Local CD Revue | Music | Salt Lake City | Salt Lake City Weekly
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Local CD Revue

Rodeo Boys, Fisch Loops, MushMan, Throwing Randy





The Rodeo Boys are known to speak humorously and carry a sharp wit. With Flex, they can add “serious chops” to a resume previously restricted to heart-on-sleeve lyrics and jokes galore. While hilarity ensues on album No. 2, it seems Salt Lake City’s best bar band rehearsed like crazy before entering the studio. Now lines about Scott Baio and monkeys in the kitchen making beans and rice play out over tight drum solos, groovy keys and standout bass. Bonus points: Guitarist George Elliot goes electric. (TheRodeoBoys.com)


FISCH LOOPS Vol. 3: A Look Into the World of …


Turn that frown upside down with a healthy heaping of Fisch Loops. Dave Fischer’s third collection of smooth instrumentals and quirky sound bytes sure is tasty'and good for you, too. Who couldn’t benefit from some imaginative, light-hearted fun? The Rotten Musicians’ emcee digs deep in his pop-cultural grab bag, pulling out everything from warp-speed classical hooks to Mitch Hedberg-like quotes (“Can’t you just see someone with a pet giraffe walking down the street?”) and even a cut from Blind Faith’s “Can’t Find My Way Home.” Steve Winwood and Chopin on the same album? Genius. (MySpace.com/FischLoops)


MUSHMAN Lost Like Children


David Fetzer and Patrick Fugit never intended to cut an album. The childhood pals just liked to jam in their bedroom, plucking out sweet, meandering melodies on cheap acoustic guitars. Thankfully, three songs found their way to Camden Chamberlain’s recording studio where the local engineer contributed bass tracks, along with Doug Grose’s masterful keys and Ian Aldous’ pounding toms. The opening title track pitches Fugit as a dead ringer for young Johnny Cash'basement-level baritone that perfectly complements Fetzer’s spry cries. More, more and more! (MySpace.com/MushManStories)




Dan Watt really, really wants you to understand how hard it is for him to go/stay. His impassioned wail surges with explanations of why he loves/needs “insert female name,” backed by solid, if predictable, blues and rock chords. Survival is decent enough, but in the rich tradition of nĂ¼-power-balladry (see Audioslave, Puddle of Mudd), otherwise catchy tunes fall victim to hyperbolic emotion. “A ” for effort. (ThrowingRandy.com)