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Stuff About Taters
from Ashland On Track paper
by Jenny Valent,
Town staff
The Town of Ashland Channel 17 is pleased to
be able to feature music by many local artists, and
each issue of On Track will now include an
interview with one of these artists...
Anyone want some Taters?
Although founding members of The Taters,
Craig Evans and Brad Tucker, have no idea as to
the origin of their band’s name, one could argue that
the name fits. In as much as the edible variety of
spud is prepared countless ways, so this band
refuses to lock itself into any one musical style, their
gig motto being, “never the same show twice.”
The Taters began as The Burnt Taters in
January 1997 when Brad and Craig played a “one
time” gig as a duo for a Plan 9 anniversary party.
Their history as band mates goes all the way
back to 1980, however. Having played in several
bands together over the years, Brad and Craig often
found themselves singing leads and fronting the
band that they happened to be in, even when it
wasn’t a band of their own creation. When they
came together for the Plan 9 gig, Craig says, “I
guess it finally hit us – ‘Why aren’t we doing THIS
more regularly, instead?’”
Since that day, The Taters have enjoyed a
veritable “revolving door of talent.” With Brad on
acoustic guitar and Craig on bass, George Garrett
soon came on as drummer and soundman. Other
drummers for the band have included Stu Grimes
and, currently, Buz King. Some “non percussive”
Taters over the years have included Chris Fuller,
Ned Henson, and Diana Carr, with current guitarists
Greg Marrs and Jim Wark. The Taters also enjoy
sharing the stage with others, and “guest Taters”
are not uncommon, depending on the show.
The band members are just as much music fans
as they are musicians, and their diverse musical
tastes are evident in the band’s four CDs as well as
in their ever-changing set lists. Obvious influences
include: The Everly Brothers, The Beatles, Roy
Orbison, and Nick Lowe, as well as country &
western styles from the 50s & 60s, pop and power-
pop.
High points for the band have included backing
up Jimmie Dale Gilmore and sharing the stage with
Bill Kirchen, Emmylou Harris, and Los Lobos.
They have also enjoyed breaking out of their usual
mold (whatever that is!) at Halloween gigs, where
they have been known to dress up as “another
band” and open for themselves with different music
altogether!
When asked what the best and worst thing
about being in a band is, Craig Evans responds with
the same answer: “You get to stay up late, even on
work nights!” As The Taters enter their 12th year
as a band, they continue to stay up late, bringing
enjoyment to all who appreciate their eclectic mix of
songs.
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TWIRL Radio Review http://www.twirlradio.com/
CD Review, Mike Lidskin
Quick question--who are the luckiest people on earth? Quick answer--the people who live in and around Richmond, Virginia. Why? Because they can go see The Taters play live any time they like. Oh sure, California's got the beach, mountains, nice weather, movie stars, blah blah blah. But what good is any of this if we don't have The Taters?
Formerly known as Burnt Taters back in the 90's, vocalist/bassist Craig Evans and vocalist/guitarist Brad Tucker became "unburnt" in 2002. They play a fun mix of Americana music. But labels just don't do these great talents justice.
Craig and Brad have been Twirl favorites since 2000, when their early albums Vox Box and Strange But True found their way west to Sacramento. And Craig was nice enough to ensure that Twirl Radio's Taters collection was complete with the other two discs: 2003's Recess, and the 2005 live set, Just One Night, both featuring wonderful drummer Stu Grimes.
So what do The Taters sound like? Well, for starters, Craig's amazing voice sounds like Roy Orbison at times, Elvis Presley other times, and well, like himself the rest of the time. And sounding like Craig Evans is still better than most vocalists out there. His tenor absolutely soars and makes good use of vibrato. Brad's versatile guitar work can do everything from folk to country to harder rock riffs. And whether he's taking the lead vocal or singing backup, his harmonies perfectly mesh with Craig's voice--the sum of the parts is greater than the whole. These guys would be equally at home at the Grand Ole Opry or on the old Stiff Records label as Nick Lowe's and Elvis Costello's labelmates. But no matter what, they don't forget to have fun.
On Just One Night, there are some absolutely magical vocal moments, as in Waiting Game, where Brad and Craig blend perfectly, and Man With A Plan, where they raise the stakes. Craig goes absolutely through the stratosphere on this one--if you didn't get shivers down your spine, I question whether you even have one. There's some tasty steel guitar licks and horn blasts to round out the sound. Most of the tracks are Tater originals, but there are some choice covers of tunes by Steve Earle, Simon and Garfunkel, the Everly Brothers, Roy Orbison, and a fun, surprising cover of Delilah, the song made famous by Tom Jones, which features the "non-existent Tater Horn Section" (playful vocal sounds where the horns would be). The guys are straining to keep from laughing. Lots of life and energy on this live set. I wish I were at that show.
