By Jeremy Essig
By Jason Robinson
By Hans Morgenstern
By Joseph Hess
By Peter Gilstrap
By Julia Burch
By Jeremy Essig
By Nathan Smith
"Or if the Rams are playing," adds Smith.
The Baysayboos' eponymous, self-released disc binds elements of funk, late '60s horn pop, Baroque-era embellishments, and early '70s game-show music into a super-groovy collection of compelling, well-crafted songs. The production work suffers from a lack of focus at times, a seeming inability to present the ensemble as a cohesive sonic unit, but it's hardly the band's fault. The disc is highly enjoyable on the merits of the songs and musicians alone, even if you have to adjust your ears a little.
With songs of such textured, well-formulated compositional sensibilities, it's apparent that the list of influences for a band such as the 'Boos will display unconventional wisdom and a deep respect for history's great masters.
"Beethoven a little. Stravinsky a lot," says Pace of his sources of inspiration. "Astor Piazzolla for melodic style and arrangements."
"For a while I was on this Melanie kick," says Frederick. "It's really heavily produced '60s pop stuff. She's kinda cheesy, but I like her. I don't know if I'd want to listen to it in the summer with the car windows rolled down. What else -- that new Rufus Wainwright. That's another one that I don't think I'd play loud in the summertime."
"I once had a dog named Rufus," says Pace. His gaze goes distant, heads lower and a respectful hush falls over the room. It seems like the right time to end the interview.