expect that from a performer, or worse even still, want that from a performer. If an artist is not allowed to flex their artistic muscle once in a while, then over a period of time that artistic muscle starts to atrophy, and eventually what we end up with is the same production machine producing the same old crap over and over, much like one sees coming out of the so called country music mills of Nashville. No chance of any atrophying happening with Flores on her latest compilation. Not only does she flex her musical sinew by switching from one musical style to the other, but she also uses her artistic license to do covers by songwriters as diverse as Johnny Cash, Buck Owens, Robbie Fulks, and Marshall Crenshaw. The sounds range from a little touch of Andrews Sisters, to a full blown torch number in the style of Billie Holiday, to a Spanish flavored rumba, to pure d country on others, to rockabilly, to rock. So if you just wanted simply another straight rockabilly/roots rock album from Ms. Flores, then "Speed of Sound" will probably prove to be a disappointment to you. However, if you want all of the energy, style, and artistic sensibility that you have come to expect from a Rosie Flores project, and aren't afraid to venture with her into a new, fascinating and unexplored musical terrain, then this could prove to be your favorite Flores release to date. Don't go thinking that Flores has completely abandoned the rockabilly sound, though. Three tracks (four if you include the last track, which is more of a rollicking country tune than true rockabilly) fulfill that rockabilly promise. Two are covers of songs by writers that you would least expect to lend themselves to the rockabilly sound. The first track, 'Rock-A-Bye Boogie' is the lone tune that one would expect to be recorded in this style. The other two are 'Hot Dog', a cover of a Buck Owens tune, and a Robbie Fulks number entitled 'I Push Right Over'. Not only are the first two impressive examples of the technique, but they also feature a neo-Andrews Sisters harmonies arrangement that really accent the numbers with impeccable style. Sandwiched between the first two rockabilly tracks is a number entitled 'Don't Know If I'm Comin' or Goin''. Some of you who are old jazz aficionados may recognize this as a Billie Holiday number. On this track, Flores does very little to alter it from the original, instead opting to extend her vocal delivery to that of a full blown torch singer. The first time I heard this number, mentally I drifted back into some smoky bar straight out of a 1940's film, and I envisioned Ms. Flores, with those legs that end in tomorrow, wearing one of those long, sequined gowns with the split up one side, standing before an old ribbon style microphone. Fortunately for you, I will resist the urge to write this review in a Raymond Chandler style of delivery. Suffice it to say that I was really captivated by this particular track, and the vision that it inspired. 'Devil Love', a song written by co-producer Rick Vito and featuring Vito on the gut string guitar playing some wonderful Spanish infused licks, shows yet another dimension of Flores. Here we have a rumba styled tuned that has Flores lending the Latina voice of the roots music she heard a child in San Antonio. Flores vacillates from one style to another, with such seeming ease, that the listener is held spellbound by her abilities. The next three tracks were all co-penned by Rosie Flores. 'Don't Take It Away' is a song about heartbreak that is set to a Bo Diddly beat. You know that a bitter pill always goes down smoother with a little whiskey! Vito adds some haunting slide riffs to Flores choppy, Diddlyesque guitar playing. This is followed by the soulful 'Speed of Sound', a story of love unrealized and unfulfilled. This song, admittedly Flores' favorite track on the CD, blends musically, lyrically, and vocally with such absolute perfection, that the only description that it inspires involves the use of the words "hauntingly" and "beautiful." The last track on the CD that was co-written by Flores is a track entitled 'Somebody's Someone'. Musically, this tune is a country ballroom number, and it features some mighty fine fiddle playing by Tammy Rogers. Next up is a southern rock styled number written by Marshall Crenshaw called 'Somewhere Down the Line'. Originally Flores sang harmonies on this song with Crenshaw on his "Life's Too Short" LP. This version features Flores in the lead, with the harmonies provided by her old Austin cohort Terry McBride (McBride and the Ride). In my humble opinion, this is one of those times where the cover far overshadows the original! Not departing too much from feel of the original, Flores closes out her CD with a Johnny Cash tune entitled 'Country Boy'. Flores maintains that she could relate to the female character's envy of the country boy that is depicted in this song. Seems she could also relate to the writer's sensibility as well, in that she delivers this song in the rollicking country style that Cash came to be known for from his days with Sun Records. And if the old adage "leave 'em wanting more" is sound advice, then this was an excellent way for Flores to close out her seventh solo offering. It does just that, leaves one wanting more. While this highly anticipated follow-up to Flores' critically acclaimed "Dance Hall Dreams" may not be an exact copy, rest assured that all of the tracks are cut from the same bolt of cloth. No, "Speed of Sound" is not a pure rockabilly album, and I for one am thankful for that. Contained within the tracks of this album are an expression of depth and artistry that many have suspected existed in Flores. Now we are merely given the proof to substantiate our suspicions. For those listeners who have come to expect the unexpected, then "Speed of Sound" will prove itself to be an auditory treat. For those who wanted more of the same, there is something for you in this CD as well. And also for this latter group, who may fear that Flores is departing from her trademark sound, consider this quote from the artist herself; "I'm refining my sound, not redefining it." Sit back, open your mind, and give it a listen. Your old conventions will vanish at the "Speed of Sound". To delve further into the magic of Rosie Flores, zip on over to www.rosieflores.com.   You can contact Scott Snidow at: scott-at-rockzilla.net

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