Since I was two albums behind, I need to mention that on Recess, the boys really stretch out and do some new things. Going Over the Hill is a really catchy track, with a really funky organ (a la Les McCann) and buzzy, sinewy guitar lead. Almost makes you forget that the song is about a middle-aged guy whose buddies all got married, and he's left to go it alone. There's a Taterized version of Sunshine, the early 70's Jonathan Edwards tune, which I think would be a great live raveup. That's Me reminds me of something Greg Kihn might have done in his heyday, but again with Craig and Brad at the vocals, it becomes something greater and more dramatic. And Required By Love sounds like it came straight out of a mid-career Elvis Presley movie. I can picture Elvis driving the red convertible, with Ann Margret by his side while this track is playing. The album closes with Raphael, a caring look at the life of a migrant farm worker from his point of view. Of the Taters' four albums, this is my favorite.
My only dilemma--I can only listen to one of these albums at a time. The Taters have something for everyone, and for that, I am proud to feature them on Twirl throughout the month of February, 2007.
related link - check out the Taters' podcast interview with Mike
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VOCAL
Songwriters Showcase
Concert Review, John Ellis
My ears must have been in charge of the driving on Monday night
as I headed to the VOCAL Showcase. My eyes were heavy and weary
from another long, hectic start to the work week and the dark drive
Downtown. But I pressed on to join the crowd at Honey Whyte's and
was rewarded with a fine sampling of VOCAL regulars Jim Uzel and
John Carter along with a featured performance from the always surprising
and always satisfying sounds of The Taters. The ears didn't lead
me wrong! The evening was well worth the drive!
VOCAL's featured performers for the night were The Taters. Be on
the lookout for a live album this year! I thought I knew what to
expect after seeing The Taters several times within and outside
of the VOCAL Showcase, but I was shown how wrong such assumptions
can be as The Taters - Craig Evans (bass guitar) and Brad Tucker
(acoustic guitar) - introduced VOCAL to Diana Keene of Fairfax on
steel guitar. Diana's fine playing brought a whole new experience
to The Taters sound. The song set included new, re-worked and classic
Tater tunes - so much more than I've included here - each wonderfully
and artistically performed. Starting off the night with "In
The End" the band was then joined by Diana Keene on a revised
version of "Truth Is". I became completely lost in the
wonderful harmonies, the sweet arrangement and the dream like steel
guitar accompaniment on "Raphael", written by VOCAL member
Steve Fisher - a truly inspiring performance by The Taters. VOCAL's
versatile and always ready Gary Shaver was invited to the stage
as special guest to take the lead on one of his own creations "She
Took it all Away" with The Taters and Diana Keene backing up.
A little past half-way through the set, we were treated to some
raw, uncooked Tater bits that the band reserves only for fellow
songwriters. These unfinished bits of Tater tunes were delivered
in a fun, free-flowing format which showed that the best songwriters
have tunes they just don't know what to do with. The Taters wrapped
up the evening with the new song "Cat in the Window" about
a woman longing to make a house a home and the song "Without
Your Love" that once again showcased the great steel guitar
work of Diana Keene.
We can't thank The Taters enough for continuing to participate
in VOCAL Showcases to entertain and demonstrate great songwriting.
Treat yourself and a fellow music lover to a show and/or a great
CD from The Taters.
VOCAL is the Virginia Organization of Composers & Lyricists.
for more info, contact 804-342-0550. E-mail: info@vocalsongwriter.org
RECESS review, Melissa Ruggieri
Richmond
Times-Dispatch
The band formerly known as the Burnt Taters rolls a strike on its
third release, the vibrant "Recess." The foot-stomping
trio of Craig Evans (vocals-bass), Brad Tucker (vocals-guitar) and
veteran drummer Stu Grimes (who joined last year) soar through a
catalog of Americana and '60s-era pop influences that color their
own material brightly and tightly.
"On Our Own" evokes The Hollies with its rollicking piano
and dual vocal tracks, while the Jonathan Edwards '70s classic,
"Sunshine," finds a new way to define the word. Cast as
a galloping country rocker, the song chugs effortlessly under the
command of Evans' Roy Orbison-like vocals and Tucker's jangly guitar.
