Crooked Cowboy And The Freshwater Indians
have entranced all they’ve come in contact with for close to a decade, tramping and pacing their way across vast musical genres, with their latest release compounding these forms in discrete menace.
In his early days as a musician and composer, The Crooked Cowboy shared sessions and stages with the likes of Jimmy Cliff, Willie Nelson, John Lee Hooker, Beck, and Stereolab, to name a few. His subtle influences can also be traced back to unsavory L.A. nights befitting his noir-ish tone. He set up command in the mid 90’s with The Blue Hawaiians, reinterpreting the surf revival at such hotspots as the Lava Lounge, The Viper Room, and The Roxy, providing the background for LA’s new young chic, including none other than Quentin Tarantino, whose film Pulp Fiction pulsates with the same dark incongruity. Toward the tail-end of the 90’s, Crooked Cowboy locked in as a hermetic touring machine, while still taking time out to record soundtracks for various films, composing for Everlast’s hit record, and single “Goodbye Sadie” for Tito and Tarantula.
Once united in 2006, Crooked Cowboy And The Freshwater Indians became a live orchestral tour-de-force. The ensemble ranges from 6-12 while playing live, showcasing a psychedelic whirlwind tinged with an unattainable nostalgia for a western era we can only long to re-experience.
With his newest release, Crooked Cowboy turns the storm inward, taking the formative experiences and moods of life in a dusty fast lane and forges in a fire of hard-earned grit. Annalog and Her Hopeful Diaries examines the songs in him traced with loneliness and heartbreak. As their heavy rhythmic pendulum swings, one transcends to a place and time where Ennio Moriconne fences with Phillip Marlowe in the surrealist resting place of Ronnie “Z-Man” Barzell. And there is no one better suited to guide us through this journey than The Crooked Cowboy.
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