Kitty, Daisy and Lewis - Smoking In
We all thought it was rather darling, a group of musical siblings that didn’t hate each other and were stuck in a time warp from decades back. Throw in Ma and Pa on stage and some covers and we’ve got our first taste of Kitty, Daisy and Lewis and the release of their eponymous debut record back in 2008.
For their second effort, Smoking In Heaven the trio have again embraced the analogue technique, recording direct to one-inch tape on eight-tracks (there’s a long spiel about mics in the liner notes) and are releasing it on CD, LP, digital and special edition 78-RPM formats. Once again the band seems to be a difficult one to pigeonhole, taking in everything from old school R&B, swing, rock and roll, country and western, doo-wop and jazz. Basically, it seems like if the music fits a period the oldies would term “yesteryear” then it has been thrown into the creative pot and it certainly doesn’t hurt if it’s eclectic and not the latest fad of the minute.
The three self-taught, multi-instrumentalists are aged between 18 and 22 and boast a musical ability that far exceeds their collective years. But this outfit isn’t about gimmickry, these guys are the real deal who live and breathe all things vintage from their home studio inspired by Memphis’ Sun label, the 1940-1950s recording gear where they capture sounds on tape to ultimately press onto their own vinyl and of course, the costumes and visual aesthetics they employ. They really do walk the talk and to say they’ve got youthful exuberance and enthusiasm in spades is an understatement. This is more about artistic passion than a way to “make some bread,” after all.
The 13 tracks are modelled on the past but sound fresh, crisp and vital thanks to a very full sound and audible lyrics. This makes for very distinctive listening and a unique world light years way from the digital methods that prevail in modern music. Here, the band pen all the songs; an experience unlike their debut, which was littered with covers of old numbers their father had played to them. One thing the two albums have in common however, is their overall groove and ability to induce euphoric toe-tapping, finger-clicking and thigh-slapping goodness.
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This is more about artistic passion than a way to “make some bread,” after all. The 13 tracks are modelled on the past but sound fresh, crisp and vital thanks to a very full sound and audible lyrics. This makes for very distinctive listening and a
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The band consisted of David Gates (vocals, guitar, bass, keyboards, violin, viola, percussion), Jimmy Griffin (vocals, guitar, keyboards, percussion), Robb Royer (bass, guitar, flute, keyboards, percussion, recorder, backing vocals), Mike Botts (drums; joined in 1970), and Larry Knechtel (bass, guitar, keyboards, harmonica; replaced Royer in 1971).
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