Even though the guys approach their work with a notable wink and
a smile (check out the smirk-worthy instructions on the back CD
liner), the lovely mandolin work on "Never Really Meant to
Be" coats the song with an air of melancholy, even when the
swooning doo-wop harmonies kick in. Consider this one a real find.
RECESS review, Andy Garrigue
Style Weekly
Drawing from the well of rootsy Americana pop epitomized by the
light twang of Bakersfield-style country (Buck Owens, Dwight Yoakam)
and the ambitious arrangements and heavenly tenor of Roy Orbison
era Nashville, the Taters' latest release shines in many ways. Craig
Evans' lead vocals, stellar throughout, are even worthy of comparison
with Orbison or Raul Malo of the Mavericks on some cuts, especially
on "Never Really Meant To Be," and that's rare territory
indeed. The production is slick and shimmering, with instruments
nicely separated and ensemble vocals captured well. String arrangements
are smoothly incorporated and ably delivered, and soloing doesn't
miss a beat - whether it's from a diesel-fueled lead guitar or the
gentle wide-open feeling of a pedal-steel guitar.
The rhythmically impeccable
Stu Grimes provides a host of percussion accents that delight in
both taste and economy - never too much, always just right. The
variety of background vocals even extend to blue-eyed soul style
"doo wops" and "sha la las," which busts the
Taters out of purely Nashville turf, bringing to mind a Coney Island
or Jersey Shore boardwalk. Attentive ears will even pick up hints
of Buddy Holly, the Beatles and Motown. A cover of Jonathan Edwards'
"Sunshine" starts out fairly ordinarily, but percolates
into a chugging version, complete with a controlled but burning
guitar solo. Standout tracks are the complex bolero of "The
Kiss" and a "Save the Last Dance For Me"-styled album
closer "Raphael."
Overall, this is a
strong and accomplished effort. The only weakness is that there
may be a bit too much polish in the production. I could have stood
for more roughness and edge on some cuts. On the other hand, it's
hard to fault an album for sounding too good.
Durham Herald-Sun Review
by Chris Parker
For the retro-pop enthusiast among your friends and family, there's no better cure than a visit from The Taters (who've somehow turned back time and are no longer Burnt Taters). Their rootsy, old-fashioned pop-rock works off the Bakersfield country twang of Buck Owens and the vocal warmth of Roy Orbison or the Everly Brothers. The Richmond quartet has been together for seven years and has released three albums, the most recent of which is "Recess," but the connection between singer-bassist Craig Evans and guitarist Brad Tucker goes back more than 20 years. That kind of knowledge and interplay informs their albums and is partially responsible for crisp harmonies and infectious hooks of the band's old school roots-pop.
From
Concert Review in Richmond Music Journal, by Robert Stutler
"Taters Craig & Brad were on the money with catchy tunes
and silky vocals certain to send shivers up your spine"
Taters
to Dig Into Their Roots Pop - interview (this will open
in a new window)
Interview with Tom Netherland, Richmond Times-Dispatch
Taters
interview, pre-release of RECESS (this will open in a new
window)
Interview with Kate Bredimus, Richmond.com
Taters interview (this will open in a new window)
Interview by James Lowe, KJAG Radio, Kansas
Taters
DIY interview (this will open in a new window)
One from the archives, from The Richmond Music Journal
 Magazine
STRANGE BUT TRUE
review
Critic's Choice
Gordon Ely, writer
One of modern music's true indie delights follows its fine 1999
debut with this impressive new set. With the perfect balance of
sparseness and tasty embellishment, the 11 strong, irresistibly
catchy, often endearing originals and two well-chosen covers (an
ultra-hip, swinging take on the Mills Brothers' "Across The
Alley From The Alamo" and a dead-on reading of the 1952 country
and pop standard "Slowpoke") deliver fully on the promise
of their predecessor. Now toss in the threesome's terrific instrumental
and vocal interplay, and "Strange But True" is an absolute
winner. Two years ago, Burnt Taters, with its imaginative, modern
take on roots rock and traditional country, was clearly a band that
was going somewhere significant. In the summer of 2000, it has arrived.
Burnt Taters is seasoned, ripe, and ready for the plucking, and
labels, as well as modern rock, NPR, and hip AC radio, would all
do well to lend a serious ear.
STRANGE BUT TRUE Review, Phil Melton
No Depression
The latest release by roots-oriented pop-rock trio Burnt Taters
wouldn't have sounded out of place on the radio in 1965. Think 'Beatles
For Sale' if Marty Robbins were a primary influence instead of Carl
Perkins.
