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How much can one fan of OKOM (Our Kind Of Music) accomplish in just a couple of years? Plenty, if it's Rockzilla, aka photographer Michael Johnson. From 2003 to 2005, rockzilla.net was a chronicle of the alt.country scene from a uniquely Texan perspective. But all good things must end, and Rockzilla has retired from the online 'zine scene.

This mirror site was copied from the rockzilla.net site with the express permission of Rockzilla hisself. If you don't believe me, go to the KHYI-Fans email list and ask him! Buddy will back me up, too.



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Stan Martin
Cigarettes and Cheap Whiskey
Twangtone Records
By William Michael Smith

Few honky tonk records manage to make it from start to finish without falling into the traps of parody, irony, and outright lame schtick, or without veering into self-conscious alt.country drollness or slavish retro devotion to style over gray matter substance. Avoidance of all the usual traps makes Stan Martin's Cigarettes and Cheap Whiskey a keeper debut album. Scary thing is that even though this is longtime Boston-area sideman Martin's first full-length record, he makes it seem terribly easy. Most honky-tonk albums wear thin to my ear fairly quickly, but Cigarettes and Cheap Whiskey is the exception, sounding fresh and bearing up well after considerable repetition.

The multi-talented Martin, who does all the singing, lead guitar work, and songwriting, has a firm fix on country fundamentals. His guitar tone is Pete Anderson huge and his songwriting mines the stylistic and subject-matter traditions of the genre but never settles for trite lines and tired clichés. He also has managed a nice sequencing of the tracks so that a listener is never left with that "this one sounds like the last one" one-trick-pony feeling that dogs so many modern honky-tonk records.

With his booming Telecaster and powerful voice developed in the ten years he has been a member of one of Boston's premier bar bands, The Merles, Martin's originals like "(Walking On) The Wild Side of Life," "Honky Tonk Fever" and "Thinking You're Wrong" work the hard-country ground of Dwight Yoakam in his early Guitars, Cadillacs period, while Martin's Roy-Orbison-on-steroids sound on "Don't Tell Me It's Over" seems to share a party line with Raul Malo and The Mavericks. Martin may be from Pepperell, Massachusetts, but he knows his sawdust floor country, his Western swing, his two-steps and his polka. He even bows toward the psycho-twang roadhouse roots rock of Webb Wilder on the slinky, echo-laden "Baby, I'm Gone." Where I come from, that's as good a formula as any for an atomic country album.

www.stanmartin.net


Contact William Michael Smith at wms-at-rockzilla.net

 

 
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