The album may show the band moving in a new musical direction. Leary says that lead singer Todd Lewis is deliberately trying to get away from the older material. And while Rubberneck was primarily influenced by the Pixies, The Toadies mentioned that they've been listening to new and broadly varied styles of music like Stereolab, Thin Lizzy, and Elvis while writing the songs for the new album. There are other reasons the new album will probably present a different sound. For one, the first album was primarily the brainchild of lead singer Todd Lewis; many of the songs were born of the residual pain he carries from his difficult relationship with his father, a minister, as well as the ordeal of going through a divorce during the album's recording. The new album is supposed to be more of a group effort. Also there's a new band member, Clark Voegler, formerly of the Dallas group Funland.

What's more, the Toadies are having a lot of fun recording; they say it's a different and profoundly better experience than the first record. Lewis said that it's a relief from Rubberneck, the culmination of 18 years of songwriting, to be recording songs written over the course of one year and lots and lots of touring. The band also mentioned how nice it was to be recording in Texas. "There's a misconception," said bassist Lisa Umbarger, "that to make a good recording you have to go out of Texas, that the studios here don't have good enough equipment. But that's [not true]." Evidently the band members like being just a few hours from their homes in the Metroplex, and are easing right back into the languorous rhythms of Austin. Hey, one of the recording or mixing venues they're using is Pedernales, Willie's studio!

Despite the reputation of morbidity they've achieved from the dark lyrics on some of the songs on Rubberneck, especially the hit Possum Kingdom, Leary says, "They're like large children," noting that they leave candy wrappers all over the studio and often sneak out to visit local comic book stores. (Several of the band members are confirmed Star Wars fanatics, and, in fact, Umbarger played an Ewok in Return of the Jedi.) Leary says, "They're actually quite a bit of fun. I never think of them as being gloomy, except every now and then when I think of the lyrics of Possum Kingdom. That sounds gloomy." http://www.thetoadies.com

On the Record: From Where I Stand: The Black Experience in Country Music (Warner Brothers.): This three-disc compilation was born of a 1993 poll which found that 24% of country music's listening audience is black, an astonishing number considering the small percentage of black country artists. Thus this collection, which is everything and nothing you may want. It is solidly-put-together, nicely packaged, and contains a highly interesting book, but some of the music is kind of boring. The project seems to have more value as an archive than for everyday listening.

That said, the compilation approaches black country music broadly. Disc one contains old country, bordering on blues with lots of acoustic, rural music. Disc two is comprised of famous country songs interpreted in the soul idiom by such figures as Al Green, Etta James, and Ray Charles. Finally, disc three features more traditional country music written, covered, and recorded by black musicians. There are several Texas artists represented here: the Dallas String Band in 1928, Ivory Joe Hunter in the '40s, Joe Tex in the '60s. Disc three is laden with early Charlie Pride, which, surprisingly, isn't all that bad. If you're interested in this historical area of black endeavor, From Where I Stand is something you'll want for your collection.

Never to be Forgotten, The Bobby Fuller Four (Del-Fi): This is a three-disc compilation on Mustang Records, a subsidiary of Del-Fi. Of course, El Paso's Fuller is best known for the international hit, "I Fought the Law," and for his mysterious and premature death at age 23. Fuller's promise was universally acknowledged and the talent he displayed, even at that young age, was prolific, but sadly he's never received the posthumous greatness usually conferred on rock stars who die young. "I Fought the Law" is the prototypical West Texas song and was penned by fellow Texan and former cricket Sonny Curtis (who also wrote the theme song to the Mary Tyler Moore Show), but Fuller's own music displays a broad command in moving from excellent surf guitar in "Our Favorite Martian," to ballads like "A New Shade of Blue," to pop candy songs like "Fool of Love."

Did Fuller commit suicide as the LAPD report concluded? Not likely, since he was found roughed up and drenched with gasoline. The more likely explanation is that he was keeping intimate company with someone else's girl, a club owner with mob connections who had intended to put a scare in him but left Fuller in his unventilated car where he accidentally died after inhaling fumes all night.

This is a fantastic collection. If you're looking for a thorough primer on Fuller, this is an excellent place to go, with two discs of his Mustang singles and a third disc comprised of a live performance. It also contains a wonderfully informative booklet recounting fond remembrances and a detailed account of the weird circumstances surrounding Fuller's death. The music is pure, honest, forceful, and fun.

(2/15/98)

See previous installments of Texas Music News.