Their engine churns most strongly on tracks like the swamp romp "Linda Lou," the square-dance clapper "Way Too Late," and the made-for-line-dancing "Poor Boy Shuffle." They even manage to turn in a unique take on "Shortenin' Bread," which in addition to being the first single, is simply impossible to resist moving your body to. Believe me, I've tried it and even used ropes to tie down my torso, to no avail. You just have to go with it. The ballads are a bit less successful, and while "The Elvis Thing" is notable for the guest appearance of the King's original backing band, it's further meditation on an already overdone subject.
And while lead singer, songwriter and guitarist Steve Ripley is the way-out-front front man (though a limited vocal range brings to mind a smoother Tom Waits), the secret cog in this tractor is pianist Walt Richmond, whose fleet fingers give Farmers in a Changing World a boost of boogie.
The band uses dozens of vintage instruments (including a 1916 Steinway piano and a 1954 Martin acoustic guitar), and the cover and booklet are illustrated with charming farming illustrations from children's books of the '30s and '50s.
-- Bob Ruggiero
Big Head Todd and the Monsters
Live Monsters
Giant Records
Big Head Todd and the Monsters started out as a live band and only began making records after their fans demanded them. They've toured nonstop since they formed in 1986, building fan bases in Colorado, Chicago, Austin and San Francisco. What started out as a trio of buddies playing blues clubs and frat parties has turned into a group that doesn't quite possess rock-star status but has a cult-like following among neohippie alterna-blues-rockers.
So it's no surprise that Todd Park Mohr and company issued a live album, Live Monsters, recorded from shows in Austin, Denver, Chicago and Atlanta. Their on-stage camaraderie translates well into relaxed, comfortable playing that still rocks. Mohr plays a killer lead guitar, although their sound guy would be well-advised to turn up Mohr's vocals a bit, as his singing is sometimes obscured by guitars. The real show-stealer is backup singer Hazel Miller, who belts out tunes skillfully and soulfully.
One complaint: The traditional acoustic set that precedes each Big Head Todd and the Monsters show isn't on this album. At my first BHTM show -- September 1995 in Vail, Colorado -- there was no opening band, just 45 minutes of Mohr waxing poetic on his guitar. As this is such an integral part of the live Big Head Todd and the Monsters experience, why couldn't they have included just a song or two from the acoustic set?
-- Melanie Haupt