One of the endearing things about this Richmond, Virginia band is
that they not only wear their influences on their sleeves, they
fashion an entire wardrobe from them. In addition to Robbins and
the Beatles, the Taters reference Buddy Holly, the Everly Brothers
and Hank Williams in their songs. But they owe perhaps their greatest
musical debt to Roy Orbison. Craig Evans' crystalline tenor deserves
to be mentioned alongside Raul Malo and Chris Issak as a worthy
heir to Orbison's legacy.
Besides singing lead and being the group's primary songwriter,
Evans provides melodic, McCartneyesque basslines. Guitarist Brad
Tucker, whose playing recalls the tasteful, swinging work of Scotty
Moore and James Burton, also contributes vocals.
All-Music
Guide review of STRANGE BUT TRUE
Review by Matt Fink
Burnt Taters' follow-up to 1997's Vox Box continues with the laid-back
mid-tempo roots country balladry that made up much of their debut
and finds the band branching out into other, more adventurous sounds.
They still wear the Roy Orbison and Everly Brothers influences proudly,
but here occasional jangly guitar has been brought up in the mix,
though the band remains primarily an acoustic three-piece group.
A bouncy Western vibe enters into "Across the Alley" and
"Slowpoke," which apes George Strait smoothness, with
the straightforward steel guitar-drenched honky tonk of "Anywhere
That's Pretty," showing the band making stronger forays into
traditional country sounds. Still, the harder-edged distorted guitar
lines of "Little Bit Left in Me" come as the closest approximation
the band has made to a standard alternative country sound, which
seems to be nearer to where the band is progressing. The jazzy kitchen
sink clattering of "By Myself," employing crowbars and
pie pans, is an interesting detour in psychedelic, Tom Waits-ish
sounds. The band still returns to their classic dreamy, '50s-inspired
country-pop sound on more than one occasion here, with similar results.
Strange but True! is everything a second album should be, showing
enough artistic growth so as to avoid becoming stagnant and retaining
enough of the familiar sound to keep old fans satisfied.
Magazine
Vox Box review
Critic's Choice
Gordon Ely, writer
With a deft touch for gleaning the best of American
roots rock and rockabilly - and delivering it with thoroughly modern,
totally hip sensibilities - Burnt Taters shine on a dozen strong
originals and two well-chosen covers. As delightfully derivative
as they are impressively imaginative and inventive, the Taters lay
often-stunning vocals over an airtight rhythm section, spiced with
smoking acoustic guitar leads and licks. A given for roots-music
formats, with strong shots at modern rock and college stations as
well. Give these guys a budget and a suitably sharp, empathetic
producer (Pete Anderson, T Bone Burnett, Dave Edmunds), and you
could be talking breakout 2000 material. Majors would do well to
give a serious listen.
VOX BOX Review, David Klug
Blue Suede
News
Richmond, Virginia's Burnt
Taters take Fifties rock 'n' roll near to country and not unlike
the Everly Brothers and Roy Orbison did back in their day, and Nick
Lowe and the Spanic Boys do now. Well-ordered rhythm tracks with
exquisite melodies and harmony singing abound. The Taters include
Craig Evans, Brad Tucker and George Garret. With Vox Box they've
made an excellent record.
All-Music
Guide review of VOX BOX
Review by Matt Fink
With the alternative country movement becoming far too formulated
for the genre's best interest by the late '90s, a band like Burnt
Taters could almost be seen as a breath of fresh air, with their
homage to classic early rock balladry and '50s rock sensibilities
being something few of their contemporaries were attempting. Making
a Hank Williams song like "No Teardrops Tonight" sound
like a Mavericks remake is no small feat, but lead singer and bassist
Brad Evans has that certain vibrato in his voice, like Raul Malo,
that makes comparisons to Roy Orbison inevitable. Like Orbison,
Burnt Taters inject a lilting melancholy into many of their arrangements,
with the country-pop bliss of "Man With a Plan" and "(Think
I'll Take A) Walk Around the World" being fine examples. Other
tracks, such as the more up-tempo "Just One Night," borrow
more from the classic early Elvis Presley sound, while the thundering
drumming of "Try a Little Harder" sounds like a lost Buddy
Holly outtake. What isn't immediately apparent, however, is just
how solid and consistent the songwriting is, with the light, airy
balladry of "In the End" bringing to mind Paul McCartney
or Big Star, and the tight, catchy chorus of "Easy Way Out"
recalling the Everly Brothers. Remaking the Beatles' "One After
909" in a brooding, feedback-washed mid-tempo rendition might
be taking too many liberties for some, but it is to their credit
for not making a simple, by the book, cover.
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