THE TATERS: Recess

The Taters

Recess

© 2003 ©2003 The Taters (783707695327)

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Upbeat, eclectic roots rock power pop, touched by Country rock and the genius songwriting of 60's Pop.

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It was 20 years ago today...

that Craig Evans and Brad Tucker started singing together, and over the last two decades they have covered a lot of musical ground. Throughout their travels there have been a few acompass points that they've always steered towards - hooks and harmonies. Regardless of styles or instrumentation, the melody has always been there, and kept them on track.

With their latest CD, "RECESS", that comittment to tight hooks and vocal harmonies is stronger than ever. Their third release as The Taters (started as "Burnt Taters" in 1997, the band shortened to simply "The Taters" in 2002) is their best yet, and really reinforces their belief that certain things in music are timeless. "The songs, and the joy of playing them, has always been what drew us to music in the first place," Craig admits. "We've never been about attitude, and I think that's what keeps our sound fresh. The things that made a song good in 1920 will still be the things that make a song good in 2020, and that's how we approach our writing and performing. For the new album, we've been playing live so much over the last few years that the songs have really had a chance to develop. We took a bit more time on this one, and I think it shows. Brad's guitar work is really showcased on the album, and the addition of Stu has revved things up rhythmically".

Stu Grimes, a big part of the new Tater sound, joined the band in 2002. A veteran studio and touring drummer, Stu has worked with lots of folks over the years, including Chuck Leavell, Johnny Rivers, BJ Thomas, Tinsley Ellis, and Eddy Offord (producer for YES & ELP).

The influences that have gained them so many fans over the years - Roy Orbison, Everly Brothers, Beatles, Nick Lowe, Mavericks - are all still here on RECESS, featuring ten new songs, and one old favorite, "Sunshine", the Jonathan Edwards classic from the early seventies. As with their previous two releases, the sonic palette on RECESS is broad, ranging from power-pop to country ballad, with a whole spectrum of colors in between.

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  • A Great Discovery
    author: Elaine Dowell

    This cd was recommended to me by a couple of friends who go to see them live regularly and love their music. I picked this particular because it sounded fun. I can't get enought of it! I keep it going while I work on my pc and find myself wanting to get up and dance. I don't know how I would classify the music on this one, but it's a mix of all the things I loved about the 70's with a lot of other influences thrown in. If you like music that will bring a smile to your face, Recess is a great place to start!

  • They are so nice to me and my honey and a super dooper slamming knock your socks
    author: Billy-Austin

    every time I see them I always ask for them to play Rave On a ole Buddy Holly song and I am the one which has a mean guitar that Brad rips out with a roar. Rave on is for my honey! take care, Billy

  • Taters soar through '60s-era pop influences
    author: Melissa Ruggieri

    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. © 2003 Melissa Ruggieri, Richmond Times-Dispatch

  • the Taters' latest release shines
    author: 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, 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."

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