On the Web site of the California band The Lonely Wild is a country-rock-stomp version of Depeche Mode's "Personal Jesus," notable for its clarity, the way it bends the song to the band's style while remaining true to the original, and some Michael Stipe-like vocals. But what will strike most people forcefully and immediately is the jarring segue into the guitar solo from Pink Floyd's "Money," with motifs from both songs intertwined for the remainder.
It's a small, natural leap between the central riffs, but it's an inspired pairing. And on its debut album, The Sun as It Comes (released April 2), the quintet shows a similar skill at combining disparate elements into a natural but distinctive whole - explosive desert gothic, with Ennio Morricone's Spaghetti Western soundtracks blended with modern indie rock.
The band will be performing at Rozz-Tox on May 4, and singer/songwriter Andrew Carroll said the band grew out of a solo project. His previous band had been a collaborative songwriting outfit, he said, and writing alone was "kind of liberating, not having to ask for other people's opinions, or having to work with four different people ... . It gets difficult to produce material that way."
The first track of any various-artists compilation bears a heavy burden, required to set the tone for what follows even though the performer had no role in crafting the remainder of the songs. Chris Coleslaw's "Sterling ILL" does this on Hello Quad Cities - Volume 2 with a verse that succinctly repeats a common complaint about the Midwest, and the Quad Cities: "So New York grows / Hollywood glows / Well here in the middle / Well they say it just snows."
Plenty of musicians talk a good game about loving many types of music. Bernie Worrell lives it.
